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

But first, a small digression.

In total darkness

Imagine that you wake up after a nightmare in complete darkness and have absolutely no idea where you are. And as soon as you begin to move your hand to touch what is there, next to you, as a strict dry voice commands: “Do not move! Lie still and listen. I will tell you where you are and what surrounds you." And they really do tell. But any of your movement is strictly suppressed. And around - impenetrable darkness. What picture of the world arises in your imagination? Agree it's creepy.

Distorted and blurring outlines of incorporeal objects are floating on you from pitch darkness. They arise in a chaotic order, intangible, weightless, tasteless and odorless. They do not fill space with themselves 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 when traditional system teaching.

A man sits motionless at a desk and listens. He must sit still and believe that the world is exactly as it is told to him. 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, which is discussed in the physics lesson. And at each lesson, he hears about some new phenomena that are completely divorced from each other, intangible, and therefore unrealistic. Scary, alien, fragmented world.

The lessons of the educational area "Art" are conceived, it seems, in such a way as to put together a torn 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, there is a serious contradiction between tasks and means of execution. It would seem that it goes without saying: in order to help a person to cognize the whole picture of the world, it is necessary to allow him to be integrally involved in the process of cognition. His body, soul and intellect must participate in this process on equal terms. All six senses must be connected to this process. What is known 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.

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

The path of knowledge

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

Today, the program of humanitarian lyceums also includes languages ​​and ancient cultures to a significant extent. And if we talk about the program of the Tsarkoselsky Lyceum as a whole, then in terms of the amount of information it was approximately equal to the program of our 5th-8th grades. And besides, in addition to studying at the desk, walking, dancing, fencing and other various physical exercises far more than once a week for one hour. And also collective games and creative activities: the publication of magazines, the days of the French language, etc. So what? Did all the lyceum students manage to assimilate the entire amount of the 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 really cared.

And today's average student is required to master much larger amounts of information, while limiting him in movement, play and the possibilities of individual choice. Isn't it ridiculous 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 the intellect and memory have not changed at all, but the load on them has increased exorbitantly.

And here another paradox arises. Our distant ancestors, who did not own even a hundredth of the information that we have today, discovered almost all the fundamental laws of the universe. Even today we rely on the knowledge that the sages of the first civilizations possessed. The life of an individual person is similar in this respect to the life of all mankind. We learn 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 informational and intellectual overload, and at the same time they manage to master the most complex laws of being and recreate in their minds a holistic and harmonious picture of the world. Why? How?

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

It is this path of knowledge that theater pedagogy offers.

Based on game action

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

Theatrical pedagogy in a comprehensive school, of course, is based on the game. However, play here is a necessary but not sufficient condition. When we talk about theatrical pedagogy, then, firstly, we mean the game with images.

Let's 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 a game of "magic wands". How? Very simple. In the hands of each salting is an imaginary magic wand. Touching it to the greasy, he is free to turn him into someone. For example, in an acute angle if we play in a math lesson, or as a punctuation mark, which should find its place in a sentence consisting of “salted words” if we play in a Russian language lesson. If I was taunted, I will move, live and act like what I was turned into, I will take its form, its character, its logic of actions. I will try to imagine and embody a holistic image of my character.

However, playing with an image is not necessarily a role. You can listen to music and translate the musical image into a visual image, 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 a theatrical game and theatrical pedagogy. Of course, you can turn into a ciliate shoe, an electron or a Greek slave and realize the role setting through the actor's creation of an image. But it is possible to implement the role setting in the lesson in a different way, for example, through the motivation of activity.

Let's take, for example, the situation from the feature film "Pharaoh" and set each student the task that the main character of the film faces. 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 can complete the task, he will receive a reward (in the form of an assessment or otherwise - as the teacher decides), and if he does not complete the task, he will fall into long-term slavery (for example, he will have to complete some additional task at home). In this case, the child does not need to put on a chiton and chains, and does not need to use sticks and papyrus for drawing. His role setting will not be developed by acting means, but will become the main motivation for his creative activity.

And one more condition: theatrical pedagogy organizes the lesson according to the laws of art, and not according to the laws of free children's play. After all, the game, according to the definition of psychologists, is an unproductive and undirected activity that has no spatio-temporal boundaries. Another thing is theatrical play. This is a conscious creative process aimed at creating the final creative product, which has clear spatial and temporal boundaries. As a result of each lesson, the class - a creative team - achieves a completely definite result, fixed in an artistic image.

In our example above, an exhibition of "Ancient Egyptian Pyramid" designs is being created. With equal success, the lesson may end with a dance of transforming galaxies, a collection of autobiographical stories "from the life of insects", a performance by a steel mill noise orchestra, 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 main techniques of "theatrical pedagogy" were discovered in the bowels of primitive culture. After all, the ancients, as we have already said, did not know any other way of knowing the world, except for the holistic and figurative. What are these tricks?

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

Second. Surprise in the presentation of the material. Surprise contributes to the formation of a positive attitude to the perception of the material and activates the possibilities of perception. Surprise among the ancients consisted primarily in the fact that the situation of obtaining knowledge was surrounded by deep mystery. And this situation has never happened again. We are talking, for example, about the rite of initiation, when young men enter a secret cave or some other "house of ancestors." They go there blindfolded. In the flickering light of torches, they look at secret signs that they will never see again, hear unusual “voices of the ancestors” that tell them secret information that they will never hear again. And they leave the "house of ancestors" again blindfolded.

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

Third. The emotional significance of the material for the student and teacher. An example from the archaic is again a rite. If the entire tribe, from the leader and shaman to the children who are not yet full members of the community, does not fulfill their role in the rite exactly, 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. AT modern school the emotional significance of the material for the student and the teacher depends on the teacher's ability to turn the educational material to real life - one's 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. The plot structure of the lesson. The plot of most archaic rites is one, but fundamental: birth, death and rebirth for a new life. The plots of our lessons can be infinitely varied, but it is desirable that they be just as strong, have a pronounced plot, 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 gaining knowledge.

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

Sixth. Holistic inclusion of personality. The principle is also well understood. The primitive student, studying, say, the habits of an animal, watches him for hours from a hiding place, feels him, sniffs his tracks, learns to imitate his voice and habits. Each task of a teacher in a modern school can be formulated differently so that the individual is included in the learning process as a whole. Work very well for the implementation of these tasks, in particular, the methods of socio-game and interactive pedagogy, which is devoted to a fairly large amount of pedagogical literature.

Seventh. Disclosure of the topic through a holistic image. For archaic pedagogy, this is fundamental. Each action carried out by a person in life is an episode of a single chain that connects gods, spirits and living beings. Each ritual action implies the establishment of this integral dialogue, assistance to the entire system of the universe in harmonizing its relations. Here it is appropriate to recall the plot again: birth, death, rebirth. Whether the rite is about the breeding of ostriches, about the path of a person or about the annual solar cycle - the basis is always the image of the birth, destruction and rebirth of the world. This is precisely what is sorely lacking in the modern lesson. 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. Orientation towards collective creativity. It is not an individual child that grows in a tribe, but a cohort, a brotherhood, a whole age group. This group is connected by sacred, kinship and partnership relations. Together they are responsible for the viability of the tribe tomorrow. And yet they are not leveled. Roles and responsibilities are distributed among them depending on their individual capabilities. For children in today's classroom, it is paramount 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. Orientation to achieve the final creative result. As a result of any rite, the gods and people reach an agreement on some events. Each age group makes its own discoveries and leaves behind new cultural signs, which later become part of the cultural baggage of the community. Nothing is done just like that. Everything is aimed at achieving a specific and necessary result. In our modern lesson, knowledge is very often given for the future and not implemented in a specific activity. This, of course, reduces motivation and efficiency. How to organize the activity so that it gives a specific final creative product, we have already discussed above.

The mystery of the artistic image

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

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

The heroine of the modern fairy tale by Terry Pratchet "Spellmakers" - a village witch, Mother Weatherwax, starting to teach the secrets of witchcraft to a young student, invites the girl to explain what is magical in her witch hat. The girl looks at the strange construction of wire and 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 the pedagogy of art.

Nekrasova Ludmila Mikhailovna

Candidate of Pedagogical Sciences, theater critic,
Leading Researcher,
head of the theater and screen arts problem group
Institutions Russian Academy education
"Institute of Art Education",
Moscow

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. In the works of such students of Stanislavsky as E. B. Vakhtangov, V.E. Meyerhold, M. O. Knebel, V. O. Toporkov, M. A. Chekhov, as well as in the publications of directors A. D. Popov, B. E. Zakhava, P. M. Ershov, O. N. Efremov, G A. Tovstonogov, A. V. Efros theatrical pedagogy acquired its status, content, but did not go beyond the professional educational institution and the theater.
During the 20th century, theater pedagogy gradually and purposefully began to be mastered by another area - school education, which is directly related to children.
As a pedagogical phenomenon, the problem of "theater and children" dates back to the very beginning of the twentieth century. In 1915, a children's subsection worked as part of the All-Russian Congress of People's Theater Workers. Some of the materials about her were published in the magazine "People's Theater" in 1916 and 1919. From these documents it becomes clear that the activities of church and secular theater groups, professional theaters that play for children, amateur troupes, school theaters, as well as organizations that engaged in role-playing games with children, were considered as phenomena of the same order. The first repertoire collections "Home Theater" (1906-1913) and "Curtain Raised" (1914) appeared even before the October Revolution. And in 1918 and 1919, magazines and non-periodical publications began to appear, specially devoted to the subject of children's theatrical creativity: "Game", "Theater and School", "Plays for the School Theater", "Children's Theater".
In the 1920s, many publications on the topic “theater and children” appeared, they were published in the publications “ New Viewer”,“ The Life of Art ”,“ Rabis ”,“ Pedagogical Thought ”,“ On the Way of the New School ”, etc., but the problems of the relationship between children and the theater were still widely interpreted. The appearance of the works of the largest figures of the professional children's theater: A. A. Bryantsev, N. I. Sats, S. Ya. Gorodisskaya, S. M. Bondi, A. I. Solomarsky expanded the range of discussed problems, since they identified a new topic: the interaction of Theaters young viewer with their audience, including children's theater groups.
In the thirties and forties, there was a certain decline in activity in the discussion of the problem of "the theater and children" on the pages of the press. This was due to the specific historical situation existing in the country. Only repertoire collections containing ideologically selected literary works are published regularly. However, it was precisely during this period that professional actors and directors came to schools and Pioneer Houses, laying down new traditions of the children's theatrical movement.
At the end of the forties, a theater laboratory was created at the Institute of Artistic Education of the Academy of Pedagogical Sciences of the RSFSR, which became a kind of center for research work in two areas: children's theatrical creativity and professional art intended for children. Since 1947, the laboratory began to publish the scientific and methodological collection "School Theater", which is devoted to the problems of the theater in which children play, regardless of whether it works at a school, the House of Pioneers or a rural club. In the period from 1960 to 1986, the theater laboratory, together with the Cabinet of Children's Theaters of the All-Russian Theater Society (VTO), published scientific collections "Theatre and School". On the pages of the collections, directors, actors, teachers discussed both the interaction of professional theaters with their children's and youth audiences (problems of perception of the performance, the education of theatrical culture), and various forms of the presence of theatrical art at school.
In the 1950s and 1960s, there were two main areas in the scientific research of the NII KhV laboratory: children's theatrical creativity, including work on artistic reading and stage movement, as well as the study of the problems of professional theater for children and the perception of theatrical art by children of different school ages.
The 70s and 80s were the years of active research into the possibilities of theatrical art, as a tool for general artistic education, and the search for a diverse use of theater as a means in the educational process of the school. At that time, the laboratory staff published two serious monographs that summarized the results of research over two decades: “The Theater and the Teenager” by Yu. I. Rubina, T. F. Zavadskaya, N. N. Shevelev, 1974). It should be noted that both publications have not lost their relevance in terms of the ideas embodied in them, and practical significance for modern theater teachers. In fact, the staff of the theater laboratory of the NII KhV developed the concept of pedagogical management of the amateur theater for schoolchildren.
The concept considered "the general orientation and tasks of practicing theater arts with children in a general education school, the role and functions of the head of classes, the connection of children's theatrical creativity with the basics of professional art, the possibility of teaching schoolchildren the basics of stage literacy" . In this sense, the use of theatrical methods is effective in the classroom not only in the study of dramaturgy, but also in the analysis of narrative and poetic works.
The literature lesson provided the researchers with extremely diverse opportunities to include all schoolchildren in the sphere of acting and directing, which is associated with “the awareness of one’s own attitude to the literary fundamental principle of the performance and is limited by the period of the birth of the stage design” (26, p. 22). Laboratory employee L.A. Nikolsky developed a model of student directing creativity at a literature lesson. It was based on “the principle of individual choice, the selection and enlargement by students of such figurative-emotional components and motifs of a work of art, which, for subjective reasons or due to the relevance of the sound, attracted attention, seemed especially significant or impressive in the endless richness of the multifaceted image of a play, story, story, etc.” . And today, the patterns identified by the researcher of the creative searches of students and the problems of the theater director working on the concept of the performance seem extremely relevant:
1) an associative-figurative generalization of the perception of the play and an initial analysis of its emotional sound;
2) effective-motivational analysis of dramatic material:
a) highlighting the main characters of the future performance, interpreting the motives of their behavior and the nature of the interaction;
b) the definition of the main episode of the play, the disclosure of the event and the structure of the action of this episode and its figurative system;
3) identification of the visual and musical images of the play, the nature of their stage embodiment.
As L.A. Nikolsky writes, “... for the student, the solution of each of the tasks set is a stage in the formation of his own concept of the performance and, at the same time, a stage in the individual comprehension of the drama.”
It should be noted that it was in the 80s that the term "theatrical pedagogy" began to be actively used in the field of school education. Of great scientific interest in these years are the works of A.P. Ershova, which are devoted to the analysis of the problem of universal accessibility of theatrical and performing activities. The idea of ​​wide use of the artistic and educational opportunities of theatrical creativity in the general education school was successfully tested in the previous decade. The use of theatrical and creative methods in literature lessons was part of this educational direction.
Studies of the theater laboratory in the 80s made it possible to prove that the teaching of theatrical art in a secondary school effectively affects the educational process as a whole. The creative theatrical activity of all schoolchildren and the deepening of the audience culture “can significantly increase the level of emotional responsiveness and organization of students, their mobility and training of attention, memory, and responsible attitude to their words, deeds and actions” . Extensive experimental work and the introduction of methods developed in the laboratory into pedagogical practice proved that theatrical performing arts have great educational potential as training and mastering different types of communication and teamwork skills. "The game of behavior" as a moment of acting art, arising at any point in the classroom space and constantly changing places of spectators and performers, requiring collective coordination of actions, is a pedagogical tool that is unique in its structure.
So, considering theatrical pedagogy as an interdisciplinary direction, we can distinguish the following areas of its application:
- children's theatrical creativity in the form of an amateur theater (school theater, studio theater, theater at the House of Creativity or other artistic association). Accordingly, the training of specialists, directors-teachers working with children;
- theater lessons in the educational space of the school: the use of theatrical techniques and methods in teaching academic disciplines, theatrical lessons proper. Accordingly, the training of existing school teachers in the basics of acting and directing skills and the training of specialists for conducting lessons at school;
- education of theatrical culture and the study of the perception of theatrical art by children of different ages. Accordingly, teaching teachers the basics of spectator culture.
It was in the 80s that the activity of a teacher-director or a theater teacher became a special problem for 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 a school cannot do without a professional who knows how to work with children, as it has long been consciously done in relation to other types of art. It should be noted that this problem has not been solved even after a quarter of a century. Professional personnel for theatrical work with children are not trained either in pedagogical or theater institutes. The problem is being solved by the Institutes for Advanced Studies of Educators, but this is not the subject of our consideration.
how special case To solve this problem, one can consider the activities of the creative association "Moscow School Theater", which was created on the basis of the Institute of Art Education in 1987. The Regulations on the Moscow School Theater say that it "is called upon to assist Moscow schools in shaping the artistic, creative and spectator culture of children, strengthening the school's ties with professional artists and providing organizational, methodological and advisory assistance to children's theater groups" . For a decade, the Moscow School Theater has become a scientific and methodological base in Moscow for regular advisory assistance to teachers-leaders of school theater groups who do not have professional training.
To do this, talented teachers, professional directors, actors, artists and playwrights were involved in working with children. The leaders of the Moscow School Theater set themselves the goal of qualitative enrichment of the pedagogy of children's stage creativity, as well as the introduction of theater pedagogy into general educational and educational processes at school. Unfortunately, the commercialization of some areas of additional art education, which began in our country in the late 90s, did not allow this association to be realized.
In the 1980s, such a form of theater education and upbringing of schoolchildren as theater classes appeared and began to spread. A. P. Ershova and V. M. Bukatov, employees of the laboratory of the theater of the IHO RAO, who have been dealing with the problems of theater education for many years, proposed their own classification of the experience of theater classes, based on the interpretation of the concept of “children's theatrical creativity”. According to their characteristics, there are three types of theater classes:
- class clubs, “in which theatrical art is seen as a means general development schoolchildren";
- class-theatres, whose activities “are based on the educational opportunities for the participation of schoolchildren in the creation of a performance as an integral work”;
- class-school; the leaders of these schools “see the maximum benefit from the inclusion of the student in mastering the technique, the literacy of theatrical art, i.e. are based on the educational possibilities of theatrical education.
The authors supported the idea that was relevant for that time about the need to open theater departments in art schools. Organize the process of primary and secondary vocational education children is possible “only as a result of theatrical pedagogy’s awareness of its subject, the sequence of its development, the boundaries and possibilities of individuality at each age,” wrote the authors of the concept of theater education.
In the early 90s, the pedagogical community actively discussed the socio-playing style of teaching, at the origins of which was a team of elementary school teachers - V. N. Protopopov, E. E. Shuleshko, L. K. Filyakina, and further development belonged to A. P. Ershova and V. M. Bukatov. Socio-play approaches were originally developed on the material of teaching children in elementary school to read, write and mathematics, as well as in classes with preschoolers in kindergarten. At the same time, socio-playing techniques were also practiced in teaching teenagers theatrical and performing arts. At this time, there was an active enrichment of the developing direction with the methods of theatrical pedagogy. Scientists-developers argued that socio-game approaches to teaching practice are characterized by a lack of discreteness, in which didactic knowledge and advice are not divided into parts: principles and methods are separate, and the result is separate. “As the authors and developers of “socio-game pedagogy,” write A. P. Ershova and V. M. Bukatov in their monograph “Communication in the classroom, or directing teacher behavior,” we have heard that teachers, especially in primary used and use various - for example, didactic - games. But the socio-playing style is the style of the entire training, the entire lesson, and not just one of its elements. These are not separate “plug-in numbers”, this is not a warm-up, rest or useful leisure, this is the style of work of the teacher and children, the meaning of which is not so much to make the work itself easier for the children, but to allow them, having become interested, voluntarily and deeply get involved in it.
In many years of experimental work, in a large number of seminars conducted by researchers with teachers in different regions of the country, they combined two areas: the artistry of pedagogical work and the socio-playful style of learning. When these two areas were joined by hermeneutics, which was studied by V. M. Bukatov, a new, somewhat unusual and intriguing term for teachers appeared - “dramatic hermeneutics”. The authors of the study wrote that “dramatic hermeneutics is a variant of teaching and educating the joint living of a lesson by all its participants, including the teacher. As a direction in pedagogy, it is still waiting for its detailed description, further development and wide distribution.
Drama hermeneutics arose on the interweaving of three spheres: theatrical, hermeneutic and pedagogical. In each area, central positions were chosen. In the theatrical, this is communication, effective expression, mise-en-scene; in the hermeneutic - the individuality of understanding, wandering, oddities; in the pedagogical - humanization, exemplary behavior, dichotomy. The authors emphasized that “dramatic hermeneutic definitions are not characterized by rigid discreteness, they are emphatically conditional, naturally and “flowing” into each other and reflected in every part of the integrity” .
It should also be noted the direction of the research activities of the theater laboratory, dedicated to the study of the problem of the relationship of the child with professional art. This direction was widely reflected in the studies of A. Ya. Mikhailova, devoted to the study of the audience of primary school age, and the works of Yu. I. Rubina, covering the whole spectrum of the problem of "the theater and the young audience" Back in the 70s, the theater laboratory successfully solved the main tasks of aesthetic education by means of the theater. It can be argued that the laboratory actually studied the process of theatrical education, considering the unity of live stage impressions and certain knowledge about the theater, direct spectator experience and its critical comprehension as the obligatory components of the latter. The process of theatrical perception is carried out at several levels - from the direct aesthetic and emotional experience of the performance to its subsequent interpretation and evaluation. As the researchers point out, each of these stages of perception requires special skills, special training, leading, ultimately, to a holistic judgment about the performing arts.
Based on the data of a study of the artistic interests of children, conducted by the Institute of Artistic Education of the Academy of Pedagogical Sciences of the USSR (1974, 1983), the laboratory solved the problem of shaping the schoolchildren's need for theatrical art. The need for one or another form of art is determined to a large extent by the skills of addressing this art. The program of the so-called "aesthetic decade" in the field of theater assumed, on the one hand, an appropriate structure of the theatrical repertoire, taking into account the needs and possibilities of various age groups spectators, on the other hand, a systematic and thoughtful acquaintance with this repertoire of schoolchildren. Both for theatrical and pedagogical practice, the issues of the age orientation of performances, the specifics of the stages of a child's development and the age-related characteristics of artistic perception become extremely relevant.
Based on the generalization of many years of experimental experience, the Laboratory develops a set of programs dedicated to the education of theatrical culture of schoolchildren of different ages: "Fundamentals of theatrical culture" (1975), "Fundamentals of theatrical culture of schoolchildren" (1982), "Theater" (1995). The widespread introduction of programs into the practice of a general education school requires the presence of a teacher with theatrical knowledge and skills in analyzing the performance. Therefore, seminars on spectator culture, on lesson directing, on theatrical and game methods in teaching, conducted by laboratory staff, are in such demand.
In conclusion, I will give one more quote from the monograph of my colleagues: “Education and training are inextricably linked with the teacher’s ability to influence students in the course of communication, influence their actions, stimulate their positive activity and restrain negative activity. These skills go beyond any applied subject methodology and constitute a pedagogical technique, which must clearly be based on a culture of actions and interactions. And this is precisely the subject of the theory and practice of theatrical art.
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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 common system artistic and aesthetic education of children and youth. The preparation of school theatrical productions, as a rule, becomes an act of collective creativity not only for young actors, but also for vocalists, artists, musicians, lighting engineers, organizers and teachers.

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.

The founders of theatrical pedagogy in Russia 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. Actually, the theatrical pedagogical tradition begins with them, which exists to this day in our universities. 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 by Prince Sergei Mikhailovich Volkonsky, Mikhail Chekhov, Gorchakov, Demidov, Christie, Toporkov, Wild, Kedrov, Zakhava, Ershov, Knebel and many others.

Ascertaining the crisis of modern theater education, the lack of new theatrical pedagogical leaders and new ideas, and, as a result, the lack of qualified teaching staff in children's amateur theatrical 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 the school theater in Russia were founded at the end of the 17th - beginning of the 18th century. In the middle of the 18th century, in the St. Petersburg land gentry corps, for example, special hours were even set aside for “training in tragedies”. Pupils of the corps - future officers of the Russian army - played plays by domestic and foreign authors. Such outstanding actors and theater teachers of their time as Ivan Dmitrevsky, Alexei Popov, brothers Grigory and Fyodor Volkov studied in the gentry corps.

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

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, wrote scenery for performances.

In the last third of the 18th century, children's home theater, the creator of which was the famous Russian educator and talented teacher A.T. Bolotov. He wrote the first Russian plays for children - Chestokhval, 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 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 "a 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. 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 to 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 and the 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 Russian 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 the 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 how 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 actor, playing for everyone actors his play and a master needleworker.

From puppet theater children can gradually move on to a passion for drama theatre. 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 late XIX- the beginning of the 20th century, the statements of teachers and figures of the children's theater indicate 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 its purely educational significance; dramatization 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 the very early age should be used for educational purposes. The section considered it necessary “that in kindergartens, schools, orphanages, 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, arrangement of 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 the device school plays and holidays. During the construction of school buildings, it was noted in the resolution, it is necessary to pay attention to the suitability of the premises for arranging performances. The congress spoke about the need to convene an all-Russian congress on the problems of the children's theater.

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 domestic 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 unemployment of young people is extremely acute. The vacuum is being filled by anti-social preferences and inclinations. The main barrier to the creminalization of the youth environment is active spiritual work that meets the interests of this age group. 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 aimed at children with its inherent 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 the school or outside it, 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. 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 on the subject "children's theater pedagogy" and to introduce this subject into the programs of universities that train directors of amateur theaters.

1. Theater as a subject, which 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 the modern theater education of children is the harmonious dosage of technical skills in the educational and rehearsal process along with the use of free play nature. children's creativity.

Back in the 70s, the theater laboratory of the 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 “theatre lesson”.

In subsequent years, programs were developed on the technique of action, stage speech, stage movement, and world artistic culture. A collection of creative tasks for children's theater classes has been created.

1. Theater 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 rise of democracy ancient Hellas owes much to the ritual of living together by the inhabitants of the city to 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.

In the sphere of theatrical education of children, the problem of personnel is still acute. Universities do not train directors-teachers of children's theater education and children's amateur theater. If the graduates are somehow familiar with the staging techniques, then they are almost not familiar with the pedagogical theatrical process.

This necessitates the creation of profile secondary specialized educational institutions that train directors-teachers of children's theaters, who should know well the specifics of children's 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 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 and 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 last years Thanks to the efforts of the staff of the theater laboratory of the Research Institute of Art Education, the socio-playing style has become widespread in theatrical pedagogy.

"Socio-play style in pedagogy received its 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. So, through the efforts of the famous psychologist E. B. Shuleshko, the innovative teacher L. K. Filyakina, and theater teachers A.P. Ershova and V. M. Bukatov, a new, or “well-forgotten old” arose, which was called “socio-game pedagogy”.

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’s “action theory”, the socio-playing style allows you to to comprehend, 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 can be defined new level the mode to which the pedagogy of cooperation and, in particular, theatrical pedagogy aspires. 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 search and creative activity and are grateful to the person who organized the holiday 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 the "products", "fuel" for the interesting mental activity of children.

The teacher, the organizer, the entertainer of the 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 of the subject material, 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 academic 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 somehow: 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 real 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. 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 reticence.“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. Peers will understand each other faster. In addition, they will start doing it - they will understand!
3. Even if, in your opinion, 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 the task opens up new possibilities for its application, a new modification, which you have no idea about. It is possible that the activity of children is more valuable 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 priority of student initiative.
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, streibreichers-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 your attention to the need for a more thorough assessment of the level of preparation and interests of students. This will help you find the adequacy of your task to the level of need for it. It is at this time that you improve as a teacher, unless of course you need it.

1. One of the central techniques is working on the 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 business principle, not ambition.“Today you play Hamlet, and tomorrow you are an extra.”
2. 6. 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", 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 we see the real fruits of our activities, the more time and chances we have to change something else.

1. Principle 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.
2. 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 an experimental verification that confirms the evidence of 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.

under stage understands the 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-play 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) that create a game problem situation, an etude-experiment and its analysis. 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 doesn’t matter at all how the student-performers played in terms of the acting technique of plausibility (they, of course, depict or illustrate everything), 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. After all, “it is more visible from the outside”, especially when you have the necessary information! .. 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, are control;

The performer as he sees himself and what he has done;

The performer and what he has done, as seen by observers;

And the same three positions, but from another subject.

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

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

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.

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

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

Tebiev B.K. and others. Tula theater. Historical and art history essay. - Tula, 1977. S.16-17.

Pirogov N.I. Selected Pedagogical works - M., 1953. S. 96-103

Cit. according to the book Helping families and schools. Pedagogical Academy in essays and monographs. - M., 1911 C 185.

Resolutions of the 1st All-Russian Congress on Public Education (On Sections and Commissions) // Bulletin of Education 1914 No. 5 Appendix C 12.

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

There. S. 60.

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

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

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

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 phylogeny. And then the school theater unfolds as a method of introducing the child to 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 theater art 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 associate-consultant at a high level of team development, 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 creative tasks of the collective itself, 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 professional 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 miserable, 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, 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 "different", 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 named 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?

Creative group, including university teachers (RGPU named after Herzen, Faculty of Human Philosophy; St. Petersburg State Academy theatrical art; 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:

• the interaction between the theater and the school, realized through the organic inclusion theatrical activities in the educational process of city 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 also 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 extracurricular activities the drama circle 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.

Interaction professional theaters. Our Center held the "Acting Campaign" action, 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", 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 poetry programs, dedicated to creativity 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.

Moscow Institute of Open Education

Department of Aesthetic Education and Cultural Studies

Laboratory of Interactive Theater Projects

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

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

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

System-activity an approach:

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

The peculiarity of the method of cognition in theatrical pedagogy

General Pedagogy	Pedagogy		Theatrical
	art		pedagogy
scientific way	holistic-shaped	kinesthetic way
knowledge	way of knowing		knowledge
(intelligence)	(feelings and emotions)

Definition of art pedagogy

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

There are two main trends in understanding this phenomenon: pedagogy, which is implemented in art classes (art, music, Moscow Art Theater, theater, etc.) and pedagogy, which is based on holistic-figurative thinking and practices of living the content of education in any subject areas.

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

The meaning and place of art pedagogy in education

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

Imagination is the vector of the future, the basis of creativity - "applied imagination", offering a form for the realization of a person's dreams and aspirations.

It is necessary to talk about a culturological approach to teaching art in general and about culture as a basis not only for subjects in the art cycle, but, most importantly, for all other academic subjects, including natural and mathematical ones.

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

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

The first thing that always characterizes

aesthetic attitude, - a direct experience by a person of unity with the surrounding reality : the external world does not oppose him ... but opens up as a world of man, related and understandable to him. This attitude is disinterested, it excludes the consumer's view of nature when a person seeks benefit only for himself, and is based on communication with nature, proceeding from "mutual interests", and sometimes exclusively from the inherent value of her being. The aesthetic attitude of a person to a person is also disinterested - as to “another “I”, when a person can put himself in the place of another, imbued with his feelings and experiences, perceive someone else’s pain as his own.”

A.A. Melik-Pashaev "Artistic talent and its development in school years", M.2010

“In a general school, art as a skill should become a means humanization of man.

If we agree that

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

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

B.M. Nemensky "Pedagogy of art"

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

Important in the development of human abilities is the sensory sphere.

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

L.G. Savenkova

"Problems of didactics of the educational field "Art"

Basic principles of art pedagogy

Reliance on the creative method

Integrity of the educational process

polyartistic

education

Polymodality of creativity

Intonation as the basis of understanding