Theater lesson as a practice of humanities education. Theater and film studies in literature lessons A.N. Ostrovsky - an era in the cultural life of Russia

"Theater and Film Studies

in literature lessons"

Film quiz “Recognize the film by its frame.”

Introduction . On the educational function of literature lessons.

Main part (M/M support):

1. Literature + theater + cinema =... (forms of VVR)

   The school cinema, its role in educating a cultural viewer and an active reader.

   Literature lessons as a means of forming spectator culture. Their role in moral education schoolchildren.

   Theater techniques in literature lessons:

   • Dramatization

     Writing a film script

5. Lesson-theater workshop

6. “The book argues with the film” - an unusual form of a regular lesson.

7. Lesson - performance, lesson - trial of a literary hero.

III . Conclusion. Conclusions, recommendations.

To begin with, I ask you to answer the questions: Do you like theater and cinema? Do you know theater and cinema at least to the extent that is necessary for the successful collaboration of these forms of art with literature? Let's check it in practice

Movie quiz “Recognize a book by its frame”:

Conclusion based on the quiz results : The older generation quiz participants coped with the task better, as they had the opportunity to get acquainted with film versions of literary masterpieces in their youth (cinema of the 70s and 80s was massive and popular).

“May Night” (A. Rowe, 1952)

“The Overcoat” (A. Batalov, 1959)

“War and Peace” (S. Bondarchuk, 1965-67)

“Crime and Punishment” (L. Kulidzhanov, 1969)

“Dead Souls” (M. Schweitzer, 1984)

“Shot” (N. Trakhtenberg, 1966)

"My affectionate and gentle beast"(E. Loteanu, 1976)

“Surgery” (Ya. Fried, 1959)

“A few days in the life of Oblomov” (N. Mikhalkov, 1979)

10. “Quiet Don” (S. Gerasimov, 1957)

Introduction . About the educational function of literature lessons.

Every day every teacher communicates with those whom he is supposed to teach and educate. However, we are not starting from scratch. Students who come to us have difficult, often negative life experiences, and this is not news. Their souls are broken, turned inside out by the unbridled discord of the information flow. WITH ancient times It was customary to protect not only the physical but also the spiritual health of children. Remember, it didn't turn out that bad. Man needs gradual maturation; the stomach gets sick if we eat unripe plums and apples, but what about the child? No sooner is he born than his little soul plunges into hopeless moral filth, which begins with the daily foul language of his parents and those around him.

A child, just think about this holy word, from the most tender years, when you go to a kiosk to look at a bright toy behind the glass, you will inevitably see the cover of a glossy magazine with your aunt or uncle in an obscene pose. In the middle of a fairy tale film on TV, he is overtaken by an advertisement that can not only spoil his appetite, but also undermine his moral immunity, which we, teachers of Russian language and literature, try to strengthen in our lessons by all possible means.

It is known that works of literature and art are an indicator of human existence. What books are being written lately? How are they different from the previous ones? This is a topic for a separate discussion. Now I would like to talk aboutwhat role can art play? - theater and cinema - in the formation of the moral immunity of a schoolchild in literature lessons, how to make sure that the student does not just “pass” (pass by!) a literary masterpiece, but is able to understand, experience, reflect for a long time on what he read, if you want, cry over “ Anna Karenina!

In one of the latest issues"Komsomolskaya Pravda" I read a phrase from my contemporary that amazed me: classic literature, which children study at school, the author of the article argued, depicts heroines with pronounced features of schizophrenia. And he gives examples: Katerina and Larisa from Ostrovsky’s dramas, Turgenev’s young ladies, Anna Karenina and others - I won’t list them: as they say, there are no words...

The task of a literature teacher , in my opinion, lies in the ability to “revive” the hero (heroine), help to understand, bring him closer to the student so that he sees in him a person with real character traits, peculiarities of worldview, lifestyle, close to the young reader. The student will only become interested in the fate of the hero (heroine) when he “takes on” his world, when this hero becomes clear to him.

Tell me, dear colleagues, how to interpret Katerina’s actions to tenth graders, how to explain the reasons for the tragedy female soul, if a teenager has not yet learned the secrets of marital relationships or knows about them from such a perspective that a lesson on “The Thunderstorm” will seem to him like a fairy tale with a sad ending?!

Can help us in this difficult mattertheater. The theatrical door opens a person’s way not only into the world of the game, but also helps to evaluate his own world differently. A world without theater is colder and drier, more prosaic and flawed. The world in which theater is present is multi-layered and deeper, brighter and more spiritual. At a time when previous means of education lose their effectiveness, theater, although subject to doubts and changes, remains one of the few ways to form value guidelines for the younger generation. And theater can and should take its rightful place in literature lessons.

At the end XXcentury in Russia, the crisis in the general education system began to be acutely felt, the search began in the field of creating a “New School”, “Schools XXI century." New models of school education were developed by various creative teams in agreement with the Ministry of Education. Among them are groups led by V. Bibler (“School of Dialogue of Cultures”) and L. Tarasov (“Ecology and Dialectics”). Hundreds of experimental schools worked according to the programs they proposed. In both modelstheatrical play acted as the methodological core of the entire teaching system.

However, the idea of ​​introducing theatrical techniques into secondary school this is not the end of it. Single schools began to emerge, where the creators are trying to extend theatrical teaching methods to the entire educational process or to the mastery of individual subjects (even those seemingly far from theater, such as mathematics, physics, biology).

Presentation (1-2 slides)

II . Main part.

Presentation (3 slide)

A large role in the education of schoolchildren through theater and cinema is given to

VVR on literature. Its forms can be very different - from a junior club, in whose classes children compose texts dramatic works, to the folk theater, of which they become participants from primary school age.

Should teenagers be introduced to literary adaptations? ? How to do it?

Answering these questions, we came to the conclusion: it is necessary to organize work in the literature roomschool cinema, linking it with the schedule of the educational program in literature, familiarize them with the work schedule of children and parents, which is what we have been doing for the past five years. Our arsenal includes dozens of literary adaptations on many topics in the school literature course. Children should watch film versions such as " The Snow Queen", "Robinson Crusoe", "Mumu", "Hero of Our Time", "Dead Souls", "The Master and Margarita" - the golden fund of Russian cinema will participate not only in the education, but also in the upbringing of the young viewer, will teach him over time to distinguish real art from the surrogate that has filled the television and film screens of Russia lately.

An organized film screening should be preceded by reading a literary source (sometimes the opposite happens: after watching the film, the child reaches for the book). We use film fragments during the lesson, children describe their impressions of what they watched in creative works ah, they express it during surveys and film debates.

Before watching a film (television play), the student receives an assignment, the purpose of which is to draw attention to the difference between a literary source and its film version. The most effective form of lesson in this case is the lesson “the book argues with the film.” Let's look at specific examples features of the use of theater and film studies material.

Table “Schedule of the school cinema”

2. Theater and cinema - related types of arts, they have a lot in common with literature.

At school, when conducting regular lessons, teachers can use theatrical techniques, which allows them to successfully develop the psychological characteristics of the child’s personality (attention, memory, imagination), as well as cultivate interest in art and theatrical art in particular.("100 creative competitions Afanasyeva " - from the Internet):

In literature lessons, we all use well-forgotten old types of work, including

Dramatization of poems (fables, songs, fairy tales, dramatic works)

Writing a film script

We can distinguish special forms of conducting literature lessons, the purpose of which is to organize the process of studying a work of art using theater and film studies knowledge. Among them

– lesson - theater workshop (2 hours)

Reading the text (in advance)

Getting to know the process of creating a performance

Distribution of roles (director, composer, costume designer, make-up artist, set designer, lighting designer, sound engineer, actor, etc.)

Work on creating a performance directly in the lesson itself

- “The book argues with the film” (lesson based on the play “The Thunderstorm”)

Interesting fact is the creationseveral film versions to the same literary source is an indisputable fact of vitality, value literary work. Here you can ask students to reflect on the question offor what purpose the author introduces certain innovations that they provide for understanding the image of the hero and the ideological content of the work (lesson “Two “Dowrys”). While watchingfilm by A. Batalov “The Overcoat "(1959) with R. Bykov in the title role, our ninth-graders discovered 13 differences between Gogol’s book and its interpretation, which was part of a general lesson on the work of N.V. Gogol should be devoted to the analysis of film episodes, which is useful, in our opinion, only because with such a study of a literary work it is impossible to ignore it (see materials for the lesson)

Comparison of two (sometimes three) film versions with a literary source allows you to penetrate into the depths of the director’s workshop and learn about the secrets theatrical creativity, about the personality of the author of the film and its creators.

Presentation (from 4 slides to the end)

Another interesting form of lesson focused on the cultural development of adolescents in literature lessons islesson on “the trial of a literary hero.” By the way, this form is not so new: in the 20s of the last century it was very popular among teachers and students who held trials against literary heroes. Our task is not to copy the well-forgotten old, but to extract from it the cores of reasonable experience. When conducting such lessons, we pursuegoals:

Test students' knowledge of a literary text

Make students speak out, declare their own attitude towards the author, work, characters

Teach to stand up own position and at the same time - respect other people's point of view

Increase motivation for thoughtful, attentive reading of a literary source

Expand and deepen students’ knowledge about the process of creating a play or film based on this work

Promote respect for national culture

Lesson - performance “Is evil really so attractive?” after studying the novel by M.Yu. We conducted Lermontov's “Hero of Our Time” in the form of the trial of Pechorin. The teacher became the prosecutor, the roles of the heroes of the novel were performed by artists of the school theater studio and the Harlequin folk theater, the role of the lawyer went to one of the 10th grade students, the rest of the students witnessed this action, because read the text and could not stay away from the exciting spectacle.

(Lesson – trial “Is evil really so attractive?”)

III . Conclusion .

Literature and theater. Experience of literary theater in a secondary school

School within a school

Olga Bakurevich

Olga Vitalievna Bakurevich (1963) - literature teacher at school No. 58 in Tomsk.

Literature and theater

Experience of literary theater in a secondary school

Theater is the art of emotional experience; it not only meets our aesthetic needs, but, most importantly, helps awaken sometimes dormant deep feelings. For the viewer, theater is an opportunity to live through a dramatic situation, for the actor it is also to embody this experience, to “pass” it through oneself. By introducing people to culture, theater promotes emotional awakening and expands a person’s personal framework, giving him the opportunity to express himself and embody himself in a new quality. Thus, theater contributes to human emancipation. But Theatre of Drama at school requires professional directing, this, alas, is not always possible. Literary theater does not set itself the goal of achieving entertainment (although it does not abandon this task). Its goal is to introduce students to culture through the art of speech and stage acting. The participation of students in the work of the literary theater also contributes to the development of speech, figurative and verbal thinking, broadening their horizons, mastering literature that is not included in the educational standard, and consolidating linguistic knowledge.

The work on creating a literary performance goes through several stages.

Reading and working with text

At this stage, problems raised in literature that are of vital concern to the modern young man are identified. The theme of the future performance is chosen, the problem is posed, and the goal is formed. Work is underway to identify the position of the author or authors of those works that will form the basis of the script. Students imagine texts and fragments of texts that had a particularly strong impact on them. At the same time, an interpretation of the presented material is given.

Working with linguistic and artistic means

At this stage, work is carried out with the word: the semantic accents of the phrase are identified, the speech, the portrait of the character are observed, the students create his characteristics, and assess his psychological state.

Literary creativity of students

At this stage, a secondary interpretation of the texts occurs, their own texts are created - fantasies based on this, work is underway to present the possible space of the scene with the argumentation of the proposed solutions. Here students master the techniques of literary editing: they form character lines that are stylistically sharpened, clarifying, and deepening the main idea of ​​the play being created.

Work on creating character images

Detailed work is underway to understand the character’s character, joint discussion of it psychological portrait taking into account the speech and portrait characteristics given by the author, the symbolic meaning of the image within the framework of the idea of ​​the play. At this stage, work in the “gym” begins. It consists of exercises to select the most accurate words (read a sentence, sound out the words if we were playing the violin, listen carefully to the inner music, repeat the phrase several times, achieving a better sound). How clear is the word? Is the thought clear and definite? Is there the slightest gap in thought, brief pauses, doubt? Maybe the words sound too slurred because some part of your attention is diverted elsewhere? Is every word well formed in your mind? How are the accents placed in a line or phrase? Concentration of attention while reading remarks, highlighting key ones; ideas of carrier words in a replica, paraphrasing, training in dialogue; patter, building associations. To do this, you need to relax for a while (music will help), then, in order to turn on the desired association, you need to mentally pronounce this word or sentence, while choosing the desired rhythm, let each word become a complete thought, separated from the rest by a long pause.

Work on creating the stage space

Creation of eidos-notes as the foundation of the scenery. Selection of color and justification of its connection with the idea of ​​the play. Selection of sound (music and other stage sounds) and its justification by the leading mood of the play.

This is how the play “The Turmoil of the Silver Age” was created, where philosophical reflections on the fate of culture, the fate of poets, and their poems merged together. The performance was accompanied by music and pantomime.

Now the play “Get Out of the Menagerie” is being prepared, it is based on the stories of Chekhov, the action is accompanied by poems by Bunin, Balmont, music of Russian classics and modern rock music.

If we talk about whether children need literary theater, the answer will be unequivocal: “Yes!” More and more high school students are coming to the theater, ready to perform any functions (set designer, lighting designer), the need for self-realization is strong, and the school is obliged to satisfy it, since this is where personality is formed.

Elective program "Literature and Theater"

The program is designed for 34 teaching hours and is built along six cross-cutting areas, which together form a system of work on developing students’ speech, developing figurative and verbal thinking, enriching culture and broadening their horizons, mastering literature that is not included in the educational standard, consolidating and expanding linguistic knowledge of students:

a) reading and working with text;

b) work with artistic and linguistic means;

c) literary creativity of students;

d) work on creating character images;

e) work on creating the artistic space of the stage;

e) public speaking.

In addition to the main content of the literature course, which meets the requirements of the educational standard, the program provides a list of directions for in-depth, specialized study of Russian literature, mastery of certain types of linguistic and speech activities, skills and abilities of search and research activities.

The first section provides a list of types of work that implements the part of the program in which preparatory work takes place before creating a script for a literary performance. The problems chosen are “alive” for modern youth and allow one to reach universal generalizations. This requires a careful selection of authors and texts, analysis and establishment of semantic connections between the works of different authors of the same era.

The second section of the program focuses on linguistic features works, work on understanding the language is carried out in parallel with work related to the analysis of texts.

The third section is devoted to the literary creativity of students. This stage occurs when the texts have already been analyzed and the necessary ones have been selected. At this stage, students try themselves in creating their own interpretations in order to enrich the script of the performance.

The fourth section is devoted to creating a stage image. Due to the need to “live” the work, “get used to” the character, students analyze the character’s speech in detail, “examine” his internal portrait by studying the details of his behavior, facial expressions, internal monologues, and create a stage portrait and image.

The fifth section describes the work of creating the artistic space of the stage. Here the emphasis is on developing the scenery of the play, that is, work is underway to create eidos-notes. The development of logical, figurative and verbal thinking is combined; in addition, written and oral speech develops, since the scenery must have a written or oral justification.

The proposed work system goes beyond existing school stereotypes. During the preparation of a literary performance, the studied literary material is generalized and systematized, cultural knowledge is deepened and new ones are accumulated. A respectful, attentive attitude towards the word as a phenomenon of an aesthetic order is cultivated. The ultimate emotional experience is achieved not only of literary texts, but also of the problems addressed in them. Thus, the spiritual and intellectual growth of students occurs.

In the work of the elective, the personality-oriented principle of pedagogical activity is implemented, which contributes to a more complete disclosure of the child’s individuality.

The purpose of the elective is the formation of an aesthetically and spiritually developed personality.

1. Reading. Work with text

Selection of works from Russian literature of the 19th century and XX centuries associated with a specific topic (the choice of topic is related to the authors’ understanding of the same problems of human existence). Reading aloud fragments, literary and critical articles dedicated to the work of selected authors. Students’ independent interpretation of these fragments and works as a whole (in connection with the problem posed). Commenting on individual scenes. Mastering the techniques of emotional-figurative expressiveness of reading. Expressive reading of the role of one of the characters. Practical mastery of rhythm and intonation of writers.

2. Working with linguistic and artistic means

Working with moral, ethical, theatrical vocabulary. The linguistic form of expression of moral, aesthetic, social values, its creative use in constructing a character’s replica - actor. In this regard, further mastery of the stylistic aspect of the lexical means of the language.

Analysis of linguistic means of creating a portrait, speech characteristics of a character, means of depicting a landscape, interior; analysis of the internal content of an artistic detail.

Artistic techniques and linguistic means of conveying the psychological state of the character.

3. Literary creativity of students

Oral statements based on independent analysis of a scene, episode, work included in the outline of the play.

Description of possible decorations with argumentation in terms of their impact. Staging an episode or scene.

Improvisation on a given topic, free improvisation.

Mastering the techniques of literary editing: the formation of character remarks that are stylistically sharpened, clarifying, and deepening the main idea of ​​the play being created. Literary and musical composition.

Cento.

4. Work on creating character images

Understanding the psychological portrait based on text analysis.

Understanding the external portrait taking into account the psychological characteristics of the individual: costume, facial expressions, gestures, etc.

Training complex: selection of the most accurate words; placement of accents in a replica, phrase; drawing a phrase or mise-en-scène in your mind; concentration of attention while reading lines; highlighting keywords in a replica; paraphrase; dialogue training; patter; building associations.

5. Work on creating an artistic space

Creation of eidos-notes as the foundation of the scenery. The selection of colors and its justification by the idea of ​​the play, its leading mood. Selection of sound and its justification by the idea and leading mood of the play.

6. Public speaking

Demonstration of the performance.

Contents of the elective “Literature and Theater”

I. Introduction

Drawing up a work plan for the year.

Formation of goals and objectives.

Selection of topics and problems.

Search for literary material.

1. Independent reading. Extracts.

2. Preparation of arguments in favor of the selected fragments (foundation: Chekhov’s stories “Gooseberry”, “About Love”, “Literature Teacher”, “Man in a Case”, “Black Monk”, “Ward No. 6”; Chekhov’s plays “ The Cherry Orchard", "Seagull". Lyrics of the late XIX - early XX centuries).

3. Selective reading of fragments related to the characteristics of the characters. Selection of words that most accurately characterize the basic properties of the characters.

4. Selective reading of fragments depicting the artistic space of the works.

5. Search for symbolism, color and light accents in works.

1. Creative oral presentation of one of Chekhov’s stories.

2. Selection and justification of musical design.

3. Search for artistic means that reflect Chekhov’s main idea in stories and plays: observation of stage directions, descriptions of characters.

4. Ways to create a mood, a tense emotional atmosphere.

5. Lighting design; decorations that enhance the emotional impact.

6. Work with lyrical works (interpretation, expressive reading, oral description of the lyrical hero).

1. Creating a script for the performance.

2. Work on creating stage images (repeated characterization, thinking through behavior, speech, intonation).

3. Practicing dialogues.

4. Staging of individual fragments.

The following classes are devoted to rehearsals and training (12 classes).

The second performance is based on the works of M. Zoshchenko and M. Bulgakov.

Acquaintance with Zoshchenko’s stories “The Blue Book”, Bulgakov’s novel “The Master and Margarita”:

Analysis of M. Zoshchenko’s vocabulary in stories dedicated to the historical past;

Analysis of issues in Zoshchenko’s stories dedicated to the historical past;

Comparison of the problems of Zoshchenko's stories with the problems of Bulgakov's novel;

Why did both turn to the distant past?

What is the difference in the intonations of the writers, the difference in the manner of presenting the material?

Commented reading of the beginning of the second chapter of the novel (character analysis, mood, rhythm, intonation), a scene in a variety show (details in character development, characteristics of society, details that make it possible to predict people’s behavior).

Working on the script.

1. Literary cartoon. Polylogue in the novel: methods of introduction, ways of conducting it on stage, its effect.

2. Creation of stage images (working with portraits, speech, author’s characteristics).

VI. Work on creating stage space, scenery, selection of musical accompaniment (details depicting space in Bulgakov, sound that matches the mood, creation of eidos notes).

VII. Training complex.

The next classes are performance rehearsals.

Educational Technology Project

Teaching literature as a subject that shapes personality. “Eidos-compendium” in literature lessons. Theoretical justification of the technology

Eidos-notes in literature lessons

The problem facing literature teachers at school:

IN modern conditions life, when information comes to a person thanks to the rapid development of information technologies in a variety of ways - from television to the Internet - the need for reading in general is reduced to a minimum, and even more so for thoughtful reading, bringing aesthetic pleasure;

The hours allocated by the basic plan for the study of literature are becoming increasingly shorter;

The pace of life of a modern person does not allow him to concentrate on what he reads or create mental and emotional images.

A student at school in the process of studying literature also faces problems:

Lack of time for reading due to heavy workload;

The need to analyze or interpret a literary text and the lack of techniques accessible to the average student;

The thirst for creative self-discovery and self-realization and the difficulty of satiating this thirst due to the reasons listed above.

The identified problems require solutions, so this project aims to develop a methodological technology that will create conditions for:

Formation, education, development of a thinking, creative personality;

Development and formation of the child’s cognitive powers;

Providing psychological comfort to obtain an expanded and in-depth amount of knowledge and skills;

The principle of humanization: a literature lesson has unique opportunities for the development of morality;

The teacher in a literature lesson is responsible for ensuring that the student wants to enter into a dialogue with the writer;

Dialogue with a book is not only its perception on an emotional level, but the desire to understand the writer’s word;

The teacher must see the student as a person, trust his taste, aesthetic sense, but carefully guide his search activity, posing a living problem that worries the student;

The image that turns chaos into an aesthetically significant understanding was embodied in ancient culture in the idea of ​​eidos; with the help of an eidos outline, a deeper understanding of a work of art and any cultural phenomenon is possible;

The eidos-note allows for a transition to the reader-writer dialogue, since the eidos-note reflects the student’s perception, his response to the “signals” of the writer;

When studying a literary text, the reader is faced with the problem of understanding the author's position; A creative reading of the work can solve the problem.

Each piece of art, studied in a literature course at school, contains a huge number of moral problems, has the ability to have an emotional impact, and therefore becomes a source of moral, emotional and aesthetic experience. The writer has a word in his arsenal, which is perceived by the reader as a signal, but the process of communication with the book does not end there. Dialogue writer-reader, like any dialogue, implies communication: the word must not only be heard, but understood, in which working with dictionaries will help ( Dictionary Russian language, dictionary of foreign words, dictionary of synonyms, dictionary of symbols and others). When a writer is understood at the lexical level, he “expects” an emotional response, so it is important to create conditions for associative work. The next stage of learning is your own interpretation of what you read.

In his imagination, a person can hear sounds, smell, taste, and see objects that are actually absent.

Abstract ideas can be embodied in mental images: the image of freedom, power, horror and beauty. The ability to create mental images may not be for everyone, but in any case, trying to flex your imagination muscles is an effective way to increase Creative skills, develop versatility of thinking and add spontaneity to feelings.

About the problem of dialogue reader-writer linguists and philologists of all levels have spoken and continue to speak about how complex linguistic and methodological methods are used. However, apparently, universal methods of analysis cannot exist, since communication with fiction is an individual matter, everyone chooses their own method.

It should be especially noted that a schoolchild is not a professional linguist, philologist, researcher, but a person who still needs to be captivated by reading and a creative approach to understanding texts.

Penetrating into the semantics of a text for a student should become a fascinating research process, allowing, in the course of learning, to realize his creative potential and feel the joy of discovery.

To gain insight into the meaning of the text, firstly, information coming from the teacher related to the specific features of a particular work, its role and significance in the writer’s work will help; secondly, a clear formulation of the purpose of the work, which also comes from the teacher and provides for the consistent solution of a number of tasks; thirdly, working with linguistic means; fourthly, creating an eidos summary. And the result of this activity is written work.

Preparing to create an eidos summary allows you to focus children’s attention on the details of a literary text. Eidos-compendium is living the text at the level of figurative perception and creating your own creative work based on this.

Logical diagram of lessons within this technology:

Reading a work;

Identifying the first emotional impression;

Statement of the problem, research goals, formulation of tasks with the aim of solving them consistently;

Identification of key episodes, phrases, words;

Creating associations associated with them, their color scheme is important due to the need to free the subconscious;

Working with different types of dictionaries;

Gradual creation of an eidos outline and its description;

The final creation of an eidos summary in order to draw a conclusion in the dialogue writer-reader, showing that the reader understood the writer and felt him emotionally;

Formatting “finds” made during work with the text into written work in order to develop the student’s written speech.

Working with A.P.’s story Chekhov's "Bishop"

1. Information. By the end of the post-Sakhalin period, the work of A.P. Chekhov acquires new features. By mid-1897, the writer increasingly felt powerless in front of the outside world, physically in the face of an illness that made the writer dependent on the climate and the vagaries of the weather. Chekhov now doubts human capabilities. The stories written at this time (“On the Cart”, “Ionych”, “In the Native Corner”, “Pecheneg”, “With Friends”) reflect a feeling of weakness and depict a person who gives in to the world, turns out to be weaker than him and is spiritually bankrupt .

By the autumn of 1898, the motif of common contact with the world for all people became stronger in Chekhov’s work. The picture of the world, visible to the heroes or emerging in their minds, unites the heroes. Big world is an active principle, and man is a part that expresses the laws of this world, “a wonderful and intelligent organism” (“On Affairs of Duty”). A person is in natural unity with this “organism”; he loses his individual traits. Heroes occupying different places in society are united by the fact that they are parts of a single living space, where death is a natural phenomenon. In later stories, a single sphere of existence is thus built. The internal unity of the world creates conditions for human contact with space; a person is drawn into this connection, despite the fact that he is powerless on his own.

In 1902, Chekhov wrote the story “The Bishop,” in which the writer’s ideas about the relationship between man and the world described above were realized.

2. Task. Analyze Chekhov’s story “The Bishop” and identify the writer’s position regarding man’s relationship with the world, that is, answer the question: how does Chekhov see man’s relationship with the world?

1) Analyze and compare the two scenes of worship described in the story, keeping in mind the stated purpose.

2) Analyze the scene “The Bishop in Solitude” (chapter 3).

3) Follow the functioning of the light motif in the story.

4) Follow the functioning of the peace-anxiety motif in the story.

5) Follow the semantics of the word “everything” in the story.

4. Assignment. Read the story “The Bishop” and write down what your emotional state is after reading it.

5. Assignment. In the episodes of the service, underline the key words that depict space with one line, people with two lines, and the bishop with three lines.

6. Assignment. Write your associations for each group of emphasized characteristics separately for each episode: what do you see, feel, hear? In which color scheme Is the episode resolved?

Solution:

1.1. Space: twilight, silence, sobbing, it is impossible to discern individual details of space.

1.2. People: spontaneously united, in a “chaotic” unity, some kind of living organism in which no individuals are visible.

1.3. Bishop: he is, as it were, outside of people and space, he does not see anything in front of him (except for the choir), and if he sees, then the feeling of recognition is apparent. However, tears unite him with people whom he perceives distantly.

The episode is painted with dull, flesh-colored colors, as if half erased.

2.1. Space: light, bright, joyful.

2.2. People: their presence is only felt.

2.3. Bishop: he is in the center of space, attention is focused on him, he sees the light around, hears the crackling of candles, gains vigor, penetrates into eternity, thinks about the connection of times.

The picture is painted in bright, solemn colors.

7. Assignment. Find out what is the difference between these episodes when describing a person’s relationship with the world.

Solution:

1. In the first episode, the hero is in space, but does not see it, he is busy with his physical ailment, which is described in dark tones.

2. In the second, he overcomes his detachment, feels his unity with eternity, which sounds joyful and solemn.

8. Task

a) Re-read the third chapter of the story.

b) What words do you consider key to determining the hero’s state of mind at the beginning of the chapter?

c) What word or sentence would you use to describe his condition at the beginning of the chapter?

d) What is Peter’s thoughts focused on?

e) What, then, caused his state of mind?

f) Why is it easy for him with Sisa?

g) What does Peter think about at the end of the chapter?

h) How did his state of mind change?

i) What do you think is causing these changes?

j) Peter “was missing something, he didn’t want to die,” thoughts about this precede the description of the second service, during which he felt contact with space. What was he missing?

k) What colors would you use to paint this picture? Why?

m) Did the hero himself make any efforts towards such a transformation?

Solution:

b) Emptiness, irritability, oppression, he could not get used to the fear that he himself aroused in people.

c) Suffering alone.

d) On your illness.

d) The fact that he concentrates on himself.

f) Because Sisa is the only person who is sincerely open to Peter.

g) About the past, about the future, about otherworldly life.

h) He feels peace, not remorse. With the fact that he has crossed the boundaries of time, he is on the way to unite with eternity.

j) Unity with the world.

k) The transition from dark, gloomy tones to light, heavenly ones, because there is a spiritual uplift, unity with heaven, with eternity.

m) No, it happened because he heard the singing of the monks, the voice of the world.

9. Task

a) Write down the words that carry the motif of peace/anxiety in the story.

b) What state of mind of the hero are these characteristics associated with? Can we talk about the presence of tragedy in them?

c) Is death perceived as a tragedy or as a natural departure into eternity? (Remember under what conditions she frightened the hero.)

Solution:

a) “My soul was at peace...”, “...I felt not repentance for sins, not sorrow, but peace of mind, silence,” “...the singing of larks came from the fields, gentle, calling for peace,” “ ...I won’t bother you with my conversations,” “I began to worry about the fear that something was about to fall,” “Don’t bother the bishop,” “And only the old woman, the mother of the deceased.”

b) This is a feeling of purity, not tragedy.

c) Death in this context is perceived as a pattern, it is, as it were, logical, since it frightened the hero when he was alone, was only on the way to unity with space, now he is united with it.

10. Assignment. Follow the motif of light in the story.

One of literary critics(N.V. Kapustin) noted: “The moon, like the sun, correlates with the motives of spiritual joy and spring renewal.” Chekhov does not contrast these motives (the light of the moon and the light of the sun), since he understands eternity as eternal life, because nature is eternal, its life is cyclical - morning always comes after night, so it is advisable to see what role light plays in the birth of the hero’s feelings and thoughts. Try to answer the questions based on reading episodes depicting a spring moonlit night (Chapter 1), a sunny day (the beginning of Chapter 4), the hero’s memories of childhood and abroad, his dying vision and the ending.

Questions

1) What picture does the moonlight reveal in the first chapter?

2) What mood does this black and white painting create?

4) What does Chekhov say about the tradition that attributes to the moon the semantics of death, sleep, demonism?

5) What does the hero remember on this moonlit night?

6) What mood is accompanied by this memory?

7) How is the light of the eternal moon connected with the fact that the hero begins to mentally pray? (Chekhov’s moon is a symbol of eternal natural life.)

8) What colors and images will you choose to depict this episode in the form of a drawing?

9) Refer to the beginning of the fourth chapter. Why is it that in the midst of a sunny day there is a desire for peace in all living things?

10) What, in the context of everything said above, is death?

11) How to understand the bishop’s dying vision: “...And it seemed to him that he, already simple, ordinary person, walks across the field quickly, cheerfully, tapping his stick, and above him is a wide sky, filled with the sun, and he is now free, he can go anywhere!”

12) What does the sunlight symbolize in this episode?

13) With what words at the end of the story does Chekhov emphasize the pattern of human death, the passage of time, the change of generations - the subordination of human life to a single natural law?

14) Why in final scene do events take place under a brightly shining sun?

15) What does Chekhov say about human capabilities in natural existence?

16) What does the writer thus say about the change of generations, and therefore of traditions and ideals?

17) Look over your answers again, try to record your impression of the story in color and image(s).

18) Choose from the text the words that most accurately correspond to the feelings expressed in the drawing; write them down as a quotation in the picture.

19) Answer the question asked at the beginning of the work and write the answer under the picture. This is your conclusion from the analysis done.

20) Write a reflection: “Life and death or life - death - life?”

Solution:

1) “White walls, white crosses on the graves, white birches and black shadows...”

2) Feeling of mystery, fear.

3) It seems to the hero that everything around him lives “its own special life, incomprehensible, but close to man.”

4) Chekhov argues with this interpretation, since his hero sees life in the light of the moon.

5) He remembers his childhood.

6) He remembers joyfully, with tenderness and tenderness.

7) This is the moment of the hero’s connection with eternal life, with nature.

8) A candle burning brightly as a symbol of faith, combustion is a symbol of life.

9) Because this is the law of nature - anxiety is replaced by peace.

10) This means that death is a natural process of changing cycles, but not a tragedy, but a blissful union with eternal nature.

11) Death does not frighten the hero, because he perceives it as liberation from the painful responsibilities of earthly existence, from physical pain.

12) Sunlight symbolizes the beginning of a new life.

13) “It was noisy in the large market square, swings were swaying, barrel organs were playing, an accordion was screeching, drunken voices were heard. In the afternoon, trotter riding began on the main street - in a word, it was fun, everything was fine, just as it was last year, as it will, in all likelihood, be in the future. A month later, a new suffragan bishop was appointed, but no one remembered His Eminence Peter...”

14) Because life goes on.

15) Life goes on without depending on a person’s desires; he is a part of nature and exists according to its laws.

16) They must change - the old must be replaced by the new, this is natural and not associated with tragedy.

Irina Kulagina
Summary of the lesson “Fundamentals of theatrical art” on the subject “Fundamentals of general and theatrical culture”

1 year of study

Item«»

Lesson No. 2

Subject: "Peculiarities theatrical arts»

Plan- lesson notes

Full name of the teacher – Kulagina Irina Leonidovna

View educational activities – theatrical creativity

Name of educational program – additional general education general development program« Theater»

The focus of the program is artistic

Place of study classes in the program – Subject« Fundamentals of general and theatrical culture»

Venue – structural unit – children’s (teenage) club "Constellation"

Date: October

Brief description of the group – first year group, students age 7-9 years

Type classes– explanation of new material

Form classes – Lesson - conversation

Subject: "Peculiarities theatrical arts»

Target classes: Introducing students to the specifics theatrical arts

Tasks: 1. Form performance of theatrical art, as a synthesis of various types art. 2. Develop attention, fantasy and imagination. 3. Remove the psychological clamp. 4. Develop listening skills. Cultivate interest in theatrical creativity.

Timing classes: 90 minutes

Stage I - organizational Preparing children to work in lesson Organization of the start of the lesson, creating a psychological mood for learning activities and activating attention.

Teacher: Hello, guys, come in, take your seats! I am very pleased to see you today at class! Today we will greet each other not like ordinary people, and to the music. Think and make gestures and movements to the beat of the music.

A game "Greetings"

Teacher: Amazing! And now in order for us to better friend we recognized a friend, let's play a game "My name is... I". You say your name, and then say to yourself what kind of person I am, that is, you characterize yourself by answering this question with the letter of your name. So, let's start!

A game "What am I like"

Teacher: Order everywhere, in everyone, in everything! So, let's all put things in order together, create an atmosphere of comfort so that you want to work, invent, create! We will sit in a semicircle. And why? Well done! We’re just sitting a little differently. Let's try to sit down by height, from shortest to tallest. Very good. Hold hands, give each other yours good mood using a sent impulse.

A game "Spark"

Teacher: Fine! Get ready! Next exercise. Slowly: “inhale – nose, exhale – mouth” like yogis! Calm down!

Exercise "Yogi" (6 times)

Teacher: Let's get ready for creative process! Let's calm down. Let's start charging the hearing aid.

Warm-up "Silence"

Teacher: What associations, thoughts, reflections, analogies do the sounds you hear evoke? We got up. Mouth yawned, hands clasped - stretched. They took out the ceiling, the floor, grew up... Shaked themselves up!

So let's begin class!

Stage II - verification Establishing the correctness and awareness of execution homework, identifying gaps and correcting them Checking homework, checking knowledge acquisition previous lesson.

Teacher: On the past in class we learned that such a country as theater is not on the map. But such a country exists, and it was born theatrical art for a very long time. How do you understand the word « art» ? Guys, please tell me what you learned from the past class? Who can tell us? What's happened theater? Where can you see the origins theater? Where did it originate? performing arts? What was the name of the venue where the actors performed? Which Do you still remember the theaters?? What types arts meet in theater? Who draws the scenery and costume designs for the performance? That's right, artist. Who composes the music? That's right, composer. Who makes the suits? That's right, seamstresses. Who issues costumes to the actors? Dresser. Who prepares the dances with the actors? Choreographer. Well done. Who rehearses with the actors, who tells the composer what kind of music should be played, and who tells the artist what the scenery should be, and so on? Of course, this is the director. Who can be called a soul theater? Fine!

Stage III - preparatory Ensuring motivation and acceptance by children of the goals of educational and cognitive activity

Teacher: Today, guys, we will continue our journey through amazing country theater. The topic of our classes: Peculiarities theatrical arts. You will find out what performing arts differs from others. Slide 1. Sit comfortably so that everyone can see the screen.

Stage IV - basic Ensure perception, comprehension and primary memorization of new knowledge

Teacher: Slide 2. What kind of changes did not take place on earth - era followed era, one people replaced another. Slide 3. States and countries arose and disappeared, Atlantis disappeared in the depths of the ocean, the angry Vesuvius flooded unfortunate Pompeii with hot lava, and for many centuries the sands carried Troy, glorified by Homer, onto the Hissarlik Hill. Slide 4. But nothing has ever interrupted eternal existence theater. Slide 5. Stage art, born in ancient times, has attracted spectators at different times. The performances entertained, educated, taught something. With the advent of television and computers, the theater has not disappeared, did not dissolve (how could he not predicted, because it’s momentary performing arts happens in front of the viewer and with him, which means it gives pleasure and is always a real holiday. Slide 6. Theater refers to a playful, spectacular form art. How do you understand the word "spectacle"? Like any kind art(music, painting, literature, theater has its own characteristics that distinguish it from other species art. Slide 7. Theater is a synthetic art. theatrical work(play) consists of the text of the play, the work of the director, actor, artist, composer. In other words, the performance combines different types arts: music, visual arts, literature and much more. Slide 8. Theater is a collective art. To make the performance the way the audience sees it, many people need to work hard. The actor is helped by many creative and technical workers theater. Thus, the performance is the result of the activities of many people, not only those who appear on stage, but also those who sew costumes, make props, sets the lights, greets the audience. Slide 9. Theatrical a performance is a special action played out in the space of the stage. Theater is that what we actually see and, at the same time, what we can imagine. IN theater the world remains a world of people and for people. The events unfolding on stage are not life, but only what we see in life. The stage itself, the playing area, is made in order to separate the audience from the place where the game is played. performance, create a special space in which the action takes place. Stage and curtain help create the world theatricality. IN theatrical In the game, the actors participate in the game action among themselves, as well as the entire production group with the viewer, who is a full participant theatrical game. Slide 10. Theater is a living art, momentary. It is created before the eyes and with the live participation of the audience and “disappears as soon as the actors’ voices fall silent and the stage curtain falls”; This “live action is life in character” (G. Boyadzhiev). Unlike all other types art - fine, verbal and even musical, the works of which are preserved for a long time as monuments, the work theatrical arts– performance – not preserved as a monument art, by which we could judge the historical past of the phenomenon. Life theatrical the performance is relatively short-lived. For example, the work of movie actors is captured on film; the viewer can watch the movie more than once. And the performance ended, the spectator left theater. Slide 11. The basis of the art of theater is action, stage events following one after another, existing in the present, general for an actor, stage location and spectator. A performance is an action unfolding in time and space when the actor (i.e. "active") appears before the viewer, acting (alone or in a team) on behalf of what he created artistic image. Action manifests itself as the emergence and resolution of conflict between characters, between characters and the situation. What the action consists of, we will talk to you at the next classes. Slide 12. Let's look at the screen and remember the distinctive features theatrical arts. Very good.

Teacher: Now you and I will rest a little and arrange "Literary competition of fairy-tale heroes". Each person in turn stands up and reads as loudly as possible. "expression", beautiful 4 lines of any poem from the face of any fairy-tale hero. There is one thing condition: Start reading a poem with words “I’m not afraid of anything, because I… Zmey Gorynych”.

Teacher: Thanks guys! You were all irresistible! Everyone tried really hard! I would like to hear your opinion about who was more emotional and interesting to you in showing this sketch. Children's statements.

Teacher: Fine! So, the most interesting fairy-tale hero was today... I want to thank him. Well, from the audience’s side the biggest Gratitude: This is applause!

Teacher: Well, now I I suggest you play a game, already familiar to you "Nose, floor, ceiling".

A game "Nose, floor, ceiling"

Teacher: Remember, yours task: point to what you hear, not what you see. It's clear? (Game being played). Well done boys. This game is for developing attention. Fine! Now I I suggest you can stand freely throughout the free area. You will move around it to the music, and I will give you commands to act. Yours task: Do them without hesitation.

Teacher: Fire! Panic! Shipwreck! Storm! Wind! Rain! Hurricane! Darkness! Heat! Argument! Well done! Everyone tried to convey feelings depending on the situation. We can play other games with you at the next classes.

Teacher: And now, I I suggest sit on chairs in alphabetical order. Fine!

Stage V - control To identify the quality and level of knowledge acquisition, their correction Teacher: We did a great job today.

Teacher: Guys, we learned a lot of new things today. Who remembers the theme of our classes? And who can say what it was needed for? theater at different times? Now is the age of electronics, cinema, television. Could this era destroy theater? What is for a person theater? What type art includes theater? How do you understand the word "spectacle"? What are the features theater you remember? What types arts combines theatrical art? What professions can be called the creators of the play? Where does the play take place? Why theater is called living art, momentary?

Stage VI - final Provide an analysis and assessment of the success of achieving the goal and outline the prospects for subsequent work. Teacher: Guys, today you all worked successfully and learned a lot of new things. Did a good job. Well done to all of you! You turned out wonderful images that you created in sketches and exercises. On subsequent classes we will continue to expand our knowledge about theater and learn a lot of interesting things about this beautiful country.

Stage VII - reflective Motivating children for self-esteem. Teacher: Please tell me what you remember and liked today?

What were the tasks? What do you think? What was not clear? Who had a good time class? Why? Who got creative satisfaction? What did you do today? What did you like about your own work? Who believed in their success?

Stage VIII - informational Provide an understanding of the purpose, content and methods of completing homework Teacher: Children, today is class we worked very hard. If something didn’t work out for someone today, it will definitely work out next time. Wish you luck!

Teacher: Thank you for attention! Good luck always and in everything! I’m handing you a smiley and I want you to ask a question to anyone in our circle and express your opinion about today’s class, answering questions from friends.

A game "Talk to Friends"

Teacher: Thanks for your work! I will be very glad to meet you at the next class! Goodbye! Questions.

LITERATURE and THEATER are two types of art, common to which is the word

Date added: 2013-01-16

Theatricalization- one of the most popular methods of work not only for language teachers. It is used by all teachers who want to make their lessons interesting and varied.

But a literature lesson is always a small performance, in which “everyone plays,” even the most “quiet” actors, drawn into the action as if against their will, but their facial expressions and eye expressions will reveal their attention and interest in what is happening. But this is a special theater where improvisation is the soul of everything. It seems that the director is ready for any change in the “script”, anticipates the actors’ reactions to certain questions, but even he does not always know all the options for the unfolding theatrical action.

Modern literature lessons compare favorably if the teacher knows theatrical techniques for organizing teaching activities.

The ability to organize work in the classroom is helped by the socio-game techniques that theater pedagogy offers to teachers. And then group work appears in staging and directing a lesson, which gives all children the opportunity to participate in different positions: changing leadership, changing role functions “teacher-student”.

Teachers organize educational activities so that children mutually teach each other, exchange information, and for this they need to create a problem situation.

• The dramatization of individual episodes creates a favorable emotional atmosphere in the classroom for the perception and in-depth understanding of literary works. Such classes provide teenagers with the opportunity to discover their individual abilities, experiment, and demonstrate their skills. In connection with these goals, it is necessary to solve the following problems:
• establish points of contact between two objects;

identify general concepts.

The natural relationship between literature and theater is comprehended by students in the lessons of analyzing works of art. Thus, literature and theater are inseparable and naturally complement each other.

The teacher’s task is to maintain students’ interest in literature lessons and help them understand the characters’ characters. Within the framework of a literature lesson, it is possible to make the most expedient use of theatrical elements, since

literature and theater are two types of art that have the word in common.

Comparing the text of a work with a theatrical depiction of individual scenes enhances the emotional side of the analysis of a work of art and expands the knowledge and skills of students. Involving theatrical scenes in literature lessons is one of the important aspects of implementing interdisciplinary connections that contribute to the formation of students’ worldview and their aesthetic development. The main goal of these lessons is to develop such qualities as memory, creative thinking, and speech. It is through theatricalization that schoolchildren can test their accumulated literary knowledge, as well as express their emotional perception. Fifth and sixth graders often imitate their favorite characters; they accompany their often awkward speech with gestures, facial expressions, and characteristic movements. This form of the educational process helps to retain vivid and deep impressions of the studied work in memory for a long time, since it appeals not only to the student’s mind, but also to his feelings.

Theatricalization covers various artistic aspects: choice of repertoire, stage speech, stage movement, creation of scripts, production of costumes, scenery, props, drawing, painting, etc. This creates favorable conditions for the formation of aesthetic values ​​(a sense of beauty).

IN modern school Teachers are increasingly turning to various kinds of theatricalization. Theatricalism and play have long been included in most traditional subjects - in the form of role-playing games and creative exams. Mastering the very principle of the game, the ability to take on a particular role, learning how to communicate with an audience, the ability to concentrate and much more is increasingly becoming a necessary reality of the educational process.

Hear voices different heroes This method helps as “living” the image. The conditions of the game are as follows: everyone chooses the role of one of the heroes of the novel and tries to imagine themselves in his place (homework). Getting into character occurs from the first minutes of the lesson. (It is important that the guys are in a circle and see each other’s faces).

Teacher: do you know each other? Introduce yourself to each other. A word about myself.
What do you think about the world you live in? How does he treat you?
(Introduction of heroes, which begins with an attempt at reincarnation.
I, Marmeladov...
I, Dunya, Raskolnikov's sister...
I, Pulcheria Alexandrovna Raskolnikova, mother of Rodion...
I, Sonechka Marmeladova...
I, Katerina Ivanovna...
I, Rodion Romanovich Raskolnikov...).

In the moment short story about his life and place in this world, the “hero” tries to evaluate himself and other participants in the dialogue. The ability to ask anyone a question is an indispensable condition in this situation. So, for example, to the question of Alena Ivanovna, an old pawnbroker, about her sister: “Why is she so cruel and unfair to her?” the answer was immediately given: “Why did she allow such an attitude towards herself? So, Lizaveta deserved it.”

That is, children, playing theater, are strongly dependent on each other, fantasize freely, and find a way out of a difficult situation instantly.

Teacher: And you, Pyotr Ivanovich Luzhin, and you, Mr. Svidrigailov, who are in this world? "Powers that be?" Why?
Word to Raskolnikov. What was your experiment and was it a success?
What is your attitude towards Raskolnikov? Who wants to speak out?

During the conversation, a natural discussion of the problems of the novel arises, where Sonya’s word, her “truth”, and the “truth” of Luzhin and Svidrigailov are heard, and an attempt to choose Raskolnikov - whose truth does he accept and why?

The teacher’s task in this lesson-play is asking irritating questions, which force the student to think, delve into the problem, allow him to once again turn to the novel and think about life.

Such a lesson gives food for thought and does not end with the bell - the guys discuss it for a long time, now breaking out of their images and expressing their opinion.

At the next lesson, it is advisable to bring this discussion to its logical conclusion, giving the opportunity to evaluate the acting and performance of each of the characters, naturally, taking into account knowledge of the text and the plausibility of the role. By the way, other discussions can be no less interesting than the lesson itself.

Lessons with elements of theatricalization, role-playing games and other methods of theatrical pedagogy are positively perceived by students and their parents. It is impossible not to notice the growing interest among schoolchildren in world history, culture, and art. It is much more interesting for a child to combine the acquired knowledge, translate it into images, and combine it with artistic fiction. So does a teenager a new psychology is being formed - the creator, the creator.

This state appeals to him, since at this age a person strives to become an adult, independent, and assert himself.

• Used sources:
• Ershova A.P. Theater lessons at school. – M., 1992.
• Zepalova T. S. Literature lessons and theater: A manual for teachers. – M.: Education, 1982. – P. 175.
• Ilyev V. A., Technology of theater pedagogy in the formation and implementation of the school lesson plan. – M.: JSC “Aspect Press”, 1993. – P. 127.
• Kachurin M.G. Two wings, or literary theater in the classroom // Ways and forms of analysis of a work of art. – Vladimir, 1991. – P. 11–24.
• Leonov A. A. Theatrical games in the literature lesson // Theater and education. – M., 1992. – P. 63–71.
• Lvova Yu. L. Teacher’s creative laboratory: From work experience. – M.: Education, 1980. – P. 192.
• Marantsman V. G. Theater and school // Literature at school. – 1991. – No. 1. – P. 131–140. Basics of the Stanislavsky system: tutorial
• /aut.-state N. V. Kiseleva, V. A. Frolov. – Rostov n/d.: Phoenix, 2000.

Stanislavsky K. S. Collection. Op. in 8 volumes - M., 1954–1961. Sections:

Extracurricular activities
Theater should enlighten the mind.
Romain Roland

Exposition.

“The theater is the highest authority for resolving life’s issues,” wrote A. I. Herzen.

The world around us is so multifaceted and dynamic that to modern man it is not possible to comprehend it in all its diversity. The constant change in spiritual and moral values, economic and social conditions, indeed, does not allow us to “stop” in order to rethink all those “new formations” that occur in us in the process of personal growth.

This “continuous movement of life” requires a revision and adjustment of the basic approaches to the study of the cycle of humanities, in particular literature. Undoubtedly, the priorities for education remain the tasks of forming universal human values ​​in schoolchildren (the ability to empathize, compassion, the ability to feel and understand the beauty of the world around them), nurturing a personality capable of independent comprehension of both the artistic word and the phenomena of reality, capable of creating their own creative product.

In this situation, the process of emergence of new practices in the activities of teachers that are capable of solving these problems is natural. This practice of humanities education is a “theater lesson”. Turning to the world of theater is not accidental, since it is through the prism of theatrical productions that it is easier for us, high school students and teachers, to look at our own lives, at our own problems and difficulties, and it is easier to understand and reassess any turning points in life.

“Without creative searches there is no true art,” said D. Shostakovich.

The Vyatka Humanitarian Gymnasium is actively developing and testing the practices of humanitarian education. These are the so-called lessons: “museum, music, theater”; integrative educational expedition, etc.

Development of action.

Interpretation (lat. interpretatio- explanation, interpretation) - in art - the creative development of works of art associated with its selective reading: in adaptations and transcriptions, in literary reading, director's script, acting role, musical performance... If interpretation is considered as a method of literary criticism, then this is the interpretation of the meaning of works in a certain cultural and historical situation of its reading. In art and literary criticism, interpretation is based on the fundamental ambiguity of the artistic image.

Every text is understood and perceived by each subject in its own way. For a deep understanding of theatrical production and the text of a work of art, we have developed a so-called “theater lesson”.

Based on the statement of Charles Baret, we can formulate a definition of a “theater lesson”.

So, theater lesson is the practice of humanitarian education, where comprehension of a work of art and oneself is built in a special cultural and educational environment and on the basis of the subjective experience of the author of the text, the director and the teenage viewer.

By humanitarian education we mean person-oriented education aimed at developing “the human in man” (V.I. Slobodchikov). By a special cultural and educational environment we understand the ability to speak the language of art, to deeply penetrate into the specifics of this art, as well as favorable conditions for the disclosure and self-realization of personality.

Thus, a theater lesson allows you to consolidate primary knowledge of the theory of literature about the theater, acquired practical skills of visiting the theater and, integrating existing experience, bring schoolchildren to a new level of understanding of themselves, events, and others.

The basis for conducting a theater lesson is any theatrical event in the life of the city, region, or the study of program works in literature, performances of which are staged in the theater. In rare cases, it is possible to work with video materials of theatrical productions.

Climax.

“If the meaning of theater were only an entertaining spectacle, perhaps it would not be worth putting so much effort into it. But theater is the art of reflecting life”, stated K. Stanislavsky.

Based on the statement of K. Stanislavsky, we note that we transform a visit to the theater into an educational event that allows us to comprehend a work of art in different interpretations.

An important condition for the implementation of this practice is the integration of classroom and extracurricular activities. The theater lesson as a humanitarian practice is an evolving system of lessons aimed at implementation throughout the entire academic year and including 2-4 theater lessons per year. The implementation of this practice is carried out in stages. We can distinguish three main stages: the preparatory stage, the theatrical stage itself and the reflection stage. Let's look at each stage in more detail.

The first stage is preparatory.

The preparatory stage is aimed at creating conditions for understanding the language of works of art (literary and theatrical), the ability to speak it, for emotional development and enrichment of the individual, for reflecting the personal experiences of schoolchildren in texts and various creative works.

At this stage, preparatory lessons:

• The most important of them is lesson-mastery of theatrical vocabulary(work on a theatrical dictionary, mastery of theatrical vocabulary). Children will not be able to freely use theatrical vocabulary in their own speech until we, teachers, teach them to do so. Therefore, in this case, it is necessary not only to get acquainted with theatrical vocabulary, but also to include it in the context so that this vocabulary acquires semantic meaning for the high school student.
• Another important lesson in the preparatory plan is lesson – discussion of the choice of performance. Usually this lesson is taught using problem-based learning technology. In order for a performance to become personally significant for a high school student, it is necessary to take into account several interrelated factors: the ratio school curriculum
• , theatrical repertoire and, most importantly, those problems that concern a teenager “here” and “now”, at this stage of his personal development (these can be both school and moral problems, problems of self-awareness, problems of personal choice...) . Lesson Study creative path author of the play.
• If a visit to a performance based on a work that is not included in the compulsory educational program is planned, then at this stage the schoolchildren receive primary knowledge about the author of the work, learn to independently find and process information (a lesson with access to the Internet, where the teacher shows how to find information about for this author - links on the interactive whiteboard)
• Lesson-workshop of the author's ideological and artistic concept. In this lesson, high school students learn to independently determine the ideological and artistic intent of the author of the play. At this stage, high school students get acquainted with the director of the production, the issue of interpretation of the author's work and the director's reading is considered. The attention of high school students is focused on the relevance of this performance, on those aspects of the dialogue with the audience that the director reflects. Acquaintance and mastery of the language of theater by high school students. Gymnasium students become acquainted at a deeper level with the main integral elements of theatrical action: acting, costumes, design (scenery, musical accompaniment, lighting design).
• Lesson - correspondence excursion or virtual excursion behind the scenes of the theater.

The second stage is theatrical.

This is a direct visit to the performance. At this stage, there is an emotional impact on the high school student, living and experiencing the theatrical action, and, most importantly, there is a process of empathy for each moment of the performance together with other high school students. The life of the characters in a theatrical production becomes more visible, visible and audible on stage not only thanks to the intonation and semantic expressiveness of the word, but also thanks to other components of the performance: the acting, musical accompaniment, lighting design, artistic and visual design.

The third stage is reflective.

This stage involves reflecting impressions from a theatrical production in texts of various genres and other forms. At this stage, reflective classes are conducted. The reflective stage can be divided into three interconnected parts: comprehension of what is seen in the form of trainings and lessons-meetings, creation of creative works and creation of works of other forms of comprehension.

1. Training session aimed at understanding everything seen in the theater. This lesson offers a number of “exercises” that allow you to move to a qualitatively new level of awareness of the acquired experience. All “exercises” are based on “pedagogy of experience”, based on authentic (not faked or constructed) intense experiences in order to include them in the process of personal growth.
   The purpose of these training sessions is the opportunity, based on experiences, to verbalize one’s own emotions in a group of classmates. For adolescence, the moment of voicing one’s own emotional experience is very important; this allows one to more deeply understand not only oneself, but also to hear another person. In this case, we rely on the exercise methodology developed by Claudia Mayer, a theater teacher in Germany. Lesson - meeting with the director,, the opportunity to conduct a live dialogue.
2. Producing creative written work as a reflection of personal experience in the texts through the prism of the author’s comprehension. The first group - works of different genres: review, essay, review, essay-reasoning, newspaper article, script writing, etc. The second group - works research nature. The third group is works of a creative nature: almanacs, collections of creative works, poetry collections.
3. Execution of work other shapes to choose from. These are photo exhibitions/photo reports, videos and presentations, drawings for the play, own productions of individual scenes of a literary work, etc.

Denouement.

“The main thing is artistic creativity - see and comprehend new things, which gives the right to take up a pen or brush,” wrote V. Borisov.

All stages of a theater lesson are not only interconnected and logically defined, most importantly, they are reflected in the “Workbook,” which is developed specifically for a given theater lesson by the teacher together with the director. This notebook consists of three main parts in accordance with the three main stages of this humanitarian practice. Throughout the entire theater lesson, the high school student works with this notebook.

The workbook is also used by the teacher as a form of humanitarian examination, which allows one to trace changes in the spiritual and moral development of the school student.

“The interpreter, the teacher and the mirror are the three faces of the director,” - A. Vasiliev.

The ending of any play is an emotional and semantic conclusion. In our case, this means conducting training sessions related to the primary understanding of what we saw. This is an opportunity, through a developed system of reflexive actions, to lead the teenage viewer to an understanding of the author’s intentions and his own discoveries. The system of training sessions is built according to a certain scheme: “inclusion” in the lesson, the main part and the reflective part of the training.

1. In the first part of the training, games are offered that allow you to create a friendly, open environment, helping to tune in to joint productive, creative work:

Exercise “Impulse” - the leader transmits an “impulse” in the form of a clap of the hands in a circle in one direction, then the exercise becomes more complicated: the “impulse” is transmitted in different directions. The main thing is that the participants catch the “impulse” in time and pass it on to others.

- “Space exploration” - participants move in a chaotic order, the main condition is that they must fill the entire space of the room while moving and should not collide with each other. The leader determines the speed of movement of the participants.

Exercise “Line” - participants with their eyes closed must line up according to their height, shoe size, hair length, and the initial letter of their name, the main condition is that talking is prohibited.

2. Let's look at some exercises from the main part of the training. The exercises that are carried out at this stage are aimed at understanding the theatrical production at a deeper level:

Exercise “Association” - everyone in a circle names the first association that appeared to him after watching the performance.

Exercise “Verbalization” - high school students should try to tell those who have not seen the performance about what happened on stage.

Exercise “Photo of the performance” - the first participant takes a pose (based on the performance), the second – complements the first, the third – the second, etc., without going beyond the given topic (performance). Then the “photographer” takes a “photo.” The photograph can be repeated: the first participant changes his pose, the others also change their poses in the sequence in which they did it the first time, complementing the previous participant.

3. The training session ends with a reflective stage, at which one voices one’s own emotional experience, which is quite difficult and important for high school students aged 13-14 years. I offer several possible reflection options:

Exercise “Notes” - participants are asked to write addressed notes with wishes to each other. The contents of the notes are not made public.

- “Circle” - all participants stand in a large circle, close their eyes and raise their hands, then everyone begins to move towards the center of the circle until each hand touches the palm of another participant. At the request of the presenter, all participants open their eyes, the presenter looks to see how many circles have been formed as a result and whether anyone is left alone.

Exercise “Tangle” - in a circle, participants pass the ball to each other, while saying a phrase beginning with the following words “I am grateful to you for...” or “I am glad for today’s meeting because...”.

Such classes can be conducted either by a subject teacher, a tutor, or by a production director.

“Every person has his own theater under his hat, where dramas unfold, often more complex than those given in theaters,” - T. Carlyle

2012 – play “Treasures of the Wood Elves”, author Reetta Niemelya, director Boris Pavlovich, theater lesson “What is a human treasure”.

The humanitarian practice of the “theater lesson” made it possible to look at the formation of the spiritual and moral values ​​of high school students in a different way. I saw that the schoolchildren learned to understand the language of a work of art, mastered theatrical vocabulary, while experiencing joy from the very process of learning. I consider the unconditional result to be a feeling of unity and spiritual belonging during the “theater lesson”. This practice not only enriched my ideas about the potential capabilities of high school students and the prospects of the educational process, but also helped to open up new facets of the students’ personalities.

You don’t need to be a teacher to understand that today every individual is important and unique. A child’s creativity most often manifests itself not in the classroom, but in the Internet space. When working with talented children, it is very important to direct their creativity to solve educational, life, and personal development problems. Theater goes against virtual reality in favor of “live” communication and “live” knowledge. Contact with theatrical art helps us, teachers, to look “under the hat” of each student, recognize his individuality, and help in solving problems in the process of personal development of a high school student.

In 2012-2013 academic year Boris Pavlovich and I are planning to develop and conduct two more theater lessons.