Work program "methodology of working with a creative team." Organizational basis for the work of the NHT team

Regional House of Folk Art

“Planning educational and creative

work and repertoire formation

However, productions representing 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 production work, as it were, sums up the entire activity of the team, showing how well it is organized and whether its methodology is correct.

Indicators of the quality of work of the creative team are the stability of its composition, participation in shows and competitions of creative skills, positive assessment of the activities by the public (publications in the media, letters of gratitude, applications for concerts from organizations.

Information for team leaders

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

Conclusion

The organizational, creative and educational work listed above is mandatory for any choreographic group. If at least one of the points is missing, for example, the general educational activity of 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 characteristics. In addition, he needs to pedagogically correctly 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, and therefore for the broad formation of the participant’s personality.

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

List of used literature

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

Classification of folk art groups: circles of elementary 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, veterans' groups, etc.)

Bases for creating groups: schools, club associations, centers for children 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. Systematic approach to team organization. In the process of organizing a collective, taking into account the cultural and historical traditions of the region, real artistic interests and the needs of various population groups.

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

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

Stage 1 - preparatory: collection and analysis of initial information, identifying potential team members, studying their needs. interests, tastes, motivation to participate in a team and other personal characteristics.

Stage 2 - pedagogical design: development of a model of the activities 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 analysis of the results and artistic and creative activities).

Stage 5 - adjustment: 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 management of the team and the search for ways to implement them.

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

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

The relationship between the concepts of “creativity” and co-creation.” Main types of artistic and creative activities: creation and execution of works of art.

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

Psychological and pedagogical foundations of pedagogical guidance of the artistic and creative process: taking into account age and individual characteristics, as well as personal problems when selecting repertoire and creative tasks; creating conditions for creative self-knowledge, self-esteem, self-realization and self-development of participants in the process of their artistic and creative activities. Using the art therapeutic potential of artistic and creative activities (elements of psychodrama, music therapy, dance therapy, color therapy, fairy tale therapy, etc.) for psychological and pedagogical adaptation, personality correction, prevention of deviant forms of behavior, etc.

The specifics of pedagogical management of group forms of artistic and creative activity of a team, the participants of which have different levels of artistic training and artistic abilities. The specifics of managing the artistic and creative activities of “special” team members: gifted individuals, disabled people, people with deviant behavior, etc.

Ministry of Education and Science of the Russian Federation

GOU VPO "Khakass State University named after. N.F. Katanova"

Art Institute

College of Music

Socio-cultural activities and folk art

SD. 03. Methodology for working with a creative team

Electronic educational and methodological complex for the discipline

Lecture notes

(as a manuscript)

Creative team. Principles of organizing a creative team.

An amateur artistic group can be defined as an organized form of pedagogical, artistic, technological and performing activity that implements a set of norms and values ​​in accordance with the functions and positions of the joint activities of the leader and participants, ensuring the successful completion of the tasks assigned to them.

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

Amateur groups do not arise as a result of strong-willed decisions or 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 a process, the main starting points, in our case, the organization of a creative team.

The most important starting point for forming a team is taking 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. Assess and select them from the point of view of the goals and objectives of the leisure institution.

Equally important is taking into account material opportunities for creating a new creative team. Poor material resources or the absence of a professional manager may be an obstacle.

The defining principle is the correct setting of the goal. A clear, justified goal is the first condition for the viability of an amateur team. 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 in the team is sharply reduced.

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 methodology for 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 and the best opportunities for personal development. In order to consciously and systematically direct the development of a creative formation and its transformation into a team, one should firmly know the qualitative characteristics of the team and the stages of its development. The main quality of the team is highly developed intra-group relations and diverse connections of the team with society. The integrity of the team is determined by unity of aspirations, strong teamwork skills, developed and friendly interpersonal relationships, psychological, intellectual, and emotional unity.

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

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

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

3. Consciously created “leadership test” situations accelerate mutual recognition and help the formation of the structure of informal relationships.

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

Management of interpersonal communication of number of participants. Diagnosis of social and psychological structure of quantity, sociometry. Methods for managing interpersonal communication in a number of folk arts. TV-va.

The relevance of the topic lies in the fact that currently many artistic 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; personality in an artistic group cannot develop due to the emergence of leaders, the reason for which in our days is social inequality.

The solution to the problems of education and personal development 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 from Greek as the inclination of “the earth’s surface to the sun’s rays,” a statistically long-term weather pattern, one of the main geographical characteristics of a particular area. The main features of the climate are determined by the influx of solar radiation, the processes of circulation of air masses, and the nature of the underlying surface. Of the geographical factors influencing the climate of a particular region, the most significant are the latitude and altitude of the area, its proximity to the sea coast, features of orography and vegetation cover, the presence of snow and ice, and the degree of atmospheric pollution. These factors complicate the latitudinal climate zonation and contribute to its local variations.

In the same dictionary, the concept of atmosphere is understood as the air environment around the Earth, rotating with it. Depending on the temperature distribution, the Earth's atmosphere is divided into the troposphere, stratosphere, mesosphere, thermosphere, and 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 activities, it is customary to use the concept of atmosphere; in this case, these two concepts, regardless of the similar name, are filled with a different content - not of a physical nature, 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 socio-psychological climate are very static; they record only individual states and do not explain how these states permanently replace each other. As the group develops, the zone of socio-psychological climate in it expands and its structure becomes more complex.

Since the zone of overlap between the objective and subjective spheres varies 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 or 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, said Mikhail Chekhov.

The atmosphere is associated with a person’s subjective feelings; a personal feeling can be associated with the atmosphere or alien to it. The actor who has retained (or regained) a sense of atmosphere knows well what an inextricable connection is established between him and the viewer if they are engulfed in the same atmosphere. In it, the viewer himself begins to play along with the actor. He sends him waves of sympathy, trust and love across the ramp. The audience 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 play. It is worth remembering how often an actor has to resort to various kinds of tricks in the hope of attracting the attention of the public. A performance arises from the interaction between actor and spectator. If a director, actor, author, artist (and often a musician) have created the atmosphere of a performance for the viewer, he cannot help but participate in it.

Is it worth noticing how your movements, speech, demeanor, thoughts, feelings, moods involuntarily change when you find yourself in a strong, captivating atmosphere? So in life, so on stage. Each performance, surrendering to the atmosphere, you can enjoy new details in the game. There is no need to fearfully cling to the techniques of past performances or resort to clichés. The space and air around, filled with atmosphere, support vibrant creative activity. It is easy to verify this by performing a simple experiment in your 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 a crowd breaks into one of the prison cells and frees the prisoner. Take a closer look at the characters and types of men and women. Let this scene created by the imagination appear as vividly as possible. Then let's say: the crowd acts under the influence of an atmosphere of extreme excitement, intoxication with power and authority. All together and each individual is embraced by this atmosphere.

You should look closely at the faces, movements, groupings of figures, the pace of what is happening, listen to the screams, the timbres of voices, look at the details of the scene, and you can see how everything that happens will bear the imprint of the atmosphere, how it will dictate the crowd’s actions. Change the atmosphere a little and watch the “performance” again. Suppose the former excited atmosphere takes on the character of an angry and vindictive one, it will be seen how it will be reflected in the movements, actions, looks and cries of the crowd. Change it again. Let the pride, dignity, and solemnity of the moment embrace the participants on the stage, and you will see how the figures, poses, groups, voices and facial expressions in the crowd change spontaneously.

What you did in your imagination, you can do as an actor 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 activities since interpersonal communication relations and role-based activity relations in their organic socio-personalistic synthesis are not spontaneous, not spontaneous, but a regulated, controlled process of relationships between individuals and their social environment.

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.

Management expresses the historically established need of people to organize their joint activities. There is no person, said Socrates, who would not consider himself wiser than others in some ways, and wiser than himself in others. And in the greatest dangers, when people suffer in war, from disease or on the high seas, they trust in the ruler like gods in each of these matters, considering them their saviors, who are distinguished by nothing other than their knowledge. And our entire 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 certainly acts as an organizer. The organizer is the center for receiving, processing, transforming and generalizing multilateral information coming to it from the object that determines the general goal of the activity, from the conditions for its implementation (material means, time, place, circumstances), from those being organized, from the results of the activity, from interacting neighbors, But psychological information is especially important for organizational activities.

The vast majority of the group consists of individuals whose type can be called the “norm”, i.e. most of all corresponds to the norms, values ​​and ideas prevailing in a given social association. Within this norm there are members who are accepted or rejected by others.

Preferred are members who are chosen more often than they are rejected. Persons who receive a particularly large number of choices are called stars. At the same time, a certain part of the non-preferred people appears in the group, who receive little or no choice. Usually these are people who deviate from the norms and values ​​​​accepted in a given group. Stars and those close to them in terms of the number of choices make up the contingent from which the leader emerges in a given situation.

Leadership is one of the processes of organizing and managing a small group, satisfying the need for group activity, contributing to the achievement of group goals in optimal terms and with optimal results, ultimately determined in 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 link in a group organization, leadership is not only characteristic of humans; in the animal world it is based on the leader’s superiority in strength, dexterity, sensory acuity, etc. Its basic principle is the principle of superiority. The leader must certainly be superior to the rest of the group in some way (mentally, morally, in strength, etc.). Being a universal human socio-psychological phenomenon in origin, 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 the relationships between members of a small group.

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

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

So, within the framework of the formal structure, the leader treats a group member as a “means of production,” as an instrument used to achieve the goals of the organization, and treats himself, as an official, as a function of this soulless instrument. But this is only one side of a leader’s activity. A leader must treat a group member no differently than a person, take into account his individual characteristics, delve into his problems and, if possible, help resolve them.

Between these functions, which complement each other, there is always a certain internal antagonism. It finds its full resolution only in a strictly balanced leadership system, 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 functions, and the father - instrumental functions. The separation of functions allows for a more holistic management process 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 relate to each other.

Education method(from the Greek “methodos” path) is the way to achieve a given educational goal. In relation to school practice, we can also say that methods are ways of influencing the inquiry, will, feelings, and behavior of students in order to develop in them the qualities specified for the purpose of education.

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

However, in many cases, general methods of education 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 education and allow one 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. Finding the right paths that best suit the conditions of a specific upbringing process is very difficult.

However, no director can create a fundamentally new method of education. The task of improving methods is constant, and each director, to the best of his strength and capabilities, solves it, introducing his own private changes and additions to the development of general methods, corresponding to the specific conditions of the educational process. Such private improvements in methods are called education techniques. Reception of education

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

A technique is understood as a single effect, a means is a set of techniques. A remedy is no longer a technique, but not yet a method.

For example, work is a means of education, but demonstration, evaluation of work, and pointing out errors in work are techniques. The word (in a broad sense) is a means of education, but a remark, 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 the structure of the method necessarily includes techniques and means.

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.

An experienced way of solving problems that has been tested for centuries, based on pedagogical instinct, intuition, deep knowledge of the features of methods and the reasons that cause certain consequences. The director who better took into account specific conditions, used pedagogical action adequate to them and foresaw its consequences will always achieve better educational results. Choosing parenting methods is a high art.

Let us consider the general conditions that determine the choice of educational methods, which are also specific to the art of directing.

General conditions in choosing methods of educating a director:

1. Individual and personal characteristics of actors.

2. Conditions of education and relationships developing in a team, style of pedagogical leadership, etc. As we 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 directing work.

3. Level of teaching qualifications.

4. Parenting time.

5. Expected consequences.

Rules for choosing methods of education.

The general principle for choosing methods of education is the director’s attitude towards the actor. Educational methods in the light of a humanistic approach are not a set of purely professional means 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 choosing methods discussed above determine major dependencies, meanwhile, in the educational process it is necessary to take into account many subtle nuances.

Any reasonable and prepared action of the director must be completed; the method requires a logical conclusion. It is important to follow this rule because only in this case the actors acquire the useful habit of finishing the job, 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 and introduce new techniques. To do this, one must deeply penetrate into the essence of the educational situation, which gives rise to the need for a certain influence.

The choice of method depends on the style of pedagogical relations. In a friendly relationship, one method will be effective; in a neutral or negative relationship, you have to choose other ways of interaction.

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

In the classification of I. S. Maryenko, such groups of education methods are named as explanatory-reproductive, problem-situational, methods of training and exercise, stimulation, inhibition, guidance, self-education.

Based on the results, methods of influencing an actor can be divided into two classes:

1. Influences that create moral attitudes, motives, relationships, forming 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 group, not only as a stage 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 people who are creatively and methodologically trained differently. They are usually divided into gifted, less gifted, and completely ungifted. This is perhaps the only criterion for selecting actors.

Solving these problems will allow the leaders of artistic groups to achieve high results, developing in each member of the group an aesthetic worldview and a humane attitude to reality.

Amateur art groups during the creative season (from September to May) must present:

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

In its activities the team is guided by:

The current legislation of the Russian Federation;

Charter of a basic cultural and leisure institution;

The work plan of a basic cultural and leisure institution;

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

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

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

· In all teams– familiarization with the history of art, the processes occurring in amateur folk art, trends in the development of its individual types and genres; discussion of issues of repertoire formation.

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

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

· In musical art groups(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 works for choir with and without accompaniment, learning works with soloists and ensembles; learning the parts of ensembles and choirs, conducting general rehearsals, classical and character training; learning solo and group dances, choreographic miniatures; learning to play musical instruments; familiarization with the basic principles of instrumentation for musical ensembles, conducting orchestral classes on learning parts.

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

· In circus art groups(circus performers, original genre performers) - classes on studying the history of circus art; training and physical development; circus art techniques, musical and artistic design, director's decision of the act.

· In fine and decorative arts groups- classes on studying the history of fine and decorative arts; technique and technology of painting, graphics, sculpture and applied arts - carving, embossing, inlay, artistic embroidery, beading, etc.; compositions; performing artistic and design tasks; organizing exhibitions, working in the open air.

In photo, film and video art groups- classes on studying the history of cinema and photography; material part; film, video and photography techniques; directing, cameraman, screenwriting skills; organizing screenings, analyzes and discussions of amateur films and photographs; methods of organizing photo exhibitions, film and video screenings, performing design work (with amateur photographers); creating films on various topics

WORKING PROGRAMM

Discipline: Methodology of working with creative teams

Specialty: 071302 Social and cultural activities and folk art

Educational level of secondary vocational education: basic

Syktyvkar 2009

Compiled in accordance with state requirements for the minimum content and level of training of a graduate in specialty 071302 “Socio-cultural activities and folk artistic creativity”

Deputy Director for Academic Affairs

work by V.S. Morozov

Approved by subject (cycle)

commission of general professional

disciplines and library science

N.F. Gusev

Reviewers:

Kuznetsova G.I., Director of the State Educational Institution “Educational and Methodological Center for the Training and Retraining of Culture and Art Personnel.”

Gnedykh N.M., teacher at 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 “Socio-cultural activities and folk art.” It is studied in the second year of study for one semester. At the end of the semester, an intermediate certification is conducted - an exam. According to the final state certification, questions on the discipline are included in the final interdisciplinary exam in the specialty.

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

The goal of the course is to develop in students a holistic system of conceptual, methodological and theoretical knowledge in the field of methods of working with creative teams.

In accordance with the state educational standard, a future specialist must know:

1. The essence, functions and main tasks of leisure creative activity.
2. Technology for creating a creative team.
3. Principles of organization and methods of working with creative teams.
4. Psychological and pedagogical features of the formation of the repertoire.
5. Methods for preparing stage performances.
6. 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. A mandatory didactic component is extracurricular independent work on course topics. The implementation of the national regional component is carried out through the use of practical experience of professional and amateur groups of the Komi Republic.

Thematic course plan

Specializations: “Theatrical creativity (puppet theater)”; "Theatrical creativity"; “Folk choral creativity”; “Choreographic creativity” - on the basis of Basic General Education

Thematic course plan

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

Thematic course plan

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

MAIN COURSE CONTENT

Introductory theme

Goals and objectives of the course. The focus of the course is to train a specialist who has mastered a system of basic knowledge on methods of working with amateur groups of various types, as well as on 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 specialty 071302 (0518) “Socio-cultural activities and folk artistic creativity.” Course structure. The title and main content of the sections and topics of the program.

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

Methods of studying the course. Forms of intermediate and final control of students' knowledge.

Independent work: Find the definition of terms and fill out the mini-dictionary of the creative team leader. Terms: methodology, method, creativity, amateur performance, artistic activity, group, collective, club of interests, circle, studio, ensemble, teacher, pedagogical tact, pedagogical skill, lesson, goal, repertoire, rehearsal, concert, show, competition, festival .

SECTION 1. ORGANIZATIONAL BASIS OF THE WORK OF AMATEUR COLLECTIVES.

Requirements for knowledge and skills:

The student must know:

1. Conceptual and terminological apparatus of the subject “Methods of working with a creative team.”
2. Regulatory documents on the organization of amateur groups.
3. Methods of working with a creative team.
4. Methods for diagnosing the motives and expectations of participants in amateur groups.
5. Requirements for the professional qualifications of a modern creative team leader.

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 group.
3. use diagnostic methods for members of the creative team.

TOPIC 1.1. Features and trends in the modern development of amateur artistic creativity.

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

Features of the functioning of amateur groups in the modern sociocultural situation: the increasing social role and social significance of amateur creativity; strengthening influence on the sphere of spiritual and practical exploration of the world by man; increasing the educational social and pedagogical role of amateur creativity on the formation of the participant’s personality; trends towards the formation of new forms of organizing amateur creativity.

Legal and regulatory framework for organizing 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, assessment of the team’s performance. Taking into account in the process of organizing a team the 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.

Problematic questions for students' self-study:

1. Is “amateur activity” necessary today?
2. Should a modern creative team perform ideological, artistic and social-educational tasks, or are classes in amateur groups needed mainly as a form of creative self-expression of the participant?
3. Is it legal to demand from participants basic stage, musical, and choreographic literacy if they come to the group 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 “team”, features of amateur art groups.

The concept of “team”, its relationship with the concept of “group of people”. Signs of amateur creative teams: voluntary activity of the subject; spiritual motivation; change of the subject towards greater comprehensiveness of his interests, needs, abilities; own activity and initiative of the composition; Team work.

Approaches to the classification of amateur artistic 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: clubs, studios, ensembles, amateur associations, etc.

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

Independent work:

EXERCISE:

1. Create a “passport” for one of the amateur art groups.
2. Fill out the table: features of the functioning of groups with an educational component and interest clubs.

TOPIC 1.3. Team leader. Requirements for a professional program.

Professionogram 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. Compose a “creative portrait” of one of the successful leaders of the artistic group.
2. “Rate” on a five-point scale the compliance of the requirements for the skills and abilities of a graduate of the cultural college specialization at this stage of professional training.
3. Create a crossword puzzle