Umkd methodology of teaching education school theatrical pedagogy. School theater pedagogy - the experience of interdisciplinary synthesis

Theatrical art in a secondary school

Municipal Autonomous General Educational Institution

secondary school No. 172

teacher of additional education Matveeva E.A.

The education system is designed to transfer the knowledge of previous generations to a person, while forming a high level of morality, educating young people in understanding what is dangerous for their spiritual and moral life, and what is useful.

And if the main task of schools is to give each student fundamental knowledge in all subjects of the humanities and natural sciences, then additional education is a means of identifying, supporting and developing the creative potential of students, it also contributes to the spiritual and moral education of the individual.The introduction of teaching theatrical arts in a secondary school can effectively influence the educational process.And here the tandem of the educational school and additional education is very important. In our school, such a tandem exists.

School theater. For some it sounds too loud and snobbish, for some it's not serious, for some it's just ridiculous. For me, this is an attempt to realize my inner creative potential, and perhaps even a life's work. In life, each of us is given the opportunity to believe in a miracle, although there is still a saying: "Miracles happen only in childhood." Let me disagree with this. But isn't life a miracle? Aren't our children amazing? And their theatrical (even if unprofessional) performances - isn't it a miracle? And the fact that in every role played by a child on stage, a particle of his soul is exposed, is that not a miracle? Yes, this is it, this is the most miracle!

As you know, the best way to raise good children is to help them become happy. Only such children can be entrusted with the creation of a new, more humane society in the future. The child comes to the school theater with a sense of celebration - he so wants to join the exciting, slightly mysterious and magical theatrical performance.

The School Theater is a fun business, first of all, because it is here that there is a place for experiment, “skit”, amateur creativity, in the best sense of this expression. In the atmosphere of the School Theater, their own poets, playwrights, and artists are born.

Indeed, when we worked on the design of the performances: “The Magic Garden”, “The Birthday of the Cat Leopold”, “Geese-Swans”, we had our own graphic designers. Preparing for the performance of the propaganda teams, their own playwrights and poets appeared. For the main feature of this type of art is free creativity at the behest of the soul.

Special mention should be made of the fact that the teaching method involves the creation of a special moral climate in groups. There are neither excellent students nor laggards in them. A distinctive feature of the method is that the children themselves analyze their own work and the work of their comrades. They don't evaluate, they analyze. In such an atmosphere, the sprouts of collectivism, tolerance for each other, and respect most easily sprout. The development of logical thinking goes hand in hand with the formation of oratory and stage speech skills.

Performance plays an important role in the curriculum. The presence of several groups (by age) allows you to approach its creation slowly, having completed all the necessary classes, preparing for it internally and in a staged sense. The point is that the younger and middle classes should not be aimed at a quick stage result in the form of a performance. For the elder, it also becomes not an end in itself, but the result of the pedagogical process, or rather a part of it. From the moment of the premiere, the work inside the performance does not stop, it is included in the repertoire of the School Theater, through which all students must go. The younger ones should not only watch these performances, but they can also participate in small episodes or mass scenes. Thus, the performance becomes not only the work of the senior class, but the common brainchild of all participants in the School Theater.

The optimal number of students in each group is 12-15 children. This makes it possible to form a “mini-troupe” with two teams in case of absences and illnesses, on the one hand, and to pay maximum attention to each student, on the other. And if three years ago we had only 3 theater groups, today there are already 12! This indicates an increased interest in our common cause.

The principal thing for the School Theater is the presence of a permanent stage with its own repertoire. We emphasize that children who have completed their studies do not “throw out” into the street, but continue their stage life on this site, participating in the current repertoire and creating new performances. It is permissible and highly desirable to involve adolescents who have not previously studied at the School Theater to participate in this work. They fall under the strong influence of “experienced” artists, into an atmosphere of spiritual work. And it does not matter if there is a “fluidity” of such “cadres”.

Aspiring actors become real heroes of school life. The atmosphere of joy and the element of play unite children. And now, a sincere desire to establish contact with every child, despite what kind of “track record” he has, found a lively response in children's hearts! Many guys became interested in the theater, and we began our ascent to the heights of the theatrical Olympus, hobbies, the first theatrical experiences, the first applause.

After monitoring after the first year of study, we noted:

During the school year, the pupils have significantly improved interpersonal and intergroup relations. A team of like-minded people was formed, and a steady interest in theatrical activities developed. Children began to think more creatively, to fantasize.

I would like to note that with the advent of the theater, almost all events at the school are held with the participation of students from the studio. Whether it's the district competition "Traffic Light", "Agitation Brigade", competitions of readers or Teacher's Day. We participate in district, city, regional theater competitions and festivals.

2nd place at the regional competition "My love is theatre!" in 2012

Awarded with a diploma at the V 11 city theater festival "Chance" 2011

Diploma of the Ministry of Education of the Nizhny Novgorod Region for participation in the final of the 4th regional competition of children's and youth theater groups "Theater - the country of the present"

Prize for the best female role in the play "Cat's House" at the regional festival "My Love Theater" in 2014.

But the main thing is not diplomas and diplomas, but work on a performance, where the performance itself is not an end in itself, but a reason to develop. And, of course, what is a theater without an audience!

Once, having shown a play at school, he does not die. We are actively touring kindergartens. There are already 6 performances in the repertoire. We are already known by many in the nearest children's factories.

For myself, I determined the following: in such a creative team culture is brought up, the right attitude to the historical heritage, the world, people, a certain way of life is created in general, and at the same time self-affirmation occurs, since each child has the opportunity to show their individuality. In the school environment, through the art of the theater, it is possible to affirm the ideals of kindness, love, fidelity, justice, respect for traditions and, most importantly, the joy of learning about life. The guys not only participate in the work on the performance, but also reflect on it, as if comprehending something sacred. With the power of their talent, children recreate the magical world of the play in which they love and suffer, perform noble and kind deeds, opening the doors to a miracle, and the eternally different, but never forgotten hero walks along hidden paths.

Our children's theater-studio "Horizont" is a metropolis in miniature. This is the unity of dissimilar, special, in some ways even unique personalities.

This is an international community. A special multicultural space is being “built” on its territory, opening up a wide scope for raising a child on the basis of universal human values. Carrying out its movement on the path of comprehending the art of the stage, the school theater strives for Peace, Goodness, Love! With genuine joy and almost sacred awe, the child enters the stage of the school theater. And even if he is dressed in a homemade caftan or a funny hat and he does not have professional costumes, the main thing is that he is sincere and truthful!

Any psychologist will confirm that theatricalization and staging are used as art therapy techniques. And since art is useful for the development of communication, restoration and preservation of the mental health of children, it means that it contributes to the formation of the spiritual health of the nation.

Theatrical art aims to educate, to guide the young spectator, using the example of the heroes of the performances, to make their own self-assessment: do I live and act right.

In conclusion, I would like to say the following. Once I read a report at the NIRO for elementary school teachers on the topic "The role of theatrical activities in elementary school." And there, telling the teachers about how we toured the kindergartens, I was asked the following question: “What, do you show performances for free?”. "Yes," I replied, catching a glimpse of the smile on the teacher's face. It is probably understandable that in our time, people who are not of this world are engaged in volunteering. But, my dears, you should have seen the grateful faces of our spectators, the enthusiastic faces of our actors! The children felt needed and important. It costs a lot.

Years will pass, many years. A small person will become an adult, learn a lot about life. And among the most precious childhood memories there will be moments filled with the irresistible charm of the first school play and the role that he had a chance to play in this play.

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 the 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 cultural-creative activity. It is at school that the formation of personal self-awareness takes place, 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 necessary for a person to succeed in any field of activity is brought up. 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 national education system take into account the relevance of the transition from an extensive method of simply increasing the amount of information included in educational programs to the search for intensive approaches to its organization.

Apparently, we are talking about the formation of a new pedagogical paradigm, new thinking and creativity in the educational sphere. A school of a "culture-creating" type is born, building a single and integral educational process as a child's path to culture.

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

In theatrical pedagogy, there are general patterns of the process of teaching a creative personality, which can be purposefully and productively used in order to educate a 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 educating the personality of a pupil and student by 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 somehow connected with theatrical art; are engaged in the development of imagination and figurative thinking, but not in the pre-professional training of actors and directors.

School theater pedagogy involves:

• inclusion of theater lessons in the educational process of the school;
• training of specialists for conducting theater lessons at school;
• acting and directing training for students of pedagogical universities;
• training current school teachers in the basics of directing.

Each of these blocks, in our opinion, is an extremely fertile ground for researchers, theorists and practitioners: teachers, psychologists, directors, theater critics, etc. different measure of success.

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

The school theater appears as a form of artistic and aesthetic activity that recreates the life world that a child lives in. And if in a role-playing game, whose name is theater, the goal and result is an artistic image, then the goal of the school theater is essentially 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 formation, it is important to determine the specifics of the school theater at these stages, building the methodology of theatrical and pedagogical work accordingly.

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

The inclusion of the art of theater in the educational process of the school is not only a good desire of enthusiasts, but a real need for the development of a modern education system, which is moving from the episodic presence of the theater in the school to the systemic modeling of its educational function.

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

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

Interesting foreign experience in this area is known. 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.

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

The urgent need to establish theatrical work with children on a serious professional basis does not call into question the priority of pedagogical goals. And it is all the more important to preserve 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. The theater turned out to be the only art form in the school, devoid of professional guidance. With the advent of theater classes, electives, the introduction of theater pedagogy into general educational processes, it became obvious that the school could not do without a professional who could work with children, as has long been recognized in relation to other types of art.

The activity of the teacher-director is determined by his position, which develops from the position of the teacher-organizer at the beginning to the colleague-consultant at a high level of development of the team, presenting at every moment a certain synthesis of different positions. In the 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 exorbitant fascination with staged finds 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.

The 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 ideas of the child, but really changes, grows morally, intellectually, creatively together with the team.

On the basis of the Department of Aesthetics and Ethics of the Russian State Pedagogical University. Herzen, a new vocational and educational profile "School theatrical pedagogy" has been developed, which will train a teacher who is able to organize educational theatrical and game performances at school and optimize the development of the values ​​of national and world culture.

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

• "Situational Sense". Hence calmness, because by 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 place to be knowledge of the measure.
• Tact, endurance, confidence, which should not be confused with self-confidence, where subjectivity overshadows the mind, giving rise to selfishness.
• Sociability, the ability to control emotions, the ability to fully express thoughts through emotional means. Body control. Equilibrium. The ability to feel another personality and always keep your own.
• An actor, I heard, should not allow his emotions to “stick” too much with what he does on stage - otherwise you can get lost, and the view will be pitiful, despite all the inner heat and power. In this regard, I would like to learn how 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 the 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 a “gentle monster”, what does it hide in itself? What is its attractive power? Why does his magic work on us like that? The theater is eternally young and kind, mysterious and unique.

The theater is able to reveal and emphasize the individuality, uniqueness, uniqueness of the human person, regardless of where this person is located - on the stage or in the hall. To comprehend the world, linking the past, present and future into a holistic experience of mankind and each person, to establish the patterns of being and to foresee the future, to answer the eternal questions: “Who are we?”, “Why and why do we live on Earth?” - always tried theater. The playwright, the director, the actor tell the viewer from the stage: “This is how we feel 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 type of educational activity was widely and fruitfully used in the school practice of past eras, it is known as a genre from the Middle Ages to the New Age. The school theater contributed to the solution of a number of educational tasks: teaching live colloquial speech; the acquisition of a certain freedom of circulation; "accustoming to speak before society as orators, preachers." "The school theater was a theater of usefulness and deeds, and only in passing 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 a school with its strict rules of conduct and the harsh regime of a boarding school: “Comedies delight young people with a life of torment and a prisoner like imprisonment.”

Thus, the 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 in the practice of dialogue, teaches to be oneself and "other", to transform into a hero and live many lives, spiritual collisions, dramatic tests of character. In other words, theatrical activity is the path of a child to the universal culture, to the moral values ​​of his people.

How to get into this magical land called Theatre? How to connect with each other theatrical systems and Childhood? What should theater classes be like for their young participants in general - the beginning of the path to the profession, a journey through various artistic eras, broadening their horizons, or maybe just a reasonable and exciting vacation?

A creative group, including university teachers (RGPU 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 a project of the St. Petersburg Center "Theatre and School ", the purpose of which is:

• interaction between the theater and the school, implemented through the organic inclusion of theatrical activities in the educational process of the city's schools;
• the inclusion of children and teachers in the creative process, the formation of school theater groups and their repertoire, taking into account the age characteristics of the participants, as well as the content of the educational process;
• interaction of professional theaters with schools, development of theater subscriptions focused on the educational process.

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

The activity of our Center develops in several directions:

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

Schools with theater classes. Theater lessons are included in the schedule of individual classes, because in each school there is always a class that is, as it were, predisposed to theatrical activities. It is these classes that are often the basis of the school theater group. Usually this work is conducted by humanities teachers.

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

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

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 lesson "Theater" is included in the curriculum of all classes. These are leaders who combine a director's gift, love for children and organizational talent. It was they who came up with the idea - to give the theater to every child, including a theater lesson as a discipline in the educational process of the school.

Along with the study of the experience of operating school theaters, new author's programs of lessons on theater from grades 1 to 11 are being developed. One of them is the experimental program "Theater Pedagogy at School", the author of which is a professional director, head of the theater class of school No. 485 of the Moskovsky district of St. Petersburg, Evgeny Georgievich Serdakov.

Cooperation with professional theatres. Our Center held an action "Actor's Campaign", theater subscriptions, musical and artistic programs of which are directly related to the content of the educational process. For example, the literary subscription "Petersburg Stanzas", mono-performances based on the works of A.S. Pushkin, N.V. Gogol, F.M. Dostoevsky, L.N. Tolstoy, A.P. Chekhov, V.V. Nabokov; musical and poetic 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 children and with children, its main office is located in Amsterdam (Netherlands).

Our Center has developed an educational and educational long-term project "European school theatrical creativity", the main ideas of which are:

• interaction of European cultures on the verge of millennia through school theatrical creativity;
• studying the language, literature, culture of other peoples by means of the 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 proposals from colleagues in Belgium, France, Italy, Finland, Spain and England. Especially European colleagues were interested in educational programs and performances of school theaters of our city in English, German, French, Spanish.

Childhood and youth need not only and not so much a theater model, but a model of the world and life. It is in the "parameters" of such a model that a young person is able to fully realize and test himself as a person. Combining such subtle and complex phenomena as theater and childhood, it is necessary to strive for their harmony. This can be done by building with children not a “theater” and not a “collective”, but a way of life, a model of the world. In this sense, the task of the school theater coincides with the idea of ​​organizing a holistic educational space of the school as a cultural world in which it, the school theater, becoming an artistic and aesthetic educational action, shows its originality and depth, beauty and paradox.

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

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

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

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

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

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

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

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

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

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

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

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

Interest To theatrical pedagogy, Always existed V general pedagogy, intensified V early 80s years XX centuries. IN pedagogical universities And colleges become enter special theatrical items, V schools - lessons theater. Young specialists passed trainings By acting art, V pedagogy became take root theatrical terminology.

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

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

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 general system of artistic and aesthetic education of children and youth. The use of the means of theatrical art in the practice of educational work contributes to the expansion of the general and artistic horizons of students, general and special culture, the enrichment of aesthetic feelings and the development of artistic taste. education art game behavior

The founders of theatrical pedagogy were such prominent theater figures as Shchepkin, Davydov, Varlamov, director Lensky. A qualitatively new stage in theatrical pedagogy was brought by the Moscow Art Theater and, above all, by its founders Stanislavsky and Nemirovich-Danchenko. Many actors and directors of this theater have become prominent theater teachers. All theater teachers know the two most popular collections of exercises for working with students of acting schools. These are the famous book by Sergei Vasilievich Gippius "Gymnastics of the Senses" and the book by Lidia Pavlovna Novitskaya "Training and Drill". Also wonderful works of Prince Sergei Mikhailovich Volkonsky, Mikhail Chekhov, Gorchakov, Demidov, Christie, Toporkov, Wild, Kedrov, Zakhava, Ershov, Knebel and many others.

In the first half of the 19th century, theatrical student groups became widespread in gymnasiums, not only in the capital, but also in the provinces. 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, painted scenery for performances.

The democratic upsurge of the late 1850s and early 1860s, which brought to life a social and pedagogical movement for the democratization of education in the country, contributed to a significant sharpening of public attention to the problems of education and training, the establishment of more demanding criteria for the nature and content of educational work. Under these conditions, a sharp discussion is unfolding in the pedagogical press about the dangers and benefits of student theaters, which was initiated by the article by N.I. Pirogov "To be and to seem". Public performances of gymnasium students were called in it "the school of vanity and pretense." N.I. Pirogov put the question before the youth educators: “... Does sound moral pedagogy allow children and young people to be presented to the public in a more or less distorted and, therefore, not in their present form? Does the end justify the means in this case?

The critical attitude of an authoritative scientist and teacher to school performances found a certain support in the pedagogical environment, including KD Ushinsky. Individual teachers, based on the statements of N.I. Pirogov and K.D. Ushinsky, even sought to bring some "theoretical base" to the prohibition of students to participate in theatrical performances. It was argued that the pronunciation of other people's words and the image of another person causes antics and a love of lies 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 to the school theater.

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

Of great importance for restoring the trust of teachers and the public in the theater as an effective means of educating young people were the studies of psychologists who declared that children have the so-called. "dramatic instinct". “The dramatic instinct, which, judging by numerous statistical studies, is found in the extraordinary love of children for theater and cinema and their passion for independently playing all kinds of roles,” wrote the famous American scientist Stanley Hall, “is for us educators a direct discovery of a new force in human nature. ; the benefit that can be expected from this force in pedagogical work, if we learn to use it properly, can only be compared with those benefits that accompany the newly discovered force 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 brought up in the family, the most suitable form of theater is the puppet theater, the comic theater of Petrushka, the shadow theater, the puppet theater. On the stage of such a theater, it is possible to stage various plays of fabulous, historical, ethnographic and everyday content. Playing in such a theater can usefully fill the free time of a child up to 12 years of age. In this game, you can prove yourself at the same time as the author of the play, staging your favorite fairy tales, stories and plots, and as a director, and as an actor, playing for all the characters in your play and as a master needleworker.

From puppet theater, children can gradually move on to drama theater. With skillful guidance on the part of adults, it is possible to use their love for dramatic play with great benefit for the development of children.

Acquaintance with the publications of the pedagogical press of the late XIX - early XX century, the statements of teachers and figures of the children's theater indicates that the importance of theatrical art as a means of educating children and youth was highly appreciated by the pedagogical community of the country.

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

The issue of children's and school theater was also widely discussed at the First All-Russian Congress of People's Theater 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 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 the 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, in accordance with the age and development of children, and namely: the arrangement of games of a dramatic nature, puppet and shadow performances, pantomimes, as well as round dances and other group movements of rhythmic gymnastics, dramatization of songs, charades, proverbs, fables, telling fairy tales, organizing historical and ethnographic processions and festivities, 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 holidays and performances in the school program, the initiation of petitions to the relevant departments for the allocation of special funds for organizing school performances and holidays.

Leading teachers not only highly appreciated the possibilities of the theater as a means of visual education and consolidation of the knowledge gained in school lessons, but also actively used various means of theatrical art in the daily practice of educational work.

Everyone knows the interesting theatrical and pedagogical experience of our major theoretician and practice of pedagogy A.S. Makarenko, skillfully described by the author himself.

Interesting and instructive is the experience of educating pedagogically neglected children and adolescents by means of theatrical art, developed by the largest teacher S.T. Shatsky. The teacher considered children's theatrical performances as an important means of rallying the children's team, moral re-education of "street children", their familiarization with the values ​​of culture.

In our time of major social changes, the problem of intellectual and spiritual employment of young people is extremely acute. The vacuum is being filled by anti-social preferences and inclinations. The main barrier to the criminalization of the youth environment is active spiritual work that meets the interests of this age. And here, the school theater, armed with the methods 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 living together, which becomes an effective means of influencing the educational and upbringing 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 problems, 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 being solved.
• 2. Children's amateur theater, existing inside or outside the school, which has peculiar stages in the artistic and pedagogical development of children. Amateur school theater is one of the forms of additional education. The leaders of school theaters create original programs and set the tasks of serving the young audience. Both the first and the second are a significant scientific and methodological problem.
• 3. Theater as an academic subject that allows you to implement the ideas of the complex of arts and apply acting training in order to develop the social competence of students.

Artistic creativity, including acting, reveals the nature of the personality of the child-creator in an original and vivid way.

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

Theatrical pedagogy, the purpose of which is the formation of skills of expressive behavior, is used in the professional training and retraining of teachers. Such training allows you to significantly change the usual school lesson, transform its educational goals, and ensure an 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 social and cultural communication between children and adults through the perception of an original artistic phenomenon.

It is worth remembering that the flourishing of ancient Hellas is largely due to the ritual of living together by the inhabitants of the city of the great dramaturgy of their fellow tribesmen during performances, in the preparation and conduct of which almost the entire city was occupied. Mastering the learning material through living makes knowledge beliefs. Empathy is the most important tool of education.

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

It must be remembered that the theatrical educational process, due to its unique synthetic nature of play, is the most powerful means of education precisely through the living of the spiritual cultural patterns of mankind.

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

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

Having carefully adopted the spirit of democracy from folk pedagogy, age-related cooperation, the syncretism of the learning process and, having enriched this with a base of practical exercises from theatrical pedagogy based on the method of K. S. Stanislavsky and P.M. Ershov, the socio-play style allows you 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 implies its own level of democracy, the process of harmony between people and a new understanding of the role of a leader and, in particular, a teacher. Each sovereign person, at the time necessary for the common cause, responsibly and consciously finds his place in the general process of doing - probably this way it is possible to define a new level of harmony, to which the pedagogy of cooperation and, in particular, theatrical pedagogy strives. This does not cross out the principle of a different level of mode “do as I do”, but suggests a wider scope of manifestations of the student’s independence and, above all, his right to make a mistake. 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 an independent act 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 at each lesson, honing his skills and demonstrating it with more and more "brilliance" in front of "illiterate and completely inept children." A mistake for such a teacher is equal to the loss of authority. Authoritarian pedagogy and any authoritarian system rests on the infallibility of the leader and the fear of losing it. For theatrical pedagogy, first of all, it is important to change this position of the teacher, i.e. remove from him and from the students the fear of making a mistake.

The first stage of mastering theatrical pedagogy in its dominant pursues 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, is the student-teacher able 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." The student-teachers are faced with the task of working on equal terms with their colleagues, and not demonstrating their acquired ability to “shut everyone up”, or keep silent in the corner.

Teachers often do not have the patience to let children "play out", "do something." Seeing a “mistake”, the teacher immediately strives to eliminate it with his lengthy and not yet demanded explanations or a “brilliant” hint. So the fear of “no matter what they did” hits the hands, as a result of which the 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 reverence.

Theatrical pedagogy proposes to see the significance in the very organization of the search process, the organization of a problem situation-activity in which children, communicating with each other, will discover something new through a task game, trial and error. Often the children themselves cannot organize such a search and creative activity and are grateful to the person who organized the celebration of research and communication for them. But the holiday will not take place if the “owner of the house” is in poor health. The equality of the teacher and children is not only in the right to make a mistake, but also in adequate interest. An adult should also be interested in the game, he is the most active fan for the success of the game. But his role in it is organizational, he has no time to “flirt”. The organizer of the holiday is always busy with "products", "fuel" for interesting mental activity of children.

The teacher-organizer, the entertainer of gaming didactic activity, 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 perfectly master the content material of the subject, which will give him confidence in his 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 staging. This means being able to translate educational material into game problem tasks. Distribute the content of the lesson into semantic logically interconnected episodes. Reveal the main problem of the educational material and translate it into a consistent series of game tasks. It can be both in the form of a didactic game and in the form of a role-playing game. It is necessary to have a large arsenal of game moves and constantly accumulate them. Then you can hope for the possibility of improvisation during the lesson, without which the lesson will become stereotyped dead.

It is important to develop a range of control over your behavior in communication. To master acting and pedagogical skills, to master a variety of techniques of influence. It is necessary to master your bodily mobilization and be an example of business purposefulness. Exude joyful, despite the mistakes and failures, well-being. Any positional conflicts that arise in educational work, strive to neutralize with their business approach, without entering into altercations. To 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, use the levers of persistence in full: different (starting from a whisper) voice volume, its height, different speed of movement in the class and speaking, extensions and extensions, change of various verbal influences. In any case, strive to discover the friendliness of the interests of students and the teacher. And not to declare it, but to find it in reality, 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, but they say it as it is customary.

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

• 1. The principle of improvisation. "Here, today, now!" Be ready for improvisation in tasks and conditions for its implementation. Be prepared for miscalculations and victories for both your own and your students. Overcoming all obstacles to meet as an excellent opportunity for live communication of children with each other. To see the essence of their growth in moments of misunderstanding, difficulties, questioning.
• 2. Do not "chew" each task. The principle of lack of information or silence. “I didn’t understand” in children is often not associated with the process of understanding itself. It can be just a defense - “I don’t want to work, I’ll take the time”, the desire to attract the attention of the teacher and the school habit of “freeloading” - the teacher is obliged to “chew everything and put it in his mouth”. Here comments are needed businesslike, the most urgent, giving the initial setting for joint activities and communication of children with each other. It is necessary to give the opportunity to clarify with peers what is really incomprehensible question. This does not mean writing off what our children have long been accustomed to, it means legalizing mutual assistance. Such a clarification is useful for both of them more than multiple explanations of the teacher.
• 3. Even if the task is not really understood by the children, but they are doing something, do not rush to interrupt and explain the “correct” option. Often the “incorrect” execution of a task opens up new possibilities for its application, a new modification, which you would not have guessed before. Perhaps, the activity of children is more expensive here, and not the correct fulfillment of the conditions of the task. It is important that there is always the possibility of training in search of a solution to the problem and independence in overcoming obstacles. This is the principle of student self-activity priority.
• 4. Often the teacher experiences acute negative emotions when confronted with the refusal of children to complete the 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’s fish soup. And then there is an insult to the “refuseniks”, and, in the end, the conclusion is “yes, they don’t need anything at all! ..”. So there are two warring camps of students and teachers, streibrechers-excellent students and "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 realign your overall stance towards rejection. If you try to see in it a hint for yourself, a real “feedback” that teachers dream of, then this will be perceived as a return gift from the child. First, he showed his independence, the independence that you were going to cultivate in him. And secondly, he drew the attention of the teacher to the need for a more thorough assessment of the level of preparation 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 complementarity and constant change of role functions, that all the techniques and skills to create a common mood in joint work work effectively and are constantly honed. A change of role functions is being developed (teacher-student, leader-follower, complementary), as the composition of the groups is constantly changing. There is an objective need to include each member of the group in the work, since holding the answer for the group can fall on any of the participants by lot. This is the principle of business, not ambition. "Today you are playing Hamlet, and tomorrow you are an extra."
• 6. The principle “Do not judge…” Tact is practiced in the ability to “judge” the work of another group on the case, and not on personal sympathies and claims, which result in mutual insults and pain. To avoid such “showdowns”, the teacher needs to establish business-like, specific criteria for assessing the performance of tasks. For example: did or did not manage to meet the set time? All or not all group members were involved in demonstrating the answer? Do you agree or disagree with the answer? Such unambiguous, not related to the assessments "like - do not like, bad - good", the criteria at first control, first of all, the organizational framework of the task. In the future, studying the evaluation criteria, students learn to track and note the objective, and not the taste side of the phenomenon. This makes it possible to remove the acuteness of the problem of clashing ambitions in collective work and more constructively keep records of the mastered material.

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

• 7. The principle of compliance of the content of the work with a certain external form, i.e. mise-en-scene. Mis-en-scene solution of the educational process. This should be expressed in the free movement of students and teachers in the class space, depending on the need for the content of the work. This is the habitation of space for its appropriation and comfortable well-being in it. This is the search for a teacher's place in each specific situation is different. It is not the work that should serve some external order, but the order must change depending on the needs of the work.
• 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 problem situation. A problem situation (problem-task, situation-position) is a contradiction between the range of proposed circumstances and the needs of an individual or a group of individuals within this vicious circle. Therefore, a problem situation is a psychological model of the conditions for generating thinking based on the situational dominant of a cognitive need. The problem situation characterizes the interaction of the subject and his environment. Interaction of personality and objective contradictory environment. For example, the inability to complete a theoretical or practical task with the help of previously acquired knowledge and skills. This leads to the need to arm with new knowledge. It is necessary to find some unknown that would allow resolving the contradiction that has arisen. The objectification or objectification of this unknown takes the form of a self-questioning question. This is the initial link in the mental activity that connects 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 theatrical pedagogy and, in particular, the socio-play style of learning. Problem-based learning is a teacher-organized way of student interaction with the problem-represented 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 cognitive motivation of the student, his interest in the subject. In training, by creating a problem situation, the conditions for research activities and the development of creative thinking are modeled. The means of managing the process of thinking in problem-based learning are problematic questions that indicate the essence of the educational problem and the search area for unknown knowledge. Problem-based learning is realized both in the content of the subject of study and in the process of mastering it. The content is realized by the development of 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 the teacher and the student, and the students with each other, where they are interested in each other's judgments, since everyone is interested in resolving the problem situation that everyone is in. It is important to collect all the solutions and highlight the fundamentally effective ones. Here, with the help of a system of educational problems caused by problem situations, subject research activity and the norms of social organization of dialogic communication of research participants are modeled, which in fact is the basis of theatrical pedagogy of the rehearsal process and education, which allows developing the mental abilities of students and their socialization.

The main means of testing any assumption is experimental verification, confirming the evidence of the facts. In theatrical 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.

Scenario is understood as an educational and pedagogical process of creating a plan for an actor's experiment-etude 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, by certain means available to the characters of the story. Unlike a professional acting sketch, in a general educational situation, it is not the acting skill itself that is important, but its ways of appropriating the situation. This is a process of creative imagination and mental justification of the proposed circumstances and an effective experiment-etude to test the proposed hypothesis for solving the problem. It can also be a search for a solution through improvisation in the proposed circumstances.

The students, having lost the etude-experiment, practically visited the situation under study and tested the assumptions and options for behavior and solving the problem in a similar situation on their life-game experience. Moreover, educational and cognitive etudes can be designed both to completely recreate the necessary situation, and similar situations, similar in essence, but different in form, which may be closer and more familiar to students. The etude method, as a method of studying a situation or a certain content, involves the formulation of a problem and the task of solving it, the creation of a list of game conflict rules of behavior (what is possible and what is not), which create a game problem situation. In this case, the main step is the 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 evaluated. If the rules are followed, then the results obtained are reliable.

In the discussion analysis of compliance with the rules, both student-performers and student-observers participate, who are initially charged with the role of controllers. It is this ternary competitive process of interchange of information lived in the study, observed and controlled that allows students to get into a reflective position that effectively moves the process of generating new knowledge. It is absolutely not important how the student performers played from the point of view of the acting technique of plausibility, it is important what the student observers saw in this. And they are able to see in a simple etude of their comrades a lot of new ideas and solutions to the problem, which the performers do not even suspect or do not plan. Even before the perception of the subject, we are full of meanings about it, because we have life experience. These “views from different angles”, let us recall again our favorite parable about the blind men and the elephant, and allow the participants in such work to be enriched from each other with new parts of the truth through subject-reflexive relations, striving for its integrity. Reflection in this case is understood as a mutual display of subjects and their activities in six, at least, positions:

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

So there is a double mirror mutual display of each other's activities.

So modern theatrical pedagogy comprehensively approaches the training of the entire spectrum of sensory abilities of children, at the same time there is an accumulation of competence in creating a harmony of interpersonal communication, the scope of independent creative and mental activity is expanding, which creates comfortable and, importantly, natural conditions for the process of learning and communication. The methods 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.

School theater pedagogy is an interdisciplinary direction determined by a number of socio-cultural and educational factors. Theatrical activity at the school is multifaceted, it allows to achieve high subject, meta-subject and personal results, is reflected in various forms and directions of education.

On the basis of theatrical activities, it is possible to implement almost all the tasks of educating, developing and educating children, therefore the principle of integration in the organization of extracurricular activities in the subject comes to the fore in the formation of universal educational activities.

The purpose of the school theater 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 formation, it is important to determine the specifics of the school theater at these stages, building the methodology of theatrical and pedagogical work accordingly. The school theater appears as a form of artistic and aesthetic activity that recreates the life world that a child lives in.

The development of school theater methodology, organically included in the educational process, is becoming an urgent pedagogical need today.

Theatrical activity can be in any lesson, in any school business. The main functions of theater pedagogy:

• the use of theatrical forms and methods in the classroom and in extracurricular activities (including subjects of the natural science cycle);
• organization of theatrical performances and holidays by the forces of one class or parallel (in history, literature, language, including foreign language, MHK);
• organization of one-time performances of holidays (dedicated to the anniversary date, event);
• organizing a school theater or a children's theater studio;
• visiting professional theaters and theater museums to get a vivid aesthetic, emotional experience, familiarization with culture and history;
• invitation of professional actors, theater specialists to the school;
• viewing fragments of theatrical productions, performances in the classroom (history, Moscow Art Theater, literature, etc.)

Theater is a synthetic art. Staging a play is not only about working with actors. Some guys are more inclined to drawing, others to singing, and others to poetry, while maintaining the general trend towards a variety of forms of aesthetic reflection of reality and self-expression. The school theater gives every child the opportunity to feel like a novice actor, decorator, screenwriter, musician, costume designer, stylist, director, photographer and cameraman.

Theatrical activity helps to synthesize all the psychological processes of a person: perception, thinking, imagination, speech, and manifests itself in various types of activity (speech, motor, music, painting, etc.). Theatrical activity is integrative, and activity and creativity are manifested in three aspects:

• in creating dramatic content, i.e. in interpreting, rethinking the plot given by the literary text or writing a variable or own plot;
• in the performance of one's own plan, that is, in the ability to adequately embody an artistic image using various means of expression: intonation, facial expressions, pantomime, movement;
• in the design of the performance - in the creation of scenery, costumes, musical accompaniment, posters, programs.

School theater is considered as a method of introducing a child into world culture, which is carried out according to age stages and involves the problem-thematic and targeted integration of the disciplines of the natural sciences, socio-humanitarian and artistic and aesthetic cycles. The work of the school theater can be considered as a universal way of integration.

The main methods of theater pedagogy:

• active effective forms of presentation and assimilation of material;
• surprise in the presentation of the material, which contributes to the formation of a positive attitude towards the perception of the material and activates the possibilities of perception;
• emotional significance of the material for the student and teacher;
• plot structure of the lesson. Movement from the unknown to the acquisition of knowledge;
• role-playing game;
• holistic inclusion of the individual. Methods of socio-playing and interactive pedagogy;
• disclosure of the topic through a holistic image. Problems of the world through the prism of today's topic, a separate fact or phenomenon of modernity;
• orientation towards collective creativity. It is very important for children to feel like individuals, belonging to a group, participating in the process of creating social values;
• orientation towards achieving the final creative result.

The main types of theatrical activities used when working with students:

• theatrical and role play;
• rhythmoplasty;
• culture and technique of speech;
• stage movements;
• scenography;
• choreography;
• vocals;
• foundations of theatrical culture;
• basics of acting;
• creation of the play.

Preparatory work on the creation of a theatrical production can not only become a tool for developing creative abilities or one of the specialized areas, but can also affect the achievement of high educational results for each child.

The algorithm for creating a theatrical production

Selecting a work and discussing it with children. The study of the history of this work, the biography of the author. Visiting theaters, watching theatrical performances based on the chosen work. Create a script. The division of the play into episodes and their creative retelling by children. Work on individual episodes in the form of etudes with improvised text. The search for a musical and plastic solution for individual episodes, staging dances.

The rehearsal process requires the interaction of teachers of various areas for young actors - this is acting, rhythmoplasty, rhetoric, stage movements, culture and speech technique.

Creating, together with children, sketches of scenery and costumes, their manufacture. Transition to the text of the play: work on episodes. Clarification of the proposed circumstances and motives for the behavior of individual characters. Work on the expressiveness of speech and the authenticity of behavior in stage conditions; consolidation of individual mise-en-scenes. Rehearsal of individual paintings in different compositions with details of scenery and props, with musical and lighting design. Rehearsal of the entire play in costumes. Specifying the tempo of the performance. Appointment of those responsible for photo and video shooting, for changing scenery, props. Performance premiere. Summing up the results of the work, discussion of the performance.

Thus, theatrical activities are implemented both in the main educational program - through classes and extracurricular activities, and through a wide range of additional education programs, which allows for maximum involvement of students and the creation of both short-term and long-term projects.

The effectiveness of theatrical pedagogy in the professional training of teachers is due to the fact that:

– The theater has always been interested in human relations, the interaction of man and the world. It is them, first of all, that the theater explores through the game. Due to the specifics of his profession, the teacher is constantly in interaction with both students and colleagues. In addition, the content of his academic subject is almost always based on the study of interaction, whether it be the interaction of chemical elements, the laws of physics, musical drama or the relationship of the heroes of a literary work;

The profession of a teacher has much in common with the professions of an actor and director. Publicity is the specificity of the pedagogical and acting professional situation. Both the actor and the teacher influence the feelings and mind of the spectators - students, addressing the feelings, memory, thoughts, will of the listener. The contagiousness, persuasiveness, artistry of a teacher, as well as an actor, can ensure his success. Both the director in the process of rehearsals and the teacher in the lesson must have the ability to have a vivid emotional and volitional influence on actors or students. The teacher needs to build the logic of the educational process so that it is perceived and understood by the students. The director also builds the dramatic logic of the future performance.

The task of the teacher is to help the child master various methods of cognition of the natural-scientific, artistic, life reality, to be able to choose the appropriate tool (tune oneself) that allows them to act adequately to them, change their role position: contemplate these realities or act in them.

Children in the school theater fall into a special emotional dependence on the leader.

Risks and Concerns:

• negligence, undemanding leader in relation to himself and children;
• bad taste of the leader;
• disrespect of the leader to the personality of the child;
• unsatisfied own vanity of the leader, inability to listen to the laws and styles of the genre, which are dictated by the capabilities and interests of the performers.

Master classes in the field of children's theater pedagogy with the aim of developing an activity-based, competence-based approach, environmental pedagogy and art pedagogy through enrichment with theatrical methods, which can be organized for participants in school theater pedagogy:

Themes
Theatrical games. Speech technique. Scenic speech. Rhythmic declamation. Stage movement. Pantomime. situational sketches. Acting skills. The art of scenography. Movement and sound. Space transformation. Sound recording. Improvisation	School teachers, teachers of additional education - leaders and teachers of children's theater groups, subject teachers who use theatrical methods in the classroom, organizing teachers, teachers of literature, history and the educational field "Art", class teachers
	Pupils of children's theater groups, students of humanitarian classes, pedagogical classes. Primary, middle and high school students interested in theatrical art, middle and high school students of art schools and schools with in-depth study of aesthetic subjects
	Teachers and leaders of children's theater studios, choreographers, specialists in the field of plasticity and movement, senior pupils of children's theater studios, choreographic groups, pantomime and plasticity studios

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

Starting work on the creation of theater pedagogy, the school staff should clearly understand the possibilities and place of the school theater in a particular school, with its own traditions and ways of organizing the educational process. Then you have to choose and build a system, it is in a systematic approach that theatrical activity allows you to achieve high subject, meta-subject and personal results.