The ratio of external and domestic lesson in the art of reference can be successfully solved through the formation of acting teacher.

If the idea of \u200b\u200bthe material is to formulate in a few words and in this form report its child, then the life of the idea on this will end. In the disciples it is important to initiate the feeling of ideas, but for this you need to affect not so much on the mind as per feeling. Acting skills in this regard possesses the richest opportunities.

It is necessary to reflect the K. Stanislavsky method deeper and apply it to the formation of teacher's pedagogical mastery. It can be useful to be one of the well-known in the theater pedagogy of techniques, called the "Reception of identification", that is, the merger of his "I" with the image, the thought that needs to be disclosed in the executable work.

This technique suggests not only greater preliminary work on the musical work, but also the natural organic "accommodation" by the teacher of the artistic image of this work. Only then is possible true communication between children and teacher. To create, by definition, K. Stanislavsky means "passionately, rapidly, intensively, productively, it is advisable and justified to go to the topness" - comprehension and disclosure of the artistic image of the work. From a pedagogical point of view in the preparation of a teacher, that part of the heritage K. Stanislavsky is important for us, which is closely related to the art of experience. Estimation as an organic unity of intellectual and emotional in person. For the teacher it is extremely important to learn to consciously manage the subconscious creative activity of their psyche, as many processes in art and in the artistic development of the child are associated with the subconscious, with intuitive, but adequate comprehension of the beautiful, outside its decomposition into individual elements.

For the teacher, it is extremely important to be able to be expressive in all its manifestations, be able to find an adequate external form of expressing feelings experienced by him, emotions. Therefore, the teacher needs to be learned not to be afraid to identify with words, expressive movements, failing that it is difficult for the work of art - its beauty, the finest lace of his images. At the same time, it is necessary to constantly remember that it is impossible to do with one sense, it is necessary to intellectually, technically examined the art material. "If there is no material, the feeling is not what to strengthen" (S. Volkonsky).

Do I need to teacher acting skills

The question I want to hear the opinion of the teachers themselves and their disciples.

Kohl, 16 years:

Teachers in the lessons are falling asleep, not having time to fulfill the curriculum ... fall asleep on pedal councils when children's performance is discussed. Try the collapse when all sorts of checks come due to passivity or unpreparedness of children.

A lesson is a form of organization (in this case of educational) activities. The performance is a form of organization of a certain dramatic, political, folk view ("Do not suit me a performance!"). In general, also activities, only a different kind. The director of the performance takes care that those and those artificial ideas be read by the viewer, or the viewer could have submitted those and those reflections on the performance, or estimated the grandeur of the production ... Does the teacher-organizer do not exist Activity - similar (in structure, not content) Tasks? What a teacher is not the head of the process? And doesn't the process of learning the knowledge and acquisition of skills on the same psychological laws on which the process of perceiving the dramatic performance is performed (and there, and there - the transfer of auditory, visual, etc. information)? At least from these primitive positions, looking at the problem, you can already think about the actual incompleteness of the director (art build) lesson, and therefore - about the need to have at least a very superficial idea of \u200b\u200bthe art of director, its essence and professional laws. It is also important to take into account the specifics of the lesson, distinguishing it with the specifics of the performance as a dramatic act ...

Masha, 15 years:

It is very often very difficult to take possession of the child's attention, especially in high school, therefore, probably, a teacher who does not have, at least a few of creative abilities, has to be disadvantaged. There is such a simple thing: an effective analysis of the performance. He is needed by the director in order to decompose the action of the performance on the shelves, and its essence. The same you need to try to use both teachers. The analysis can be found in any textbook on the director, so, gentlemen teachers - dare!

Natalia, 16 years old:

I believe that the ability to plan (serve) any project, lesson, lesson, etc., is certainly important and necessary. The problem is different: whether teachers will want to bend the back, self-improvement in this direction without sufficient material motivation. On one enthusiasm will not leave. Of course, it would be good if the teacher knew a lot, and he also knew how to prevent students in a comfortable form. And this is quite possible with the relevant financing of education.

Opinion of teacher in mathematics Gennady Anatolyevich:

I had experience last year: conducted for 10 teachers cycle of classes on the issues of children's game. Child's gaming abilities, where and how to apply the game lessons and with what goals, how to cope with low learning motivation, what to do if the child does not have the skills of organizing the game and compliance with the rules - in general, everything is in such a way. From September of this year I work in one center of creativity, from which three teachers have passed the training at these seminars! Discharcoat 4-5 years old one of these teachers was simply afraid! Despite the high interest in gaming techniques, she still tries to take these babies ... At least, the colleagues explained to me. Until now, one girl is 4.5 years after its subject comes into the office exclusively next to mom.

And it was very offended to hear from the leadership of the revelation that all such seminars, even concerning pedagogical practice, need teachers only for a piece of paper ... Maybe everything is easier? And you need the talent of the presentation of the material (I now increase the topic of active games).

I believe that each teacher should be in some extent an actor. To take possession of 30 students to possess certain abilities, although not only acts. And then each lesson is a kind of performance, and the teacher is the director. If there are repeated in the theater, they cannot be repeated in school: it is necessary to take into account the characteristics of the class. I have been using games from theatrical pedagogy in my practice, but the disciples are not accustomed to such lessons. Therefore, first time they perceive such a lesson as rest, entertainment.

Opinion of teacher's biology of Yulia Mikhailovna:

In my opinion, three components are important in the pedagogy of the lesson: the ability to compose the material (scenario qualities), the ability to illustrate the words with expressive means (paintings, card), with which in the theater are fighting all my life (after television, I realized that the lesson is rather The plot of the author's television program than the performance, and if the performance, then "eye to the eye", and not with the "fourth wall") and the ability of the teacher to involve students in the lesson process - i.e. Elementary communication - you need to be able to actualize the topic for students - and this is again conflictology and dramaturgy. Even at the lesson of physics, if the theme logic is consistently and brightly, then the disciples will follow. Especially if you manage to wrap everything so that they themselves unfold this topic. Let, in the end, argue. And the gaming methods will not interfere. But it will hurt it for a long time. It is necessary to find some kind of golden middleness between American frivolous game and democratic pedagogy and our Soviet traditions (I am 30 years old and I found the Soviet ambiguous and at the same time useful for my destiny of times).

In recent years, the innovative teachers have declared about themselves, a large number of innovative schools and experimental sites emerged, the teachers have the right to create copyright programs and textbooks, the development of continuing education problems have increased, there has been a tendency to exempted stereotypes in the evaluation of pedagogical activities. Nevertheless, the question of whether the pedagogical work is creative or not, it is unlikely to be considered solved finally. In front of the teacher, there are constantly complex - creative essentially - the task: to transform the content of education in the content of the training; Choose and embody the specified standards in "Living Human Emotions" (and in this, according to V.A. Sukhomlinsky, creative work of the teacher); Act in real, creative them and students (every time re-), situations. Pedagogical creativity leads not only to master the student of the "raised" culture and the development of his individuality on this basis, but allows the student to create the image of the world and its own image in this world.

The more personally independent in the formulation of activities, search for funds for its implementation and evaluation of the result, the more it can be described as creative personality. The creative person himself determines the value of his work, it does not depend on the praise, nor from criticism of others.

The creative personality of the teacher is a special quality, the level of personality development as a whole, therefore, it is impossible to give it an unequivocal definition: its essence in the identity and integrity of the whole person (the inner side), in originality, bright identity and the scale of all the manifestations of the teacher (outer side ), expressed in the autonomy of the formulation of life and pedagogical objectives and tasks, independence of actions, in a continuing search for the meaning of life and activity and ready to defend the found, stipulated ideals and vital values \u200b\u200bby the end. The creative personality of the teacher is manifested in such meaningful sides of his personality, as food (values, motivation, installation), personal qualities (individual manifestations of mental qualities and processes), cognitive sphere (content, levels and operations of thinking).

TO personal qualitieswho characterize creative individuality, can be attributed to deep emotional immersion in the course of events; the presence of pedagogical abilities, artistry, expressive abilities, charm, empathy, will and purposefulness in the implementation of their ideas and achieving the desired results; Openness, sincerity.

Artistry is not only external factors (gestures, facial expansion), although they are very significant to create an atmosphere of the lesson. Artistry is the ability to almost instantly switch to new situations, to be provided in a new way, the ability to live with ideas transmitted to students in the lesson, and live sincerely. This is the wealth of personal manifestations, the shape of the formulation and solving problems, the game of imagination, grace, spirituality, the feeling of inner freedom.

It can not be said about every teacher that he is a pronounced individuality and the more creative personality. This characteristic lies in uniqueness, uniqueness, unusualness, uniqueness, manifested in behavior, activity and its results. The creative personality of the teacher is manifested mainly in the system of relations "teacher-student".

The purpose of the practice teacher should be the desire to feel and identify their creative individuality, the unique features of their personality, the peculiarity of their pedagogical handwriting. It is the identification and development of their pedagogical creative individuality, unlike samples, individual-peaked activities that contribute to its final success will ensure the effectiveness of the teacher's activities, will solve educational and educational tasks with greater performance and receive satisfaction from their work.

Svetlana Kontsevaya

Acting skills as one aspect of pedagogical workshop va.

"The ability to educate is all the same art, the same art as well play on a violin or piano, to write pictures well. The trouble of the art of education is that you can educate only in practice on the example. As if a person successfully cumshot pedagogical university, no matter how talented, and if it won't learn from experience, it will never be good pedagogue».

A. S. Makarenko.

It is difficult to give the soul and joyful. It is difficult because it requires the costs of not only spiritual, but also physical forces. Joyfully because seeing the result of the work received, you understand the meaning of your life.

Dhadyuk. Matinee "Trades Dyadyuki" dedicated to the Golden Autumn 2017.

While the most favorite role.

Pedagogical skill - this is the highest level pedagogical activitymanifest pedagogue, in the constant improvement of the art of training, education and human development. Pedagogical Creativity is considered as a state pedagogical activitywhere the creation is fundamentally new in the organization of the educational process, in solving scientific and practical problems.

Sad monotonous work, in which there is no creativity, leads to premature professional fading, to the termination of intellectual growth. Creative pedagogical character Activities prompt pedagogue To the study and borrowing of best practices colleagues makes it sensitive to innovation in the field of education. The lack of creativity of the educator negatively affects the development of children.

Activity pedagogue Pre-school institution multifaceted in its functions and content. She assumes mastering pedagogue A variety of professional skills. These skills can be conditionally divided into gnostic, constructive, communicative, organizational and special.

Enjoy special skills - sing, dance, expressive, read poems ...

Cossack. Apple saved 2016

The more such special skills in arsenal pedagogueThe more interesting is the life of children in kindergarten.

Diversedly developed pedagogue Causes admiration and pride of pupils. They want to imitate him, seek to learn more.

System K. S. Stanislavsky shows that in theatrical and pedagogical A lot of art is common. Teacher and actor We must know and feel the audience - the best and backward part of it, to understand who to navigate and to whom to help. It is necessary to know the Aza of the human reaction depending on age, gender, professional orientation. The similarity of theatrical I. pedagogical Activity can be traced in the following parameters.

1. in the goal (the impact of man per person in order to cause experiences).

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

4. The process of theatrical and pedagogical Creativity is implemented in the situation of a public speech (and viewers, and students are accomplices of the process).

5. The object of impact simultaneously becomes both the subject of creativity.

6. Creativity is carried out in the designated time allotted for this, which requires efficiency in managing their mental state.

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

Fall. Holiday "Golden Autumn" 2013

Snow Maiden. Where without her. One of the first roles. 2013

Summing up the above set out, I can only say about how little roles in children's matinees are helping personally. Of course, they train not only the memory (the key to the good performance of the role, the perfectly learned and rehearsed role, give me a wide range of experienced emotions, as my personal and stipulated by the character himself - positive emotions and the transfer of positive qualities with positive heroes (Snow Maiden, Golden Autumn, Spring, Cossack). And negative qualities and emotions when playing negative heroes (Baba Yaga, Dyudyuk, Shapoklyak, Tsarevna Nesmeyana).

Also, such mini performances help train the nervous system, to train in the ability to manage their excitement.

Profession public teacher, and recently a performance for pedagogue on a different kind of conferences and master classes, contests, requires pedagogue A certain skill of speech art and excerpt, the ability to control and manage its intonation, volume and power of the voice, the ability to present yourself and their work. That's just all these skills and embodies actor play. And most importantly makes it possible to reveal to show yourself to children and parents with a new unknown side for them. The biggest reward for me is the words of children and parents "And we did not know you, first ..." It means a role was a success.

The relevance and the problem of the topic.

In the existing educational space today, 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 vocational training does not change, that is, if the teacher does not master the new effective technologies, which make it possible to significantly change the methods of conducting the educational process.

Game theatrical technologies, actively penetrating into the educational process - a powerful lever that can shift the creative process in educational institutions. The popularity of theatrical pedagogy in the educational process is explained by the fact that with the help of its funds can be sentiently affected by the motivational, emotional-shaped and intellectual and creative parties of the person. Unfortunately, art often refuses the possibilities of intellectual knowledge, recognizing it only an emotional-aesthetic understanding of reality.
The existing contradiction pushed me to the creation of a master class on acting for teachers of educational institutions on the topic: "Theatrical mosaic or ability to be different."
Purpose:

creating a temporary theatrical studio to disclose creative individuality in order to organize pedagogical action with a support on the basics of acting skills.

Tasks:

Create conditions for emotional self-expression, to open and develop abilities in artistic, artistic activities;
form a circle of trainings, allowing optimally distributed participants by abilities;
Promoting creative self-expression.

I block. Workout.
Immersion.

I invite you to the theater studio. I propose to get up in a circle. This is a close interaction of actors - we see each other. Getting ready for role. In order to enter the role, all foreign thoughts should be left behind the scenes.
Convenient and not requiring large time costs, the method of overcoming concerns and alarms of a large group is the creation of "Lukoshka deposits":
You need to remember what disturbing that it can prevent active participation in our lesson, for example, it may be distractions
Did I feed the cat?
When will uncle come out of the hospital?
I have nothing to say
Concerns about participation during occupation
Will I be able to cope with excitement?
Will ask me to speak?
And suddenly I will answer not as it is necessary?
Try all your alarms to put in this basket, imagining your unnecessary subject. While concerns are in the basket, you can forget about them.

4. Theatrical rules:
- Silence behind the silence
- You can not turn your back to the audience
- In the role to be until the end of the presentation
- To be able to listen to their partners
- All actions do cotton
II block. Wantleless elements of action.

1. The concept of "Evaluation". Etudes.
Snake
Picture
Dark forest
2. The concept of "extension". Etudes.
An extension from above. Etude Head-subordinate.
An extension from below. Etude subordinate-chief.
An extension on a par. Etude colleagues.
3. The concept of "mobilization".
4. The concept of "weight". Etudes.
Etude phone
Etude letter

Reflection.

And now on the theater mask I suggest you express my emotions, feelings, another word - to evaluate our work. Everyone gets into a circle and share impressions.
At the end of the classes, you can ask if the idea of \u200b\u200bthe deposit worked whether the alarm of the participants or the same, on the contrary, decreased when they literally postponed her aside.
The host sums up.
Today you tried yourself in the role of actors, I think it turned out. "Theater is a hive. Some bees build honeycombs, others collect the color, the third generation is brought up, - said K.S. Stanislavsky, - and everyone has a wonderful aromatic product of their work - honey ... But for this you need to constantly, from day to day, a lot, stubbornly, and most importantly work together ... "All you are good!

In early childhood, kids show acting talents - sing, dance, reclaim poems. With age it passes. But often at the age of 14, a teenager with confidence declares his parents, which wants to become a famous actor of the theater or movie. How to help your child with a choice, what skills need to be developed? Where to learn, and what should a beginner artist know? After all, one "want" to build a career is not enough. We will have to work a lot, constantly develop and improve.

Definitely answer the question of becoming a professional actor or movie actor, difficult. Acting is a totality of skills, skills, personal qualities.

If a teenager at 14 prefers to spend passively throughout the day, a lot to sleep, then you should not even ask the question of how to become an actor. The acting vertices are conquered only by stubborn, hardworking people. Professional actor bold, decisive, can control emotions.

Qualities without which it is impossible to become an actor:

• Appearance. Optional features should be perfect, and the figure is perfect. In world cinema, many talented actors who are difficult to call by handsome people. But they are very charming. In appearance should be attractive, interesting features.
• Charisma. The concept is vague, but it is precisely charismatic personalities of the audience want to see on the screens and scene. Such people attract attention to themselves, fascinate. Not all this quality is laid by nature. But it can be developed - courses and master classes will come to the rescue.
• Volitional character. The path to the top will be long, difficult - weak people will not withstand psychological and physical exertion. The character needs to be heated - discipline, self-confidence, purposefulness - 3 whales, on which the acting career is built.
• Sociability. A silent teenager is 14 years old will be difficult to break through the actor's environment. Communicability is the ability to easily communicate with people, make new and useful dating, to present yourself on casting. To develop this skill, you need to make a conversation with an unfamiliar man every day.

Professional skills

What skills are needed by the actor:

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

The actor of the theater will require knowledge of the bases of the stage fight. If there is a desire to become a popular and diverse artist, you need to do dancing and singing.

How to become an artist in demand and popular? Only constantly stating yourself. To begin with, it is necessary to place photos and summaries on the Internet on the sites of beginner actors, lay out a video presentation on YouTube. The artist is a brand that needs permanent advertising. It is necessary to learn a lot of different information in which the answers are illuminated to the question of how to become a popular and demanded actor.

Beginner actor should not frighten difficulties. Acting is cruel, competition in it is very high. To get to the top, sometimes there are little sleep, work a lot, to eat irregularly.

Where to study?

Many adolescents at the age of 14 think that the dream of becoming an artist of the theater or movie will never be embodied. They do not know where to start, how to become an actor. The task of parents is to support the child in endeavors, prompt and direct.

In Moscow and other major cities, you can find a good acting school. There are theatrical circles and small cities. But in the megalopolis, the level of teaching is better, the prospects are greater. Training from professional teachers will help better prepare for admission to theatrical university. You can go to the public educational institution under 25 years old.

To get into the theater studio, you need to go through the competition. In popular schools, competition is high. To pass the test, it is necessary to prepare in advance.

The applicant needs to learn a poem, excerpt from a favorite work, learn to reconsider it beautifully, transmit meaning and feelings. For listening, you need to choose the work that best reflects the inner world of the applicant. An excerpt or a monologue should choose a short one - the Commission has little time, it can interrupt speaking in the most interesting place.

If the teenager at the age of 14 knows how to dance, sing - this will become additional advantages upon admission. The selection to theatrical school is a good experience, since the competition in prestigious theatrical universities is 200 people in place.

At the age of 14, it is difficult to enter the theater school - there are many complexes in adolescents, they do not tolerate defeats. You can help your child with a tutor. This form of training is relevant in small cities where there is no possibility to visit theater studio.

In the summer, camps are opening for future actors, sometimes theaters conduct exit master classes. All this can be visited by a teenager for 14 years, who dreams of an actor career.

How to behave on casting

To become a movie actor, you will need to go through many castings. It is important to regularly browse the ads in which they are invited to shoot adolescents for 14 years. Even if the chances of getting a role are minimal - go anyway. This will help expand the teenage comfort area. He will be able to understand how to become an actor how much effort will be required.

• Preparation. Before the beginning of the casting, the basic requirements for actors may not be disclosed. It is not necessary to dress brightly to the casting, making causing and vulgar makeup. Naturalness is one of the components of the successful passage of casting.
• It is impossible to become an actor without a good portfolio. Properly selected photos will tell more than any resume. The photo is always visible level of skill, the ability to behave in front of the camera, the ability to improvisation. How to become an actor if there is no experience of filming? Find a good photographer who can make high-quality photos. The task of the teenager in 14 years is to reveal its potential and polyhedral in the portfolio. There must be a lot of strong and clear images.
• Video interview. Casting is looking for a suitable manner who is not afraid of the camera, feels folded. Therefore, all applicants are asked to tell a few words about themselves in front of the camera. To cope with the excitement, you need to make a few records on the camera at home, write the video in some lean place.

Theater or movie actor?

To successfully build an actor career, you must correctly arrange priorities. At the initial stage it is worth understanding, in the theater or in the movie you want to play.

What is the different acting game in the theater and movies:

• The character. In theatrical productions, the actor reveals the image of his character continuously throughout the performance. In the movie scenes are removed in an arbitrary order, so the actor needs to quickly switch, be able to play different episodes at any time.
• Gesture. Wide gestures are appreciated in the theater. The camera exaggerates everything several times - it is necessary to gently express emotions.
• Appearance. The theater loyal belongs to imperfect appearance and figure. In the movies, all drawbacks become noticeable, make-up and correctly exposed light cannot eliminate these problems. Therefore, the movie actor should always look perfect.
• Emotions. Express emotions in the cinema is more difficult than in the theater. Cinema requires full immersion to the role, you need to be able to apply microalls, work for hours to work out the necessary, expressive look.
• Believable. The theater actor always communicates with alive viewers. The cinema often has to communicate with a soulless camera. The performance is a perforant. The film appreciates the believability.

Imagine a dream, become an actor - a difficult task. We will have to learn a lot, work and communicate. The novice actor should be aware of all the innovations of theatrical art and cinema - it is necessary to read a lot, attend theatrical performances, master classes of famous actors. This will not only allow professionally to grow, but also will give the opportunity to get new and useful dating.