Master class on acting for teachers and parents. Acting and pedagogical skills in the work of a teacher, penetration into the system of student motives, a sense of empathy

Relevance and problem of the topic.

In existing today educational space The role of the teacher increases significantly. But he is not ready for this role and will not be ready if the system of his professional training does not change, that is, if the teacher does not master new effective technologies that make it possible to significantly change the methods of conducting the educational process.

Gaming theater technologies that are actively penetrating the educational process are a powerful lever that can shift creative process in educational institutions. The popularity of theater pedagogy in the educational process is explained by the fact that with the help of its means it is possible to specifically influence the motivational, emotional-imaginative and intellectual-creative aspects of the individual. Unfortunately, art is often denied the possibility of intellectual knowledge, recognizing only an emotional and aesthetic understanding of reality.
The existing contradiction prompted me to create a master class on acting for teachers educational institutions on this topic: "Theatrical mosaic or the ability to be different."
Target:

creation of a temporary theater studio to reveal creative individuality in order to organize pedagogical activities based on the basics of acting.

Tasks:

Create conditions for emotional self-expression of the individual, for the discovery and development of abilities in artistic and artistic activities;
create a range of trainings that allows you to optimally distribute participants according to their abilities;
promote creative self-expression.

I block. Warm up.
Immersion.

I invite you to the theater studio. I suggest you stand in a circle. This is a close interaction between the actors - we see each other. Getting ready for the role. In order to get into the role, all extraneous thoughts must be left behind the scenes.
A convenient and time-efficient method of overcoming the fears and anxieties of a large group is to create a “Deposit Box”:
You need to remember what worries you, what may interfere with active participation in our lesson, for example, these may be distractions
Did I feed the cat?
When will uncle leave the hospital?
I have nothing to say
Concerns about participating in class
Will I be able to cope with anxiety?
Will I be asked to speak?
What if I don’t answer as expected?
Try to put all your worries in this basket, imagining your unnecessary item. While the concerns are in the basket, they can be forgotten.

4. Theater rules:
- silence behind the scenes
– you cannot turn your back to the audience
– remain in role until the end of the performance
– be able to listen to your partners
– we carry out all actions by clapping
II block. Wordless elements of action.

1. The concept of “assessment”. Sketches.
Snake
Painting
Dark forest
2. The concept of “extension”. Sketches.
Extension on top. Sketch of boss and subordinate.
Extension below. Sketch of a subordinate-boss.
The extension is equal. Study of Colleagues.
3. The concept of “mobilization”.
4. The concept of “weight”. Sketches.
Study Telephone
Sketch of Letter

Reflection.

And now, on a theatrical mask, I invite you to express your emotions, feelings, in other words, to evaluate our work. Everyone stands in a circle and shares their impressions.
At the end of the lesson, you can ask whether the idea of ​​​​a deposit worked, whether the anxiety of the participants increased or, on the contrary, decreased when they literally put it aside.
The presenter summarizes.
Today you tried yourself as an actor, I think you succeeded. “The theater is a hive. Some bees build honeycombs, others collect flowers, others raise the young generation, said K.S. Stanislavsky, - and together everyone produces a wonderful, aromatic product of their work - honey... But for this you need to constantly, day after day, work hard, persistently, and most importantly, work together..." All the best to you!

Svetlana Kontsevaya

Acting as one of the aspects of pedagogical skills va.

“The ability to educate is still an art, the same art as playing the violin or piano well, or painting well. The trouble with the art of education is that education can only be taught through practice and example. No matter how successfully a person ends pedagogical university , no matter how talented he is, and if he does not learn from experience, he will never be good teacher».

A. S. Makarenko.

Giving your soul is difficult and joyful. It is difficult because it requires the expenditure of not only mental, but also physical strength. It’s joyful because seeing the result of the work received, you understand the meaning of your life.

Dudyuk. Matinee "Tricks of Dudyuka" dedicated to the Golden Autumn 2017.

My favorite role so far.

Pedagogical excellence- This highest level pedagogical activity, manifested in creativity teacher, in the constant improvement of the art of teaching, education and human development. Pedagogical creativity is seen as a state pedagogical activity, in which a fundamentally new creation occurs in the organization of the educational process, in solving scientific and practical problems.

Dull, monotonous work in which there is no creativity leads to premature professional decline and the cessation of intellectual growth. Creative nature of pedagogical encourages activities teacher to study and borrow the best practices of colleagues, makes him sensitive to innovations in the field of education. The lack of teacher creativity negatively affects the development of children.

Activity teacher preschool institution is multifaceted in its functions and content. It involves mastering teacher various professional skills. These skills can be divided into gnostic, constructive, communicative, organizational and special.

Possess special skills - singing, dancing, speaking expressively, reading poetry...

Cossack girl. Apple saved 2016

The more such special skills in the arsenal teacher, the more interesting and meaningful the life of children in kindergarten.

Versatile teacher evokes the admiration and pride of the students. They want to imitate him, they want to learn more.

The system of K. S. Stanislavsky shows that in theatrical and pedagogical art has a lot in common. Teacher and actor must know and feel the audience - the advanced and backward part of it, understand who to focus on and who to help. You need to know the basics of human reaction depending on age, gender, and professional orientation. The similarities between theatrical and pedagogical activities can be monitored using the following parameters.

1. By purpose (influence of a person on a person in order to cause experiences).

3. By instrument (psychophysical nature teacher and actor itself is a tool for carrying out activities).

4. The process of theatrical and pedagogical creativity is realized in the environment public speaking (both spectators and students are participants in the process).

5. The object of influence simultaneously becomes the subject of creativity.

6. Creativity is carried out in a certain time allotted for this, which requires efficiency in managing your mental state.

7. The results of this creativity are dynamic, they develop, that is, not only the result is important, but also the process.

Autumn. Holiday " Golden autumn" 2013

Snow Maiden. Where would we be without her? One of the first roles. 2013

To sum up the above, I can only say how such small roles at children’s matinees help me personally. Of course, they train not only memory (the key to good performance of a role, a perfectly learned and rehearsed role, gives me a wide range of experienced emotions, both my personal and those provided by the character himself - positive emotions and transfer positive qualities positive heroes (Snow Maiden, Golden Autumn, Spring, Cossack girl). And negative qualities and emotions when playing negative characters (Baba Yaga, Dyudyuka, Shapoklyak, Princess Nesmeyana).

Also, such mini-performances help train nervous system, train in the ability to manage your anxiety.

Profession teacher public, and recently performing for teacher at various kinds of conferences and master classes, competitions, requires from teacher a certain skill in oratory and endurance, the ability to control and manage one’s intonation, volume and strength of voice, the ability to present oneself and one’s work. It is precisely all these skills that he embodies actor play. And most importantly, it gives the opportunity to reveal yourself to children and parents from a new, unknown side to them. The greatest reward for me is the words of children and parents “We didn’t recognize you at first...” it means the role was a success.

Theater and film actor, director and teacher Roman Polyansky told the magazineFoodika about his profession, plans for the future and gave some advice to aspiring actors.

tell us about yourself

I was born in Omsk. In an ordinary family. I went in for sports because my parents had a direct connection to it. But at some point they decided to send me to a music school (clarinet class). I went there completely reluctantly... True, over time I became involved in music and even decided to enter a music school!

How did you become acquainted with your current profession?

From early childhood, my parents took me to the theater - to plays, to operettas. And when I entered the music school, I began going to the theater studio under the guidance of E. M. Ponomareva, who instilled in me a love for the stage. That's why I decided to go to Moscow to enter the theater institute. I entered the “Pike” with a wonderful teacher V.V. Ivanov. Already during my studies I began acting in films. After graduating from the institute, I worked at the Yevgeny Vakhtangov Theater and at the Roman Viktyuk Theater. At the moment I am playing in enterprises, I continue to act in films, I have completed and released several of my directorial works and, of course, I teach what I am almost entirely occupied and passionate about - acting!

How and when did you realize that you can and are ready to start?teach acting?

While still a student, I was invited to give a master class for the Yabloko amateur theater in Estonia. That's when I realized that I really liked it. Because I myself, together with my students, discover something new and interesting. The role of a teacher for me is again an experience and a huge opportunity to look at the acting profession from a different perspective! And when I now teach at different acting schools, I still continue to study with my students.

How do you improve your skills? Can you recommendspecial courses?

I read books by wonderful directors (Stanislavsky, Mikhail Chekhov, Tarkovsky, Zahava, Tovstonogov, Meyerhold, Bergman and many others). I try to analyze their experience, creativity, work with actors and on plays.

The basics of courses in almost all acting schools are aimed at emancipation, understanding the basic skills of the profession, and creating a good and positive creative atmosphere. The only difference is in the teachers. It is important to choose “yours”.

What goals do you have in the near future? Do you think the end justifies the means?

I want to work even more, work on myself, not stop there, continue making my films and my teaching experience, stage plays and develop, develop, develop! And, most importantly, be and remain honest to yourself and others! In my opinion, only then will fate reward you for your efforts.

5 components of success for an aspiring actor/teacher?

May the readers who want a ready-made formula for success forgive me, but my components are quite simple, banal and not new. My experience shows that there is nothing more effective than working on yourself, and cannot be. And I will also repeat that you need to be honest with yourself and with others, sincerely love your profession and devote yourself to it completely, value and respect your colleagues.

Hobbies, leisure?

I have absolutely no time left for hobbies... Everything of my own is insignificant free time I spend it with my family. Although sometimes I manage to go to the gym, swim or play football.

Why are you involved in the acting profession/teaching acting?skill? What does this give you?

The acting profession allows you to be absolutely different people, try on different masks. I love my job for this versatility.

Are you glad that you live in Russia?

Yes, of course, I love Russia. We have a wonderful country, with wonderful people and an amazing history. But I also love to travel and visit different countries. Observe other culture and people. I'm probably more of a "person of peace." I feel completely comfortable in every country.

One day I flew to Warsaw for a Russian film festival. Two young girls met me at the airport. They stood with a sign. I go up to them, look, and it says “Roman Polanski”. I say it's me. They look at me with big round eyes and are silent in bewilderment. As it turned out, they expected to see my almost completely in tune namesake (Roman Polanski - one of the largest filmmakers of the post-war era, winner of the most important awards in cinema: the Palme d'Or at Cannes, the Golden Bear at the Berlin Film Festival, the Golden Lion at the Venice Film Festival, “Oscar”, “Cesar”, “Golden Globe”, etc.), who, in general, is much older than me, which is why the girls were surprised to see how well preserved I was, being born in 1933. We laughed and went to the festival. And there many more people came up and looked at the young Roman Polanski.

Your idols, why?

I have no idols. I like many actors, but still, they are not idols in understanding this meaning. I'm interested in watching the performances of Leonardo DiCaprio, Tom Hanks, Andrei Mironov, Alexei Petrenko, Jean Paul Belmondo, Robert De Miro and Al Pacino. I absolutely love the directorial style of Tarkovsky, Alexei German (senior) and many others.

Has your education influenced your level of professionalism?

The theater institute gives you a starting point in your profession. And how you further develop yourself, improve your skills, depends individually on each person. The acting profession, like probably any other, is not mathematics or other exact sciences. It all depends on your inner, spiritual world. This is a sensual profession.

Favorite books?

All books should teach something. But everyone understands their own. Read good classic literature.

Recommend some books to become even more skillful

actor/teacher?

As I said earlier, I read a lot of books on acting and above I listed the most authoritative authors for me. But what is the difference between the acting profession and others? Actors are absolutely not theoreticians, actors are exclusively practitioners. You must constantly practice, be busy, be constantly in search, only then will you improve.

The biggest achievement in life for you right now is...

My family is my greatest achievement.

What are your life values?

My family, my friends and my profession.

Your professional passion is... What do you like most about your profession?

Acting is the main passion in the acting profession! To be many personalities, to be a jester, a clown and, at the same time, a king and Don Juan.

Always be different!

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In early childhood, children show acting talents - they sing, dance, and recite poetry. This goes away with age. But often at the age of 14, a teenager confidently tells his parents that he wants to become a famous theater or film actor. How can you help your child choose what skills to develop? Where to study, and what should a beginning artist know? After all, “I want” alone is not enough to build a career. You will have to work hard, constantly develop and improve.

It is difficult to unequivocally answer the question of how to become a professional theater or film actor. Acting is a combination of skills, abilities, and personal qualities.

If a 14-year-old teenager prefers to spend the entire day passively, sleeping a lot, then you shouldn’t even ask the question of how he can become an actor. Only persistent, hardworking people conquer the heights of acting. A professional actor is brave, decisive, and knows how to control emotions.

Qualities without which it is impossible to become an actor:

• Appearance. Facial features do not necessarily have to be perfect, and the figure does not have to be perfect. There are many talented actors in world cinema who can hardly be called handsome. But they are very charming. The appearance should contain attractive, interesting features.
• Charisma. The concept is vague, but it is charismatic personalities that audiences want to see on screens and stage. Such people attract attention and fascinate. Not everyone has this quality inherent in their nature. But it can be developed - courses and master classes will come to the rescue.
• Strong-willed character. The path to the top will be long and difficult - weak people will not withstand the psychological and physical stress. Character needs to be strengthened - discipline, self-confidence, determination - the 3 pillars on which an acting career is built.
• Sociability. It will be difficult for a silent teenager of 14 to break into the acting community. Sociability is the ability to easily communicate with people, make new and useful contacts, and present yourself at castings. To develop this skill, you need to start a conversation with a stranger every day.

Professional skills

What skills does an actor need:

• expressive facial expressions – the actor knows how to express all emotions;
• clear speech, the foundation of oratory - the artist clearly formulates thoughts, has no problems with diction;
• knowledge of the basics of the Stanislavsky system - without knowing the basics it is impossible to move on;
• good memory is one of the foundations of theatrical skill; memory needs to be constantly trained;
• the ability to embody different images - universal actors are valued more highly;
• good physical form– the actor must be hardy and seasoned.

A theater actor will need knowledge of the basics of stage combat. If you want to become a popular and versatile artist, you need to take up dancing and singing.

How to become an artist in demand and popular? Only by constantly declaring yourself. To begin with, you should post photos and resumes on the Internet on the websites of aspiring actors, and post a video presentation on Youtube. An artist is a brand that needs constant advertising. You need to study a lot of different information that covers the answers to the question of how to become a popular and in-demand actor.

A novice actor should not be intimidated by difficulties. The acting environment is cruel and competitive. To get to the top, sometimes you have to sleep little, work hard, and eat irregularly.

Where to study?

Many teenagers at the age of 14 think that the dream of becoming a theater or film artist will never come true. They don't know where to start, how to become an actor. The task of parents is to support the child in his endeavors, to prompt and guide.

In Moscow and others major cities you can find a good acting school. There are theater clubs in small towns too. But in megacities the level of teaching is better and there are more prospects. Training from professional teachers will help you better prepare for admission to a theater university. You can enroll in a state educational institution until you are 25 years old.

To get into the theater studio, you need to pass a competition. Competition is high at popular schools. To pass the test, you should prepare in advance.

The applicant needs to learn a poem, an excerpt from a favorite work, learn how to recite it beautifully, convey the meaning and feelings. To listen, you need to choose a piece that best reflects inner world applicant. The passage or monologue should be chosen short - the commission has little time, it can interrupt the speaker at the most interesting point.

If a teenager at the age of 14 can dance and sing, this will be an additional advantage upon admission. Selection in drama school– a good experience, since the competition for prestigious theater universities is 200 people per place.

At the age of 14, it is difficult to enroll in a theater school - teenagers have many complexes, they cannot tolerate defeat. You can help your child open up with the help of a tutor. This form of training is relevant in small towns where it is not possible to attend a theater studio.

IN summer period camps are opened for future actors, and sometimes theaters hold on-site master classes. All this can and should be attended by a 14-year-old teenager who dreams of becoming an actor.

How to behave at a casting

To become a film actor, you will need to go through many auditions. It is important to regularly review advertisements that invite teenagers 14 years old to film. Even if the chances of getting a role are minimal, it’s still worth going. This will help expand your teenager's comfort zone. He will be able to understand more clearly how to become an actor, how much effort it will take.

• Preparation. Before the start of casting, the basic requirements for actors may not be disclosed. There is no need to dress brightly or wear provocative and vulgar makeup for the casting. Naturalness is one of the components of successful casting.
• It is impossible to become an actor without a good portfolio. Properly selected photographs will tell more than any resume. The photo always shows the level of skill, the ability to behave in front of the camera, and the ability to improvise. How to become an actor if you have no filming experience? Find a good photographer who can take high-quality photographs. The task of a 14-year-old teenager is to maximize his potential and versatility in his portfolio. There should be a lot of strong and clear images.
• Video interview. At the casting they are looking for a person who fits the image, who is not afraid of the camera and feels relaxed. Therefore, all applicants are asked to say a few words about themselves in front of the camera. To cope with anxiety, you need to make several recordings with a camera at home, or record a video in some public place.

Theater or film actor?

To successfully build a career as an actor, you need to set your priorities correctly. At the initial stage, it is worth understanding whether you want to act in the theater or in the cinema.

What is the difference between acting in theater and cinema?

• Character. In theatrical productions, the actor reveals the image of his character continuously throughout the entire performance. In movies, scenes are shot in random order, so the actor needs to switch quickly and be able to play different scenes at any time.
• Gesture. Broad gestures are valued in the theater. The camera exaggerates everything several times - it is necessary to carefully express emotions.
• Appearance. In the theater they are more tolerant of imperfect appearance and figure. In the cinema, all imperfections become noticeable; makeup and properly set lighting cannot eliminate these problems. Therefore, a film actor should always look perfect.
• Emotions. Expressing emotions in cinema is more difficult than in theatre. Cinematography requires complete immersion in the role, you need to be able to use micro-gestures, and spend hours practicing the necessary, expressive gaze.
• Plausibility. A theater actor always communicates with live spectators. In cinema, you often have to communicate with a soulless camera. A play is a performance. In cinema, verisimilitude is valued.

Making your dream come true and becoming an actor is not an easy task. You will have to study, work and communicate a lot. An aspiring actor must be aware of all the latest in theatrical art and cinema - he needs to read a lot, attend theatrical productions, master classes of famous actors. This will not only allow you to grow professionally, but will also give you the opportunity to acquire new and useful acquaintances.

Collection output:

BASICS OF ACTING AND DIRECTING IN THE ACTIVITY OF A TEACHER

Yakusheva Svetlana Dmitrievna

Ph.D., Art. Lecturer, Department of Pedagogy, Moscow State Pedagogical Institute, Moscow

Yashina Yulia Renatovna

studentVcourse at the Faculty of Social Pedagogy, Moscow State Pedagogical Institute, Moscow

Currently, society is increasingly affirming the idea that education from a way of enlightening the individual should turn into a mechanism of development creative personality, her individual abilities and talents. A person capable of constructing himself, defining and changing his life strategy.

In order to become a competitive individual, the modern labor market places high demands on both professional knowledge, and for general humanitarian training of graduates of educational institutions with a psychological and pedagogical profile. A good specialist constantly expands his knowledge.

Achieving this goal is impossible without teachers with creative individuality. After all, for a teacher’s efforts to become effective, his erudition, methodological skill, and successful choice of educational technology are not enough. It is necessary that the student accepts the teacher as a bright, unique personality.

Scientists such as Yu.P. made their contribution to understanding the role and significance of the elements of professional skill in a teacher’s activity. Azarov, V.M. Bukatov, O.S. Bulatova, P.M. Ershov, A.P. Ershova, I.A. Zyazyun, Yu.L. Lvova, V.A. Kan-Kalik, V.F. Morgun, E.A. Yamburg, S.D. Yakusheva and others.

Also S.I. Hessen posed the problem of the relationship between education and culture, which is still relevant today. A necessary condition This connection is the interpenetration of education into culture and, conversely, culture into education. Education is part of culture; it influences its preservation and development. Educational process provides knowledge of the world, develops the personality in its individuality, unique originality, and makes it possible to master the entire wealth of world culture.

Today’s teacher performs several functions simultaneously: teaching, educational, developmental, methodological, propaganda, etc. The successful implementation of each of them requires the teacher to have certain knowledge, abilities, skills and abilities, as well as personal qualities.

Pedagogical skill is the art of teaching and education, accessible to every teacher and master. industrial training, but requiring constant improvement. This is the professional ability to direct all types of educational work towards the comprehensive development of the student, including his worldview and abilities.

P.M. Ershov says that it happens like this: the teacher is ready for the lesson, full of interesting ideas, looking forward to how he and the children will implement them, but... The lesson began, the lesson ended, and the class remained indifferent, reacted sluggishly to everything that the teacher suggested enthusiastically. Or another situation: the guys seem interested, answer well, and the results tests terrible - there is no trace of solid knowledge. Or this picture, which is well known to all teachers: an interesting topic is discussed in class, but some group of students does not participate in the work, they interfere with everyone else. The teacher, of course, is distracted by them, hostile notes are heard from both sides, the pace of the lesson drops, and the material becomes crumpled. In another example of failure, a teacher saw a colleague transform the children in his class in just a few minutes using a playful exercise. Conversations fell silent, necks craned - all attention was on the teacher, so as not to miss something interesting at the blackboard. The exercise was simple, the teacher remembered what the colleague said, and at the next lesson in another class, having decided to repeat the technique, he offers the same task, says the same words, but his efforts do not make any impression on the children. Why? In each such case, the result is the same - deep dissatisfaction with the teacher, resentment towards the children, desperate thoughts of giving up everything and leaving school.

The reasons for such situations, according to P.M. Ershov, there can be many: some do not depend on the teacher, others depend only on him. Whatever the state of the class at the beginning of the lesson, the teacher always needs to establish contact with him, give him the opportunity to relax or, conversely, concentrate, instantly assess the situation in the class and adjust both the lesson plan and his behavior - and it should be expressive, understandable for students, conducive to cooperation.

The teacher should organize the lesson in a new way, based on specific, unplanned conditions. The ability to sensitively perceive the characteristics of behavior, both one’s own and another person, freedom and variability in communication - can and should become objects of improvement and development for the teacher. Getting to know the legacy of K.S. Stanislavsky, through the works of his students and followers, the school teacher discovers a new “language” of expressive actions that A.S. dreamed of, which is new for himself and useful in practical pedagogical work. Makarenko, saying that you can become a teacher only when you learn to say “come here” in twenty-six ways.

Possession of expressive actions constitutes acting technique - the third part of the so-called K.S. system. Stanislavsky. Its first and second parts are the principles of theater aesthetics and the doctrine of the ethics of the actor. K.S. Stanislavsky noted the obligatory organic compound in the work of each artist his aesthetics-ethics-techniques: the actor’s fulfillment of his high spiritual purpose and civic duty is inextricably linked with his high morality and behavior, with his thrift and care for his soul and the souls of his fellow workers and with his constant work on his technique . The development and improvement of the unity of these three components in the everyday professional work of an actor ensures the growth of his skill.

K.S.'s approach Stanislavsky's approach to the theory and practice of theatrical art can be adopted by pedagogical theory and practice. The equivalent of acting ethics will be the ethics of the teacher, his moral principles, beliefs, and principles. Only those who have high morality, conscience, honesty, courage, and kindness can teach and educate. Education and training are inextricably linked with the teacher’s ability to influence students during communication, influence their actions, stimulate their positive activity and restrain negative activity. Using the theatrical director's "language of action", the teacher can see how he behaves in the lesson; how he sits, in what position, what his back, arms, eyes look like, how attention works. And by remembering his behavior when doing favorite, interesting, exciting things and unloved, boring, tedious things, he will be able not only to realize his real attitude towards work at school, but also, if desired, improve - by consciously changing - the style of his behavior at work.

Observation through action language makes a teacher's understanding of student behavior in the classroom more specific, precise, and detailed. They have just entered, and you can already “see” which of them is not ready to work today. The lesson has just begun, and the teacher already knows who is waiting to be taught and who wants to learn.

P.M. Ershov wrote that each lesson, as well as each individual fragment from the life of any person, can be professionally defined by the technology of acting art. Some actors and directors can simply copy what they saw, others can describe it literary, but those who, using the words of K.S. Stanislavsky can be called “masters of action” - first of all, they will call the logic of the actions performed. Using specific parameters, they will give contours, the basic proportions of what was seen, which will help anyone who has mastered theatrical terminology to imagine, analyze and repeat what was seen and conveyed in terms. Any independent attempts by enthusiastic teachers to master and use the heritage of K.S. should be welcomed. Stanislavsky in his daily work with students. The complexity of this urgent task testifies to the extraordinary nature of the teacher who took on it, his sincere interest in increasing the effectiveness of his work.

The meaning of acting creativity of K.S. Stanislavsky saw the “life of the human spirit” being embodied on stage convincingly and truthfully - just as it is revealed in the surrounding reality. Therefore K.S. Stanislavsky, in the end, came to the conclusion that the actor of the “theater of experiences” should be a master not of experiences, and certainly not of intonation or spectacular movements, but a master of actions.

O.S. Bulatova underartistry (acting) understands a set of special abilities (the ability to transform, charm, contagiousness, persuasiveness, emotional mobility, favorable external characteristics, human value) associated with the physical organization of the actor, with the characteristics of the emotional apparatus, and unique creative thinking.

Artistry (teacher's), according to O.S. Bulatova - the ability to organically exist in the conditions of the pedagogical process, internal grace, the desire for non-standard solutions through figurative associations, the ability to structure one’s behavior in those moments when the provision of pedagogical influence by a natural feeling alone, devoid of a pedagogical task and an influencing super-task, does not lead to the desired The result requires consciously created behavior in accordance with the situation.

V.N. Soroka-Rosinsky, describing an artistic teacher, first of all, draws attention to his unusually wide range of different emotional reactions.

S.L. Soloveichik, comparing the teaching profession with the profession of a musician or doctor, says that the latter have short procedures before starting an activity, a kind of ritual that helps “get into the role.” Unfortunately, teachers often do not have such a ritual.

O.S. Bulatova writes that in the theater a good actor expresses himself in character. But a good teacher is busy with other things. He captures the images with which the child himself is trying to express himself. The teacher is a mirror. Therefore, it is not so easy to establish a fruitful connection between theater and school, and many “theater routes” of school pedagogy turn out to be short.

The main features characterizing pedagogical and acting-directing activities: meaningful sign - communication, because common basis is interaction, living cooperation of different individuals; instrumental sign - the personality of the creator and his psychophysical nature as an instrument of influence; target sign - the impact of a person on a person and causing a certain experience in a partner; procedural characteristics: creativity is carried out in a public environment, regulated in time; the result of creativity is dynamic; there is a commonality of experiences between the actor and the viewer, the actor and the director, the teacher and the student; the object of influence is at the same time a subject of creativity, a co-creator; creativity is collective in nature; structural feature - material analysis; identification of problems, contradictions; the birth of a plan that resolves contradictions; embodiment; result analysis; adjustment.

O.S. Bulatova notes that work on the lesson and role occurs in three periods: Rehearsal- from the actor, before class - from the teacher. This is the period when an image is created in the imagination, thoughts, and feelings of the actor. The image of the hero is from the actor, the image of the lesson is from the teacher; Technical period, when the material is rationally and prudently verified and obeys the artist’s own creative order. The actor’s role is consolidated and “tested” at rehearsals, the teacher “rehearses” the lesson, its concept is clarified, its progress is recorded, a plan is drawn up; The period of implementation of the creative idea. The work of an actor at a play, a teacher's work in a classroom.

A teacher, like an actor, must have many creative features: inspiration, emotionality, the ability to transform, etc. The pedagogical process, like drama, requires planning taking into account the characteristics of the people who participate in it and their influence on each other, which helps the teacher to foresee in advance the results of his influence on students and even plan in advance various situations that require students (pupils) to demonstrate certain personal qualities, knowledge and experience.

Lesson, educational event will be effective only if the teacher is able to plan them correctly, based on appropriate principles, constantly updating the “scenario”, means and forms of work. Only under this condition will training and education lead to the development of the personality of the student, pupil.

Pedagogical activities aimed at educating each individual also help the teacher to form and interpersonal relationships, in the system of which he includes his students.

According to O.S. Bulatova, one of the differences between acting and teaching is that an actor does not have to be a director, but a teacher needs to have developed directorial abilities, which are manifested in the ability to unite the student team, inspire them to solve important problems, providing a reasonable degree of independence, as well as the teacher’s ability to properly organize his work. An artistic teacher, as a rule, can be a good director, has a sense of the whole, harmony, energy, initiative, and creative observation. Important directorial abilities are fantasy and imagination, a sense of rhythm, space and time. The first meeting of a teacher with his students will be remembered for a long time if the teacher has the ability to behave calmly, speak beautifully, quickly get close to them, as well as strong confidence in himself and his actions.

Psychological processes play an important role in the development of a teacher’s acting skills:

Memory- this is the ability to perceive, store and reproduce this or that information from the outside. This difficult process is the basis of psychotechnics, both as an actor and as a teacher. Let's imagine that the teacher does not remember at all what he read, saw or heard - in this case he will not be able to perform his main functions - to teach and educate the younger generation.

Attention- also one of the constituent elements of psychotechnics, since any action of a teacher (as well as an actor) requires careful attention to the actions and behavior of students. An inattentive teacher will not be able to effectively conduct a lesson, interview students, or organize any event. Attention itself directs the work of the brain to some object - real or ideal, then forces a person to think about this object and perform certain actions.

Imagination- is the creation of a new image or idea based on previously received information (through hearing, sight, smell and touch). We can give many examples when, while reading a book, we imagine certain characters from this book, as if we “enter” the era when they lived. Likewise, the artist often depicts landscapes and scenes that he has never seen before. Therefore, it is very important for a teacher to have a well-developed imagination - this will help him foresee the results of his influence on students and changes in their behavior.

Thus, mental processes are a tool, a means of expressing the teacher’s attitude to various pedagogical situations and form the psychophysical basis of theater pedagogy.

A lesson is, to a certain extent, a pedagogical play, the scriptwriter and director of which is the teacher. The acting skill of a teacher in its structure includes the same elements as the skill of a theater actor. In this regard, the teachings of the famous theater director K.S. are very useful. Stanislavsky, according to which, in our opinion, every teacher should move well, control his facial expressions and gestures, breathe correctly, have a rich imagination, be able to communicate with different people, etc. One of the main pieces of advice from the great director is to try to turn every responsibility into an initiative - this will help the teacher get rid of unnecessary conflicts with students, stress, resentment and troubles.

Sometimes, seemingly insignificant rudeness can cause mutual dissatisfaction and resentment among the teacher and his students. Often the teacher’s indignation is useless, because the students do not understand him, the teacher’s emotions “do not reach” their consciousness, which makes him even more nervous. In such cases, the teacher should be able to “defuse” the situation with a joke, an offer to think about this situation at home, or find a more appropriate moment to discuss it.

The advice of another famous playwright E. Vakhtangov is also useful: in order to improve the relationship between the director and the actor, respectively, the teacher and the students, it is necessary to start the lesson with the most interesting. The best action is joint action. The famous foreign scientist Gordon Craig said: “... the key to explaining human behavior is modesty and improvisation.”

O.S. Bulatova gives this definition directing (pedagogical)– this is the development of a lesson in the form of a detailed score: skillful construction of the logic of interaction between participants in the pedagogical process; the ability to build a value-based attitude towards the object being studied; organization of moral influence on students; highlighting the main episodes of the lesson in terms of thought and strength of emotional impact, their arrangement; the internal connection of the entire palette of colors of the lesson, the entire kaleidoscope of events in it, the entire spectrum of manifestational relationships. Planning and organizing the tempo-rhythm pattern of the lesson, deployment of the “nodal” moments of the lesson in time and space.

Pedagogical activity, due to its creative nature, is very similar to theatrical activity, which means it requires dramaturgy and directing. It is no coincidence that the term “theatrical pedagogy” exists, because often a lesson or educational event resembles a play, where the teacher is simultaneously a screenwriter, director and main actor, and his students are co-performers. It depends on the teacher-director how they “play” their roles. In addition, the teacher and the theater director are also brought together by the goal - the emotional impact, the instrument of which is the content and means used in the process of teaching and educating students on the one hand, and during the performance on the other.

Speaking about pedagogical directing, researchers identify such basic categories as integrity and unity. So N.A. Barysheva defines pedagogical directing as “the art of creating a harmoniously integral pedagogical process with a certain artistic unity on the scale of a completed didactic cycle or applied form.”

At the same time, the main directorial task of the teacher, according to V.A. Slastenin - in highlighting the episodes of the lesson that are fundamental in thought and strength of emotional impact and arranging them into a director’s composition of pedagogical events. The teacher makes the composition of the lesson the basis of cognitive creativity, a means of expressing his attitude to the content educational material.

O.S. Bulatova writes that pedagogical directing involves: predicting possible learning outcomes; highlighting and correctly formulating the ultimate goal of the lesson; pedagogically appropriate structural and compositional structure of the lesson; rational distribution of time between stages of the lesson; the ability to mentally put oneself in the position of a student; orientation in changing conditions and restructuring of activities depending on them; a thematic approximate representation of the emotional “curve” for now, preparation of “artistic details” (figurative examples of interesting questions, vivid facts, clarity, costume attributes, some elements of behavior), etc.

A.P. Ershova writes that a teacher, reproducing word for word in class a formulation prepared at home by himself or copied from methodological literature, may not get the expected result from students if he is illegible in the methods of verbal action. Teachers are well aware that the most meaningful, vivid, logically structured explanation in notes can become colorless, monotonous, and inconsistent during the lesson itself.

The teacher, in addition to the ability to clear verbal actions from unnecessary shades that reduce his activity, also needs the ability to construct complex verbal actions in all sorts of combinations and combinations.

According to A.P. Ershov's professionalism in mastering verbal actions is higher, the freer the choice of one or another method, one or another degree of purity, one or another shade. If a teacher can make all kinds of impacts with the same phrase, with the same word, he turns from a slave of words and phrases into their master.

The ability to navigate the intonation diversity and discordance of human speech is extremely valuable for teaching practice and theory, since the lion's share of teaching work is associated with the impact of words. The word, influencing the consciousness of the student, influences his activity, his behavior.

The teacher's interest in the verbal actions performed by others and by himself is manifested in the fact that he begins to attach special importance not so much to what was said, but to how it was said. He senses some important secrets here. After all, every day we communicate with people whose speech constantly contains some pleasant or, conversely, unpleasant tones for the majority of their interlocutors. Some people's manner of speaking is charming, while for others it is for some reason boring and monotonous, so that the seemingly best words they utter do not produce the desired effect.

A.P. Ershova claim that often, when analyzing some complex pedagogical situation, one teacher advises another to tell students such and such. The adviser usually refers to his own successful experience. But it happens that even diligent implementation of the recommendations received does not make the teacher’s path to the goal easier, since the words themselves, without specifying the methods of influence when pronouncing them, are the same as the key to an unknown lock. Not only what is said, but also how, why, to whom and when - only everything together determines the emergence of the educational phenomenon.

In the pedagogical environment, they often talk about working on students’ attention. If a teacher finds himself in a situation where students are not inclined to give him their attention, he raises his voice. Starts screaming. Knocks on the table or “rings the bell.” Stands up or raises hand. And so on. That is, it acts in fairly traditional ways. But it is better for the teacher who knows them in advance to first estimate which of them might work. Perhaps the teacher will immediately understand that, most likely, no. And having realized this, he will decide to change the direction of his influence and will achieve the desired behavior from students, acting not on attention, but on other “departments” of consciousness. For example, in memory or for freedom. And these departments have their own ways of influencing, which the teacher, again, has at hand. As a result, he will be freed from convulsive throwing “blindly”.

V.N. Soroka-Rosinsky, describing an artistic teacher, first of all draws attention to his unusually wide range of different emotional reactions. Undeservedly ignored by many teachers, the aesthetic approach to the pedagogical process, leading to the development of creative potential and the revelation of one’s own individuality through the emotional sphere, has a unique opportunity to revive, spiritualize pedagogical interaction, “to see the contours of an updated pedagogy that requires enhanced cultural equipment: somewhere at the junction of philosophical anthropology , cultural studies and spiritual studies" (E.A. Yamburg).

Sh.A. Amonashvili writes that children should be given the opportunity, when communicating with the teacher, to feel like his equal colleagues, to feel that the teacher needs them, that it is difficult for the teacher without them. Therefore, the teacher’s task is to believe himself and “make” the children believe that everything that happens in the lesson is true.

According to O.S. Bulatova, artistry presupposes that the teacher has so-called “visuality”, external attractiveness. And the point here is not so much the correctness and beauty of facial features, an impeccable figure. A teacher's natural gifts may be ordinary, outwardly "inconspicuous". A much larger role is played by the teacher’s ability to take care of himself, the culture of external and internal manifestations, charm and naturalness. Establishing communication connections is simplified if the teacher has a friendly face, and movements, gestures, posture and gait are beautiful and expressive. A.S. Makarenko believed that it was important that the team had beautiful and young teachers. He saw some kind of “mystery” in them: they themselves made the pupils dream, fantasize, and pull themselves up. If the image of a teacher is pleasant, perceived as a “decoy” (K.S. Stanislavsky), then it contains the original power of spiritual influence. You want to listen to the teacher and follow him. Artistry gives all the teacher's manners one common feature- movement towards people, increased sensitivity to others and the ability to find a form of communication with another person that would allow him to maintain personal dignity.

D.S. Likhachev wrote that teaching is an art, work no less creative than the work of a writer or composer, but more difficult and responsible. The teacher addresses the human soul not through music, like a composer, or with the help of paints, like an artist, but directly. He educates with his personality, his knowledge and love, his attitude towards the world.

However, the teacher is much more high degree, than an artist, must influence his audience, contribute to the formation of the worldview of his charges, give them scientific picture peace, awaken a sense of beauty, a sense of decency and justice, make people literate and make them believe in themselves, in their words. Moreover, unlike an actor, he is forced to work in feedback: he is constantly asked a variety of questions, including insidious ones, and all of them require comprehensive and convincing answers. A real teacher, a Teacher with a capital T, is a person who gives birth and shapes other personalities (ideally, together with his family). To do this, he needs not only attention and respect from his students, from the whole society.

O.S. Bulatova believes that artistry cannot be taught. But you can learn to understand its manifestations, realize and appreciate its significance in pedagogical process. You can develop some personality qualities (imaginative thinking, observation, imagination, aesthetics of speech, plastic culture) directly related to artistry. A creatively gifted person can - if he wants - to reveal and then improve his natural abilities.

It is important for a future teacher to learn to set himself the ultimate goal of his actions, so that specific tasks of the current moment, technological procedures did not fragment the educational process, did not dehumanize it. Techniques for creating creative well-being, cultivating the ability to think about the ultimate goal of one’s actions, etc. are not an end in themselves for the teacher, but a means of creating and maintaining his constant “spiritual tone.”

In our difficult times, there is a great danger that the school will turn from a “temple of knowledge” into a “market of knowledge”, and the elements of pedagogical artistry acquired by the teacher will turn out to be just the outer packaging of the “product”. To prevent this from happening, you should always remember that behind the acting and directing technique there must be a rich inner content of the personality, its integrity and originality. Acting talent will only be an aid in teaching work when it is coupled with the teacher’s ability to think and feel deeply and constantly improve.

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