Factors when choosing a role-playing game scenario. The place of role-playing in teaching and training

Game methods for teaching adults

2. Business games

3. Role-playing games

4. Organizational and activity games in adult education

1. The role of games in adult education

The game is a unique mechanism for the accumulation and transfer of social experience - both practical (mastery of means of solving problems) and ethical, associated with certain rules and norms of behavior in various situations. The emergence of a game-based teaching method is due to the requirements to increase the effectiveness of learning by more actively involving students in the process of not only acquiring knowledge, but also directly (here and now) using it.

The business game was first used in the 1930s in Leningrad by a group led by M. M. Birnstein when training managers of large enterprises, but was not further developed in the socio-economic conditions of that time. In the 50s, business games began to spread in the United States. Currently, hundreds of variants of business and educational games have been developed.

In the 70s and 80s, the development and use of business games in the USSR became widespread; the Council on Active Learning Methods began to work at the USSR Ministry of Higher Education. Experts involved in the development of organizational and educational games note that learning in a game is the most important condition for mastering professional activity, ensured by recreating the context of a specific professional situation in a learning environment.During the game, accelerated mastery of objective activities occurs due to the transfer of an active position to the participants - from the role of a player to a co-author of the game.

Some teachers and adult students consider games to be a means of relaxation and entertainment in the classroom, and an unproductive type of learning activity. Butthe value of the game lies to a greater extent not so much in achieving didactic goals, but in socio-psychological impact on the playing participants and the effects that are observed.

So, play as a method of teaching adults makes it possible to:

generate motivation for learning (and therefore can be effective at the initial stage of learning);

2) assess the level of preparedness of students (and for this it can be used both at the initial stage of training - for incoming control, and at the completion stage - for final control of the effectiveness of training);

3) assess the degree of mastery of the material and transfer it from a passive state - knowledge to an active state - skill (and therefore can be effective as a method of practical skill development immediately after discussing theoretical material);

4) participants gain their own experience of educational and gaming activities, develop the ability to design and organize educational games;

5) intensify self-education of students;

6) to form a pluralism of opinions and actions, multivariate mental operations, interest in more effective construction of professional activities;

7) develop individual professional thinking, the ability to analyze and predict.

Using games in adult education also provides the following additional effects:

Freedom: the game is not a task, not a duty, not a law, but a free entertaining action. You cannot play by order, the game is played only voluntarily;

Destruction of boring everyday life with its utilitarianism, monotony, rigid determination of lifestyle. The game is extraordinary;

Entering a different state of mind. The game removes the harsh tension in which a person lives in real life, and replaces it with a voluntary and joyful mobilization of spiritual and physical strength;

Order develops this quality, which is very valuable now in our unstable, chaotic world. The system of rules in the game is absolute and undeniable. It is impossible to break the rules and stay in the game;

Passion. There is no partial gain in the game. It intensively involves the whole person, activates his abilities;

Opportunity 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 complete and deep that gaming communities show the ability to persist even after the end of the game, outside its framework;

An element of uncertainty that excites, activates thinking, and motivates the search for optimal solutions;

The concept of honor. For her, it is not important who exactly wins, but it is important that the victory is won according to all the rules and that courage, intelligence, honesty and nobility are demonstrated to the maximum extent in the struggle;

The concept of self-restraint and self-sacrifice in favor of the team, since only a “played” team achieves success and perfection in the game;

Compensation, neutralization of the shortcomings of reality, contrasting the harsh world of reality with an illusory harmonious world - an antipode. The game gives romanticism;

Development of imagination, which is necessary to create new worlds, myths, situations, rules of the game;

A strong interest in knowledge, since role-playing and business games are created by modeling it;

The opportunity to develop your thinking, since it is necessary to build intrigue and implement it;

Development of psychological plasticity. This is not just a competition, but also theatrical art, the ability to get used to the character to the end;

The joy of communicating with like-minded people. It is a method of group education and training;

Navigate in real life situations by replaying them repeatedly in your mind;

Psychological stability. The game develops an active attitude towards life and determination in achieving the set goal;

The right to make mistakes in the learning process, which, in turn, makes it possible to avoid mistakes in real practice.

As we can see, the results and effects of game-based learning are impressive; it is no coincidence that in all developed countries the share of game-based learning methods in the process of training and retraining of specialists is very large.

Game methods are interactive and integrative because they include elements of training, and analysis of specific situations, and discussions - depending on the goals of the game.

2. Business games

In the pedagogical literature there is no clearly accepted classification of educational games, but according to the type of processes (characteristics, time of implementation, forms and areas of modeling, the role of the game leader, the degree of assignment of roles, forms of decision making by game participants, evaluation systems during the game) games are divided into three main ones categories:

Business games (simulation games);

Role-playing games (dramatization games);

– organizational-activity games - ODI (their variants: organizational-mental, modeling and design games).

Business games among interactive learning methods occupy a leading place in terms of the volume of implementation and role in the adult learning process.

The business game method initially appeared not in the education system, but in the practical sphere of management. Nowadays, business games are used in a variety of areas of practice: in research work, the design development process, in collective decision-making in real production situations, in vocational training and advanced training.

In its most general form, a business game is defined as “a method of imitation (imitation, depiction, reflection) of making management decisions in various situations (by playing, enacting) according to given or

rules developed by the game participants themselves. Therefore, business games are often called simulation management games.”

Business games aresimulation modeling of real mechanisms and processes.“This is a form of recreation of subject and social content, any real activity (professional, social, political, technical, etc.).”

A business game differs from other teaching methods in that it allows participants to “live” for some time in the production situation being studied and gain experience in professional activities in new conditions.

Yu. N. Emelyanov names business gamesoperational, since in terms of psychological parameters (motivation, participation of intellectual resources, emotional coloring) they are similar to methods for analyzing problem situations. However, in contrast to the spontaneous discussion adopted in discussion methods and accompanied by a subjective assessment of the teacher (or leader), operational games have a scenario that contains a more or less strict algorithm for the “correctness” and “incorrectness” of the decision being made, i.e. the learner sees the impact that his decisions have had on future events. In operational (business, management) games, the aspect of instrumental learning is more emphasized and, at the same time, the interpersonal aspect is formalized and minimized compared to reality.

Business games can be classified: a) by area of ​​application; b) by role functions; c) by the scale of the process simulated in the game; d) by management functions.

There are four main forms of business games (BI):

1) thematic DI related to a specific curriculum topic;

2) end-to-end DI covering several sequentially studied topics of the training course on one production material;

3) subject complexes DI created in the event that the subject of the training course is advisable to study in different directions;

4) interdisciplinary complexes DI created when a number of subjects and educational topics are combined and linked through one game.

Various modifications of business games are used in the educational process: simulation, operational, role-playing games, “business theater”, psycho- and sociodramas.

Imitation games. During the classes, the activities of any organization, enterprise or its division are recreated. Events, specific activities of people (business meeting, discussion of a plan, conversation, etc.) and the environment, as well as the conditions in which the event occurs or the activity is carried out (boss’s office, student audience, qualification test, etc.) can be simulated. ). The scenario of the simulation game, in addition to the plot of the event, contains a description of the structure and purpose of the simulated processes and objects.

Operational games. They help to practice the implementation of specific specific operations, for example, methods of writing a textbook, article, review, solving production problems, certification of teaching staff, conducting propaganda and agitation, etc. In operational games, the corresponding work process is simulated. Games of this type are played in conditions that simulate real ones.

Role-playing games. IN In these games, tactics of behavior, actions, and performance of the functions and responsibilities of a particular person are practiced. To conduct games with the performance of a role, a model of the situation is developed - a play; Roles with “mandatory content” are distributed among the participants.

"Business Theater" The behavior of a person in a certain environment is dramatized. In this case, the participant must mobilize all his experience, knowledge, skills, be able to get used to the image of this or that person, understand his actions, assess the situation and find the right line of behavior. The main task of the staging method is to improve the ability to navigate in various circumstances, give an objective assessment of one’s behavior, take into account the capabilities of other people, establish contacts with them, influence their interests, needs and activities, without resorting to formal attributes of power or orders. When using this method, a scenario is drawn up that describes specific situations, the functions and responsibilities of the actors, and their tasks.

Psychodrama and sociodrama. They are quite close to “acting roles” and “business theatre”. This is also a theater, but a socio-psychological one, in which one develops the ability to sense the situation in a group, evaluate, change the state of another person and the ability to enter into productive contact with him.

Business games that focus on role-playing are often also called role-playing games.

Unlike traditional teaching methods, a business game has certain advantages that characterize it as a method of active and interactive learning.

First, simulated professional relationships ensure that the listener is inevitably involved in the simulated professional environment. Being a subject of professional relations, he acquires the necessary skills and abilities to correctly perform his production functions, which contributes to intensive professional development.

Secondly, the emotional and creative searching nature of the participants’ activities serves as a didactic means of developing creative (theoretical and practical) professional thinking, expressed in the ability to analyze production situations, formulate, solve and prove (justify) tasks that are subjectively new to them; develops the ability to effectively interact with a partner.

Thirdly, a business game reveals the personal potential of the listener: each participant can evaluate their own capabilities individually and in joint activities with other participants. The game method makes it possible to diagnose not only the professional qualities of the participants, but also the typical development of individual production situations. Such classes become a kind of test of the techniques and methods of professional activity, causing a feeling of satisfaction and self-confidence.

Business game technology

A business game involves practical work on modeling various production and pedagogical situations using gaming technology.Simulation in the game - This is a structural element inherent exclusively in business and role-playing games for adults. In a broad sense, modeling is understood as replacing direct experimentation with the creation and manipulation of objects (models) that replace the real object of study. The model is implemented through rules.Rules of the game - These are the provisions that reflect the essence of the game, the relationship of all its components. Rules can be transferred into games from a cultural context, taken from life, or invented specifically for the game. Depending on the area that is subject to game modeling, business games are divided into socio-economic, industrial, socio-cultural, management, economic, political, etc.

Business game preparation stage

1. Selecting a topic and diagnosing the initial situation.

2. Development of a scenario and game context, which is a specific and mandatory component in the design of a business game.In c-holding the scriptincludes: defining goals and objectives, forecasting expected results (game and pedagogical), description of the problem being studied, justification of the task, business game plan, general description of the game procedure, content of the situation and characteristics of the characters.

Goals and objectives business games are formed based on the learning objectives, the content of the theoretical problems being studied and the skills that must be acquired by the participants in the learning process.

When constructing a business game in classes in the teacher training system, situations are selected that are most typical in the structure of activity for a teacher, industrial training master, class teacher, etc., which provides the professional context of the game.

Game context is ensured by: the introduction of new rules, gaming rights and responsibilities of players and experts; introduction of characters; playing dual roles; the introduction of roles with opposite interests; constructing behavioral contradictions; development of a system of fines, incentives, bonuses; visual representation of the results, which is set out in the game documentation.

3. Diagnostics of the group’s capabilities, playing qualities of future role performers, objective circumstances influencing the course of the game.

Introduction to the game

1. Familiarization of participants and experts with background information.

2. Formation of mini-groups (4-5 people), creation of arbitration (experts, 4-5 people), informing participants about the conditions of the game, introduction of game rules, delivery of game documents.

3. Joint determination of game objectives and educational objectives; discussion of the operating mode. Gathering additional information, studying special literature. If necessary, participants turn to the facilitator and experts for advice.

4. Distribution of roles. It is prohibited to refuse the assigned role, to leave the game, to be passive in the game, to suppress the activity of participants, to violate regulations and ethical behavior.

Stage of implementation

From the moment the game begins, you cannot interfere or change its course. Only the leader can correct the actions of the participants if they move away from the main goal of the game. Depending on the type of business game, different types of role positions of participants can be used (for example, “idea generator”, “simulator”, “erudite”, “analyst”, “organizer”, “trainer”, “initiator”, “conservator”, “programmer”, “leader”, “independent”, etc.).

Possible course of the business game:

1) analysis of initial information;

2) preparation for performing role functions and tasks;

3) performance of role functions by participants, imitation of prepared tasks.

Analysis stage

1. Analysis of the game results by the participants.

2. Speeches by experts, exchange of thoughts, participants’ defense of their decisions and conclusions.

3. Summing up the results of the game by the teacher, who notes the results achieved, mistakes, and formulates the final outcome of the lessons.

In a business game, joint discussion of its results and analysis of the experience gained are of particular importance.

It is important:

Establish problems and phenomena that took place in the game;

Determine and show the game’s correspondence to real life;

Identify the reasons for different behavior of participants;

Find out whether similar patterns of behavior occur in real life;

Suggest what needs to be changed in the game to achieve a better result;

Suggest what should be changed in real life.

During the game, the teacher can take different positions: be the game leader (game technician); act in one of the roles (playing position) or as an assistant and consultant (facilitator); observe and evaluate after the participants’ actions are completed (expert position).

Character of the business game depends on the degree of its complexity (number of participants, duration in time, complexity of the task itself), problematic nature (conflict of the situation, confrontation of the parties), as well as on the degree of improvisation of the participants (from predetermined actions to free improvisation).

It takes time to prepare such games, but the interest of adults in them is unusually high. Very often, during the game, participants in a state of emotional upsurge resort to imitation and dramatization.

Joint activities in a business game often have the character of role-playing interaction, carried out in accordance with the rules and norms prescribed or adopted during the game itself. In pedagogy, any games (business, role-playing, etc.) are associated with certain rules (conditions) for the players. The role-playing interaction in a business game makes it similar to a role-playing game.

The reality of playing out situations, the mechanism of joint activities and systems of communication and relationships bring the method of business games closer to the conditions of practical activity of real workers of a functioning socio-economic system. This is one of the important differences between a business game and an organizational game.

Business games as a method include other forms of active learning. For example, in the process of its preparation and discussion of the results, methods of discussion, analysis of specific situations, acting on instructions, parsing mail, solving production problems, etc. are used. Thus, on the basis of business games, various teaching methods are synthesized, and at the same time the effect of using these techniques when combined with gaming tools, it increases significantly.

3. Role-playing games

Role-playing as a gaming method is characterized by the presence of a task or problem and the distribution of roles between participants to solve it. Role-playing (essentially dramatization play) is a process in which participants are asked to “play” another person or “act out” a specific problem situation. In other words, role-playing games are small scenes of a planned or arbitrary nature, reflecting models of life situations.

Role-playing is an effective practice of behavioral options in situations in which seminar participants may find themselves (for example, certification, defense or presentation of any work, conflict with colleagues, etc.). The game allows you to acquire skills in making responsible and safe decisions in life.

Role and role-taking are essential components of role-playing. The performance of a role is an accurate, literal reproduction of the activities of another person (for example, a teacher, a student, a deputy director for experimental work, a director, a methodologist at a district (city, regional) methodological center, etc.).

Role acceptance occurs at the cognitive, emotional and behavioral levels.

According to M. Forverg, a person can take on a role through:

assignment of external behavioral traits",

assigning norms of behavior;

assignment of social tasks facing the role.

Because in a role-playing game the participant plays the role of a character rather than his own, he can freely experiment and not be afraid that his behavior will appear stupid or inappropriate.

A feature that distinguishes role-playing games from business games is the absence of a system for evaluating the game's progress. In role-playing games, the players' actions are stimulated by the game complex itself, which includes environmental elements external to the modeling object. Players independently analyze the situation that has developed during the game, due to which self-organization of the participants is achieved.

The director of a role-playing game, as a rule, is not a direct participant in the game complex. He is a person “behind the scenes”, whose task is to create and maintain conditions that represent objective reality using mediated gaming methods: theatrical characters, newspaper publications, letters, conferences, etc.

Role-playing is continuous. This means that the game is not interrupted for discussion. In a role-playing game, there are no procedural means to influence players, such as the opinions of experts or the GM. All this ensures a certain naturalness and maximum immersion of participants in the gameplay. Unlike other games, in a role-playing game, depending on its goals, decisions can be made both collectively and individually.

The emotional effect of a role-playing game is based on the “living” of new experiences by the participants in a game setting, on the kind of discoveries that a person makes while participating in the game.

Game actions are related to the target aspect of the game. They can be set by the script, game hosts (teachers) or regulatory documents, or they can be formulated (chosen) by the players in accordance with their own vision of the situation. From the point of view of the independence of the players’ actions and the rigidity of the game rules, games can be divided into “hard”,

“free” and occupying an intermediate position (in which a kind of compromise has been achieved between the first two).

The game process distinguishes this teaching method from situation analysis and training. The game process requires the mandatory inclusion of additional inputs, which can significantly affect the game roles and actions of the participants.

Preparing and conducting a role-playing game

When conducting a role-playing game, it is important for the teacher to consider a number of principles.

1. The game must be meaningful for the participants. Its significance is determined by the correspondence of the situation to the participant’s area of ​​interest or personal plan.

2. It is necessary to select situations that can be solved within the framework of the lesson. These situations can be identified through interviews or preliminary diagnosis of participants.

3. The correct selection of persons who will take part in the game is important.

The game must be led by either a curator or a previously prepared listener.

Mechanism for conducting a role-playing game (dramatization game)

1. The leader announces the theme of the game, identifies the game situation, clarifies whether this happens, and whether this situation is significant.

2. Instructions are given about the course of the game. At the same time, you need to make sure that everyone understands it correctly, since participants often explain their failures by the unclearness of the instructions.

3. Roles are assigned. Sometimes participants refuse the proposed roles, for this it is necessary to have backup options. In the first days it is better not to let the situation take its course. If there are group members who are not involved in the game, then they can be given the task: to monitor the verbal and non-verbal behavior of the participants in the role-playing game, to observe how they interact, how they solve the task assigned to them.

4. The problem that needs to be solved is formulated once again. After this, the situation is organized, the space is marked out and roles are introduced. In role-playing games, participants are given the opportunity to:

Show existing stereotypes of response in certain situations;

Develop and use new behavioral strategies;

Realize and overcome your internal fears and problems.

Active participants act in accordance with their roles and the information received. During the role-playing game, observers, as well as an invited specialist or teacher, do not interfere in any way with the actions of the participants, but keep notes for later commenting.

5. Summing up is carried out on the basis of the emotionally experienced judgments of the players, the reaction of each of the participants is recorded. The leader presents facts and information, comparing them with the emotional reactions of the players.

An example of a role-playing business game could be “Pedagogical Council - Protection of Innovations.”

Each group of teachers (department, department) is given the task: to first study any pedagogical innovation and, at the meeting, present its ideas and features in a laconic form (10-15 minutes), get acquainted with the specific experience of using this pedagogical technology or its elements (open lessons, study of teaching materials). In addition, the group selects from among its members the following roles:

Optimists are supporters of the innovator, defenders of ideas, and their propagandists;

Pessimists are conservatives and skeptics, opponents of ideas;

Realists are analysts who are able to weigh the pros and cons and draw the necessary conclusions.

Depending on the number of participants and the innovations discussed, it is possible to identify creative groups not only in these areas, but also in other role areas (student - teacher - parent - administration, etc.).

As a result of a business discussion of innovation by role, the pedagogical council comes to one or another decision on the advisability of its application.

4. Organizational and activity games in adult education

Organizational activity games (OAGs) are a larger form of gaming activity and are more common in management practice than in vocational training. Organizational-activity and organizational-educational games (OOG) are forms of collective mental activity, during which learning and design (creation) of new activity patterns occur. Such games are conducted by specialist methodologists and game technicians on the basis of a deep theoretical study of the problems being solved in order to introduce new practices in a certain professional field.

In the course of ODI used in management activities, as a rule, problems associated with the creation or reform of existing organizational structures are solved. For these purposes, employees of organizations who have the appropriate potential and authority to solve strategic problems are involved. Sometimes the game can be used as a practical guide for solving various kinds of complex problems, and also when it is necessary to unite specialists from different fields.

ODI and OI require quite a long time (several days) and additional economic costs to conduct. Because of this, the popularity of ODI has recently decreased somewhat.

Preparation of ODI should be carried out by specialists - game technicians.

To successfully conduct an organizational and activity-based educational game, it is necessary to complete the following:conditions :

The game should have a general theme and should be aimed at solving a specific problem, which is formulated by the game participants who act as customers;

The game requires the presence of an organizational group that coordinates the activities of the participants and manages their interaction;

During the discussion, in the process of searching for new solutions, contradictions and conflicts may arise; a specially designated probematization group is designed to identify problems of a social and professional nature;

During the game, situations are possible when none of the players can offer a solution to the problem; to overcome such situations, a methodological support group is formed;

In order to maintain a favorable moral and psychological climate at the game, a psychological support group is created, which also performs a purely research function of studying the basic processes of the game and the relationships of its participants;

A technical support group is also required, which records all the working processes of the game (tape recording, diagrams, posters, etc.);

The above groups are part of the game organizers. Depending on the theme of the game, working groups are created, where both organizers and customers can sign up.

Basic requirements for the activities of ODI participants.

1. Each participant in the game is on two levels - subject and organizational-activity.

2. Everyone must personally determine themselves in this situation. According to the terms of the ODI, each player puts forward goals limited by the topic and tries to achieve them. By accepting the terms of the game, the participant carries out an act of self-education. In this state, he will have to live for several days, struggling to achieve his goals, organizing his activities, participating in the work of the group, and cooperating with others.

Each ODI participant needs to make himself the subject of discussion. An organizational game is a game of oneself and for oneself, one’s own understanding and misunderstanding.

3. The absence of frameworks (“a game without rules”), the removal of ranks allows you to change social roles, break stereotypes of behavior and thinking of participants, encourages them to abandon their outdated approaches and means in favor of new methods.

4. Work on identifying and developing a problem requires participants to enter the realm of ideal objects and carry out analysis, forecasting and reflection of their own activities. Reflection, as Hegel put it, is “thinking about one’s own thinking,” that is, an initial check of one’s thoughts and monitoring its progress through discussion of the actions of the participants and the results obtained at each stage. The result of reflection is a different understanding not only of the situation, but also of oneself.

5. Participants are involved in team mental activity (TMC), which requires tolerance to other people’s opinions and alienation of the results of activity from the individual.

6. The technology for problematizing and “assembling” ideas in ODI uses a special design, the “language of circuit diagrams,” which participants have to intensively master.

7. There is often no system for evaluating each other by participants, experts leading the game. Decisions are made collectively. The goal of the gaming group prevails over individual aspirations; the participant must be psychologically prepared for this.

8. “Compliance with the principle of cultivation, openness of game-technical plans at the end of each round of the game (the reflection phase of the day and methodological consultations) and at the end of the game predetermine the absence of the effect of manipulating players.”

Contents of the game technician's work. The game technician problematizes the players’ means of activity (acting according to the rule: “For a person to understand, he needs to be hooked”), encourages them to reflect, promotes awareness of stereotypes, internal obstacles, and a clearer understanding of goals and their own interests; organizes communication between players in the group, helps to transfer the mastered method into specific activities, and involves the methodological apparatus in solving problems. Thus, the game technician carries out research, pedagogical, organizational and communication activities.

He controls several layers.

Psychological

Organizing communication in the group, analyzing what is happening psychologically, promoting self-determination in the group regarding tasks.

Making sense of and managing group dynamics. It is important to achieve agreement in the group (ritual and in content), identify leaders in content, methods, communication, and determine who will make a report from the group. If there is no content leader, the game technician assists group members in self-determination in relation to the task at hand, monitors the work of the group at the plenary meeting, but does not interfere with its work.

Tracking individual progress (dynamics of individual development, motivation for working in plenary sessions) and helping players understand and accept the changes that should happen to them.

Generalization (reaching a more abstract level, introducing procedures for schematization and operating with diagrams is one of the key processes of OD I).

Problematization by method, design of thinking. The game technician is obliged to monitor how awareness occurs and encourage the participants.

Reflection on the method of mental activity (What has been done in the group? How did we get to this point? What progress have we made? What is preventing the group from progressing, what is slowing down the work? What would help the group be more productive? How did this work differ from what was seen before? In what ways Have you personally progressed? What methods have you acquired? How have the diagrams helped?). The game technician must know how his questions affect the participants.

Working with content (its analysis, generalization, highlighting the main, important things in statements and ranking statements in relation to the task at hand, unobtrusively highlighting the most important versions and demonstrating the inconsistency of other options).

Providing assistance in formatting content in circuit design language.

Organizational

Compliance with regulations and task retention. If the group does not have time, then

1) the activity is curtailed, and the leader speaks with what he has gained at a plenary meeting, focusing on the stages of work;

2) the group continues to work after notifying the leader.

Literature

1. Panfilova, A. P. Innovative pedagogical technologies. Active

training [Text]: textbook. allowance / A. P. Panfilova. - M.: Academy, 2009. - 192 p.

2. Panina, T. S. Modern methods of enhancing learning [Text]: textbook. aid for students higher textbook institutions / T. S. Panina, L. N. Vavilova; edited by T. S. Panina. – M.: Academy, 2006. – 176 p.

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

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

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

Especially important for the game:

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

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

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

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

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

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

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

Compositional construction of game programs

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

2. Providing conditions for conducting role-playing games.

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

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

5. Development of a detailed scenario for its implementation.

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

Stage 1. Setting tasks. Means that the coach:

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

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

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

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

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

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

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

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

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

Thus, defining the specific content of the game includes:

Determining the composition of roles;

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

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

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

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

Are there resources needed for this type of roleplaying game?

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

Is it possible to simplify the script?

Can the participants cope with the demands?

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

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

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

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

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

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

How the game process itself will be structured;

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

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

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

By participating in such activities, schoolchildren have to:

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

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

Role-playing as a means of developing communication skills

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

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

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

Mental development of children

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

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

The essence and structure of role-playing and business games

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

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

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

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

What is a role-playing game?

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

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

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

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

Types of role-playing games in elementary school

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

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

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

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

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

Game "Planet of Friends"

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

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

"But what if?" Olga Tikhomirova

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

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

Students need to describe:

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

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

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

Game "Zoo"

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

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

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

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

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

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

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

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

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

Game "Journalists"

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

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

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

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

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

Examples of games in lessons in primary school

Mathematics

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

Russian language

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

We invite a fairy-tale hero

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

Dramatization

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

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

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