Management interpersonal communication number of participants. Diagnostics of the socio-psychological structure of the count, sociometry. Methods of managing interpersonal communication in the number of folk artists. tv-va.

The relevance of the topic lies in the fact that at present many art groups are not able to create a creative atmosphere, as a result of which the groups simply disintegrate, the efforts of teachers are in vain in resolving conflict situations; a person in the conditions of an artistic group cannot develop due to the emergence of leaders, the reason for which today is social inequality.

The solution to the problems of upbringing and development of the individual in artistic groups can only be the correct methodological approach of the leader to the individual characteristics of each individual participant, and not the team as a whole.

In the Soviet encyclopedic dictionary the concept of climate is interpreted with Greek like tilt" earth's surface To sunbeams”, a statistically long-term weather regime, one of the main geographical characteristics one area or another. The main features of the climate are determined by the inflow solar radiation, the processes of circulation of air masses, the nature of the underlying surface. Of the geographical factors influencing the climate of a particular region, the most significant are the latitude and height of the area, its proximity to the sea coast, the features of orography and vegetation, the presence of snow and ice, and the degree of atmospheric pollution. These factors complicate the latitudinal zonality of the climate and contribute to its local variations.

In the same dictionary, the concept of atmosphere is understood as air environment around the earth, rotating with it. Depending on the distribution of temperature, the Earth's atmosphere is divided into the troposphere, stratosphere, mesosphere, thermosphere, exosphere. The Earth's atmosphere has an electric field. The unevenness of its heating contributes to the general circulation of the atmosphere, which affects the weather and climate of the Earth. It follows that the atmosphere and climate are interdependent.

In pedagogy and psychology, there is a scientific interpretation of the concept of climate, but with a different content of this term. In theatrical activity, it is customary to use the concept of atmosphere, in this case, these two concepts, regardless of the similar name, are filled with other content - not of a physical order, but of a spiritual one. Just as climate and atmosphere are inextricably linked in nature, so the socio-psychological climate is inextricably linked with the theatrical atmosphere.

Many typologies of the socio-psychological climate are very static; they fix only its individual states and do not explain how these states permanently replace each other. With the development of the group, the zone of the socio-psychological climate in it expands, and its structure becomes more complicated.

Since the zone of overlap between the objective and subjective spheres changes on a continuum from 0 to 1, it makes sense to talk about certain stages, phases of development of the socio-psychological climate of a group, organization.

A parallel can be drawn between the “theatrical atmosphere” and the socio-psychological climate, because the general "mood" of the situation, its psychological content, arises from the emotional attitude to the situation, what is happening, to others in general, all this is the atmosphere.

Life is full of atmospheres, we do not live in empty space, - Mikhail Chekhov said.

The atmosphere is associated with the subjective feelings of a person, a personal feeling may be associated with the atmosphere, or alien to it. The actor who has retained (or regained) a sense of atmosphere knows very well what an inextricable bond is established between him and the spectator if they are embraced by the same atmosphere. In it, the viewer himself begins to play along with the actor. He sends him waves of sympathy, trust and love through the ramp. The viewer could not do this without the atmosphere coming from the stage. Without it, he would have remained in the realm of reason, always cold, always alienating, no matter how subtle his assessment of the technique and skill of the actor's performance. It is worth remembering how often an actor has to resort to all sorts of tricks in the hope of attracting the attention of the public. The performance arises from the interaction of the actor and the spectator. If a director, actor, author, artist (and often a musician) created the atmosphere of a performance for the viewer, he cannot but participate in it.

Is it worth noticing how movements, speech, demeanor, thoughts, feelings, moods involuntarily change, falling into a strong, captivating atmosphere? Both in life and on stage. Each performance, surrendering to the atmosphere, you can enjoy new details in the game. No need to fearfully cling to the techniques of past performances or resort to clichés. The space, the air around, full of atmosphere, support lively creative activity. It is easy to verify this by doing a simple experiment in the imagination.

Imagine a scene known from literature or history. Let it be, for example, the scene of the storming of the Bastille. Imagine the moment when the crowd breaks into one of the prison cells and frees the prisoner. Look into the characters and types of men and women. Let this imaginative scene appear as vividly as possible. Then we say: the crowd acts under the influence of an atmosphere of extreme excitement, intoxication with strength and power. All together and each separately is embraced by this atmosphere.

One should peer into faces, movements, into groupings of figures, into the tempo of what is happening, listen to the cries, into the timbres of voices, peer into the details of the scene, and one can see how everything that happens will bear the imprint of the atmosphere, how it will dictate to the crowd its actions. Change the atmosphere a little and view the “performance” again. Suppose the former excited atmosphere takes on the character of a malicious and vindictive one, it will be seen how it is reflected in the movement, actions, looks and cries of the crowd. Change it again. Let the pride, dignity, solemnity of the moment embrace the participants in the scene, and it will be seen how the figures, postures, groupings, voices and facial expressions in the crowd will change by themselves.

What has been done in the imagination, as an actor, can be done on stage, using the atmosphere as a source of inspiration.

The role of the director, as a leader in the formation (atmosphere) of the socio-psychological climate in the theater group, is directly related to pedagogical activity, since interpersonal relations of communication and role-playing relations of activity in their organic socio-personalist synthesis are not spontaneous, not spontaneous, and the regulated, controlled process of the relationship of individuals with social environment a habitat.

IN social psychology the regulation of relationships between individuals is considered in two aspects: 1) associated with management in formalized social structures - leadership and 2) associated with management in informal structures - leadership.

Leadership expresses the historical need of people to organize their joint activities. There is no person, - said Socrates, - who would not consider himself wiser than others in some things, and wiser than himself in others. And in the greatest dangers, when people are poor in war, from disease, or on the high seas, they rely on the gods for the ruler in each of these cases, honoring them as their saviors, who stand out for nothing more than their knowledge. And our whole human world is full of the fact that, on the one hand, some are looking for teachers and leaders for themselves and other beings, as well as their affairs, while others consider themselves capable of either teaching or leading.

The leader is also the organizer. The organizer is a center for receiving, processing, transforming and generalizing multilateral information coming to it from an object that determines the overall goal of an activity, from the conditions for its implementation (material resources, time, place, circumstances), from those organized, from the results of activities, from interacting neighbors, but especially important for organizational activity is psychological information.

The overwhelming majority of the group are individuals whose type can be called "norm", i.e. most of all corresponds to the norms, values ​​and ideas prevailing in this social association. Within this norm, there are members that are accepted or rejected by others.

Preferred are members who are chosen more often than rejected. Persons who fall especially many choices are called stars. At the same time, a certain part of the unpreferable appears in the group, who receive few or no elections at all. Usually these are people who deviate from the norms and values ​​accepted in this group. The stars and those close to them in terms of the number of elections make up the contingent from which the leader acts in this or that situation.

Leadership is one of the processes of organizing and managing a small group that satisfies the need for group activity, contributes to the achievement of group goals in the optimal time frame and with the optimal result, ultimately determined by its content by the social relations prevailing in society.

Leadership as a socio-psychological problem is a phenomenon that exists in all human societies. It was of paramount importance in the early stages of human society. As a structural element of a group organization, leadership is characteristic not only of people; in the animal world, it is based on the superiority of the leader in strength, dexterity, sharpness of the senses, etc. Its basic principle is the principle of superiority. The leader must certainly surpass the rest of the group in some way (mentally, morally, in strength, etc.). Being by its origin a universal socio-psychological phenomenon, leadership is historically the forerunner of official leadership.

Without leadership, there is no group. Leadership is the core process of organizing group behavior. Appearing at the moment of formation of group goals, leadership focuses in itself the relationship between members of a small group.

It can be viewed as a kind of special subsystem of interpersonal relations, and the leader himself as the focus of these relations.

Leadership is caused not only by the need of members of a small group to regulate joint activities and communication, but also, in addition, by the willingness of one or another member of the group to become its leader. The role of a leader in small group positive and negative incentives that are applied in it.

So, within the framework of the formal structure, the leader treats a member of the group as a "means of production", as an instrument used to achieve the goals of the organization, and in relation to himself, as official, - perform the function of this soulless tool. But this is only one side of the leader's activity. The leader must treat a member of the group only as a person, take into account him individual characteristics, delve into his problems and, if possible, help to resolve them.

Between these functions, complementary to each other, there is always some internal antagonism. It finds its full resolution only in a strictly balanced system of leadership, when the performance of these functions is assigned to leaders who solve the same goals of the organization as if from diametrically opposed positions, implementing in practice the requirements of the well-known "principle of complementarity". So in a traditional family, in raising a child, the mother mainly performs personal, and the father - instrumental functions. The separation of functions allows a more holistic process of leadership to achieve the goals of the organization, taking into account the personal interests of its members.

In practice, both of these functions do not always receive the same development, depending on how they actually correlate with each other.

parenting method(from the Greek "methodos" way) is the way to achieve a given goal of education. With regard to school practice, one can also say that methods are methods of influencing the inquiry, will, feelings, and behavior of pupils in order to develop in them the qualities set for the purpose of education.

The methods and techniques of the director's educational work with the theater group are directly related to pedagogical activity. The level corresponds to the result of education achieved at the moment. A new goal is set, the achievement of which leads the pupil to a new, more high level upbringing. The process of transferring an actor from a lower level to a higher one is called the process of education. Educational goals can be achieved in various ways. How many of them are there? In principle, as much as the leader can find, cooperating with his pupils, relying on their strengths, capabilities and desires. Undoubtedly, some paths can lead to the goal faster than others. The practice of upbringing uses, first of all, the ways in which the educators who lived before us led their students. These ways are called general methods of education.

However, in many cases, general methods of upbringing may turn out to be ineffective, so the director is always faced with the task of finding new unexplored ways that best suit the specific conditions of upbringing, allow you to achieve the intended result faster and with less effort. The design, selection and correct application of educational methods is the pinnacle of the director's pedagogical professionalism. Find the right paths that best suit the conditions specific process education is very difficult.

However, no director can create a fundamentally new method of education. The task of improving the methods is constantly, and each director, to the best of his strength and capabilities, solves it, introducing into the development common methods their private changes, additions, corresponding to the specific conditions of the educational process. Such private improvement of methods are called methods of education. parenting reception

Part of the general method, separate action(impact), specific improvement. Figuratively speaking, tricks are unexplored paths that the director and his actors pave in order to reach the goal faster. If other directors begin to use them, then gradually the techniques can turn into broad pillar ways - methods. Knowledge of the methods and techniques of education, the ability to apply them correctly in working with a theater group is one of the most important characteristics of the level of pedagogical skill of a director.

Under the technique is understood a single impact, under the means - a set of techniques. A means is no longer a technique, but not yet a method.

For example, labor is a means of education, but showing, evaluating labor, pointing out an error in work are techniques. The word (in the broadest sense) is a means of education, but a replica, an ironic remark, a comparison are techniques. In this regard, sometimes the method of education is defined as a system of techniques and means used to achieve the goal, since there are necessarily techniques and means in the structure of the method.

There are no good or bad methods, no way of education can be declared in advance effective or ineffective without taking into account the conditions in which it is applied.

Experienced for centuries, an experienced way of solving problems, based on pedagogical flair, intuition, deep knowledge of the features of methods and causes that cause certain consequences. The director who better took into account the specific conditions, used the pedagogical action adequate to them and foresaw its consequences, will always achieve more high results education. The choice of methods of education is a high art.

Consider the general conditions that determine the choice of methods of education, which are also the specifics of directing art.

General conditions in the choice of methods of education of the director:

1.Customized and personality traits actors.

2. The conditions of upbringing and relations that develop in the team, the style of pedagogical leadership, etc. As you know, there are no abstract conditions, they are always concrete. Their combination gives rise to specific circumstances. The circumstances in which education takes place are called pedagogical situations in the director's work.

3. Level of pedagogical qualification.

4. Parenting time.

5. Expected consequences.

Rules for choosing methods of education.

General principle choice of methods of education the attitude of the director to the actor. Methods of education in the light of a humanistic approach are not a set of purely professional tools in the hands of directors who are indifferent to the fate of their actors. The method requires elasticity, flexibility, even tenderness - these qualities are given to it by the director. The general conditions for the choice of methods discussed above determine major dependencies, while in the educational process many subtle nuances must also be taken into account.

Any reasonable and prepared action of the director must be brought to the end, the method requires a logical conclusion. It is important to comply with this rule because only in this case the actors acquire a useful habit of bringing things to the end, and the director strengthens his authority as an organizer.

The method does not tolerate a pattern in application. Therefore, the director must always look for the most effective means that meet the given conditions, introduce new techniques. To do this, one must penetrate deeply into the essence of the educational situation, which gives rise to the need for a certain impact.

The choice of method depends on the style of pedagogical relations. With comradely relations, one method will be effective, with neutral or negative relations one has to choose other ways of interaction.

When designing educational methods, it is necessary to foresee mental condition members of the creative team the time when the methods will be applied. By their nature, the methods of education are divided into persuasion, exercise, encouragement and punishment (N.I. Boldyrev, N.K. Goncharov, F.F. Korolev, etc.). In this case, the general feature "the nature of the method" includes the direction, applicability, peculiarity and some other aspects of the methods. This classification is closely related to another system of general methods of education, which interprets the nature of the methods more generally (T. A. Ilyina, I. T. Ogorodnikov). It includes methods of persuasion, organizing activities, stimulating the behavior of actors.

In the classification of I. S. Maryenko, such groups of upbringing methods are named as explanatory-reproductive, problem-situational, methods of accustoming and exercising, stimulating, inhibiting, guiding, self-educating.

According to the results, the methods of influencing the actor can be divided into two classes:

1. Influences that create moral attitudes, motives, relationships that form ideas, concepts, ideas.

2. Influences that create habits that determine one type or another.

The director must fully master all the methods and techniques of educational influence on the theater team, not only as a director, but also as a director-teacher.

Thus, the director undoubtedly influences the creation of a special atmosphere in the theater group.

Ideally, the creation of a creative team is the creation of a union of like-minded people. But in practice, this problem presents enormous difficulties, since each director has before him differently creatively and methodologically educated people. Usually they are divided into gifted, less gifted and not gifted at all. This is perhaps the only criterion for the selection of actors.

The solution of these problems will allow the leaders of art groups to achieve high results, developing in each member of the team an aesthetic worldview and a humane attitude towards reality.

Collectives of amateur art during the creative season (from September to May) must submit:

Genre name creative team	Performance indicators
Theatrical	At least 1 one-act performance or 4 numbers (miniatures); At least 4 numbers (miniatures) for participation in concerts and performances of the basic cultural institution; Annual update of the repertoire;
Choral, vocal	Concert program (at least 60 minutes long); Performance at other venues at least once a quarter
Instrumental	Concert program ; At least 6 numbers for participation in concerts and performances of the basic cultural institution; Annual updating of at least 4 parts of the current repertoire; Performance at other venues at least once a quarter
Choreographic	Concert program (at least 60 minutes long); At least 6 numbers for participation in concerts and performances of the basic cultural institution; Annual updating of the program with at least 1 mass production or at least 4 solo (duet, ensemble) productions Performance at other venues at least once a quarter
Circus	Concert program (at least 60 minutes long); At least 6 numbers for participation in concerts and performances of the basic cultural institution; Annual renewal of at least 3 numbers of the repertoire; Performance at other venues at least once a quarter
Fine and decorative arts	At least 2 exhibitions per year
photography art	At least 2 exhibitions per year
Film and video arts	1 short film

For newly created teams during the first 2 years of existence, minimum standards may be established. During the creative season, they must submit:

In its activities, the team is guided by:

current legislation Russian Federation;

Charter of the basic cultural and leisure institution;

The work plan of the basic cultural and leisure institution;

Regulations on their team and (if necessary) an Agreement with the head of the base institution.

The regulation on a specific team is developed on the basis of the charter of the cultural and leisure institution and is approved by the head of the basic cultural and leisure institution.

Teaching and educational work in teams is determined by plans and programs and should include:

· In all teams- acquaintance with the history of arts, the processes taking place in amateur folk art, the development trends of its individual types and genres; discussion of issues of repertoire formation.

Team members visit museums, exhibitions, theaters, concerts, etc. for educational and informational purposes.

· In theater arts groups(dramatic, musical and dramatic groups, puppet theaters, young spectators, theaters of small forms - variety theaters, poetry, miniatures, pantomime, etc.) -
classes in acting, speech technique and artistic word, musical literacy, voice production; learning vocal parts; work with a director, playwright, composer, concertmaster; work on a miniature, a thematic program, a literary or literary-musical composition, a prose, poetic work or a cycle of poems.

· In teams musical art (choirs, vocal ensembles, folk song ensembles, song and dance ensembles, folk instrument orchestras, pop and brass bands, vocal and instrumental ensembles, performing musicians, singers) - classes in the study of musical literacy, solfeggio, history and theory of music, choral art, voice production; learning pieces for the choir with and without accompaniment, learning pieces with soloists and ensembles; learning the parts of ensembles, choirs, conducting general rehearsals, classical and characteristic training; learning solo, group dances, choreographic miniatures; learning to play musical instruments; familiarization with the initial principles of instrumentation for musical ensembles, conducting orchestral lessons on learning parts.

· In collectives of choreographic art(folk, classical, pop, sports, modern, ethnographic and ballroom dances) - classes in the study of the history and theory of choreography; classical and characteristic exercise; learning solo and group dances, choreographic miniatures, compositions, dance suites, plot productions.

· In circus art groups(circus, performers of the original genre) - classes on the study of the history of circus art; exercise and physical development; technique of circus art, musical and artistic design, director's decision of the performance.

· In groups of fine and decorative arts- classes on the study of the history of fine and decorative arts; technique and technology of painting, graphics, sculpture and applied arts - carving, embossing, inlay, artistic embroidery, beadwork, etc.; compositions; performance of tasks of an artistic and design nature; organization of exhibitions, work in the open air.

In collectives of photo, film, video art- classes on the study of the history of cinema and photography; material part; film, video and photography techniques; directing, cinematography, screenwriting; organization of viewings, analysis and discussions of amateur films and photographs; methods of organizing photo exhibitions, film and video screenings, performance of design work (with amateur photographers); making films on various topics

Regional House of Folk Art

"Planning educational and creative

works and formation of repertoire

However, productions that present modern choreography are most often a mixture of styles. The reasons lie in the lack of teachers who know the new dance styles well.

The staging work, as it were, sums up the entire activity of the team, showing how well it is organized, whether its methodology is correct.

The indicators of the quality of the work of the creative team are the stability of its composition, participation in reviews and competitions of creative skills, a positive assessment of the activity by the public (publications in the media, letters of thanks, applications for concerts from organizations.

Information for team leaders

For creative success and social activities to popularize traditional folk culture, participants and leaders of folk art groups can be presented to various types encouragement, namely: a diploma, a badge of honor, the title of "Honored Worker of Culture". Behind progress made in various genres of creativity, club formations of an artistic orientation can be presented to the title of “folk (exemplary) amateur group”3.

Conclusion

The organizational, creative and educational work listed above is obligatory for any choreographic group. If at least one of the items is missing, for example, the general educational activity students, then in this case we can say that the team has not yet formed. In order to create a team, the teacher must take into account all its features. In addition, he needs to pedagogically organize the educational and creative life of the dance group.

The educational, creative and educational work of the team serves as the basis for its existence, which means the implementation of a broad formation of the participant's personality.

The specificity of educational work in an amateur choreographic group lies in the organic combination of artistic and performing, general pedagogical and socio-psychological aspects.

List of used literature

, Kvetnaya children dance: tutorial. Moscow: Vlados. 2003. Purtova on the amateur stage, Moscow, GRDNT, 2006. Gromov as a teacher-choreographer in a children's choreographic group // Fundamentals of training choreographers / Choreographic pedagogy: a study guide. SPb.: SPbGUP, 2006. . " Educational work in an independent group." Moscow, "Enlightenment", 1984 Ivlev pedagogical leadership of an amateur choreographic group. - Chelyabinsk, 2004 Taras dance. 3rd ed. - St. Petersburg: Publishing house "Lan". – 2005 Guidelines on organizing the activities of cultural and leisure institutions in solving issues of creating conditions for the development of local traditional folk art in Rostov region. Rostov-on-Don, 2006 Guidelines for organizing the educational and creative process in amateur folk art groups, DGC NT, Rostov-on-Don, 1997

WORKING PROGRAMM

Discipline: Methods of working with a creative team

Specialty: 071302 Social and cultural activities and folk art

Educational level of SPO: basic

Syktyvkar 2009

Compiled in accordance with government requirements to a minimum of content and level of training of a graduate in the specialty 071302 "Social and cultural activities and folk art"

Deputy director for educational

the work of V.S. Morozov

Approved subject (cycle)

commission of general professional

disciplines and librarianship

N.F. Gusev

Reviewers:

Kuznetsova G.I., Director of the State Educational and Methodological Center for the Training and Retraining of Cultural and Art Personnel.

Gnedykh N.M., teacher of the Komi Republican College of Culture named after V.T. Chistalev.

EXPLANATORY NOTE

This program is intended for students studying in all specializations of the specialty "Social and cultural activities and folk art". It is studied in the second year of study for one semester. At the end of the semester, intermediate certification- exam. According to the final state attestation discipline questions are included in the final interdisciplinary exam by specialty.

The program is developed taking into account interdisciplinary links with other disciplines that study individual modules that make up the concept of "method of working with a creative team." The program uses materials from the collection of programs "Folk Artistic Creativity", developed by T.I. Baklanova.

The purpose of the course is to form students complete system conceptual, methodological and theoretical knowledge in the field of methods of working with a creative team.

In accordance with the state educational standard future specialist should know:

1. Essence, functions and main tasks of leisure creative activity.
2. The technology of creating a creative team.
3. Principles of organization and methods of working with a creative team.
4. Psychological and pedagogical features of the formation of the repertoire.
5. Methods of preparing stage performances.
6. To be able to independently create a creative team and organize the pedagogical process in it.

Mastering the course involves a combination of lectures, seminars and practical classes. An obligatory didactic component is extracurricular independent work over the subject matter of the course. The implementation of the national regional component is carried out through the use of the experience of practical activities of professional and amateur teams of the Republic of Komi.

Thematic plan course

Specializations: " Theatrical creativity(Puppet Theatre)"; "Theatrical creativity"; "Folk choral creativity"; "Choreographic creativity" - on the basis of the Basic General Education

No. p / p	Name of sections and topics	Number of hours
		Max.	Self.	Theoret.
semester	Introductory theme
Section 1.		14,5
Topic 1.1.
Topic 1.2.
Topic 1.3.
Topic 1.4.
Section 2
Topic 2.1.
Topic 2.2.
Topic 2.3.
Topic 2.4.
Topic 2.5.
	TOTAL:

Thematic plan of the course

Specializations: "Staging theatrical performances"; "Folk choral creativity"; "Choreographic creativity" - on the basis of the Secondary (complete) general education

No. p / p	Name of sections and topics	Number of hours
		Max.	Self.	Theoret.
semester	Introductory theme
Section 1.	Organizational bases of work of amateur collectives.	14,5
Topic 1.1.	Features and trends modern development amateur artistic creativity
Topic 1.2.	The concept of "team". Features of the functioning of amateur art groups.
Topic 1.3.	Team leader. Professional requirements.
Topic 1.4.	The identity of the team member. Diagnostic methods.
Section 2	Management of the pedagogical process in a creative team
Topic 2.1.	The essence and structure of the pedagogical process in an amateur team.
Topic 2.2.	Technology for the development of pedagogical programs for creative teams.
Topic 2.3.	Forms of work in a creative team.
Topic 2.4.	Management of artistic and creative activities.
Topic 2.5.	Organization of performances of creative teams.
	TOTAL:

Thematic plan of the course

Specializations: "Theatrical creativity (puppet theater)"; "Theatrical creativity"; "Decorative and applied art" - on the basis of the Secondary (complete) general education

No. p / p	Name of sections and topics	Number of hours
		Max.	Self.	Prakt.
semester	Introductory theme
Section 1.	Organizational bases of work of amateur collectives.	14,5
Topic 1.1.	Features and trends of the modern development of amateur art
Topic 1.2.	The concept of "team". Features of the functioning of amateur art groups.
Topic 1.3.	Team leader. Professional requirements.
Topic 1.4.	The identity of the team member. Diagnostic methods.
Section 2	Management of the pedagogical process in a creative team
Topic 2.1.	The essence and structure of the pedagogical process in an amateur team.
Topic 2.2.	Technology for the development of pedagogical programs for creative teams.
Topic 2.3.	Forms of work in a creative team.
Topic 2.4.	Management of artistic and creative activities.
Topic 2.5.	Organization of performances of creative teams.
	TOTAL:

MAIN COURSE CONTENT

Introductory theme

Goals and objectives of the course. The orientation of the course is to train a specialist who has mastered the system of basic knowledge on the methodology of working with amateur groups of various directions, as well as on the sources and channels of scientific information about this object of study.

The role and place of the course in the system of training students in the specialty 071302 (0518) "Social and cultural activities and folk art." Course structure. Name and main content of sections and topics of the program.

The essence of an interdisciplinary approach to the study of questions of methodology. The relationship of the course with other general professional and special academic disciplines.

Course study methods. Forms of intermediate and final control of students' knowledge.

Self-study: Find a definition of terms and fill in the mini-dictionary of the head of the creative team. Terms: technique, method, creativity, amateur performance, artistic activity, group, collective, club of interests, circle, studio, ensemble, teacher, pedagogical tact, pedagogical skill, lesson, goal, repertoire, rehearsal, concert, review, competition, festival.

SECTION 1. ORGANIZATIONAL BASES OF WORK OF AMATEUR TEAM.

Requirements for knowledge and skills:

The student must know:

1. The conceptual and terminological apparatus of the subject "Methods of working with a creative team."
2. Normative-legal documents on the organization of amateur collectives.
3. Methods of working with a creative team.
4. Methods for diagnosing the motives and expectations of members of amateur groups.
5. Requirements for the professiogram of a modern head of a creative team.

The student must be able to:

1. Explain the essence of the basic concepts of the subject "Methods of working with a creative team."
2. Independently create and organize the activities of an amateur team.
3. use methods of diagnostics of members of the creative team.

TOPIC 1.1. Features and tendencies of modern development of amateur artistic creativity.

Objective and subjective factors that determine the specifics of modern amateur creativity: socio-political situation; development of the telecommunications network; increase in the level of people's well-being; promotion educational level subjects; improvement of the system of training and retraining of personnel of culture and art.

Features of the functioning of amateur groups in the current socio-cultural situation: an increase in the social role and social significance of amateur creativity; strengthening of influence on the sphere of spiritual and practical development of the world by man; increasing the educational socio-pedagogical role of amateur creativity in the formation of the personality of the participant; tendencies towards the formation of new forms of organization of amateur creativity.

Legal and regulatory framework organization of artistic and creative activities.

The essence and main stages of the manager's organizational activity in the process of creating a team: collection and analysis of initial information, organizational and pedagogical design, project implementation, evaluation of the effectiveness of the team. Accounting in the process of organizing a team of national-cultural and cultural-historical traditions of the region, real artistic interests and needs of various population groups.

The relationship between the processes of organization and self-organization, management and self-government in an amateur team.

Problem questions for self-study students:

1. Do you need "self-employment" today?
2. Should a modern creative team fulfill ideological, artistic and social educational tasks, or are classes in amateur teams needed mainly as a form of creative self-expression of a participant?
3. Is it right to seek elementary stage, musical, choreographic literacy from the participants if they came to the team to relax?

1. What is more important in creative teams: the process of training or the result?

1. How do you understand the expression “Art belongs to the people”. Who is the author of this thesis?

TOPIC 1.2. The concept of "collective", features of amateur art groups.

The concept of "collective", its relationship with the concept of "group of people". Signs of groups of amateur creativity: voluntary activity of the subject; spiritual motivation; changing the subject in the direction of greater comprehensiveness of his interests, needs, abilities; own activity and initiative of the composition; Team work.

Approaches to the classification of amateur art groups: performing groups (circles, studios, ensembles of all types and genres); groups of authors (studios); amateur associations.

Types of artistic and creative organizations: educational, creative, communicative, complex.

Forms of creative organizations: circles, studios, ensembles, amateur associations, etc.

Bases for the creation of amateur groups: club institutions; schools; centers for children and youth creativity; universities, etc.

Independent work:

EXERCISE:

1. Make a "passport" of one of the amateur art groups.
2. Fill in the table: features of the functioning of teams with an educational component and clubs of interest.

TOPIC 1.3. Team Leader. Professional requirements.

Professiogram of the head of the creative team. Characteristics of the block of qualities: professional skills, socio-psychological requirements, artistic and creative functions of the leader, organizational skills.

Pedagogical tact, pedagogical skill.

Independent work:

1. Make a "creative portrait" of one of the successful leaders of the artistic team.
2. “Assess” on a five-point scale the compliance with the requirements for the skills and abilities of a graduate of the specialization of the college of culture at this stage of professional training.
3. Compose a crossword

The pedagogical process as a cultural activity. The structure of the humane pedagogical process.

Classification of folk art groups: circles of primary and advanced types, studios, ensembles, associations and clubs of art lovers. Classification of groups according to the age characteristics of the participants (children's, youth, mixed, teams of veterans, etc.)

Bases for creating teams: schools, club associations, centers for children's and youth creativity, universities, etc.

The concept of "organization" and "organizational activity", their relationship. The concept of the organizational structure of an amateur collective, its infrastructure and macrostructure. A systematic approach to the organization of the team. Accounting in the process of organizing a team of cultural and historical traditions of the region, real artistic interests and needs of various groups of the population.

The relationship of the processes of organization, self-organization and self-government in an amateur team.

The essence and main stages of the organizational activity of the head of the team:

Stage 1 - preparatory: collection and analysis of initial information, identification of potential team members, study of their needs. interests, tastes, motivation for participation in the team and other personal characteristics.

Stage 2 - pedagogical design: development of a model of the activity of the future team (goals, objectives, content, forms and methods of the pedagogical process in the team) and a model of its organization.

Stage 3 - project implementation.

Stage 4 - diagnostics of the effectiveness of the pedagogical process in the team (based on the study of the dynamics of the personal qualities of the participants and the analysis of the results and artistic and creative activities).

Stage 5 - corrective: making changes to the strategy and tactics of the pedagogical process, taking into account the diagnosis of its effectiveness.

Documentation of the team (plan of educational work, repertoire plan, etc.), reflection in it of the goals and objectives of the pedagogical leadership of the team and the search for ways to implement them.

Topic 3.2. Methodology of pedagogical management of the artistic and creative process

Artistic and creative activity as the basis of the pedagogical process in an amateur (amateur) team.

Correlation between the concepts of "creativity" and co-creation". The main types of artistic and creative activity: the creation and execution of works of art.

Forms of the artistic and creative process: rehearsals, concerts, exhibitions, etc.

Psychological and pedagogical foundations of pedagogical management of the artistic and creative process: taking into account age and individual characteristics, as well as personal problems in the selection of repertoire and creative tasks; creation of conditions for creative self-knowledge, self-assessment, self-realization and self-development of participants in the process of their artistic and creative activity. Using the art therapy potential of artistic and creative activity (elements of psychodrama, music therapy, dance therapy, color therapy, fairy tale therapy, etc.) for psychological and pedagogical adaptation, personality correction, prevention of deviant behaviors, etc.

The specificity of pedagogical guidance of group forms of artistic and creative activity of the team, whose members have different levels of artistic training and artistic abilities. The specificity of the management of artistic and creative activities of “special” members of groups: gifted individuals, people with disabilities, people with deviant behavior, etc.

Ministry of Education and Science of the Russian Federation

GOU VPO "Khakassky State University them. N.F. Katanov"

Institute of Arts

College of Music

Socio-cultural activities and folk art

SD. 03. Methodology of working with a creative team

Electronic educational and methodical complex by discipline

Lecture notes

(as a manuscript)

Creative team. Principles of organizing a creative team.

The amateur art team can be defined as an organized form of pedagogical, artistic, technological and performing activities that implements a set of norms and values ​​in accordance with the functions and positions of the joint activity of the leader and participants, ensuring the successful fulfillment of their tasks.

Pedagogical activity includes training, education and upbringing of participants. If the training is focused on ensuring that the participants master the theoretical knowledge and practical skills of working with works of art and their performance, then education is aimed at expanding their horizons in the field of culture and art, public life in general, and education is aimed at the formation of moral, aesthetic, artistic and the physical qualities of the participants. The concept of artistic technologies includes the goals of the task of working on works of art, artistic means and actions to transform this material into a stage work. As well as forms of organization, management and management of this activity. Performing activities are varied. It includes performances, concerts, holidays. Festivals, performances at various cultural and leisure events (holiday evenings, theme evenings, musical lounges, lecture halls, etc.)

Amateur collectives do not arise as a result of strong-willed decisions, administrative orders. The task of the organizers of folk art is to consciously, skillfully form and develop a system of amateur creative formations, taking into account objective and subjective factors.

Principles are the norms for the implementation of any process, the main starting points, in our case, the organization of a creative team.

The most important starting point for the formation of a team is to take into account current and future social needs. Before organizing a team, the organizer must carefully study the real needs of people of all social categories and ages. To evaluate and select them in terms of the goals and objectives of the leisure institution.

Equally important is the consideration of material opportunities for creating a new creative team. The weak can hinder material base or lack of a professional leader.

The defining principle is the correct setting of the goal. A clear, justified goal is the first condition for the viability of an amateur collective. An important task is to link the interests and goals of each participant with the goals of the team. If this task is solved, then the possibility of conflicts sharply narrows in the team.

When forming a creative team, it is necessary to implement the principle of activity: the leader must be able to activate the creative potential of the participants, concentrate and develop it in the right direction. The principle of an individual approach is also important. Depending on the abilities, individual inclinations and properties of the participants, the method of working with the creative team is determined. This presupposes the leader's knowledge of the mental, physical, artistic and creative properties of each student.

Of all the ways of organizing people, it is the team that provides the highest performance, the best opportunities for personal development. To consciously and systematically guide the development creative formation, its transformation into a team, one should firmly know the qualitative features of the team and the stages of its development. The main quality of the team is highly developed intra-group relations and diverse ties between the team and society. The integrity of the team is due to the unity of aspirations, strong teamwork skills, developed and friendly interpersonal relationships, psychological, intellectual, emotional unity.

For an accelerated and fruitful process of turning an association of amateurs into a full-fledged team, the following points must be observed.

1. Formation of a common goal. At first with special attention treat any manifestations of cooperation, coordinate their desires and aspirations with the members of the circle.

2. Development of motives for participation in the creative process. The following factors are favorable: conscious motivation, the desire to communicate with members of the circle, the desire to promote favorite hobby, improve the reputation of the team.

3. Consciously created situations of "testing for leadership" accelerate mutual recognition, help the formation of the structure of informal relations.

4. Collective action is built on mutual respect and interest in the members of the team, when common achievements regarded as the highest goal.