Description: The embodiment of the selected work situations, allowing the group to see the variety of approaches to solving the problem. Depending on the objectives of the training, this form of education can be in the form of a game or exercise. It usually includes an element of competition or exchange of roles. In many cases, the roles of employees of a certain organization (salespeople, managers, executives, etc.) are assigned between the training participants. Participants receive the data of "entering the game" - a condition, a description of the role-playing behavior. Mandatory instruction for each participant.

Impact on group dynamics:

Increases: tight time frames, video camera, feedback only from the trainer, illiterate feedback, if not protracted and clear, if there is a time limit. When the game is as a result of the lesson.

Reduces: deroling (leaving the role), soft format, positive feedback (feedback) from participants, humor, reaction, involvement of other participants. Stretch in time. Unclear tasks, who does what. You cannot turn the game into a rural amateur performance. The participants start to get bored.

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

Algorithm for the role-playing game:

1) Choose an active participant. Hand over the instructions.

2) Choose the player to play along with the instructions.

3) Read the assignments 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 (denote 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 mistakes yourself”, remove the negative.

8) Group discussion. Analysis of actions according to the specified criteria (whether the technologies of making contact, non-verbal behavior, etc.)

9) Give green feedback.

In short - here is a summary table for the deliberate use of role play during training. And not to “take time”.

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

Remember the order of actions during the classic module for practicing a skill:

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

Example of a role play for training sales representatives: “Getting in touch during a visit to a sales outlet

1. Instructions for 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 the powers. But you don't know him. The owner's son is not aware that you have almost agreed to supply 100 kits.

2. Instructions for the player to play along: You are the son of the store owner.

You are 28 years old. You are finally able 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 to a sales representative, you are seeing him for the first time, and you do not know anything about him, or about the product, or about past agreements.

3.Group instruction:

You will now see the start of a conversation between the sales representative and the new outlet owner. This is their first meeting, they must establish contact. Closely follow the course of the conversation, note the actions of each interlocutor, which contributed to the establishment of contact.

Example role play for retail sales training: “Fitting and Completing the Sale”

You need to end the sale by asking a middle-aged man to try on the shoes. The man liked the specific shoes, but he is acting a little strange.

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

You want to try it on while there are doubts about the expediency of purchasing. There is a discount card. There is a hole on the left toe. At a particular store for the first time. If your feet in boots are praised, buy one. You will pay by card.

3. Group instruction:

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

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

1. Instructions to the active participant. You are a salesperson - a consultant.

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

2.Instructions to the player playing along. You are a married man. Your wife recently had a heart problem. Since the whole week, it's hot, and the apartment is on the south side. The doctors said that this attack was meteorological, that it was the increased temperature in the room that had led her to this state. You furnished her with fans on all sides, but she is unhappy with the strong blowing of hot air at her, while, as she says, everything around her is rumbling and noisy, and it is impossible for her to fall asleep. You need an air conditioner that suits your needs. Since the purchase is unplanned, you are planning to buy a simple air conditioner. You make the decision to buy depending on the actions of the seller!

3.Group instruction:

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

Example role-play for management skills training:"Management Conversation"

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

You need to conduct a motivational conversation with the seller Petrova AP .. She is regularly late for work. You are interested in this employee. She proved to be an active and competent employee. You know that she has a small child, and you suspect that this is the reason for the delay. Nevertheless, you need to ensure that all employees, without exception, comply with the working schedule.

2. Instructions to the player playing along. You are the seller Petrova A.P.

You are happy with your job. You have a small child 3.5 years old. He doesn’t like going to kindergarten, he often drags out fees, and therefore you are late for work. You hope that the store manager will come into your position, because know that he is interested in you.

3.Group instruction:

You will now see a conversation between the retail store manager and the salesperson. Closely follow the course of the conversation, note the techniques of conducting a managerial conversation.

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

1. Picture of the simulated world;

2. The rules of the game;

3. Team and (or) individual injections.

The whole course of the game depends on how well thought out this data packet is.

1. Picture of the simulated world

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

A) the place of action;

B) duration of action;

C) the characters and their position;

D) important events preceding the simulated period

Time;

E) the situation at the beginning of the game.

2. Rules of the game

The rules are the main Law of the game, therefore, 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 are:

A) military sphere:

Norms for types of weapons and fortifications,

Hostilities,

Safety engineering;

B) the political sphere:

The political structure of the simulated world,

Modeling social relationships,

Modeling political and legal activities;

C) economic sphere:

Orientation of the economy,

Modeling the 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 items;

D) the 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 introductions help participants better understand their role, define their place in the simulated world and outline a line of behavior. Team and individual injects should contain the following information:

Command Introductory:

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

B) Team Legend:

Origin,

Important historical events,

Legends, traditions,

Rites, religion,

Team secrets;

C) command structure:

Control,

Social composition,

Relationships between layers and team members;

D) the relationship of the team with others:

Friends,

Neutral forces;

E) the goals of the team in the game.

Individual introductory notes:

A) play name;

B) age;

C) official biographical data;

D) the current position in society;

E) attitude towards others;

F) items 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.

Role play

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

When playing a game, the presenter must regulate its course, monitor compliance with the rules and act as an arbiter in the event of disputable situations. Most often, it is necessary to service the game by several hosts, especially when conducting 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 presenter or coordinator who has a permanent place of residence and controls the entire course of the game; regional leaders in charge of certain areas of the playing area; 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, the presenters can have individual roles or be outside the game. Their main task is to maintain the dynamism of events. On the other hand, a single team or player should not be allowed to exert strong pressure when the bulk of the players cannot withstand the tough pace of the game. In these cases, it is necessary to establish the cause of overlaps and restore the normal course of events by introducing new game factors or organizing forceful intervention.

Constant monitoring of compliance with the rules is required. Any violation of them must be punished immediately and effectively. For particularly gross or systematic violations, it is possible to remove a player 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 the events that are taking place will help to correctly regulate the course of the game and prevent the occurrence of emergency situations.

Abnormal situations arise when conducting even a well-organized game. Players can find inconsistencies in the rules, come up with an extraordinary move or break the rules. In any case, the first step is to regain control of the situation. Players often try to put pressure on the hosts and seize the initiative. This should not be allowed. The presenters must understand the situation in detail and check it for compliance with the rules and the picture of the world. If the question is higher than 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 forceful regulation of the game, which causes a painful reaction in the players, and in the case of a systematic use of forceful methods, it can lead to hostility towards the leaders. One should strive to incorporate regulatory elements into the development of the game. The main task of the presenters is to make the game interesting for the players.

"Corporate business games. Methods of development and implementation"

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 for business trainers, organizational change consultants, HR managers, heads of enterprises of all forms of ownership and types of activity as a tool for solving problems of team formation, a comprehensive assessment of personnel, training and development.

The book contains 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!

* on a territorial basis:

1. Board role-playing games

This class includes such fashionable games in the West as "Dungeons & Draagons" ("Dungeons and Dragons", English) and their simplified variations. These are the simplest games in terms of technical requirements. The player only needs paper and a pen, as well as a developed system of rules and information cards. Most games require a trained facilitator, but there are games that can be played without one. Preliminary preparation of the players is not required.

2. Pavilion role-playing games

Pavilion games include indoor games in which it is possible to simulate vast territories and processes. Presence of entourage and appropriate equipment is desirable. These games require the presence of facilitators to regulate the course of the game. The preparation of the participants depends on the level of difficulty of the given game. It is possible to include elements of board games.

3. Role-playing games on the ground

This is the most complex game in terms of typical requirements, especially when it is played over several days and requires solving transport and domestic problems. As a rule, to conduct a role-playing game on the ground, you need elements of the entourage, costumes for participants, game and tourist equipment. To conduct large-scale role-playing games, it is necessary to have trained game technicians and an administrative group who prepare in advance for the event and supervise the preparation of the participants.

* by difficulty levels:

Based on the experience of the development of role-playing games in Russia, it can be determined that the division of games by difficulty levels often coincides with the thematic division of games, which gave impetus to the formation of the corresponding terminology in the circles of fans of role-playing games.

1. War games

These are games like "Zarnitsa". Developing biographical and team legends and modeling economics, politics and culture are usually kept to a minimum. The duty of the organizers is to create an image of the game world, the conditions and laws of its existence, as well as control over the observance of the rules during the game, when the solution of all game issues is mainly made by force of arms.

2. Fairy games

These are war games with fairy tale characters and magic. As a rule, the development of legends, a picture of the world and the rules of the game becomes more difficult. It is necessary to increase the level of players and the responsibility of the organizers.

3. Historical and ethnographic games

They can be conducted based on both historical events and literary works, or according to the organizers' own designs. Conducting historical and, especially, historical and ethnographic games requires detailed development of legends, modeling of politics, economics, the spiritual sphere, elements of material culture and other areas of life of the period chosen for the game. This facilitates detailed acquaintance of the participants with the living conditions of the simulated historical period or region.

4. Information games

The ego is the most relaxed class of games, because their participants are very limited in the choice of active play actions. The second name for such games is intellectual, because game issues are resolved with the help of political, economic and magical leverage. Military action in such games is minimal or absent. When preparing intellectual games, a versatile training of participants (theoretical, theatrical, psychological) and game technicians is required. Elements of an information game can be present in games of any class, but for a certain circle of players, an intellectual game is of greater interest in its pure form.

* by creation method:

1. Base games

These games are based on an attitude towards the idea of ​​a historical or literary source. Basic facts, laws and conditions of existence of the chosen world are taken. Situations that may arise when these conditions change are checked.

2. Conditional games

All conditions and laws of existence of the game world are developed by the creators of the game independently. Down to physical, biological and historical.

* by target feature or by length:

1. Target games

In the scenario of games of this class, it was initially laid down that when a group of players (or an individual player) reaches a certain goal, they (or he) are declared the winners, and the game ends there,

2. Open end games

The game scenario of this class has a time limit for the game. A careful study of the scenario is necessary, suggesting the possible directions of the course of the game. Each player has at least one goal. Its implementation is not the end of the game for him. The emergence of new, more global goals is possible. The main criterion for the preparation of a participant in the game is his ability to get used to the game image and carry it to the end, supporting the concept of the given world.

3. Non-stop (Games without stopping)

The scenario of the game of this class will be created in such a way that the players have the opportunity to continue the game from the place where it ended yesterday - and so on ad infinitum. The simulated world is improving and developing, and the players are improving with it.

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

1. Picture of the simulated world;

2. The rules of the game;

3. Team and (or) individual injections.

The whole course of the game depends on how well thought out this data packet is.

1.Painting the simulated world

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

a) place of action:

b) duration of action;

c) characters and their position;

d) important events preceding the simulated time period;

e) the situation at the beginning of the game.

2. Rules of the game

The rules are the main Law of the game, therefore, 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 are:

a) military sphere:

Norms for types of weapons and fortifications;

Hostilities;

Safety engineering;

b) political sphere:

Political structure of the simulated world;

Modeling social relations;

Modeling political and legal activities;

c) economic sphere:

Orientation of the economy;

Modeling the 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 items.

e) the 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 introductions help participants better understand their role, define their place in the simulated world and outline a line of behavior. Team and individual injects should contain the following information:

Command Introductory:

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

b) team legend:

Origin;

Important historical events;

Legends, traditions;

Rites, religions;

Team secrets.

c) command structure:

Control;

Social composition;

Relationships between layers and team members;

d) the relationship of the team with others:

Neutral forces.

e) the goals of the team in the game.

Individual introductory notes:

a) play name;

b) age;

c) official biographical data;

d) the current position in society;

e) attitude towards others;

f) items and personal secrets;

g) game information;

h) goals in the game.

Role Play Algorithm

The algorithm is responsible for the cognition of new feelings and awareness of thoughts.

Algorithm "Intrigue"

From the name of the algorithm, it can be understood that the dynamics of the game is based on the achievement of some of their interests or goals by each player, as in an ordinary "book" intrigue, and according to the laws of the genre, several players are trying to achieve the same goal. The dynamics of the algorithm is based on the rivalry of the players. But unlike a military clash, where the decisive factor is the ability of the fighters to cover themselves and their comrades with a shield and to strike with a sword in the resulting gaps in the enemy's shields, here the winner is the one who has collected the most complete information about the players. And again, according to the laws of the book genre, each player, in addition to the goal and information that helps him achieve this goal, has personal compromising evidence that is known to someone and can also be used

rival.

Each algorithm is broken down into factors that provide the dynamics of this algorithm.

Intrigue Algorithm Factors

1. The factor of preparation of the participants.

It is very important for intrigue that the player is aware of his goal. Awareness of the goal by the player occurs as a result of the personal work of the master with the player, when the master tells the player everything he needs to know. It is very important that the player's potential matches the set goal. In addition, the goal should not be overtly rejected by the player.

2. The factor of elaboration of goals.

This is possibly the determining factor for the algorithm. As mentioned above, the goal must match the potential of the participant. This means that the GM must be aware of the player's capabilities and what he will undertake in order to achieve the task at hand. In addition, each player must imagine what moves he will take to achieve his goal, it is possible that what he represents is not entirely true, but this is not important, since the main thing is that he does not sit and painfully think about what he would like the main action is taken. In addition to the player understanding his moves, the master must provide a constant reminder to the player of the tasks that are assigned to him. If there is a noticeable difference in the potentials of the players for the stronger ones, it is recommended to introduce restrictions. Like: low social status, inability to kill rivals.

3.Factor features of goals.

The following features of intriguing goals can be noted: The goals must be associated with some objects or persons.

Players may use items or services of persons only once and one person strictly.

You can consider two options for tying goals of different players to each other:

a) Option (Beads). The goals of the players stand, as it were, one behind the other, that is, the tasks of one are connected with the tasks of the other. For example: One of the players owes a large amount of money, then to whom he owes, he is also obliged to pay by IOU, etc. The targets are like beads strung on one thread, each bead must "do" something different and this other must for
completing a task, doing something followed.

b) Circular option. In this version, the goals are tied to each other in a circle, the last is tied to the first. But it is possible that with a simple circular interest, the players will quickly find a common language, so it is necessary to establish relationships, as it were, within a circle. So that the goal of the first and the rest of the players was connected not only with the subsequent ones, but also
in a chaotic manner so that it would be impossible to find the ends of the intrigue.

4. The factor of maintaining the goal.

The goal should shine on the participant throughout the game, as it is a spring that pushes a person to action. In the course of the game, under the influence of surrounding events, a person may temporarily forget his goal, and then in a rapidly changing game world it will be very difficult to find the ends by which it will be possible to find out the necessary information. For example, a player was attacked by bandits, he ran away from them, then he was accused of something, the player begins to unravel this accusation, etc. This situation is very common for R.I.

5. Factor of maintaining decency.

The concept of "decency" refers to factors that do not bark the player to achieve his goal in one fell swoop. In general, we can say about algorithms that they build dynamics, creating various difficulties and forcing the player to overcome them, role-based modeling ensures that the difficulties are varied, as well as the ways to overcome them. And so, decency means a certain code that must be followed by the players, and difficulties arise precisely because the code must be followed. In particular, it is much easier for a player to whom the introduction says that he must repay a debt to someone, it is much easier to shoot his creditor than to save money for a long time and persistently. To prevent this from happening, it is necessary either to prohibit murder, or to make it technically very difficult.

There are the following methods that can force the player to observe decency:

The presence of the law. And not just its existence as a book, but the law as an institution. For a beginner master, this is difficult.

The impossibility of physical contact between the parties. For example, both sides fly in spaceships and can only talk over a videophone.

The dependence of the player on the moral person, which determines for the player what norms he must follow. It can be a good magician and the Pope, etc.

The most important thing in this factor is the maximum burden of murders.

6. The factor of playing dirty stories in the game and the presence of compromising evidence on each player.

Dirty stories and compromising materials mean information that players collect about their opponents to achieve their goals. An example of such a "dirty" story is the plot of Dumas O pendants, if Richelieu had not learned the story of pendants, then Anna would hardly have spent so much time eliminating the danger of being exposed by the cardinal. If this situation were repeated in the role-playing game, then Anna, while solving her problem with the suspensions, would move herself out of the way of other players, thereby making it easier for them to solve the problem. It is useful to superimpose the algorithm on another situational or game, for example, the action of the main game takes place in the royal castle, and the king wages a war on the northern borders, where the courtiers who are especially guilty before the crown can be exiled. Naturally, the person who is being exiled to this war leaves the game. Thus, the factor of observance of decency is observed, the dynamics of intrigue is also observed; the person was compromised, and he lost, i.e. he was taken out of the game. All of the above is the dynamics of the algorithm, that is, what makes a person perform actions in a certain logic, and in this case, such logic is the collection of information about all players and its timely use.

Participation in role-playing games can be classified according to “depth of immersion”. The level of participation rises depending on the preparedness of the player and his experience.

1. Passive participation ("Excursionist")

At this stage, the participants do not take active action, but only observe the development of the plot, played out by a group of game technicians or more experienced players. In the intervals between game events, they can freely move around the game territory and ask questions. Play clothes are desirable.

2. Limited participation ("Slave")

Participants are directly involved in the game. They are dressed in play clothes, are divided into teams or have individual roles, but their initiative is limited to the leaders. A group of game technicians, according to a flexible scenario, in which key moments are planned in advance, plays theatrical fragments, with the help of which the current situation is explained and an impetus for the further course of the game will be given.

3. Free participation ("Player")

To conduct such games, the participants must have experience and clear work of the presenters. Players independently determine their actions in the game. They develop their own personal and team legends based on mastery settings. Game costumes, weapons and other attributes are made by players or provided by the hosts. Theatrical moments can also take place in the game, but basically the course of the game depends on the participants themselves. In such games, the hosts monitor the rules and regulate the course of the game.

The structural diagram is a conditional algorithm for the development, implementation and analysis of a role-playing game. Not all points of the given scheme must be taken into account when creating games of various classes, but the authors of this publication have tried, based on their experience, to provide the most complete scheme for a multidimensional role-playing game.

Paradoxical as it may seem, but a serious obstacle to the use of games in teaching and upbringing is professional pedagogical training and pedagogical experience.

Firstly. Many functions in the work of a teacher can be called "inspector's": to maintain discipline, monitor the correct and timely completion of tasks, etc. In the game, the inspection functions are practically forbidden: they destroy the game itself. Of course, the organizer of the game solves pedagogical problems, but unlike the "classical" teacher, he is deprived of the possibility of direct influence on the players, he cannot directly order the players, punish the offenders, explain how to act correctly. The task of the game organizer is to make the game “order, punish and explain” to the players.

Secondly. The organizer of the game can only influence the course of the game, but cannot determine it. In this sense, the results of the game, unlike other forms of pedagogical work, are unpredictable (in the sense of a rigidly set result). The game is a product of collective creativity and the contribution of the players to it is comparable to that of the organizer of the game. This is due to the difference in the types of pedagogical goals of the game and the training session. In the game, it is important not to master certain knowledge, skills and abilities (although this happens), but to build a personal relationship and personal understanding of the events experienced during the game. A personal relationship cannot be right or wrong, it either arises or it does not. And the attitude of the players to the past game may not be at all what the organizers of the game assumed. In this regard, the actions of the master in the game run counter to the principles of classical didactics.

On the other hand, on the part of the players, the incorrect or irresponsible work of the game organizers gives rise to a very negative phenomenon - "game addiction". That is, such a state of affairs when the game turns for a person into the only space for action. A person uses the game as compensation for his own failure in life. Most often this is due to the construction of games according to a template: in several games in a row, those situations are repeated from which the team of players has already learned to successfully get out. After a series of similar games, the players develop the illusion of their own "coolness" - "we know everything, we can do everything," and, as a result, the desire to act only in the already mastered area - in the game.

Control questions and tasks:

1. Compare the definition and essence of the "business game".

2. What are the main classifications of "role-playing games" and their signs.

3. What are the algorithms for "role-playing"?

Conclusion

“With the development of scientific and technological progress, the amount of information required for assimilation is increasing. It was found that information quickly becomes out of date and needs to be updated. It follows from this that learning, which is focused mainly on memorizing and preserving material in memory, will only partially be able to meet modern requirements. This means that there is a problem of the formation of such qualities of thinking that would allow the student to independently assimilate constantly renewed information, the development of such abilities that, preserved even after the completion of education, provided a person with the opportunity to keep up with the accelerating scientific and technological progress. " From this we can say that new methods and approaches in teaching are needed that could teach students to learn, i.e. independently find and assimilate the necessary information. After all, what is learned independently is learned better by trial and error.

Conclusion.

The game gives freedom... The game is not a task, not a duty, not a law. You cannot play by order, only voluntarily.

The game gives a break from everyday life, with its utilitarianism, with its monotony, with the rigid determination of the way of life. The game is extraordinary.

The game gives way to a different state of mind... Obeying only the rules of the game, a person is free from all class, materialistic and other conventions. The game removes the harsh tension in which a teenager is in his real life, and replaces it with a voluntary and joyful mobilization of spiritual and physical strength.

The game gives order. The system of rules in the game is absolute and undeniable. You can't break the rule and be in the game. This quality of order is very valuable now in our unstable, disorderly world.

The game creates harmony... Forms a desire for excellence. The game tends to get beautiful. Although there is an element of uncertainty in play, contradictions in play tend to be resolved.

The game gives you passion. There is no partial benefit in the game. It intensively involves the whole person, activates his abilities.

The game makes it possible to create and unite a team. The attractiveness of the game is so great and the game contact of people with each other is so full and deep that the game communities show the ability to persist even after the end of the game, outside of its framework.

The game gives an element of uncertainty, which excites, activates the mind, tunes in to find optimal solutions.

The game gives the concept of honor. She opposes selfish and narrow-group interests. It is not important for her who will win, but it is important that the victory is won according to all the rules, and that courage, intelligence, honesty and nobility are displayed with the maximum completeness in the struggle. The game gives the concept of self-restraint and self-sacrifice in favor of the team, since only a "well-played" team will achieve success and perfection in the game.

The game compensates neutralization of the shortcomings of reality. The illusory harmonious world is opposed to the harsh world of reality - the antipode. The game gives romanticism.

The game gives physical improvement, since in its active forms it presupposes training and use in game fencing, the ability to navigate and move over rough terrain, moreover, in armor and with game weapons.

The game will provide an opportunity to show silt and improve the oi creative skills in creation of the necessary game paraphernalia. These are weapons, armor, clothing, various amulets, charms and more.

The game gives the development of imagination, because it is necessary to create new worlds, myths, situations, rules of the game.

The game gives a strong interest in good literature, since the role-playing game is created by the method of literary modeling. To create your own world, you need to read about others in advance.

The game gives you the opportunity to develop your mind, because it is necessary to build an intrigue and implement it.

The game gives the development of wit, since the process and space of the game necessarily presuppose the emergence of comic situations, jokes and anecdotes.

The game gives the development of psychological plasticity... The game is far from just a competition, but also theatrical art, the ability to get used to the image and bring it to the end.

The game will give the joy of communicating with like-minded people.

The game gives the ability to navigate in real life situations, playing them repeatedly and as if for fun in his fictional world. Gives psychological stability. Relieves the level of anxiety, which is now so high among parents and transmitted to children. Develops an active attitude towards life and a sense of purpose in achieving the goal.

Business games, despite their practical significance, are acceptable only as an additional method of teaching in organic connection with theoretical studies. Basically, they do not imply the development of the only correct solution. Their value lies in stimulating a large number of ideas and ways of their implementation, in the ambiguity of decisions made, the nature of which is determined by a specific learning situation.

At the same time, it should be noted that modern business games, despite their shortcomings, still give a learning effect due to the presence in almost all games of the moment of discussion, discussion and analysis by the participants of their actions among themselves and with the game coordinator.

In business games on the basis of a game concept, life situations are simulated: the game provides the participant with the opportunity to play the role of a guide, teacher, judge, director, etc. The use of business games significantly strengthens the connection (student - teacher), reveals the creative potential of each student. The experience of conducting a business game has shown that in its process there is a more intensive exchange of ideas and information, it encourages the participants to the creative process.

In recent years, business games have generally been used in three different ways:

■ learning game

■ training game

■ play - research

However, it should be noted that these games are not used in their pure form; each specific business game carries the interweaving of the above aspects, or in accordance with certain goals of the game, an acceptance can be made on any one aspect.

GLOSSARY. "Business games"

Business game - a method of imitation (imitation, image) of decision-making in various artificially created situations by playing the appropriate roles, individual and group, according to the rules set and developed by the game participants themselves.

If the game is conducted by economists, then it is called a business game, less often a management game or an operational game. In the field of politics, urban planning, the term "simulation game" is usually used. The most common and common, perhaps, in the West is the term "imitation game" or "play imitation".

Simulation model - the indicative structure of the reproduced activity given in a specific material form reflects the selected fragment of reality, which can be called the prototype of the model or the object of imitation, setting the subject context of the professional activity of a specialist in the educational process.

Game model is actually a way of describing the work of participants with a simulation model, which sets the social context of the professional activity of specialists.

Game subject - this is the subject of activity of the participants in the game, in a specific form replacing the subject of real professional activity.

Scenario - this is a basic element of the game procedure, it reflects the principles of problematicity, two-dimensionality, joint activity. A business game scenario is understood as a verbal or graphic description of the subject content, expressed in the nature and sequence of actions of the players, as well as the teachers playing the game. The scenario shows the general sequence of the game, broken down into main stages, operations and steps, and presented in the form of a flowchart.

Rules of the game - reflect the characteristics of real processes and phenomena that take place in the prototypes of the simulated reality. At the same time, the rules of the game should reflect the fact that both the models created in the game and the game itself are a simplification of reality.

Grading system should ensure, on the one hand, quality control of decisions made from the standpoint of the norms and requirements of professional activity, and on the other hand, facilitate the development of the game plan of educational activities.

Role-playing game - a model in which a person is faced with an uncertain situation, when in the absence of a natural spontaneous "organism" in which real activity exists, it is necessary to reproduce this activity. In order to solve such a problem, the playing-performer of this or that role must bring the content of real activity into the "empty" situation.

Organizational game:

· Form of organization of collective thinking activity;

· Means and method of programming, design and planning of complex complex developments;

Means, method and form of translation of problem situations into bundles and packages of professional and subject tasks, i.e. method of problem solving.

Reflection - thinking about your inner state, introspection.

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

Game programs meet the general principles of theatrical and staging art. The choice of a topic in them should meet the interests and needs of the target audience. Bearing in mind that the orientation is mostly aimed at children, it is necessary to take into account their age when choosing a topic and dosage of loads during the game.

Compositional construction of the script: the plot, the development of the action, the culmination. Scenario move. A game episode as an initial scenario cell.

The following are especially important for the game:

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

2. Possibility of different reactions of the participants, which requires a readiness for impromptu during the game

3. Providing the players with the opportunity to make their own decisions 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. Full-scale long-term games with their own characteristics have been invented. They are called their scenario games because such games usually have a specific storyline (scenario) and all tasks in the game (goals) correspond to this scenario basis. Such games, as a rule, take place on a fairly large territory, a large number of players participate simultaneously in them, divided into two or more parties (teams) with a clear hierarchical control system within the team, and they last several hours in a row.

These games are popular not only among children, so some of them are commercial entertainment.

To implement a scenario move, 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 bygone days or fantastic battles of the future born by the organizers' imaginations. Good scenario game organizers always strive to eliminate dangerous areas in the territory where the action will take place and to 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. 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 topic, conflict. It clearly defines the 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 for the performance? Often in the title itself, the theme is already presented. 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, 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 circle of life phenomena that should be artistically investigated in the script. The concept of "theme" in the "Explanatory Dictionary" by V. Dahl is interpreted as follows: "theme-task (position), which is explained, about which reasoning".

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

To combine dissimilar parts into a whole, speech cords, recapitulations, and poetic headpieces are selected. Explanatory texts, announcements, decoys, invitations to dances, games, participation in competitions, etc. take a considerable place. All the material collected by the scriptwriter must be compositionally arranged according to the laws of artistic editing. The next problem is the search for a reception for the presentation of game material.

Drawing up a game program consists in skillfully creating a game conflict situation. This is the basis and core of the game action, no matter what the speech is about, the problems are solved in the game key. The basis of any game is overcoming obstacles. The essence of the game conflict is the confrontation of forces, skills, skill, erudition. Thanks to the tense conflict and interesting plot, many games acquire a kind of drama, representing small genre scenes saturated with humor.

On whatever specific basis the game unfolds, 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, and excel in dexterity and dexterity.

A variety of sets of games can be used in entertainment-type programs. not directly related to each other. However, recreation organizers prefer such a structure of programs in which a series of game entertainment is strung on a single plot core.

The theatrical, plot-based game is a kind of story conducted 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 mass performance played out by the forces of all the players. The plot allows you to logically build game episodes into a harmonious completeness. With the help of the plot, it is easier to ensure such an arrangement of entertainment in which the general game line develops in an ascending direction, and the tension and interest do not decrease, but increase.

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

The leader's conflict with one player (or two), and all the others are the spectators of the game competition.

The leader's conflict with the group, for example: How do you know Russian? Let's check: I name the subject in the singular, and you - in the plural. Let's try? Etc.

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

Who will quickly transfer table tennis balls from one basket to another with the help of Chinese sticks.

A wide variety of types of conflicts are possible in the game. These include not only the confrontation of 2 teams. Sometimes these are "Traps" - disputes ("repeat the tongue twister 3 times"), or game dialogues, a comic quarrel between personified presenters (clowns with a clown).

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

The compositional basis of the script is plot. The concept of "plot" has 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 "subject and content", but also as "the beginning of the composition." Later, plots began to be called works depicting events that were logically connected with each other.

The plot must ensure the dynamism of the action, which develops according to the laws of drama: from the exposition, the setting, through the growth of the action and the culmination to the denouement. The most rational construction of the plot is that. which gives most of the time to the build-up of action and climax. The culmination should be extremely close to a short, shock denouement. This will allow you not to shoot until the end of the intense intensity of the action and most emotionally, effectively influence the viewer.

In theatrical performances and holidays, 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 the game program is held be festively decorated (unless, of course, it is held in the open air). Of 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 moment of lighting is also important. The presence of at least a minimal stage and so-called disco light is highly desirable. Think of a pop theater or a nightclub and try to imagine that instead of spotlights, scanners and strobe lights, they turned on an ordinary "home" light. The "festivity", "carnival" of the atmosphere is lost.

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

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

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 intention, joins them together using the so-called montage effect. A script appears, which is called compilation (compilation, from the Latin compilatio, - to collect).

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

In different 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 concept. In the competitive program, the opposite is true. The main thing is the author's play ideas and the presenter's text, 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. The combination of episodes of scripts dedicated to the same theme and belonging to the pen of different authors in a new dramatic version. This kind of operation is not very fruitful and, apart from semantic and stylistic confusion, 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 concept (theme, idea, genre, scenario).

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

And nevertheless, some texts live side by side, despite the fact that they are separated by entire epochs (in terms of the time of writing), and some reject each other, despite the thematic proximity. We observe the same phenomenon in other types of arts and even, oddly enough, in documentary filmmaking.

Third... The novelty of the material used. The constantly repeating thematic canon (the head of the cycle of holidays) leads to the fact that the same literary fragments, the same vocal works, the same fiction and documentary film clips wander 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 devaluation of theatrical performance.

Fourth... Artistic material must be of high quality. Do not overuse verses from calendars, stories from second-rate newspapers and magazines. Poor material creates a poor scenario.

Fifth... Documentary material must be truthful. First of all, this concerns information that is obtained by an exclusive way. This is where the laws of journalism come into play. On 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 scenario 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 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 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, 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 came to the festive grounds: 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 dominated by the characters of children's literature: Dunno, the old man Hottabych, Mary Poppins, Carlson, the fox Alice, the cat Matroskin, etc. Live and well on the club scene: Chichikov, Ostap Bender, Vasily Terkin.

Borrowed characters are a long and lasting 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.

The method of illustration and theatricalization. In order to build an event dramatically, 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 techniques of illustration or theatricalization.

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

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

The method of illustration, like the method of theatricalization, does not presuppose a random, arbitrary montage of poems, songs, dances and other means of expression, but is organized dramatically in accordance with the theme of the event and the creative intention of its directors. In both cases, it is important to determine the measure and procedure for using various means of expression that make up the material of the event.

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

The task of all expressive means used in the structure of a mass event is to enhance its effect on the viewer, to turn, in modern language, information about a particular phenomenon or event into "aesthetic information", that is, one that evokes a special feeling experiences, joy, pleasure.

The same goal is served, but by completely different means, and another technique is theatricalization. NK Krupskaya highly appreciated its pedagogical significance, 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 "end-to-end action" at a mass event, which would not only unite and subordinate all the components used (performances poetic, prosaic, musical, film fragments), but would also create the necessary conditions for active, effective participation of all those present at this event. In other words, it is the theatricalization that transforms the spectator-listener, the spectator-observer into the spectator-participant, that is, the “actor” (he performs simple stage tasks determined by the organizer's intention).

The choice of the method of illustration or theatricalization of dramatic material by the organizer depends on the correctly found harmonious relationship between the content and form of the event being held.