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Training method: Role-playing games. Examples of role-playing games for training sales representatives, retail sales, and management skills. Classification of role-playing games Methodology for preparing and conducting game programs

REMINDER. Keep it simple.

Choosing a Role Play

The procedure for checking the choice of a role-playing game or the suitability of the one already available is presented in Figure 4.5.

Rice. 4.5. Choosing a Role Play

Each type of role-play described in this chapter reflects a reasonable and effective use of technology. It is important that mentors are clear about the type of game they intend to use. If they use one type but use techniques corresponding to another, there is a real danger of alienating students, frustrating them, or even harming them. On the other hand, combining the right type of play with the right style creates a sensitive and accurate teaching tool.

5. PREPARATION FOR ROLE PLAY

Presentation of the role play to participants

Planning a role-playing game depends to a certain extent on its place in the general curriculum. If it is arranged at the beginning of the course, then you should explain how the entire course will be structured and why you are starting it with a game. If the session is scheduled in the middle of the course, then it is necessary to review what has been learned, evaluate what has been achieved, and choose a specific way in which the role-play will highlight certain aspects of the subject being studied. If the game is supposed to bring together material studied in other disciplines, then, most likely, it will fit organically into the course and require minimal explanation. In any case, the extent of explanation required will largely depend on the age and type of participants. If the exercises are carried out at school, then they can be accepted without question - which, of course, cannot be said about classes in production.

Unlike many situations in which the student easily accepts a logical explanation of what the next lesson will be, the use of role-playing game requires overcoming certain psychological difficulties, which will later eliminate its possible negative consequences. There are as many options as there are mentors and students. Sometimes the mentor begins the role-playing game so fearlessly that no worries or doubts arise in the minds of the students. They willingly and enthusiastically undertake to play their games in front of their peers, sometimes risking being subjected to real or hypothetical criticism from the audience. In other cases, however, the mentor may encounter serious obstacles before a group of middle-aged businessmen or immature, self-confident youths are ready to genuinely share in the pleasure that the game promises them. Most trainers agree that getting into roleplay for the first time should be taken seriously.

Game is the leading activity of a primary school student. It is in the game that many important life skills are trained and character traits are formed. In elementary school, play is the main way a child gains social experience. The leading role in this belongs to role-playing and business games. Their form involves an impromptu acting out of a certain situation. Moreover, in most cases, during these games the child plays the role of an adult. Why do you need to conduct role-playing and business games in elementary school? What role-playing games can be done in primary school?

By participating in such activities, schoolchildren have to:

  • perform various social roles;
  • express different civic positions;
  • organize or influence the actions of other participants;
  • establish communication links, establish contacts;
  • resolve conflict situations that arise during the game.

During the game, a relaxed atmosphere is established. Its organic course includes natural command and submission, which children do not perceive aggressively.

Role-playing as a means of developing communication skills

Communication in the game is spontaneous; schoolchildren have to develop a model of behavior that involves the formation of the following communication skills:

  • willingness to cooperate;
  • tolerance;
  • tolerance for other people's opinions;
  • ability to conduct dialogue;
  • ability to find a compromise solution.

During the game, relationships are established between children, which they then reproduce in real life. The children learn techniques and rules of communication that they can later use in similar life situations. Playing out the situation several times gives students the opportunity to change roles, try other behavior options, and carry out .

Mental development of children

Play activities play a huge role in the process of mental development of children. The emotional component of the gameplay is also important, because the most vivid traces in our memory are left by those events that hurt our feelings and cause a strong emotional reaction.

Thus, play activities enable the child to gain invaluable personal life experience in the most comfortable conditions for him. It can be called a creative laboratory of self-education, a “school of life” for a child.

The essence and structure of role-playing and business games

Role-playing and business games are of a social nature. Their essence lies in the artificial immersion of children into conditions that are possible in real life. The main thing in conducting such games is to give children the opportunity to take initiative and present their model of social relations.

Younger schoolchildren already have an idea of ​​how adults behave in similar situations. Therefore, despite the freedom of action offered, in most cases children try to copy their behavior. The task of the game organizer is to encourage the children to find their own options for behavior and non-standard solutions to emerging problems.

The structure of this type of game is quite inconsistent. On the one hand, during the game the child should feel absolutely free. On the other hand, the course of the game is strictly regulated:

  • the range of roles that schoolchildren must play has been determined;
  • the conditions and environment in which imaginary events occur are indicated;
  • the rules of the game that must be followed are described;
  • There are moral and ethical guidelines that participants are required to use.

What is a role-playing game?

Role-playing games are always a game of “something” or “someone”. The basis of such a game lies in the content of the roles that children must “try on” for themselves. The following types of roles are possible:

  • specific adults or children;
  • representative of a certain type of profession;
  • family roles;
  • ethnographic;
  • roles of fairy-tale or literary heroes.

Each child should play his role only within the framework of a play action, which can be aimed at:

  • substantive reconstruction of the content of the activity;
  • building a system of relationships between people in the course of activities.

Types of role-playing games in elementary school

A distinctive feature of role-playing and business games is the presence of a plot. You can use the following types of plots:

  • creative;
  • related to the profession;
  • related to discovery;
  • route, i.e. trips;
  • related to art;
  • paramilitary;
  • fabulous;
  • fantastic.

Involving children in role-playing or business games allows them to go beyond their context of activity, realize the need for interpersonal communication and master the necessary key competencies.

Examples of using role-playing and business games in elementary school

Let's look at examples of what role-playing games can be done with primary schoolchildren. Let's start with those games where it is proposed to play the role of children. The value of such games is that children are given the opportunity to try out different options, play out several models of behavior and, based on this, determine the most optimal and correct one.

Game "Planet of Friends"

First, the teacher invites the children to unite in several groups and describes the game situation to them. We will talk about endless space, in which there are many planets. Each team is invited to settle on a separate planet. The essence of the game will be to establish life in an uninhabited area. Children, taking turns completing the teacher’s tasks, must develop and equip their state. The tasks are as follows:

  • Come up with a name for the planet and its inhabitants. Describe what they should look like.
  • Draw up rules for living together on the planet.
  • Describe what events are happening on the planet.
  • Offer options for solving the described situation if it happened on your planet.

"But what if?" Olga Tikhomirova

After all groups have expressed their options for behavior in such a situation, it is necessary to conduct a collective discussion and formulate general rules of communication between children.

At the end of the game, it is necessary to invite children to move from a fantastic situation to real events.

Students need to describe:

  • what situation they lost;
  • what topic was touched upon;
  • How can you apply the rules expressed during the game in the life of your class?

Children must express and reinforce the rules of communication in the classroom. You can choose a group of children to write down and document these rules, and then post them in the classroom corner.

Of course, children are most interested in games in which they play the role of adults. The following options are possible.

Game "Zoo"

To play such a game you will need to prepare a large amount of equipment:

  • figurines of various animals;
  • material for building enclosures (building kits or cardboard boxes can be used);
  • natural material to create a park effect;
  • box office tickets.

Children must be divided into several groups and a zoo director and a cashier must be selected separately. The point of the game is to build a zoo and organize a tour around it.

First, each group has to choose an animal to look after. You can do this in any order, by lot, or offer to solve riddles.

While this action is taking place, the zoo director must think over the location of each enclosure and draw a schematic map. After the groups are distributed, he gives each of them building material. While the groups are building enclosures, the director will have to beautifully design a map of the zoo and outline a tour route around it.

The main part of the game is that children must not only place the animal in an enclosure, but provide it with care. The children are asked to find information on how to feed their animal and what conditions to create for it. You can spend two or three days on this and continue the game after the students are ready.

All information that children manage to collect will need to be voiced during the virtual excursion. For this purpose, each group selects its own guide. The rest of the children buy tickets at the box office and go for a walk to the zoo. They all move around the zoo in one group and near each enclosure they listen about who lives here.

This game can be used in environmental classes. During the game, children will become familiar with the rules of behavior in the zoo and learn a lot of information about rare animals.

At events dedicated to studying the Rules of the Road, you can conduct role-playing games “Road traffic”, “I’m going home”, “We are at a pedestrian crossing”, etc.

Game "Journalists"

First, the title and thematic feature of the magazine are announced. An editor-in-chief is selected from among the students in the class. He can be appointed or determined by a vote of all members of the team.

You also need to tell the children that there are several thematic departments in the editorial office of the magazine and explain the features of the work of each of them. Students should think about which department would be more interesting for them to work in. Allocation to departments can also be carried out in the form of a full-fledged role-playing game, when children need to write a job application, pass an interview and receive an appointment order.

After all organizational aspects have been completed, it is necessary to begin simulating the work of the editorial office. Children are offered a topic for the issue and each department must prepare material and submit it for publication. An editorial board must be selected that will check the material’s compliance with the topic and design requirements.

The result of such a game should be the release of printed materials. When offering children such a game, it is worth thinking about its practical significance. Therefore, the topic of the issue should be selected in accordance with the topic being studied in class or extracurricular activities. The produced magazine must be used at the final collective event. Moreover, it is not enough just to show it; you need to view and analyze each page. At the end, you should thank all the editorial staff and, perhaps, “pay” their salaries.

The themes of such games are very diverse. You can invite children to work in a confectionery factory, pizzeria, hairdresser, store, clinic or post office. With the help of these games, schoolchildren will understand the characteristics of each profession.

Examples of games in lessons in primary school

Mathematics

Story-based games on professional topics may not be so complex, but reproduce only individual elements of work activity. For example, in a math lesson you can invite children to play the game “Fishermen”. They receive fishing rods, imitate baiting, and throw the hook “into the water.” Students take turns catching fish with examples written on them. After a successful catch, you need to complete the task received.

Russian language

Another example of using a business game in a Russian language lesson. This is the game "Postman". The postman comes into the classroom and says that he has letters for the students in the class. Children receive letters (you can reproduce the situation of receiving a registered letter). Then the students open the envelopes and take out cards with a task for independent work.

We invite a fairy-tale hero

Children like to take part in games with a fairy-tale or fantasy plot. The easiest way to use such games is to invite a fairy-tale hero to the class, who invites the children to complete his tasks. For example, Dunno may ask you to teach him how to come up with poems. Little Red Riding Hood can give schoolchildren cakes on which tasks are written (words with missing letters, terms whose meaning needs to be explained, etc.).

Dramatization

There is also a more complex version of such games. For example, the game “Film a Fairy Tale”. Children need to get acquainted with the script, assign roles, prepare costumes and scenery. Time should be given for rehearsals.

The purpose of such a game is not to simply dramatize the plot of a fairy tale, but to analyze its moral aspect. After the production, the teacher should invite the students to discuss how the children felt in the role of their heroes. The emphasis should be on those actions that made children feel awkward and consider them unfair. Such a conversation ends with the formulation of correct norms and behavior patterns.

Role-playing and business games have enormous potential for developing primary schoolchildren’s readiness for independent activities in real life. Their use in elementary school allows them to captivate children, promote their development, and reveal their talents and individual qualities.

Business training: how it’s done Grigoriev Dmitry A.

4.2.7. The main stages of developing a role-playing game

There are five main stages in developing a role-playing game:

1. Definition of problems that must be solved using this teaching method.

2. Providing conditions for conducting role-playing games.

3. Development of roles and the situation being played out.

4. Choosing the type and format of a role-playing game.

5. Development of a detailed scenario for its implementation.

Let's look at each of the stages in more detail.

Stage 1. Setting tasks. Means that the coach:

Formulates the changes for which the role-playing game is carried out, that is, what attitudes will be formed among the participants with its help, what skills, techniques and technologies have been developed;

Builds a logical relationship between the game and the general training program so that the tasks of the role-playing game follow from the previous logic of the training.

Stage 2. Analysis and provision of conditions for conducting a role-playing game. One of the key conditions for the success of a role-playing game is the time that can be used to conduct it. It should be enough for preliminary discussion, coordination of tasks, instruction, conduct of the game and its analysis, generalization and summary of the coach’s results. If there is not enough time, you need to consider the possibility of replacing the role-playing game with another method or choosing a format for conducting it that will take a minimum of time.

Another important point is the analysis of how ready students are to participate in the role-playing game. In my practice, there have been cases when the entire group refused to role-play. As a rule, this happens either in the case when the training audience is old enough, has not previously taken part in trainings, and role-playing is new to them; or when students are not motivated to participate in the training and do not want the role-play to reveal that their competencies require development.

This does not mean that in this case this method cannot be used in training. But such a situation definitely requires preliminary work with the participants before the training or at its beginning. Accordingly, in this case it is important to determine whether the coach has the opportunity to carry out such work.

In addition, it is important to pay attention to the training room: whether there are the necessary conditions for conducting a role-playing game. For example, in my practice, although rarely, there are still situations when training has to be carried out in rooms with a large, non-movable table in the middle.

Stage 3. Determining the roles and situations of the role-playing game. They are designed based on the objectives of the role-playing game. For example, if the game is aimed at developing the skills of setting tasks by a manager to a subordinate, then there will be two roles in it: the manager and the employee.

The situation must be formed in such a way that there is an opportunity to practice the necessary skills, that is, so that the participant can act correctly or choose an ineffective strategy of behavior.

Let's say a customer is concerned that his managers are not setting clear, specific goals for their subordinates. In this regard, the trainer wants to develop the participants’ skills in setting goals using knowledge of SMART criteria. Then participants may be asked to role-play a situation where the task is initially formulated very broadly (for example, “as part of a personal meeting with a subordinate, the manager should set him the task of increasing sales of related products”). This will allow participants to either attempt a specific SMART task in the role-play, or present it in a general way and thereby demonstrate ineffective ways of setting goals.

Thus, defining the specific content of the game includes:

Determining the composition of roles;

Definition of the situation (the content on the basis of which the interaction of roles will unfold);

Selecting the main methods of communication (in what form the roles will interact - negotiations, meetings, meetings, etc.).

Stage 4. Selecting the type and format of the role-playing game. Formats and types of role-playing games have been discussed above. It is advisable for a coach to be guided by a set of criteria that allows him to evaluate the effectiveness of his choice:

Does the selected type of role-playing game correspond to the objectives of this training block?

Are there resources needed for this type of roleplaying game?

Are the roles clearly defined and will they be clear to the players?

Is it possible to simplify the script?

Can the participants cope with the demands?

Will the game affect the emotional sphere of the participants too deeply? Does the chosen format correspond to the level of personal risk that participants are willing to accept?

Would role-playing as a teaching method be the best way to achieve the goal?

Stage 5. Scenario development. Developing a detailed scenario includes determining how the role-playing game will be organized and carried out step by step. At a minimum, it is important for the coach to clearly define the following:

How participants will be introduced to the topic of the role-playing game;

How the tasks and process of the role play will be presented;

How role-play participants will be identified and how role instructions will be given;

How the game process itself will be structured;

How will the sequence of questions be structured when discussing the results;

What key points will be important for the coach to voice as part of summarizing the results?

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The first stage of organizing a role-playing game is theoretical development, which includes the following points:

1. Picture of the simulated world;

2. Rules of the game;

3. Team and (or) individual inductions.

The entire course of the game depends on how well thought out this data package is.

1. Picture of the simulated world

Here it is necessary to present the conditions and laws of existence of the simulated world. The more fully and vividly it is described, the more varied and thoughtful the players’ actions will be. The description scheme is as follows:

A) place of action;

B) duration of action;

C) the characters and their position;

D) important events preceding the simulated period

Time;

D) the situation at the beginning of the game.

2. Rules of the game

The rules are the basic Law of the game, so their development must be carried out with legal scrupulousness, in order to avoid different interpretations. The main sections of the rules that apply in most games:

A) military sphere:

Standards for types of weapons and fortifications,

Hostilities,

Safety precautions;

B) political sphere:

The political structure of the simulated world,

Modeling social relationships,

Modeling of political and legal activities;

B) economic sphere:

Economic orientation,

Modeling of branches of economic activity,

Modeling of financial and economic activities;

D) physical and metaphysical laws of the simulated world:

Structuring time

Moving around the playing area,

magical abilities,

Magic characters and objects;

D) spiritual sphere:

Culture (traditions, customs, art),

Religious cults of the simulated world.

3. Team and individual introductory sessions

Team and individual introductory notes are developed by the game organizers, or by the players themselves, in agreement with the organizers. Introductory notes help participants better understand their role, determine their place in the simulated world and outline a line of behavior. Team and individual introductory notes must contain the following information:

Team input:

A) name of the team (group, people, country);

B) team legend:

Origin,

Important historical events,

Legends, traditions,

Rituals, religion,

Team Secrets;

B) team structure:

Control,

Social composition,

Relationships between layers and team members;

D) team relationships with others:

Friends,

Neutral forces;

D) the team's goals in the game.

Individual introductory notes:

A) game name;

B) age;

B) official biographical information;

D) current situation in society;

D) attitude towards others;

E) objects and personal secrets;

G) game information;

H) goals in the game.

"Role play method in training"

Role-playing method in training is one of the basic ones; it is used in most trainings of any type and for any audience.

Conducting a role-playing game

This stage is the most interesting for the participants and the most difficult for the presenters. No matter how complete and comprehensive the picture of the simulated world is, no matter how good the rules and preparation of the players are - all the same, playing the game requires a lot of physical and intellectual stress from the presenters.

When conducting a game, the presenter must regulate its progress, monitor compliance with the rules and act as an arbiter in the event of controversial situations. Most often, it is necessary to serve the game with several presenters, especially when holding large-scale games. In this case, the unanimity and competence of the leaders in the interpretation of the rules and picture of the world are important. The authority of the presenter must be indisputable.

To conduct large-scale games, it is necessary to have a main presenter or coordinator who has a permanent location and controls the entire course of the game; regional presenters supervising certain areas of the gaming territory; and a group of game technicians influencing the course of events according to the instructions of the presenters.

Depending on the requirements of the game, presenters may have individual roles or be outside the game. Their main task is to maintain the dynamism of events. On the other hand, one team or player should not be allowed to apply strong pressure when the majority of players cannot withstand the harsh pace of the game. In these cases, it is necessary to establish the cause of the overlap and restore the normal course of events by introducing new game factors or organizing forceful intervention.

Constant monitoring of compliance with the rules is necessary. Any violation of them must be immediately and effectively punished. For particularly gross or systematic violations, a player may be removed from the game. Naturally, it is necessary to balance the violation committed and the punishment imposed.

When conducting a game, it is important to organize well-functioning information support for the presenters throughout the game. Full awareness of current events will help to competently regulate the course of the game and prevent the occurrence of emergency situations.

Unusual situations arise during even a well-organized game. Players may discover inconsistencies in the rules, come up with an unusual move, or break the rules. In any case, the first thing you need to do is regain control of the situation. Often players try to put pressure on the leaders and seize the initiative. This cannot be allowed. The presenters must understand the current situation in detail and check it for compliance with the rules and picture of the world. If the question is beyond the competence of the regional leader, you must urgently contact the coordinator to avoid misunderstandings.

In conclusion, it is worth noting that it is necessary to strive to minimize forceful regulation of the game, which causes a painful reaction in players, and in the case of systematic use of forceful methods, can lead to hostility towards the presenters. We must strive to incorporate regulatory elements into game development. The main task of the presenters is to make the game interesting for the players.

"Corporate business games. Methodology for development and implementation"

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A game program can be considered as a set of various types of game activities, united by a plot, ensuring the activation and development of the individual. An indispensable condition for success is the integrity of the program: compositional structure, interaction of structural components, dynamics of development of the game task and ways to achieve a pedagogical result (what will be the result, what changes will happen to the child, what experiences, aspirations will be caused by this or that action, what will the child remember after the program ), a unified musical and artistic design.

Game programs meet the general principles of theatrical production art. The choice of topic in them should meet the interests and needs of the target audience. Bearing in mind that the focus is most often on children, it is necessary to take into account their age when choosing a topic and dosing loads during the game.

Compositional structure of the script: plot, development of action, climax. Scenario move. The game episode is the initial cell of the script.

Especially important for the game:

1. Entertaining and intriguing, unexpected turns that are programmed when constructing the composition

2. The possibility of different reactions from participants, which requires readiness for impromptu during the game

3. Providing players with the opportunity to make independent decisions during the general rules of the game.

Today, special attention is paid to the creation of games that involve a large number of participants in their action. Full-scale long-term games with their own characteristics have been invented. They are called their scenario games because such games usually have a certain storyline (scenario) and all the tasks in the game (objectives) correspond to this scenario basis. Such games, as a rule, take place over a fairly large area, involve a large number of players simultaneously, divided into two or more sides (teams) with a clear hierarchical control system within the team, and last for several hours at a time.

Such games are popular not only among children, so some of them are entertainment based on a commercial basis.

To implement a scenario, clear rules are required, as well as the presence of an impartial jury (arbiter) who monitors the participants’ compliance with the rules.

The main ideas of modern scenario (tactical) games are reconstructions of battles of the past or fantastic battles of the future born from the imagination of the organizers. Good organizers of a scenario game always strive to eliminate, if possible, dangerous areas in the territory where the action will take place and limit the size of this area. In some cases, it is necessary to pay special attention to the safety of players and take into account their improvisational capabilities.

Compositional construction of game programs

(Fragment of the work “Dramaturgical basis of the game program.”

Access mode:http:// bibliofond. ru/ detail. aspx? id=30192)

A script is a detailed literary description of an action. The script of the game program is a detailed literary and dramatic development of the theme and conflict. It clearly defines game episodes, their sequence, form and time of refereeing, and the inclusion of spectacular screensavers.

The development of any leisure program begins with defining the topic: what will be discussed? What will be the basis for the performance? Often the title itself already introduces the topic. Game programs can be devoted to the following topics: historical (memorable dates in the life of the country); heroic-patriotic (for example, “Hey, Slavs!”): sports-circus (“Strong, brave, dexterous”); literary (“Visiting Pushkin’s heroes”); musical (“Do-re-mi”): entertaining (“Eh. Semyonovna!”).

The theme of the script is determined by the range of phenomena and issues that currently concern the audience. From the range of issues and phenomena that concern the audience, the screenwriter selects the most relevant ones. They determine the theme of the script. Thus, the theme is understood as a range of life phenomena that should be artistically explored in the script. The concept of “topic” in V. Dahl’s “Explanatory Dictionary” is interpreted as follows: “the topic-task (position), which is explained, which is discussed.”

The screenwriter's second problem: for what? What will be the main conclusion of the presentation? For example, the theme is “Wide Maslenitsa”. The idea is an emotional release, a feeling of the Russian spirit and daring. Ideological understanding must be expressed in a specific and continuous chain of actions (games) played out in a bright and meaningful environment.

To unite disparate parts into a whole, speech ligaments, reprises, and poetic openings are selected. A significant place is occupied by explanatory texts, announcements, decoys, invitations to dances, games, participation in competitions, etc. All material collected by the screenwriter must be composed compositionally according to the laws of artistic montage. The next problem is finding a method for presenting game material.

Drawing up a game program involves skillfully creating a game conflict situation. This is the basis and core of the game action; no matter what we are talking about, problems are solved in a game way. The basis of any game is overcoming obstacles. The essence of the game conflict is the confrontation of forces, skills, dexterity, and erudition. Thanks to intense conflict and an interesting plot, many games acquire a kind of dramaturgy, representing small genre scenes full of humor.

Whatever the specific basis on which the game unfolds, its plot should include a set of situations that give the participants the opportunity to demonstrate their literary, musical, choreographic abilities, show off their wit, show erudition, and distinguish themselves in dexterity and dexterity.

Entertainment programs can use a variety of games. not directly related to each other. However, recreation organizers prefer a program structure in which a series of gaming entertainments are strung together into a single plot core.

A theatrical, plot-based game is a kind of story told in the language of quizzes, auctions, relay races, intellectual and artistic competitions, jokes, dances and songs. Thanks to the skillful directorial and dramatic organization, this story turns into a holistic one, played out by the forces of all those playing a mass performance. The plot allows you to logically arrange game episodes into a harmonious completeness. With the help of a plot, it is easier to provide such an arrangement of entertainment in which the overall game line develops upward, and tension and interest do not decrease, but increase.

A wide variety of conflict types are possible in the game:

    The presenter has a conflict with one player (or two), and everyone else is a spectator of the gaming competition.

    Conflict between the leader and the group, for example: How do you know Russian? Let's check: I call the object in the singular, and you call it in the plural. Shall we try? Etc.

    A conflict of equal numbers. For example, "Agile Porters".

Who can quickly transfer table tennis balls from one basket to another using Chinese sticks?

A wide variety of types of conflicts are possible in the game. These include not only the confrontation between two teams. Sometimes these are “Traps” - arguments (“repeat the tongue twister 3 times”), or game dialogues, a comic quarrel between personified hosts (clowns and clowns).

When there is no conflict, this is divertissement. The concert has no conflict. It develops through compositional construction.

The compositional basis of the script is plot. The concept of “plot” has had different meanings at different times. Initially, the plot was the main subject of the image. IN AND. Dahl in his Explanatory Dictionary defines plot not only as “subject and content,” but also as “the plot of an essay.” Later, plots began to be called works that depict logically related events.

The plot must ensure the dynamism of the action, developing according to the laws of drama: from exposition, beginning, through the build-up of action and climax to the denouement. The most rational construction of the plot is that. which devotes most of its time to rising action and climax. A short, shock ending should be extremely close to the climax. This will allow you not to film until the end of the intense intensity of the action and to have the most emotional and effective impact on the viewer.

In theatrical performances and holidays, the plot of the script should be understood as a dramatic arrangement of “facts of life” and “facts of art” in an order corresponding to the course of the study.

Choosing a venue for the game program. It is advisable that the hall where the game program is held be festively decorated (unless, of course, it is held outdoors). Among the possible options, it is advisable to use decoration with balloons or flowers. Flowers are much more expensive, but more sophisticated, but balls allow you to organize the space with more imagination and usually become the most acceptable solution. Garlands, chains, panels, vaulted arches - a knowledgeable designer will offer several dozen options.

The timing of lighting is also important. The presence of at least minimal stage and so-called disco light is highly desirable. Remember a pop theater or a nightclub and try to imagine that instead of spotlights, scanners and strobes, they turned on ordinary “home” lights. The “festiveness” and “carnival quality” of the atmosphere is lost.

Techniques and methods of working on material for the script. There are traditionally two ways of interaction between the screenwriter and the material.

First way. The screenwriter examines the facts associated with a certain event (or series of events), forms his own concept of what happened or is happening and writes a script, creating his own text based on what he has studied. P. Valéry, a French literary critic and essayist, has the expression “A lion is made of eaten lamb.” Whatever feeds the mind, imagination and fantasy of the screenwriter (lamb), he creates something new in relation to the studied material, remaining himself (lion) in his work.

Second way. The screenwriter selects documents (texts, audio-video materials), works of art or fragments from them (poems, excerpts from prose, vocal, instrumental and choreographic concert numbers) and, in accordance with his plan, joins them together using the so-called montage effect. A scenario arises, which is called compilation (compilation, from the Latin compilatio, - to collect).

But most often in dramatic work there is a mixed version. In this case, a document appears in the script along with the author's texts, and a famous film fragment appears next to the original song.

In different forms of theatrical performances, the proportions of processed and untouched material are different. For example, in the script of a theatrical concert, the original text is minimal, while the main part is occupied by numbers prepared by genre specialists, without prior orientation to the general concept. In the competition program it’s the other way around. The main thing is the author's game ideas and the text of the presenter, and the concert numbers that permeate the performance occupy a rather modest place.

In the practice of the holiday organizers, formal compilation also takes place. A combination of script episodes dedicated to the same topic and written by different authors in a new dramatic version. This kind of operation is not very fruitful and leads to nothing other than semantic and stylistic confusion.

However, no matter how artistic and documentary material is interpreted in the future, the problem of its selection first arises. Therefore, it makes sense to consider the main requirements for it.

First. Compliance of the material with the main components of the plan (theme, idea, genre, script flow).

Second. Stylistic compatibility of the material. The point is that, within the same scenario, the juxtaposition of literary texts by different authors almost always gives rise to bad taste. There are several reasons for this. Different artistic levels of the works used, the author's individuality.

And yet, some texts live side by side, despite the fact that they are separated by entire eras (in the time of writing), and some reject each other, despite thematic proximity. We observe the same phenomenon in other forms of art and even, oddly enough, in documentary films.

Third. The novelty of the material used. The constantly repeating thematic canon (the main cycle of holidays) leads to the same literary fragments, the same vocal works, the same feature films and documentaries wandering from script to script. Moreover, after the second, third, fourth performance, the real heroes begin to fade. All this leads to standard dramatic solutions, and hence the devaluation of the theatrical performance.

Fourth. Art material must be of high quality. You should not overuse poems from calendars, stories from second-rate newspapers and magazines. Poor material gives rise to a poor script.

Fifth. Documentary material must be truthful. First of all, this concerns information that is obtained exclusively. This is where the laws of journalism come into play. Regarding each controversial fact, you should listen to the opinions of several parties and get acquainted with different points of view.

The collection of material and further work with it depend on the concept and method of creating the dramatic basis of the theatrical performance. If a script is conceived on an original topic and the entire text is the author’s, and the method of creation is similar to the method of creating a theatrical play (the development of a dramatic conflict from event to event, embodied in stage images), the relationship between the creator and the “raw material” is traditional. The work is based on live observations, studied literature, collected documents, melted in the crucible of the author's imagination. Screenwriters who decide to take the borrowing route have completely different concerns. Then the characters, individual plot elements, and the vocabulary of folklore and literary works become the basis of the concept.

This method, oddly enough, is the most popular today. The following people from Russian fairy tales came to the festive venues: Ivan Tsarevich (or the fool), Emelya, Vasilisa the Wise, Baba Yaga, Kashchei the Immortal, Leshy, Vodyanoy; from European: Snow White. Cinderella, Little Red Riding Hood. The school stage is hosted by characters from children's literature: Dunno, old man Hottabych, Mary Poppins, Carlson, Alice the fox, Matroskin the cat, etc. The following are alive and well on the club scene: Chichikov, Ostap Bender, Vasily Terkin.

Borrowed characters are a long and strong tradition of folk theater and there is nothing reprehensible in this. All these heroes have long acquired the status of a mask with a stable social and moral aura.

Method of illustration and theatricalization. In order to structure an event dramaturgically, it is not enough to understand the laws of dramatic construction of a leisure event, to understand the specifics of one or another specific form of club work, it is necessary to be able to use the possibilities of illustration or theatricalization techniques.

What are the potential capabilities of two techniques essential for dramatic solutions - illustration and theatricalization? Let us emphasize that these are two fundamentally different techniques, but quite often the complete concept is replaced by another.

Illustrations and theatricalization are methods of artistic solution to a theme and they cannot be “introduced” into an event, because with their help it is organized and dramaturgically built. These techniques allow you to artistically organize all the material, dramaturgically subordinating the means of expression used (music, poetry, dance, etc.).

The method of illustration, like the method of theatricalization, does not imply a random, arbitrary assembly of poems, songs, dances and other expressive means, but organized dramaturgically in accordance with the theme of the event and the creative intent of its directors. In both cases, it is important to determine the extent and order of use of various expressive means that make up the material of the event.

Now let's try to define the peculiar boundaries between theatricalization and illustration. The purpose of the illustration technique is to enhance the perception of the content of the event by using various expressive means (documentary material, poetry, prose, music, etc.).

The task of all expressive means used in the structure of a mass event is to enhance its impact on the viewer, to transform, in modern language, information about this or that phenomenon or event into “aesthetic information,” that is, one that evokes a special feeling experiences, joys, pleasures.

Another technique, theatricalization, serves the same purpose, but through completely different means. Its pedagogical significance was highly appreciated by N.K. Krupskaya, emphasizing the possibility of using it to “influence” the emotional side of the event.

The real essence of theatricalization in modern club practice is the creation of a single “end-to-end action” at a mass event, which would not only unite and subordinate all the components used (poetic, prose, musical, film fragments), but would also create the necessary conditions for active action. the complicity of all those present at this event. In other words, it is theatricalization that turns the viewer-listener, the viewer-observer into a viewer-participant, that is, an “actor” (he performs simple stage tasks determined by the plan of the organizer).

The organizer’s choice of illustrating or theatricalizing the dramatic material depends on the correctly found harmonious relationship between the content and form of the event.



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