Methodical recommendations for schools “On the organization of the educational process using the possibilities of theatrical art. How theater pedagogy helps in school “An important component is the development of the child's emotions

O. A. Antonova

PLAYING SPACE OF EDUCATION: SCHOOL THEATER PEDAGOGY

The article proposes a new interdisciplinary direction - school theater pedagogy; the prospects of its development are analyzed; the stages of including theater in the educational space of the school are considered.

School theater pedagogy is an interdisciplinary direction, the emergence of which is due to a number of socio-cultural and educational factors.

The dynamics of socio-economic changes, the development of the processes of democratization of public consciousness and practice give rise to the need for

a personality capable of adequate cultural self-identification, free choice of one's own position, active self-realization and cultural-constructive activity.

It is in the school that personal self-awareness is formed, a culture of feelings, the ability to communicate, mastery of one's own body, voice, plastic expressiveness of movements is formed, a sense of proportion and taste is brought up, which are necessary for a person to succeed in any field of activity. Theatrical and aesthetic activity, organically included in the educational process, is a universal means of developing a person's personal abilities.

The processes of modernization of the domestic education system take into account the relevance of the transition from an extensive method of simply increasing the amount of information included in educational programs to the search for intensive approaches to its organization.

More and more clearly in the philosophical and culturological literature, the need to build a new type of school that meets the needs of society for a cultural personality is recognized, capable of freely and responsibly choosing his place in this contradictory, conflicting, dynamically changing world. Apparently, we are talking about the formation of a new pedagogical paradigm, new thinking and creativity in the educational sphere. A school of the "culture-creative" type is born, building a single and holistic educational process as a child's path to culture1.

The basic principles of culture-creative pedagogy coincide with the principles of theatrical as one of the most creative in nature. After all, the goal of theatrical pedagogy is to liberate the psychophysical apparatus of students.

ka-actor. Theater teachers build a system of relationships in such a way as to organize "the maximum conditions for creating an extremely free emotional contact, relaxedness, mutual trust and a creative atmosphere" 2.

In theatrical pedagogy, there are general laws of the process of teaching a creative personality, which can be purposefully and productively used to educate a creative personality of both students and future school teachers.

What does the term “school theater pedagogy” include? Being a part of theatrical pedagogy and existing according to its laws, it pursues other goals. If the goal of theatrical pedagogy is the professional training of actors and directors, then school theatrical pedagogy is aimed at educating the personality of the pupil and student by means of theatrical art.

We propose to designate the term "school theater pedagogy" those phenomena in the educational process of schools and universities that are somehow connected with theatrical art, are engaged in the development of imagination and figurative thinking, but not in the pre-professional training of actors and directors.

School theatrical pedagogy involves:

Creation of a performance not as a goal, but as a means of education of the emotional-sensual sphere of the pupil and student;

Inclusion of theater lessons in the educational process of the school;

Training of specialists for conducting theater lessons at school;

Teaching students of pedagogical universities the basics of directing skills;

Teaching school teachers the basics of directing skills.

Each of these blocks, in our opinion, represents an extremely fertile ground for researchers, theorists and practitioners: teachers, psychologists, directors, theater experts, etc.

In modern pedagogy, the possibilities of the school theater can hardly be overestimated. This type of educational activity is known as a genre and was widely and fruitfully used in school practice of past eras - from the Middle Ages to the New Age. The school theater contributed to the solution of a number of educational tasks: teaching lively spoken language; the acquisition of a certain freedom of circulation; "Accustoming to appear before society as orators, preachers." The school theater was a theater of use and business, and only along the way - a theater of pleasure and entertainment.

In Russia, the traditions of school theater began to take shape in the first half of the 17th century in schools, which created "brotherhoods" that advocated a national distinctive culture, language, literature and everyday life.

In the 20s of the 18th century, a school theater arose in St. Petersburg, at the school of Feofan Prokopovich, who writes about the importance of theater in a school with its strict rules of conduct and a harsh boarding school regime: “Comedies delight young people with a difficult life and prisoner imprisonment like that” 3.

In the middle of the 18th century (1749), a school theater was organized in the St. Petersburg gentry cadet corps.

The first tragedies and comedies of Sumarokov were performed on the stage of the Noble Corps Theater. At the end of the 40s, performances of tragedies were organized in the corps, in which theater lovers from among the cadets took part. Per-

At the same time, the cadet theater performed French tragedies in French. The performances were staged not only within the walls of the building. The cadets also played at the Opera House for the Courtyard. In 1749 the tragedy "Khorev" was played by the cadets. From the beginning of 1750, by order of Empress Elizabeth, the cadets began to perform Sumarokov's plays at court.

The repertoire of the cadet theater expanded. At the end of 1750 and at the beginning of 1751, performances of Lomonosov's tragedy "Tamira and Selim" took place. Elizabeth was fascinated by the performances of the cadet theater. “The Empress herself, apparently, took up this troupe ..., - writes Catherine II in her“ Notes ”. “She was not at all tired of watching the performance of these tragedies, she herself took care of the costumes of the actors.”

In 1783, schoolchildren of the Cadet Gentry Corps organized a festival, which included the erection of a triumphal column, and allegorical figures, and living paintings.

Catherine II dreamed of raising “a new breed of people free from the cruel morals of society” 4, and the theater played a huge role in the education of Smolny women and future artists at the Academy of the three most notable arts. The teaching of theatrical arts continued to be included in the curriculum.

The performing arts were taught not only in the Gentry Corps, theological colleges and seminaries, but also to students of the Imperial Academy of Arts. The initiative in this case belongs to the students themselves: in 1764, they turned to their superiors with a request to allow them to play comedies and tragedies. In response to this, I. I. Betskoy wrote in the warrant:

preventing them from the most unacceptable pranks: at will, they can be allowed to play comedies and tragedies at the Academy of Arts, which for the sake of ordering a small theater to be made in a convenient place. "

No less zealously promoted the theater by the Society of Noble and Bourgeois Maidens at the Novodevichy Smolny Monastery (later - the Smolny Institute).

The performances in Smolny began with the fact that on November 28, 1770, on the occasion of the arrival of the King of Prussia, Prince Henry, a masquerade was given at the court, in which up to 3,600 people took part. Following the first performance at the end of 1771, the women from Smolnyanka played the tragedy of Voltaire "Zaire" at their monastery.

The delight of the performance of the Smolnyanka was caused by a whole series of circumstances. First, the enthusiastic and sentimental direction of minds that characterizes the 18th century played a role; then, of course, interest in the fate of the Smolny Theater was fueled by the empress's affection for it. Further, the modern love of the theater played an enormous role; and, finally, the "flower garden" of young girls, who, moreover, still trained in various sciences, was a novelty and, of course, amazed the imagination.

“In all fairness, one should be surprised,” says an eyewitness, “at the naturalness of any representation and of such different characters of expression both in the pronunciation of speeches and in the body movements of the actors, which for them satisfied this foreign matter so completely, as if it had been their main thing for several years. exercise "(St. Petersburg Vedomosti, 1775, November 30).

A similar opinion is given by another eyewitness: “They played, sang and danced,

He writes - with such art, which can only be seen in the glorious actresses, singers and dancers ”(Spectator of Light, 1775, December, p. 74).

In the 60s of the XIX century, when the wave of reforms swept all spheres of Russian life, not excluding pedagogy, the question of the school theater again became topical. The problem of the school play worried pedagogical thought; various approaches to its repertoire were proposed, its functions were discussed, doubts were expressed about the usefulness of the theater, up to its complete denial.

The overwhelming majority of teachers and theater workers were unanimous in their opinion about the importance of theater in the education and upbringing of young people, both within the walls of educational institutions and beyond. Their activities convincingly testified to the possibility of combining pedagogical requirements and aesthetic tasks.

Pedagogical practice, ahead of theoretical thought, showed that it is not only possible, but also useful to allow children and young men to play on the public stage. Only the stage play should remain truthful, sincere, helping the young person to “be” and not “seem”.

Much attention was paid to the problems of school theaters at the first All-Russian Congress of Stage Figures, which took place in Moscow in 1897. NI Timkovsky's report says that upbringing does little to prepare a person for the perception of genuine artistic values, because “art slips into school with smuggling, fearfully looking around and even ashamed of itself ... What is so tricky if people brought up in this way. .. having come out into life, they pounce on a card game, gossip, drunkenness or eat vulgar fakes under use.

art, dismissing serious theater? ”5.

At the Second Congress of Stage Figures (March 1901), not a word was said about the school theater.

For the development of theater in educational institutions of Russia in the second half of the 19th century, it is characteristic, firstly, that performances were not an end in itself, but a means of educating students, and, secondly, on a small stage without any luxury and tinsel brilliance, without imitation of a professional theater sincere and serious educational actions were created.

The importance of the school theater, along with the teachers, was also discussed by the workers of the professional theater. For example, A. N. Ostrovsky, in his note on amateur performances, noted the great benefit of performances of the classical repertoire in educational institutions. They are given “not for the development of acting skills in young artists ... in such performances, stage art is not a goal, but a pedagogical means:

classical languages, classical literature

ratura ".

A special place in the history of theatrical pedagogy is occupied by the works of Nikolai Nikolaevich Bakhtin, whom his contemporaries called an encyclopedist in matters of school theater. Here are just some of the problems that worried him:

The role of children's theater in the educational process;

Educational value of school theater;

Specificity of school performances;

School theater repertoire;

The need to “build schools is not

otherwise, as with the audience. "

An artistic and pedagogical journal in ten issues for 1910 publishes articles by N.N.Bakhtin dedicated to

the repertoire of children's performances. In 1912, a Review of Plays for Children's and School Theaters appeared in the Russian School 9, and in 1914 in an art-pedagogical magazine - Review of Children's Operas 10.

All the fruitful activity of NN Bakhtin in the field of the aesthetic and moral education of children by means of the theater still awaits deep study.

Workers of Russian theater and pedagogy came to the conclusion that it is necessary to introduce art into the educational process of the school and to train teachers in pedagogical educational institutions who could accomplish this task. The first All-Russian Congress of People's Theater Workers, which took place in Moscow from December 27, 1915 to January 5, 1916, paid much attention to solving these problems. In the section of the school theater specially created by the congress, three reports and seven messages from the field were heard and discussed, decisions were made on many creative and organizational issues.

In the first years of Soviet power, interest in the school theater did not fade away. In the spring of 1918, the Theater Department of the People's Commissariat for Education in Petrograd organized a permanent Bureau, and then a periodically convened Council of Children's Theater and Children's Celebrations, which included both theater workers and out-of-school teachers. It was the first state body to deal with the issues of children's theater.

Thus, school theater, as a special problem, has its own history in domestic and foreign pedagogical thought and practice.

Theater can be both a lesson and an exciting game, a means of immersion in another era and a discovery of the unknown.

facets of modernity. It helps to assimilate moral and scientific truths in the practice of dialogue, teaches you to be yourself and "different", to transform into a hero and live many lives, spiritual collisions, dramatic tests of character.

A creative group that includes university professors (Herzen State Pedagogical University, Faculty of Human Philosophy; St. Petersburg State Academy of Theater Arts; Russian Institute of Art History), heads of school theaters, professional actors and directors developed the project of the St. Petersburg Center "Theater and School ", The purpose of which is:

Interaction between theater and school, realized through the organic inclusion of theatrical activities in the educational process of the city's schools;

The inclusion of children and teachers in the creative process, the formation of school theater groups and their repertoire, taking into account the age characteristics of the participants, as well as the content of the educational process;

Interaction of professional theaters with schools, development of theater tickets, oriented to the educational process.

The uniqueness of the project lies in the fact that for the first time an attempt is made to unite the efforts of all creative organizations and individuals involved in school theatrical creativity.

School theatrical pedagogy today turns out to be the subject of keen interest, while the pedagogical search is carried out in various directions and with varying degrees of success.

In modern processes associated with the formation of school theater pedagogy, several

independent directions that are presented in schools in Russia:

1. Schools with theater classes.

Theatrical lessons are included in the schedule of individual classes, because in each school there is always a class that is, as it were, predisposed to theatrical activity. It is these classes that often form the basis of the school theater group. Usually this work is carried out by teachers in the humanities.

2. Schools with a theatrical atmosphere where theater is the subject of general interest. This is an interest in the history and modernity of the theater, and a passion for amateur amateur theater, where many schoolchildren take part.

3. The most widespread form of theater existence in modern schools is a drama club, which models the theater as an independent artistic organism: selected, talented children who are interested in theater participate in it. His repertoire is arbitrary and dictated by the leader's taste. Being an interesting and useful form of extracurricular work, the drama circle is limited in its capabilities and does not have a significant impact on the organization of educational work in general.

4. Children's theaters outside the school are an independent problem, but their methodological findings can be successfully used in the school process.

5. Particularly noteworthy are schools where theater is included in the number of major art disciplines.

Some schools managed to attract a large group of professionals, and the lesson of "Theater" is included in the curriculum of all classes. Indicative in this respect is the experience of secondary school No. 174 of the Central District of St.

Terburg, on the basis of which the experimental program "Theatrical pedagogy at school" 11 was developed.

In other schools, theater lessons are introduced either in primary grades or from grades 1 to 7.

Childhood and adolescence need not only and not so much a theater model as a model of the world and life. It is in the “parameters” of such a model that a young person is able to fully realize and test himself as a person.

“Combining such subtle and complex phenomena as theater and childhood, it is necessary to strive for their harmony” 12. This can be done by building with children not a “theater” or a “collective”, but a way of life, a model of the world. In this sense, the task of the school theater coincides with the idea of ​​organizing the integral educational space of the school as a cultural world, where it, the school theater, turns out to be a universal pedagogical tool. In this world, the theater realizes its educational functions with renewed vigor, fully influencing the personality, becoming an artistic and aesthetic educational action, showing its originality and depth, beauty and paradox.

Pedagogy also becomes "theatrical": its techniques tend to play, fantasy, romanticization and poetry - to everything that is characteristic of the theater, on the one hand, and childhood, on the other. In this context, theatrical work with children solves the actual pedagogical problems, including both the student and the teacher in the process of mastering the model of the world that the school is building.

In this sense, the model of the cultural-creative school developed at the Department of Aesthetics and Ethics of the Russian State Pedagogical University named after V.I. A. I. Herzen. Here we propose a concept focused on the formation of personality re-

Benka according to the idea of ​​correlation between ontogeny and phylogeny13. And then the school theater develops as a method of introducing a child into world culture, which is performed according to age stages and involves the problem-thematic and targeted integration of the disciplines of the natural science, socio-humanitarian and artistic and aesthetic cycles. The work of the school theater can be seen here as a universal way of integration.

School theater appears as a form of educational artistic and aesthetic activity that recreates the world of life that a child is living in. And if in the role-playing game, whose name is theater, the goal and result is an artistic image, then the goal of the school theater is significantly different. It consists in modeling the educational space to be developed. Based on the idea of ​​differences in the educational world at the age stages of personality formation, it is important to determine the specifics of the school theater at these levels, accordingly building the methodology of theatrical and pedagogical work.

Starting this work, the school staff should clearly understand the possibilities and place of the school theater in this particular school, with its own traditions and methods of organizing the educational process. Then you have to choose and build the available and possible forms: a lesson, a studio, an elective. It seems to us that a combination of these three forms is necessary.

The developmental function of the theater has specific features of manifestation, depending on the age of the child and the nature of his theatrical and creative enthusiasm.

The first stage of teaching theater (junior grades) is associated with theatrical activities of children in the classroom and outside.

great work. The introduction of the integral lesson “Theater” into the curriculum of elementary school seems to be especially promising. It can be called in different ways: "The beginning of the theater", "Theatrical games" (more modest than "Acting" or "Stage movement").

At the first stage, the theater serves to master the syncretic world of a fairy tale, is focused on understanding the language of culture and nature. At primary school age, when we are dealing with the relevance of kinetic forms of perception and mastering of the world, syncretic understanding of the world, when the child does not yet separate the living and the inanimate, animating, “humanizing” things and phenomena of reality, play is the most important (if not the only!) Way understanding the world. The child perceives the world with the whole range of his abilities: sensual, rational, emotional, associative. All receptors are active. This period is characterized by a linguistic dominant, teaching the languages ​​of culture: speech, gesture, facial expressions, plastic, the language of fine arts and music. "The syncretism of the world perception is related to the play theatrical activity" 14. Here you can play everything: animate the elements (fire, water, earth); to imagine the world of animals and plants; play the alphabet and even the multiplication table; become the hero of a fairy tale or myth.

Middle age is characterized by an experimental impulse, the development of speech and analytical thinking, an interest in "we" more than in "I". Without repeating or duplicating, but updating and correcting, clarifying and animating the educational material, the theater accentuates the imagination, analytical abilities, verbal and plastic capabilities of children. At this age, when the syncretic nature of the world perception is violated in favor of the active formation of conceptual

thinking, the school theater works in the creation of images of culture, historically replacing each other pictures of the world.

In older (adolescent) age, the problems of self-awareness, questions of the relationship in the system "I and the world" are relevant. There is a need to obtain a holistic view of the world and a sense of oneself in it. The task of theatrical creativity coincides with the youthful search for oneself, providing a developing personality with a full and adequate connection with the world and with oneself in this world. Compositions on moral themes (Good and Evil, Love, Memory, Poetry, etc.) are relevant here; themes of citizenship and legal culture. And, of course, an appeal to classical and contemporary dramatic material. In the senior grades, theatrical education is based on the interaction of all components of the system: in-depth work in literature lessons, the elective "Foundations of theatrical culture", and finally, the school theater studio.

So, the inclusion of the art of theater in the educational process of the school is not only a good desire of enthusiasts, but a real need for the development of a modern education system, which is moving from the episodic presence of theater at school to the systemic modeling of its educational function. There is no doubt that at the first steps of the school in this direction, the theater can become a means of increasing the effectiveness of pedagogical efforts and results.

However, it should be borne in mind that we do not propose to “saturate” the system of theatrical education in the school with all possible forms and methods, but to provide the school with a choice depending on the experience and enthusiasm of the teacher and students.

Problems of professional and methodological training of school theater directors. Modern reformation processes in education, a clear tendency of Russian schools to independent pedagogical creativity and, in this regard, the actualization of the problems of school theater give rise to the need for professional training of a teacher-director. Such personnel, however, have not been trained anywhere until recently.

Note that “in the pre-revolutionary years in Russia, teaching in real schools and gymnasiums was allowed for specialists of any profession who had completed pedagogical courses” 15.

There is an interesting foreign experience in this area. For example, in Hungary, children's theater groups are usually organized on the basis of a school and have a professional leader (every third collective) or a teacher trained in special theater courses.

Theatrical specialization of persons from 17 to 68 years old who wish to work with children is carried out in a number of community colleges in the United States. Similar initiatives are taking place in Lithuania and Estonia.

The overdue necessity of staging theatrical work with children on a serious professional basis does not call into question the priority of pedagogical goals. And it is all the more important to preserve what is valuable that noble enthusiasts-amateurs, subject teachers are looking for and find in children's theatrical creativity.

The teacher-director is a special problem of the modern school. Theater turned out to be the only art form in the school without professional guidance. With the advent of theatrical

classes, electives, with the introduction of theatrical pedagogy into general educational processes, it became obvious that the school cannot do without a professional who knows how to work with children, as it has long been realized in relation to other types of art.

The activity of a teacher-director is determined by his position, which develops from the position of a teacher-organizer to a fellow-consultant at a high level of team development, presenting at each moment a certain synthesis of different positions. In the ongoing debate about who he should be, a teacher or a director, in our opinion, there is no antithesis. Any one-sidedness, be it an exorbitant enthusiasm for staged finds to the detriment of normal teaching and educational work, or, conversely, ignoring the creative tasks of the collective, when the spark of creativity is extinguished in general conversations and similar rehearsals, will inevitably lead to aesthetic and moral contradictions.

A teacher-director is a person capable of active self-correction: in the process of co-creation with children, he not only hears, understands, accepts the child's ideas, but really changes, grows morally, intellectually, creatively together with the team.

On the basis of the Department of Aesthetics and Ethics of the Russian State Pedagogical University named after AI Herzen developed a new professional and educational profile "School Theater Pedagogy", which will train a teacher who can organize educational theatrical and play activities at school and optimize the development of the values ​​of national and world culture.

NOTES

1 Valitskaya A.P. Education in Russia: a strategy of choice. SPb., 1998.

Stanislavsky KS About the art of theater. M., 1982.

Vsevolodsky-Gerngross V. N. History of the Russian theater. L .; M., 1977.S. 299.

4 Ibid. P. 27.

5 Proceedings of the First All-Russian Congress of Stage Figures. Petersburg, 1898. Part 2.S. 2279-282.

6 Ostrovsky A.N. collection Op. T. 16.M., 1953.S. 108.

7 Bakhtin N. N. About children's theater // Russian school. 1913. No. 9. S. 51-63.

8 Bakhtin N. N. Repertoire of children's performances // Art and pedagogical journal. 1910. No. 5, 8, 12, 14-17.

9 Bakhtin N.N. Review of plays for children's and school theater // Russian school. SPb., 1912. No. 3. S. 36-38.

10 Bakhtin N.N. Review of children's operas // Artistic and pedagogical journal. 1914. No. 22. S. 3309-313.

11 Serdakov Ye. G. The next lesson is theater! // Children's theater is serious! SPb., 2002.S. 84-86.

12 Sazonov E. Yu. Theater of our children. M., 1988.

13 Valitskaya A.P. Education in Russia: a strategy of choice. SPb., 1998.

14 Vygotsky L. S. Imagination and creativity in childhood. SPb., 1997.

15 Vsevolodsky-Gerngross V. N. History of theater education in Russia. SPb., 1913.

SCHOOL THEATER PEDAGOGY

A new interdisciplinary trend is proposed: school theater pedagogy, its development and stages of introducing theater in the educational space of the school are analyzed.

The audience I am addressing is the teachers of music, the visual arts and the MHC, and by no means the directors of school theaters. Nevertheless, we will talk about theatrical pedagogy, and it seems to me that this is equally interesting and relevant for all teachers of the educational field "Art". Because theatrical pedagogy is, first of all, “how”, not “what”.

But first, a small digression.

In pitch darkness

Imagine that you woke up after a nightmare in complete darkness and do not understand at all where you are. And as soon as you begin to move your hand to touch what is there, next to you, a stern, dry voice commands: “Don't move! Lie still and listen. I will tell you where you are and what surrounds you. " And they really do. But any movement of yours is strictly suppressed. And all around - impenetrable darkness. What picture of the world appears in your imagination? Agree that it is creepy.

Distorted and blurring outlines of incorporeal objects float at you from the pitch darkness. They arise in a chaotic manner, intangible, weightless, tasteless and odorless. They do not fill the space with themselves, and at the same time, they can appear unexpectedly at any point in it. Fantastic, unreal and fragmented world.

As you might guess, this is exactly the world that should appear in the imagination of a student with a traditional teaching system.

The person sits motionless at the desk and listens. He must sit still and believe that the world is exactly as he is told about it. He cannot touch and smell a flower or taste a fruit that is taught to him in biology class. He himself cannot experience the sensation of speed or the force of friction, which are discussed in a physics lesson. And at each lesson he hears about some new phenomena that are completely divorced from each other, intangible, and therefore unrealistic. Scary, alien, fragmented world.

The lessons of the educational area "Art" seem to be conceived in such a way as to bring together a torn picture of the world, to help the young man to feel the warmth of this world, to help him find his own place in this whole, multicolored and harmonious world. However, a serious contradiction arises between tasks and means of execution. It would seem that it goes without saying: in order to help a person to cognize the whole picture of the world, it is necessary to allow him to be integrally involved in the process of cognition. His body, soul and intellect must participate in this process on equal terms. All six senses must be connected to this process. The cognized must be imprinted in muscle memory, in the sensations of taste, smell and touch as actively as in abstract concepts. Only then will a vivid and holistic image emerge.

But in fact, in art lessons, as in all other school lessons, most often we invite children to assimilate information, and not perceive holistic images. And we propose to assimilate this information, first of all, by ear. It is possible, of course, to argue that in the art lesson the child not only listens, but also creates himself, that he sings in the music lesson, that he looks at pictures and listens to music at the Moscow Art Theater. However, let's be honest: 90% of the time the child still sits or stands still, even if he sings and draws. His body is limited in its cognitive capabilities, and mechanical memory and intellect are endlessly overwhelmed.

The path of knowledge

Let's ponder the simple facts. What kind of education did the flower of the Russian nobility receive in the best Russian educational institution - the Lyceum? Agree that Pushkin did not teach the biography of Pushkin, Lermontov, Gogol and all those who followed them until the end of the 20th century. Lyceum students also did not study the periodic table, organic chemistry, electromagnetic induction, they had no idea about the study of functions and other similar wisdom. They, of course, more than the average modern schoolchildren, were engaged in languages ​​and ancient cultures. But the lyceum students were not average schoolchildren.

Today, the program of humanitarian lyceums also includes languages ​​and ancient cultures to a significant extent. And if we talk about the program of the Tsarkoselsky Lyceum as a whole, then in terms of the amount of information it was approximately equal to the program of our 5-8th grades. And moreover, in addition to studying at a desk, there are walks, dancing, fencing and other various physical exercises far more than once a week for one hour. And also collective games and creative activities: the publication of magazines, the days of the French language, etc. And what then? Did all the lyceum students manage to assimilate the entire volume of the offered information? We know perfectly well that nothing like this happened. Pushkin, for example, had a "zero" in mathematics. And this, by the way, did not particularly bother anyone.

And today's average student is required to master much larger amounts of information, while limiting him in movement, play and opportunities for individual choice. Isn't it funny to demand from a certain Sasha Ivanov something that Sasha Pushkin could not cope with and with which his brilliant classmate Sasha Gorchakov could hardly cope with it?

Meanwhile, psychologists, anthropologists and historians explain that our brain is no different from the brain of our ancestors, those Homo sapiens who began to explore this world about 40 thousand years ago. The capabilities of intelligence and memory have not changed at all, but the load on them has increased unreasonably.

And here another paradox arises. Our distant ancestors, who did not possess even a hundredth part of the information that we have today, discovered almost all the fundamental laws of the universe. Even today we rely on the knowledge that the sages of the first civilizations possessed. The life of an individual person is similar in this respect to the life of all mankind. We learn the fundamental laws in the first years of our life, when significant amounts of information are completely inaccessible to us. Neither an archaic person, nor a baby has an informational and intellectual overload, and at the same time they manage to master the most complex laws of being and to recreate in their minds an integral and harmonious picture of the world. Why? How?

The answer is obvious. The kid and our distant ancestor comprehend the world integrally: they recognize it by touch, inhale and taste it on the tongue. The body and soul collect and imprint information, this information is cast into a holistic image, and only then the mind, the intellect, realize, analyze this image, this holistic reality. Cognitive loads are evenly distributed among all the mechanisms of cognition inherent in a person. Cognition proceeds in the natural way, which was determined to man by nature or God. This is a holistic figurative cognition.

This is the path of cognition that theater pedagogy offers.

Based on game action

Actually, the very concept of "theatrical pedagogy" is very conditional. Teachers of theatrical universities mean by these words the system of education of the actor. Heads of theatrical studios - raising a child by means of theatrical art. We mean something different, we interpret the term broadly.

Theatrical pedagogy in general education schools, of course, is based on play. However, play here is a necessary but not sufficient condition. When we talk about theatrical pedagogy, then, firstly, we mean playing with images.

Let us explain with an elementary example. There is a game of "tagging" - in itself it has nothing to do with theatrical pedagogy, but we can turn it into a theatrical game, for example, into a game of "magic wands". How? Very simple. In the hands of each salting man is an imaginary magic wand. Touching her to the salted, he is free to turn him into someone. For example, into an acute angle, if we play in a math lesson, or as a punctuation mark, which should find its place in a sentence consisting of "salted words" if we play in a Russian lesson. If I am offended, I will move, live and act like what I was turned into, I will take his form, his character, his logic of actions. I will try to imagine and embody a holistic image of my character.

However, playing with an image is not necessarily a role. You can listen to music and translate the musical image into a pictorial one, or express it in a dance. And this will also be a game with the image.

The presence of a role-based attitude is the second condition for the existence of theatrical play and theatrical pedagogy. Of course, you can turn into an infusorian shoe, into an electron or a Greek slave and realize a role-playing setting through the actor's creation of an image. But you can implement the role-playing setting in the lesson in a different way, for example, through the motivation of the activity.

Let's take, for example, a situation from the feature film "Pharaoh" and put before each student the task that the protagonist of the film faces. Each student is an ancient Egyptian architect. He knows the protection system of the tombs, which was used before the construction of the Cheops pyramid (the child is given a reference text with pictures). He (a child - an ancient Egyptian architect) must identify the weaknesses of this protection and come up with a more reliable design. If he can complete the task, he will receive a reward (in the form of an assessment or otherwise - as the teacher thinks up), and if he does not complete the task, he will fall into long-term slavery (for example, he will have to complete some additional task at home). In this case, the child does not need to put on a tunic and chains, do not use sticks and papyrus for drawing. His role-playing attitude will not be deployed by acting means, but will become the main motivation for his creative activity.

And one more condition: theatrical pedagogy organizes the lesson according to the laws of art, and not according to the laws of free children's play. After all, play, by definition of psychologists, is an unproductive and undirected activity that does not have spatio-temporal boundaries. Theatrical play is a different matter. This is a deliberate creative process aimed at creating a final creative product that has clear space-time boundaries. As a result of each lesson, the class - the creative team - achieves a completely definite result, enshrined in the artistic image.

In our example above, an exhibition of projects of "ancient Egyptian pyramids" is being created. With equal success, a lesson can end with a dance of transforming galaxies, a collection of autobiographical stories "from the life of insects," a performance by a steel workshop noise orchestra, and so on and so forth.

The above principles make it possible to call this technique "theatrical pedagogy": it is the creation of a holistic image based on a game action, a role-playing attitude, in the process of collective creativity, organized according to the laws of art, involving the possibilities of all types of art.

Nine principles

Naturally, the main methods of "theatrical pedagogy" were discovered in the depths of primitive culture. After all, the ancients, as we have already said, did not know any other way of knowing the world, except for the holistic and figurative. What are these techniques?

First. Active effective forms of presentation and assimilation of material (the same game), and among the ancients - a rite. Like this? Very simple. The simplest and most famous example is the successful hunting spell. The youth is divided in the rite into game and hunters. In addition to its sacred meaning, ritual play has a completely practical one. The habits and psychology of the animal are studied and hunting skills are trained.

Second. Surprise in the presentation of the material. Surprise contributes to the formation of a positive attitude towards the perception of the material and activates the possibilities of perception. The ancients' surprise consisted primarily in the fact that the situation of acquiring knowledge was surrounded by deep mystery. And this situation has never been repeated. We are talking, for example, about the initiation rite, when young men find themselves in a secret cave or some other "ancestral house". They go there blindfolded. In the wavering light of torches, they look at secret signs that they will never see again, hear unusual "voices of ancestors" giving them secret information that they will never hear again. And they leave the "ancestral house" again blindfolded.

The modern teacher cannot develop such a game in full every day. Although sometimes you can play like that. But a certain surprise in the presentation of the material, at least at the level of intriguing intonation, may well be realized by the teacher.

Third. The emotional significance of the material for the student and teacher. An example from the archaic - again a rite. If the entire tribe, starting from the leader and shaman and ending with children who are not yet full members of the community, do not fulfill their exact role in the ceremony, the gods will not send the tribe what it needs for life. The emotional significance of what is happening for the teacher (shaman) and the student (youth) is the same. In a modern school, the emotional significance of the material for the student and the teacher depends on the teacher's ability to turn the teaching material to real life - his own and the child's. It would be too cumbersome to give examples here. But it is in this case that most teachers know many ways to solve the problem.

Fourth. Plot construction of the lesson. The plot of most archaic rituals is the same, but fundamental: birth, death and rebirth for a new life. The plots of our lessons can be infinitely varied, but it is desirable that they be just as strong, have a pronounced plot, culmination and denouement. The plot of the lesson is well organized by the search activity: movement from the unknown through the crisis of the search path to the acquisition of knowledge.

Fifth. Role-playing game. This point is seemingly self-explanatory. In the rite, each participant plays his role: an animal, a plant, a natural spirit, a generic deity or another person - everyone understands this. We have already talked about role-playing at school. However, there are some essential subtleties here. The performer of the role in the ritual protects himself from his character with a mask, make-up and costume. It is precisely defended, because the depicted spirit for the time of the ceremony is infused into a mask, if you will, into an artistic image, and not into the body of a playing person. And this is the principle that is essential for the school: do not mix image and personality. This principle has long been successfully used by correctional pedagogy. It is not Vasya who cannot solve problems, but Buratino, played by Vasya. And it is not Masha who teaches him wisdom, but Malvina. This removes the fear of failure, the intellectual clamp. But is this a principle that is interesting only in correctional pedagogy? This is only the tip of the problem of the relationship between the child and the role, but it is not possible to speak deeply and seriously about it here.

Sixth. Integral inclusion of the personality. The principle is also well understood. A primitive student, studying, say, the habits of an animal, watches it for hours from hiding, feels it, sniffs its tracks, learns to imitate its voice and habits. Each task of a teacher in a modern school can be formulated in different ways, so that the individual is included in the learning process in a holistic manner. They work very well for the implementation of these tasks, in particular, the methods of socio-game and interactive pedagogy, to which a fairly large amount of pedagogical literature is devoted.

Seventh. Disclosure of the topic through a holistic image. This is essential for archaic pedagogy. Every action carried out by a person in life is an episode of a single chain, which connects gods, spirits and living beings. Each ritual action implies the establishment of this holistic dialogue, assistance to the entire system of the universe in the harmonization of its relations. Here it is appropriate to recall the plot again: birth, death, rebirth. Whether the ritual is about the reproduction of ostriches, about the human path or about the annual solar cycle, the basis is always the image of the birth, destruction and rebirth of the world. This is exactly what the modern lesson is sorely lacking. Problems of the world through the prism of today's topic, a separate fact or phenomenon - this is what we must strive for.

Eighth. A focus on collective creativity. It is not an individual child that grows up in a tribe, but a cohort, a brotherhood, a whole age group. This group is linked by sacred, family and partnership relations. They are collectively responsible for the vitality of the tribe tomorrow. And at the same time they are not leveled. Roles and responsibilities are assigned between them, depending on their individual capabilities. For children in today's class, it is paramount - to feel like they belong to a group, to feel like individuals at the same time, and individuals now participating in the process of creating social values.

Ninth. Focus on achieving the final creative result. As a result of any rite, the gods and people reach an agreement on some events. Each age group makes its own discoveries and leaves behind new cultural signs, which later become part of the cultural baggage of the community. Nothing is done just like that. Everything is aimed at achieving a specific and necessary result. In our modern lesson, knowledge is very often given for future use and is not implemented in a specific activity. This naturally lowers motivation and efficiency. We have already said above how to organize an activity so that it gives a specific final creative product.

The mystery of the artistic image

Each era has contributed to theatrical pedagogy. Here, alas, there is no way to talk about it. But the foundations, of course, are laid in the archaic.

In our view, the archaic world, archaic culture and archaic knowledge are associated with shamanism. And on the basis of this it is easy and logical to accuse theatrical pedagogy of shamanism. It should not be denied - it cannot do without shamanism. However, what is shamanism?

The heroine of the modern fairy tale by Terry Pracchet "The Makers of Spells" - a village witch, Mother Windwax, starting to teach the secrets of witchcraft to a young student, invites the girl to explain what is magic in her witch's hat. The girl looks at a strange construction made of wire and old rags and comes to the following conclusion: “You wear this hat because you are a sorceress. But on the other hand, this hat is magical because you wear it. " The witch recognizes the girl as very capable.

Why? And actually because the girl was able to understand the secret of a holistic artistic image. This is the foundation of shamanism and the foundation of art pedagogy.

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Posted on http://www.allbest.ru/

THEATER PEDAGOGY AS AN INNOVATIVE MODEL OF EDUCATION OF A CHILD'S PERSONALITY

Second year graduate student

faculty "Theatrical art"

HBO UVO RK KUKIIT

Polyakova Elena

Academic Supervisor: Associate Professor of the Department

theatrical art,

L.V. Uzunova, candidate of art history

Theater is a stage action that arises in the process of an actor playing in front of an audience. Since its inception, the theater has played a pedagogical function. It has its origins in Ancient Greece, where all free citizens were allowed to perform for that. So that they can develop. The theater taught to find a way out of the prevailing life situations. For example, the tragedies of Aeschylus, Euripides mobilized the best spiritual qualities and moral strengths in a person: courage, stamina, personal dignity, height of spirit, readiness for self-sacrifice for a lofty goal, opened up unique and limitless moral and aesthetic possibilities for art, and above all, formed in the person of the person. The comedies of Aristophanes ridiculed behavior unworthy of a Hellenic. While watching comedies, Greeks laughed at greed or excessive vanity. Aristophanes appeals to the civic feelings and patriotic pride of the audience.

In turn, pedagogy is the science of upbringing a person, revealing his essence, the laws of upbringing and personal development, the process of education and training. Both theater and pedagogy emerged around the same time in ancient Greece. Doesn't it seem surprising that the gods themselves suggested the inextricable relationship of these two concepts?

Today, theatrical pedagogy is a way of personal development in the process of education and training through the process of play, or stage action. And the task of the teacher is to find a way of communication for each child that would help him become an integral person even in this incomplete world. If the world was perfect. Then he would have long ago become like the model of Jean Jacques Rousseau (an ideal person in an ideal society). As you know, this model was questioned and distrustful even by Catherine II. We all understand that the world is dualistic and there is no getting away from it. We, educators, theatrical figures, creative people, can contribute to the modeling of the relationship between good and evil in the human person. We can influence that creativity in a child, in a person gets exactly a good direction. And this can be coordinated through theatrical pedagogy. We can and must use the methods of theatricalization so as not to interrupt the process of socialization, to engage in patriotic education of the generation growing up in new conditions, to reorient them and help find a new culture of the new country. After all, we must remember the incomprehensible innate predisposition of the child to play and creativity and the amazing flexibility of the child's brain. The child must be brought up in all the diversity of his abilities, in contact with all of his qualities at once. Therefore, as one of the paths of development through the prism of holistic education, the aspect of theatrical art is seen, or a form of theatrical pedagogy, which undoubtedly helps to choose a moral and ethical guideline.

The basic principles of this science, as one of the most creative in nature, coincide with the cultural principles. Since the role of theatrical pedagogy is to reveal and form a developed harmonious personality of the student, the theatrical teacher seeks to construct a system of relationships in such a way as to organize accessible conditions for emotional expression, relaxedness, mutual trust and a creative atmosphere.

The purpose of my report is the comprehension of the means and methods of theatrical pedagogy as an innovative model of upbringing the moral personality of a child.

In my opinion, on the present stage existsa whole problematic the use of theatrical pedagogy in the educational process, the lack of techniques for the use of theater technologies in social and humanitarian disciplines at different stages of mastering the educational material in various types of educational institutions, the problem of training qualified specialists (teachers - directors) for educational and cultural and leisure children's institutions.

Now, let's plunge into history a little. The founders of theatrical pedagogy in Russia were such prominent theater figures as Mikhail Semenovich Shchepkin, Denis Vasilievich Davydov, theater director and teacher Alexander Pavlovich Lensky. A qualitatively new stage in theatrical pedagogy was brought by the Moscow Art Theater and, above all, by its founders K.S. Stanislavsky and Vladimir Ivanovich Nemirovich - Danchenko. Many actors and directors of this theater have become prominent theater educators. Actually from them begins the theatrical pedagogical tradition, which exists to this day in our universities. All theater teachers know two of the most popular collections of exercises for working with students of acting schools. These are the famous book by Sergei Vasilyevich Gippius "Gymnastics of the Senses" and the book by Lydia Pavlovna Novitskaya "Training and Drilling". Also wonderful works of Prince Sergei Volkonsky, Mikhail Chekhov, Peter Ershov, Maria Knebel and many others.

The traditions of the school theater in Russia were laid down at the end of the 17th century. It is known that in the middle of the 18th century, the St. Petersburg land nobility corps even had special hours for “teaching tragedies”. The students of the corps - future officers of the Russian army - acted out plays by domestic and foreign authors.

At the end of the 18th century, a children's home theater was born in Russia, the creator of which was the famous Russian educator and talented teacher Andrei Timofeevich Bolotov. The first plays for children in Russia belonged to him - "Chestokhval", "Rewarded Virtue", "Unhappy Orphans".

In the first half of the 19th century, student theater groups became widespread in gymnasiums, not only in the capital, but also in the provincial ones. From the biography of N.V. Gogol, for example, it is well known that while studying at the Nizhyn gymnasium, the future writer not only performed successfully on the amateur stage, but also directed theatrical performances, wrote the scenery for performances.

Indeed, the synthetic nature of theatrical art is an effective and unique means of artistic and aesthetic education of students. Here, the child can prove himself as an artist, and as a musician, vocalist or talented organizer. And any creativity will help to uniquely and vividly reveal the nature of the personality of the child-creator, taking into account his psychological and age-related characteristics.

And it is worth noting that today theatrical pedagogy goes beyond the framework of only children's and youth theater groups. According to the largest Russian teacher S.T. Shatsky in the educational process, it is represented by the following areas:

1. Professional art addressed to children with general cultural values ​​inherent in it. In this direction of aesthetic education, the problem of the formation and development of the spectator culture of schoolchildren is being solved. theater pedagogy innovation morality

2. Children's amateur theater, existing inside the school or outside it, which has peculiar stages of artistic and pedagogical development of children.

3. Theater as an academic subject that allows you to realize the ideas of a complex of arts and apply acting training in order to develop the social competence of students.

But, unfortunately, as I said, there is a problem that theater is the only art form in the school that has recently been deprived of professional specialists. With the advent of theater classes, electives, the introduction of theater pedagogy into general educational processes, it became clear that a school educational institution cannot do without a professional who can work not only with children in the field of theatrical art, but also with school teachers in the field of theater pedagogy. The activity of a teacher-director is determined by his position, which gradually develops from the position of a teacher-organizer at the beginning and to a fellow-consultant at a higher level of development of the team, presenting at every moment a certain synthesis of different positions. And so, in constant disputes, who should be the head of a school theater: a teacher or a director, how to use theatrical processes for educational purposes, whether the use of theatrical means for the assimilation of educational materials is justified, and an innovative model of personality education using theatrical and pedagogical technologies is born. In the modern model of theatrical pedagogy, it is already possible to distinguish:

Techniques for the development of thought processes :

- theatrical exercises,

Role-playing games,

Movements to music, techniques of playing musical instruments,

Stage sketches,

Breathing exercises, articulation exercises,

Musical and rhythmic games,

Exercises for the development of facial expressions and pantomimics,

Playing in the shadow theater, games - dramatization with fingers, etc.

Basic principles of theatrical pedagogy:

The principle of corrective-compensating orientation of education and upbringing: the construction of the educational process based on the maximum use of intact analyzers, functions and systems of the body.

The principle of socially - adaptive orientation of education: overcoming "social loss" and the formation of psychological preparedness of the pupil for life in the surrounding socio-cultural environment.

They try to use theatrical technologies not only in the work of children and youth theater groups directly, but also in the process of mastering program material in different types of educational institutions. For example, elements of ethnopedagogy in the lessons of the Russian language and literature at school, the organization and conduct of the rituals of the Maslenitsa holiday in terms of classes in "ethnology", "history of religions", "history of culture" in colleges and universities, reconstruction of historical events in the lessons of "history ”In high school, dramatization of Russian folk tales and epics. The use of the means and methods of theatrical pedagogy will help teachers identify and emphasize the individuality, uniqueness and uniqueness of the human person, regardless of where this person is: on the stage or in the auditorium. In addition, theater can be a lesson and an exciting game, a means of immersion in another era and the discovery of new, unknown and unknown facets of modernity. Theatrical art makes it possible to assimilate not only in a theoretical aspect, but also in practice, moral and scientific truths, teaches to be oneself, to transform into a hero and live a diverse set of lives, spiritual collisions, to learn the cultures and traditions of other peoples.

Thus, theatrical pedagogy as an innovative model of upbringing the personality of a child of today is in the stage of formation, and research in the field of modern methods and technologies of theatrical pedagogy in the educational process has not yet been completed and is at the stage of experiment in the teacher's creative activity.

Bibliography

1. Danilov S.S. Essays on the history of the Russian drama theater. - M.-L, 1948.S. 278.

2. Gippius S.V. Actor's training - M. 1967

3. Ershov P.M., Ershova A.P., Bukatov V.M. Communication in the classroom or directing the teacher's behavior - M. 1993.

4. Ilyev V.A. The technology of theatrical pedagogy in the formation and implementation of the concept of a school lesson - M. 1993.

5. Nikitina A.B. Theater where children play: Educational-methodical manual for the leaders of children's theater groups. - M .: Humanitarian publishing center VLADOS, 2001.

6. Uzunova L.V. Ethnocultural aspects of education methods in ethnopedagogy // n.zh. Culture of the peoples of the Black Sea region, No. 189 - Simferopol, 2010. - S.64-70

7. Shatsky S.T. Cheerful life. // Pedagogical. essays. In 4 t Vol. 1 - M, 1962, p. 386-390.

8. The article “Theatrical pedagogy of K.S. Stanislavsky in the modern school ". Access point: http://knowledge.allbest.ru/culture/2c0b65625b3bd79b4d43b88421306c27_0.html

Posted on Allbest.ru

...

Similar documents

Acquaintance with the historical roots of modern pedagogy; theory of education, training and upbringing. General scientific characteristics and categories. Consideration of education as a category of pedagogy. Pedagogical process and goal-setting in discipline.

presentation added 09/25/2014


Theater pedagogy as the most harmonious means of social adaptation of a child. The value of theatrical classes in the development of schoolchildren on the example of the theater-studio "Chance" of the Polyanskaya boarding school, the results of a study of the adaptation of a child in a team.

thesis, added 10/28/2010


Formation of a harmonious personality, helping children in revealing their hidden abilities, overcoming academic failure. The development of fine motor skills and coordination of movements using the methods of theatrical pedagogy. Structural components of classes.

practice report, added 10/17/2010


The concept, essence and purpose of modern education. The structure and content of education. Learning as a purposeful process of personality development. The role of training and education in personality development. Pedagogical laws of personality formation.

term paper, added 02/23/2012


The essence of training and education as the main object of the study of pedagogy. Forms of education and upbringing as a subject of pedagogy study. Education as a real holistic pedagogical process. Education and training as methods of the pedagogical process.

test, added 02/22/2012


Emotional liberation of the child, release of tightness, teaching feeling and artistic imagination - through playing, fantasizing, writing. Timbre range, facial expressions and gestures, finger gymnastics. Methods of theatrical pedagogy.

practice report, added 10/16/2010


Pedagogy as a science and practice. Stages of development of scientific and pedagogical knowledge. Branches of pedagogy. Functions and goals of modern education in Russia. Theoretical and methodological foundations of pedagogy, the role of education. Theory and content of the training system.

presentation added on 11/04/2012


The concept of methods and means of education. The system of general methods of education. Classification of educational methods. The choice of pedagogical methods of education. Methods for organizing activities. The relevance of education, taking into account pedagogy and modern society.

test, added 12/14/2007


Study of the subject, the main categories of pedagogy. Features of development, education, personality formation. Characteristics of a personality-oriented approach to the organization of the pedagogical process and the study of personality education, pedagogical monitoring.

tutorial, added 02/22/2010


Normative legal documents on the organization of theatrical activities in the Soviet period. The concept of theatrical pedagogy. Theatrical activity with children in the system of additional education in the USSR and modern Russia. Methods and techniques for working with children.

Moscow Institute of Open Education

Department of Aesthetic Education and Cultural Studies

Laboratory for interactive theater projects

the state that I will call the school state of mind, which we all, unfortunately, know so well, consists in the fact that all higher abilities - imagination, creativity, consideration - give way to some other, half-animal abilities - to pronounce sounds, regardless of imagination, count numbers in a row: 1,2,3,4,5, perceive words, not allowing the imagination to substitute any images for them; in a word, the ability to suppress everything in oneself

the highest abilities for the development of only those that coincide with the school state - fear, tension of memory and attention. " Leo Tolstoy

The place of theatrical pedagogy in the structure of modern pedagogical approaches

System-activity an approach:

The assimilation of the content of education and the development of the student in the process of his own Art pedagogy: vigorous activity. The assimilation of the content of education and the development of the student in the processholistic knowledge of the world and artistic and creative Theatrical activity pedagogy:.

The peculiarity of the method of cognition in theatrical pedagogy

General pedagogy	Pedagogy		Theatrical
	arts		pedagogy
Scientific way	Holistic-shaped	Kinesthetic way
knowledge	way of knowing		knowledge
(intelligence)	(feelings and emotions)

Definition of art pedagogy

The concept of "art pedagogy" is actively used in the pedagogical community, but still does not have clear definitions.

There are two main trends in understanding this phenomenon: pedagogy, which is implemented in art lessons (fine arts, music, MHC, theater, etc.) and pedagogy, which is based on holistic-figurative thinking and practice of living the content of education in any subject areas.

We will talk about art pedagogy in both its meanings. For the practices that we will consider were initially formed in art lessons and only then could they become relevant for any educational content.

The value and place of art pedagogy in education

“The image acts as a formative factor in art and science, invention.

Imagination is a vector of the future, the basis of creativity - “applied imagination”, which offers a form for the embodiment of a person's dreams and aspirations.

It is necessary to talk about a culturological approach to teaching art in general and about culture as the basis not only of subjects of the artistic cycle, but, most importantly, of all other educational subjects, including natural and mathematical "

"The relationship of cultural factors in the formation of modern artistic thinking of the teacher of the educational field" Art ".

“The modern student loses a lot in his personal development due to acute lack of creativity, which by nature is necessary for a person. Early artistic practice provides the best opportunity to gain creative experience, and not only specifically artistic, but creative experience as such, that is, experience generation and implementation of their own designs.

The first thing that is invariably characterized

aesthetic attitude, - a person's direct experience of unity with the surrounding reality : the outside world does not oppose him ... but opens up as the world of a person, akin and understandable to him. Such an attitude is disinterested, it excludes the consumer's view of nature. when a person is looking for benefits only for himself, and is based on communication with nature, proceeding "from mutual interests," and sometimes exclusively from the intrinsic value of her being. Unselfish and aesthetic attitude of man to man - as to "another" I "", when a man can put himself in the place of another, imbued with his feelings and experiences, perceive someone else's pain as his own. "

A.A. Melik-Pashaev "Artistic giftedness and its development during school years", Moscow, 2010

“In the general school, art as mastery should become a means of humanizing a person.

If we agree that

living is the main form of transfer of experience , feelings, i.e. conveying the essence of any work of art, then

it is necessary to realize the assimilation as the main maybe the only real one way do not understand, namely live content "

B. M. Nemensky "Pedagogy of art"

“An important component is the development of the child's emotions.

Of great importance in the development of human abilities is the sensory sphere.

According to Daniel Golman (USA), it is emotions that are responsible for making decisions, since a person often listens more and is guided in actions by emotions rather than intellect. He regards emotions "as the ability to listen to one's own feelings, control outbursts of emotions, as the ability to make the right decision, and remain calm and optimistic about the situation."

L.G. Savenkova

"Problems of didactics of the educational field" Art "

Basic principles of art pedagogy

Reliance on the creative method

Integrity of the educational process

Polyartistic

education

Polymodality of creativity

Intonation as the basis of understanding

The concept of theatrical pedagogy is associated in Russia with the work of famous actors M. Shchepkin, V. Davydov. K. Varlamov and the director of the Maly Theater A. Lensky back in the 19th century. The theatrical pedagogical tradition itself began with the activities of the founders of the Moscow Art Theater K.S. Stanislavsky and V.I. Nemirovich-Danchenko. The aim of theatrical pedagogy is the professional training of the future actor and director. The legacy of K.S. Stanislavsky and his "system" of teaching acting and directing skills are the fundamental sources of the entire theatrical process to this day. Natalia Ilyinichna Sats made a huge contribution to the development of theatrical activity with children (14 (27) August 1903 - 18 December 1993). An outstanding theater director of the Soviet Union, the first woman in the world who took up the production of opera performances, as she was a supporter of musical art, and had a musical education, graduating in 1917 from the A.N. Scriabin. She was also a great writer, a first-class playwright, and most importantly for us, an amazing teacher. In 1918, at the age of fifteen, Natalya Sats headed the children's department of the Moscow City Council's teamuz section. On her persistent initiative, in the same year, the first theater in the USSR with a repertoire for the younger generation was created - the Children's Theater of the Moscow City Council. In continuation from 1920 until the very arrest, which took place in 1937, she was in the position of director and artistic director of the Moscow Theater for Children (in 1936 and later - the Central Children's Theater, since 1992 - the Russian Academic Youth Theater (RAMT) ).

Released at the end of 1942. There was no permission to be in Moscow after the arrest, so Sats left for Alma-Ata, where at that time there were many outstanding artists of that time. There, Natalia again took up her favorite work, and her work led to the fact that in 1945, the first in the post-Soviet space - the Almaty Theater of Young Spectators, which Natalya Ilinichna led for thirteen years.

In 1958, Sats returned to Moscow and took over the leadership of the All-Russian Touring Theater, after - the children's department of Mosestrada. 1968, organized and headed the first Moscow Children's Musical Theater, not just in the USSR, but in the world, which opened in 1965.

Natalya Ilyinichna Sats is the founder and director of six children's theaters, including not just the first in the USSR, but the world's children's drama theater, as well as the world's first musical children's theater, an active fighter for theatrical and musical children's art in the USSR. An activist and promoter in the field of musical art and the development of children in this direction. She created a whole area of ​​theatrical creativity for children. She became one of the main initiators and, together with the outstanding composer Sergei Sergeevich Prokofiev, created a musical fairy tale for the Petya and the Wolf symphony orchestra. She wrote a lot of plays, also wrote librettos for children's operas and ballets, wrote books and authored many articles on, such as: musical education of children, dramatic education of children, the development of theaters with a repertoire for children, the development of children's activity in the direction of theatrical activity, etc. ...

As a pedagogical phenomenon, the problem of "theater and children" dates back to the very beginning of the twentieth century. In 1915, a children's subsection worked as part of the All-Russian Congress of People's Theater Workers.

In the first years of Soviet power, interest in student theater did not fade away. In the spring of 1918, the Theater Department of the People's Commissariat for Education in Petrograd organized a permanent Bureau, and then a periodically convened Council of Children's Theater and Children's Celebrations, which included both theater workers and out-of-school teachers. It was the first state body to deal with the issues of children's theater. Later it was renamed into a school theater group at the pedagogical section of the Theater Department of the People's Commissariat for Education.

In the USSR, many articles were published on the topic of "theater and children", which discussed the impact of theater on the development of children. As well as the development of children's creative abilities through theatrical activities. Attention was paid to the fact that the peculiarity of children's consciousness, the perception of the world through fantasy and creativity, the natural desire of children to play, makes it possible to reveal the emotional, intellectual, creative potential of a person.

The difficulties faced by children's theatrical performances are, first of all, the lack of leaders who are familiar both with the basics and specifics of theater, as an art form, and with the tasks and characteristics of artistic and educational work.

Children's theatrical performances were considered in the USSR as an integral part of the general system of aesthetic education. Theater is one of the most effective forms of extracurricular work with children of different ages. At all stages of the development of the Soviet school, pedagogical practice persistently sought ways to more effectively use the performing arts for the general artistic development and upbringing of children.

During the 20th century, theatrical pedagogy gradually and purposefully began to be mastered in another area - school education, which is directly related to children.

Interest To theatrical pedagogy, always existed v general pedagogy, intensified v the beginning 80's years Xx centuries. V pedagogical universities and college become be introduced special theatrical items, v schools - lessons theater. Young specialists passed trainings on acting art, v pedagogy became take root theatrical terminology.

Theatrical activity is successfully developing in kindergartens, schools, and so on - regardless of the specialization of the educational institution, which indicates the effectiveness of the use of theater in the creative development of the child's personality. Thus, we can conclude that theater in the USSR played an important role in the development of children's and school theaters. Helping children discover their creativity.

As a result of the entire chapter, we can conclude that the development of pedagogical art in the direction of children's theatrical activity is not popular, in our time this direction needs to raise the level of professionalism.