The history of the development of theater pedagogy in Russia in the works of the Institute of Art Education. Theater pedagogy at the Iti school theater pedagogy

23.06.2020

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

The dynamics of socio-economic changes, the development of processes of democratization of public consciousness and practice give rise to the need for an individual capable of adequate cultural self-identification, free choice of one’s own position, active self-realization and culture-creative activity. It is at school that the formation of personal self-awareness occurs, a culture of feelings is formed, the ability to communicate, mastery of one’s own body, voice, plastic expressiveness of movements, a sense of proportion and taste is cultivated, which is 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 the extensive method of simply increasing the amount of information included in educational programs to the search for intensive approaches to its organization.

Apparently, we are talking about the formation of a new pedagogical paradigm, new thinking and creativity in the educational sphere. A “culture-creative” type school is born, building a unified and holistic educational process as a child’s path to culture.

The basic principles of cultural pedagogy coincide with the principles of theatrical pedagogy, as one of the most creative in nature. After all, the goal of theater pedagogy is to liberate the psychophysical apparatus of the student-actor. Theater teachers build a system of relationships in such a way as to organize maximum conditions for creating extremely free emotional contact, relaxedness, mutual trust and a creative atmosphere.

In theater pedagogy, there are general patterns of the process of teaching a creative personality, which can be purposefully and productively used for the purpose of nurturing the creative personality of both students and future school teachers.

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

We propose to denote by the term “school theater pedagogy” those phenomena in the educational process of schools and universities that are in one way or another connected with theatrical art; They are engaged in the development of imagination and imaginative thinking, but not in the pre-professional training of actors and directors.

School theater pedagogy involves:

inclusion of theater lessons in the school educational process;
training specialists to conduct theater lessons at school;
acting and directing training for students of pedagogical universities;
training existing school teachers in the basics of directing.

Each of these blocks, in our opinion, represents extremely fertile ground for researchers, theorists and practitioners: teachers, psychologists, directors, theater experts, etc. School theater pedagogy today is the subject of close interest, while pedagogical search is carried out in various directions and with different measures of success.

In this sense, of particular interest is the model of a cultural school developed at the Department of Aesthetics and Ethics of the Russian State Pedagogical University named after. A.I. Herzen. Here we propose a concept focused on the formation of a child’s personality in accordance with the idea of the correlation between onto- and phylogenesis. And then the school theater unfolds as a method of introducing the child into world culture, which occurs according to age stages and involves problem-thematic and targeted integration of the disciplines of the natural sciences, socio-humanities and artistic-aesthetic cycles. The work of the school theater here can be considered as a universal way of integration.

School theater appears as a form of artistic and aesthetic activity that recreates the life world inhabited by a child. And if in a role-playing game, whose name is theater, the goal and result is an artistic image, then the goal of a school theater is significantly different. It consists in modeling the educational space to be mastered. Based on the idea of differences in the educational world at the age stages of personality development, it is important to determine the specifics of 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 a particular school, with its own traditions and methods of organization educational process. Then you have to choose and build existing and possible forms: lesson, studio, elective. It seems to us that a combination of these three forms is necessary.

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 development modern system education, which moves from the episodic presence of theater in school to systemic modeling of its educational function.

However, it must be taken into account that we do not propose to “saturate” the system of theater education in school with all possible forms and methods, but to give the school a choice depending on the experience and passion of the teacher and students. In order for a teacher to make this choice, he needs to see a perspective in theatrical work.

Problems of professional and methodological training of school theater teachers-directors. Modern reform processes in education, the obvious tendency of Russian schools towards independent pedagogical creativity and, in connection with this, the actualization of the problems of school theater give rise to the need for professional training of a teacher-director. Such personnel, however, were not trained anywhere until recently.

There is 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 group) or a teacher trained in special theater courses.

Theater specialization for persons from 17 to 68 years of age who want to work with children is offered at a number of community colleges in the United States. Similar initiatives are taking place in Lithuania and Estonia.

The urgent need to take theatrical work with children to a serious level professional basis does not question the priority of pedagogical goals. And it is even more important to preserve that valuable thing that noble non-professional enthusiasts and subject teachers seek 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 that lacked professional leadership. With the advent of theater classes, electives, and the introduction of theater pedagogy into general educational processes, it became obvious that the school could not do without a professional who knew how to work with children, as 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 at the beginning and to a colleague-consultant at a high level of development of the team, representing at each moment a certain synthesis of different positions. In the constantly ongoing debate about who he should be, a teacher or a director, in my opinion, there is no antithesis. Any one-sidedness, be it an excessive passion for staged discoveries to the detriment of conducting normal educational work, or, conversely, ignoring the actual creative tasks of the team, when the spark of creativity goes out 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 actually changes, grows morally, intellectually, creatively together with the team.

Based on the Department of Aesthetics and Ethics of the Russian State Pedagogical University named after. Herzen has developed a new professional and educational profile “School Theater Pedagogy”, which will train a teacher capable of organizing educational theater and play performances in school and optimizing the development of the values of domestic and world culture.

Actor and philosopher: what do they have in common? (answers from 4th year students of the Faculty of Human Philosophy of the Herzen State Pedagogical University)

"Sense of the situation." Hence calmness, because living the situation and, at the same time, rising above it, equanimity comes to the individual who has succeeded in this. In other words, there is a knowledge of proportion here.
Tact, restraint, confidence, which should not be confused with self-confidence, where subjectivity overshadows reason, giving rise to egoism.
Communication skills, ability to control emotions, ability to fully express thoughts using emotional means. Body control. Equilibrium. The ability to feel another personality and always maintain your own.
An actor, I heard, should not allow his experiences to “stick together” too much with what he is doing on stage - otherwise you can get lost and look pitiful, despite all the inner heat and power. In this regard, I would like to learn to pour myself into the most adequate form, so that I can not only speak, but also see myself, my movements, posture, gestures through the eyes of students.
For me, joy, that is, Truth, is associated with organic unity with the surrounding reality, with my physical body, with the creative manifestation of universal content in my individual form.

“The theater is a gentle monster that takes its man if he is called, rudely throws him out if he is not called” (A. Blok). Why does the school need the “gentle monster” that it conceals within itself? What is its attractive power? Why does his magic affect us so much? The theater is forever young and kind, mysterious and unique.

Theater is able to identify and emphasize the individuality, originality, uniqueness of the human personality, regardless of where this personality is located - on the stage or in the hall. To comprehend the world, linking the past, present and future into the holistic experience of humanity and every person, to establish the laws of existence and foresee the future, to answer the eternal questions: “Who are we?”, “Why and for what purpose do we live on Earth?” - the theater always tried. The playwright, director, and actor tell the viewer from the stage: “This is how we perceive it, how we feel, how we think. Unite with us, perceive, think, empathize - and you will understand what the life that surrounds you really is, what you really are and what you can and should become.”

In modern pedagogy, the possibilities of school theater can hardly be overestimated. This kind educational activities was widely and fruitfully used in school practice of past eras, known as a genre from the Middle Ages to the Modern Age. The school theater contributed to the solution of a number of educational tasks: teaching live conversational speech; acquisition of a certain freedom of circulation; “learning to speak before society as speakers or preachers.” “The school theater was a theater of usefulness and business, and only incidentally with this - a theater of pleasure and entertainment.”

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 school with its strict rules of behavior and the harsh regime of the boarding school: “Comedies delight young people with a life of oppression and similar to captive imprisonment.”

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 the discovery of unknown facets of modernity. It helps to assimilate moral and scientific truths through the practice of dialogue, teaches one to be oneself and the “other,” to transform into a hero and live many lives, spiritual collisions, and dramatic tests of character. In other words, theatrical activity is a child’s path to universal human culture, to the moral values of his people.

How to get into this magical land named Theater? How to connect theater systems and Childhood with each other? What should theater classes be for their young participants - the beginning of a career, a journey through various artistic eras, broadening their horizons, or maybe just a reasonable and exciting vacation?

A creative group, including university teachers (Russian State Pedagogical University named after Herzen, 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 organic inclusion theatrical activities into the educational process of city schools;
inclusion of children and teachers in the creative process, 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 between professional theaters and schools, development of theater subscriptions focused on the educational process.

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

The activities of our Center are developing in several directions:

School theater creativity. The methodology of school theater today is the subject of close interest, while pedagogical searches in St. Petersburg schools are carried out with varying degrees of success and in different directions:

Schools with theater classes. Theater lessons are included in the schedule of individual classes, because in every school there is always a class that seems to be predisposed to theatrical activities. It is these classes that often form the basis of a school theater group. Usually this work is carried out by humanities teachers.

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

The most common form of theater in a modern school is a drama club, which models 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 taste of the leader. Being an interesting and useful form of extracurricular work, the drama club is limited in its capabilities and does not have a significant impact on the organization of educational work as a whole.

Children's theaters outside of school represent an independent problem, however, their methodological findings can be successfully used in the school process.

Some schools managed to attract a large group of professionals and the Theater lesson is included in the curriculum of all classes. These are leaders who combine directorial talent, love for children and organizational talent. It was they who came up with the idea - to give theater to every child, including a theater lesson as a discipline in the school educational process.

Along with studying the experience of existing school theaters, new original theater lesson programs are being developed for grades 1 to 11. One of them is the experimental program “Theater Pedagogy at School,” the author of which is a professional director, head of the theater class at school No. 485 in the Moskovsky district of St. Petersburg, Evgeniy Georgievich Serdakov.

Interaction with professional theaters. Our Center held the “Actors' Campaign” campaign, theater subscriptions, music and art programs of which are directly related to the content of the educational process. For example, the literary subscription “Petersburg Stanzas”, one-man performances based on the works of A.S. Pushkina, N.V. Gogol, F.M. Dostoevsky, L.N. Tolstoy, A.P. Chekhova, V.V. Nabokov; musical and poetry programs dedicated to the work of poets of the Silver Age, the cycle “Literary Roads of Old Europe” for high school students studying the course of world artistic culture.

International projects. In 1999, our Center became a full member of Unitart - Art and Children - a network of European institutions working for and with children, its main office is located in Amsterdam (Netherlands).

Our Center has developed an educational and educational long-term project “European School Theater Creativity”, the main ideas of which are:

interaction of European cultures on the verge of the millennium through school theater creativity;
studying the language, literature, and culture of other peoples through theater as part of the school curriculum.

The project was supported by the Unitart General Assembly in Amsterdam (October 27-31, 1999).

We have received partnership offers from colleagues from Belgium, France, Italy, Finland, Spain and England. European colleagues were especially interested in educational programs and performances of school theaters in our city in English, German, French, and Spanish.

Childhood and youth need not only and not so much a theater model, but a model of the world and life. It is within the “parameters” of such a model that a young person is able to most fully realize and test himself as an individual. When connecting such subtle and complex phenomena as theater and childhood, it is necessary to strive for their harmony. This can be done by building with children not a “theater” or a “team”, 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 an integral educational space of the school as a cultural world in which it, the school theater, becoming an artistic and aesthetic educational action, manifests its uniqueness and depth, beauty and paradox.

Pedagogy is also becoming “theatrical”: its techniques gravitate towards play, fantasy, romanticization and poeticization - everything that is characteristic of theater on the one hand, and childhood on the other. In this context, theatrical work with children solves its own pedagogical problems, including both the student and the teacher in the process of mastering the model of the world that the school is building.

School theater is developed as a method of introducing a child to world culture, which occurs according to age stages and involves problem-thematic and targeted integration of the disciplines of the natural sciences, socio-humanities and artistic-aesthetic cycles.

The synthetic nature of theatrical art is an effective and unique means of artistic aesthetic education students, thanks to which children's theater occupies a significant place in the overall system of artistic and aesthetic education of children and youth. Preparation of school theatrical productions, as a rule, becomes an act of collective creativity not only of young actors, but also of vocalists, artists, musicians, lighting technicians, organizers and teachers.

The use of theatrical art in the practice of educational work helps to expand the general and artistic horizons of students, general and special culture, and enrichment aesthetic feelings and the development of artistic taste.

The founders of theater pedagogy in Russia were such prominent theater figures as Shchepkin, Davydov, Varlamov, and director Lensky. The Moscow Art Theater and, above all, its founders Stanislavsky and Nemirovich-Danchenko brought with them a qualitatively new stage in theater pedagogy. Many actors and directors of this theater became prominent theater teachers. In fact, the theatrical pedagogical tradition that exists to this day in our universities begins with them. All theater teachers know the two most popular collections of exercises for working with students of acting schools. This is the famous book by Sergei Vasilyevich Gippius “Gymnastics of the Senses” and the book by Lydia Pavlovna Novitskaya “Training and Drilling”. Also wonderful works by Prince Sergei Mikhailovich Volkonsky, Mikhail Chekhov, Gorchakov, Demidov, Christie, Toporkov, Dikiy, Kedrov, Zakhava, Ershov, Knebel and many others.

Noting the crisis of modern theater education, the lack of new theatrical pedagogical leaders and new ideas, and, as a consequence, the lack of qualified teaching staff in children's amateur theater performances, it is worth taking a closer look at the heritage that has been accumulated by the Russian theater school and in particular the school theater. and children's theater pedagogy.

The traditions of school theater in Russia were established at the end of the 17th and beginning of the 18th centuries. In the middle of the 18th century, in the St. Petersburg land gentry corps, for example, special hours were even allocated for “teaching tragedies.” Students of the corps - future officers of the Russian army - acted out plays by domestic and foreign authors. Such outstanding actors and theater teachers of their time as Ivan Dmitrevsky, Alexey Popov, brothers Grigory and Fyodor Volkov studied in the gentry corps.

Theatrical performances were an important part of the academic life of the Smolny Institute of Noble Maidens. Moscow University and Noble University Boarding House. Tsarskoye Selo Lyceum and other elite educational institutions of Russia.

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 successfully performed on the amateur stage, but also directed theatrical productions and wrote scenery for performances.

In the last third of the 18th century, children's home theater was born in Russia, the creator of which was the famous Russian educator and talented teacher A.T. Bolotov. He wrote the first plays for children in Russia - “Praise”, “Rewarded Virtue”, “Unfortunate Orphans”.

The democratic upsurge of the late 1850s and early 1860s, which gave rise to a social and pedagogical movement for the democratization of education in the country, contributed to a significant intensification of public attention to the problems of education and training, and the establishment of more demanding criteria for the nature and content of educational work. Under these conditions, a heated discussion is unfolding in the pedagogical press about the dangers and benefits of student theaters, which began with an article by N.I. Pirogov “To be and to appear.” The public performances of high school students were called “a school of vanity and pretense.” N.I. Pirogov posed the question to youth educators: “...Does sound moral pedagogy allow children and young people to be exposed to the public in a more or less distorted and, therefore, not in their true form? Do the ends justify the means in this case?”

The critical attitude of the outstanding figures of Russian pedagogy N.I. Pirogov and K.D. Ushinsky towards the participation of schoolchildren in theatrical productions was apparently due to the fact that in the practice of school life there was a purely ostentatious, formalized attitude of teachers towards the school theater.

At the same time, at the end of the 19th and beginning of the 20th centuries, a conscious attitude towards theater as the most important element of moral, artistic and aesthetic education was established in domestic pedagogy. This was largely facilitated by the general philosophical works of leading Russian thinkers, who attached exceptional importance to the problems of the formation of a creative personality and the study of the psychological foundations of creativity. It was during these years in national science(V.M. Solovyov, N.A. Berdyaev, etc.) the idea begins to be established that creativity in its various expressions constitutes a moral duty, the purpose of man on earth, is his task and mission, that it is the creative act that takes a person out of slave forced state in the world, raises it to a new understanding of existence.

Research by psychologists who stated that children have the so-called "dramatic instinct" “The dramatic instinct, which is revealed, judging by numerous statistical studies, in children’s extraordinary love for theater and cinema and their passion for independently playing all kinds of roles,” wrote the famous American scientist Stanley Hall, “is for us teachers a direct discovery of a new force in human nature ; the benefit that can be expected from this power in pedagogy, if we learn to use it properly, can only be compared with those benefits that accompany the newly discovered power of nature in people’s lives.”

Sharing this opinion, N.N. Bakhtin recommended that teachers and parents purposefully develop the “dramatic instinct” in children. He believed that for preschool children raised in a family, the most suitable form of theater is the puppet theater, the comic theater of Parsley, the shadow theater, the puppet theater. On the stage of such a theater it is possible to stage various plays fabulous, historical, ethnographic and everyday content. Playing in such a theater can usefully fill the free time of a child up to the age of 12. In this game you can prove yourself at the same time as the author of the play, dramatizing your favorite fairy tales, stories and plots, and as a director and actor, playing for everyone characters of his play and a master needleworker.

From puppet theater, children can gradually move on to a passion for dramatic theater. With skillful guidance from adults, children's love of dramatic play can be used to great advantage in their development.

Familiarity with the publications of the pedagogical press of the late 19th and early 20th centuries, the statements of teachers and children's theater workers indicates that the importance of theatrical art as a means of educating children and youth was highly appreciated by the country's pedagogical community.

The First All-Russian Congress on Public Education, held in St. Petersburg in the winter of 1913-14, paid interested attention to the problem of “theater and children,” at which a number of reports on this issue were heard. The resolution of the congress noted that “the educational influence of children’s theater is felt in full force only with its deliberate, expedient production, adapted to children’s development, worldview and national characteristics.” of this region" “In connection with the educational impact of children’s theater,” the resolution also noted, “there is also its purely educational significance; dramatization of educational material is one of the most effective ways to apply the principle of visualization.”

The issue of children's and school theater was also widely discussed at the First All-Russian Congress of People's Theater Workers held in 1916. The school section of the congress adopted an extensive resolution that touched upon the problems of children's, school theater and theater for children. In particular, it was noted that the dramatic instinct inherent in the very nature of children and manifested from the very early age, should be used for educational purposes. The section considered it necessary “that in kindergartens, schools, shelters, school premises at children’s departments of libraries, people’s houses, educational and cooperative organizations, etc., an appropriate place should be given to various forms of manifestation of this instinct, according to the age and development of the children, and namely: the organization of games of a dramatic nature, puppet and shadow shows, pantomimes, as well as round dances and other group movements of rhythmic gymnastics, dramatization of songs, charades, proverbs, fables, storytelling, the organization of historical and ethnographic processions and celebrations, staging children's plays and operas.” . Taking into account the serious educational, ethical and aesthetic significance of the school theater, the congress recommended the inclusion of children's parties and performances in the school's program of activities, and the initiation of petitions to the relevant departments for the allocation of special funds for the organization of school performances and holidays. When constructing school buildings, the resolution noted, it is necessary to pay attention to the suitability of the premises for staging performances. The congress spoke about the need to convene an all-Russian congress on the problems of children's theater.

Advanced teachers not only highly valued the possibilities of theater as a means of visual learning and consolidation of knowledge acquired in school lessons, but also actively used a variety of means of theatrical art in the everyday practice of teaching and educational work.

Everyone knows the interesting theatrical and pedagogical experience of our great theorist and practice of pedagogy A.S. Makarenko, talentedly described by the author himself.

Interesting and instructive is the experience of educating pedagogically neglected children and adolescents using theatrical art, gained by the largest domestic teacher S.T. Shatsky. The teacher considered children's theatrical performances as an important means of uniting the children's team, moral re-education of “street children”, and introducing them to cultural values.

In our time of major social changes, the problem of intellectual and spiritual unemployment of young people is extremely acute. The vacuum is filled by antisocial preferences and tendencies. The main barrier to criminalization youth environment is active spiritual work that meets the interests of this age. And here, the school theater, armed with the techniques of theatrical pedagogy, becomes the club space where a unique educational situation develops. Through the powerful theatrical medium– empathy educational theater unites children and adults at the level of common cohabitation, which becomes an effective means of influencing the educational and educational process. Such an educational theater club has a particularly important influence on “children from the street,” offering them informal, frank and serious communication on topical social and moral issues, thereby creating a protective, socially healthy cultural environment.

Currently, theatrical art in the educational process is represented by the following areas:

Addressed to children professional art with its inherent general cultural values. In this direction of aesthetic education, the problem of the formation and development of the spectator culture of schoolchildren is solved.
Children's amateur theater, existing inside or outside the school, which has unique stages in the artistic and pedagogical development of children.

Amateur school theater is one of the forms of additional education. School theater directors create original programs and set tasks to serve young audiences. Both the first and second represent a significant scientific and methodological problem. In this regard, there is an urgent need to objectify the accumulated theoretical and empirical knowledge on children's theater pedagogy into a special discipline in the subject “children's theater pedagogy” and introduce this subject into the programs of universities that train directors of amateur theaters.

Theater as a subject, which allows you to implement the ideas of a complex of arts and apply acting training in order to develop the social competence of students..

Artistic creativity, including acting, uniquely and vividly reveals the nature of the personality of the child-creator.

The main problem in modern theater education for children is the harmonious dosage of technical skills in the educational and rehearsal process, along with the use of the free playful nature of children's creativity.

Back in the 70s, the theater laboratory of the Scientific Research Institute of Artistic Education developed and substantiated the idea of universal accessibility of primary theater education, which made it possible to talk about the academic subject “theater lesson”.

In subsequent years, programs were developed on action techniques, stage speech, stage movement, and world artistic culture. Collection created creative tasks for children's theater classes.

Theater pedagogy, the purpose of which is to develop expressive behavior skills, is used in professional training and retraining of teachers. Such preparation makes it possible to significantly change a regular school lesson, transform its educational goals, and ensure the active cognitive position of each student.

Speaking about the system of additional education, it should be noted that in addition to being scientific, an equally important principle of pedagogy is the artistry of the educational process. And in this sense, the school theater can become a unifying club space for informal socio-cultural communication between children and adults through the perception of an original artistic phenomenon.

It is worth remembering that the rise of democracy ancient Hellas The ritual of living together by city residents owes much to the great dramaturgy of their fellow tribesmen during performances, in the preparation and performance of which almost the entire city was involved. Mastering educational material through living transforms knowledge into beliefs. Empathy is the most important educational tool.

In the field of theater education for children, the problem of personnel remains acute. Universities do not train directors and teachers of children's theater education and children's amateur theater. While graduates are somewhat familiar with staging techniques, they are almost not familiar with the pedagogical theatrical process.

This necessitates the creation of specialized secondary specialized educational institutions that train directors and teachers of children's theaters, who must be well aware of the children's specific methods of teaching acting and rehearsing.

A big problem has recently arisen in connection with the commercialization of children's creativity, including acting. The desire for a quick result has a detrimental effect on the pedagogical process. The exploitation of external data, natural emotionality, and age-related charm destroys the process of becoming a future artist and leads to the devaluation of his values.

It must be remembered that the theatrical educational process, due to its unique synthetic playful nature, is a powerful means of education precisely through living the spiritual cultural models of humanity.

In this regard, it should be noted that in recent years, thanks to the efforts of the staff of the theater laboratory of the Scientific Research Institute of Art Education, the socio-game style has become widespread in theater pedagogy.

“Socio-game style in pedagogy"received this name in 1988. He was born at the intersection of humanistic trends in theater pedagogy and cooperation pedagogy, which is rooted in folk pedagogy.

The urgent need for social changes in society has prompted many teachers to search for a new level of democratization and humanization of the pedagogical process. Thus, through the efforts of the famous psychologist E.B. Shuleshko, innovative teacher L.K. Filyakina, and theater teachers A.P. Ershova and V.M. Bukatov, a new thing arose, or “a well-forgotten old”, which was called “socio-game pedagogy”.

Carefully adopting from folk pedagogy the spirit of democracy, age-related cooperation, syncretism of the learning process and, enriching this with a base of practical exercises from theater pedagogy based on the method of K. S. Stanislavsky and the “theory of action” of P. M. Ershov, the socio-game style allows to understand in a new way, first of all, the role of the teacher in the educational process. The leading role of the teacher has long been defined and entered into practice as one of the main didactic principles. But, each historical time presupposes its own level of democracy, the process of harmony between people and a new understanding of the role of the leader and, in particular, the teacher. Each sovereign person, at the time necessary for the common cause, responsibly and consciously finds his place in the general process of doing - this can probably be defined as new level harmony, to which cooperation pedagogy and, in particular, theater pedagogy strive. This does not cross out the principle of another level of harmony “do as I do,” but it presupposes a wider scope of manifestations of the student’s independence and, above all, his right to make mistakes. It is important to establish equality between student and teacher. A teacher who has or allows himself the right to make a mistake, thereby removes the fear of the independent action of a student who is afraid of making a mistake or “hurting himself.” After all, the teacher is constantly tempted to demonstrate his skill, correctness and infallibility. In this sense, he trains himself more in every lesson, honing his skills and demonstrating them with greater “brilliance” in front of “illiterate and completely inept children.” For such a teacher, a mistake is equal to a loss of authority. Authoritarian pedagogy and any authoritarian system rest on the infallibility of the leader and the fear of losing it.

For theater pedagogy, first of all, it is important to change this position of the teacher, i.e. remove the fear of error from him and his students.

The first stage of mastering theater pedagogy in its dominant pursuit is precisely this chain - to give the opportunity to “be in the shoes” of the student and see from the inside what is happening to those we teach, to look at ourselves from the outside. Is it easy to hear the task, does the student-teacher even know how to hear the teacher and, above all, his colleagues? It turns out that most teachers have these skills much worse than “inept and illiterate children.” Student teachers are given the task of working on an equal footing with their colleagues, and not demonstrating their acquired ability to “shut everyone up,” or keeping silent in a corner.

Teachers often do not have the patience to let children “play out” and “do something.” Seeing an “error”, the teacher immediately strives to eliminate it with his lengthy and not yet in demand explanations or “brilliant” hints. So the fear “that they might do something” gets to their hands, as a result of which students stop creating and become executors of other people’s ideas and plans. The pedagogical desire to “do good more often and more” is often only a subconscious desire to declare one’s importance, while children themselves can figure out the mistakes that guide their search. But the teacher wants to constantly prove his importance, necessity and right to love and respect.

But the holiday will not take place if the “owner of the house” is not feeling well. Equality between the teacher and children not only in the right to make mistakes, but also in adequate interest. An adult should also be interested in the game; he is the most active fan of the success of the game. But his role in it is organizational; he has no time to “play around.” The organizer of the holiday is always in trouble about “products”, “fuel” for the interesting mental activity of children.

Teacher organizer, play entertainer didactic activities performs in in this case as a director of creating a situation of friendly communication through control over your own behavior and the behavior of students.

The teacher needs to have a perfect command of the content material of the subject, which will give him confidence in behavior and speed in his game methodological transformation of the material into a game task form. He needs to master the techniques of directing and pedagogical scenarios. This means being able to translate educational material into game problem tasks. Distribute the lesson content into meaningful, logically interconnected episodes. Open main problem educational material and translate it into a sequential series of game tasks. This can be either in the form of a didactic game or in the form of a role-playing game. It is necessary to have a large arsenal of game moves and constantly accumulate them. Then we can hope for the possibility of improvisation during the lesson, without which the lesson will become routinely dead.

It is important to develop a range of control over your behavior in communication. Master acting and teaching skills, master a variety of techniques of influence. It is necessary to own your bodily mobilization and be an example of business determination. Exude a joyful feeling of well-being, despite mistakes and failures. We strive to neutralize any positional conflicts that arise in educational work with our businesslike approach, without entering into altercations. Be able to manage the initiative, regulating the tension of forces and the distribution of work functions of the participants in the process. To do this, make full use of the levers of perseverance in some way: different (starting from a whisper) voice volume, its height, different speeds of movement around the class and speaking, additions and additions, changes in various verbal influences. In any activity, strive to discover the friendly interests of the students and the teacher. And not to declare it, but to actually find it, without replacing it with pedagogical hypocrisy about universal love and the need to acquire knowledge. Always strive to proceed from the actual proposed circumstances, from how it really is, and not how it should be. Destroy the bacillus of double morality, when everyone knows and does as it is, and speaks as is customary.

The following game rules help the teacher to develop and strengthen the union of equal participants in the game-learning process:

1. The principle of improvisation. “Here, today, now!” Be ready to improvise in tasks and conditions of its implementation. Be prepared for mistakes and victories for both your own and your students. Overcoming all obstacles is met as an excellent opportunity for children to communicate lively with each other. Seeing the essence of their growth in moments of misunderstanding, difficulty, questioning.
Don’t “chew” every task. The principle of information deficiency or silence.“I didn’t understand” in children is often not associated with the process of understanding itself. This could be simply a defense - “I don’t want to work, I’ll take time”, a desire to attract the teacher’s attention and the school habit of “freeloading” - the teacher is obliged to “chew everything and put it in his mouth.” Here the comments are necessary, business-like, the most urgent, giving the initial guidance for the joint activities and communication of children with each other. It is necessary to give the opportunity to clarify with peers a really unclear question. This does not mean writing off what our children have long been accustomed to, it means legalizing mutual assistance. Such clarification is more useful for both than repeated explanations from the teacher. Peers will understand each other faster. Besides, if they start doing it, they’ll understand!
Even if, in your opinion, the children do not really understand the task, but they are doing something, do not rush to interrupt and explain the “correct” option. Often, performing a task “incorrectly” opens up new possibilities for its application, a new modification that you are not even aware of. Perhaps what is more important here is the children’s activity itself, and not the correct fulfillment of the task conditions. It is important that there is a constant opportunity for training in finding a solution to the problem and independence in overcoming obstacles. This the principle of priority of student initiative.
Often a teacher experiences acute negative emotions when faced with children’s refusal to complete a task. He “suffered, created, invented at night” and brought the children a “gift” for which he expects a natural reward - joyful acceptance and embodiment. But they don’t like it, and they don’t want Demyanova Ukha. And immediately there is resentment towards the “refuseniks”, and, in the end, the conclusion is “they don’t need anything at all!..”. This is how two warring camps of students and teachers appear, the excellent striebreichers and the “difficult” ones. Difficult ones are those who cannot or do not want to please the teacher. The principle of student priority: “The viewer is always right!”

The advice here is to restructure your overall attitude towards refusal. If you try to see in it a hint for yourself, the real “feedback” that teachers dream of, then it will be perceived as a reciprocal gift from the child. Firstly, he showed his independence, the independence that you were going to cultivate in him. And secondly, he drew your attention to the need for a more thorough assessment of the level of training and interests of students. This will help you find the adequacy of your assignment to the level of need for it. It is at this time that you improve as a teacher, if of course you need it.

One of the central techniques is working on a task in small groups. It is here, in a situation of mutual complementarity and constant change of role functions, that all the techniques and skills to create a common harmony in teamwork work effectively and are constantly honed. A change in role functions is being developed (teacher-student, leader-follower, complementary), since the composition of the groups is constantly changing. There is an objective need to include each group member in the work, since holding responsibility for the group may fall to any of the participants by lot. This the principle of action, not ambition.“Today you play Hamlet, and tomorrow you are an extra.”
6. The principle “Do not judge...” Tact is developed in the ability to “judge” the work of another group on the basis of the case, and not on personal sympathies and claims, which result in mutual grievances and pain. To avoid such “showdowns”, the teacher needs to establish business-like, specific criteria for assessing the completion of tasks.

For example: did you or didn’t manage to meet the deadline? Were all or not all group members involved in demonstrating the answer? Do you agree or disagree with the answer? Such unambiguous criteria, not related to evaluations “like - dislike, bad - good,” initially control, first of all, the organizational framework of the task. In the future, studying evaluation criteria, students learn to track and note the objective, rather than taste, aspects of a phenomenon. This makes it possible to alleviate the problem of conflicting ambitions in teamwork and to more constructively keep track of the material mastered.

By periodically giving the role of “judge” to students, the teacher expands the scope of their independence and receives an objective assessment of their activities: what their students have learned in reality, and not according to his ideas. In this case, the phrases “I told them a hundred times!..” will not save you. The sooner we see the real results of our activities, the more time and chances we have to change something.

Principle correspondence of the content of the work to a certain external form, i.e. mise-en-scène. Mise-en-scene solution to the educational process. This should be expressed in the free movement of students and teachers in the classroom space, depending on the need for the content of the work. This includes inhabiting the space, for appropriating it and feeling comfortable in it. This search for a teacher’s place is different in each specific situation. It is not the case that should serve some external order, but the order should change depending on the needs of the case.
Principle of problematization.

The teacher formulates the task as a kind of contradiction, which leads students to experience a state of intellectual impasse and plunges them into a problematic situation.

A problematic situation (problem-task, situation-position) is a contradiction between the range of proposed circumstances and the needs of an individual or group of individuals located within this vicious circle.

Therefore, a problematic situation is a psychological model of the conditions for the generation of thinking on the basis of the situational dominant cognitive need.

A problem situation characterizes the interaction between a subject and his environment. Interaction of personality and objective contradictory environment. For example, the inability to complete theoretical or practical task using previously acquired knowledge and skills. This leads to the need to equip ourselves with new knowledge. It is necessary to find some unknown that would resolve the contradiction that has arisen. Objectification or objectification of this unknown occurs in the form of a question asked to oneself. This is the initial link of mental activity connecting the object and the subject. In educational activities, such a question is often asked by the teacher and addressed to the student. But it is important that the student himself acquires the ability to generate such questions. In search of an answer to the question of new knowledge, the subject develops or lives the path to the generation of knowledge.

In this sense, the problem situation is the primary and one of the central concepts of theater pedagogy and, in particular, the socio-game teaching style.

Problem-based learning is a teacher-organized way of student interaction with the problematically presented content of the subject of study. Knowledge obtained in this way is experienced as a subjective discovery, understanding as a personal value. This allows you to develop the student’s cognitive motivation and interest in the subject.

In teaching, by creating a problem situation, the conditions for research activity and the development of creative thinking are modeled. A means of controlling the thinking process in problem-based learning are problematic questions that indicate the essence of the educational problem and the area of search for unknown knowledge. Problem-based learning is implemented both in the content of the subject of study and in the process of its development. The content is realized by developing a system of problems that reflect the main content of the subject.

The learning process is organized by the condition of an equal dialogue between teacher and student, and students with each other, where they are interested in each other’s judgments, since everyone is interested in resolving the problematic situation in which everyone finds themselves. It is important to collect all the solution options and highlight the fundamentally effective ones. Here, with the help of a system of educational problems caused by problematic situations, subject research activities and norms of social organization of dialogic communication between research participants are modeled, which in fact is the basis of theatrical pedagogy of the rehearsal process and training, which allows the development of students’ thinking abilities and their socialization.

The main means of testing any assumption is an experimental test that confirms the evidence of the facts; in theater pedagogy, this can be a staging or a sketch, a thought experiment or an analogy. Then there is necessarily a discussion process of proof or justification.

Under stage understands the educational and pedagogical process of creating a plan for an acting experiment-sketch and its implementation. This means assembling the range of proposed circumstances of the situation, setting the goals and objectives of its participants and realizing these goals in stage interaction, using certain means available to the characters in the story. Unlike a professional acting sketch, in a general educational situation, what is important is not the acting skill itself, but its methods of appropriating the situation. This is a process of creative imagination and mental justification of the proposed circumstances and an effective experiment-study to test the hypothesis put forward for solving the problem. It can also be a search for a solution through improvisation in the proposed circumstances.

The students, having played out the study-experiment, practically visited the situation under study and tested, using their life-game experience, assumptions and options for behavior and solutions to problems in a similar situation. Moreover, educational and cognitive sketches can be constructed either completely recreating the necessary situation, or similar situations, similar in essence, but different in form, which can be more close and familiar to students. The etude method, as a method for studying a situation or a certain content, involves setting a problem and a task to solve it, creating a list of game conflict rules of behavior (what is possible and what is not), which create a game problem situation, a study-experiment and its analysis. In this case, the main stage is analysis. In the analysis, the given framework of the rules of the game is compared with those that actually existed, i.e. The purity of the experiment is assessed. If the rules are followed, then the results obtained are reliable. Both student-performers and student-observers, who are initially assigned the role of controllers, participate in the discussion analysis of compliance with the rules. It is this threefold competitive process of interchange of information lived in the study, observed and control that allows students to get into a reflective position, which effectively promotes the process of generating new knowledge. It doesn’t matter at all how the student performers played from the point of view of the acting technique of verisimilitude (they, of course, depict or illustrate everything), what is important is what the student observers saw in it. And they are able to see in a simple sketch of their comrades a lot of new ideas and solutions to problems that the performers have no idea about or have not planned. After all, “from the outside it is more visible,” especially when you have the necessary information!.. Even before we perceive an object, we are full of meanings about it because we have life experience. These “views from different sides,” let us again remember our favorite parable about the blind men and the elephant, allow the participants in such work to be enriched from each other with new parts of the truth through objective-reflexive relationships, striving for its integrity. Reflection in this case is understood as a mutual reflection of subjects and their activities in at least six positions:

The rules of the game themselves, as they are in this material, are control rules;

The performer is how he sees himself and what he has done;

The performer and what he accomplished, as seen by observers;

And the same three positions, but from a different subject.

This is how a double mirror image of each other’s activities occurs.

The same can be done while sitting at the table without going to the playground. This method can be conditionally called a mental or imaginary experiment, which in theatrical practice is called “table work.”

Thus, modern theater pedagogy takes a comprehensive approach to training the entire range of children’s sensory abilities; at the same time, competence in creating the mode of interpersonal communication is being developed, the sphere of independent creative and mental activity is expanding, which creates comfortable and, importantly, natural conditions for the process of learning and communication. The techniques of theater pedagogy solve not only the special educational problems of theater education, but also allow them to be successfully applied in solving general educational problems.

Of course, it is impossible to reflect all the new trends and ideas in theater pedagogy today in a short article. It was important for me to pay attention to the most, in my opinion, effective modern tendencies, which actualize the problem of preserving the traditions of the Russian theater school and children's theatrical creativity.

Danilov S.S. Essays on Russian history drama theater. - M.-L., 1948. P.278.

Tebiev B.K. and others. Tula Theater. Historical and art essay. - Tula, 1977. P.16-17.

Pirogov N.I. Selected pedagogical works - M., 1953. P. 96-103

Quote according to the book To help family and school. Pedagogical Academy in essays and monographs. - M., 1911 C 185.

Resolutions of the 1st All-Russian Congress on Issues of Public Education (By sections and commissions) // Bulletin of Education 1914 No. 5 Appendix C 12.

All-Russian Congress of People's Theater Workers in Moscow. Resolutions of the school section of the congress. // School and life. 1916. No. 2. Stb. 59.

Right there. P. 60.

See: Shatsky S.T. Cheerful life. // Pedagogical. essays. In 4 volumes T. 1 - M, 1962. P. 386-390.

1 Of course, this is unacceptable in theater education, where, first of all, the organic process of living a conditional situation is important.

Chapter 1. School theater pedagogy.

1.2. Acting and director culture of teachers as part of school theater pedagogy.

Chapter 2. History of the formation of school theater pedagogy

2.1. The origins of school theater pedagogy and theoretical guidelines for its creation.

2.2. Features of the poetics of theater in educational institutions of Russia XVII

2.3. Activities of theorists and practitioners of school theater pedagogy at the beginning of the 20th century.

Chapter 3. Prospects for the development of school theater pedagogy

3.1. Theater in the educational process.

3.2. Pedagogy of school theater.

3.3. Theatrical and pedagogical experiment.

Recommended list of dissertations

School theater in the system of culture and education 2000, candidate of pedagogical sciences Lapina, Olga Aleksandrovna
The influence of educational and pedagogical activities of subjects of theatrical culture of the late 18th-19th centuries on modern education 2012, candidate of pedagogical sciences Borzenko, Dmitry Alexandrovich
Theater where children play in search of their own identity 2002, candidate of art history Nikitina, Alexandra Borisovna
The phenomenon of masks in theatrical culture 2007, Doctor of Cultural Studies Tolshin, Andrey Valerievich
Social and professional development of an actor at a theater university 2002, candidate of pedagogical sciences Kuzin, Alexander Sergeevich

Introduction of the dissertation (part of the abstract) on the topic “School theater pedagogy as a socio-cultural phenomenon”

The Russian school is experiencing one of the most dramatic stages in its history today. Structures destroyed totalitarian state, and with them a well-functioning education management system. Programs and textbooks, the “question-and-answer” method of transferring regulated knowledge, skills and abilities are hopelessly outdated. Educators and philosophers offer various concepts of the educational process, innovative teachers offer original teaching methods and techniques. Various types of schools are emerging: public, private, alternative. At the same time, the question of the goals, content, and teaching methods remains open and concerns not only the domestic school, but is relevant throughout the world.

The need to build a new type of school that meets society’s need for a cultural personality, capable of freely and responsibly choosing their place in this contradictory, conflict-ridden, dynamically changing world, is becoming more and more clearly recognized in the philosophical and cultural literature. Apparently, we are talking about the formation of a new pedagogical paradigm, new thinking and creativity in the educational sphere. A “culture-creative” type school is born, building a unified and holistic educational process as a child’s path to culture. 1

Unlike an educational school that transmits knowledge, a new school aims to transfer the cultural experience of generations. And this means experience of life in a culture, communication with people, understanding of cultural languages - verbal, scientific, artistic. In such a school - and this trend is clearly growing today - special role will belong to art, since in its

1 Valschkaya A.P. Education in Russia: strategy of choice. - St. Petersburg: publishing house of the Russian State Pedagogical University named after. A.I. Herzen, 1998.-128p. In images, humanity is reflected throughout world history, and today’s man recognizes himself in the faces of the past.

The relevance of the dissertation research is determined by the peculiarities of the sociocultural situation in the modern world, the main feature of which is the dynamism of changes, the activity of integration processes; the request of modern Russia, which is part of the world community, experiencing reformation processes in all spheres of social practice, the moment of change in value, socio-cultural and personal orientations; the individual’s need for cultural self-identification, acquiring ways of actively mastering (understanding, getting used to) world and domestic cultural experience; the need for domestic education, in which a clear trend of humanization is developing.

The Federal Law “On Education” formulates the first principle of state policy in the field of education as follows: “the humanistic nature of education is the priority of universal human values, human life and health, and the free development of the individual”2. This provision argues for the personal orientation of educational programs, which means the need to adjust the pedagogical goals and technologies implemented in each of the disciplines of the curriculum. School theater pedagogy, acting as a tool for interdisciplinary integration, involves mastering the cultural experience of generations on the path of directly including the child in cultural creative activities.

2 Federal Law on Amendments and Additions to the Law of the Russian Federation “On Education”. Adopted by the State Duma on June 12, 1995 Article 2. Principles of state policy in the field of education. M., 1998. C.4.

The capabilities of school theater pedagogy are difficult to overestimate. This type of educational activity was widely and fruitfully used in school practice of past eras, known as a genre from the Middle Ages to the Modern Age.

The school theater contributed to the solution of a number of educational tasks: teaching live conversational speech; acquisition of a certain freedom of circulation; “learning to speak before society as speakers or preachers.” A.N. Radishchev called the school theater “a theater of benefit and action, and only incidentally with this - a theater of pleasure and entertainment.”3

Feofan Prokopovich writes about the importance of theater in school with its strict rules of behavior and the harsh regime of the boarding school: “Comedies delight young people in a harsh life and similar to captive imprisonment.”4

In the second half of the 17th century, Jan Amos Comenius formulated the “Laws of a Well-Organized School.” Under the number nine in this work was written: “Laws on theatrical performances,” which “are very useful to give in schools.”

Thus, school theater pedagogy 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 the discovery of unknown facets of modernity.

3 Radishchev A.N. Russian philosophy, XVIII century. - M.: Gospolitizdat, 1952., p.5.

4 Vsevolodsky-Gerngross V.N. History of Russian theater. - JI.-M.: Art 1977, p.299.

It helps to assimilate moral and scientific truths through the practice of dialogue, teaches one to be oneself and the “other,” to transform into a hero and live many lives, spiritual collisions, and dramatic tests of character. Theater as a phenomenon, as a world, as a subtle instrument of artistic and social cognition and change of reality, represents the richest opportunities for the development of a teenager’s personality. In other words, theatrical activity is a child’s path to culture, to moral values, and a path to himself.

School theater is a means of developing the creative inclinations and abilities of a teenager, both in the field of perception and appreciation of works of art, and in their own creativity. It develops active attention, observation, and the ability to fantasize. There are especially great opportunities in theater work with high school students. It is in high school that teenagers begin to become deeply interested in issues of art. During these years, there was a search for moral ideals, criteria for aesthetic assessments of the phenomena of reality.

The increase in the general educational significance of school theater for high school students is also due to the fact that “the most effective “theatrical” period for middle and high school age is from grades 7 to 1.”5

It is at this age that schoolchildren show serious interest in theater and are most susceptible to the influence of dramatic art.

5 Keyatkovsky E.V. Study of artistic interests of schoolchildren. - M.: Education, 1975. - 138 e.; Ershova A.P. On the question of the advisability of teaching the basics of acting to all students. - M.: Education, 1975.145 p.

In modern schools, the developmental and educational potential of school theater is not sufficiently realized as a result of a whole range of reasons. Many of them are due to the financial condition of the school, poor technical equipment of the entire pedagogical process and especially the subjects of the artistic cycle. Others are associated with methodological organization activities, with the formal use of art in the classroom. The school does not fully use the substantive capabilities of the school theater, since there is no sufficiently complete, deep justification for it in pedagogical science, and there are no specially trained personnel. Unfortunately, today school theater is nothing more than an extracurricular “amateur activity,” a kind of “distraction and entertainment.” And this is most connected with the school’s orientation towards the communication of knowledge, the development of intelligence, and not the personality of the teenager in all the fullness of its qualities. This leads to the formation of “technocratic thinking” of students, to the impoverishment of their imagination, the limitation of fantasy as the basis of creativity, which, in turn, affects the overall development of the individual, reduces its artistic and creative activity, and affects the worldview of schoolchildren. The main reason for the lack of demand for school theater is in the specifics of the totalitarian pedagogical paradigm, where the child acts as a passive object of learning.

The revival of school theater as an active educational form of activity is the need for humanistic pedagogy, focused on the development of personality. School theater is a means of developing the creative inclinations and abilities of a teenager, both in the field of perception and appreciation of works of art, and in their own creativity. It develops active attention, observation, and the ability to fantasize. It fascinates with its emotionality, organicity, and spontaneity.

Nowadays almost every school has a theater. But, despite the various forms - elective, drama club, studio - school theater, as a rule, is not part of the educational process, but exists as additional education. Many dedicated teachers realized that the situation needed to change. They understand: the educational process, enriched with elements of theater pedagogy, is the future of the modern school. In the processes of the birth of a new school, pedagogy of a joint search for a “whole person”, mastering the world with the whole complex of his capabilities - plasticity, voice, word - the theater “embraces” the entire educational process, in which each lesson is thought of as a performance, the teacher is an actor and director, and students are co-creators.

In different eras, theater in educational institutions performed special functions: in the Middle Ages it was predominantly of a mysterious nature; in the 18th century - educational, illustrating works of literature and educating students; in the 19th century, theater became isolated from the educational process 6 and became an extracurricular activity, a means of filling leisure time. The fate of the school theater movement in Russia during the Soviet era is dramatic: from the creation of a school theater museum (a 1918 program that was never implemented) to the development of theater lessons from grades 1 to 11; from poverty-stricken drama clubs to the glittering International School Theater Festivals.

The cultural and historical typology of school theater is determined by its dual nature: on the one hand, it is connected with the

6 Hence the dissatisfaction of professional teachers with the very presence of theater in school, which was expressed, for example, by N.I. Pirogov. radical characteristics of specific education historical era, and on the other hand, it retains its genetic affiliation with theater as an independent art form.

The development of a school theater methodology that is organically included in the educational process is becoming an urgent pedagogical need today. It is important to emphasize that this is not

06 episodic techniques, but about a system of methods for transforming the educational movement of an individual in the process of his active entry into culture. It is clear that this system should be based on a verified modern philosophical and psychological concept of personality becoming in culture, “the idea of the correlation of phylo- and ontogenesis.” 7

Based on many years of work at school, the author of the proposed dissertation is aware of the urgent need for a theoretical understanding of his own practice. For six years, the author was the director of the musical and poetic theater “Poisk”, organized on the basis of SPTU-43 village. Siversky, Leningrad region. Not only students from all courses at SPTU, but also high school students from two schools in the village took part in the theater. The heterogeneity of the participants also determined the specifics of working with this complex group, which consisted of: the ability to find an individual approach to each “theater”; in acquaintance with various types arts: music, literature, painting, choreography; in the correct choice of theater repertoire; in the construction of each performance according to the laws of the genre and much more. In six years, seven performances were born. These included musical and poetic compositions, a documentary performance, variety shows, and a satirical fairy tale.

7 Valitskaya A.P. Education in Russia: strategy of choice. - St. Petersburg: publishing house of the Russian State Pedagogical University named after. A.I. Herzen, 1998.-128p.

In addition, the author is the director of the St. Petersburg Center “Theater and School”, the purpose of which is: interaction between theater and school, implemented through the organic inclusion of theatrical activities in the educational process of city schools; inclusion of children and teachers in the creative process, 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 between professional theaters and schools, development of theater subscriptions focused on the educational process.

Despite the fact that the genre of dissertation research involves a movement from the general to the specific, from theory to practice, in the author’s experience this movement was the opposite, hence the logic and structure of the study.

Developing the concept of a holistic educational process, which presupposes the unity of education (upbringing, training and development), requires consideration of the problems of school theater at the target, content and organizational and methodological levels. The structure of this dissertation is built in accordance with these objectives. Taking into account the needs of practice, as well as the insufficient development of the issue of the role of school theater in the educational process, we can assert the relevance of the chosen topic: School theater pedagogy as a socio-cultural phenomenon.

School theater pedagogy is a form of educational artistic and aesthetic activity that meets the needs of culture for self-preservation and development. School theater pedagogy is a phenomenon of culture and education, the problem of pedagogical theory and practice is considered in the dissertation research as a methodological system organically included in the holistic educational process.

The proposed study is interdisciplinary in nature, since in it school theater pedagogy appears as an element of artistic culture (historical and cultural aspect), as a form of artistic and aesthetic activity (art criticism aspect), as well as a complex of psychological, pedagogical and methodological problems. It is clear that each of these approaches can be used in independent local research. The author of this work sees his task as clarifying the cultural-creative role of school theater pedagogy, exploring its capabilities in the development of students’ personalities and updating this type of educational work in a modern school.

The interdisciplinary and complex nature of the study presupposes an appropriate comprehensive methodological framework. It uses: historical-cultural, philosophical-axiological, system-activity, psychological-pedagogical approaches that substantiate the understanding of theater in educational institutions as a cultural phenomenon, the individual as an emerging integrity and the educational process as a purposeful activity that introduces the individual into culture.

The psychological and pedagogical approach serves to substantiate the processes of personal development of students and is the methodological basis for determining the methodology for organizing theatrical activities as an educational process. School theater pedagogy is considered as artistic and aesthetic creativity and a form of educational activity in its theory, history and practice.

The first chapter, “School Theater Pedagogy,” contains two paragraphs and examines the theoretical and practical problems of school theater pedagogy.

A new interdisciplinary direction “School Theater Pedagogy” is proposed and the prospects for its development are analyzed.

The second chapter, “The History of the Formation of School Theater Pedagogy,” contains three paragraphs and is devoted to determining the place of school theater pedagogy in the history of culture.

School theater pedagogy appears as a cultural phenomenon and is determined by the specifics of its historical development. The activity of its participants changes depending on the historical type of artistic culture, on the nature of the social demand for the theater. However, the essential function of theater as a model of a person’s relationship with another person, with society, nature and God, which is played out in specific situations, destinies, and conflicts, remains unchanged and is becoming more and more refined.

School theater is considered as a tradition of national education in the historical and cultural context of Russia in the 17th and 18th centuries.

The third chapter analyzes modern problems of school theater pedagogy and prospects for its development. The role of the school theater in the educational process is considered, the specific conditions for its effective functioning are determined, and its methodological principles are substantiated.

The dissertation research developed in the methodology of “ascent” from fixed observation methods (comparison, analysis of various manifestations of a teenager’s personality - character, interests, needs, intelligence, imagination, tastes) - to theoretical generalization, to conclusions about the cultural creative mission of school theater pedagogy, about its role in the system of culture and education.

Due to the interdisciplinary nature of the study and the peculiarities of its methodological foundations, it is especially difficult to analyze the literature covering the stated problem. Here we can distinguish three main groups of sources: historical, theoretical and theoretical studies about theater in general and school theater in particular; pedagogical literature on children's theatrical activities and teaching aids, including private recommendations.

The accumulation of factual material, the development of general and specific issues of the history and theory of school theater led to the creation of generalizing works. In the brilliant monograph “School Theater and Drama. Jesuit scenes of the 17th century." Ya. Okon examined the school theater against the background of the culture of the 17th century. He studied many structural features of plays and performances.

There has been no involvement in school theater in Russia for a long time. Researchers were more interested in folk theater, the first plays of the Russian court theater. All the more significant was the publication of the joint work of V.D. Kuzmina and I.M. Bada-licha “Monuments of Russian school drama of the 18th century.”1

Almost simultaneously with her, the works of O.A. appeared. Derzhavina, who paid a lot of attention to the comparative analysis of the plots of school drama.2

1 Kuzmina V.D. and Badalich I.M. Monuments of Russian school drama of the 18th century. M., 1968.

2 Derzhavina O.A. On the issue of comparative historical study of European and Russian drama of the 17th century. In the book: Slavic literatures, ., 1968; AKA: Early Russian Drama. XVII - first half of the XVIII century, M., 1972.

The revival of interest in school theater brought to life the republication of his texts and a new interpretation of them, new coverage of the place of school theater in the system of Russian culture, Russian theater in a series of books united by the general title “Russian Early Drama”. A.N. Robinson, O.A. Derzhavina and other authors set themselves the task of tracing the history of the origin and development of Russian theater and its individual types. They published texts that had become difficult to access over time, commenting on them in the most careful and varied manner and introducing extensive articles to them. Thus, specialists in ancient theater had at their disposal both a textbook and scientific research at the same time.

One volume, entirely devoted to school theater, opens with an article by A.S. Demina “The Evolution of Moscow School Drama,” which contains interesting observations on the poetics of drama - its allegorical nature, abstraction, symmetry, and musicality of composition.

The volume, dedicated to the Russian theater of the 70-90s of the 18th century, contains an article by O.A. Derzhavina, in which connections between the court and school theaters are traced.3 A.S. writes about the school theater as part of the Russian amateur theater in another volume. Eleonskaya.4

Until recently, researchers of school theater were primarily concerned not with its educational function, but with its social, in particular, didactic function. First of all, this theater was regarded as part pedagogical program, the main goal

3 Dereyuavina O.A. Russian theater of the 70-90s of the 18th century. and the beginning of the 18th century. - In the book: Early Russian drama, pp. 5-52

4 Eleonskaya A.S. Creative relationships between school and court theaters in Russia. -M: 1975.- 7-46s. which was training and education. If there was any discussion about his artistic appearance, it was almost always in a negative aspect. The theater was accused of monotony and rhetoric; its playwrights were accused of plagiarism. Critics did not understand the nature and goals of school theater; they judged it from the perspective of theater as an art form.

Russian researcher P.O. Morozov, who contributed a lot to the study of Russian school theater, at the same time argued, “that, bound by the tight framework of educational goals and immovable scholastic literature, school performances could develop only quantitatively, and not qualitatively; if among their authors there were people not without talent, then they, without deviating from the textbook, had to adhere to the conventional form, which completely subordinated the content, and, therefore, could not be independent.” 5

Judgments of this kind were possible because the dual nature of school theater was not taken into account. On the one hand, it really was a theater, on the other hand, it was something like visual aid in poetics and rhetoric, which, of course, gave rise to many imperfect plays. In addition, for a long time, researchers did not separate theatrical texts from oratorical texts. Many plays were actually exercises in the art of oratory and were transitional forms from the art of eloquence to the art of theater. These forms (dialogues, scenery) were mixed with dramatic works, which led to negative judgments about the merits of school theater in general.

Researchers came to conclusions about the artistic inconsistency of the theater also because they placed demands on it that were applicable, for example, to the Renaissance theater or the theater of the 19th century. Even Yu. Levansky, who did so much to study this type of theatrical art, wrote at one time that the development of school theater led to the abandonment of the achievements of the Renaissance. Subsequently, he revised his views and determined its significance for the national theater.

Theater as an art form has been examined extremely extensively and quite deeply in its historical and cultural manifestations, socio-psychological and aesthetic functions, diversity of species and genre forms, in aspects of directorial and acting creativity (112 - 166.). For our topic here, of particular interest are studies that highlight the socio-psychological nature of theatrical creativity, especially its educational and educational capabilities (120, 124, 125, 132). The author necessarily turns to the extensive historical and theater literature.

It should be noted that the works devoted to the genre of school theater in the history of national pedagogy are relevant for the dissertation candidate. Contemporaries called N.N. the encyclopedist of school theater. Bakhtin, whose numerous works are still awaiting research (172-183). An equally extensive group of theoretical studies is pedagogical literature on amateur theater performances of schoolchildren, which is considered as auxiliary and illustrative in relation to traditional academic subjects (literature, history) or as extracurricular amateur activities (271273, 315, 323, 337-340, etc.). In this study, we are interested in works that highlight the issues of directing in children's theater, the psychological and pedagogical aspects of theatrical

5 Morozov P.O. History of Russian theater until the half of the 18th century, p.52. children's creativity (272, 323, 338, 339, etc.), as well as research of a historical and pedagogical nature (298-301, 304-305, etc.).

Most studies focus on elementary and middle age, with only a few studies addressing to some extent the issue of the pedagogical impact of school theater on high school students (337, 339).

A significant contribution to the development of the problem of raising children through theater was made - in theory - by I.L. Lyubinsky, G.K. Osipova, B.N. Nashchekin; in practical activities - N.I. Sats, E.Yu. Sazonov, T.I. Golodovich, O.A. Permyakov, T.L. Arabova, E.G. Serdakov, N.Yu. Sidorova-Zolotareva, I.N. Gosteva, M.I. Kislov and many others.

In most publications, the authors consider the process of working only on artistic and dramatic works, while performances of various genres can be staged on the school stage: literary, musical, documentary, etc. Each of them has its own specificity, requiring special consideration and methodological development.

An analysis of scientific and methodological literature, one way or another relating to theater in educational institutions of Russia, shows that such problems of school theatrical activity as: compliance of the principles of school theater with the age-related psychological characteristics of high school students; artistic and pedagogical principles of staging school plays with high school students; principles of formation of school theater repertoire and pedagogical requirements to him; Features of the activities of a teacher-director of a school theater.

The described state of the problem chosen for the dissertation research allows us to determine its goals, objectives and structure

The purpose of the work is a scientific, theoretical and practical study of school theater pedagogy as a socio-cultural phenomenon, enriching the educational process of modern educational institutions with the help of school theater pedagogy, actively focused on the formation of a cultural personality.

The object of the study is theatrical artistic and aesthetic creativity as a means of personality development in the educational process.

The subject of the research is to study the patterns of emergence, formation, and development of school theater pedagogy.

During the research, a hypothesis was put forward:

School theater pedagogy as a tradition of national culture and education and a means of moral and aesthetic education can contribute to the construction of a holistic educational process focused on the formation of personal moral and aesthetic culture of students, if the work of the school theater is organized in accordance with the capabilities of this type of activity:

Consider school theater pedagogy as important component the educational process at school, as a means of achieving its cultural goals;

To see theatrical activity as a means of satisfying and developing cognitive and creative needs and harmonizing the personal interests of adolescents in joint artistic and aesthetic activities;

Organize the work of the school team “according to the laws of the genre,” i.e. methodically competently solve each of the stages of artistic and aesthetic work with children in the process of organizing a team, selecting a repertoire, and so on;

Take into account the need for special training of the teacher-director of the school theater.

The structure of the dissertation research is built in accordance with the following objectives:

To trace the genesis of school theater pedagogy in the cultural and historical process;

Determine the features of school theater as a form of educational artistic and aesthetic activity; to formulate the basic principles of school theater pedagogy as a special educational technology.

Moreover, each section of the dissertation has its own specific objectives:

1. Determining the relevance of the problem and its current state based on the analysis of extensive historical, cultural, theater studies, psychological, pedagogical and methodological literature.

2. Identification of the socio-psychological functions and capabilities of school theater pedagogy as a type of artistic, aesthetic and educational activity in its historical and cultural movement and formation.

3. Defining a new interdisciplinary direction “School theater pedagogy” and searching for ways to develop it.

4. Methods and forms of including theater in the educational process, identifying the developmental, educational and educational potential of school theater pedagogy under experimental conditions in order to develop specific methods and programs.

Methodological basis of the study:

The proposed research is interdisciplinary in nature, since it requires consideration of school theater pedagogy as an element of artistic culture (historical and cultural aspect), as a type of artistic and aesthetic activity (art criticism aspect), as well as as a complex of psychological, pedagogical and methodological problems. It is clear that each of these approaches can be used in independent local research. The author of this work sees his task as clarifying the cultural creative role of school theater in the educational process, exploring its capabilities in the formation of a teenager’s personality and updating this type of educational work in a modern school.

The chronological framework of the study is the first half of the 17th century. - beginning of the 21st century. The choice of such a broad research framework is due to the need to trace the trend in the development of school theater pedagogy.

Sources of research: scientific-theoretical and historical works in philosophy, pedagogy, theater studies, cultural studies, psychology, literature, methodology of scientific and historical-pedagogical research.

The theoretical basis of the study was the work of domestic philosophers and teachers, theater historians, publicists, literary critics, art historians; periodicals of the second half of the 19th - early 20th centuries; materials stored in the manuscript departments of the Russian National Library, materials from the dissertation collection of the Russian State Library, modern reference books, encyclopedias, etc.

The research methodology was formed on the basis of a system of general scientific principles, modern approaches to historical and pedagogical knowledge: cultural and civilizational (B.G. Kornetov, M.V. Boguslavsky, V.I. Ovsyannikov, etc.); provisions of the philosophy of education on the sociocultural conditionality of the processes of upbringing and education (B.M. Bim-Bad, M.V. Boguslavsky, A.P. Valitskaya, B.S. Gershunsky, V.V. Kraevsky, etc.); cultural-historical concept (JI.C. Vygotsky, A.G. Asmolov, V.P. Zinchenko); concepts of culture (M.M. Bakhtin, B.S. Bibler, Y.M. Lotman, A.M. Panchenko, G. Simmel); axiological theory of culture (G.P. Vyzhletsov, M.S. Kagan).

The study was based on a systematic analysis of historical and cultural processes and phenomena, on the unity of structural, functional, socio-economic, psychological features, and on the understanding of the spiritual elite as an impulse of the historical process (S.N. Ikonnikova).

An important role in the formation of the conceptual core of the study was played by the works of A.P. Valitskaya (Education in Russia: strategy of choice; New school of Russia: cultural model); V.E. Triodina (History and theory of socio-cultural activity). Special meaning For their dissertation they have research in applied cultural studies (M.A. Ariarsky). They reveal the pattern of human involvement in the world of culture and its practical development.

A significant place in determining the author’s theoretical position was occupied by the development of deviant behavior in crisis conditions (A.A. Sukalo); pedagogy of leisure and cultural and leisure activities (N.F. Maksyutin); associative and dissociative mechanisms of the formation of socio-cultural systems (A.P. Markov).

The interdisciplinary nature of the research involves the use of a comprehensive system methodology in solving specific problems: the problem-historical approach clarifies the movement of school theater pedagogy depending on the type of culture and educational objectives; philosophical and aesthetic analysis clarifies the specifics of the school theater phenomenon; solving classification problems requires a comparative typological justification; the socio-psychological approach turns out to be relevant in the study of the current state of theatrical activity in schools.

The terminological apparatus used in the study is clarified as follows. The concept of “education” organically includes training and education; “school theater” is interpreted as a type of artistic, aesthetic and educational activity; “school theater pedagogy” is a socio-cultural phenomenon and a system of principles for organizing the educational process.

The scientific novelty of the study lies in the fact that:

The cultural-historical typology of school theater pedagogy has been defined and justified, which, on the one hand, is associated with the paradigmatic characteristics of education of a particular historical era, and on the other, retains its genetic affiliation with theater as an independent art form;

For the first time, school theater pedagogy is considered as a form of educational artistic and aesthetic activity that meets the needs of culture for self-preservation and development; the phenomenon of culture and education and the problem of pedagogical theory and practice;

School theater pedagogy is proposed in the dissertation research as a methodological system organically included in the holistic educational process;

The principles of school theater pedagogy are formulated.

The theoretical significance of the research results is that:

The historical and pedagogical knowledge about the emergence and development of school theater pedagogy in Russia as a phenomenon of culture and education in the processes of its formation, development and current state has been updated;

A set of documents covering the history of school theater pedagogy in Russia has been collected, summarized, and theoretically comprehended;

The principles and approaches for including school theater pedagogy as an artistic and aesthetic activity in a holistic educational process of a cultural-creative type are proposed;

The possibilities of school theater pedagogy in cultural formation are traced by age stages and dominants.

The reliability of scientific results is ensured by the methodological validity of the starting positions, reliance on theoretical principles developed by leading domestic scientists in the field of pedagogy and education, and the use of methodological apparatus that corresponds to the goals and objectives of the study. The objectivity and comprehensiveness of the work is achieved by the completeness of historical material, critical analysis and correlation of research in the field of theory and history of pedagogy, philosophy, artistic culture, theater studies, cultural studies, national history and others scientific research. Practical significance of the dissertation research:

The principles and features of theater pedagogy are formulated, which can be used in the development of a new specialty “school theater pedagogy” in the direction of “art education”;

The dissertation research can be used in the activities of school theaters in St. Petersburg and other cities of Russia;

Based on historical material, as well as theoretical conclusions obtained in the dissertation, training courses have been developed: “School theater in the system of culture and education”; “Methodology of theater lessons at school”; “Practical philosophy of theater” and “Fundamentals of acting culture for teachers.”

The main provisions of the dissertation submitted for defense:

1. School theater pedagogy as a socio-cultural phenomenon, a tradition of national culture and education and a means of moral and aesthetic education will contribute to the construction of a holistic educational process focused on the development of personal moral and aesthetic culture of students, if the work of the school theater is organized in accordance with the capabilities of this type activities.

2. The genesis of school theater pedagogy can be traced from the functional identification of school theater in the Middle Ages to the emergence of an independent theatrical genre in the Baroque era and the establishment of its educational function, moralizing, educational role in the Enlightenment to the theoretical understanding of school theater as a pedagogical problem in the late 19th and early 20th century.

3. In the historical and cultural context of Russia in the 17th and 18th centuries, school theater pedagogy is considered as a tradition of domestic education. In the cultural system of the 17th-18th centuries. school theater was a means of education, an extensive pedagogical technique that was used in teaching two of the seven free arts - poetics and rhetoric. The poetics of the school theater of the 17th-18th centuries, its genre system, is characterized by relative constancy, which, given the instability of theater groups, the amateur nature of the playwrights’ work, and fluctuations in the life of school stages in general, created characteristic feature this type of educational culture.

4. The development of school theater pedagogy in the second half of the 19th century is characterized by: performances are not an end in themselves, not an imitation of professional theater, but a means of educating students; exceptional seriousness of the educational activity, preparing for independent creativity. Theorists and practitioners of school theater at the beginning of the 20th century came to the conclusion about the need to introduce theatrical art into the educational process of school and to train teachers in pedagogical institutions who could carry out this task.

5. The dissertation research proposes the term “school theater pedagogy” to denote a system of principles in the educational process of schools and universities.

School theater pedagogy involves:

Creating a performance as a means of educating the emotional and sensory sphere of the pupil and student;

Inclusion of theater lessons in the school educational process;

Training of specialists to conduct theater lessons at school;

Teaching students of pedagogical universities the basics of directing;

Training school teachers in the basics of directing.

6. In schools of St. Petersburg, school theater pedagogy is a subject of close interest, while pedagogical research is being carried out in the following directions:

Schools with theater classes;

Schools with a theatrical atmosphere;

Drama clubs;

Children's theaters outside of school;

Schools in which the Theater lesson is included in the curriculum of all classes.

7. The acting and directing culture of the teacher, being part of school theater pedagogy, leads to increased creative potential of the teacher and improvement of the learning process. In the circumstances of a school lesson, using the material of a particular academic subject, the teacher implements the principle of modeling the operations of a theater director.

8. School theater pedagogy appears as a form of educational artistic and aesthetic activity that recreates the life world inhabited by a child. And if in a role-playing game, whose name is theater, the goal and result is an artistic image, then the goal of a school theater is significantly different. It consists in modeling the educational space to be mastered.

9. In school theater as a form of artistic and aesthetic activity, all types of “actor-spectator” relationships “get along” and coexist. From primitive syncretism - “everyone plays for everyone.” From the Middle Ages - a moralizing character, a breadth of symbolic and allegorical understanding of reality. From Baroque - functions in the educational process, inclusion in the school curriculum. However, the specificity of school theater remains unchanged, which lies in the interchangeability of actor and spectator, in the optionality of acting professionalism and the spectator's position of an observer.

The dissertation research is structured as follows:

School theater pedagogy theater as a form of educational artistic and aesthetic activity is considered in the historical and cultural context as a tradition of domestic education, in order to determine its own capabilities and goals;

The history and theory of school theater pedagogy as a pedagogical problem is explored;

The principles of school theater pedagogy are formulated;

Some aspects of the practice of school theater and the problems of its methodology are analyzed, based on the experimental work of the author.

Approbation of the study:

The research materials were systematically discussed at the Department of Social and Cultural Service and Tourism of the St. Petersburg State University of Service and Economics and the Department of Aesthetics and Ethics of the Russian State Pedagogical University named after A.I. Herzen (St. Petersburg); at International, All-Russian, interregional, regional, city scientific and practical conferences and seminars, namely: at the All-Union Scientific Conference (St. Petersburg, 1991); seminar “Cultural Creative School” (St. Petersburg, 1992); scientific and practical conference “Culture of the St. Petersburg Region” (St. Petersburg, 2000); scientific-practical conference “Synthesis of the cognitive and the beautiful in education” (St. Petersburg, 2001); International scientific and practical conference “Child in the modern world” (St. Petersburg, 2001, 2002, 2003, 2004, 2005); scientific and practical conference “Human Nature: Interdisciplinary Synthesis” (St. Petersburg, 2002); scientific forum “Game Space of Culture” (St. Petersburg, 2002).

Structure and scope of the dissertation

The dissertation consists of an introduction, three chapters of 366 pages, a conclusion, a list of references, including 389 sources and appendices: training course programs, a list of directors of school theaters in St. Petersburg, materials from the round table of the interuniversity seminar “Theater and Education” and reviews of students involved in acting trainings at the faculties of St. Petersburg State University of Economics and Russian State Pedagogical University named after A.I. Herzen.

Similar dissertations in the specialty “Theory, methodology and organization of socio-cultural activities”, 13.00.05 code HAC

Orientation of schoolchildren to the development of creative abilities in a theater group 2007, Candidate of Pedagogical Sciences Sysoeva, Galina Nikolaevna
Pedagogical conditions for the creative development of school theater studio participants 1998, candidate of pedagogical sciences Kozlovsky, Valery Ivanovich
The problem of director-pedagogical continuity: the formation of the director’s school of M. V. Sulimov 2003, candidate of art history Cherkassky, Sergey Dmitrievich
Problems of modern theater pedagogy and amateur theater 2000, candidate of art history Ganelin, Evgeniy Rafailovich
Professional preparation of an amateur theater director for socio-cultural activities: Methodology of immersion in a specialty 1998, candidate of pedagogical sciences Markov, Vladimir Petrovich

Conclusion of the dissertation on the topic “Theory, methodology and organization of socio-cultural activities”, Antonova, Olga Aleksandrovna

Conclusions to Chapter III:

1. In the school theater methodology, in which the performance acts as a joint creativity of the playing child and the teacher-director, the following components are quite clearly visible: the director’s and pedagogical intention, the creation of a script, acting skills, the score of the play, the repertoire of the school theater. However, they are significantly adjusted, clarified structurally and meaningfully depending on the age characteristics of the students.

2. Currently, school theater pedagogy is becoming especially relevant for the theory and practice of education.

3. The development of the creative abilities of future teachers should be carried out with the help of well-founded recommendations of theater pedagogy.

4. The inclusion of school theater in the educational process of the school is a real need for the development of a modern education system, which moves from the episodic presence of theater in school to systematic modeling of its educational function.

5. The task of school theater pedagogy coincides with the idea of organizing a holistic educational space of the school as a cultural world, where it, school theater pedagogy, turns out to be a universal pedagogical tool. With the introduction of theater pedagogy into general educational processes, it became obvious that the school cannot do without a professional who would synthesize the qualities of a teacher and director.

Conclusion

School theater pedagogy as a form of educational artistic and aesthetic activity that meets the needs of culture for self-preservation and development has a powerful potential for a universal impact on the individual, since it contributes to the formation of a constructive and creative personality of a dynamic type, identifying himself with his native culture, accepting universal humanistic values.

School theater as a phenomenon of culture and education arises in the depths of culture, is inherent in theater as an art form and goes through the path of historical formation from the syncretic forms of primitiveness and the Ancient world to the functional certainty of the educational school theater of the late Middle Ages, to independent existence in the educational systems of modern times.

In the development of cultural pedagogy, the capabilities of school theater can hardly be overestimated. This type of educational activity was widely and fruitfully used in school practice of past eras, known as a genre from the Middle Ages to the Modern Age.

The socio-cultural phenomenon of school theater pedagogy lies in its ability to model life and introduce students through this model into the world of universal culture. Theater as knowledge of the world, as self-knowledge of a person, gives a holistic understanding of the world and a sense of oneself in it. Theater appeals to the entire stock of human emotions, experiences, to the entire range of human feelings and abilities. As a synthetic art form, it affects all aspects of the personality, universally acting in the direction of its movement towards culture, shaping the body, soul and spirit.

The essential function of theater as a model of a person’s relationship with another person, with society, nature and God, which is played out in specific situations, destinies, and conflicts, remains unchanged and is becoming more and more refined.

The genesis of school theater pedagogy can be traced from its syncretic presence in primitive culture to the educational and civic function of the ancient theater; from the functional isolation of school theater in the Middle Ages to the emergence of an independent theatrical genre in the Baroque era and the establishment of its educational function, moralizing, educational role in the Enlightenment to the theoretical understanding of school theater pedagogy as a pedagogical problem in the late 19th and early 20th centuries.

Thus, school theater pedagogy as an independent form of educational artistic and aesthetic activity developed in Russia during the 17th-18th centuries. together with the formation of the education system in theological academies and other educational institutions, and in the Age of Enlightenment it acquires the status of a universal way of introducing the student into the system of socio-cultural connections.

Throughout the 19th-20th centuries. school theater is conceptualized as a pedagogical problem itself, relevant in education focused on the preservation and reproduction of the cultural experience of generations.

The functions of theater are emphasized differently in artistic eras - training of a social role (action), moral situations and their resolution in passions and actions, analysis of mental movements, destinies and characters in various conflict situations (high - tragic, ordinary - dramatic, low - comic ). This determines the specificity of the actor’s “mask”, interactions with the audience, and the measure of spectator participation.

The functions of the theater are: training of social role (action), moral situations and their resolution in passions and actions; analysis of mental movements, destinies and characters in various conflict situations. The specificity of the social role of theater is that it takes on the function of building a beautiful, harmonious, holistic world.

In school theater pedagogy as a form of educational artistic and aesthetic activity, all types of actor-spectator relationships “get along” and coexist. From primitive syncretism - everything for everyone. From the Middle Ages - a moralizing character, a breadth of symbolic and allegorical understanding of reality. From Baroque - functions in the educational process, inclusion in the school curriculum. However, the specificity of school theater pedagogy remains unchanged, which lies in the interchangeability of actor and spectator, in the optionality of acting professionalism and the spectator's position of an observer.

The goal of school theater pedagogy is to model the educational space to be mastered. Based on the idea of differences in the educational world at the age stages of personality development, it is important to determine the specifics of school theater pedagogy at these levels, accordingly building a methodology for theater pedagogical work.

At stage I (junior school age), this method serves to master the syncretic world of fairy tales and is focused on understanding the language of culture and nature. At stage II (middle school age), when the syncretism of worldview is broken in favor of the active development of conceptual thinking, this method works in creating images of culture, historically replacing each other pictures of the world. Finally, stage III (senior school age), when self-awareness procedures are active, theatricalization works to resolve the problem “I and the world.” The necessary ability for self-realization in the “game of life”, which manifests itself in adolescence, must necessarily rely on the developed ability to enter into cultural images, understanding them “from the inside”, in the situation of an educational game. And in this regard, the theatrical cultural creative game as a method of studying cultural and historical eras as specific images of the world acquires particular relevance in modern schools.

School theater pedagogy is the interaction of actor and spectator; a performance is possible and necessary, moreover, it only exists in this co-creation.

The activity of a school theater teacher-director is determined by his position, which develops from the position of a teacher-organizer at the beginning and to a colleague-consultant at a high level of development of the team, representing at each moment a certain synthesis of different positions. This 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 actually changes, grows morally, intellectually, creatively together with the team.

The components of school theater pedagogy are typologically common to the methodology of artistic and aesthetic work with children. However, they are significantly adjusted, clarified structurally and meaningfully depending on the age characteristics of the students.

Theatrical work with children solves their own pedagogical problems, including both the student and the teacher in the process of mastering the model of the world that the school is building.

The work of a school theater can be considered as a universal way of integration.

The first stage of theater education (junior grades) is associated with children’s theatrical activities in the classroom and in extracurricular activities.

The second stage (middle grades) - lesson, elective, “theater hour”, amateur theater performances; in these forms a combination of interest in professional theater and amateur theatrical creativity is born. At the third stage (senior grades), theater education is built on the interaction of all components of the system: in-depth work in literature lessons, the elective “Fundamentals of Theater Culture,” and finally, the school theater studio.

So, the inclusion of the art of theater in the educational process of school is a real need for the development of a modern education system, which moves from the episodic presence of theater in school to systematic modeling of its educational function.

School theater pedagogy is a form of educational artistic and aesthetic activity, a dynamic, living, self-improving system. Returned to the modern school as a tradition of national culture and education, school theater pedagogy can contribute to the construction of a holistic educational process focused on the formation of students’ personal moral and aesthetic culture.

The revival of school theater pedagogy is not just the good wish of enthusiastic educators, it is a challenge from modern culture to education. This is her deepest need for integrity. This is the humanization of education, when it comes to the uniqueness of each individual, organically integrated into the culture.

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The audience I'm addressing are music teachers, visual arts and the Moscow Art Theater, and not at all the heads of school theaters. Nevertheless, we will talk about theater pedagogy, and it seems to me that this is equally interesting and relevant for all teachers in the educational field “Art”. Because theater pedagogy is, first of all, “how”, not “what”.

But first, a small digression.

In pitch darkness

Imagine waking up after a nightmare in complete darkness and having absolutely no idea where you are. And just as you begin to move your hand to touch what’s 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 is around you." And they really do tell. But any movement of yours is strictly suppressed. And all around is impenetrable darkness. What picture of the world appears in your imagination? Agree that it is creepy.

From the pitch darkness, distorted and blurry outlines of incorporeal objects float towards you. They appear in a chaotic order, intangible, weightless, tasteless and odorless. They do not fill space and at the same time can appear unexpectedly at any point in it. Fantastic, unreal and fragmented world.

As you might guess, this is exactly the world that should arise in the imagination of a schoolchild under the traditional teaching system.

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

The lessons of the educational field “Art” seem to be conceived in such a way as to put together a broken picture of the world, to help a young person feel the warmth of this world, to help him find his own place in this whole, multi-colored and harmonious world. However, a serious contradiction arises between the tasks and means of execution. It would seem to go without saying: in order to help a person understand the whole picture of the world, it is necessary to allow him to be holistically involved in the process of cognition. His body, soul and intellect must participate in this process on equal terms. All six senses must be involved in this process. The cognizable must be imprinted in muscle memory, in the sensations of taste, smell and touch as actively as in abstract concepts. Only then will a bright and holistic image emerge.

But in fact, in art lessons, as in all other school lessons, most often we ask children to assimilate information rather than perceive holistic images. And we suggest that you absorb this information primarily by ear. One can, of course, argue that in an art lesson a child not only listens, but also creates, that in a music lesson he sings, that in the Moscow Art Theater he looks at pictures and listens to music. However, let's be honest: 90% of the time the child still sits or stands motionless, even if he sings and draws. His body is limited in its cognitive capabilities, and his mechanical memory and intellect are endlessly overloaded.

Path of knowledge

Let's think about 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. The lyceum students also did not study the periodic table, organic chemistry, electromagnetic induction, and had no idea about the study of functions and other similar wisdom. They, of course, studied languages and ancient cultures more than the average modern schoolchildren. 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 Tsarkosye Selo Lyceum as a whole, then in terms of the volume of information it was approximately equal to the program of our 5th–8th grades. And, besides studying at a desk, there are walks, dancing, fencing and other various physical exercises, not once a week for one hour. And also collective games and creative activities: publishing magazines, days French etc. So what? Did all the lyceum students manage to assimilate the entire volume of information offered? We know very well that nothing like this happened. Pushkin, for example, had a “zero” in mathematics. And, by the way, no one was particularly worried about this.

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

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 their load has increased enormously.

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

The answer is obvious. The baby and our distant ancestor comprehend the world holistically: they recognize it by touch, inhale it and taste it with their tongue. The body and soul collect and imprint information, this information is cast into a holistic image, and only then the mind and intellect realize and 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 that was determined for man by nature or God. This is holistic figurative cognition.

This is precisely the path of knowledge that theater pedagogy offers.

Based on game action

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

Theater pedagogy in secondary 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 “tag” - in itself it has nothing to do with theatrical pedagogy, but we can turn it into a theatrical game, for example, into the game “magic wands”. How? Very simple. Each one holding an imaginary magic wand is in his hands. By touching the person with it, he is free to turn him into someone else. For example, at an acute corner, if we are playing in a mathematics lesson, or as a punctuation mark, which must find its place in a sentence consisting of “greasy words”, if we are playing in a Russian language lesson. If I was insulted, I will move, live and act like what I was turned into, I will accept its form, its character, its logic of action. I will try to imagine and embody a complete image of my character.

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

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

Take, for example, the situation from feature film“Pharaoh” and set before each student the task that faces the main character of the film. Each student is an ancient Egyptian architect. He knows the tomb protection system that was used before the construction of the Cheops pyramid (the child is given a reference text with pictures). He (the child - an ancient Egyptian architect) must determine the weaknesses of this protection and come up with a more reliable design. If he is able to complete the task, he will receive a reward (in the form of a grade or otherwise - as the teacher comes up with), and if he does not complete the task, he will fall into long slavery (for example, he will have to complete some additional task at home). In this case, the child does not need to wear a chiton and chains, and does not need to use sticks and papyrus for drawing. His role setting will not be developed through acting means, but will become the main motivation for his creative activity.

And one more condition: theater pedagogy organizes the lesson according to the laws of art, and not according to the laws of free children's play. After all, play, according to psychologists, is an unproductive and undirected activity that has no spatiotemporal boundaries. A theatrical game is another matter. This is a conscious 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 very specific result, enshrined in an artistic image.

In the example we gave above, an exhibition of “ancient Egyptian pyramids” projects 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 noise orchestra of a steel foundry, and so on and so forth.

The above principles allow us to call this technique “theatrical pedagogy”: it is the creation of a holistic image based on game action, role-playing, 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 basic techniques of “theater 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 understanding the world except holistically and figuratively. What kind of techniques are these?

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

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

A modern teacher cannot unfold such a game in full every day. Although sometimes you can play like that. But the teacher can easily realize some surprise in the presentation of the material, at least at the level of intriguing intonation.

Third. The emotional significance of the material for the student and teacher. An example from the archaic - again, a ritual. If the entire tribe, from the leader and shaman to the children who are not yet full members of the community, do not exactly fulfill their role in the ritual, the gods will not send the tribe what it needs to live. The emotional significance of what is happening for the teacher (shaman) and the student (young man) is the same. In a modern school, the emotional significance of the material for the student and teacher depends on the teacher’s ability to apply educational 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 structure of the lesson. The plot of most archaic rites 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 clearly defined plot, climax and denouement. The plot of the lesson is well organized by search activity: movement from the unknown through the crisis of the search path to the acquisition of knowledge.

Fifth. Role-playing game. This point seems to require no explanation. In the ritual, each participant plays his own role: an animal, a plant, a natural spirit, a ancestral deity or another person - this is clear to everyone. We have already talked about role-playing at school. However, there are also significant subtleties here. The performer of the role in the ritual protects himself from his character with a mask, makeup and costume. It is protected because for the duration of the ritual the spirit being portrayed inhabits the mask, or, if you like, an artistic image, and not the body of the person playing. And this is an essential principle for the school: do not confuse image and personality. This principle has long been successfully used by correctional pedagogy. It is not Vasya who can solve problems, but Buratino, played by Vasya. And it is not Masha who teaches him wisdom, but Malvina. This removes the fear of failure and intellectual pressure. But is this a principle of interest 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 talk about it deeply and seriously here.

Sixth. Holistic inclusion of the individual. The principle is also well understood. A primitive student, studying, say, the habits of an animal, spends hours watching it from a hiding place, feeling it, sniffing its tracks, learning to imitate its voice and habits. Each teacher’s task in a modern school can be formulated differently so that the individual is included in the learning process holistically. In particular, the methods of socio-game and interactive pedagogy, to which a fairly large amount of pedagogical literature is devoted, work very well to implement these tasks.

Seventh. Disclosure of the topic through a holistic image. This is fundamental for archaic pedagogy. Every action carried out by a person in life is an episode of a single chain by which gods, spirits and living beings are connected. 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, the path of man, or the annual solar cycle, it is always based on the image of the birth, destruction and rebirth of the world. This is exactly what the modern lesson sorely lacks. The problems of the world through the prism of today's topic, a separate fact or phenomenon - that's what we should strive for.

Eighth. Focus on collective creativity. Doesn't grow in a tribe separate child, and the cohort, the brotherhood, is whole age group. This group is connected by sacred, family and partnership relationships. They are collectively responsible for the viability of the tribe tomorrow. And at the same time they are not leveled. Roles and responsibilities are distributed between them depending on their individual capabilities. For children in today's classroom, this is extremely important - to feel like they belong to a group, to feel like individuals, and individuals now, today, participating in the process of creating social values.

Ninth. Focus on achieving the final creative result. As a result of any ritual, 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 classroom, knowledge is very often given for future use and is not implemented in specific activities. This naturally reduces motivation and efficiency. We have already discussed above how to organize activities so that they produce a specific final creative product.

The mystery of the artistic image

Each era has made its own contribution to theater pedagogy. Unfortunately, there is no opportunity to talk about this here. But the foundations, of course, are laid in the archaic.

In our minds, the archaic world archaic culture and archaic knowledge are associated with shamanism. And based on this, it is easy and logical to accuse theater pedagogy of shamanism. There is no need to deny that this is not possible without shamanism. However, what is shamanism?

The heroine of Terry Prachchet's modern fairy tale "The Spell Makers" - the village witch, Mother Weatherwax, starting to teach the secrets of witchcraft to a young student, invites the girl to explain what is magical about her witch's hat. The girl looks at the strange structure made of wire and an old rag 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 basis of shamanism and the basis of art pedagogy.

The synthetic nature of theatrical art is an effective and unique means of artistic and aesthetic education of students, thanks to which children's theater occupies a significant place in the overall system of artistic and aesthetic education of children and youth. The use of theatrical art in the practice of educational work helps to expand the general and artistic horizons of students, general and special culture, enriching aesthetic feelings and developing artistic taste. education art game behavior

The founders of theater pedagogy were such prominent theater figures as Shchepkin, Davydov, Varlamov, and director Lensky. The Moscow Art Theater and, above all, its founders Stanislavsky and Nemirovich-Danchenko brought with them a qualitatively new stage in theater pedagogy. Many actors and directors of this theater became prominent theater teachers. All theater teachers know the two most popular collections of exercises for working with students of acting schools. This is the famous book by Sergei Vasilyevich Gippius “Gymnastics of the Senses” and the book by Lydia Pavlovna Novitskaya “Training and Drilling”. Also wonderful works by Prince Sergei Mikhailovich Volkonsky, Mikhail Chekhov, Gorchakov, Demidov, Christie, Toporkov, Dikiy, Kedrov, Zakhava, Ershov, Knebel and many others.

The critical attitude of the authoritative scientist and teacher to school performances found some support in the teaching community, including K.D. Ushinsky. Some teachers, based on the statements of N.I. Pirogov and K.D. Ushinsky, even sought to provide some kind of “theoretical basis” for prohibiting students from participating in theatrical productions. It was argued that pronouncing someone else's words and depicting another person causes antics and a love of lying in the child. The critical attitude of the outstanding figures of Russian pedagogy N.I. Pirogov and K.D. Ushinsky towards the participation of schoolchildren in theatrical productions was apparently due to the fact that in the practice of school life there was a purely ostentatious, formalized attitude of teachers towards the school theater.

At the same time, at the end of the 19th - beginning of the 20th centuries, a conscious attitude towards theater as the most important element of moral, artistic and aesthetic education was established in domestic pedagogy. This was largely facilitated by the general philosophical works of leading Russian thinkers, who attached exceptional importance to the problems of the formation of a creative personality and the study of the psychological foundations of creativity. It was during these years that in Russian science (V.M. Solovyov, N.A. Berdyaev, etc.) the idea began to be established that creativity in its various expressions constitutes a moral duty, the purpose of man on earth, is his task and mission, that it is the creative act that pulls a person out of a slavish, forced state in the world, and raises him to a new understanding of being.

Research by psychologists who stated that children have the so-called "dramatic instinct" “The dramatic instinct, which is revealed, judging by numerous statistical studies, in children’s extraordinary love for theater and cinema and their passion for independently playing all kinds of roles,” wrote the famous American scientist Stanley Hall, “is for us teachers a direct discovery of a new force in human nature ; the benefits that can be expected from this power in pedagogy, if we learn to use it properly, can only be compared with those benefits that accompany the newly discovered power of nature in people’s lives.”

Sharing this opinion, N.N. Bakhtin recommended that teachers and parents purposefully develop the “dramatic instinct” in children. He believed that for preschool children raised in a family, the most suitable form of theater is the puppet theater, the comic theater of Parsley, the shadow theater, and the puppet theater. On the stage of such a theater it is possible to stage various plays of fairy-tale, historical, ethnographic and everyday content. Playing in such a theater can usefully fill the free time of a child up to the age of 12. In this game you can prove yourself to be both the author of a play, staging your favorite fairy tales, stories and plots, and a director and an actor, playing for all the characters in your play and a master needleworker.

Acquaintance with the publications of the pedagogical press of the late 19th - early 20th centuries, statements by teachers and children's theater workers indicates that the importance of theatrical art as a means of educating children and youth was highly appreciated by the country's pedagogical community.

The First All-Russian Congress on Public Education, held in St. Petersburg in the winter of 1913-14, paid interested attention to the problem of “theater and children,” at which a number of reports on this issue were heard. The resolution of the congress noted that “the educational influence of children’s theater is felt in full force only with its deliberate, expedient production, adapted to children’s development, worldview and to the national characteristics of a given region.” “In connection with the educational impact of children’s theater,” the resolution also noted, “there is also its purely educational significance; dramatizing educational material is one of the most effective ways to apply the principle of visualization.”

The issue of children's and school theater was also widely discussed at the First All-Russian Congress of People's Theater Workers held in 1916. The school section of the congress adopted an extensive resolution that touched upon the problems of children's, school theater and theater for children. In particular, it was noted that the dramatic instinct, inherent in the very nature of children and manifested from a very early age, should be used for educational purposes. The section considered it necessary “that in kindergartens, schools, shelters, school premises at children’s departments of libraries, people’s houses, educational and cooperative organizations, etc., an appropriate place should be given to various forms of manifestation of this instinct, according to the age and development of children, and namely: the organization of games of a dramatic nature, puppet and shadow shows, pantomimes, as well as round dances and other group movements of rhythmic gymnastics, dramatization of songs, charades, proverbs, fables, telling fairy tales, the organization of historical and ethnographic processions and celebrations, staging children's plays and operas" . Taking into account the serious educational, ethical and aesthetic significance of the school theater, the congress recommended the inclusion of children's parties and performances in the school's program of activities, and the initiation of petitions to the relevant departments for the allocation of special funds for the organization of school performances and holidays.

Everyone knows the interesting theatrical and pedagogical experience of our great theorist and practice of pedagogy A.S. Makarenko, talentedly described by the author himself.

Interesting and instructive is the experience of educating pedagogically neglected children and adolescents using theatrical art, gained by the leading teacher S.T. Shatsky. The teacher considered children's theatrical performances as an important means of uniting the children's team, moral re-education of “street children”, and introducing them to cultural values.

In our time of major social changes, the problem of intellectual and spiritual employment of young people is extremely acute. The vacuum is filled by antisocial preferences and tendencies. The main barrier to the criminalization of youth is active spiritual work that meets the interests of this age. And here, the school theater, armed with the techniques of theatrical pedagogy, becomes the club space where a unique educational situation develops. Through a powerful theatrical tool - empathy, educational theater unites children and adults at the level of common cohabitation, which becomes an effective means of influencing the educational and educational process. Such an educational theater club has a particularly important influence on “children from the street,” offering them informal, frank and serious communication on topical social and moral issues, thereby creating a protective, socially healthy cultural environment.

Currently, theatrical art in the educational process is represented by the following areas:

1. Professional art addressed to children with its inherent general cultural values. In this direction of aesthetic education, the problem of the formation and development of the spectator culture of schoolchildren is solved.
2. Children's amateur theater, existing inside or outside the school, which has unique stages in the artistic and pedagogical development of children. Amateur school theater is one of the forms of additional education. School theater directors create original programs and set tasks to serve young audiences. Both the first and second represent a significant scientific and methodological problem.
3. Theater as an academic subject that allows you to implement the ideas of a complex of arts and apply acting training in order to develop the social competence of students.

Artistic creativity, including acting, uniquely and vividly reveals the nature of the personality of a child-creator.

Theater pedagogy, the goal of which is to develop expressive behavior skills, is used in the professional training and retraining of teachers. Such preparation makes it possible to significantly change a regular school lesson, transform its educational goals, and ensure the active cognitive position of each student.

It is worth remembering that the heyday of ancient Hellas owes much to the ritual of the city residents living together and the great drama of their fellow tribesmen during performances, in the preparation and performance of which almost the entire city was involved. Mastering educational material through living transforms knowledge into beliefs. Empathy is the most important educational tool.

In this regard, it should be noted that in recent years the socio-game style has become widespread in theater pedagogy. “Socio-game style in pedagogy” received this name in 1988. He was born at the intersection of humanistic trends in theater pedagogy and cooperation pedagogy, which is rooted in folk pedagogy.

The urgent need for social changes in society has prompted many teachers to search for a new level of democratization and humanization of the pedagogical process.

Carefully adopting from folk pedagogy the spirit of democracy, age-related cooperation, syncretism of the learning process and, enriching this with a base of practical exercises from theater pedagogy, based on the method of K. S. Stanislavsky and the “theory of action” by P. M. Ershov, the socio-game style allows us to rethink, first of all, the role of the teacher in the educational process. The leading role of the teacher has long been defined and entered into practice as one of the main didactic principles. But, each historical time presupposes its own level of democracy, the process of harmony between people and a new understanding of the role of the leader and, in particular, the teacher. Each sovereign individual, at the time necessary for the common cause, responsibly and consciously finds his place in the general process of doing - this is probably how one can determine a new level of harmony to which cooperation pedagogy and, in particular, theater pedagogy strives. This does not cross out the principle of another level of harmony, “do as I do,” but it presupposes a wider scope of manifestations of the student’s independence and, above all, his right to make mistakes. It is important to establish equality between student and teacher. A teacher who has or allows himself the right to make a mistake, thereby removes the fear of the independent action of a student who is afraid of making a mistake or “hurting himself.” After all, the teacher is constantly tempted to demonstrate his skill, correctness and infallibility. In this sense, he trains himself more in every lesson, honing his skills and demonstrating them with greater “brilliance” in front of “illiterate and completely inept children.” For such a teacher, a mistake is equal to a loss of authority. Authoritarian pedagogy and any authoritarian system rest on the infallibility of the leader and the fear of losing it. For theater pedagogy, first of all, it is important to change this position of the teacher, i.e. remove the fear of error from him and his students.

Theater pedagogy suggests seeing significance in the very organization of the search process, the organization of a problematic situation-activity in which children, communicating with each other, will discover new things through problem-based play, trial and error. Often children themselves cannot organize such search and creative activities and are grateful to the person who organized the holiday of exploration and communication for them. But the holiday will not take place if the “owner of the house” is not feeling well. Equality between the teacher and children not only in the right to make mistakes, but also in adequate interest. An adult should also be interested in the game; he is the most active fan of the success of the game. But his role in it is organizational; he has no time to “play around.” The organizer of the holiday is always in trouble about “products”, “fuel” for interesting mental activity of children.

The teacher-organizer, the instigator of gaming didactic activities, acts in this case as the director of creating a situation of friendly communication through control over his own behavior and the behavior of students.

The teacher needs to have a perfect command of the content material of the subject, which will give him confidence in behavior and speed in his game methodological transformation of the material into a game task form. He needs to master the techniques of directing and pedagogical scenarios. This means being able to translate educational material into game problem tasks. Distribute the lesson content into meaningful, logically interconnected episodes. Reveal the main problem of the educational material and translate it into a sequential series of game problems. This can be either in the form of a didactic game or in the form of a role-playing game. It is necessary to have a large arsenal of game moves and constantly accumulate them. Then we can hope for the possibility of improvisation during the lesson, without which the lesson will become routinely dead.

It is important to develop a range of control over your behavior in communication. Master acting and teaching skills, master a variety of techniques of influence. It is necessary to own your bodily mobilization and be an example of business determination. Exude a joyful feeling of well-being, despite mistakes and failures. We strive to neutralize any positional conflicts that arise in educational work with our businesslike approach, without entering into altercations. Be able to manage the initiative, regulating the tension of forces and the distribution of work functions of the participants in the process. To do this, make full use of the levers of perseverance: different (starting from a whisper) voice volume, its height, different speeds of movement around the class and speaking, extensions and additions, changes in various verbal influences. In any activity, strive to discover the friendly interests of the students and the teacher. And not to declare it, but to actually find it, without replacing it with pedagogical hypocrisy about universal love and the need to acquire knowledge. Always strive to proceed from the actual proposed circumstances, from how it really is, and not how it should be. Destroy the bacillus of double morality, when everyone knows and does as it is, and speaks as is customary.

The following game rules help the teacher to develop and strengthen the union of equal participants in the game-learning process:

1. The principle of improvisation. “Here, today, now!” Be ready to improvise in tasks and conditions of its implementation. Be prepared for mistakes and victories for both your own and your students. Overcoming all obstacles is met as an excellent opportunity for children to communicate lively with each other. Seeing the essence of their growth in moments of misunderstanding, difficulty, questioning.
2. Don’t “chew” every task. The principle of information deficiency or silence. “I didn’t understand” in children is often not associated with the process of understanding itself. This may simply be a defense - “I don’t want to work, I’ll take time”, a desire to attract the teacher’s attention and the school habit of “freeloading” - the teacher is obliged to “chew everything and put it in his mouth.” Here the comments are necessary, business-like, the most urgent, giving the initial guidance for the joint activities and communication of children with each other. It is necessary to give the opportunity to clarify with peers a really unclear question. This does not mean writing off what our children have long been accustomed to, it means legalizing mutual assistance. Such clarification is more useful for both than repeated explanations from the teacher.
3. Even if the children do not really understand the task, but they are doing something, do not rush to interrupt and explain the “correct” option. Often, performing a task “incorrectly” opens up new possibilities for its application, a new modification that would not have been thought of before. Perhaps what is more important here is the children’s activity itself, and not the correct fulfillment of the task conditions. It is important that there is a constant opportunity for training in finding a solution to the problem and independence in overcoming obstacles. This is the principle of the priority of student initiative.
4. Often a teacher experiences acute negative emotions when faced with children’s refusal to complete a task. He “suffered, created, invented at night” and brought the children a “gift” for which he expects a natural reward - joyful acceptance and embodiment. But they don’t like it, and they don’t want Demyanova Ukha. And immediately there is resentment towards the “refuseniks”, and, in the end, the conclusion is “they don’t need anything at all!..”. This is how two warring camps of students and teachers appear, strikebreakers who are excellent students and those who are “difficult.” Difficult ones are those who cannot or do not want to please the teacher. The principle of student priority: “The viewer is always right!” The advice here is to restructure your overall attitude towards refusal. If you try to see in it a hint for yourself, the real “feedback” that teachers dream of, then it will be perceived as a reciprocal gift from the child. Firstly, he showed his independence, the independence that you were going to cultivate in him. And secondly, he drew the teacher’s attention to the need for a more thorough assessment of the level of training and interests of students. This will help to find the adequacy of the task to the level of need for it.
5. One of the central techniques is working on a task in small groups. It is here, in a situation of mutual complementarity and constant change of role functions, that all the techniques and skills to create a common harmony in teamwork work effectively and are constantly honed. A change in role functions is being developed (teacher-student, leader-follower, complementary), since the composition of the groups is constantly changing. There is an objective need to include each group member in the work, since holding responsibility for the group may fall to any of the participants by lot. This is the principle of action, not ambition. “Today you play Hamlet, and tomorrow you are an extra.”
6. The principle “Do not judge...” Tact is developed in the ability to “judge” the work of another group based on the case, and not on personal sympathies and claims, which result in mutual grievances and pain. To avoid such “showdowns”, the teacher needs to establish business-like, specific criteria for assessing the completion of tasks. For example: did you or didn’t manage to meet the deadline? Were all or not all group members involved in demonstrating the answer? Do you agree or disagree with the answer? Such unambiguous criteria, not related to assessments “like - dislike, bad - good,” initially control, first of all, the organizational framework of the task. In the future, studying evaluation criteria, students learn to track and note the objective, rather than taste, aspects of a phenomenon. This makes it possible to alleviate the problem of conflicting ambitions in teamwork and to more constructively keep track of the material mastered.

By periodically giving the role of “judge” to students, the teacher expands the scope of their independence and receives an objective assessment of their activities: what their students have learned in reality, and not according to his ideas. In this case, the phrases “I told them a hundred times!..” will not save you. The sooner the real fruits of activity are visible, the more time and chances there are to change something.

7. The principle of correspondence of the content of the work to a certain external form, i.e. mise-en-scène. Mise-en-scene solution to the educational process. This should be expressed in the free movement of students and teachers in the classroom space, depending on the need for the content of the work. This includes inhabiting the space for its appropriation and feeling comfortable in it. This search for a teacher’s place is different in each specific situation. It is not the case that should serve some external order, but the order should change depending on the needs of the case.
8. The principle of problematization. The teacher formulates the task as a kind of contradiction, which leads students to experience a state of intellectual impasse and plunges them into a problematic situation. A problematic situation (problem-task, situation-position) is a contradiction between the range of proposed circumstances and the needs of an individual or group of individuals located within this vicious circle. Therefore, a problematic situation is a psychological model of the conditions for the generation of thinking on the basis of the situational dominant cognitive need. A problem situation characterizes the interaction between a subject and his environment. Interaction of personality and objective contradictory environment. For example, the inability to complete a theoretical or practical task using previously acquired knowledge and skills. This leads to the need to equip ourselves with new knowledge. It is necessary to find some unknown that would resolve the contradiction that has arisen. Objectification or objectification of this unknown occurs in the form of a question asked to oneself. This is the initial link of mental activity connecting the object and the subject. In educational activities, such a question is often asked by the teacher and addressed to the student. But it is important that the student himself acquires the ability to generate such questions. In search of an answer to the question of new knowledge, the subject develops or lives the path to the generation of knowledge. In this sense, the problem situation is the primary and one of the central concepts of theater pedagogy and, in particular, the socio-game teaching style. Problem-based learning is a teacher-organized way of student interaction with the problematically presented content of the subject of study. Knowledge obtained in this way is experienced as a subjective discovery, understanding - as a personal value. This allows you to develop the student’s cognitive motivation and interest in the subject. In teaching, by creating a problem situation, the conditions for research activity and the development of creative thinking are modeled. A means of controlling the thinking process in problem-based learning are problematic questions that indicate the essence of the educational problem and the area of search for unknown knowledge. Problem-based learning is implemented both in the content of the subject of study and in the process of its development. The content is realized by developing a system of problems that reflect the main content of the subject.

The main means of testing any assumption is experimental verification, confirming the obviousness of the facts. In theater pedagogy, this could be a dramatization or a sketch, a thought experiment or an analogy. Then there is necessarily a discussion process of proof or justification.

Staging refers to the educational and pedagogical process of creating a plan for an acting experiment-sketch and its implementation. This means assembling the range of proposed circumstances of the situation, setting the goals and objectives of its participants and realizing these goals in stage interaction, using certain means available to the characters in the story. Unlike a professional acting sketch, in a general educational situation, what is important is not the acting skill itself, but its methods of appropriating the situation. This is a process of creative imagination and mental justification of the proposed circumstances and an effective experiment-study to test the hypothesis put forward for solving the problem. It can also be a search for a solution through improvisation in the proposed circumstances.

Both student-performers and student-observers, who are initially assigned the role of controllers, participate in the discussion analysis of compliance with the rules. It is this threefold competitive process of interchange of information lived in the study, observed and control that allows students to get into a reflective position, which effectively promotes the process of generating new knowledge. It doesn’t matter at all how the student performers played from the point of view of the acting technique of verisimilitude, what is important is what the student observers saw in it. And they are able to see in a simple sketch of their comrades a lot of new ideas and solutions to problems that the performers have no idea about or have not planned. Even before we perceive an object, we are full of meanings about it because we have life experience. These “views from different sides,” let us again remember our favorite parable about the blind men and the elephant, allow the participants in such work to be enriched from each other with new parts of the truth through objective-reflexive relationships, striving for its integrity. Reflection in this case is understood as a mutual reflection of subjects and their activities in at least six positions:

- the rules of the game themselves, as they are in this material, are control;
- the performer, how he sees himself and what he has done;
- the performer and what he performed, as seen by observers;
- and the same three positions, but from the side of another subject.

This is how a double mirror image of each other’s activities occurs.

The history of the development of theater pedagogy in Russia in the works of the Institute of Art Education. Theater pedagogy at the Iti school theater pedagogy

Actor and philosopher: what do they have in common? (answers from 4th year students of the Faculty of Human Philosophy of the Herzen State Pedagogical University)

Recommended list of dissertations

School theater in the system of culture and education 2000, candidate of pedagogical sciences Lapina, Olga Aleksandrovna

The influence of educational and pedagogical activities of subjects of theatrical culture of the late 18th-19th centuries on modern education 2012, candidate of pedagogical sciences Borzenko, Dmitry Alexandrovich

Theater where children play in search of their own identity 2002, candidate of art history Nikitina, Alexandra Borisovna

The phenomenon of masks in theatrical culture 2007, Doctor of Cultural Studies Tolshin, Andrey Valerievich

Social and professional development of an actor at a theater university 2002, candidate of pedagogical sciences Kuzin, Alexander Sergeevich

Introduction of the dissertation (part of the abstract) on the topic “School theater pedagogy as a socio-cultural phenomenon”

Similar dissertations in the specialty “Theory, methodology and organization of socio-cultural activities”, 13.00.05 code HAC

Orientation of schoolchildren to the development of creative abilities in a theater group 2007, Candidate of Pedagogical Sciences Sysoeva, Galina Nikolaevna

Pedagogical conditions for the creative development of school theater studio participants 1998, candidate of pedagogical sciences Kozlovsky, Valery Ivanovich

The problem of director-pedagogical continuity: the formation of the director’s school of M. V. Sulimov 2003, candidate of art history Cherkassky, Sergey Dmitrievich

Problems of modern theater pedagogy and amateur theater 2000, candidate of art history Ganelin, Evgeniy Rafailovich

Professional preparation of an amateur theater director for socio-cultural activities: Methodology of immersion in a specialty 1998, candidate of pedagogical sciences Markov, Vladimir Petrovich

Conclusion of the dissertation on the topic “Theory, methodology and organization of socio-cultural activities”, Antonova, Olga Aleksandrovna

List of references for dissertation research Doctor of Pedagogical Sciences Antonova, Olga Aleksandrovna, 2006

But first, a small digression.