Literature lesson as a basis for studying theater. Literature lesson "At the playbill

04.07.2020

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CHELYABINSK STATE ACADEMY OF CULTURE AND ARTS

THEATER FACULTY DEPARTMENT OF THEATER ARTS

V.M.Stetsenko

HUNDRED THEATER LESSONS

Study guide

for students of specialty 053000

Folk art

qualifications Amateur theater director, teacher

Chelyabinsk 2003

BBK 85.33ya73 S 79

Reviewers:

L. V. Trubaichuk, Doctor of Pedagogical Sciences, Professor; T. V. Skorokosova, Honored Artist of the Russian Federation

Stetsenko V.M. One hundred theater lessons: Textbook. Method. manual / ChGAKI, Chelyabinsk, 2003 .-- 42 p.

The textbook was created by the author in accordance with the State Standard of the second generation on the basis of many years of pedagogical experience, both with children and with students, and is designed to help student teachers during practice in schools and children's theater groups to build their classes not only methodically correctly, but also fascinatingly. The work will be useful for teachers of theater lessons and leaders of children's theater groups.

Approved by the Editorial and Publishing Council of ChGAKI

culture and arts, 2003 © Stetsenko V.M., 2003

Introduction 4 Program of the course "Theater lessons at school" (1st grade) 6 Program of the course "Theater lessons at school" (2nd grade) 16 Program of the course "Theater lessons at school" (3rd grade) 26 References 32 Application. Complex training exercises for students in grades 1 and 2 33

Introduction

The purpose of this teaching aid is to help students (future leaders of children's theater groups and teachers of theater lessons) at the beginning of their pedagogical activity.

As a rule, going into short-term practice, students easily win love for their subject, but as soon as classes become systemic, it becomes very difficult to maintain constant interest and attention in the lesson if the trainee does not set a specific goal for the children and himself or does not know its stages. achievements. The author builds the manual in the form of a theater lesson program in elementary school, which allows those to whom it is addressed to use in their practice, both individual components and the entire program.

In our difficult times, the moral improvement of society, its humanization, is of great importance. The very word "humanism" means philanthropy. The upbringing of philanthropy and kindness is the basis for the humanization of society. To paraphrase the famous words of Dostoevsky, we can say: kindness will save the world, for it is kindness that is a kind of synonym for beauty, that is, the beauty of a person's spiritual qualities.

Pedagogical science has long been looking for ways to bring up a harmonious, educated and kind person. And one of these ways is education by art. The main task is to create a certain type of personality with broad aesthetic demands, a high culture of artistic abilities and the need for active creative activity, that is, the implementation of creative energy.

Art, first of all, affects the feelings of a person, which are always individual. They depend on the quality of the individual, and each of us would be happy to have a person nearby who knows how to sympathize with us, whose heart is open to good. Discover these qualities in re-

benke, develop them, teach to understand another person, sympathize with him, the art of theater helps best of all.

This is an important, but far from the only quality that helps to reveal abilities in a child through education through the art of theater. Theater, as you know, is a synthetic art that combines many other types: drama, fine art, music, choreography, the art of a hairdresser and make-up artist, etc. In addition, theater requires a lot of the simplest work: from hammering nails to pulling the curtain, this means that a large number of people are involved in the theatrical process. Teamwork skills, responsibility for the assigned task, mutual assistance are the things without which the theater is impossible. But the main thing is that theater is impossible without creativity, which is always active here. Theatrical creative process is universal. He reveals many facets in any person, and especially in a child. After all, he is active by nature, and the child is interested in everything. Theater requires imagination, intelligence, a certain amount of knowledge and life experience, as well as special skills and abilities, natural abilities and the ability to work on oneself, developing and complementing what nature has given. All these qualities will help a person in his everyday life, make it more fulfilling, and the person himself - more interesting for those around him.

The proposed program does not set itself the task of making every child a theatrical figure in the future, but to teach them to understand the art of theater, and through it art in general, to unleash their creative potential, to form artistic needs, to make a person's inner world richer and kinder.

COURSE PROGRAM"THEATER LESSONS AT SCHOOL" (1st grade)

approximate thematic plan

№ and / and	Topic name, section	Number of hours in quarters
№ and / and	Topic name, section
I. The art of being a spectator
	Preparing to watch the show
	Conversation after watching the performance
II. Educational games
	Organization of attention
	Organizing yourself in space
	Development of agility and coordination of movements
	Development of fantasy
	Development of the speech apparatus
	Memory training
III. Etiquette skills
	Greetings. Code of conduct in the classroom, in the theater. The relationship of girls and boys in the classroom

ANNUAL SCOPE OF THE COURSE:

TOPIC OF THE YEAR: Educational games.

MAIN TOPICS (in quarters): I. We are getting to know each other.

II. Let's be friends.

Smart games.

First theatrical experiences.

PURPOSE OF THE COURSE: To arouse interest in the art of theater, and through it, in other types of art - music, painting, choreography, cinema. COURSE OBJECTIVES:

1. Help the teacher create a calm and welcoming atmosphere in the classroom.

To form teamwork skills in children through joint games and group exercises.

To form the skills of etiquette, norms of behavior at school, in the classroom during recess, in the classroom, in the theater.

To develop the child's emotional sphere - a feeling of compassion and sympathy, the ability to rejoice and be upset together with your classmates, friends.

To develop the child's personal qualities: memory, attention, observation, imagination, a sense of rhythm, space.

To create conditions for an interested and kind attitude of children to each other, to form in them the desire to resolve conflicts with each other only in a peaceful way.

To bring up strong-willed qualities, courage, perseverance in children. Help overcome shyness when doing exercises in theater lessons, when answering at the blackboard in other lessons.

Train the child's vocal apparatus: diction, sound presentation, accuracy of intonation, the ability to hear correct and incorrect pronunciation.

Form the audience culture and literacy of the child.

Increasing the interest of students in literature lessons by methods of theatrical pedagogy

Moscow city

The problem of interest is one of the most important in teaching at school. Translated from Latin, the word "interest" means "matters, it is important." This is the selective orientation of the individual, her desire to cognize the object and phenomenon, to master this or that type of activity.

The problem of interest is not only a question of the good emotional state of children in the classroom; it depends on its decision whether in the future the accumulated knowledge will be a dead weight or will become an active property of schoolchildren. In the triune task - training, mental development and personality education - interest is the connecting link. It is thanks to interest that both knowledge and the process of acquiring them can become a driving force for the development of intelligence and an important factor in the upbringing of a comprehensively developed personality. In order for an interest in learning to arise (and develop, certain conditions are necessary:

· First of all, it is such an organization of training in which the student is involved in the process of independent search and discovery of new knowledge, solving problems of a problematic nature.

· Educational work, like any other, is interesting when it is diverse.

· For the emergence of interest in the subject under study, it is necessary to understand the importance, expediency of studying this subject as a whole and its individual sections;

· The more the new material is related to the previously acquired knowledge, the more interesting it is for students.

· Learning should be difficult, but feasible.

· The more often the student's work is checked and evaluated, the more interesting it is for him to work.

· The brightness of the educational material, the emotional reaction and interest of the teacher himself with tremendous force affect the student, his attitude to the subject.

Only non-traditional forms of organization of the educational process can meet the given set of conditions. We will classify as such lessons using the basics of theatrical pedagogy.

Back in 1963, methodologists noted that experience is needed for psychologists who study the issues of speech, thinking, attention, emotions, and for teachers. In other words, a real teacher simply needs to master acting in order to captivate, interest, intrigue his students.

The theater plays a colossal role not only in the formation of the teacher's professional competence. It is indispensable in the very process of education and upbringing. The greatest sage of antiquity, Socrates, devoted his life to educating students of spiritual independence. He considered himself a person capable of awakening in other people the desire for truth. With the help of skillfully leading questions, he helped them find this truth for themselves. Now we would call this method "scientific research". Socrates knew how to extract knowledge hidden in man himself; persuaded students to look more closely at their own inner world, pointed out to them the best in themselves. The Socratic method of education - the art of nursing one's own independent creativity - underlies the work of Stanislavsky and Nemirovich-Danchenko, who understood directing primarily as pedagogy.

"The obvious dependence of the theatrical knowledge and interests of students on the school obliges us to pay great attention to this area of culture, and a special responsibility here lies with the teacher-language teacher."

The surest way to resolve this issue is your own theatrical experience, the organization of a theater studio, a drama circle ...

An experienced teacher knows that enriching a teenager's theatrical experience means revealing to him the depth and variety of human feelings and passions, developing his own spiritual life, and awakening his creative abilities. The young spectator is drawn to the stage, willingly becoming an "actor" himself. The experience of many teachers confirms the unusually positive influence of work in a drama team on the development of children's intelligence, his reading habits; on the sphere of feelings, on the ability to behave beautifully and freely, on the development of correct, clear and richly intoned speech, on the formation of a sense of responsibility.

In the methodology, the question of the interaction of literature with the theater is insufficiently covered. Therefore, it became necessary to start developing this topic, which is interesting and promising. She emphasizes the possibilities of organic use of intersubject connections within the framework of a literature lesson.

It is noted in the educational standards that interdisciplinary connections develop the emotional culture of the individual, a socially significant attitude to the world and art, special artistic abilities, creative imagination, figurative thinking, aesthetic feelings, foster emotional and intellectual responsiveness in the perception of a work of art, and form aesthetic taste.

It is impossible to do without interdisciplinary connections in any literature lesson (theater, painting, music, Russian language, cinema, history, geography, archeology, etc.).

In the opinion, “the inclusion of related arts in the study of a literary work helps us to manage the flow of associations, to stimulate the emergence of certain ideas in the mind of the reader. At the same time, the student does not get the feeling that the idea is imposed on him. It arose by itself. And this freedom of his appearance gives the emerging image a personal character. In this way, the related arts can enhance the empathy, the subjective side of parsing. " They attract attention, create relaxation, awaken interest.

The teacher is required to mobilize all his mental strength, creative abilities in order to interest the students, so that they willingly go to the lesson.

The methodological and organizational forms of cooperation between teaching literature and theater have evolved over the years and often changed depending on real conditions (changes in the program, the nature of the repertoire, the characteristics of the interests of a particular group), but the main principle is the principle of linking literature with the formation of reading experience - always proved to be extremely fruitful and fully justified the efforts that the teacher spent on its implementation: the circle of students' literary interests expanded, a persistent interest arose in the facts of modern culture, and above all in the theater, the world of emotions, moral feelings and knowledge of schoolchildren was enriched more effectively, actively moral and aesthetic assessments were formed, independence and validity of judgments increased markedly.

The focus of the teacher was, first of all, the peculiarities of the students' perception of the dramatic text and the search for such methods of work that, responding to the artistic specificity of the drama, would facilitate its development in the unity of form and content.

These are the conditions that are necessary to overcome the difficulties of students' perception of a dramatic work (they are carried out in the system):

1. Organization of school dramatic amateur performances, closely related to literature lessons, when there is a critical acquaintance of students with the play and its stage capabilities.

2. Preparation of schoolchildren in the process of educational work for conscious reading and analysis of a dramatic work:

a) self-staging of small episodes (an idea of the "technology" of dramatic creativity, contributing to the penetration into the artistic form of the drama);

b) a teaching analysis of a dramatic episode (the concept of a conflict in a dramatic action, the means of its expression, a characteristic of a dramatic character, the meaning of the speech of the characters in a drama ...);

c) compulsory reading aloud of a dramatic work in literature lessons (the implementation of the artistic energy of the sounding speech, for which the drama is designed).

3. Analysis of the drama, taking into account its specific artistic properties (drama as a special kind of literature).

4. Turning to a professional theater in accordance with the objectives of literary education and development of schoolchildren.

Conclusion: one of the important stages in introducing a student to theatrical culture is to prepare him as a reader of dramatic works, the fundamental principle of theater.

Here the laws of theatrical pedagogy come into force, the lesson should be scheduled according to events, as in a play. This stage of preparation for classes is called pedagogical dramatization.

Lessons differ favorably if the teacher owns theatrical methods of organizing pedagogical activities. The ability to organize work in the classroom is helped by the socio-game techniques that theater pedagogy offers to teachers. And then, in the dramatization and direction of the lesson, group work appears, which makes it possible for all children to participate in different positions: change of leadership, change of role functions "teacher-student".

Teachers organize educational activities so that children mutually educate each other, exchange information, and for this they need to create a problem situation.

The dramatization of individual episodes creates a favorable emotional atmosphere in the lesson for the perception and in-depth understanding of literary works. Such classes provide adolescents with the opportunity to reveal their individual abilities, experiment, demonstrate their skills. In connection with these goals, it is necessary to solve the following tasks:

establish points of contact between two objects;

identify general concepts.

The natural relationship between literature and theater is comprehended by students in the lessons of the analysis of works of art. Thus, literature and theater are inseparable and naturally complement each other.

The task of the teacher is to support the interest of schoolchildren in literature lessons, to help them understand the characters of the characters.

Staging is fraught with great opportunities for serious mental activity of students, for deepening their research attitude both to the original text and to the stage version created on its basis; it implements a combination of creative imagination and literary "considerations" of students.

It is fundamentally important that a student working on staging an epic work or its episode be able to:

· Highlight the main storyline of the story, determine its origin, culmination and denouement (and, if necessary, the exposition);

· To understand the driving force of action - collision, struggle, enmity, quarrel, etc. (conflict);

· To identify the main and minor persons, to understand their relationships, to imagine how these relationships are manifested in each actor, depending on his character;

· To understand the meaning of the speech of the actor as its main characteristic;

· To realize the main idea of the story and the author's attitude to the events and persons depicted by him - the general nature of the staging (genre and its pathos) depends on this.

Having set himself such tasks, the language specialist takes an extremely responsible approach to the selection of episodes or stories intended for dramatization. He must convince the students that the drama obeys the laws of the drama, and thus introduce them to these laws. You can entrust the choice of material for staging to the students themselves, which will be effective in bringing up a competent and attentive reader in them.

The main task is to determine the basic principles and methods of analysis that would help the student while reading the play to feel the special nature of its expressive means and would help him make the right choice of material for staging. A well-known statement helps us to find methodological ways to solve this problem: “The best way to get to know a play is to trace: how a conflict arises and develops in it, for what and between whom the struggle is being waged, which groups are fighting and for what? What role does each character play in this struggle, what is his participation in the conflict, what is his line of struggle, what is his behavior? "

Within the framework of a literature lesson, it is possible to most expediently use the elements of theatricalization, since literature and theater are two types of art, common to which the word is.

Comparison of the text of a work with a theatrical depiction of individual scenes strengthens the emotional side of the analysis of a work of art, expands the knowledge and skills of students. The study of literature at school provides for broad interdisciplinary connections. This not only contributes to the improvement of students' knowledge and skills, but also leads them to a deeper understanding of the laws of the development of art.

The attraction of theatrical scenes to literature lessons is one of the important aspects of the implementation of intersubject connections that contribute to the formation of the students' worldview, their aesthetic development. The main task of these lessons is the development of such qualities as memory, imaginative thinking, speech.

It is in theatricalization that schoolchildren can test the accumulated literary knowledge, as well as the expression of emotional perception. Once played, the game will remain in memory as a kind of creativity, as a value. Fifth graders and sixth graders often imitate their favorite characters; they accompany their often awkward speech with gestures, facial expressions, and characteristic movements. This form of the educational process helps to preserve vivid and deep impressions of the studied work in memory for a long time, as it appeals not only to the student's mind, but also to his feelings.

Theatricalization covers various artistic aspects: the choice of repertoire, stage speech, stage movement, scripting, making costumes, scenery, props, drawing, painting, etc. This creates favorable conditions for the formation of aesthetic values (a sense of beauty).

In the process of preparing a theatrical performance, students feel the need for additional information (information from the field of historical ethnography, material culture, religion, art) and they themselves begin to search for the necessary material; read additional literature (reference, popular science, fiction, critical literature), more often seek advice from a teacher - this creates conditions for the formation of skills (experience) of self-education.

The allocation of this type of lessons is associated with the attraction of theatrical means, attributes and their elements - in the study, consolidation and generalization of program material. Theatrical lessons are attractive in that they bring a holiday atmosphere, high spirits into the student's everyday life, allow the children to show their initiative, contribute to the development of a sense of mutual assistance and communication skills.

When preparing such lessons, even working on the script and making elements of the costumes are the result of the collective activity of the teacher and students. Here, as well as at the theatrical lesson itself, a democratic type of relationship develops, when the teacher transfers to the students not only knowledge, but also his life experience, reveals himself to them as a person. It must be said that the very process of preparing for the lesson can also be one of the elements of awakening interest in the subject.

Filling the script with factual material and its implementation in a theatrical lesson requires serious efforts from students in working with a textbook, primary source, popular science literature while studying the relevant historical information, which ultimately arouses their interest in knowledge.

Directly at the lesson, the teacher is deprived of the authoritarian role of the teacher, because he performs only the functions of the organizer of the performance. It begins, as a rule, with an introductory speech by the facilitator, whose responsibilities do not have to be assigned to the teacher. The presentation itself, after the informative part, can be continued with the formulation of problematic tasks, which directly involve the rest of the students in the active work in the lesson.

In the final part of the presentation, still in the development stage, it is advisable to provide a stage of summing up and the associated careful selection of assessment criteria, taking into account all types of student activities in the lesson. Their main provisions should be known to all children in advance. Note that there is enough time to conduct the final stage of this form of lesson, if possible, repeat and generalize the material used in the presentation, not to sum up in a hurry, and also to evaluate the knowledge of students. Of course, the proposed structure is used as one of the options for constructing theatrical lessons, the variety of which is determined primarily by the content of the material used and the choice of the appropriate scenario.

Theatricalization is one of the most popular methods of work not only for language teachers. It is used by all teachers who want to make their lesson interesting and varied.

But a lesson in literature is always a small performance in which "everyone" plays, even the "quietest" actors, drawn into the action as if against their will, but their facial expressions and expression of their eyes will betray their attention and interest in what is happening. But this is a special theater where improvisation is the soul of everything. It seems that the director is ready for any change in the "script", foresees the actors' reaction to some questions, but even he does not always know all the options for the unfolding theatrical action.

For a long time, there was a view of literature as a reflection of historical events and political trends, but after all, in all centuries, authors of works of art were solving one question - what is a person? Therefore, the teacher should also give the students the opportunity to understand the problems of the heroes, to show that literary characters are close to living people. Theatrical pedagogy, which deals with the laws of building a lesson as a stage action, will help the teacher in this.

The beginning of the lesson is the most important thing. This is the engine of all future conversation. Initial events can be an intrigue question, the life situation of the teacher himself (it can be extremely interesting for students), a story read in a book, an article from a newspaper, a letter from someone, etc. - in a word, irritating facts used by the teacher with the purpose of winning the attention of the audience, intrigue, focus the thoughts of students on the subject of a future dispute

The second part of the lesson is its main event. A literary work is analyzed in the following way: details, dreams, replicas of heroes, their internal monologues are considered - this requires a thoughtful "reading" of the literary text, since this is important in comprehending the characters of the heroes, their concepts and ideas. The third part of the lesson is the central event. The teacher can divide the students into creative groups, including them in the role-playing game, ask them to formulate questions that they wanted, but could not ask the heroine of the story to the student, etc. The main thing is that all the children should be covered in the activity.

The most important, decisive stage of the lesson is the fourth, the main one, for the sake of which the theatrical action is performed. Students-actors discover the truth for themselves, make with the help of their logical conclusions and questions-stimuli of the teacher, directing the flow of the conversation in the right direction, the discovery that was made together: the student, the teacher and the author of the work. The opening can be accompanied by an emotional explosion, a "moment of truth", when for a while the guys forget about where and who they are, fully believing in the reality of the game. But, however, an emotional outburst may not occur. A deep silence can be established, it will also be evidence of the living participation of each of them in the problems raised in the lesson. This is the most valuable and touching moment for the author of the lesson - the teacher, since the problem has been solved, the goal has been achieved: no one will leave the lesson indifferent.

Literature lessons are designed to teach a person to think, create, defend their beliefs, but at the same time do not forget that all the most wonderful in the world is written by people and for people.

In a modern school, teachers are increasingly turning to various kinds of theatricalization. Theatricalization and play have long been included in most traditional subjects - in the form of role-playing games, creative exams. Mastering the very principle of the game, the ability to take on one or another role, learning how to communicate with the audience, the ability to concentrate and much more is increasingly becoming a necessary reality of the educational process.

To conduct a role-playing game in a lesson, you need to choose a topic, identify the characters, and outline the psychological portrait of the character. Preparation begins with homemade preparations. During the game, the development of events depends on the initiative, imagination and life experience of the participants. The leader (teacher) can help them, ask leading questions, thus influencing the course of the game.

At the same time, one must remember that the game has already begun and in questions there should be an appeal to the character by his play name. As a result of playing lessons, students comprehend universal human values, acquire the skills to participate in discussions and make collective decisions in various situations.

Role-playing is usually based on real or possible conflict situations in which as many people should be involved as there are participants in the group. It can be a gathering of book lovers, a meeting in court, a meeting of an art council, making a film, a book, a concert lesson, dramatization, quizzes, etc. Some games are like a frontal conversation, others require group work, and often take the form of a discussion.

When studying creativity or interesting, lessons-sessions can take place: in the 8th grade - "The trial of Grinev and Shvabrin", in the 10th grade - "The trial of Raskolnikov".

In order to deliver such lessons, careful preparation of both the student and the teacher is required. First of all, students need to know the text, and in some chapters - in detail; "Prosecutors" and "lawyers" to think over their speech. This lesson involves the whole class. The teacher, on the other hand, should become the organizer of the game, better - the judge, guide the students towards the goal. The teacher is required to respect children, readiness to enter into a dialogue, maintain the interest of everyone, and a lively reaction to the course of the game.

Role play in literature lessons allows you to change approaches to the study of the writer's work, to deviate from the tradition that has become a cliché; allows the student to make a small discovery for himself. This is not just entertainment, but a special effective way to comprehend complex linguistic phenomena. Games develop students' mental and creative abilities because they teach them to choose the best from different options. They form will, activity, independence, enrich feelings, give the opportunity to experience the joy of knowing their own strengths, help social adaptation, increase self-esteem and overcome age crises.

The method of open directorial action seems to us the most effective form of teaching, since it allows us to turn "a school lesson into a kind of improvised performance, where the process of collective creativity becomes a through action."

“To be able to look and see, listen and hear. To be able to really think and remember in certain circumstances of the lesson ”- these are the tasks we set for the children, but first of all for ourselves. “To be able not to know what will happen now in this or that extreme situation (event) of the lesson. To be able to check oneself during the action to see if there is excessive stress. "

These acting qualities help the teacher, but he must also have directing abilities:

"1. Analytical skills (depth, criticality, flexibility, independence, initiative thinking).

2. Event-spectacular thinking (... the ability to reincarnate, constructive (compositional) ability).

3. Suggestive abilities, allowing the director (teacher) to carry out emotional and volitional influence on the actors (students) in the process of rehearsals (lesson).

4. Expressive abilities (plasticity, facial expressions, gestures, speech, etc.).

5. General creative abilities (intellectual activity, a high level of self-regulation of the individual). "

The teacher becomes an artist who creates a work, he is both an author and a performer. But the student should also possess these qualities. The teacher sets, provokes the situation, conducts, discovers the subject in the student, gives him the opportunity for self-realization, self-affirmation, and initiative.

Let us consider how the principles of theatrical pedagogy manifest themselves in the formation and implementation of the concept of a school lesson.

“Modern pedagogy, from didactic, striving to convey a certain amount of knowledge and appealing mainly to memory, is becoming dynamic pedagogy. Studying should contribute to the development of independent and creative thinking, training of increased sensitivity, and the development of individuality.

The basic principles of dynamic pedagogy coincide with the principles of theatrical, as one of the most creative in nature. "

Play contributes to the creation of maximum conditions for free emotional contact, relaxedness, mutual trust and a creative atmosphere.

The need to use the technology of the game is connected with its main task - to understand life, to be able to solve life issues with the help of the game.

Depending on the purpose of the lesson, the ways in which children are involved in the play may differ.

If the task is to penetrate the world of heroes of fairy tales, then the options for tasks-conditions can be as follows: to imagine yourself in the place of one of the heroes so that the participants in the game recognize you by facial expressions, gestures, pantomime; imagine yourself in the place of the author and complete a fairy tale or come up with a fairy tale by analogy.

The use of game moments is possible in one element of the lesson. So, for example, based on the novel "The Master and Margarita", the children are asked the question: "Who, in your opinion, is the main character of the novel?" Various assumptions were expressed and substantiated: Master, Margarita, Woland with his retinue, Yeshua, Pontius Pilate, Ivan Homeless. The teacher suggests using cards with these names to draw up a diagram of the interaction of these heroes. As a result of debates and reflections, a lesson is born that leads to the main problems of the novel.

"The lesson, built by the teacher according to the laws of the director's art, contains in itself a given logic of the student's behavior in the proposed circumstances."

Lesson based on the novel "Crime and Punishment".

"How can you live in this world?"

Dostoevsky's novel is polyphonic. Hearing the voices of different characters helps such a methodical device as "living" the image. The conditions of the game are as follows: everyone chooses the role of one of the heroes of the novel and tries to imagine himself in his place (homework assignment). Entering the image occurs from the first minutes of the lesson. (It is important that the guys are in a circle, they see each other's faces).

Teacher: Do you know each other? Introduce yourself to each other. A word about myself.

What do you think of the world you live in? What does he do with you?

(A representation of the heroes, which begins with an attempt at reincarnation.

I, Marmeladov ...

I, Dunya, Raskolnikov's sister ...

I, Pulcheria Alexandrovna Raskolnikova, mother of Rodion ...

I, Sonechka Marmeladova ...

I, Katerina Ivanovna ...

I, Rodion Romanovich Raskolnikov ...).

At the moment of a short story about his life and place in this world, the “hero” tries to evaluate himself and other participants in the dialogue. The ability to ask a question to anyone is a sine qua non in this situation. So, for example, to the question of Alena Ivanovna, an old woman-pawnbroker, about her sister: "Why is she so cruel and unfair to her?" the answer was immediately given: “Why did she allow such an attitude towards herself? So Lizaveta deserved it. "

That is, children, playing the theater, are in strong dependence on each other, fantasize freely, find a way out of a difficult situation instantly.

Teacher: And you, Pyotr Ivanovich Luzhin, and you, Mr. Svidrigailov - who is in this world? "Powers that be?" Why?

The floor is given to Raskolnikov. What was your experiment and was it successful?

Your attitude to Raskolnikov, who wants to speak out?

In the course of the conversation, a natural discussion of the problems of the novel arises, where Sonya's word, her "truth", and the "truth" of Luzhin and Svidrigailov, and an attempt to choose Raskolnikov - whose truth does he accept and why?

The task of the teacher in this lesson-play is to pose stimulating questions that make the student think, delve into the problem, allow him to turn to the novel again and think about life.

Such a lesson gives food for thought and does not end with a call - the guys discuss it for a long time, now leaving the images and expressing their opinion. In the next lesson, it is advisable to bring this discussion to its logical conclusion, making it possible to evaluate the play-performance of each of the heroes, of course, taking into account the knowledge of the text and the likelihood of playing the role. By the way, another discussion is no less interesting than the lesson itself.

In some classes, one of the favorite lesson forms is "Judgment of a Literary Hero." Also, certain conditions are set, roles are assigned in advance - at home there is an opportunity to think over your speech, pick up quotes from the text for defense, accusation, testimony. Moreover, the hero's right to decide for himself whether you will be on the side of the defense or the prosecution. The prosecutor prepares the prosecution, the witnesses for his part, and the lawyer prepares the defense and the witnesses from his side. The class is designed as a courtroom, the necessary ceremonies are observed.

The purpose of such lessons is an in-depth understanding of the work itself by simulating certain life situations, since this is the vision of real life by today's students. The verdict, which is necessarily passed at the end of the lesson-court, is not important, the process of discussion itself is important, where the text sounds in a new way, where the characters can reveal themselves from an unexpected side. So, for example, in similar lessons based on the novel "Oblomov" the protagonist, his way of life was justified by one class and completely debunked and condemned by another. It all depends on the convincingness of the performance of the "heroes" of their roles.

One more very important property is added to certain rules of the game - improvisation. Improvisation is a stage game that is not conditioned by a solid dramatic text and is not prepared at rehearsals. In our opinion, this is the most valuable quality of such lessons. The student, being in certain conditions, getting used to the role, tries to find a way out of the current situation.

“However, the goal of game improvisation is not only in the process of self-realization”, because it is necessary to ensure the perception of the work, therefore the apparent improvisation of the teacher must be prepared: both by the previous lessons of the analysis of literary works, and by careful preparation of the director's action. The emergence of the integrity of the lesson, first of all, is promoted by an idea, a plan, a super task. The teacher provokes the student's interest, creates a problem situation and finds ways to implement this idea (preliminary planning). Only in this case does the artistic integrity of the school lesson arise.

"Preliminary planning of the direction of the pedagogical process is subject to:

1) the sequence, the general logic of the presentation of the material, the deployment of the key moments of the lesson; a schematic representation of the emotional curve of the lesson and the preparation of artistic details, that is, interesting facts, vivid questions, means of emphasizing the culmination of the lesson, etc.;

2) external attributes: visibility, demeanor, clothing. "

The artistic integrity of the lesson does not arise by itself, in the lesson everything is thought out in advance, but a "gap" is left for inspiration and creativity. The lack of clear guidelines in the director's concept of the lesson has a detrimental effect on its implementation.

Lesson topic: "Internal man" and "external man". "Little Man" in Russian Literature. For the lesson, everyone was given the task to read three works: "The Stationmaster", "The Overcoat", "Poor People". In the lesson, there was an opportunity to choose: the work, the form of presentation of the work, their role in this process of discussion - the reader, the author, the critic, the hero. With a seeming improvisation, the teacher directed the whole process using a given form and conditions (limited time), some statements of “critics” were prepared, questions that were supposed to direct the discussion in the right direction if it got to a dead end.

In the process of such a collective improvisation, where the students are placed in an extreme situation (in this case, to trace the evolution of the development of the theme of the “little man” in Russian literature of the first half of the 19th century), the process of creativity of the student and teacher arises. An event took place in the lesson, three subjects - the author, the performer, the perceiving subject - are triune, this is already an indivisible whole.

Lessons of this type are interesting on generalizing topics that make it possible to express different points of view. For example, "The theme of revolution and civil war in the literature of the XX century.", "The Silver Age of Russian Literature", etc.

A teacher who works in a lesson in accordance with the psychotechnics of the school of experiencing is open to students, ready to co-play, and inspires the confidence of the participants in the event. And all this for the sake of creating a harmonious synthesis not only in art, but also in life.

Without these components, it is difficult to imagine a teacher who, following the covenant, lives according to the principle: "To understand is to feel" and teaches this to his students.

The teacher needs knowledge of theatrical pedagogy.

Theatrical techniques developed by and. These are socio-game, interactive techniques that are easy to interpret, adapt to the needs of studying any subject and open up a wide scope for both children's and teacher's creativity.

The organizational basis of the lessons, as conceived by the authors, is the socio-game style of communication. With the socio-game style of communication, as its authors note, the theatrical activity of schoolchildren is not limited to playing out ordinary scenes. In the classroom, groups of students can "incarnate" anything. Sketches can be played out about a new complex definition, term or personal opinion about the performance in question. Such scenes are prepared and performed by small groups (3–6) of students right there, in a lesson or class, without long rehearsals and special acting training.

In their work "Communication in the Lesson, or Directing Teacher Behavior," the authors write: "... the socio-game style is the style of the entire teaching, the entire lesson, and not one of its elements. These are not separate "plug-in numbers", this is not a warm-up, rest or useful leisure, this is the style of work of a teacher and children, the meaning of which is not so much to make their work easier for children, but to let them, having become interested, voluntarily and deeply get involved in it. "

Social play theatrical techniques form and train in modern children precisely those qualities that distinguish a trained theater audience: the ability for empathy and creative response, audience sensitivity to detail, the ability to read it in a play, connect with the whole, attentive attitude to another person, to creativity, art, etc.

Bakhtin, V. Vsevolodsky-Gengross, L. Rozanov and other figures of the theater of the 1920s advocated that the entire educational process should be permeated with theatrical play. One way or another, the forms of introducing theatrical pedagogy into the practice of modern schools, which we talked about above, are examples of introducing theatrical activities into the educational school process.

Lessons with elements of theatricalization, role-playing games and other methods of theatrical pedagogy are positively perceived by students and their parents. It is impossible not to notice the growth of interest among schoolchildren in world history, culture, and art. It is much more interesting for a child to combine the knowledge gained, translate it into images, combine it with artistic fiction.

This is how a new psychology is formed in a teenager - a creator, a creator. This state appeals to him, because at this age a person seeks to become an adult, independent, self-asserting.

Literature:

1. Anikst dramas in Russia from Pushkin to Chekhov. - M., 1972.

2. Aesthetics of verbal creativity. - M., 1979 .-- S. 51.

3. The relationship of perception and analysis of works of art in the process of studying literature at school / ed. ... - M., 1984.

4. and others. Theatrical and creative methods of work in the lesson of literature // Theater and education. - M., 1992. - S. 37-50.

5., V., A. Theatrical and creative methods of work in the literature class as a means of developing the visual and reading culture of schoolchildren. (Method. Recommendations to help lecturers and methodologists of ISU). - Part 2. - M., 1982 .-- P. 35.

6. Ershova theater in the classroom at school. - M., 1992.

7., Bukatov in the classroom, or Directing the teacher's behavior. - M., 1998.

8. Zepalova literature and theater: A guide for teachers. - M .: Education, 1982 .-- S. 175.

9., The technology of theatrical pedagogy in the formation and implementation of the concept of a school lesson. - M .: JSC "Aspect Press", 1993. - S. 127.

10. Kachurin wing, or literary theater in the classroom // Ways and forms of analysis of a work of art. - Vladimir, 1991. - S. 11-24.

11. On the effective analysis of the play and the role. - M., 1961.

12. Kolokoltsov in literature lessons. - Kiev, 1991.

13. Corst of dramatic works. - On Sat. Teaching literature in high school. - M., 1964.

14. Leonov games in literature class // Theater and education. - M., 1992. - S. 63–71.

15. Lviv teacher's laboratory: From work experience. - M .: Education, 1980 .-- S. 192.

16. Marantzman and school // Literature at school. - 1991. - No. 1. - pp. 131–140.

17. Marantzman of a work of art as a technology of communication with art // Literature at school. - 1998. - No. 8.

18. Marantzman V. G. Chirkovskaya T. V. Problematic study of a literary work at school: a guide for teachers. - M .: Education, 1977.

19. Methods of teaching literature: a textbook for students. Ped. universities /,; ed. ... - 3rd ed., Rev. - M .: Academy, 2005.

20. Fundamentals of the Stanislavsky system: textbook / author-comp. ,. - Rostov n / a .: Phoenix, 2000.

21. Problems of teaching literature in secondary school / ed. ... - M., 1985.

22. Stanislavsky life in art. - M .: Vagrius, 2003.

23. Stanislavsky's works: in 8 volumes - M., 1961. - T. 4.

24. Stanislavsky actor over himself. - M., 1985.

25. Stanislavsky actor over himself // Collected. Op. in 8 volumes - T. 3. - M., 1955.

26. Stanislavsky over the role // Collected. Op. - T. 4. - M., 1957.

27. Stanislavsky. Op. in 8 volumes - M., 1954-1961.

28. Stanislavsky. Op. - M., 1954. - T. 2-3.

29. Yakushin's dramatic works // Problems of analysis of a work of art at school / otv. ed. ... - M., 1996.

Zepalova literature and theater: a guide for teachers. - M .: Education, 1982 .-- 175 p.

Marantzman of a work of art as a technology of communication with art // Literature at school. - 1998. - No. 8.

Stanislavsky's works: in 8 volumes - M., 1961 .-- T. 4.

Ilyev of theatrical pedagogy in the formation and implementation of the concept of a school lesson. - M .: JSC "Aspect Press". - 1993 .-- 127 p.

In the same place.

Ilyev of theatrical pedagogy in the formation and implementation of the concept of a school lesson. - M .: JSC "Aspect Press", 1993. - 127 p.

Ilyev of theatrical pedagogy in the formation and implementation of the concept of a school lesson. - M .: JSC "Aspect Press", 1993. - 127s.

Bukatov in the classroom, or Directing teacher behavior. - M., 1998.

SPECIAL COURSE PROGRAM

Theater and literature.

(From literature lessons to theater history)

Introduction

Any art, including theater, will not reveal to the viewer all its beauty, its depths and fascinating secrets, if a person is not ready to get acquainted with it, is not artistically educated, does not know the simplest laws of art. Such a person, coming to the theater, perceives only the "upper layer" of art - the plot of the work. But the main thing - the thought, the idea of the creators of the play - escapes the attention of such a spectator.

Theater and literature are closely related. When creating a dramatic work, the author addresses it primarily to the theater audience. "The specificity of drama as a kind of literature lies in the fact that, as a rule, it is intended to be staged on stage ..." [Dictionary of literary terms] "A play lives only on stage ..." Gogol said.

The specificity of drama as a kind of literature creates certain difficulties for students to understand. Therefore, dramatic works require a special approach and additional skills in working with the text. After all, the most important features of the drama - the concentration of the action and the significance of the character's speech utterance - are not fully perceived by the students, who remain only superficial readers of the dramatic work. The teacher has to educate not only the reader, but also the viewer. And this cannot be done within the framework of the literature lessons released on these topics. The section "Dramaturgy" in the school curriculum, in terms of the number of hours allotted to it, is the most disadvantaged. And that's why we get just such a superficial reader-viewer. A graduate of a general education school cannot understand and appreciate the fullness and depth of theatrical art in general, dramatic work in particular. But with the introduction of Specialized Education, the teacher had the opportunity to correct this situation. It is the difficulties in studying dramatic works that determine the development of this special course.

The program of the special course allows you to solve many problems (see Explanatory Note), significantly expands the scope of the school curriculum in literature (see table)

School program (on the example of the program of G. S. Merkin, S. A. Zinin, V. A. Chalmaev)	Programspecialistcourse "Theater and Literature"
General issues
Does not give an idea of the history of the development of theatrical art as a whole (fragmentary information is given about the stage history of individual works)	Gives an idea of the stages in the development of theatrical art.
Occasionally demonstrates the interaction and interpenetration of foreign and Russian literature	Demonstrates the interaction and interpenetration of foreign and Russian literature, allows you to see the traditions of the classics of world dramatic art in the works of Russian literature (Shakespeare-Turgenev, Shakespeare-Leskov)
Foreign drama
STUDYING (overview) Shakespeare "Romeo and Juliet" "Hamlet" Moliere "The Imaginary Sick" Goethe's "Faust"	KNOWLEDGE DEEPEN about Shakespeare ("Romeo and Juliet") STUDY Shakespeare "King Lear" (detail) Lady Macbeth (detail) Moliere "Bourgeois in the nobility" (detail) Lope de Vega "Dog in the manger" (overview) F. Schiller "Cunning and Love" (in detail)
Russian drama
STUDY A.S. Griboyedov "Woe from Wit" N.V. Gogol "The Inspector General" A. N. Ostrovsky "Snow Maiden", "Our people - we will be numbered",	KNOWLEDGE DEEPEN about the comedy A.S. Griboyedov "Woe from Wit" about Nikolai Gogol's comedy "The Inspector General" STUDY A.S. Pushkin "Boris Godunov" A. N. Ostrovsky "Mad money"
Contemporary theater Russia
Doesn't give an idea	Gives an idea

Relevancespecialistcourse

In our turbulent times of perestroika, the danger of losing connections between the classical heritage and the stream of modern, often negative, impressions becomes real. But the main criterion for the value of a dramatic work is its stage immortality, the unquenchable interest in it on the part of the viewer (reader), who finds in it the answers to important universal human questions of today. This can play an important role in filling the worldview "vacuum" in the modern teenager, in the formation of his moral attitudes. This determines the choice of works for study in the classroom of the special course.

The novelty of the program: practical focus on the formation of students' aesthetic culture as part of the spiritual culture, on their introduction to the world of art, to universal human values through the development of the artistic experience of the past.

Feature of the program is the reliance on intra-subject and inter-subject connections.

Each topic is studied taking into account the knowledge, skills and abilities acquired earlier, with the aim of expanding them. Intra-subject communication with literature is carried out taking into account the already acquired knowledge of literature. The student needs to see the movement of the writer's thought from the concept of the work to its artistic embodiment, it is necessary to determine his view of the author's work and see the relevance of his reading. Interdisciplinary communication is carried out primarily with the Russian language (since the main attention in the analysis of a literary text is paid to the study of the linguistic means used by the writer). The program also involves the implementation of interdisciplinary connections: literature - history, - MHC, - music, - aesthetics, etc.

Explanatory note

Literature, unlike other educational fields, is an art form. As one of the disciplines of the aesthetic cycle, literature involves the comprehension of students of this art form. Therefore, literature should be studied in a broad cultural aspect and with a focus on the formation of a spiritually rich personality capable of self-determination and creative self-expression. Literature is closely related to another kind of art - theater, and drama, as a section of it, especially. Only with the stage embodiment "dramatic fiction gets a completely finished form", - said A. Ostrovsky. Practice shows that the study of plays for schoolchildren is the most problematic, which is associated with the specifics of drama as a kind of literature. But with the right approach, dramatic works arouse students' interest, make them think. This is how questions arise, the answers to which we are looking for together in the classroom of the special course "Theater and Literature".

The course program is focused on students of the 10th grade of specialized education. Designed for 34 hours.

The following forms of classes are offered:

Lecture - 8 h

Workshop - 7 h

Seminar - 5 h

Research - 2 h

Reading conference - 2 hours

Presentation - 2 h

Performance -2 hours

Extramural excursion - 1 hour

Concert - 1 h

Movie lesson - 1 h

Final (knowledge control) - 2 hours

The course program is based on two principles - historical and thematic.

The historical principle allows:

trace the main stages of the development of classical theatrical art;

to establish its connection with a certain historical era;

identify trends and trends in the performing arts of the past, which have been developed in modern theater.

show the social purpose and educational role of the theater;

The thematic principle makes it possible

focus students' attention on previously studied material;

to facilitate the understanding of the peculiarities of the work of the "new" great playwrights;

to consolidate the idea of the generality of the laws of development of different types of art (literature and theater) in world culture.

Goalsspecial course:

to awaken students' interest in theater as an art form;

update the profession of an actor, screenwriter, director, art critic (theater critic)

to promote spiritual education and personal growth of the younger generation.

To achieve the goals set, the following main ones are being solved tasks:

educate the reader and viewer;

teach to reflect on what you read, drawing moral lessons from it;

to enrich intelligence and speech culture;

to form life ideals, communication skills and the ability to stay in space;

5) develop aesthetic taste, analytical, research skills;

6) create conditions for the formation of an internal need for self-improvement, for the development and implementation of creative possibilities.

Basic skills and abilities

Students shouldknow:

the main stages in the development of theatrical art;

the role and place of the classical stage heritage in the artistic culture of our time;

outstanding world playwrights (whose work was studied in the classroom);

basic terminological concepts associated with the history of dramatic art.

Students shouldbe able to:

reflect on what you read;

analyze a dramatic work;

explain the role and significance of the artistic culture of the past for the spiritual development of a modern person;

correctly formulate your own statement.

Forms of control of students' knowledge

Reading fragments of works by heart.

Detailed answers to questions (oral and written).

Characteristics of the work, character and comparative characteristics of several works and characters.

Drawing up questions to characterize the hero and evaluate the work as a whole.

Drawing up a plan, theses based on the material of the teacher's lecture.

Preparation of oral reports about the read work and its author.

Writing essays, reports, messages.

Control verification work.

The program is variable in nature, assumes a teacher's creative approach to solving theoretical and practical issues, taking into account the characteristics of the class and the teacher's capabilities.

Section 1 On theatrical art (1 hour)

Introduction. Theater as an art form.

Types of theatrical art. Theater and spectator. The synthetic nature of theatrical art. The art of the actor. Public purpose and educational role of the theater. Stage action as the basis of theatrical art.

Section 2. From the history of foreign theater (13 hours)

Theater of Ancient Hellas.

Literature and theatrical art of Ancient Greece. Tetralogy. Satirovskaya comedy. Outstanding Greek playwrights. Features of the composition and pathos of the plays.

The development of theatrical art in the Middle Ages. EpochRenaissance and theater.

Preservation and development of folk traditions in the work of professional entertainers. Antifeudal satirical orientation of their activities. Features of the stage and scenery, genres of medieval square theater.

Italy is the birthplace of the Renaissance theater. Renaissance theater genres.

W. Shakespeare is a playwright for all time. Shakespeare Theater. "King Lear".

The humanistic orientation of Shakespeare's work. Vital truthfulness, depth and versatility of the image of human characters. Features of the embodiment of drama on the stage of the Globus Theater.

The universal significance of Shakespeare's heroes. The problem of the value of the human person. The Tragedy of King Lear. The philosophical depth of the play.

Shakespearean traditions in the works of Russian classics.

The enduring universal significance of the heroes of Shakespeare's plays. Shakespeare and Russian Literature. ("Romeo and Juliet" by Shakespeare - "Asya" by Turgenev; "Macbeth" by Shakespeare - "Lady Macbeth of the Mtsensk district" by Leskov)

Theater of the era of Classicism. Moliere."Bourgeois in the nobility."

The 17th century is the heyday of classicism in French art. The combination of the cheerful art of folk comic theater and the aesthetics of classicism in the work of Moliere. Features of Moliere's theater.

Satire on the nobility and the ignorant bourgeois. Ideological and thematic content of comedy, system of images, mastery of comedy intrigue. Features of classicism in comedy. The general human meaning of the play.

Lope de Vega - genius of Spanish literature... "Dog in the manger".

A word about the playwright. Creator of a new kind of comedy. Creative "fertility". Features of the plot and language of the plays. Comedies by Lope de Vega on the Russian stage.

Theater of the Enlightenment. F. Schiller. "Treachery and Love".

Enlightenment as the ideology of the third estate, rising to fight against feudalism. F. Schiller - the greatest playwright of the Enlightenment. Tyrannical, anti-feudal orientation of the plays.

"Treachery and Love". The cruelty and deceit of representatives of the privileged strata of society, the moral superiority of ordinary people, the clash of concepts of false and true honor, the triumph of true love.

Section 3. From the history of Russian theater (18 hours)

Dramatic folklore.

Folk origins of the theater. Theatrical performance and ancient dramatic forms. Types of Dramatic Folklore.

Puppet show.

The history of origin and development. Nativity scene. Activities of buffoons. Theater of Petrushka. Types of dolls. Puppet theater today. Activity of S.V. Obraztsov. Order of the Smile.

Creation of a national Russian theater.

The origin of the first public theater in Russia. Man-theater: F. Volkov. Serf prima donna and others. Establishment of the "Russian for the presentation of tragedies and comedies in public theater."

School theater.

History of origin, initial functions. Founders. School theater in Russia. The role of Feofan Prokopovich. Genres. A.T.Bolotov's activities.

DI Fonvizin - a satire, a brave ruler. "Minor"(fragments of a comedy).

A bright spokesman for the ideas of enlightenment. Significance of Fonvizin's meeting with M.V. Lomonosov and F.Volkov in the gymnasium years. "The Minor" as a classic of Russian drama. The satirical focus of the play. Social issues in comedy. Screen adaptation of the play.

A.S. Pushkin. "Boris Godunov"

The flourishing of the Russian national theater. Pushkin is a playwright, theater spectator and critic. The relationship of the man of truth in the tragedy "Boris Godunov". Tales of A.S. Pushkin (fragments).

Familiar and unfamiliar Griboyedov. "Woe from Wit."

Stage life of the play. Monologues by Famusov and Chatsky.

Theater is a school of morals. N.V. Gogol. "Inspector".

NV Gogol about the high social and educational purpose of the theater. Development and enrichment of realistic traditions in the playwright's satirical comedy. Laughter as a form of affirming positive social ideals.

M.S.Schepkin, P.S.Mochalov. Great Russian actors.

Establishment of the principles of realism on the Russian stage.

Shchepkin is an outstanding Russian actor, artist, citizen, reformer of the performing arts. Shchepkin and the Russian serf theater. The significance of M. Shchepkin's stage reform. Shchepkin on the role of labor and self-education in the development of an actor's talent.

P.S. Mochalov is the brightest representative of the realistic school of Russian theatrical art. The romantic, tragic nature of the actor's work.

A.N. Ostrovsky - an era in the cultural life of Russia

Ostrovsky's dramaturgy is a whole era in the cultural life of Russia. "Thunderstorm" and Domostroy. Plays of true life. Ostrovsky's "Mad Money" and Topical Issues of Today.

Section 4 Modern Theater Russia (2 hours)

Theaters of Russia *.

History of the Smolensk State Drama Theater. Griboyedov

Preserving the traditions of A.N. Ostrovsky at the Maly Theater.

Classical heritage and its creative development on the stage of the BDT.

The oldest and most famous Theater. Vakhtangov.

Theater of the legendary magician - puppeteer S.V. Obraztsova

Theater and literature are closely related. When creating a dramatic work, the author addresses it primarily to the theatrical audience. "The specificity of drama as a kind of literature lies in the fact that, as a rule, it is intended to be staged on stage ..." [Dictionary of literary terms] "A play lives only on stage ..." Gogol said.

The program of the special course allows you to solve many problems (see Explanatory Note), significantly expands the scope of the school curriculum in literature (see table)

School program (on the example of the program of G. S. Merkin, S. A. Zinin, V. A. Chalmaev)	The program of the special course "Theater and Literature"
General issues
Does not give an idea of the history of the development of theatrical art as a whole (fragmentary information is given about the stage history of individual works)	Gives an idea of the stages in the development of theatrical art.
Occasionally demonstrates the interaction and interpenetration of foreign and Russian literature	Demonstrates the interaction and interpenetration of foreign and Russian literature, allows you to see the traditions of the classics of world dramatic art in the works of Russian literature (Shakespeare-Turgenev, Shakespeare-Leskov)
Foreign drama
STUDYING (overview) Shakespeare "Romeo and Juliet" "Hamlet" Moliere "The Imaginary Sick" Goethe's "Faust"	KNOWLEDGE DEEPEN About Shakespeare (Romeo and Juliet) STUDY Shakespeare "King Lear" (detail) Lady Macbeth (detail) Moliere "Bourgeois in the nobility" (detail) Lope de Vega "Dog in the manger" (overview) F. Schiller "Cunning and Love" (in detail)
Russian drama
STUDY A.S. Griboyedov "Woe from Wit" N.V. Gogol "The Inspector General" A. N. Ostrovsky "Snow Maiden", "Our people - we will be numbered", "Storm"	KNOWLEDGE DEEPEN About the comedy by A.S. Griboyedov "Woe from Wit" About Nikolai Gogol's comedy "The Inspector General" STUDY A.S. Pushkin "Boris Godunov" A. N. Ostrovsky "Mad money"
Contemporary theater Russia
Doesn't give an idea	Gives an idea

The relevance of the special course

The novelty of the program:practical focus on the formation of students' aesthetic culture as part of the spiritual culture, on their introduction to the world of art, to universal human values through the development of the artistic experience of the past.

Feature of the programis the reliance on intra-subject and inter-subject connections.

Explanatory note

Literature, unlike other educational fields, is an art form. As one of the disciplines of the aesthetic cycle, literature involves the comprehension of students of this art form. Therefore, literature should be studied in a broad cultural aspect and with a focus on the formation of a spiritually rich personality capable of self-determination and creative self-expression. Literature is closely related to another kind of art - theater, and drama, as a section of it, especially. Only with the stage embodiment "dramatic fiction gets a completely finished form", - A. Ostrovsky asserted. Practice shows that the study of plays for schoolchildren is the most problematic, which is associated with the specifics of drama as a kind of literature. But with the right approach, dramatic works arouse students' interest, make them think. This is how questions arise, the answers to which we are looking for together in the classroom of the special course "Theater and Literature".

The course program is focused on students of the 10th grade of specialized education. Designed for 34 hours.

The following forms of classes are offered:

Lecture - 8 h
Workshop - 7 h
Seminar - 5 h
Research - 2 h
Reading conference - 2 hours
Presentation - 2 h
Performance -2 hours
Extramural excursion - 1 hour
Concert - 1 h
KVN - 1 h
Movie lesson - 1 h
Final (knowledge control) - 2 hours

The course program is based ontwo principles - historical and thematic.

Historical the principle allows:

trace the main stages of the development of classical theatrical art;
to establish its connection with a certain historical era;
identify trends and trends in the performing arts of the past, which have been developed in modern theater.
show the social purpose and educational role of the theater;

Thematic the principle makes it possible

focus students' attention on previously studied material;
to facilitate the understanding of the peculiarities of the work of the "new" great playwrights;
to consolidate the idea of the generality of the laws of development of different types of art (literature and theater) in world culture.

Objectives of the special course:

to awaken students' interest in theater as an art form;
update the profession of an actor, screenwriter, director, art critic (theater critic)
to promote spiritual education and personal growth of the younger generation.

To achieve the goals set, the following main ones are being solved tasks:

educate the reader and viewer;
teach to reflect on what you read, drawing moral lessons from it;

to enrich intelligence and speech culture;

to form life ideals, communication skills and the ability to stay in space;

5) develop aesthetic taste, analytical, research abilities;

6) create conditions for the formation of an internal need for self-improvement, for the development and implementation of creative possibilities.

Basic skills and abilities

Students should know:

the main stages in the development of theatrical art;

the role and place of the classical stage heritage in the artistic culture of our time;

outstanding world playwrights (whose work was studied in the classroom);

basic terminological concepts associated with the history of dramatic art.

Students should be able to:

reflect on what you read;
analyze a dramatic work;
explain the role and significance of the artistic culture of the past for the spiritual development of a modern person;

correctly form your own statement.

Forms of control of students' knowledge

Reading fragments of works by heart.
Detailed answers to questions (oral and written).
Characteristics of the work, character and comparative characteristics of several works and characters.
Drawing up questions to characterize the hero and evaluate the work as a whole.
Drawing up a plan, theses based on the material of the teacher's lecture.
Preparation of oral reports about the read work and its author.
Writing essays, reports, messages.
Control verification work.

Section 1 On theatrical art (1 hour)

Introduction. Theater as an art form.

Section 2. From the history of foreign theater (13 hours)

Theater of Ancient Hellas.

Literature and theatrical art of Ancient Greece. Tetralogy. Satirovskaya comedy. Outstanding Greek playwrights. Features of the composition and pathos of the plays.

The development of theatrical art in the Middle Ages. Renaissance and theater.

Italy is the birthplace of the Renaissance theater. Renaissance theater genres.

W. Shakespeare is a playwright for all time. Shakespeare Theater. "King Lear".

The humanistic orientation of Shakespeare's work. Vital truthfulness, depth and versatility of the image of human characters. Features of the embodiment of drama on the stage of the Globus Theater.

The universal significance of Shakespeare's heroes. The problem of the value of the human person. The Tragedy of King Lear. The philosophical depth of the play.

Shakespearean traditions in the works of Russian classics.

Theater of the era of Classicism. Moliere. "Bourgeois in the nobility."

Lope de Vega - genius of Spanish literature... "Dog in the manger".

A word about the playwright. Creator of a new kind of comedy. Creative "fertility". Features of the plot and language of the plays. Comedies by Lope de Vega on the Russian stage.

Theater of the Enlightenment. F. Schiller. "Treachery and Love".

Enlightenment as the ideology of the third estate, rising to fight against feudalism. F. Schiller - the greatest playwright of the Enlightenment. Tyrannical, anti-feudal orientation of the plays.

Section 3. From the history of Russian theater (18 hours)

Dramatic folklore.

Folk origins of the theater. Theatrical performance and ancient dramatic forms. Types of Dramatic Folklore.

Puppet show.

The history of origin and development. Nativity scene. Activities of buffoons. Theater of Petrushka. Types of dolls. Puppet theater today. Activity of S.V. Obraztsov. Order of the Smile.

Creation of a national Russian theater.

The origin of the first public theater in Russia. Man-theater: F. Volkov. Serf prima donna and others. Establishment of the "Russian for the presentation of tragedies and comedies in public theater."

School theater.

History of origin, initial functions. Founders. School theater in Russia. The role of Feofan Prokopovich. Genres. A.T.Bolotov's activities.

DI Fonvizin - a satire, a brave ruler. "Minor"(fragments of a comedy).

A.S. Pushkin. "Boris Godunov"

Familiar and unfamiliar Griboyedov. "Woe from Wit."

Stage life of the play. Monologues by Famusov and Chatsky.

Theater is a school of morals. N.V. Gogol. "Inspector".

M.S.Schepkin, P.S.Mochalov. Great Russian actors.

Establishment of the principles of realism on the Russian stage.

P.S. Mochalov is the brightest representative of the realistic school of Russian theatrical art. The romantic, tragic nature of the actor's work.

A.N. Ostrovsky - an era in the cultural life of Russia

Ostrovsky's dramaturgy is a whole era in the cultural life of Russia. "Thunderstorm" and Domostroy. Plays of true life. Ostrovsky's "Mad Money" and Topical Issues of Today.

Section 4 Modern Theater Russia (2 hours)

Theaters of Russia *.

History of the Smolensk State Drama Theater. Griboyedov

Preserving the traditions of A.N. Ostrovsky at the Maly Theater.

Classical heritage and its creative development on the stage of the BDT.

The oldest and most famous Theater. Vakhtangov.

Theater of the legendary magician - puppeteer S.V. Obraztsova

Irina Kulagina
Summary of the lesson "Fundamentals of theatrical art" on the subject "Fundamentals of general and theatrical culture"

1 year of study

Item«»

Lesson number 2

Theme: "Peculiarities theatrical art»

Plan- summary of the lesson

Full name of the teacher - Kulagina Irina Leonidovna

Type of educational activity - theatrical creativity

The name of the educational program - additional general educational program« Theatre»

The focus of the program is artistic

Place of training lessons in the program - Subject« Fundamentals of general and theatrical culture»

Venue - structural unit - children (teenage) club "Constellation"

Time - October

Brief description of the group - the group of the first year of study, students age 7-9 years

Type of classes- explanation of new material

The form lessons - Lesson - conversation

Theme: "Peculiarities theatrical art»

Target classes: Introducing students to the specifics theatrical art

Tasks: 1. Form theatrical performance as a synthesis of different types arts... 2. Develop attention, fantasy and imagination. 3. Remove the psychological clamp. 4. To cultivate the ability to listen. Cultivate interest in theatrical creativity.

Timing classes: 90 minutes

Stage I - organizational Preparing children to work at lesson Organization of the beginning of the lesson, creation of a psychological mood for educational activities and activation of attention.

Educator: Hello guys, come in, have a seat! I am very pleased to see you today at occupations! Today we will greet each other not as ordinary people, but to the music. Think and depict gestures and movements to the beat of the music.

The game "Greetings"

Educator: Wonderful! And now, in order for us to get to know each other even better, let's play a game "My name is ... I"... You say your name, and then say to yourself what or what I am, that is, you give yourself a description, answering this question to the letter of your name. So here we go!

The game "What am I"

Educator: Order everywhere, in everyone, in everything! So, let's all put things in order together, create an atmosphere of comfort, so that you would like to work, invent, create! We will sit with you in a semicircle. And why? Well done! Only we are sitting a little differently. Let's try to sit in height, from lowest to highest. Very good. Join hands, convey your good mood to each other with the help of the sent impulse.

The game "Spark"

Educator: Good! Ready! Next exercise. Slowly: "Inhale - nose, exhale - mouth" like yoga! Calmed down!

The exercise "Yogi" (6 times)

Educator: Let's get ready for the creative process! Let's calm down. We start charging the hearing aid.

Warm up "Silence"

Educator: What associations, thoughts, reflections, analogies evoke the sounds you hear? We got up. Mouth to yawn, hands to the lock - stretched out. We got the ceiling, the floor, grew up ... We shook ourselves!

So let's start class!

Stage II - check Establishing the correctness and awareness of homework, identifying gaps and correcting them Checking homework, checking the assimilation of knowledge previous lesson.

Educator: On the past we learned about the lesson that a country like theater not on the map... But such a country exists, and was born theatrical art for a very long time... How do you understand the word « art» ? Guys, please tell me what you learned in the past occupations? Who can tell us? What theatre? Where can you see the origins theater? Where was it born theatrical art? What was the name of the venue where the actors performed? What kind you still remember theaters? What kinds arts meet in theater? Who draws the scenery and costumes for the performance? That's right, artist. Who composes the music? That's right, composer. Who sews the costumes? That's right, seamstresses. And who gives out costumes to the actors? Dresser. And who prepares dances with the actors? Choreographer. Well done. Who rehearses with the actors, who tells the composer what music should sound, and the artist what the scenery should be, and so on? Of course, this is the director. Who can be called a soul theater? OK!

Stage III - preparatory Providing motivation and acceptance by children of the goal of educational and cognitive activity

Educator: Today, guys, we will continue our journey through an amazing country theater... The theme of our classes: Peculiarities theatrical art... You will find out what theatrical art differs from others. Slide 1. Sit comfortably so that everyone can see the screen.

IV stage - basic Provide perception, comprehension and primary memorization of new knowledge

Educator: Slide 2. What kind of changes did not take place on earth - the era followed the era, one people replaced another. Slide 3. States and countries emerged and disappeared, Atlantis disappeared in the depths of the ocean, angry Vesuvius flooded the unfortunate Pompeia with hot lava, for many centuries the sands brought Troy, sung by Homer, on the Hissarlik hill. Slide 4. But nothing has ever interrupted eternal existence theater... Slide 5. Stage art, born in ancient times, gathered spectators at different times. The performances entertained, educated, taught something. With the advent of television and computers, the theater has not disappeared, did not dissolve (how could he not predicted, because momentary theatrical art is happening in front of the viewer and together with him, which means that it gives pleasure and is always a real holiday. Slide 6. Theatre refers to a playful, spectacular type arts... How do you understand the word "Spectacle"? Like any kind arts(music, painting, literature, theatre has its own characteristics that distinguish it from other types arts... Slide 7. Theater is a synthetic art. Theatrical work(play) consists of the text of the play, the work of a director, actor, artist, composer. In other words, the performance combines different types of arts: music, art, literature and much more. Slide 8. Theater is a collective art... To get the performance the way the viewer sees it, many people need to work hard. The actor is assisted by many creative and technical workers. theater... Thus, the performance is the result of the activities of many people, not only those who appear on the stage, but also those who sew costumes, make props, sets the light, greets the audience. Slide 9. Theatrical a performance is a special action played out in the space of a stage. Theater is that what we actually see and, at the same time, what we can think of. V theater the world remains a world of people and for people. The events unfolding on the stage are not life, but only what we see in life. The stage itself, the playground is made in order to separate the audience from the place where the performance, create a special space in which the action unfolds. Stage and curtain help create the world theatricality... V theatrical the game is played by the actors among themselves, as well as the entire production group with the viewer, who is a full participant theatrical play... Slide 10. Theater is a living art, momentary. It is created before our eyes and with the lively participation of the audience, and “disappears as soon as the actors' voices become silent and the stage curtain falls”; this is "Live action is life in the image" (G. Boyadzhiev)... Unlike all other types art - fine, verbal and even musical, whose works are preserved for a long time as monuments, the work theatrical art- performance - not saved as a monument arts, by which we could judge the historical past of the phenomenon. Life theatrical performance is relatively short-lived. For example, the work of film actors is filmed on film, the viewer can revise the film more than once. And the performance ended, the audience left theater... Slide 11. The basis of the art of theater is action, stage events following one after another, existing in the present, common for an actor, stage location and spectator. A play is an action that unfolds in time and space when an actor (that is "Acting") appears before the viewer acting (alone or in a team) on behalf of the artistic image he created. Action manifests itself as the emergence and resolution of conflict between characters, between characters and a situation. What constitutes an action, we will talk with you at the next occupations... Slide 12. Let's look at the screen and remember with you the distinguishing features theatrical art... Very good.

Educator: Now we will have a little rest and arrange "Literary competition of fairy-tale heroes"... Each one in turn gets up and reads with maximum "Expression", beautifully 4 lines of any poem on behalf of any fairytale hero. There is one condition: Reading a poem start with words "I'm not afraid of anything, because I ... Serpent Gorynych".

Educator: Thanks guys! You were all irresistible! Everyone tried very hard! I would like to hear your opinion about who was more emotional and interesting to you in showing this sketch. Statements of children.

Educator: Good! This means that the most interesting fairytale hero was today…. I want to thank him. Well, from the side of the audience the biggest gratitude: This is an applause!

Educator: Well, now I I propose to play a game already familiar to you "Nose, floor, ceiling".

The game "Nose, floor, ceiling"

Educator: Remember your task: point to what you hear, not what you see. Clear? (A game is being played)... Well done boys. This game is for the development of attention. OK! Now i suggest you stand up freely throughout the free area. You will navigate through it to the music, and I will give you commands for action. Your task: do not hesitate to execute them.

Educator: Fire! Panic! Shipwreck! Storm! Wind! Rain! Hurricane! Darkness! Heat! Argument! Well done! Everyone tried to convey feelings depending on the situation. We can play other games with you on the following occupations.

Educator: And now, I suggest sit on the chairs alphabetically. OK!

Stage V - control Reveal the quality and level of mastery of knowledge, their correction Educator: We did a very nice job today.

Educator: Guys, today we have learned a lot of new things. Who remembers the theme of our classes? And who can say what it was for theater at different times? Now is the age of electronics, cinema, television. Was this era able to destroy theatre? What is for a person theatre? What kind art belongs to theater? How do you understand the word "Spectacle"? What are the features theater you remember? What kinds arts combines theatrical art? What professions can be called the creators of the play? Where does the play take place? Why theater is called living art, momentary?

Stage VI - final Analyze and assess the success of achieving the goal and outline the prospect of further work. Educator: Guys, today you all have successfully worked, learned a lot of new things. Did a good job. You are all great! You have got wonderful images that you created in sketches and exercises. On subsequent occupations we will continue to expand our knowledge about theater and learn a lot about this beautiful country.

VII stage - reflective Motivation of children for self-esteem. Educator: Tell me, please, what do you remember, what did you like today?

What were the tasks? What do you think? What was not clear? Who was good at occupations? Why? Who got creative satisfaction? What did you do today? What did you like about your own work? Who believed in their success?

VIII stage - informational Provide an understanding of the purpose, content and methods of doing homework Educator: Children, today at occupations we worked very hard. If today something did not work out for someone, it will definitely work next time. Wish you luck!

Educator: Thank you for attention! Success always and in everything! I give you a smiley and I want you to ask a question to anyone from our circle and express your opinion about today occupations by answering questions from friends.

The game "Talk to Friends"

Educator: Thanks for your work! I will be very glad to meet with you at the next occupations! Goodbye! Questions.