No matter how much you put your teeth on the shelf, creative people need self-expression. And in order to reveal acting talent and improve stagecraft, you need perseverance and patience. Acting exercises will help you acquire and hone all the skills needed by a professional actor. After all, an actor on stage is not just a mechanical doll that mindlessly carries out the director’s instructions, but a doll that can think logically and calculate actions several steps ahead. A professional actor is flexible, has good coordination, expressive facial expressions and intelligible speech.

Before you start studying and working on etudes and scenes to the fullest, you need to understand yourself a little. A real actor needs certain character traits that must be actively developed in himself. Other qualities should be hidden in a far corner and remembered extremely rarely.

Let's consider such a quality as self-love. It would seem that this is a normal state for every person. But this quality has 2 sides:

• Self-love makes you develop and learn every day, and not give up. Without this quality, even a very talented person will not be able to become a famous actor.
• Self-love and narcissism are a dead end for an acting career. Such a person will never be able to work for the viewer; all attention will be focused on himself.

A good actor cannot be absent-minded. He should not be distracted by extraneous noise while playing on stage. Because acting inherently implies constant control of oneself and one’s partner. Otherwise the role will simply become a mechanical performance. And attention allows you not to miss important details while studying, watching theatrical productions, master classes and trainings. In order to learn to concentrate, use exercises to develop attention from stagecraft.

Attention is the basis for a good start to a theatrical career

The development of attention begins not with special exercises, but with everyday life. An aspiring actor should spend a lot of time in crowded places, observing people, their behavior, facial expressions, and characteristics. All this can later be used to create images.

Keep a creative diary - this is an ordinary diary of a creative person. In it, express your thoughts, feelings, write down all the changes that have occurred with surrounding objects.

After filling out the creative diary, you can move on to practicing sketches and sketches. A novice actor is obliged to convey as accurately as possible the image and facial expressions of the person he was observing. It is necessary to place prototypes in non-standard situations - it is precisely such productions that show how much the actor was able to understand and get used to the image of an unknown person.

"Listening to Silence"

The next exercise is the ability to listen to silence; you need to learn to direct attention to a certain part of the external space, gradually expanding the boundaries:

• listen to yourself;
• listen to what is happening in the room;
• listen to sounds throughout the building;
• recognize sounds on the street.

Exercise "Shadow"

It not only develops attention, but also teaches you to move consciously. One person slowly does some pointless actions. The second’s task is to repeat all movements as accurately as possible, try to predict them, and determine the purpose of the actions.

Pantomimes and dramatizations

A good actor knows how to convey emotions expressively through words and body. These skills will help to involve the viewer in the game and convey to him the full depth of the theatrical production.

Pantomime is a special type of stage art based on the creation of an artistic image through plasticity, without the use of words.

• The best exercise to learn pantomime is crocodile game. The goal of the game is to show an object, phrase, feeling, event without words. A simple but fun game perfectly trains expressiveness, develops thinking, and teaches you to make quick decisions.
• Dramatization of proverbs. The purpose of the exercise is to use a small scene to show a well-known proverb or aphorism. The viewer must understand the meaning of what is happening on stage.
• Gesture game– with the help of non-verbal symbols, an actor can say a lot on stage. To play you need at least 7 people. Everyone comes up with a gesture for themselves, shows it to others, then shows some other person’s gesture. The one whose gesture was shown must quickly repeat it himself and show the next someone else's gesture. Whoever gets lost is out of the game. This game is complex, develops attention, teaches teamwork, improves plasticity and hand coordination.

Exercises for the development of plasticity

If things are not going well with plastic surgery, this deficiency can be easily corrected. By regularly performing the following movements at home, you can learn to feel your own body better and control it skillfully.

"Painting the fence"

The exercise “painting the fence” develops the plasticity of the hands and arms well. It is necessary to paint the fence using your hands instead of a brush.

What exercises make your hands obedient:

• smooth waves from one shoulder to the other;
• invisible wall - you need to touch the invisible surface with your hands, feel it;
• rowing with invisible oars;
• twisting clothes;
• tug of war with an invisible rope.

"Pick it up piece by piece"

A more difficult task is “assemble the parts.” You need to assemble some complex mechanism piece by piece - a bicycle, a helicopter, an airplane, or create a boat from boards. Take an invisible part, feel it with your hands, show the size, weight and shape. The viewer must imagine what spare part is in the actor’s hands. Install the part - the better the plastic, the faster the viewer will understand what the actor is assembling.

"Stroke the animal"

Exercise “petting the animal.” The actor’s task is to pet the animal, pick it up, feed it, open and close the cage. The viewer must understand whether this is a fluffy hare or a slippery, wriggling snake, a small mouse or a large elephant.

Development of coordination

The actor must have good coordination. This skill allows you to perform complex exercises on stage, performing several movements at the same time.

Exercises to develop coordination:

• Swimming. Extend your arms straight parallel to the floor. Make circular movements backwards with one hand, and forwards with the other. Move your hands simultaneously, periodically changing the direction of movement of each hand.
• Knock - stroke. Place one hand on your head and start stroking. Place your other hand on your stomach, tapping lightly. Do the movements at the same time, not forgetting to change hands.
• Conductor. Stretch your arms. One hand moves up and down for 2 beats. The other one makes voluntary movements for 3 beats. Or draws a geometric figure. Use both hands at the same time, changing hands periodically.
• Confusion. Extend one arm, make circular movements clockwise with your straight hand, while simultaneously rotating your hand in the other direction.

These exercises are not easy to do at first. But constant practice gives results. Each exercise should be repeated at least 10 times every day.

Scenes and sketches for beginning actors

A novice actor does not have to come up with everything from scratch. The ability to copy and imitate well is an integral part of stagecraft. You just need to find a film with your favorite character, try to copy his facial expressions, movements, gestures and speech as accurately as possible, convey emotions and mood.

The task seems simple, but at first it may be difficult. Only regular practice will help hone the skill of imitation. In this exercise you cannot do without attention and the ability to concentrate on little things. Jim Carrey has a good gift for imitation - there is a lot to learn from him.

Exercise “Think it through”

The acting profession requires a well-developed fantasy and imagination. You can develop these skills using the “think it through” exercise. You need to go to places with large crowds of people, choose a person, observe, pay attention to their appearance and behavior. Then come up with a biography, a name, and determine his occupation.

Scenic speech

Good stage speech involves more than just clear pronunciation and good articulation. A good actor must be able to scream quietly and whisper loudly, and convey the emotions, age and mental state of the hero with just his voice.

To learn how to convey emotions in words, you need to pronounce a simple phrase from the point of view of different characters - a little girl, a mature woman, an older man, a famous actor or politician. You need to find special intonations for each character, use typical speech patterns.

Exercises for developing stage speech:

• Blowing out the candles. Take in more air and blow out 3 candles one by one. The number of candles must be constantly increased, and the muscles of the diaphragm must be used when inhaling.
• Practicing exhalation technique. The poem "The House That Jack Built" is appropriate for this exercise. Each part of the piece must be pronounced in one breath.
• Improving diction. Slurred speech is unacceptable for a good actor. You need to honestly identify problematic sounds in your speech and pronounce tongue twisters every day that are aimed at eliminating the problem. You need to exercise for at least half an hour 3-5 times a day. Tongue twisters teach you to speak clearly at a fast pace, which is extremely important in acting.
• Intonation plays a prominent role in creating the right image. To practice, you need to read literary dramatic texts aloud every day.

You can study acting exercises on your own; various trainings will come to your aid. But it’s better to study in the company of like-minded people - you can take courses or organize theater evenings at home. The main thing is to never give up, always believe in your own talent, and move towards your goal.

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

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

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

Qualities without which it is impossible to become an actor:

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

Professional skills

What skills does an actor need:

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

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

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

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

Where to study?

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

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

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

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

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

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

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

How to behave at a casting

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

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

Theater or film actor?

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

What is the difference between acting in theater and cinema?

• Character. In theatrical productions, the actor reveals the image of his character continuously throughout the entire performance. In movies, scenes are shot in no particular order, so the actor needs to switch quickly and be able to play different scenes at any time.
• Gesture. Broad gestures are valued in the theater. The camera exaggerates everything several times - it is necessary to carefully express emotions.
• Appearance. In the theater they are more tolerant of imperfect appearance and figure. In the cinema, all imperfections become noticeable; makeup and properly set lighting cannot eliminate these problems. Therefore, a film actor should always look perfect.
• Emotions. Expressing emotions in cinema is more difficult than in theatre. Cinematography requires complete immersion in the role, you need to be able to use micro-gestures, and spend hours practicing the necessary, expressive gaze.
• Plausibility. A theater actor always communicates with live spectators. In cinema, you often have to communicate with a soulless camera. A play is a performance. In cinema, verisimilitude is valued.

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

Tamara Orlova
Master class for beginning teachers “Fundamentals of acting in the service of pedagogy”

I call the theater to be my allies

Leading: Dear teachers, where did we end up?

/ On the stage!/

Leading: What are the names of the people who perform on stage?

/ Artists!/

Leading: Profession teacher from a family background as an artist. Teacher, just like an artist, must capture the hall during his performance and lead the audience, very subtly and not intrusively, teach the good and eternal, help to comprehend the new and unknown. A teacher Just like an artist, becoming an artist is not so easy! Please tell me what skills do you need to have to become an artist?

/ Master facial expressions, gestures, intonation, pronounce words clearly and correctly. /

Leading: True, but these same skills should also be possessed teacher. Let us remember our childhood and play in the theater! Let's imagine ourselves as artists! And the artist's morning begins from preparing your speech apparatus.

1. Speech and intonation expressiveness.

Anyone who wants to talk must pronounce everything correctly and clearly, so that everything is understandable.

Teacher just like an artist, he must keep his speech apparatus in working readiness, and this requires daily Job:

Articulation gymnastics, vibration massage

Working on the scale I e a o u y - throw a dart, a snowball, fireworks, put them to bed, ask a question.

Onomatopoeia:

Wind whistle - ssss!

The sound of the forest - shhhhh!

A bee is buzzing - buzz!

Bumblebee - zzzzzzh!

Motorcycle - r!r!rrr! Rrrrrrrrr!

Spray bottle - f!f!f!f!

Wood splitter - e!e!e!e!

Skier - s! Sh!

Replacing words with gestures:

The ball flies, flies across the sky. A ball flies across the sky, but we know that this ball will not reach the sky (replace words with gestures)

My cap is triangular,

my triangular cap

and if not triangular,

then this is not my cap.

Intonation expressiveness

Aunt said - FI, football.

Mom said - FU, football.

My sister said, well, football.

And I exclaimed - WOW! Football!

2. Facial expressions depend on emotion. Our palms will turn out to be a curtain.

Participants cover their faces with their palms. The presenter calls “emotions”, and the participants open their faces and depict facial expressions: sadness - sadness, joy, anger, pride, fear - fear, pain, fatigue, caprice, disgust, cunning, embarrassment, indifference, surprise, seriousness. Sour, sweet, salty.

3. Gesture. We talk with our hands. The presenter calls the action, participants show: I, you, hello, goodbye, go, you can’t, quietly, there, here, sit down, stand up, big, small, move away, I don’t know, I’m in the house, I don’t want to talk to you.

Now, let's try to combine gesture and facial expressions

Tra-ta-ta, tra-ta-ta

The gates opened

And from there from the gate

A small crowd came out.

One uncle is like this.

Another uncle like this

The third uncle is like this,

And the fourth one is like this!

One aunt is like this,

And the second one is like this,

The third aunt is like this,

And the fourth one is like this...

Leading: Well done. And now it’s practically an exam on the topic studied.

Reinforcement task

Leading: “Hare House.”

The hare had a home like a home, under a spreading bush (hands show a spreading bush).

And I was pleased with the scythe, (Children smile) There is a roof over your head. (They show the roof above their head with their hands)

And autumn came, the bush dropped its leaves. (Children give up)

The rain poured down like buckets. (Children hit their knees with their hands - quickly)

Got the hare's fur coat wet (They show sadness on their face and hug themselves with their arms)

A hare is freezing under a bush. (They shake their hands in front of their chest, like the paws of a rabbit) This house is useless. (Throw up their hands).

Leading: Great, look like this and you start to think that in principle it is not difficult to be an artist, but that means also a teacher. In fact, everything that you and I did based on improvisation. Improvisation (unexpected, sudden)- composing something at the moment of performance; a speech not prepared in advance. In the theater, improvisation plays a very important role and serves as the basis for impromptu - theater.

Impromptu - theater can be used when working with children at odd times, for example, the New Year is coming soon and this theater can be used in New Year's holidays or matinees on any other topic. You can occupy the whole class, or you can organize a more passive part of the children, since active children usually participate in mostly scenarios. To make it easier for a child to enter a new form of communication and learn to exist in new conditions start off needed for general assignments.

Chick

Once upon a time there lived a chicken. He was here such: (show).

But he thought that he was very big and raised his head importantly. Here So: (show).

And he had a mother. Mom loved him very much. Mom was here like this: (show).

His mother fed him worms. And there were worms such: (show).

One day a black cat attacked my mother and chased her away from the yard. And there was a black cat such:(show).

The chicken was left alone at the fence. Suddenly he sees a beautiful rooster fly up onto the fence, stretching out his neck So: (show).

And he screamed at the top of his lungs “Ku-ka-re-ku!” And it was important to look at parties: “Am I not a daredevil? Am I not great? “Chicken really liked it. He also craned his neck... And with all his strength, he squeaked “Pi-pi-pi! I’m also a daredevil, I’m also great!” But he tripped and fell into a puddle. Here So: (show).

A frog was sitting in a puddle. She saw him and laughed: “Ha – ha – ha! Ha-ha-ha! You're a long way from being a rooster! And there was a frog like this: (show).

Then the mother ran up to the chicken. She took pity, caressed and hugged him. Here So: (show)

Sketch for children of grades 1 - 2.

Guys, here we are in the winter forest! How cold it is here! (children show that they are cold). Let's warm up a little (the song “Frost” from Zheleznova’s aerobics, children make movements according to the text).

Leading: Well, here we are warming up! Come on guys, show our viewers how beautiful it is in the winter forest!

Heroes: birch, Christmas tree, snowflakes, bunny, fox, wolf, bear, bullfinches. A birch tree is placed on the right, a Christmas tree on the left. There is a den near the tree, and in the den there is a bear. Several children depict people walking through the winter forest. (Everyone wears masks.)

We came to the winter forest. (The walkers walk at a calm pace)

There are so many miracles around here! (they spread their hands and are surprised)

On the right there is a birch tree in a fur coat, (point to the birch tree)

On the left - the Christmas tree is looking at her. (Point to the Christmas tree)

Snowflakes are spinning in the sky, (snowflakes raise their hands up - “flashlights”)

They lie beautifully on the ground. (Snowflakes squat, lowering their arms down)

So the bunny galloped, (The bunny jumps and hides behind a birch tree)

He ran away from the fox. (The fox runs next and runs away without noticing the bunny)

Here the gray wolf prowls, (wary wolf runs)

He is looking for prey. (The bunny is afraid of the wolf and they run away together)

We will all hide now, then he won’t find us.

Only the bear sleeps in its den. (The bear snores, walkers come out from behind the den)

He'll sleep like that all winter. (Children spread their arms to the sides)

Bullfinches fly by, how beautiful they are. (Bullfinches fly by).

There is beauty and peace in the forest, but it’s time for us to go home!

Fairy tale for grades 4-6

characters:

curtain – 2 people

Princess Violetta

birds (unlimited amount)

nightingale - robber

clouds (unlimited amount)

Tsarevich Julian

trees (unlimited amount)

Act one.

The curtain opens

In a certain kingdom, in a certain state, there lived a beautiful princess, Violetta. One day the princess went for a walk. The bright sun was shining, the birds were singing, the leaves of the trees were rustling. Everything was fine, but suddenly the Nightingale the Robber swooped in and took the princess to his lair. The sun disappeared behind the clouds, the birds flew away, the trees began to rustle.

The curtain closes.

Act two

The curtain opens.

Prince Julian heard about the kidnapping and galloped off to save the princess. His path was difficult, but finally he met Nightingale the robber. A fight ensued. And Tsarevich Julian pierced the robber right in the heart with a ball. And Nightingale, the robber, fell, struck by the prince’s ball.

The curtain closes.

Act three.

The curtain opens.

Tsarevich took Violetta from the lair of the Nightingale - the robber. And they began to live - to live and make good things. The clouds cleared, the bright sun shone again, and the birds began to sing.

The curtain closes.

But there are also children who cannot stand in front of the audience at all; they are sometimes afraid and have complexes. Sometimes they even lose their voice from fear; to activate such children, you can use a puppet theater with elements of Impromptu theater during the holidays.

And so who wants to try themselves in the role of shy children.

Choosing heroes:tree, bush, snowstorm, wind

Winter's Tale.

Told by warm things from grandma's chest.

Storyteller: It’s cold, frosty outside. Winter came, brought a lot of snow, brought skis, skates, sleds and sleds, and New Year's fairy tales. (Pulls out the chest) Who knows what this item is called? This is my grandmother's chest. Previously, houses did not have wardrobes, sideboards or furniture walls. Things were stored on shelves and in chests. Chests replaced cabinets, chairs, and even a bed. What do you think is stored in my grandmother’s chest? I will tell you riddles, and you try to guess them.

They gave the brothers a warm home.

To live in a group of five.

Big brother didn't agree

And he settled separately.

What is this? (Mitten) Well done

There are also mittens for feet. What is this?

(Socks)

Two sisters, two braids

Made from fine sheep wool.

How to walk, how to wear,

So that five and five do not freeze.

What is this? (Gloves) Right.

It's hot - curled up

It's cold - he stretched. What's this? (Scarf)

What is the head house called? (A cap)

All together these are called warm things, and I keep them in this chest. Did you know that mittens, gloves, socks and scarves can warm not only your hands, feet and cheeks. They can also warm the soul. Yes Yes Yes. For example, when they tell a good story. Are you surprised? How can an old glove tell a good story? But listen and see.

After a rainy autumn, the gloomy trees fell asleep in winter sleep. A beautiful white blizzard, like a caring mother, kind, soft and fluffy, protected, sheltered trees and shrubs from the cold, and small birds helped her in this. (The blizzard gives each tree and bush a hat, scarf, and mitten). Suddenly a sharp wind blew in, it began to misbehave in the forest, scattering the birds, driving the snowstorm out of the forest, tearing new clothes from the trees. The trees trembled from the cold, Blizzard struggled with the wind and finally defeated it, the wind died down. The sun came out, the birds flew in and helped the snowstorm re-cloth the trees. The forest slept peacefully, the snowstorm guarded their sleep, and the birds were waiting for spring.

How's that for a good fairy tale? Did you like it? Yes! Let's thank our artists. (Applause.)

Improvisation and impromptu - theater is a very interesting form of work. Which makes it possible to activate the creative potential of each and every child. Gives teacher the ability to correct the child’s self-esteem; the process and the degree of its adaptation in the team; and also establish contact with each child.

Exprom theater will help diversify extracurricular activities, thematic events, holidays and class hours.

Helps to unite the team basis unified creative collective work, because theater is a collective endeavor. Impromptu theater is one of the most universal means of entertainment and bringing people together. Impromptu theater is one of our favorite and frequently used forms of creative work. This form is good for class groups and for large school-wide holidays, it is always emotional, and it is convenient with minimal preparation for it.

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Introduction

The relevance of the topic is due to the requirements for young teachers. Today, a teacher must not only be a professional in knowledge of his discipline, but also be a creative person. Education of the 21st century focuses on the free development of a person, creative initiative, independence and competitiveness.

In modern conditions of educational development, special attention is paid to a highly professional teacher who has creative potential, is capable of self-development and self-improvement, creating and transmitting value. Professional skill is the art of teaching and upbringing, accessible to every teacher (educator), but requiring constant improvement. The teacher becomes a master of his craft, a professional as he masters and develops teaching activities, recognizing pedagogical values.

Today, social demand has been made for creative individuality, the teacher’s readiness to act in unusual situations, which presupposes the presence of unique individual properties. A modern teacher integrates spiritual, moral, aesthetic and intellectual culture, readiness for constant self-improvement.

When studying pedagogical creativity and activating the role of the teacher in the pedagogical process, the problem of forming artistry arises - an important professional quality of an individual that contributes to its successful self-realization and solving professional and creative problems. This requires from the teacher not only perfect mastery of the subject he teaches, not only mastery of pedagogy, modern didactics, educational psychology, but also, to a certain extent, artistry, the art of acting. In this regard, the topic of acting in the work of a teacher is very relevant.

Pedagogical research has repeatedly noted the possibilities of successful interaction between education and art (A.Ya. Aizenberg, B.T. Likhachev, A.A. Melik-Pashaev, V.V. Serikov, etc.), and examined various functional systems of art that define it personal and creative orientation (V.P. Demin, A.S. Zapesotsky, M.S. Kagan, V.M. Mezhuev, G.K. Selevko, etc.), theoretically substantiated the means and methods of creative activation of the individual in various types art (A.G. Asmolov, V.F. Asmus, M.V. Bowen, A.Ya. Ponomarev, etc.).

The object is acting and pedagogical skills in the work of a teacher.

Subject - training "Pedagogical and acting skills" and methods of its application

The purpose of the work is to develop training “Pedagogical and acting skills”.

In accordance with the goal, the following tasks were set:

1. Carry out an analysis of pedagogical literature on the problem of acting skills of secondary vocational education teachers

2. Consider and analyze the main problems of young professionals.

3. Develop training “Pedagogical and acting skills” and methods of its application

4. Identify the specifics and features of conducting socio-psychological trainings

Research methods used in the work:

1. Empirical methods that serve to collect data on the state of the object of study (analysis of scientific, methodological and periodical literature on the problem under study).

2. Theoretical methods that serve as an interpretation of empirical data (analysis and synthesis of the studied literature, generalization, systematization and description of methodological requirements for the development of training and its design).

The practical significance of the work lies in the fact that the developed training “Pedagogical and acting skills” contributes to the development of communication skills and communication skills with the audience. This makes it possible to improve the professional skills of a young teacher.

Chapter 1. Theoretical analysis of acting and teaching skills

1.1 Formation of artistry - the basis of professional teaching skills

A master teacher is a highly cultured specialist, a master of his craft, he is fluent in the discipline he teaches, the methods of teaching and upbringing, he has psychological knowledge, as well as knowledge in various branches of science and art.

The manifestation of mastery lies in the successful solution of professional and pedagogical tasks and a high level of organization of the educational process. One of the manifestations of pedagogical professional skill is the artistry of the teacher. Artistry and skill are categories of the same order, closely interrelated. In this regard, the interest of researchers in the problem of training future teachers in pedagogical universities through the means of theatrical art has grown significantly in the last decade. So, B.T. Likhachev believes that pedagogical skill is part of the pedagogical art and is expressed in the teacher’s modern mastery of methods and techniques, the entire arsenal of pedagogical skills that ensure the practical implementation of pedagogical art in the process of personality formation. According to G.M. Kodzhaspirova, pedagogical skill is the level of perfect mastery of pedagogical activity.

According to S.D. Yakusheva, pedagogical skill is the professional ability to optimize all types of educational activities, to focus them on the comprehensive development and improvement of the individual, the formation of his worldview and abilities. She believes that pedagogical culture, professional competence of a teacher, pedagogical skills and abilities, speech culture, pedagogical interaction, the ability to manage oneself, pedagogical communication and ethics, as well as psychological and pedagogical knowledge, are the components of pedagogical mastery.

Modern pedagogy, says S.D. Yakusheva, - pedagogy of cooperation. She strives to activate the student himself, to make him an ally, an accomplice in the pedagogical process.

A.I. Shcherbakov understands mastery as a synthesis of scientific knowledge, skills and abilities of methodological art and personal qualities of a teacher. Thus, the personal qualities of the teacher are introduced into the concept of mastery, and the process of acquiring mastery occurs precisely at the personal level.

I.A. Zyazyun understands mastery as a complex of personality traits that ensures a high level of self-organization of professional activity, to which he includes the following: 1) the humanistic orientation of the teacher’s activity; 2) professional knowledge; 3) teaching abilities; 4) pedagogical technique.

Pedagogical skill, in his opinion, is a self-organizing system in the structure of the individual, where the system-forming factor is a humanistic orientation, which makes it possible to expediently build the pedagogical process.

The specificity of pedagogical work lies in the fact that the main tool of the teacher’s work is his own personality, the professional maturity of which allows one to find optimal solutions in a constantly changing “production” situation and which, in the end, determines the results of all practical activities of the teacher.

The essence of pedagogical skill lies in the personality qualities of the teacher himself, who, by carrying out this work, ensures its success. Yakusheva argues that pedagogical skill is the professional ability to optimize all types of educational activities aimed at the comprehensive development and improvement of the individual, the formation of his worldview and abilities. Creativity is the main feature that determines the effectiveness of all actions and actions of people in conditions of continuous changes in reality.

Pedagogical creativity is manifested both in the scientific activity of the teacher and in creative pedagogical work (original solution of pedagogical problems, development of new pedagogical methods, techniques, application of pedagogical experience in new conditions, improvement of the system of working with students, improvisation in the pedagogical process. In many situations, the teacher has to act not according to the “charter”, but to make decisions on the basis of personal knowledge and values, to use all of one’s acting skills and abilities. The richer a person is as an individual, the more valuable he is as a member of the organization, unless, of course, the organization is concerned only with maintaining the status quo. but by improving activities, creating languages ​​for creativity and development.

When engaged in creative activity, creating something new, the teacher, first of all, turns to improvisation, the essence of which is a quick and flexible response to emerging pedagogical tasks. Pedagogical improvisation is always associated with creativity: in the conditions of pedagogical improvisation, the process of self-actualization and mobilization of creative forces and abilities takes place, and the teacher’s creative self-development occurs.

Many scientists have been involved in the development of the problem of artistry and the formation of acting and stage skills of a teacher. Issues related to the formation of artistry and the development of individual creative abilities are reflected in the works of leading teachers I.A. Zyazyuna, V.A. Kan-Kalika, N.D. Nikandrova. The similarity of acting and teaching abilities was noted by A.S. Makarenko, Yu.P. Azarov, N.V. Kuzkina, Yu.L. Lvova and others. The same feature was highlighted by K.S. Stanislavsky, he identified the basic elements necessary for creativity, both as an actor and as a teacher: developed imagination, attention, empathy, reflection, mobility, contagiousness, expressive abilities, charm.

Artistry as a pedagogical problem became the subject of research in N.I.’s dissertation. Pleshkova, who introduces the concept of “communicative competence” and characterizes it as an integrative professional quality that contributes to the development of such abilities as creativity, compositional and interpersonal thinking, emotionality, expressive speech and suggestive abilities, and self-regulation abilities.

According to V.A. Razumny, pedagogical artistry as a manifestation of a rich palette of relational reactions to the phenomena of the surrounding world, the ability of a bright emotional-figurative recoding of information in the direction necessary for the lesson is a quality that today has a real right to be included in the professiogram of a modern teacher.

Acting and stage skills, as an integral part of pedagogical technology in the process of university training, are considered in the study by D.A. Belukhina. The author emphasizes the importance of developing these skills in future teachers as a necessary component of communication. Mastery of elements of pedagogical technology within the framework of a pedagogical university is offered in the form of a personal adaptation complex.

The use of the achievements of theater pedagogy in educational work, according to G.A. Garipova, is recognized as promising in pedagogical theory. She understands artistry as a holistic system of personal qualities that promotes free self-expression of the individual. G.A. Garipova presents it as a set of interconnected structural components: psychophysical, emotional-aesthetic, artistic-logical. According to G.A. Garipov, when studying pedagogical creativity and activating the role of the teacher in the pedagogical process, the problem of forming artistry arises - an important professional quality of an individual that contributes to his successful self-realization and solving professional and creative problems. She believes that this requires from the teacher not only perfect mastery of the subject he teaches, not only mastery of pedagogy, modern didactics, educational psychology, but also, to a certain extent, artistry, the art of acting.

According to the point of view of I.A. Zyazyun, in mastering the skill of acting on an audience, a decisive role is played by the natural inclinations of a teacher and the ability to improve one’s talent, acquired in the process of training, education and practical activity. He identifies six leading individual abilities for teaching: communicative: disposition towards people, friendliness, sociability; perceptual: observation, empathy, intuition; personality dynamism: the ability to exert volitional influence and logical persuasion; emotional stability - the ability to control oneself; optimistic forecasting; creativity - the ability to create.

IN AND. Zagvyazinsky believed that artistry is a special, figurative and emotional language of creating something new; a soulful style of co-creation between teacher and student, focused on understanding and dialogue with the Other, other-dominance; elegant and delicate lace of the creation of living feeling, knowledge and meaning, born “here and now”; this is the ability to almost instantly switch to new situations, find yourself in a new image, the ability to live with the ideas taught to students in class, to live sincerely; this is a wealth of personal manifestations, an imaginative way of posing and solving a problem, play of imagination, grace, spirituality, a sense of inner freedom.

O.S. Bulatova agrees with V.I. Zagvyazinsky defines pedagogical artistry as the co-creation of a student and a teacher, but adds that artistry is the ability not only to convey something beautifully, impressively, convincingly, but also to convey it by emotionally influencing the student. She believes that genuine artistry is the richness and beauty of the teacher’s inner world, the ability to solve problems, design the future, imagining it in images, using fantasy and intuition, harmoniously combining the logical and aesthetic.

I.F. Isaev identifies four levels of formation of pedagogical artistry:

The adaptive level of pedagogical artistry is characterized by the presence of physiological and psychological inclinations. Professional and pedagogical activities are built according to a pre-established scheme without the use of creativity. Teachers do not show activity in terms of professional pedagogical creative original artistry; fasciation (bewitchment) is carried out out of necessity, or is generally rejected.

The reproductive level presupposes a tendency towards a stable value attitude towards pedagogical reality: the teacher values ​​the role of pedagogical artistry more highly, the internal “tuning” to creativity is unstable and is limited to reproductive activity. At this level of development of pedagogical artistry, the problems of pedagogical communication are successfully solved. The teacher is aware of the need to increase the level of pedagogical artistry.

The heuristic level of manifestation of pedagogical artistry is characterized by well-developed observation and imagination, creative originality, originality of thought, expressiveness and infectiousness, the ability to “get together” at the right moment, organize one’s will and psyche, the ability to transform, charm and persuasiveness. At this level, pedagogical artistry is manifested in the ability to embody thoughts and experiences in image, behavior, and word.

The creative level is characterized by a high degree of effectiveness of pedagogical artistry, mobility of psychological and pedagogical knowledge, spirituality of the content of professional and pedagogical activities, self-confidence, diplomacy in relations with people, desire for cooperation, responsiveness, empathy, emotional reactivity, adaptability, openness (free expression of feelings , lack of a “mask”), flexibility (easy resolution of emerging problems).

Thus, at the present stage of development, pedagogical scientists have increasingly begun to pay attention to pedagogical skills, especially emphasizing pedagogical artistry, which has a strong impact on the child’s personality. The main organizer of children's activities, the teacher must master and actively apply in practice the techniques of pedagogical artistry.

1.2 Features of teaching activity

Pedagogical work has many common features with theatrical creativity as a type of artistic activity: representatives of both professions work with people and have a common goal - to excite the thoughts and feelings of the audience; Both activities teach and educate and require a high level of physical, mental and social culture; both labors are mobile and changeable; Only in the acting and teaching professions do we encounter a unique coincidence between the personality of the creator and the creative instrument; finally, both works are a vivid art of self-expression.

The main points of contact between pedagogical “technique” and the “technique” of acting and directing are: firstly, reliance on general principles of activity. As is known, the K.S. system Stanislavsky consists of the following components: the principles of theater aesthetics, the doctrine of the ethics of the actor and acting technique as mastery of the expressiveness of actions. The teacher’s activities also organically combine aesthetics, ethics, and technology. The teacher’s fulfillment of his high spiritual purpose and civic duty is inextricably linked with his morality and behavior, with his careful attitude towards his soul and the souls of children and with his constant work on his technique, development and improvement; secondly, the use of terms from the field of theatrical art in the pedagogical sphere. In the dramaturgy of the lesson, connecting the laws of pedagogy and the stage, the meaning of “exposition”, “commencement”, “climax”, “intrigue” is comprehended. If one of these components is missing, the potential of the voltage field in the lesson drops, and with it the interest in the lesson, and ultimately in the subject; thirdly, the use of exercises from the field of theater pedagogy adapted to teaching activities to develop the ability to perceive and express the characteristics of human behavior and variability in communication.

For a clearer idea of ​​the development of what abilities of future teachers can be helped by studying the fundamentals of pedagogical artistry, let’s consider the essential characteristics of a teacher’s activity, which brings it closer to acting, and the requirements placed on a teacher (Table 1).

Table 1 - Features of teaching activities

1.3 Elements of acting and directing skills in teaching activities

The art of teaching is often called a one-man theater. Therefore, it is important for a teacher to know the principles of theatrical action and its laws. We can say that the pedagogical process consists of two phases: the educational plan and the process of its implementation. At both stages, the theatrical and expressive abilities of the teacher play an important role. Each specific lesson is a kind of pedagogical play in which the teacher acts as:

- scriptwriter (builds the dramaturgy of relationships),

- director (manages relationships and determines the place of each participant in the educational process),

- actor (he plays his role based on a precise scientific and pedagogical plan),

- improviser (takes into account new real-life pedagogical situations).

If the first three functions fully correspond to theatrical art, then the function of the improviser in the theater is rarely in demand and rather interferes with the overall plan. In the teaching profession, it is as necessary as all the others.

The art of directing lies in the creative organization of all elements of the action (performance, lesson) with the aim of creating a single harmoniously integral work. There are several conditions for fully directing a lesson. The first condition for directing a lesson and creating a complete work is that the teacher has a creative idea. To do this you need:

- awareness and analysis of one’s own general theoretical positions (approaches, theories, principles, technologies);

- taking into account the psychological and other characteristics of students;

- time planning (pace, rhythm, individual parts of the lesson);

- spatial solution (arrangement of students depending on the objectives of the lesson and the possibilities of movement around the room). Desks, like any barriers, separate people, and this would be appropriate, for example, when solving official problems. On the contrary, the closer the circle of students, the more informal their communication;

- use of visual and sound design.

The second condition is thinking through the goals that need to be achieved with a group or individual student. In essence, the goal is to bring all elements of the plan to a common denominator, the connecting idea of ​​the plan.

The third condition is a feeling of the integrity of what is happening and justification for the need for certain actions. This condition is achieved by the teacher having a super task and a sense of life’s truth.

According to Stanislavsky, the basis of form is in the content, and to achieve integrity means answering two questions: “What do I want to achieve?” and “Why am I taking these actions?” To answer the first question means to understand the idea, and to answer the second question means to understand beyond the purpose of the lesson. Only after answering these two questions can the question “How?” be asked. Then the form will not be contrived, but organic and most effective. Based on this theory, it is useless to borrow only external techniques, forms, and methods.

An important component of pedagogical talent, which makes it similar to the talent of an actor, is the need for self-expression. In addition, the skill of a teacher is realized through a number of elements that determine the similarity of his professional activities with the professional activities of an actor.

The first element is the presence of a super task. The super task for an actor is the level of human mental activity uncontrolled by consciousness in solving creative problems. For both the teacher and the actor, the ultimate task is the source of energy that determines his behavior. The power of the subconscious can be very great if an idea takes possession of a person completely (to do something, have something, find something). Then “suddenly” favorable conditions are created, funds and helpers are found, circumstances develop happily. Similar situations can and should be created! A teacher at work does not proceed from immediate benefits, but from the orientation of the individual (to make people better). The formation and expression of the super task are based on:

- the teacher’s worldview, his life position and his own way of life;

- previously accumulated experience (theoretical knowledge, results of reflection);

- the ability to express oneself, natural behavior, lack of fear of making a mistake;

- penetration into the system of students’ motives, a sense of empathy;

- emotional experiences of the teacher.

The second element is physical and psychological training. This means the ability to regulate your well-being and manage it. The ability to activate yourself or relax depending on the situation, to quickly recover from physical and emotional stress is achieved through special exercises and training. Psychological training helps to tune in to the lesson and interact with students, taking into account their character.

The third element is the ability to win and manage an audience. The combination of voice, words, gaze, gestures, rhythm is always individual.

The fourth element is the truth of life. Nothing false, false, or approximate should be allowed in creativity.

The fifth element is the ability to transform into the image of a student, to feel, experience, and have an emotional impact. To do this, you need to be able to analyze the logic of simple physical actions. The development of the teacher’s perception plays an important role in this process. A.S. Makarenko wrote: “A teacher who does not have facial expressions and cannot give his face the necessary expression cannot be a good teacher. I am convinced that in the future, voice training, posture, and control of one’s body and one’s face will definitely be taught in pedagogical universities.” .

1.4 Comparative characteristics of theatrical and pedagogical performance

System K.S. Stanislavsky shows that theatrical and pedagogical art have much in common. The teacher and actor must know and feel the audience - the advanced and backward part of it, understand who to focus on and who to help. You need to know the basics of human reaction depending on age, gender, and professional orientation. The similarity between theatrical and pedagogical activities can be traced in the following parameters.

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

2. By content (communicative creative processes).

3. By instrument (the psychophysical nature of the teacher and actor is itself an instrument for carrying out activities).

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

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

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

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

It is equally important to know the main differences between teaching and acting. You need to be careful when studying acting at a pedagogical university. Theatrical expressiveness and feigned behavior can be unnecessary and often dangerous. O.S. Bulatova systematized the differences between acting and teaching activities, naming, in particular, the differences:

- in the subject of the performance (the transformation of the actor into another person and the teacher’s attitude to the situation, dictated by his role position);

- within the boundaries of the sphere of activity (the actor’s fictional and the teacher’s real conditions of existence);

- in the specifics of communication (the actor gravitates towards dialogue, the teacher - towards monologue);

- in the duration of activity (longer activity for a teacher than for an actor);

- in the possibilities of improvisation (the teacher has wider boundaries of creativity, improvisation is not only permissible, but also necessary);

- in the diversity of the activity program (for a teacher on the same day it can be different within different roles), etc.

A.S. Makarenko emphasized the aesthetic orientation of the actor’s work: “In the theater we get aesthetic pleasure from the actor’s play, but in pedagogy it’s the same living organism, but not playing, but educating.” Borrowing elements of theater pedagogy to prepare teachers and educators does not mean that teachers should be made into actors. We must strive to educate a teacher with the qualities of an actor, which will manifest themselves depending on the pedagogical tasks that arise.

Summarizing what has been said, we will highlight the main features, features that bring together teaching and acting-directing activities, as well as characteristics that show the specifics of each work. Let us consider the main features that characterize pedagogical and acting-directing activities.

Common features of theatrical and pedagogical action:

1. Content attribute - communication; for the common basis is interaction, living cooperation of different individuals.

2. Instrumental feature - the personality of the creator and his psychophysical nature as an instrument of influence.

3. The target sign is the influence of a person on a person and the invocation of a certain experience in a partner.

4. Procedural characteristics: creativity is carried out in a public environment, regulated in time; the result of creativity is dynamic; there is a commonality of experiences between the actor and the viewer, the actor and the director, the teacher and the student; the object of influence is at the same time a subject of creativity, a co-creator; creativity is collective.

5. Structural feature - material analysis; identification of problems, contradictions; the birth of a plan that resolves contradictions; embodiment; result analysis; adjustment. Work on the lesson and the role takes place in three periods: rehearsal - with the actor, before the lesson - with the teacher. This is the period when an image is created in the imagination, thoughts, and feelings of the actor. The image of the hero is from the actor, the image of the lesson is from the teacher; technical. The period when the material is rationally and prudently verified and obeys the artist’s own creative order. The actor’s role is consolidated and “tested” during rehearsals. The teacher “rehearses” the lesson, its plan is clarified, its progress is recorded, a plan is drawn up; the period of implementation of a creative idea. The work of an actor in a performance, of a teacher in the classroom.

6. Conceptual features: the presence of elements of work that cannot be automated, independent and free creativity; implementation of a social function - the function of education; the presence of intuition, flair, inspiration; specific professional emotions; the need for continuous internal work (training and “on the subject”).

7. Requirements for the personality of the creator. The main abilities necessary both for the creativity of an actor and for the productive creativity of a teacher are as follows: developed imagination, attention, empathy, reflection, mobility, contagiousness, expressive abilities, charm.

The named features that show the differences between teaching and acting activities, of course, do not negate the previously noted features that bring them together, but only allow us to draw attention to the fact that acting and teaching activities are not simple varieties of the same thing, and it is necessary to realize the specificity of each type of work, in in particular, the aesthetic orientation of acting. Future teachers need not only to develop the ability to present themselves, but also the ability to see and evaluate themselves and others, which primarily involves the development of empathy and reflection. It is important to realize that the goal of borrowing elements of theater pedagogy in the professional training of a teacher is not to educate an actor, but a teacher with the qualities of an actor, which manifest themselves depending on pedagogical tasks.

Table 2 - Comparative characteristics of acting and teaching activities

Thus, from the point of view of acting, the teaching profession is extremely difficult. Its importance in pedagogical activity requires special attention and targeted work of specialists. The role and place of artistry in teaching can change as a teacher’s professional activity improves: it can manifest itself as a personality quality, and as professional experience accumulates, it can integrate all components of a teacher’s work, synthesize and make all his activities holistic.

According to their main characteristics, acting and teaching activities coincide, however, in the latter, co-creation and interaction with the audience plays a greater role than in theatrical art. Sh.A. Amonashvili’s comparison of the professions of a teacher and an actor led to the thought-command “Give yourself to children!”: “Of course, a teacher must have the ability to transform, the ability to enter into a role. ... The profession of a teacher in this sense is more complex. It also belongs, but not to those people which for him have the general name “spectator”, and for children, who for him are designated by specific characters.”

Summarizing the above, we can conclude that with the transition to new education standards, special attention is paid to the development of the creative potential of a teacher with modern thinking, knowledge of information technology and personal culture. It is such a specialist who can ensure the implementation of innovative technologies in the educational process of a preschool educational institution.

Thus, we can draw the following conclusion: a modern teacher is a professionally competent, creatively developing, humane person in whom spiritual and moral qualities prevail, who has a pronounced subjective position, an individual style of activity and rich creative potential. The creative potential of a teacher’s personality is a multi-valued and dynamic characteristic, including three components that complement each other - value, cognitive, and activity. The content of each of these components includes specific features inherent in the teaching profession.

The sphere of pedagogical work refers to this type of professional activity in which the leading role is played by the process of communication, through which the implementation of the tasks of training and education is carried out. In this regard, it is important for the teacher to master the highest communication skills (pedagogical artistry).

Pedagogical artistry is an activity raised to the level of art, the highest level of excellence in the work of teachers, when the activity rises to the desired spiritual height. The similarity of acting and teaching abilities was pointed out in his time by A.S. Makarenko, as well as researchers V.N. Gonobolin, Yu.P. Azarov, N.V. Kuzmina, Yu.L. Lvova, V.A. Kan-Kalik and others. The same feature was pointed out by K.S. Stanislavsky.

The acting skill of a teacher is the solution of various pedagogical problems, the successful, emotionally rich organization of the educational process and obtaining appropriate results; its essence lies in certain professional and personal qualities that give rise to this activity and ensure its effectiveness.

Therefore, a real teacher must be in a constant creative impulse to optimize both professional and personal potential. Only a creative teacher who advocates for radical changes in education masters the highest pedagogical skill - artistry, reaching heights in his teaching activity.

Chapter 2. Analysis of the problems of a young teacher in secondary vocational institutions

2.1 Characteristics of teachers in the secondary vocational education system

Significant changes in the nature of vocational education focus it on the development of creative initiative, independence, competitiveness, the ability to adapt to changing conditions of the social environment and the mobility of future specialists. The problem of ensuring the quality of secondary vocational education is becoming increasingly urgent. The quality of education is a synthetic category that includes various components, namely the quality of: educational systems; educational process; educational achievements of students; scientific and innovative activities; management of educational systems. Modern quality management systems are being introduced into education, according to which the competitiveness of educational institutions is determined by the ability and ability to train qualified specialists, whose quality not only meets the requirements of consumers, but also exceeds their expectations. Given the diverse aspects of solving the problem of ensuring the quality of secondary vocational education, the development of general and professional competencies of future specialists, as well as the formation of the student’s personality, are determined, first of all, by the personality of the teacher himself and the level of his professionalism. New conditions for the existence of the educational environment, oriented towards meeting the needs of specific consumers of educational services, required the teacher to increase professional competence and individual mobility. One of the acute problems of education is generated by the contradiction between the implementation of new goals of the educational system and the insufficient readiness of teachers to work in modern conditions. It is obvious that the prospects for overcoming this contradiction are largely related to increasing the level of professional competence of teachers. And this, in turn, caused changes in the requirements for the personal and professional qualities of a modern teacher in vocational education, which include, first of all, increasing the level of quality of education and competence in related areas of the professional sphere; increasing professional creativity and mobility, the ability to make optimal decisions and constantly updating professional competence both in the field of one’s scientific interests and in other areas of human activity. The activities of secondary vocational school teachers imply a constant process of rethinking, evaluating, transferring known ideas and pedagogical technologies to new conditions, which is caused by the status of an educational institution implementing secondary vocational education programs. In the process of pedagogical activity, the teacher solves two problems: pedagogical and functional. A pedagogical task arises every time when it is necessary to transfer students from one state to another: to introduce them to certain knowledge, to develop skills and abilities. Functional tasks are related to the tools of pedagogical influence. The professionalism of a teacher is not reduced to a set of characteristics and represents a systemic property of the individual. Professionalism can be represented as the top of a pyramid, at the base of which lies professional knowledge, and is “built on” by professional experience, professional competence and professional suitability. The concept of “professionalism” is used in two semantic meanings: as “professionalism of activity” and “professionalism of the individual.” The professionalism of the activity allows it to be carried out with high productivity. The professionalism of a teacher is imbued with a moral meaning - an understanding of duty, a sense of responsibility, and an awareness of the high social purpose of professional activity. Professionalism is an acmeological category. The dynamics of a teacher’s professional development include the following interrelated stages: 1. The stage of pre-professionalism (adapter stage), when the teacher adapts to work, but does not have the full set of qualities of a real professional, and the performance is not high enough. 2. The stage of professionalism itself (the internal stage), when the teacher demonstrates consistently high results. 3. The stage of super-professionalism, or mastery (the stage of authority), corresponding to approaching the “acme” pinnacle of professional achievements; the teacher is well known in the professional community. 4. Stage of “post-professionalism” (mentor stage) The teacher may turn out to be a “former professional”, “ex-professional”, or may be an adviser and mentor for young teachers. In accordance with modern requirements, the role of the system of additional professional education for teachers is being updated, designed to form teachers’ readiness for innovative activities and to promote the development of professional and personal qualities that are in demand in dynamically developing professional activities. The professional development of a teacher largely depends on the effectiveness of his continuing education system, taking into account specific data on the level of professionalism, motives and educational needs.

2.2 Analysis of the problems of young professionals today

In educational institutions, professional adaptation has its own distinctive features. First of all, they manifest themselves in the specific combination of a specialist’s internal attitudes and external expectations of the environment.

When talking about the adaptation of a young specialist in the education system, it is necessary not to forget about the versatility of this process. Knowing the essence of pedagogical work, the specifics of adaptation of a young specialist in the education system can be considered from the point of view of many aspects on which it is directly dependent.

Here are the main ones:

The professional aspect considers how much the teacher has teaching abilities, how expressed they are or how much the young specialist strives to develop them, etc.;

The personal aspect considers the teacher’s individual style of activity, his communication skills, and the nature of adaptive behavior

The social aspect considers state requirements for the education system, the corporate culture of the educational institution, the type of adaptive behavior of colleagues, etc.;

The role aspect considers a young specialist in various social roles (mentor, educator, partner, psychologist, student, colleague, business partner, etc.).

In order for a young specialist to successfully adapt to the education system and be able to cope with his work, the teacher must have extraordinary, general and special abilities. These abilities in their totality constitute the individuality of young teachers, due to which each good teacher is a unique and original personality. Ideally, pedagogical abilities should be present in both traditional and democratic teachers.

General abilities include those that determine high results in any human activity, and special abilities include those on which the success of teaching, teaching and raising children depends. We discussed the general abilities of a young specialist earlier, and we will consider special abilities in more detail. They can be roughly divided into learning abilities and educational abilities. Learning abilities include:

* the ability to see and feel whether the student understands the material being studied, to establish the degree and nature of such understanding;

* the ability to present the same educational material in different ways in order to ensure its understanding and assimilation by all students;

* the ability to achieve, in a relatively short period of time, the assimilation of a significant amount of information, the intellectual and moral development of all students;

* the ability to transfer your experience to other teachers and, in turn, learn from their example;

* the ability to self-learn, including search and creative processing of information useful for learning, as well as its direct use in teaching activities;

* the ability to form in students the necessary motivation and structure of educational activities (learning).

All these special abilities relate to three interrelated aspects of a young specialist’s activity in acquiring knowledge, skills, abilities: training, teaching and learning. It is difficult to say when they begin to form in ontogenesis, and according to what laws they develop. What is innate in them and exists in the form of inclinations, but one thing is clear: in the process of pedagogical activity, a young specialist needs to cultivate these abilities, form and develop them.

A special class of special pedagogical abilities needed by a young specialist in the process of adaptation is the ability to raise children. The main ones can be identified as follows:

1. the ability to correctly assess the internal state of another person, sympathize, empathize with him (the ability to empathize);

2. the ability to be a model of culture and a role model for children in thoughts, feelings and actions;

3. the ability to evoke in a child noble feelings, desire and desire to become better, do good to people and achieve high moral goals;

4. the ability to adapt educational influences to the individual characteristics of the child being raised;

5. the ability to instill confidence in a person, calm him down and stimulate him to self-improvement;

6. the ability to find the right style of communication with each child, to achieve his favor and mutual understanding;

7. the ability to command respect from the student, to enjoy informal recognition on his part, to have authority among children.

The same thing can be said about the process of forming and developing the abilities of a young specialist as an educator that was stated about learning abilities, with the exception, perhaps, of one thing: being a good educator is more difficult than being a good teacher. This is due to the fact that among the abilities characteristic of a teacher, there are more of those that are given to a person by nature. Among teachers there are many who are good teachers, but relatively weak educators. This circumstance is not a basis for the conclusion that the relevant people cannot become good teachers, it’s just that the sphere of their pedagogical skills may be different: either predominantly teaching or predominantly educational. The modern sociocultural situation requires that a young specialist simultaneously act as both a teacher and an educator. It was much easier for young specialists to adapt to a totalitarian regime. They were transmitters of their culture, their activities shifted from the actual pedagogical function to the function of translation, transfer of activity, i.e. to a rather passive activity.

The central weight in a fundamentally democratic culture increasingly falls on individuality and individual consciousness, education, and not teaching. The teacher is no longer a model, but an individual, a person who wants to be understood. But such a person himself wants to understand others, also individuals who have the right to speak and have an opinion.

Among the special pedagogical abilities, marked by the specifics of work in the education system, there is an ability of a special kind that cannot be unambiguously attributed either to the activities of a teacher or to the work of an educator, since it is equally necessary for both of them. This is the ability for pedagogical communication. V.A. Kann-Kalik, a psychologist who has done a lot of research on this ability, wrote that pedagogical work has more than 200 components.

Communication is one of its most difficult aspects, since through it the main thing in pedagogical work is carried out - the influence of the teacher’s personality on the personality of the student (parents, administration, colleagues).

One of the important qualities that every young specialist must have is the ability to organize long-term and effective interaction not only with students, but also with parents, colleagues, and administration. This skill is usually associated with the communication abilities of the teacher. Mastery of professional pedagogical communication is the most important requirement for the personality of a young specialist in the aspect that concerns interpersonal relationships. When talking about the communication abilities of a young specialist, it is necessary to take into account that not all communication abilities manifest themselves to the same extent. There are a number of special communication skills that a teacher must possess, and which are not necessary for people in other professions. In particular, a person’s knowledge of other people, knowledge of himself, correct perception and assessment of communication situations, the ability to behave towards people, actions taken by a person in relation to himself. From a sociological perspective, all this is interesting, but little studied. It is nonverbal forms of pedagogical communication that give rise to large and varied problems in the process of adaptation of young teachers. Communication abilities associated with these forms include the ability to make contact with strangers; the ability to prevent the occurrence and promptly resolve existing conflicts; the ability to behave in such a way as to be correctly perceived and understood by another person; the ability to take into account the age, social and psychological characteristics of interlocutors, etc.

The abilities manifested in the actions of a young specialist in relation to himself contain the ability to manage those aspects of his own behavior that are important for going through the process of adaptation and establishing normal relationships with the team of teachers, students, parents, and administration. These also include the young teacher’s abilities for self-perception, self-realization, self-education, etc. Thus, pedagogical tact is a communicative, diagnostic act.

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