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

1. Picture of the simulated world;

2. Rules of the game;

3. Team and (or) individual introductory.

The whole course of the game depends on how thoughtful 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 fuller and brighter it is described, the more diverse and thoughtful the actions of the players will be. The description scheme is as follows:

A) the place of action;

B) time of action;

C) actors and their position;

D) important events that preceded the modeled 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, therefore their development must be carried out with legal scrupulousness, in order to avoid various interpretations. The main sections of the rules that apply in most games are:

A) military sphere:

Norms for types of weapons and fortifications,

Military actions,

Safety precautions;

B) political sphere:

The political structure of the simulated world,

Modeling of social relations,

Modeling of political and legal activities;

C) economic sphere:

Orientation of the economy,

Modeling of branches of economic activity,

Modeling of financial and economic activity;

D) physical and metaphysical laws of the simulated world:

Time structuring,

Moving around the playing area

magical ability,

Magic characters and objects;

D) spiritual sphere:

Culture (traditions, customs, art),

Religious cults of the simulated world.

3. Team and individual introductory

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

Command intro:

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

B) team legend:

Origin,

Important historical events,

Legends, legends,

rituals, religion,

Command secrets;

C) command structure:

Control,

social composition,

Relationships between layers and team members;

D) the relationship of the team with others:

Friends,

Neutral forces;

D) the goals of the team in the game.

Individual inputs:

A) game name;

B) age;

C) official biographical data;

D) the 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 play method in training is one of the basic ones, it is used in most trainings of any orientation and for any audience.

Conducting a role play

This stage is the most interesting for the participants and the most difficult for the facilitators. No matter how complete and comprehensive the picture of the simulated world is, no matter how good the rules and training of the players are, the game requires great physical and intellectual stress from the hosts.

During the game, the host must regulate its course, monitor compliance with the rules and act as an arbiter in case of disputes. Most often, it is necessary to service the game by 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 the picture of the world are important. The authority of the leader must be indisputable.

To conduct large-scale games, it is necessary to have a main host or coordinator who has a permanent place of residence and controls the entire course of the game; regional hosts in charge of certain areas of the gaming territory; and groups of game technicians who influence 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 keep events dynamic. On the other hand, one team or player should not be allowed to apply strong pressure when the bulk of the players cannot withstand the hard 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 a forceful intervention.

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

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

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

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

"Corporate business games. Development and implementation methodology"

The book presents exclusive material based on 16 years of practical experience of the author. All the necessary tools and complete scenarios of two corporate business games, the practical implementation of which began in 2001, are given.

The book is recommended to business coaches, organizational change consultants, personnel managers, heads of enterprises of all forms of ownership and types of activity as a tool for solving problems of team building, comprehensive assessment of personnel, its training and development.

The book provides all the necessary tools for conducting and analyzing a corporate business game. Game scenarios are as close as possible to business reality and involve all participants in the gameplay, from the beginning to the end of the game. Recommended!

REMINDER. Be simple.

Role Play Choice

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

Rice. 4.5. Role Play Choice

Each type of role-playing game described in this chapter reflects the justified 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 apply techniques that are appropriate for another, then there is a real danger of alienating students from the essence of the matter, disappointing or even harming them. On the other hand, combining the right type of play with the right style creates a sensitive and accurate learning tool.

5. PREPARING FOR THE ROLE PLAY

Presentation of the role play to the participants

The planning of a role play depends to a certain extent on its place in the overall 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 start 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 learned in other disciplines, then most likely it will fit seamlessly into the course and require minimal explanation. In any case, the amount of clarification 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 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 so fearlessly starts the role-playing game that no worries and doubts arise in the minds of the students. They willingly and enthusiastically undertake to play their parts in front of their peers, sometimes risking real or hypothetical criticism from the audience. In other cases, however, the mentor may run into serious obstacles before a group of middle-aged businessmen or immature self-confident youngsters are ready to genuinely share in the pleasure that the game promises them. Most mentors agree that the first entry into a role-playing game should be taken seriously.

The game is the leading activity of the younger student. It is in the game that many important life skills are trained, character traits are formed. AT primary 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 of conducting involves an impromptu acting out of a certain situation. Moreover, in most cases, the child during these games plays the role of an adult. Why is it necessary to conduct role-playing and business games in primary school? What kind of role-playing games can be played in elementary school?

Involving in such activities, students have to:

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

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

Role play as a means of developing communication skills

Communication in the game is spontaneous, students 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;
• the ability to conduct a dialogue;
• the ability to find a compromise solution.

In the process of play, relationships are established between children, which they then reproduce in real life. The children are taught such techniques and rules of communication, which in the future they can use in life situations similar in form. Playing the situation several times makes it possible for students to switch roles, try other behaviors, and conduct.

Mental development of children

Game activity plays a huge role in the process of mental development of children. The emotional component is also important. gameplay, because the most vivid trace in our memory is left by those events that hurt our feelings, cause a strong emotional reaction.

Thus, game activity enables the child to acquire invaluable own 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 the role-playing and business game

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

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

The structure of this type of game is rather 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 should play is defined;
• the conditions and environment in which imaginary events take place are indicated;
• describes the rules of the game that must be followed;
• there are moral and ethical guidelines that participants are required to use.

What is a role playing game?

Role-playing games- it is always a game of "something" or "someone". The basis of such a game is 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 characters.

Each child should play his role only within the framework of the game action, which can be directed to:

• substantive recreation 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;
• associated with the opening;
• route, i.e. travels;
• related to art;
• paramilitary;
• fabulous;
• fantastic.

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

Examples of the use of role-playing and business games in elementary school

Let's look at examples of what role-playing games can be played with younger students. Let's start with those games where it is proposed to play the role of children. The value of such games is that the children are given the opportunity to try out various options, play several behaviors and, on the basis of 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. It will be about the infinite 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, in turn performing the tasks of the teacher, must develop and equip their state. The tasks are as follows:

• Come up with the name of the planet and its inhabitants. Describe what they should look like.
• Make 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 for communication between children.

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

Students need to describe:

• what situation they lost;
• what topic was covered;
• how it is possible to apply the rules expressed during the game in the life of your class.

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

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

Zoo game

To conduct such a game, you need to prepare a large amount of inventory:

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

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

First, each group will have to choose an animal to care for. You can do this in random order, by drawing lots, or offer to guess riddles.

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

The main part of the game is that children should not only put the animal in the aviary, but provide care for it. The children are invited to find information on how to feed their beast, what conditions to create for it. You can take two or three days for this and continue the game after the students have prepared.

All the information that the children manage to collect will need to be voiced during the virtual tour. To do this, each group chooses 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.

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

At events dedicated to the study of the Rules of the Road, role-playing games can be held " road traffic”, “I am going home”, “We are at the crosswalk”, etc.

Game "Journalists"

First, the name and thematic features of the journal are announced. The editor-in-chief is selected from among the students in the class. He can be appointed or determined by voting of all members of the collective.

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. Pupils should think in which department it would be more interesting for them to work. The division into departments can also be done as a full-fledged role-play, where children need to write a job application, pass an interview and receive an appointment order.

After completing all the organizational aspects, it is necessary to start simulating the work of the editorial office. The children are offered the theme of the release and each department must prepare the material and submit it to print. An editorial board must be selected, which will check the compliance of the material 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 issue topic should be selected in accordance with the topic being studied in the classroom or extracurricular activities. The produced magazine should be used at the final collective event. Moreover, it is not enough just to show it, you need to view and analyze each page. In the end, you should thank all the editorial staff and, possibly, “pay” their salary.

Subject similar games very varied. You can invite children to work at a confectionery factory, in a pizzeria, in a hairdresser, in a store, clinic or at the post office. With the help of these games, students will understand the features of each profession.

Examples of games in the lessons in primary grades

Maths

Story games on professional topics may not be so complex, but only reproduce individual elements labor activity. For example, in a math lesson, you can invite children to play the game "Fishermen". They receive fishing rods, imitate setting the bait and throw the hook "into the water". In turn, the students catch the fish, on which the examples are written. After a successful catch, you need to complete the received task.

Russian language

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

We invite a fairy-tale hero

Children like to take part in games with a fairy tale or fantasy story. 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 to teach him how to write poems. Little Red Riding Hood can distribute cakes to schoolchildren 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 "Remove a fairy tale." Children need to get acquainted with the script, assign roles, prepare costumes and scenery. Allow time for rehearsals.

The purpose of such a game is not to simply stage the plot of a fairy tale, but to analyze its moral aspect. After the performance, the teacher should invite the students to discuss how the guys felt in the role of their heroes. Emphasis should be placed on those actions from which children felt embarrassed, consider them unfair. Such a conversation ends with the formulation of correct norms and behavior patterns.

Role-playing and business games have a huge potential for shaping younger students' readiness for independent activities in real life. Their use in elementary school allows you to captivate children, promote their development, revealing talents and individual qualities.

The game program can be considered as a set of various types of game activities, united by a plot, which ensures the activation and development of the individual. An indispensable condition for success is the integrity of the program: compositional construction, the interaction of structural components, the dynamics of the 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 this or that action will cause, what the child will 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 construction of the scenario: plot, development of action, climax. Scenario move. Game episode as the initial cell of the scenario.

For the game are especially important:

1. Amusement and intrigue, unexpected twists that are programmed when building a composition

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

3. Providing the players with the possibility of independent decision-making in the course of 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. Invented full-scale long games with their own characteristics. They are called their scenario games because such games usually have a certain storyline(scenario) and all tasks in the game (objectives) correspond to this scenario basis. Such games, as a rule, take place over a fairly large area, they involve a large number of players at the same time, divided into two or more parties (teams) with a clear hierarchical control system within the team, and they last several hours in a row.

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

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

The main ideas of modern scenario (tactical) games are reconstructions of the battles of the past or fantastic battles of the future born by the imagination of the organizers. Good organizers of a scenario game always strive to exclude, 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 the 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. en/ detail. aspx? id=30192)

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

The development of any leisure program begins with the definition of a topic: what will be discussed? What will be the basis of the presentation? Often the title itself already introduces the theme. 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 and 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, issues that are currently worrying the audience. From the range of issues and phenomena that excite 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 the "Explanatory Dictionary" by V. Dahl is interpreted as follows: "topic-task (position), which is explained, which is discussed."

The second problem of the screenwriter: for what? What is the main conclusion of the presentation? For example, the theme is "Wide Shrovetide". The idea is an emotional release, a sense of the Russian spirit and daring. Ideological comprehension should be expressed in a specific and continuous chain of actions (games) played out in a bright and meaningful environment.

To combine dissimilar parts into a whole, speech cords, reprises, poetic screensavers are selected. A considerable place is occupied by explanatory texts, announcements, calls, invitations to dances, games, participation in competitions, etc. All the material collected by the screenwriter must be compositionally built according to the laws of artistic montage. The next problem is the search for a method of presenting game material.

Drawing up a game program consists in the skillful creation of a game conflict situation. This is the basis and core of the game action, no matter what it is 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, erudition. Thanks to the tense conflict and interesting plot, many games acquire a kind of dramaturgy, representing small genre scenes full of humor.

Whatever the specific basis of the game, its plot should include a set of situations that enable the participants to show their literary, musical, choreographic abilities, show off their wit, show erudition, excel in dexterity and dexterity.

Entertainment-type programs may use a variety of game sets. not directly related to each other. However, recreation organizers prefer such a construction of programs in which a series of gaming entertainment is strung on a single plot core.

The 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 coherent story, played out by the forces of all those who play the mass performance. The plot allows you to logically build game episodes into a harmonious completeness. With the help of the plot, it is easier to provide such an arrangement of entertainment in which the overall line of play develops in an upward direction, and the tension and interest do not decrease, but increase.

There are various types of conflicts in the game:

The conflict of the presenter with one player (or two), and all the rest are the eyes of the game competition.

Leader's conflict with the group, for example: How do you know Russian? Let's check: I call the object in the singular, and you - - in the plural. Shall we try? Etc.

A conflict of equal numbers of parties. For example, "Nimble porters."

Who will quickly transfer table tennis balls from one basket to another using Chinese sticks.

There are various kinds of conflicts in the game. These include not only confrontation between 2 teams. Sometimes these are “Traps” - disputes (“repeat the tongue twister 3 times”), or game dialogues, a comic quarrel of personified presenters (clowns with a clown).

When there is no conflict, it 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 main subject of the image was called the plot. IN AND. Dahl in the "Explanatory Dictionary" defines the plot not only as "the subject and content", but also as "the plot of the composition." Later, plots began to be called works depicting logically interconnected events.

The plot should ensure the dynamism of the action, which develops according to the laws of dramaturgy: from the exposition, the plot, through the build-up of the action and the climax to the denouement. The most rational construction of the plot is that. which spends most of its time under the build-up of action and climax. With the climax, a short, shock denouement should be extremely close. This will allow not to shoot until the final tense intensity of the action and most emotionally, effectively influence the viewer.

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

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

The moment of lighting is also important. The presence of at least minimal stage and so-called disco light is highly desirable. Remember a variety theater or a night club and try to imagine that instead of spotlights, scanners and strobe lights, they turned on ordinary “home” lights. The "festivity", "carnival" of the atmosphere is lost.

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

First way. The screenwriter examines the facts associated with a particular event (or a series of events), forms his own concept of what happened or what is happening and writes a script, creating his own text based on what he has studied. P. Valery, a French literary critic and essayist, has an expression "A lion consists of eaten lamb." Whatever nourishes 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 using the so-called montage effect. A script arises, which is called a compilation (compilation, from Latin compilatio, - to collect).

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

In various forms of theatrical performances, the proportions of processed and untouched material are different. For example, in the scenario of a theatrical concert, the original text is minimal, while the main part is occupied by numbers prepared by genre experts, without prior orientation towards the general idea. In the competitive program, the opposite is true. The main thing is the author's game notions and the text of the presenter, and the concert numbers that permeate the performance occupy a rather modest place.

In the practice of the organizers of the holiday, there is also a formal compilation. Connection of episodes of scripts devoted to the same topic and written by different authors in a new dramatic version. This kind of operation is not very fruitful and, apart from a semantic and stylistic hodgepodge, does not lead to anything.

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 idea (theme, idea, genre, scenario).

Second. Stylistic compatibility of the material. It's about that, within the framework of one scenario, the adjacency of literary texts of different authors almost always gives rise to bad taste. There are several reasons for this. Different artistic level 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 epochs (according to the time of writing), and some reject each other, despite the thematic proximity. We observe the same phenomenon in other types of art and even, oddly enough, in documentaries.

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

Fourth. The art material must be High Quality. Do not abuse verses from calendars, stories from second-rate newspapers and magazines. Poor material creates a poor script.

Fifth. Documentary material must be true. First of all, this concerns information that is obtained in an exclusive way. This is where the laws of journalism come into play. With regard to each controversial fact, one should listen to the opinions of several parties, 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 theme and its entire text will be the author’s, and the method of creation is similar to the method of creating a theatrical play (the development of a dramaturgical 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 down in the crucible of the author's fantasy. Screenwriters who decide to follow the path of borrowing have completely different concerns. Then the characters, individual elements of the plot, the vocabulary of folklore and literary works become the basis of the idea.

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

Borrowed characters are a long and strong tradition of the 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 build an event dramaturgically, it is not enough to understand the laws of the dramatic construction of a leisure event, to understand the specifics of a particular form of club work, it is necessary to be able to use the possibilities of illustration or theatrical techniques.

What are the potential possibilities of two techniques essential for the dramatic decision - illustration and theatricalization? We emphasize that these are two fundamentally different methods, but quite often the complete concept is replaced by another.

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

The method of illustration, as well as the method of theatricalization, involves not a random, arbitrary installation of poems, songs, dances and other expressive means, but dramaturgically organized in accordance with the theme of the event and the creative plan of its directors. In both cases, it is important to determine the measure and order of using 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 task of illustrating is to enhance the perception of the content of the event by attracting 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 turn, in modern terms, information about this or that phenomenon or event into “aesthetic information”, that is, one that evokes a special feeling. experiences, joys, pleasures.

The same goal is served, but by completely different means, and another technique is theatricalization. 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 true essence of theatricalization in modern club practice is to create a single "cross-cutting action" at a mass event, which would not only unite and subjugate all the components used (poetry, prose, musical performances, film fragments), but also create the necessary conditions for an active effective participation of all those present at this event. In other words, it is theatricalization that turns the spectator-listener, the spectator-observer into a spectator-participant, that is, an “actor” (he performs simple stage tasks determined by the organizer’s intention).

The choice by the organizer of the reception of illustration or theatricalization of dramatic material depends on the correctly found harmonic relationship between the content and form of the event.

Description: The embodiment of selected work situations that allow the group to see the variety of approaches to solving the problem. Depending on the objectives of the training, this form of training may take the form of a game or exercise. It usually includes an element of competition or role reversal. In many cases, the roles of employees of some organization (salespeople, managers, leaders, etc.) are distributed among the training participants. Participants receive data “entering the game” - a condition, a description of role behavior. Mandatory instructions for each participant.

Impact on group dynamics:

Increases: tight time frames, video camera, feedback only from the coach, illiterate feedback, if not long and clear, if there are time limits. When the game - as a result of the lesson.

Reduces: deroling (out of role), soft format, positive feedback (Feedback) from participants, humor, reaction, involvement of other participants. Stretching in time. Lack of clarity about who does what. You can not turn the game into rural amateur performance. The members start to get bored.

Number of participants: up to 5 people in one game.

Role-playing algorithm:

1) Choose an active participant. You give instructions.

2) Choose a supporting participant. Give instructions.

3) Read the tasks to the group.

4) Give time for preparation (2-3 minutes).

5) Indicate how long the game will last. (no more than 5 minutes)

6) After - deroling (denoting the exit from the role of players, "You are now not a manager, but a participant in the training - Vasya")

7) Ask active players if they did everything they wanted. You give the opportunity to “name the mistakes themselves”, to remove the negative.

8) Discussion in the group. Analysis of actions according to specified criteria (whether they followed the technology of making contact, non-verbal behavior, etc.

9) Give eco-friendly feedback.

In short, here is a summary table for the conscious use of role play during training. And not in order to "take time."

Role playing is a systemic action. It is wrong to give a role-playing game immediately after the information is given!

Remember the order of actions during the classic skill development module:

elemental exercise		complex action		ROLE-PLAYING GAME
1 element: for example the phrase greeting and contact.		2 elements: contact + question to clarify the need		3 elements: Contact + Need + Presentation

An example of a role-playing game for the training of sales representatives: “Making contact during a visit to a sales outlet

1. Instructions to the active participant:You are a sales representative.

You arrive at a retail outlet and find out that the owner of the outlet has suddenly left on urgent business for a month.

In his place is his son (28 years old), he is endowed with all powers. But you don't know him. The owner's son is unaware that you almost agreed to supply 100 sets.

2. Instruction to the accompanying participant: You are the son of the store owner.

You are 28 years old. You finally got the opportunity to manage your father's affairs. Today is your second working day. In the morning there was an unpleasant conversation with the tenants of the shopping complex. Now you are talking with a sales representative, you see him for the first time, and you know nothing about him, the product, or past agreements.

3.Group instruction:

Now you will see the beginning of the conversation between the sales representative and the new owner of the outlet. This is their first meeting, they must establish contact. Carefully follow the course of the conversation, note the actions of each interlocutor that contributed to establishing contact.

Example role play for retail sales training: “Fitting and closing the sale”

You need to complete the sale by offering to try on the shoes for a middle-aged man. The man liked the specific shoes, but he behaves a little strange.

2. You are a man who liked the shoes of the Sport asset line.

Would you like to try on, while there are doubts about the appropriateness of the acquisition. There is a discount card. There is a hole in the left toe. In a particular store for the first time. If your feet in boots are praised, buy. You will pay by card.

3. Group instruction:

Now you will see the communication between the client and the seller - consultant at the stage of fitting and completion of the sale. Carefully follow the course of the conversation, note the actions of the seller - consultant, which contributed to the completion of the sale.

Example role play for training retail sales: “Clarification of the need”. (Sale of air conditioners)

1. Instructions to the active participant. You are a sales consultant.

Your task is to find out the needs of the client and offer him an equipment option that meets his needs.

2.Instruction to the accompanying participant. You are a married man. Your wife recently became ill with a heart. Since the whole week, it's hot, and the apartment is on the south side. Doctors said that this attack was weather-conditioned, that it was the elevated temperature in the room that led her to such a state. You have surrounded her with fans on all sides, but she is unhappy with her blowing hot air strongly, while, as she says, everything around rumbles and makes noise, and it is impossible for her to sleep. You need an air conditioner that suits your needs. Since the purchase is unplanned, you plan to buy a simple air conditioner. You make a decision about the purchase, depending on the actions of the seller!

3.Group instruction:

Now you will see the communication between the client and the seller - consultant at the stage of clarifying the needs and presenting the proposal. Carefully follow the course of the conversation, note the actions of the seller - consultant, which contributed to the clarification of the need and the formation of the proposal.

Example role-playing game for the training of managerial skills:"Management Conversation"

1. Instructions to the active participant. You are a retail store manager.

You need to have a motivational conversation with the salesperson A.P. Petrova. She is regularly late for work. You are interested in this employee. She proved to be an active and competent employee. Do you know that she has Small child, and you assume that this is the reason for the delays. However, you need to ensure that all employees, without exception, adhere to the working hours.

2. Instruction to the accompanying participant. You are the seller Petrov A.P.

You are satisfied with your work. You have a small child 3.5 years old. He doesn't like to go to Kindergarten, often delays fees in connection with which you are late for work. You hope that the store manager will enter into your position, because know that he is interested in you.

3.Group instruction:

Now you will see a conversation between a retail store manager and a salesperson. Carefully follow the course of the conversation, note the methods of conducting a managerial conversation.

—> Do you want to get real training tools in 7 days?