European International Journal of Pedagogics
115
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TYPE
Original Research
PAGE NO.
115-120
DOI
OPEN ACCESS
SUBMITED
30 October 2024
ACCEPTED
30 December 2024
PUBLISHED
30 January 2025
VOLUME
Vol.05 Issue01 2025
COPYRIGHT
© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.
The History of The Origin
of Pedagogy and The Role
of Theater in The
Educational Process of
Students
Akhmedova Gulnoza
T
eacher of the “Preschool education and natural sciences” department at
Urganch State Pedagogical Institute, Uzbekistan
Abstract:
In this article, the synthetic nature of theater
art is an effective and unique means of artistic and
creative education of students and youth, as a result of
which children’s theater occupies an important place in
the general system of artistic and creative education of
children and youth. Preparation of theatrical
productions, as a rule, becomes a collective creative
activity of not only young actors, but also vocalists,
artists, musicians, lighting technicians, organizers and
students.
Keywords:
Pedagogy, artistic education, artistic culture,
educational process, educational methods, innovative
technology, theater pedagogy, creativity, ability,
personality.
Introduction:
The synthetic nature of theater art is an
effective and unique means of artistic and creative
education of students and youth, as a result of which
children’s theater occupies an important place in the
general system of artistic and creative education of
children and youth. Preparation of theatrical
productions, as a rule, becomes a collective creative
activity of not only young actors, but also vocalists,
artists, musicians, lighting technicians, organizers and
students.
The teacher’s goal is to provide the students with the
resources. The student reads a work or gets information
about the national culture of a nation. When you see
them with your own eyes, they are firmly fixed in your
memory. In such situations, every pedagogue should
know how to use theater pedagogy in his place. Anyone
who has chosen the teaching profession will witness
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that the theory of pedagogy does not provide
information about the conscious development of
practical skills. That is why we turned to theater
pedagogy.
Reforms implemented in the education system take
into account the implementation of such goals, state,
socio-economic and personal needs and interests. In
this regard, within the framework of the
implementation of new education, the standards are
aimed at developing the artistic and creative
competencies of students and young people, who can
independently acquire knowledge and express their
opinion in accordance with the standards of their
native language through theater pedagogy. Therefore,
there is no doubt that the formation of artistic and
creative competences is a problem today.
Often, researchers pay attention only to information
about internal and external mood in the system of K.S.
Stanislavsky. But K.S.Stanislavskyi suggests working on
the role, not based on mood or mental states, but
based on the logic of physical behavior. If the behavior
is performed correctly, it creates a suitable mood and
affects the human psyche. Stanislavsky’s concept used
in teacher training is about vivid physical behavior that
produces a logically expressed feeling, and first of all,
it requires training the teacher’s sensory organs under
certain pedagogical conditions. is enough. Living
organic, as well as pedagogical behavior begins with
perception. Violation of this rule excludes the teacher
from the process of interaction with the class.
K.S.Stanislavsky, understanding behavior as a physical
and mental unity, rejects the separate development of
internal and external, physical and mental elements of
behavior, and demands close connection of method
and pedagogical technique. That is why pedagogical
skills are based on interrelated parts. These are: theory
of pedagogy, pedagogical technique and methods of
working on the subject of the lesson, organizing and
conducting it. [1]
In recent years, the theater has been used more and
more to solve a wide range of problems related to the
development, education and socialization of various
categories of students and young people. Many
international studies confirm that theater activities in
the educational process help to: 1. Develop cognitive
activity and increase educational motivation attract);
1. Acquiring
meta-subject
competencies
and
increasing the general level of academic efficiency
(formation of reflexive, communication skills, problem-
solving skills);
2. Development of art and creativity, formation of
critical thinking;
3. Socialization and strengthening of interpersonal
interactions (using effective and socially acceptable
methods of conflict resolutio
n, expressing one’s feelings
and understanding the feelings of the interlocutor, to
the experience of inclusive interaction to have). [2]
Abroad, various forms of theater and dramatization are
systematically used in school practice. In a number of
countries, theater activities are included in the main
part of the general education program (Australia,
England, Iceland, some provinces of Canada). In Russia
today, the use of theater in pedagogical practice is
limited and unsystematic, because it is mainly
implemented in the additional (outside of the
classroom) education system at the initiative of specific
pedagogues.
Within the framework of this research,
an attempt was made to observe the history of the use
of theater practice in the educational system of
different countries, as well as to identify the main
differences between foreign and local traditions of the
use of theater in practice.
History of using theater practice for educational
purposes abroad
The practice of teaching through the theater originated
in Ancient Greece, where they began to use the means
of dramatic art to educate the harmonious population
of urban politics. [3]
They had to get acquainted with and also learn the Latin
language. From the X th century, the practice of playing
scenes from the Bible became widespread in churches
and monasteries, the main purpose of which was to
visually describe the content of Latin songs, which were
often incomprehensible to the audience. It is possible to
talk about the formed didactic function of theater
activity from this moment. [4.]
It was formed at the end of the 16th century, when the
plays of ancient authors began to be considered as a
means of moral upliftment of a person, as well as an
effective means of learning ancient languages. In this
historical period, the concept of academic (school)
dramaturgy appeared.
At the same time, there were theaters where
dramatization was used to teach memory and
“flexibility of the mind”, to develop literary taste, to
build a strong character, to cultivate feelings of nobility,
morality, patriotism and “virtue”. In 1727, the German
School in Munich published the work of Francis Lang, a
Jesuit minister and theater director, which was the first
practical guide to theater for colleges. [5.]
A new page in the history of school didactic theater is
associated with the emergence of theater circles and
teams in American universities at the end of the XIX th
century. The first such university was Harvard, where
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European International Journal of Pedagogics
students staged classic French plays by Moliere,
Racine, and Cornelius to learn French.
In the XX th century, American colleges and
universities, interested in expressive forms of
education, were the first to systematically include
dramatic arts classes in the curriculum. It is considered
a student theater. The Harvard Dramatic Club
influenced the development of the revolutionary
American play of the XX th century, in particular, the
American classicist Eugene O’Neill. In addition, former
members of university theater groups and graduates of
theater courses have begun to actively apply theater
principles in the classroom, and amateur theaters have
opened in schools across the United States.
According to M. Fleming and J. Merrill, the preparation
of the play meets the requirements of the project
method because it encourages student initiative. The
manifestation of the student’s initiative forces him to
enter the path of continuous development and search
for ways to express his ideas, improve them and finally
get closer to the “ideal”. [6.] In addition, the role Taking
responsibility is considered by the authors as a way of
translating the studied material into their own
subjective position: role-
playing creates a “personal
dramatic environment” that involves the child in the
learning process: emphasized. By 1966, 90% of
middle and high schools in the United States offered
regular theater productions, and one in four accredited
colleges in the country supported curricular theater
programs and produced plays. staging works have
been carried out. [7.]
1960s-1970s In education, theatrical activity is clearly
used as a unique pedagogical technology called
“artistic
-
creative”. Since then, attempts have been
made to plan and evaluate learning outcomes through
dramatization. During this period, the first practical
guidelines for the use of theater activities in working
with children of different categories appeared.
The development of school theater in Great Britain
followed a special path. In 1965, the “Theatre”
movement appeared here and was led by professional
theater staff who implemented school programs to
develop creativity and interest in art through
dramatization. Theater directors and actors organize
discussions and conversations, resulting in sketches
and improvisations. Students create roles themselves,
learn to write scripts and discuss. Over the years,
theater pedagogy has taken an important place in
British education: today, English schools regularly hire
specialist theater companies to present plays or
interactive performances with students and young
people, including in the format of forum theater or play
theater. established. Such projects usually address
current social issues and require students to actively
participate in discussions, improvisations, and
storytelling. This will develop artistic and creative
competencies in students. Within the framework of
theater pedagogy, theater activity is mainly in the form
of an experiment, in which students and young people
develop a wide range of skills and competencies,
including artistic and creative competencies.
The analysis shows that in the practice of foreign
education, the theater has gone through a complex
historical path, from repeating dramatic works to
improving specific skills (artistic and creative
competencies), and developing to the level of an
independent tool for organizing the educational
process. It has been shown that theater pedagogy is
able to solve various problems related to education,
development, creative thinking and socialization of
students.
History of using theater pedagogy in Russian pedagogy
In Russia, the use of theater activities for pedagogical
purposes began in the XVII th century during the reign
of Tsar Alexei Mikhailovich Romanov. For the royal
children, the “Chamber of Fun” was created, where
children participate in theatrical performances. The
performances were directed by Simeon Polotsky, who is
considered the founder of school theater in Russia (he
also wrote works for the stage). originated from Poland.
Gradually, more and more theaters began to open in
theological schools in Russia. Educational and religious
plays were performed on their stage, where the
characters often became allegorical concepts.
The analysis shows that in the practice of foreign
education, the theater has gone through a complex
historical path, from repeating dramatic works to
improving specific skills (artistic and creative
competencies), and developing to the level of an
independent tool for organizing the educational
process. It has been shown that theater pedagogy is
able to solve various problems related to education,
development, creative thinking and socialization of
students.
History of using theater pedagogy in Russian pedagogy
In Russia, the use of theater activities for pedagogical
purposes began in the XVII th century during the reign
of Tsar Alexei Mikhailovich Romanov. For the royal
children, the “Chamber of Fun” was created, where
children participate in theatrical performances. The
performances were directed by Simeon Polotsky, who is
considered the founder of school theater in Russia (he
also wrote works for the stage). originated from Poland.
Gradually, more and more theaters began to open in
theological schools in Russia. Educational and religious
plays were performed on their stage, where the
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European International Journal of Pedagogics
characters often became allegorical concepts.
Thereby, the traditions of Russian theater, first of all,
the theater traditions of the schools of that period,
which determined the goals and principles of the
Russian school theater for centuries, were adopted as
follows:
To educate students morally:
To form their artistic imagination;
To develop creative abilities.
This approach to theater activities has long defined the
repertoire of school theaters, and any attempts to
change the goals of theater activities have caused
misunderstanding.
In 1779, in the Tula region, with the efforts of the
scientist and writer A.T. Bolotov, who taught science at
the Bogorodsky boarding school for noble children,
organized the first amateur estate theater. Due to lack
of relevant works, A.T. Bolotov himself wrote
exemplary plays performed by children living on the
estate. This was the beginning of the home theater, the
tradition of which has been preserved in noble families
for a long time.
Accumulated personal experience in organizing
theater pedagogy (M.K. Tenisheva, O.I. Galakhova,
V.D. Polenov, etc.). According to Bakhtin, the theater is
to a certain extent more important than books,
because it provides the reading of literary materials at
the same time and believes that it allows “to form the
artistic and creative abilities of different ages as much
as possible”. [9.] At the beginning of the XX th century,
a completely new approach was taken to
understanding the goals and tasks of using theater
pedagogy in school, i.e. psychological-pedagogical.
So, A.S. Makarenko said that he believed that dramatic
action was boring and not very interesting for young
men. This is A.S. Makarenko and S.B. Persky introduced
elements of improvisation to the school theater; in
performances, they began to use not only the stage,
but also the entire space of the room, often involving
the audience in the actions taking place. So in the
1920s and 1930s. school theater acquires new
functions: it stops paying attention to the cultural
experience of the past years, stops repeating texts and
independently creates new meanings, experiments
with images and its own based on collective creativity
begins to build its reality. In other words, didactic
theater turns from a reproductive activity into a
productive activity, giving the participants freedom of
creativity and self-expression. It should also be
noted that from that time on, a contradiction arose
between the theater activities in children’s groups and
the children’s theater itself, and it was recommended
to “draw its repertoi
re mainly from fairy tales, science
fiction and classic works.”
In Russia, scientific interest in theater pedagogy and its
role in the development and upbringing of children of
different ages appeared in the 1950s and 1960s. At this
time, the school theater was no longer accepted as a
form of extracurricular activities for staging
performances (clubs, amateur performances, studios)
and its boundaries were expanded to such forms as
interactive teaching, role-playing, staged educational
practices. The main goal of theater pedagogy was to
increase educational motivation and involve students in
the learning process.
During this period, in the process of humanizing
education, pedagogy tried to supplement the regular
visits to theaters and the work of theater clubs with
specialized theater education courses, to involve
theater workers in project work at school. Theater
pedagogy was used to form the teacher’s directorial
position in relation to the organization of the lesson and
the students’ activities. By th
e 2000s, school theater
pedagogy
combined
theater
practice
with
schoolchildren. Theater pedagogy is considered to be a
form of educational artistic and creative activity that
satisfies
the
needs
of
self-preservation
and
development of culture and creativity. Being a part of
theater pedagogy and based on its principles, school
theater pedagogy aims to educate the personality of the
student through the means of theater art.
Subsequently, the following new trends related to the
dramatization of the educational process appeared in
Russian pedagogical practice:
1. “Theatre pedagogy as a means of creating a
developing educational environment” (N.E. Basina, E.Z.
Kraisel, N.N. Sanina, N.P. Sulimova, O.A. Suslova, E.N.
Tanaeva, E.E. Khramtsova);
2. “Directing and root pedagogy” (S.V. Klubkov);
3. “Pedagogical directing system” (E.V. Kojara)
“dramatic hermeneutics” (V.M. Bukatov); [10.]
The main principles of these directions are the
organization of artistic and creative activities between
the teacher and students, in which the teacher acts as a
consultant and assistant based on the student’s
personal experience, interests and capabilities. Within
this direction, the following principles were taken from
theater pedagogy:
❖
The principle of physical activity (use of
the entire space of the school classroom, active
movement in the lesson, interaction, gestures, physical
exercises);
❖
The principle of changing scenes;
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❖
The principle of synthesizing the types
of artistic activity (for example, you can sing
educational material, not pronunciation);
❖
The principle of changing the pace and
rhythm of activity (changing the intensity of activity);
❖
The principle of group work of
students (from 3 to 6 people in a group).
Practice shows that with this teaching method,
children tend to show initiative and independence,
take responsibility for activities, get involved in the
educational
process,
and
develop
creativity
competencies. Today, various game technologies are
actively used in the development of artistic and
creative competences in preschool educational
institutions and primary classes, and there is also
experience of using these technologies in teaching
disabled
children.
Interestingly,
according
to
representatives of this field, theater pedagogy involves
involving students in various forms of interaction and
experience.
Thus, theater pedagogy in the Russian tradition has
turned
into
teaching
technologies
through
dramatization. However, it should be noted that today
in Russian schools, the use of theater is used on a very
large scale and is carried out in the additional (outside
of the classroom) education system. In addition, often
in real school practice, in theater pedagogy, children
and teenagers are turned into reproductive activities,
observers of the teacher’s ideas
and literary desires.
Modern theater pedagogy in foreign education
When talking about the modern practice of using
theater activities, it is necessary to emphasize the
terminological confusion that significantly complicates
the analysis of approaches to the use of theater for
educational purposes. Interestingly, this problem is
inherent in both Russian and English terminology, and
seems to be related to the diversity of existing practices
and the complex history of their emergence and
development.
In the l
ocal tradition, the terms “theatre”, “theatre
technologies” and “theatrization” are used to describe
theater pedagogy in education. The concepts of
“drama” and “dramatization” of teaching, which work
as their synonyms, are less common. In English, the
conc
ept of “theatre” usually means the final product
(learning, drawing conclusions, independent, creative
thinking) shown to the audience.
Modern directions of theater pedagogy in foreign
education are schematically presented
Practical theater
A tactical term for theatrical
practices that go beyond
traditional Western European
theatrical forms.
Children’s theater
Drama performances intended only for children are a
unique theatrical phenomenon of the 20th century
Theater in education
It includes various theater events in educational institutions
(schools, universities, etc.).
Didactic theater
The goal of
didactic theater
is to make the
audience think
about the
problem
presented in the
theater
Drama in
education
It is used by
school
teachers to
teach certain
academic
subjects
Creative
drama
activity
In this, the
students
themselves
create
Professional school theater
(professional theater groups in education)
Theater groups aimed at solving social problems in schools
and other educational institutions
Process-oriented drama theater
Pupils and students play roles based on the process.
Narrative drama
In this case, it is used as imravization in the formation
of students' speech.
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The scheme describes the directions of theater
pedagogy in foreign education.
Of course, the presented diagram is not complete and
served only to guide the diversity of existing
pedagogical practices. The boundaries between the
designated areas are often arbitrary, and the terms can
be used in different ways depending on the context.
In Russian practice, there are currently significantly
fewer areas of theater in education. These include:
• Children’s theater or children's theater is a
professional theater focused on the interests and
needs of children and adolescents, in which the child is
the object of influence of adults (including the
teacher), which is a unique “plays the role of a
mediator”. He is the “guide” of children in art. This
category includes theaters for young audiences (Youth
theaters), children’s puppet and musical theaters, etc.
• Children’s theater work (including for educational
purposes), in which the child becomes the subject of
theatrical action (amateur performance, after-school
or improvisation).
• Children’s (an
d teenagers) theater is a theater genre
in which small actors play, and it is also an independent
field of theater studies.
In general, in local pedagogical traditions, the theater
is still considered primarily as a means of introducing
students to cultural heritage, as well as a means of
education. In this regard, in school practice, we can
often find plays on themes from the works of the
school curriculum, as well as on patriotic themes. At
the same time, in Russia, the focus is almost always not
on the process of its creation, but on the final product
- the performance in front of the audience. Elements
of dramatization that do not represent the final
product are sometimes carried out in foreign language
classes, but even here they work not as a means of
experimentation, but as a means of practicing specific
language skills. With this approach, theater pedagogy
in Russian practice is distinguished by the fact that it is
included in the additional (outside the classroom)
education system.
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