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

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

Compositional construction of the scenario: plot, development of action, climax. Scenario move. Game episode as the initial cell of the scenario.

For the game are especially important:

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

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

3. Providing the players with the possibility of independent decision-making in the course of the general rules of the game.

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

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

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

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

Compositional construction of game programs

(Fragment of the work "Dramaturgical basis of the game program".

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

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

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

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

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

Drawing up a game program consists in the skillful creation of a game conflict situation. This is the basis and core of the game action, no matter what it is about, problems are solved in a game way. The basis of any game is overcoming obstacles. The essence of the game conflict is the confrontation of forces, skills, dexterity, erudition. Thanks to the tense conflict and interesting plot, many games acquire a kind of dramaturgy, representing small genre scenes full of humor.

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

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

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

There are various types of conflicts in the game:

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

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

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

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

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

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

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

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

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

Choosing a venue for the game program. It is desirable that the hall where the game program is held be festively decorated (if, of course, it is not held outdoors). Of the possible options, it is advisable to use decoration with balloons or flowers. Flowers are much more expensive, but more sophisticated, but balloons allow you to organize space with more imagination and usually become the most acceptable solution. Garlands, chains, panels, vaulted arches - a knowledgeable designer will offer dozens of options.

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

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

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

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

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

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

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

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

First. Compliance of the material with the main components of the idea (theme, idea, genre, scenario).

Second. Stylistic compatibility of the material. We are talking about the fact that within the framework of one scenario, the adjacency of literary texts of different authors almost always gives rise to bad taste. There are several reasons for this. Different artistic level of the works used, the author's individuality.

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

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

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

Fifth. Documentary material must be true. First of all, this concerns information that is obtained in an exclusive way. This is where the laws of journalism come into play. With regard to each controversial fact, one should listen to the opinions of several parties, get acquainted with different points of view.

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

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

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

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

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

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

The method of illustration, as well as the method of theatricalization, presupposes not a random, arbitrary installation of poems, songs, dances and other expressive means, but dramaturgically organized in accordance with the theme of the event and the creative plan of its directors. In both cases, it is important to determine the measure and order of using various expressive means that make up the material of the event.

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

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

The same goal is served, but by completely different means, and another technique is theatricalization. Its pedagogical significance was highly appreciated by N. K. Krupskaya, emphasizing the possibility of using it to "influence" the emotional side of the event.

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

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

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

Impact on group dynamics:

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

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

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

Role-playing algorithm:

1) Choose an active participant. You give instructions.

2) Choose a supporting participant. Give instructions.

3) Read the tasks to the group.

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

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

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

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

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

9) Give eco-friendly feedback.

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

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

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

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

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

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

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

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

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

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

3.Group instruction:

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

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

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

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

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

3. Group instruction:

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

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

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

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

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

3.Group instruction:

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

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

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

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

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

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

3.Group instruction:

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

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4.2.7. The main stages of the development of a role-playing game

There are five main stages in the development of a role-playing game:

1. Determining the tasks to be solved using this teaching method.

2. Providing conditions for a role-playing game.

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

4. Choice of the type and format of the role-playing game.

5. Development of a detailed scenario for its implementation.

Let's consider each of the stages in more detail.

Stage 1. Setting goals. Means that the coach:

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

Builds a logical relationship between the game and the overall 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 the role-playing game. One of the key conditions for the success of a role play is the time that can be used to conduct it. It should be enough for a preliminary discussion, coordination of tasks, briefing, conduct of the game and its analysis, generalization and summary of the coach based on its results. If there is not enough time, it is necessary to consider the possibility of replacing the role-playing game with another method, or choose a format for conducting it that will take a minimum of time.

Another important point is the analysis of the extent to which students are ready to participate in a role-playing game. In my practice, there were cases when the whole group refused role-playing games. 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 trainees are not motivated to participate in the training and do not want the role play to reveal that their competencies need to be developed.

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 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. Definition of roles and situations of 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 subordinates, then there will be two roles in it: a manager and an employee.

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

Suppose a customer is concerned that his managers do not set clear, specific goals for their subordinates. In this regard, the trainer wants to develop in the participants the skills of setting goals using knowledge of the SMART criteria. Then the participants may be asked to act out a situation where initially the task is 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 role-play either to try to give a specific task in accordance with SMART criteria, or to set it in a general way and thereby demonstrate inefficient ways of setting tasks.

Thus, the definition of the specific content of the game includes:

Definition of the composition of roles;

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

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

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

Does the chosen type of role-play match the objectives of this training unit?

Are there resources needed for this type of RPG?

Are the roles clearly defined, will they be understood by the players?

Can the script be simplified?

Can participants meet the requirements?

Will the game affect the emotional sphere of the participants too deeply? Is the chosen format appropriate for the degree of personal risk participants are willing to accept?

Would role play as a learning method be the best way to achieve the goal?

Stage 5. Script development. Developing a detailed scenario includes determining how the role play will be set up and played 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 play;

How the objectives 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 process of the game will be built;

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

What key points will it be important for the coach to voice as part of the generalization of the results.