Pedagogical technique is a component of pedagogical excellence. Is it appropriate to talk about technology when we are talking about upbringing, shaping, touching the personality of a child, i.e. about a process that proceeds differently, depending on the individuality of a person and the conditions of his life? However, A.S. Makarenko said that in his teaching activity “these little things became decisive for him: how to stand, how to sit, how to get up from a chair, from the table, how to raise your voice, grin, how to look.” “Everything educates,” he wrote, “people, things, phenomena, but, above all, and for the longest time, people.” Of these, parents and teachers come first.” To denote a teacher’s ability to master methods of organizing his behavior and influencing students, AS. Makarenko introduced the concept of “pedagogical technique,” which reminds the teacher of the need to worry about the form of manifestation of his intentions, his spiritual potential.
A significant contribution to the development of both pedagogical skills and pedagogical technology itself was made by scientist-teachers Y. Pazarov, V. A. Kan-Kalik, A. V. Mudrik, L. I. Ruvinsky, M. M. Yakovlev and others. Thus, V.N. Grineva believes that pedagogical technique is a set of skills and characteristics of a teacher’s behavior that allow him to form a pedagogical culture that allows him to adequately influence students in order to form him as a well-rounded personality thanks to appropriately chosen methods and forms of activity in accordance with the characteristics of specific objective and subjective conditions.
In the modern “Pedagogical Encyclopedia” the concept pedagogical technology - is interpreted as a complex of knowledge, abilities and skills necessary for a teacher in order to effectively apply in practice the methods of pedagogical influence he chooses, both on individual students and on the team as a whole. From the point of view of I.A. Zyazyun, pedagogical technique is a set of professional skills that contribute to the harmony of the internal content of the teacher’s activity and its external manifestation. Based on this, individual pedagogical technique determines the difference in teachers’ teaching methods.
What is the essence of pedagogical technology, what components are included in it? One of the first attempts to identify the components of pedagogical technology was made by A.S. Makarenko. Summarizing his experience and the experience of other teachers, we can highlight the following: components of pedagogical technology:
1. The ability to dress and take care of your appearance.
2. Speech culture: focus, logical literacy, pace and rhythm, intonation, diction, breathing.
3. The ability to control your body: walk, sit, stand.
4. Ability to master gestures and facial expressions.
5. Psychotechnical skills: understanding your mental state, the ability to control it; understanding the mental state of the pupil and adequately influencing him; ability to choose the pace and rhythm of work.
6. Pedagogical communication skills
If we carefully analyze them, we can distinguish two groups of components. The first group is associated with the ability to manage one’s behavior, the second - with the ability to influence an individual and a team.
Practice shows that in the process of professional activity, both young teachers and more experienced ones make a number of mistakes. errors in teaching technology, which ultimately reduce the effectiveness of the educational process. The most typical of them include:
inability to talk with the student and his parents;
inability to restrain or, conversely, show anger;
inability to overcome uncertainty;
inability to take the appropriate pose or select the necessary gesture;
speech defects: monotony, colorlessness, lack of expression, poor diction, etc.
For example, let's take the beginning of a lesson: one teacher bursts into the classroom and does not notice the students, another cannot cope with his excitement and start the lesson, etc. Therefore, for the purpose of his own improvement, the teacher must have in his arsenal of means, forms and methods of work standard means of pedagogical technology, which are tested and stem from pedagogical experience. This will give the teacher the opportunity to express himself more deeply, brightly, and more talentedly and achieve success in education. At the same time, “the presence of “rigid” schemes and models in no way eliminates the need to think. But thinking on the basis of scientific knowledge and experience is significantly different from endless hesitations and hesitations, which are the result of pedagogical helplessness, and often illiteracy.”
Methods for developing pedagogical technology include:
A system of training exercises to develop certain skills and abilities (psychophysiological training);
A system of certain rules and requirements for future professional activities;
Pedagogical role-playing training (inclusion in situations simulating professional activity) and improvement of professional qualities and characteristics that ensure an increase in the level of pedagogical technology. Thus, every teacher must master pedagogical techniques and know its components that ensure the success of his activities. Let us consider in more detail the main components of pedagogical technology.
This module also occupies an important place in the formation of the teacher’s pedagogical skills. Let's consider some components of pedagogical technique: 1. Appearance of the teacher. From the standpoint of pedagogical technology, a teacher’s appearance includes clothes, shoes, hairstyle, and other attributes of appearance (jewelry, makeup, etc.). Thus, the coordination of clothing components and artifacts that complement it creates a unique ensemble, which is called appearance.
In ancient times, when elements of clothing first appeared, they satisfied mainly utilitarian human needs. With the development of society, and especially in our time, clothing reflects the aesthetic ideals of not only society as a whole, but also of individual individuals. Considering a person from the standpoint of the dialectical pattern of the unity of content and form, we can say that clothing, appearance in general is a means of expressing its content through form. This manifestation of the unity of content and form concerns all people, and teachers in the first place.
The teacher’s clothing and other components of his appearance are those attributes that are designed to harmoniously complement his professional activities. All this should be subordinated to the solution of certain pedagogical problems. Appearance should be “put at the service” of pedagogical activity. At the same time, we are not talking about introducing a unique uniform for teachers. But you should not resort to stylistic perversions, do not bring certain components of your appearance to the point of ugliness. After all, with his appearance, the teacher influences the moods and feelings of the students, contributes to the formation of the components of their moral and aesthetic culture. A teacher goes to school to work, so his costume, in addition to aesthetic expressiveness, must be comfortable for performing the necessary pedagogical operations: writing on the board, working with demonstration or laboratory equipment, bending over, walking between rows of desks, and the like.
The combination of fashion style, aesthetic expressiveness, and comfort are the leading criteria for a teacher’s clothing and shoes.
AC Makarenko has repeatedly drawn attention to the place and role of a teacher’s appearance in education. “I must be aesthetically expressive,” said Anton Semenovich, “that’s why I never stepped out with unclean boots or without a belt. I, too, must have some kind of shine, to the best of my ability and ability, of course. I, too, must be so joyful, as a collective. I never allowed myself to have a sad face. Even when I was in trouble, when I was sick, I had to be able to not show it in front of the children."
Elsewhere, Anton Semenovich notes: “We need a small monograph on such a topic as the influence of the teacher’s clothing on the character of the students, the influence of the teacher’s facial expressions on the development of the student’s character.”
It is with regret that we have to state that some teachers appear in front of their students, enter the “pedagogical stage”, without caring about their appearance. This is either negligence, the need for clothing, appearance in general, or with the aim of showing the “latest cry of fashion”, which negatively affects pupils: wrinkled clothes, uncleaned shoes, dirty shirt, torn button, unshaven face, bright makeup, excessive jewelry, etc. For every teacher, the defining credo should be the words of the Russian writer A.P. Chekhov: “Everything in a person should be beautiful: and face, and clothes, and soul, and thoughts."
The clothing of a particular teacher must correspond to his moral and ethical views, be consistent, beautiful, simple, expressive and neat. Color, texture, additions (buttons, buckles, etc.) should also emphasize beauty, simplicity, elegance and modesty. All this has a positive effect on the mood of students, disciplines them, contributes to the formation of a sense of proportion, and does not distract attention from schoolwork.
The teacher should also take care that the shoes are comfortable, moderately elegant and neat. Since he has to conduct lessons in the classroom mainly standing, the requirements for the comfort of shoes from a hygiene point of view cannot remain only good wishes. High-heeled boots, unusual models and colors, with additional decorations, creakingly distract students' attention from their educational work and even irritate them. Consequently, a sense of proportion is necessary here too.
For a male teacher, the issue of clothing is resolved much more simply: two or three suits of moderate tones of a classic cut, light shirts, several ties, and the like. You just need to worry that suits and shirts are clean, ironed, and ties are in harmony with their color. A male teacher should always have a neat haircut, combed and shaved. Wearing a beard and mustache is determined by a sense of proportion, features of the facial structure, etc.
It is somewhat more difficult for female teachers. But here, too, a sense of proportion, simplicity, and a smart selection of successful ensembles from various elements of clothing should have been in the foreground. The teacher should refrain from the desire to change suits and dresses very often, and create new clothing ensembles every day. Firstly, it may raise suspicions about her lack of modesty. Secondly, such actions by the teacher can lead to students focusing their attention not on the content of the educational material, but on “studying” her clothes.
Sometimes a teacher, especially in rural areas, has to work in somewhat difficult living conditions: walking from afar to get to school, walking along a dirt road in unfavorable weather. Therefore, you have to wear warm clothes, and when it comes to footwear, give preference to old shoes, boots or felt boots. In such cases, the teacher must keep clothes and shoes at school in a specially designated place to change clothes and shoes.
However, it is not enough for a teacher to be aware of the general requirements for his appearance. It is important to constantly work according to a certain system to develop the appropriate skills and abilities.
The teacher is getting ready for class. After 2-3 minutes there will be a call, after which he will join the complex educational process. This is a kind of exit on stage to perform responsible pedagogical actions. This is where the habit is needed: look at yourself in front of the mirror, take care of the “little things” - hairstyle, tie, handkerchief, etc. The latter should also be clean, correctly composed (and not crumpled), and located in the left outer pocket. If there is no pocket - in a bag or folder. Why in the left pocket? First, it helps form a habit. When you need to use a scarf, no time is wasted looking for it, and the students’ attention is not turned away. Secondly, the teacher, as a rule, writes on the board with his right hand. If, upon completion of work, you need to wipe your fingers from the chalk, then it is more convenient and familiar to take out the handkerchief with your left hand.
To develop the skills and abilities to monitor one’s appearance, it is advisable for a young teacher to adhere to the following requirements and rules:
1. Depending on the school schedule, draw up a tentative daily routine, record it on a piece of paper and place it in a visible place. Take time to care for yourself, including clothes and accessories. Every day, use a pencil to mark how many minutes you spent on a particular procedure. If on one of the days there was not enough time for this, put “0” on the sheet. This self-control will help you develop the habit of taking care of your appearance. In addition, this will save you from the constant fuss of getting ready for work and the fear of being late. After some time, the clothing care reminder sheet can be removed.
2. Periodically look through special books and magazines to familiarize yourself with trends in fashion development, and take care of restoring your wardrobe.
3. When leaving home, be sure to examine yourself in front of the mirror.
4. You put on a new suit or dress. It is worth checking how comfortable it will be for you to work in it (her) in the classroom. Sit down in front of the mirror, raise your right hand up (write with chalk on the board), then both hands (hang tables), go back to the right, left, sit on a chair.
5. When getting to work (on foot, by bus, tram, trolleybus, metro), be careful not to get your clothes dirty; do not wrinkle it, do not be left without buttons and the like.
6. You came to school. In the wardrobe or teacher's room, look at yourself in front of the mirror, change classes if necessary, straighten your hair, etc. Evaluate yourself from the perspective of the class members and your colleagues. Say to yourself: “I’m ready (ready) to go.”
7. Before each next lesson, look at yourself in the mirror again. At the same time, tell yourself every now and then: “And there’s a way out again. I’m ready (ready).”
8. Analyze, from the standpoint of pedagogical requirements, the clothing and appearance of different people: your colleagues, comrades, random passers-by on the street, film actors, performers at plays, at concerts, television announcers. This will help develop your analytical and self-analysis skills.
9. Observe how your friends, colleagues, students react to your appearance, draw appropriate conclusions.
In addition to communicating with students in the classroom, and generally within the school, the teacher has to participate with them in sports competitions, hiking trips, socially useful work, etc. In each specific case, he must select clothes in accordance with the professional functions performed at that moment. Simplicity, modesty, and the adequacy of a certain activity should be taken as a basis by the teacher here.
2. Ownership of your body. Ownership of the body is an external manifestation of pedagogical technique. The teacher must master professional skills to use his body (posture, ability to walk, stand, sit) as a manifestation of pedagogical skill.
The teacher’s insufficient level of development of this skill often negatively affects the students’ organization. Here is just one example of teacher behavior in this context.
After the bell rang for geography class, 10th grade students took their places at their desks. Are waiting. Two minutes passed. The doors open. The figure of the teacher appears: first the head, then the body; both hands are busy (notebooks, books, a geographical map under the arm) S.T. tries to close the door behind him; the books fall out of their hands, followed by the map. The teacher tries to catch the books, but they scatter on the floor. The students burst into laughter. Two students jumped up and tried to help. Finally, everything was collected and somehow laid out on the table. S.T., despite the students, formally and hastily says “Good afternoon.” The jacket is unbuttoned, the tie has moved to the side. Finally the teacher regained control of himself. I sat down on a chair, but it turned out to be shaky. He stood up, tried to stabilize the chair with his hand, and finally replaced it with another. (It's good that there was a spare chair in the class). The students looked at the teacher's actions indifferently. Finally they asked: “Sergei Trofimovich, should we hang the map on the board?” “No, no, don’t,” answered S.T. “Then we’ll hang you.” Five minutes of class have already passed.
Such behavior of the teacher has nothing to do with manifestations of pedagogical skill; it is evidence that he does not master the technique of controlling his body. The teacher's body should work to optimize the teaching and educational process.
If the theater, according to L.S. Stanislavsky, begins with a hanger, then the lesson should begin with the teacher entering the classroom. In accordance with the requirements of pedagogical culture, the teacher, before entering the classroom, has to stop for a minute in front of the door, straighten his shoulders (in the words of K. S. Stanislavsky, “Shoulders on a stake!”), Straighten his whole body, giving him an air of confidence ; a briefcase, folder or other materials must be held in the right hand with the left hand to open the door; Having crossed the threshold of the classroom, close the door with your left hand, holding it behind your back, and, turning to face the students, walk with a confident gait to the workplace (table); stop at the table and focus on the students, thereby psychologically organizing them and mobilizing them for activity (students should stand towards you as a sign of greeting). It is appropriate for a teacher to demonstrate the pleasure of meeting with students by facial expression and smile. He politely greeted the students and asked them to take their seats.
During the lesson, the teacher must constantly control his body depending on the type of work. While explaining new educational material, the teacher needs to be “in the circle of attention” (desktop, chalkboard, demonstration table) in order to be able to hold the students’ attention. We should not forget that attention, in the words of K.D. Ushinsky, is a kind of psychological gate through which knowledge enters memory. Therefore, it is impossible to walk around the classroom: the students’ attention takes the form of a pendulum, dissipates, and reduces the efficiency of mental work.
While students are performing independent learning tasks, the teacher can sit at his desk, walk between desks and monitor the students’ educational work, help individual students individually (bend over the student’s workstation), without distracting other students from work. When students are involved in frontal work - some of them work at their desks, and some work at the blackboard - the teacher chooses a place in the class so that all students are in his circle of attention.
During the lesson, depending on the type of educational work, the teacher can use a chair. But here, too, certain elements of pedagogical technique must be observed. It is worth considering that students are subject to a variety of antics in their relationships with each other and with teachers. Here are some examples of such situations.
A young biology teacher entered the classroom for a lesson. She walked to the table, opened a cool magazine and confidently sat down on a chair. And suddenly a strong explosion was heard underneath her. The teacher jumped up from her chair and, without looking back, ran out of the classroom. The class burst into cheerful laughter. One boy walked up to the chair, picked up the remains of the “explosive” from it and said: “Yes, Nina Stepanovna crushed only a small ball, and that’s when it went off.” By the end of the lesson, the teacher had not returned to class. After lessons in the classroom there was a debriefing of the incident with the participation of the class teacher and the school principal. Two boys admitted that they decided to joke with Nina Stepanovna in this way.
There are also innocent cases.
The 2nd grade teacher came to her first lesson after the day off. I greeted the students. She asked me to open the notebooks from the language and write down the date that was written on the board. We started working on the vocabulary dictation. Continuing to dictate individual words, T.G. I decided to sit on a chair. Suddenly the chair under her broke and the teacher found herself under the table in an uncomfortable position. The children watched in fear as T. got out from under the table. The teacher reassured the students. We continued to work on the vocabulary dictation. After the lesson T.G. told her colleagues about the incident that happened to her. They laughed sincerely. A colleague, a 4th grade teacher, reassured T.G. Last Saturday, meetings of parents of 4th grade students were held in the 2nd grade room. It was then that one mother, who did not fit at the desk, sat on that chair and pretty much broke it. So they left him at the teacher’s desk.
So, before sitting on a chair, you need to make discreet movements to check its reliability so as not to get into such trouble (the chair leg may be broken, the seat may be dirty with chalk or paint, or flooded with water, etc.); move the chair away from the table at the required distance in order to sit freely at the table, as well as get up and sit down again without moving the chair from place to place. When sitting on a chair, you should adhere to correct posture (a model for students!) and occupy the entire seat of the chair (evidence of self-confidence).
Giving students an explanation of the content and methods of completing homework, the teacher must be “in the circle of attention” and control the activities of all students.
When moving between rows of desks or tables in order to provide students with assistance and monitor their performance of independent tasks, one must do this calmly and not distract students’ attention with the clicking of heels or other irritants.
While listening to monologue stories from students, the teacher should take a comfortable place in the class in order to keep the student who is telling and the entire class staff in the circle of his attention. In addition, outside the teacher, even the posture of the head (affirmative nods), supplemented by certain gestures, can express interest in what the student is talking about, although this does not carry new information for the teacher. But here you need to play a little. The teacher must always play his role in a complex pedagogical action.
In the system of developing the ability to control your body, you should adhere to certain rules. In particular:
1. Consider the characteristics of your body, its advantages and disadvantages. Strive to correct the latter.
2. Behave naturally, but your naturalness should serve the pedagogical work.
3. Enter the classroom confidently, boldly, and with a firm gait.
4. All movements must be flexible and economical.
5. When explaining new educational material, stay in the “circle of attention” (within the desktop, blackboard), do not walk around the classroom, do not become like a “pendulum that speaks.”
6. When students perform independent learning tasks, walk between desks, smoothly stepping from foot to foot, monitor the students’ work, and help them if necessary.
7. When individual students are working at the board, choose a location where you can see all students and monitor the work of those completing the task on the board.
8. When explaining educational material using the board, make careful notes on it, wiping off any excess.
9. Use a pointer correctly when presenting notes on the board or visual aids (tables). Stand to the left of the board, holding the pointer in your right hand.
10. Place visual aids so that they do not interfere with working on the board.
11. When assigning homework, you are in the “circle of attention”
12. At the end of the lesson, return to the “circle of attention” and announce the end of the work. At the same time, students should rise from their workplaces, thereby expressing gratitude to the teacher. The teacher must confidently leave the classroom, and only after that can students leave the classroom.
13. Outside the classroom (in the corridors, assembly hall, cafeteria, etc.), the teacher must also take care of his body: be fit, have a confident, balanced gait.
Directly related to the technique of mastering your body is another necessary condition for the success of professional activity. This is the psychophysiological well-being of a teacher, which has two sides - external (physical) and internal (mental). Both of them are essential. Regarding actors, the famous Russian director K.S Stanislavsky wrote: “... for creative well-being and for the feeling itself, not only mental, but also physical properties, abilities, states of the artist necessary for creativity are important. They permeate all the artist’s creative data, his physical apparatus of embodiment: voice, facial expressions, diction, speech, plasticity, expressive movements, gait, etc. They must be bright, colorful, extremely sensitive, sensitive, charming, slavishly obey the dictates of the inner feeling. Such physical submission to the spiritual life of the artist creates a creative body. well-being, which is in full accordance with the inner creative well-being."
The activity of a teacher - physical and mental - largely depends on physical freedom and the condition of the muscles. In the process of professional activity, muscle tension often becomes an obstacle. The physical (or muscular) freedom of the teacher depends on the correct distribution of muscle energy.
Muscular freedom is a state of the body in which, for a certain position or movement, as much muscle effort is expended as this position or movement requires. The ability to expediently distribute muscle energy is the main condition for the manifestation of the plasticity of the human body. This is the law of human psychophysical activity. A person who is engaged in public activities (and a teacher, by his professional nature, is called to the pedagogical podium in front of a public of people), cannot always subordinate his physical behavior to this main law. Often she is constrained by a “muscle shell”, “muscle clamps”. They inhibit human mental activity. We must learn to remove “muscle clamps”, free ourselves from under the “muscular shell”, be able to assess our condition, and mobilize our physical capabilities. In the field of sports activities of general consumption, the following terms were received: “mental readiness”, “mobilization readiness”, “pre-start fever”, “combat state”, etc.
K.S. Stanislavsky described the interdependence between a person’s physical state and his mental activity in the following way: “Do you want to see how physical tension paralyzes our activity, activity, how muscle tension fetters a person’s mental life? Let’s conduct an experiment: there is a piano there on the stage; try to lift it.
The students, with great physical exertion, took turns lifting the corner of the heavy piano. Multiply quickly while holding the piano, 37 x 91... Not able to? Well then, remember all the shops on our street... And it’s not possible... Try to taste the hodgepodge with kidneys...
To answer my questions, you needed to lower the heavy piano, relax your muscles, and only then plunge into memory. Does this show that muscle tension interferes with internal work? As long as there is physical tension, there can be no question of correct, graceful feelings and normal mental life. Therefore, before you start creating, you need to put your muscles in order so that they do not hinder your freedom of action.
But not only strong muscle spasms disrupt proper functioning. Even tiny tensions in one place, which you cannot immediately find within yourself, can paralyze creativity."
As researcher V.Ts. notes. Abrahamyan, when it comes to muscular freedom, they mean, first of all, the appropriate distribution of muscle tension, which creates optimal conditions for the inclusion of the entire motor apparatus in action according to the main law of plasticity. It is known that when a teacher teaches 3-4 lessons in a row, he experiences significant physical fatigue, because during classes he was under the pressure of a “muscular shell”. The lack of muscular freedom of the teacher can be expressed, firstly, in the presence of tension where there should not be any; secondly, in excessive tension of those muscles, the participation of which to a certain extent is necessary for a specific physical action. It should also be taken into account that when a teacher spends a lot of physical energy in the process of teaching, his mental capabilities do not have optimal conditions for their implementation.
The process of releasing excess muscle tension should occur in the following sequence:
Stage 1 - conscious volitional effort aimed at releasing muscles from excess tension;
Stage 2 - conscious volitional effort aimed at mastering a given object of attention;
Stage 3 - the transformation of involuntary attention into voluntary attention, to capture and create a feeling of inner freedom;
Stage 4 - a feeling of a certain freedom (spontaneous disappearance of the remnants of muscle unfreedom in external and internal organs).
Thus, the teacher’s control over his body is an important factor in the formation of professional skills. One can only regret that in the process of training teacher educators in pedagogical educational institutions, little attention is paid to the issues of pedagogical technology, as one of the conditions for the development of pedagogical skills. Every teacher who strives to rise to the level of demonstrating pedagogical mastery needs to independently work on issues of pedagogical technique, in particular control of one’s body.
Let's give an example of special exercises aimed at freeing the body from muscle tension, giving it a feeling of physical freedom.
Exercise 1. Stand up straight, raise your arms forward, clench your fingers into a fist, while simultaneously straining the muscles of the hand, forearm, shoulder (3-4 sec.). Do not forget to mentally repeat: “I want to be strong, strong, my muscles are very tense.” Now relax: your arms fall down, making pendulum movements.
Exercise 2. Aimed at relaxation (from Latin Relaxatio - relief, relaxation) - a general state of peace, relaxation before bed, after hard work. “Outside” and “mask” of relaxation: sit in a resting position, sit comfortably and freely, without freezing in the initial position, feeling at ease (evoke the impression of a pleasant rest after a long walk). Leaning on the back of the chair, spread your legs slightly and bend your knees. This pose allows you to calm down.
To relax your facial muscles, perform a relaxation “mask”. Easily lower your eyelids, lightly apply your tongue to the roots of the upper teeth from the inside (pronouncing the sound “T”). Give yourself commands:
Relax your forehead, eyebrows - right, left;
Gently lower your eyelids - right, left;
Relax your cheeks - right, left;
The jaws are relaxed, the lower one is freely lowered down;
Relax your lips - upper, lower;
Relax your neck muscles - head tilted back;
Relax your shoulders - your shoulders drop;
Relax your hands - right, left;
Relax your stomach - it is soft;
Relax your legs - right, left.
Breathe freely, calmly, slowly, evenly. You are resting. Repeat the commands slowly, checking to see if you have forgotten the “clamps” somewhere.
At the moment of relaxation, imagine (reproduce) a picture of relaxation (you are relaxing on the beach).
After resting for 2-3 minutes, get out of the state of relaxation: stretch, sit up straight. Energetically give the command “interlace your fingers in front of you! Turn your hands with your palms up. With a full inhalation of air, raise your hands with intertwined fingers above your head. With a sharp exhalation, lower your hands!”
Repeat the exercise 2-3 times.
Exercise 3. To form correct posture. Slouch, relax your back and shoulder muscles. Then, as if lifting your body (shoulders, chest), throw it back and down, “put it on your spine,” like a coat on a hanger. The back became strong, straight, and the arms, neck, and shoulders became free and light. Repeat the exercise 3-4 times.
Exercise 4. In execution of deliberate actions:
4.1. Sit:
To relax;
To monitor students' work at the board;
To listen to music;
To look at an interesting magazine;
4.2. Go:
To calm yourself down;
To relax;
To wait for students to leave the classroom;
4.3. Cost:
To discipline students;
To see the snow falling outside the window.
Introduction
Back in the 20s of the XX century. the concept of “pedagogical technique” arose, and since then it has been studied by many teachers and psychologists (V.A. Kan-Kalik, Yu.I. Turchaninova, A.A. Krupenin, I.M. Krokhina, N.D. Nikandrov, A.A. Leontyev, L.I. Ruvinsky, A.V. Mudrik, S.V. Pedagogical technology is included in pedagogical technology as its instrumental side. Those. In any pedagogical process, including those of a technological nature, there is always pedagogical technology. The teacher, influencing the pupils, strives to convey to them his ideas, thoughts, and feelings. And the channels of communication, conveying one’s intentions and, if necessary, orders and demands on students, are words, speech, expressive gestures, and facial expressions.
Pedagogical technology and its types
Pedagogical technique is a set of skills that allows a teacher to clearly express himself and successfully influence students and achieve effective results. This is the ability to speak correctly and expressively (general culture of speech, its emotional characteristics, expressiveness, intonation, impressiveness, semantic accents); the ability to use facial expressions and pantomimes (expressive movements of the face and body) - with a gesture, look, posture to convey to others an assessment, attitude towards something; the ability to manage your mental state - feelings, mood, affects, stress; the ability to see yourself from the outside. Psychologists call this social perception - it is also part of pedagogical technology. This also includes the ability to transform, the ability to play, and neurolinguistic programming (NLP).
Depending on the extent to which the teacher owns the means and channels of interaction, we can talk about pedagogical skill. A teacher’s good command of pedagogical techniques is a condition necessary for his effective work.
Based on the characteristics of pedagogical technology as a pedagogical phenomenon, two of its sides are distinguished: objective, when we are talking about the general methods of pedagogical activity that are characteristic of all leaders, and subjective (individual), when the abilities and skills of specific people to use these methods are considered. In other words, the objective area of pedagogical technology in relation to pedagogical culture is a technique for solving pedagogical problems. Subjective (individual) is manifested in the form of pedagogical skills and leadership skills. In this case, the following structure can be distinguished:
· techniques and methods for organizing vocational training and various educational activities;
· specific elements of interaction with subordinates, such as voice staging, tone of address, style and culture of speech, gestures, facial expressions, etc. This group of elements of pedagogical technique should include the individual emotional style demonstrated in the process of pedagogical interaction, and the ability to making risky pedagogical decisions, etc.;
· technology for studying and taking into account the personal qualities of individual employees and psychological manifestations of group psychology, the use of created pedagogical situations and group processes for educational purposes;
· techniques and methods of using modern information technologies to solve problems of vocational training and education;
· methods and techniques of pedagogical accounting and monitoring the effectiveness of solving pedagogical problems, the results of various educational activities, the attitude of employees towards the performance of their professional duties.
The main essential characteristic of pedagogical technology, as a field of knowledge, is the category “technique”, which from the point of view of general linguistic interpretation is a method of doing something, a separate action, movement. In psychological and pedagogical literature, it is most often considered in the context of teaching and upbringing techniques, in close connection with the concepts of “action” and “operation”. Their interdependence V.K. Babansky describes it this way: “Activity is carried out through a set of certain actions, which are processes subordinate to conscious goals. Methods of carrying out actions are called operations. A set of certain operations can be called a technique.” Therefore, based on the above definition, a technique can be considered as a way of performing an action through certain operations. At the same time, the action itself can be a technique.
The category “technique” is directly related to the category “skill”, which determines the practical level of manifestation of pedagogical technique. Skill is understood as the successful performance of any action or more complex activity using, and often choosing, the most effective techniques, taking into account certain conditions.
Pedagogical technology as a pedagogical phenomenon has its own sphere of functioning. It can be defined based on the generally accepted understanding in pedagogy of the psychological structure of a leader’s pedagogical activity as the relationship, system and sequence of his actions aimed at achieving pedagogical goals through solving a long series of pedagogical tasks. The scope of functioning of pedagogical technology, for example, the education of employees, can be legitimately determined on the basis of conventionally identified stages of the leader’s pedagogical activity, i.e. depending on the stages of solving pedagogical problems, the presence of pedagogical interaction. There are three such stages.
1) The stage of preparation for the upcoming solution of pedagogical problems, which involves modeling the interaction of subjects and objects of the pedagogical process. At this stage, it is legitimate to talk about preparation techniques for conducting vocational training and educational activities.
2) The stage of direct solution of pedagogical problems. Here we are talking about the techniques of teaching, education, communication, etc.
3) The stage of analyzing the results of implementing pedagogical decisions. At this stage, we can highlight the technique of analyzing the results of solving pedagogical problems, personal interaction, etc.
The pedagogical technique of the leader is implemented in the process of his professional activity, reflects its features, but does not replace the content. It has a pronounced individual and personal character, manifests itself through the prism of the leader’s personality and is effective only when he creatively approaches the professional training and education of various categories of employees. At the same time, it is closely related and depends on the personal qualities of the leader himself, his thinking, knowledge and style of behavior.
1. Pedagogical technology ensures the implementation of goals and objectives related to the professional training of a particular specialist. Professional techniques in this case are aimed at achieving high results in the professional training of employees.
2. In the process of education, specific groups of pedagogical techniques are used, determined by the peculiarities of the functioning of the institution, organization, company. These include methods of psychological preparation, development of intellectual and physical qualities, etc.
3. The right to use appropriate techniques - orders, instructions, rewards and punishments - regulated by corporate rules and regulations.
4. The official duty of the manager is to apply adequate educational influences to employees who do not fulfill their official duties. The manager is vested with senior authority in relation to all employees, and therefore is responsible not only for the quality of the organization of professional training and education, but also for everything that happens as a result of their implementation.
5. Instrumentation of methods of pedagogical interaction with employees, taking into account their perception by adults - subjects of pedagogical activity. The subject-subject nature of the manager’s relationship with subordinate employees requires him to skillfully master the techniques of pedagogical tact and demonstrate a respectful and trusting attitude towards them.
The concept of “pedagogical technology” usually includes two groups of components. The first group of components is related to the teacher’s ability to manage his behavior:
Control of your body (facial expressions, pantomime);
Managing emotions, mood;
Social - perceptual abilities;
The second group of components of pedagogical technology is associated with the ability to influence the individual and the team, and reveals the technological side of the process of education and training:
Didactic, organizational, constructive, communication skills;
Technological techniques for presenting requirements, managing pedagogical communication, etc.
Facial expressions are the art of expressing one’s thoughts, feelings, moods, and states through the movement of facial muscles. Often, facial expression and gaze have a stronger impact on students than words. Gestures and facial expressions, increasing the emotional significance of information, contribute to its better assimilation. Listeners “read” the teacher’s face, guessing his attitude and mood, so it should not only express, but also hide feelings. The most expressive thing on a person's face is the eyes - the mirror of the soul. The teacher should carefully study the capabilities of his face and the ability to use an expressive gaze. The teacher's gaze should be directed towards the children, creating visual contact.
Pantomime is the movement of the body, arms, legs. It helps highlight the main thing and paints an image. The teacher needs to develop a manner of correctly standing in front of students in class. All movements and poses should attract listeners with their grace and simplicity. The aesthetics of the pose does not tolerate bad habits: shifting from foot to foot, leaning on the back of a chair, turning foreign objects in your hands, scratching your head, etc.
The teacher’s gesture should be organic and restrained, without sharp wide strokes or open angles. In order for communication to be active, you should have an open posture, do not cross your arms, turn to face the audience, reduce the distance, which creates the effect of trust. It is recommended to move forward and backward across the classroom rather than sideways. Taking a step forward enhances the message and helps focus the audience's attention. By stepping back, the speaker seems to give the listeners a rest. Managing your emotional state involves mastering methods of self-regulation, which include: nurturing goodwill and optimism; control of your behavior; self-hypnosis, etc.
Speech technique. The process of perception and understanding of a teacher’s speech by students is closely related to the complex process of educational listening, which, according to scientists, accounts for approximately ½ - ½ of the entire teaching time. Therefore, the process of students’ correct perception of educational material depends on the perfection of the teacher’s speech.
No matter how interesting and informative the speech is, I.R. believes. Kalmykov, it will not be perceived by listeners if the speaker pronounces it inarticulately, in a hoarse, weak, inexpressive voice. The voice when speaking is as important as the content of the speech, appearance, and manners of the speaker. He uses his voice to convey his message to the audience. The human voice is a powerful means of influencing the public. Thanks to a beautiful, sonorous voice, a speaker can attract the attention of listeners from the first minutes, win their sympathy and trust.
The voice is capable of expressing a person's thoughts and feelings. In teaching activities, it is extremely important to speak expressively and simply, giving a lecture, report, reciting poetry and prose; master the intonation and strength of the voice, thinking through each phrase and sentence, emphasizing significant words and expressions, using them competently in various situations. The voice is the main expressive means of a teacher’s oral speech, which he must be able to use perfectly. P. Soper believes that “nothing influences people’s attitude towards us more than the impression of our voice. But nothing is so neglected, and nothing needs constant attention. Voice proficiency is directly related to the development of phonation (sound), the so-called speech breathing. This, in turn, makes it possible to convey the aesthetic and emotional richness of the teacher’s speech, not only helping in communication, but also influencing the feelings, thoughts, behavior and actions of students.
To master speech technique means to have speech breathing, voice, good diction and orthoepic pronunciation. The teacher needs to constantly work on diction, breathing and voice.
Breathing ensures the vital activity of the body, physiological function. At the same time, it also acts as the energy base of speech. Speech breathing is called phonation (from the Greek phono - sound). In everyday life, when our speech is predominantly dialogical, breathing does not cause difficulties. The difference between phonation breathing and physiological breathing is that the inhalation and exhalation of normal breathing is carried out through the nose, they are short and equal in time. The sequence of normal physiological breathing is inhalation, exhalation, pause. Normal physiological breathing is not enough for speech. Speech and reading require more air, its economical use and timely renewal. The breathing sequence is also different. After a short inhalation - a pause, and then a long sound exhalation.
There are special exercises aimed at developing breathing. The purpose of breathing exercises is not to develop the ability to inhale the maximum amount of air, but to train in the ability to rationally use the normal supply of air. Since sounds are created during exhalation, its organization is the basis for staging breathing, which should be full, calm and unnoticeable.
Diction is the clarity and correctness of pronunciation, meaningful sounds, which are ensured by the correct functioning of the speech organs. The articulatory apparatus must work actively, without unnecessary tension. All sounds and their combinations must be pronounced clearly, easily and freely at any pace. All diction disorders of speech and voice are divided into organic and inorganic, associated with sluggishness of the articulatory apparatus and unclear pronunciation of consonants.
Among teachers there are people whose voice is given by nature itself, but this does not happen often. And a good voice, in the absence of special training, wears out over the years.
Tongue twisters and exercises will help train your voice, the purpose of which is to practice the clarity and correctness of pronouncing sounds, and to activate the articulatory apparatus. A few words about teacher voice hygiene. As special studies show, the incidence of diseases of the vocal apparatus in people of “voice professions” is very high.
Every person is endowed with a voice that can become strong, clear, and sonorous. When working on your voice, you should pay attention, first of all, to freeing it from tension and improving its best qualities. There is a deep connection between the voice and the body, so speech communication should be the basis of work on the voice.
Thus, summing up all of the above, we can conclude that pedagogical technology, which represents a set of abilities, skills and knowledge that allows the teacher to see, hear and feel his students, is a necessary component of professional pedagogical skills.
Conclusion
Pedagogical technology includes goal setting, diagnostics and the educational process. In an effort aimed at achieving a goal, good results are achieved by the teacher who is fluent in various teaching techniques, uses humor, is benevolent and at the same time persistent in communicating with students, and displays resourcefulness and the ability to improvise. All these are methods of pedagogical technology that are used in educational technology.
Bibliography
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3. Kolesnikova I. A. Communicative activity of a teacher. - Academy, 2007, 336 pp.
4. Okunev A. A. Speech interaction between teacher and student in the structure of New Education. - Scythia, 2006, 464 pp.
5. Sergeeva V.P. Technology of the class teacher’s activities in the educational system of the school. - Perspective, 2007, 120 pp.
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PEDAGOGICAL TECHNOLOGY
The concept of pedagogical technology. Structure of pedagogical technicalnicknames- Appearance of the teacher.- Culture and technique of speech.- Techniquepedagogical communication.- Culture and technique of teacher movements.- Psychotechnics.
The concept of pedagogical technology. Structure of pedagogical technology
As noted above, teaching technique is a component of teaching excellence. Is it appropriate to talk about technology when we are talking about upbringing, shaping, touching the personality of a child, i.e. about a process that proceeds differently, depending on the individuality of a person and the conditions of his life? However, A.S. Makarenko said that in his teaching activity “these little things became decisive for him: how to stand, how to sit, how to get up from a chair, from the table, how to raise your voice, grin, how to look.” “Everything educates,” he wrote, “people, things, phenomena, but, above all, and for the longest time, people.” Of these, parents and teachers come first.” To denote a teacher’s ability to master methods of organizing his behavior and influencing students, AS. Makarenko introduced the concept of “pedagogical technique,” which reminds the teacher of the need to worry about the form of manifestation of his intentions, his spiritual potential.
A significant contribution to the development of both pedagogical skills and pedagogical technology itself was made by scientist-teachers Y. Pazarov, V. A. Kan-Kalik, A. V. Mudrik, L. I. Ruvinsky, M. M. Yakovlev and others. Thus, V.N. Grineva believes that pedagogical technique is a set of skills and characteristics of a teacher’s behavior that allow him to form a pedagogical culture that allows him to adequately influence students in order to form him as a well-rounded personality thanks to appropriately chosen methods and forms of activity in accordance with the characteristics of specific objective and subjective conditions.
In the modern “Pedagogical Encyclopedia” the concept pedagogical technology" is interpreted as a complex of knowledge, abilities and skills necessary for a teacher in order to effectively apply in practice the methods of pedagogical influence he has chosen, both on individual students and on the children's team as a whole. From the point of view of I.A. Zyazyun, pedagogical technique is a set of professional skills that contribute to the harmony of the internal content of the teacher’s activity and its external manifestation. Based on this, individual pedagogical technique determines the difference in teachers’ teaching methods.
What is the essence of pedagogical technology, what components are included in it? One of the first to attempt to identify the components of pedagogical technology was A. S. Makarenko. Summarizing his experience and the experience of other teachers, V.N. Grineva identifies the following components of pedagogical technique:
Ability to dress and take care of one’s appearance.
Speech culture: focus, logical literacy, pace and rhythm, intonation, diction, breathing.
Ability to control your body: walk, sit, stand.
Ability to master gestures and facial expressions.
Psychotechnical skills: understanding your mental state, the ability to manage it; understanding the mental state of the pupil and adequately influencing him; ability to choose the pace and rhythm of work.
Pedagogical communication skills (see Fig. 6).
ELEMENTS OF PEDAGOGICAL TECHNIQUES
Ability to take care of appearance
Psychotechnics
A culture of speech
Communication management
Mastery of the body, facial expressions and pantamimics
If we carefully analyze them, we can highlight two grams batch of components.
First year group is associated with the ability to manage one’s behavior,
tues aya - with the ability to influence the individual and the team.
Practice shows that in the process of professional activity, both young teachers and more experienced ones make a number of mistakes. errors in teaching technology , which ultimately reduce the effectiveness of the educational process. The most typical of them include I.A. Zyazyun:
inability to talk with the student and his parents;
inability to restrain or, conversely, show anger;
inability to overcome uncertainty;
inability to take the appropriate pose or select the necessary gesture;
speech defects: monotony, colorlessness, lack of expression, poor diction, etc.
Methods for developing pedagogical technology include:
a system of training exercises to develop certain skills and abilities (psychophysiological training);
a system of certain rules and requirements for future professional activities;
pedagogical role training (inclusion in situations simulating professional activity) and improvement of professional qualities and characteristics that ensure an increase in the level of pedagogical technology. Thus, every teacher must master pedagogical techniques and know its components that ensure the success of his activities. Let us consider in more detail the main components of pedagogical technology.
Both excessive attention to your appearance and a careless attitude towards it are bad. It is desirable that the teacher’s appearance should not contain elements that distract the students’ attention and prevent them from concentrating. But since the teacher is an example for children in everything, including in clothing, he is obliged to follow fashion and dress elegantly, but modestly. The suit should not interfere with the performance of pedagogical operations: working with equipment and devices, writing on the board, leaning towards students, sitting down, etc. Clothing should be in harmony with the figure and appearance of the teacher, and be beautiful and neat. An elegant, beautifully dressed teacher evokes positive emotions in students, lifts their spirits, encourages them to take care of themselves, and cultivates their taste. Everything in the teacher’s appearance - hairstyle, suit, cosmetics, and perfume - should be subordinated to the upbringing of children.
The teacher must work on his appearance until he develops the habit of always looking good, having his own style, image, which includes not only appearance (clothing, jewelry, hairstyle, makeup), but also the ability to use perfume, speak, move, stand and walk.
The entire appearance of a teacher should harmoniously complement his professional activities, his individuality, and help in raising children. “I have to be aesthetically expressive, so I never went out with unclean shoes or without a tie... I did not allow a teacher who was dressed unkemptly to attend a lesson. Therefore, it has become a habit for us to go to work in our best suit. And I myself went to work in the best suit I had.”
Requirements and rules for the appearance of a teacher:
Take time to care for your clothes and appearance.
Follow literature on etiquette and fashion trends.
When leaving home, check your appearance.
When putting on a new suit, check whether it will be comfortable to work in it.
On your way to work, try not to get dirty.
When you arrive at an educational institution, first of all, check your appearance: suit, hairstyle, shoes, etc.
Before each lesson, check your appearance.
Analyze from a pedagogical point of view the clothes and appearance of different people, colleagues, passers-by, actors, announcers.
Observe how your colleagues react to your appearance.
10. The main thing in appearance is neatness and cleanliness, elegance and a sense of proportion.
A teacher must be able to dress beautifully, taking into account modern fashion trends, but at the same time avoid extremes. Shoes should also be comfortable, elegant and, of course, clean. Do not forget that the teacher spends most of his time on his feet and should feel comfortable in his shoes.
The hairstyle must be flattering, neat, and the hair must be clean. When using cosmetics, it is necessary to observe moderation, emphasize the advantages of the face and hide its shortcomings. When choosing jewelry, you should keep in mind that they are only an addition to the costume and should not play a dominant role.
However, neither a suit, nor a hairstyle, nor jewelry can replace a teacher’s good mood, his goodwill, which should be reflected in his face, in his gait, in his movements, which also needs to be worked on. A gloomy, angry facial expression cannot be corrected by any external attributes. The main thing in the appearance of a teacher is his mood.
It is necessary to note the importance of correct posture and gait of the teacher. V.N. Grineva advises for this: to turn your shoulders as much as possible so that they “look” exactly to the side and the shoulder blades on the back almost converge. Align the body, “pull” the head back and top, slightly retract the chin so that when viewed in profile, the neck and head continue the body and do not protrude forward. Then you need to tighten your stomach and pelvis. Heels together, toes slightly apart, arms positioned freely along the body, fingers relaxed.
Correct posture is the basis for correct gait. We determine the width of our step, learn the correct placement of the foot. Place both feet on the same line so that the heel of one foot touches the toe of the other. Keep your center of gravity so that you can stand on both legs at the same time. Now let's spread our legs apart. This is the width of our step. From this position, we begin to calmly move forward, occasionally checking the width of the step (bringing the toes together). And you need to remember that your heels are on the same line, your toes are pointed apart, and your step width is maintained at all times.
Culture and technique of speech
The doctrine of speech culture originated in Ancient Greece and Ancient Rome, where the art of oratory was extremely highly valued in society. An example of this is the speeches of Cicero, Seneca, which went down in world history, as well as the legacy of teaching rhetoric by Quintilian and others. Oral speech, as the main means of pedagogical activity, is the most important element of mastery. The vocabulary of a modern adult should be 10-12 thousand units.
Brightness and expressiveness, accuracy and clarity - this should be the teacher’s language to ensure attention from students (Ya.A. Komensky). Children strive to imitate their teacher, but is his speech always worthy of imitation? N.A. Sukhomlinsky said that the art of education is, first of all, the art of mastering spruce. A teacher's work on his speech requires significant effort. After all, very often preparation comes down to mastering theoretical information and methodology, but problems arise in mastering pedagogical speech techniques. Therefore, we see our task as providing elements of culture and speech technique, as well as a series of training exercises that will help students master this most important component of pedagogical technique.
A culture of speech- this is speech skill, the ability to choose a stylistically appropriate option, to express an idea expressively and intelligibly. The teacher must know the rules of pronunciation, stress, grammar, word usage, etc. Speech culture is the basis of general pedagogical culture. After all, the emotional and psychological background of the lesson and the microclimate in the group depend on the level of speech culture and the nature of verbal communication (V.N. Grineva).
Speech is a powerful means of personality formation. The speech of a teacher, like any cultural person, must meet the following requirements:
right: compliance with stress and grammar standards;
accuracy: compliance with the thoughts of the speaker and the correct selection of linguistic means of expressing the content of thoughts;
clarity: intelligibility and accessibility for interlocutors;
simplicity, accessibility and brevity: the use of simple, uncomplicated phrases and sentences that are easiest for students to understand;
consistency: constructing a composition of reasoning so that all parts of its content consistently follow each other, are interconnected and lead to its final goal;
expressiveness: exclusion from speech of cliches and template phrases, skillful use of phraseological units, proverbs, sayings, catchphrases, aphorisms;
richness and diversity in lexical and vocabulary composition: large vocabulary and the ability to use one word in several meanings;
appropriateness of expressions: the use of the most appropriate stylistically justified language means for a given case, taking into account the composition of the audience, the topic of the dialogue and its content, and the tasks being solved;
language and speech stylistics;
teacher's attitude towards the student.
Failure to comply with these requirements during the communication process usually leads to a decrease in its effectiveness. Thus, pauses, inability to properly distribute breathing, random logical stresses, multiple stresses, incorrect intonations lead to the fact that the meaning of what the teacher said is misunderstood or not understood at all. For example, consider the sentence: “Tomorrow, Saturday, there will be no classes in the first year.” If we put emphasis on “I year”, then we draw attention to the fact that there will be no classes only in the 1st year. If we want to emphasize that there will be no classes “tomorrow” or “on Saturday,” then we emphasize these words, etc. In total, there can be four options for logical stress in this sentence. (.) The mistake would be vocal pressure on the stressed word. You can highlight the desired word by pausing between words, changing the rhythm of the phrase, etc.
Speech without logical stress is difficult to perceive, but it is even more difficult to perceive speech in which every word is emphasized. A change in logical stress leads to a change in meaning. For example:
I had a good time today.I had a good time today. I had a good time today. I had a good time today.
To facilitate the correct construction of oral speech, both for teachers and students, let us familiarize ourselves with the logical rules of oral speech:
1. If there is opposition in a phrase, then both contrasted words are highlighted.
2. When combining two nouns, the one that is in the genitive case stands out.
Homogeneous members of a sentence are always highlighted.
The adjective usually does not take stress. The definition seems to merge with the word being defined, which stands out somewhat. If you need to emphasize the definition, you should resort to inversion - changing the word order accepted in the grammar.
If several definitions apply to a word, then all of them are highlighted except the last one, which merges with the word being defined.
When comparing, what is being compared is highlighted, not the subject of comparison. In this case, it is necessary to ensure that the emphasis does not fall on auxiliary words.
The particles “not” and “neither” are not emphasized intonationally. They merge with the word they refer to, and the emphasis falls on the word itself: “neither you nor me,” “no matter how hard you try, nothing will work out for you.”
An inexperienced teacher’s speech is often overloaded with logical stresses, because everything about her seems important to him. Sometimes the emphasis is placed correctly, but the meaning of what is said is unclear, because... the phrase sounds in a single speech stream, which is poorly perceived by ear. A semantic grouping of words around logical centers will help here so that students perceive not individual words, but semantic blocks called speech beats.
A speech tact unites a word or a group of words that are closely related to each other in meaning and pronounced as a whole with logical emphasis on one of the words. The subject and predicate are separated by a pause and must be in different speech beats. Pauses separating one speech beat from another are called logical pauses. Preparation for the lesson should include breaking the text into speech beats, setting logical stresses and pauses, and in the end - building a logical perspective of speech. This will help students understand the meaning of what the teacher said.
S.S. Speransky said that it is necessary to observe two rules for the arrangement of thoughts:
1. All thoughts must be interconnected, and each subsequent thought contains the beginnings of the previous one.
2. All thoughts must be subordinated to the main one. Accuracy and expressiveness of speech is achieved by using synonyms, those. words that are close in meaning, but differ in different shades (for example: laughter-laugh, cry-roar, brave-brave, teacher-teacher-educator, etc.); paronyms similar in sound, but different in meaning (for example, learn-master, subscriber-subscription, etc.).
Speech quality decreases tautology- repeating the same thing in different words: “running”, “playing a game”, “memorable souvenirs”, etc.
Of great importance for oral speech is intonation, which comes in two types: logical and emotional-expressive. The purpose of the first is to emphasize the semantic load of individual words and expressions, the second is to help the teacher convey his feelings and attitude to what was said.
In the social circle of specialists in the field of physical culture and sports, slang words and expressions are common in their oral and written speech. For example, “make a rival”, i.e. win, “hang” - get a job, etc. Flaws in speech, carelessness in pronunciation, incorrect emphasis distract students from the content, because they involuntarily pay attention to this, distracting from the main thing.
The power of the teacher’s word is related to the appropriateness of the speech, i.e. correspondence of language means to the composition of the audience, the topic of the conversation, its content and the educational tasks to be solved. After all, the same text may be accessible to high school students and not accessible to younger students. Children with different characters, temperaments, and mental processes react differently to the coach’s comments. From the first days of work, the coach must carefully study all the characteristics of the child in order to subsequently communicate productively with him.
Studies have shown that a monotonous voice when presenting material reduces its perception by 35-55%. It is important to give a nuance to speech when approving or condemning the actions of students. It should be noted that raising and lowering your voice helps to retain the initiative in communication. Usually the conversation is conducted calmly, without raising the voice, but in case of violations of discipline, regime, manifestations of selfishness, “star fever”, shades of indignation and indignation should be heard in the teacher’s voice. However, you should never use offensive words and expressions, much less ridicule shortcomings that the child is unable to correct.
In conditions of sports activity, it is necessary to take into account the athlete’s condition and his experiences. At competitions, the coach, through his speech, should help him overcome nervousness/anxiety, uncertainty, i.e. his voice must be confident, excluding the possibility of defeat.
The teacher’s speech culture is closely related to his motor skills. Demonstration of the exercise should not interfere with the fluency and expressiveness of speech.
It is good when a teacher reinforces his experiences, emotions, feelings with expressive speech, rich in various intonations, which contributes to the development of adequate manifestations in children.
For the development of a teacher’s speech culture, knowledge and mastery of different speech styles - everyday, business, scientific, artistic - is of great importance (V.N. Grineva). Depending on the audience with whom he is communicating, the teacher must choose an appropriate style of speech to ensure effective communication. This is achieved by knowledge of the language and the presence of speech skills, which are formed in speech activity, with experience. Of course, speech culture directly depends on the linguistic environment: the higher the level of speech culture of the population, the greater the impact it has on the upbringing and formation of personality.
Unfortunately, many teachers do not know the basics of speech activity, speech techniques: they do not know the anatomical, physiological, psychological and grammatical foundations of speech activity; do not know how to breathe correctly; have an inexpressive vocal apparatus; they have no sense of speech tempo; they have a mediocre command of diction, the basics of speech logic, etc. An inexpressive, quiet voice, lack of the required speech rate, and poor diction lead to misunderstanding and loss of interest among students in the lesson. Such a teacher is not able to ignite students, inspire them, or awaken interest in learning. And, on the contrary, developed speech breathing, perfect diction, and a well-trained voice give the teacher’s words expressiveness, which allows one to convey a wealth of thoughts and feelings in speech. Therefore, mastering speech technique is one of the main tasks of pedagogical technology in general.
What is speech technique? This is a combination of phonation (speech) breathing, speech voice and diction, brought to the level of automated skills and allowing | effectively carry out speech influence (I". II Chikhaev) (Fig. 7).
Fig.7. Structure of speech technique (according to V.P. Chikhaev)
Breathing associated with the formation of sounds is phonation breathing. With this type of breathing, the inhalation is much shorter than the exhalation. From the point of view of hygienists-physiologists, the most appropriate for a teacher is a mixed type of breathing produced by training.
An important feature of the regulation of breathing in a person is his ability to arbitrarily change the tempo, rhythm, and amplitude of respiratory movements. This is especially important for physical education teachers and coaches, because their professional activity is associated with the need to combine words and demonstration of physical exercises, i.e. speech motor activity, counting while performing exercises that require breathing skills. Therefore, they need to regularly do breathing exercises, because... Proper breathing is part of the voice, a condition for successful activity. Some exercises for developing phonation breathing are given in materials for individual work.
Speech voice. The main role in speech technique belongs to the teacher’s voice - his main instrument. The future teacher, without relying on natural abilities, needs to work on speech technique, observing the following requirements for the voice:
The teacher must master the technique of changing tonality depending on the specifics of teaching and educational tasks and the individual characteristics of students.
Staging the speech voice should begin with relieving muscle tension in the neck and shoulder girdle and freeing the phonation pathways. This is followed by the development of the dynamic range of the voice. The poor range of speech of the teacher leads to monotony of speech and a decrease in the activity of students. According to A.S. Makarenko, you can become a real master when you learn to pronounce one phrase with 15-20 sound shades.
The teacher's voice should be distinguished by strength, endurance and flexibility. Strength does not mean loudness, because... a loudly spoken phrase without emotional connotation can go nowhere and have no effect. Voice endurance is its condition when during work (up to 6-7 lessons a day) it does not weaken or become ill. Flexibility means a wide range of sounds. All of the above voice qualities require training, adherence to a regime consisting of alternating speech activity (maximum 4-5 study hours) and breaks of 10-15 minutes. Cold air and water, alcohol and smoking should be avoided, because they have a detrimental effect on the vocal cords and result in hoarseness, hoarseness, etc. Nervous tension is also undesirable. It is known that a person, even with minor excitement, sometimes “loses” his voice. Therefore, the condition for a good voice is a healthy nervous system, traditional hardening procedures, and a balanced diet.
Diction- this is the ability to correctly pronounce vowels and consonants. Diction skills are determined by the activity of the muscles of the articulatory apparatus, the development of which is a condition for their formation. The development of correct diction should begin with articulatory gymnastics, which develops speech organs such as lips and tongue, as well as the lower jaw, vocal cords, and lungs. It is better to do these exercises in front of a mirror, on your own.
In order to avoid the so-called motley voice, when vowel sounds are heard near the teeth, palate, and larynx, training in the pronunciation of each sound and their comparison is necessary. To master the technique of correct pronunciation, the use of tongue twisters and special exercises is very useful.
Techniques of pedagogical communication
From a pedagogical point of view, optimal communication can be considered to be one that creates the most favorable conditions for the development and formation of students and helps create emotional comfort in the team. As already noted, first impressions play a big role in communication, so you need to be able to show yourself from the best side and try to captivate children with your merits. It is necessary to prepare for the first meeting by familiarizing yourself with the student population, reviews of them from other teachers (colleagues), and parents. However, sometimes such information can lead to the formation of a negative attitude towards some guys, which affects subsequent attitudes towards them. Involuntarily, we look at “bad” children with fear and distrust, creating difficult barriers to communication. When going to a lesson, the teacher must think through everything: appearance, gestures, facial expressions, what and how to say.
An important role in the formation and formation of a high levelTeacher professionalism belongs to pedagogical technology.
Without pedagogical technology, without the ability to manage oneself and interact with others, a teacher cannot use himself as a means of teaching and education. To achieve the goal of pedagogical activity, a teacher needs to master a set of the following skills:
- technique and culture of speech (breathing, voice - its strength, intonation coloring, timbre, dictionary clarity of speech pronunciation, its tempo and rhythm);
– the ability to control one’s body for an expressive presentation of educational material, feelings and attitudes towards it and the participants in the pedagogical process through facial expressions and pantomime;
– professional self-regulation of the teacher’s mental states (relieving psychophysical stress, pressure, creating creative working well-being);
– pedagogical communication and organization of influence on the individual and the team in the educational process.
Pedagogical technique is an external manifestation, a form of pedagogical skill. Its essence is manifested in the teacher’s possession of a set of special skills and abilities: the ability to mobilize students for educational, cognitive and other types of educational activities; the ability to pose questions, conduct a dialogue, observe and draw conclusions from what is observed, the ability to control oneself - one’s mood, voice, facial expressions, movements, etc.
Pedagogical technique promotes the unity of the internal content of the teacher’s activity and its external expression, that is, the synthesis of spiritual culture and the external professional expressiveness of the teacher. Its main means are the appearance of the teacher (clothing, hairstyle, facial expressions, pantomime, posture), the emotional state that determines how the teacher looks externally, and his speech, understandable to students, spelled correctly, sounding at an optimal pace.
There are a number of definitions of the essence of pedagogical technology (A.S. Makarenko, Yu.P. Azarov, N.E. Shchurkova, V.M. Myndikanu, A.A. Grimot and P.P. Shotsky, etc.). In each of them, with visible differences in content, it is emphasized that the professional skill of the teacher is manifested in the refinement of pedagogical technique, and that this structural component of pedagogical mastery is a set of special skills and abilities that allow the teacher to organize himself, his body in the process of performing professional activities and achieve in it there are organizations of others, primarily students. Scientists agree that “pedagogical technique is an integral part of a teacher’s skill”(Yu.P. Azarov) and is “a set of skills that allow a teacher to more vividly, creatively express himself as a person, achieve optimal results in work, convey to students his position, thoughts, soul” (A.A. Grimot, P .P. Shotsky).
Pedagogical technique is not the main element in the structure of pedagogical skill (the essential component is professional knowledge, and the system-forming one is the professional and pedagogical orientation of the teacher’s personality), however, its insufficient formation, neglect of it leads to the fact that pedagogical skill does not find external expression and is not manifested in teaching and educational activities of the teacher. The main mistakes of a teacher who does not master pedagogical techniques are the inability to establish communication with students, restrain their negative emotions, or, conversely, it is pedagogically expedient to show dissatisfaction with certain actions of students; slurred speech, leading to the inability to tell, prove, convince; a feeling of fear of an audience, manifested in excessive stiffness or swagger, in somatically caused phenomena (red spots on the face, hand trembling, sweating, etc.), monotony of speech or stuttering, etc. All this leads to the ineffectiveness of teaching activities and the futility of the teacher’s professional efforts.
Researchers of pedagogical technology (S.B. Elkanov, Yu.L. Lvova, V.M. Myndikanu, V.A. Slastenin, N.N. Tarasevich, N.E. Shchurkova, etc.) see the purpose of the skills developed within its framework and skills in the teacher’s organization of himself in the pedagogical process and in influencing others. In accordance with this, two main directions are considered in its structure:
– a set of techniques used by the teacher to develop the ability to manage one’s behavior, internal emotional state, and pedagogically appropriate organization of one’s appearance;
– a set of techniques necessary for a teacher to develop the ability to influence the student’s personality and the entire student body, revealing the technological side of the educational process.
This systematization of pedagogical techniques that allow one to practice professional skills is quite conditional, mostly theoretical, since any technique that a teacher uses to organize himself and control his behavior is at the same time a way of influencing the student’s personality or the group of students as a whole. , and a means of implementing a certain pedagogical technology.
In pedagogical practice, the interrelation and inextricable unity of all skills and abilities within the framework of pedagogical technology are obvious. A teacher who strives to master pedagogical skills must embody this unity in his professional activities.
Knowledge of the internal structure of pedagogical technology for organizing oneself, ways of developing skills and abilities in accordance with its structuring, their development already on the student bench largely determines the greater effectiveness of a teacher’s professional growth.
The pedagogical technique for teacher self-control is represented by the following components:
– management of the internal emotional state, formation of the creative working well-being of the teacher;
– formation of a pedagogically appropriate appearance, mastery of mimic and pantomimic skills;
– development of perceptual abilities (attention, observation, memory, imagination, fantasy, etc.);
– honed speech technique.
For the teacher, mastering the methods and techniques of mental self-regulationis the most important condition for the formation and development of his professional skills. IN
in everyday work, the teacher constantly
is faced with the need to regulate his internal emotional state, since the work of a teacher is characterized by great neuropsychic stress, sometimes it contains stressful situations that impair health, reduce efficiency, and a creative attitude to work. In addition, the most important means of teaching and education is the pedagogically expressive appearance of the teacher, and it is always a derivative of the internal emotional well-being. Therefore, the formation of a teacher’s mental culture is necessary and possible.
The most significant for mastering the skills of internal emotional self-regulation are the characteristics of the type of higher nervous activity of a person and the prevailing temperament. They form the natural basis for the individual uniqueness of the individual. In man, much is programmed by nature: organic processes, the actions of instincts, the dynamics of psychophysical processes. They are regulated automatically, without the intervention of consciousness. However, a person is able to influence his mental characteristics and can correct their action in the right direction. Relative freedom, human independence from nature, the ability for self-regulation is precisely one of the most important characteristics of the human personality. It is important for a person to learn to adapt his natural inclinations: the prevailing features of higher nervous activity and temperament to the needs of the teaching profession. At the same time, he must know and be able to objectively evaluate not only the types of his HNA (higher nervous activity) and temperament, but also the characteristics of cognitive, emotional and volitional processes. To do this, it is necessary to master the methods of self-knowledge, to master the methods of recognizing the above-mentioned features of the central nervous system and its functions. A number of such techniques are proposed in the book by S.B. Elkanov “Professional self-education of a teacher”. Among them, the main practical methods are observation and self-observation. Various psychological tests are no less important. These techniques are aimed at self-determination of the strength of nervous processes, their balance, mobility, as well as at identifying data on the characteristics of temperament. A detailed analysis of the collected results allows us to determine the strengths and weaknesses of the naturally occurring individual characteristics of the central nervous system (CNS) and identify the tasks that need to be solved for their more optimal adaptation to the requirements of teaching activity. A teacher can have both a strong and a weak nervous system, any type of temperament, but the correspondence of his natural data to the requirements of the teaching profession will be different, more or less suitable. Consequently, the teacher’s efforts must also be individual to adapt his characteristics to the requirements of the profession, to cultivate a pedagogical culture of temperament, to master the skill of self-regulation of his internal emotional state.
The most important professional requirement for a teacher in psychological terms is the ability to maintain emotional stability, sometimes despite unfavorable conditions for this.
Emotional stability is a property of the psyche, thanks to which a person is able to successfully carry out the necessary activities in difficult conditions (according to M.I. Dyachenko). It can be considered not only as a means of pedagogical technology, but also as an important indicator of a high level of qualification of a teacher, since emotional stability is formed on the basis of his deep professional knowledge, developed pedagogical skills, and developed abilities for professional activities. Studies of the activities and personality of teachers confirm that emotional stability is always inherent in teachers who have good professional training, and therefore are self-confident and self-sufficient. After all, emotional stability is generally achieved and maintained under the following conditions:
– faith in one’s own strength, awareness of actions;
– greater awareness about the circumstances of the activity, about its very essence and the means of achieving results in it (to achieve emotional stability, it is important for the teacher to know not only the subject and methods of teaching, but also the age and individual characteristics of his students, the specifics of the class team; the circumstances in which he must work , clearly imagine the final result of your activities, etc.);
– possession of skills and abilities of emotional self-management, methods of autogenic training (these include self-assessment of one’s psychophysical and emotional state, self-hypnosis, self-order, switching and diverting one’s attention from the source of a stressful situation; physical exercises aimed at relieving psychological stress: establishing a calm breathing rhythm, instant relaxation and toning of certain muscles body, for example, imperceptible squeezing and unclenching of the palms of the hands, changes in the rhythm of speech and movements, etc.). To master the above-mentioned skills and abilities, psychological education and self-education, work with special literature, as well as the practical application of knowledge in life, and autogenic training are necessary.
Psychologist F.P. Milrud argues that insufficient professional and psychological preparation for behavior in emotional situations is especially noticeable among novice teachers. The forms of their pedagogical influence on students in order to eliminate an emotional situation in some cases include a scandalous shout, a threat, insulting a student, expulsion from the class, which does not reduce, but aggravates the stressful situation.
The teacher needs to develop the skills and abilities of his own emotional regulation, which help to choose the right pedagogical actions in conflict situations, to prevent his emotional breakdown, which destroys the authority of the teacher, reducing his faith in his professional capabilities and abilities. Sometimes the inability to regulate your internal emotional state causes the destruction of physical health.
The developed skills of emotional self-regulation are for a teacher an indicator of the level of his professional qualifications, an important means of pedagogical activity, and a tool for creating conditions for maintaining his psychophysical health.
The most important methods of emotional self-regulation include (according to V. Levy):
– knowledge and analytical research the main reasons for the disturbance of emotional balance, which allows the teacher to be psychologically prepared for emotional situations and maintain mental balance in them (typical reasons for the violation of emotional stability are the psychophysical overload of the teacher; unsettled relationships with individual students or with the class staff as a whole, with colleagues and school administration; monotony in work, which arises especially in those situations when a teacher works in grades 3–4 of the same parallel; everyday and family troubles in life, etc.);
– fostering kindness towards people, optimistic outlook, cultivation of positive emotions;
– relaxation in activity;
– special psychophysical exercises(relaxation of certain facial muscles based on verbal self-orders: “I see my face”, “my face is calm”, “forehead muscles are relaxed”, “cheek muscles are relaxed”, “eye muscles are relaxed”, “my face is like a mask”; tone control skeletal muscles; techniques for self-control of the pace of one’s mental reactions by mentally pronouncing questions and self-orders such as: “How is the pace?”, “Calm!”, etc.; exercises in smooth and slow movements, regardless of emotional states; ways to disconnect, switch and distract from sources of emotional stress, self-persuasion and self-hypnosis, etc.);
– autogenic training; it is especially useful in combination with systematic physical education, hardening the body and improving the daily routine.
Thus, the education of mental culture is not a momentary matter; it requires daily training and a deep awareness of the need for its formation for the teacher.
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The state of creative working well-being during work is an important characteristic of pedagogical skill, an indicator of perfect mastery of pedagogical techniques. Researchers of the creative nature of pedagogical activity have proven that a teacher’s creativity in the classroom is 50% of his labor productivity.
For the first time, the concept of creative working well-being was given by K.S. Stanislavsky regarding the acting profession. He pointed out that creative well-being is a state, mental and physical, that has a beneficial effect on the actor’s creative process. “Having clearly felt the harm and incorrectness of the actor’s well-being,” wrote K.S. Stanislavsky, - I naturally began to look for a different mental and physical state of the artist on stage - beneficial, and not harmful to the creative process. In contrast to the actor’s well-being, let’s agree to call it creative well-being.”
This concept was adapted to the teaching profession by Yu.L. Lvova, who defined the creative well-being of a teacher as a special mental and physical state in which the teacher achieves the greatest results in his work, is in a state of inspiration, charges the audience with his energy and receives the greatest return from the audience. This condition is characterized teacher's focus on the subject of study, on students, on himself in the process of work, the richness of his imagination and speech, the high perceptiveness of the teacher. Externally, creative working well-being is manifested in the teacher’s physical fitness, energy, the sparkle of his eyes, a friendly smile, and general psychophysical composure.
The fundamentals of creative well-being of teacher Yu.L. Lvova believes:
– contact with students, vision of the whole class, understanding the state of everyone as a whole and each student individually;
– creating real rather than conditional circumstances in working with children;
– balance of stimulation and inhibition in the teacher's nervous system.
The main elements of creative working well-being, according to Yu.L. Lviv, are concentration, absorption teachers the leading goal and objectives of the lesson, aiming at his “super task”; vision and understanding of students in the process of working with them, audience focus; feeling and self-understanding during work, availability self-control which balances calculation and inspiration, does not allow the teacher to become overly carried away by the details of the lesson and move away from its main goal, and also removes “unfreedom,” muscle tension and pressure that does not allow creativity.
She developed the basic psychological mechanisms for a teacher to enter into creative working well-being. These include:
– preparation for teaching activities, which includes not only deep penetration into knowledge of the subject, planning a lesson or extracurricular activity, but also spiritual preparation for interaction with children, his mental work aimed at professional activity;
– creating psychological attitudes for the upcoming work, taking a so-called “spiritual shower” », mental focus on what needs to be done and on those for whom it is being done. Sometimes it is necessary, through an effort of will, to disconnect from extraneous stimuli that are unnecessary in a given situation, to put thoughts and nerves in order, to free oneself from everyday worries and to acquire the necessary emotional mood (specifically, this is reviewing the plan for upcoming activities, the content of the material studied in the lesson; thinking through the details of the situation, in which the work will take place, sometimes even details of one’s appearance, etc.);
– if necessary, the teacher should use special psychophysical exercises, promoting the emergence of creative working well-being, eliminating unnecessary emotions, relieving psychological or physical stress, in which there can be no question of the emotional well-being necessary for work (for example, relaxation exercises to relieve fatigue; self-hypnosis with an attitude towards self-confidence, energy, cheerfulness; self-encouragement - the joy that you can do a lot as a professional, that everything will work out in your work as it should, etc.).
Yu.L. Lvova calls on teachers to carefully work on themselves in terms of mastering pedagogical techniques, in particular, acquiring the skills to enter into a creative working state. She writes: “The very concept of “a teacher’s work on oneself” in the generally accepted sense implies only self-education. Self-education is, of course, necessary, and it has become a strict law of teacher’s work, the main form of improving pedagogical qualifications. But the teacher’s work on his psyche, self-education of feelings, their self-regulation, development of certain emotions dictated by the specifics of teaching work have not yet become an integral part of the teacher’s creative laboratory.” She emphasizes that it is precisely this work of a teacher on himself that largely determines his professionalism. However, as K.S. warns Stanislavsky, “no psychological exercises can save a lazy person who does not love his work, an unscrupulous person... They become a help to a thinking, knowledgeable, creative person in the struggle for a creative state and work.”
Teacher V.A. gives useful advice on managing your emotional state and getting into a creative state of well-being at work. Sukhomlinsky:
– cultivate peace of mind and optimism;
– do not allow sullenness to develop in your character, do not exaggerate the vices of others;
– use humor more often, learn to laugh at your shortcomings;
– be kind to people.
Possession of emotional balance and the ability to enter into creative working well-being is the basis for the teacher to form his own pedagogically appropriate appearance.
The pedagogical expediency of a teacher’s appearance is determined by the aesthetic expressiveness of his clothing and hairstyle; mimic and pantomimic expressiveness.Pedagogical requirements for clothing and the external appearance of a teacher are well known and simple: a teacher must dress beautifully, tastefully, fashionably, simply, neatly, with a sense of proportion and in harmony with himself, taking into account the professional and life circumstances in which he finds himself. In fact, such requirements are imposed on clothing as an important element of the appearance of a person of any profession; they have general cultural significance. However, we must not forget about an important specific feature of the teaching profession: its subject is always at the same time a means of activity, that is, the teacher’s ability to dress in accordance with professional requirements (and not just fashion and his own desires) plays a large educational role: the teacher, with his appearance, already teaches and educates.
As mentioned above, a person’s appearance is always a derivative of his internal emotional state, his intellect, and spiritual world. Therefore, the formation of a teacher’s ability to create an individual pedagogical style in clothing does not begin at the moment of thinking about the details of appearance, creating the image with which the teacher will come to the children’s lesson. These skills are formed in parallel with the development of the teacher’s professional knowledge, his intellect, emotional and volitional spheres, mental culture, etc. All this finds expression in the teacher’s ability to dress aesthetically expressively, in accordance with the requirements of the profession.
An important component of pedagogical technique, the teacher’s mastery of external expressiveness, is facial expression.
Facial expressions are the art of expressing one’s thoughts, feelings, moods, and states by movements of the facial muscles. . It increases the emotional significance of information, promotes its better assimilation, and the creation of necessary contacts with students. The teacher's face should not only express, but sometimes hide those feelings, which should not appear in the process of working with children due to various circumstances (especially feelings of contempt and irritation should be hidden by the teacher; feelings of dissatisfaction caused by some kind of personal troubles should not be brought into the classroom).
The teacher needs to understand the importance of facial expressions in the pedagogical process, to know the possibilities of facial facial activity, which muscles carry the greatest load; clearly and adequately present their capabilities in this area of pedagogical technology.
The greatest facial load falls on the muscles of the forehead, eyes and mouth. They are the ones responsible for the liveliness of the face, the ability to accompany a word with the necessary expression, and most importantly, for the teacher’s ability to smile and bring into the class, along with his smile, goodwill and disposition towards students.
The teacher’s face, the emotional states manifested on it - openness and goodwill or indifference and arrogance, and sometimes even malice and suspicion - largely determine the style of communication with students and the result of pedagogical efforts. An expression on the face of excessive severity, even severity, and cold eyes alarm children, causing them to feel fear of the teacher, or a desire to fight back and protect themselves. The obvious goodwill written on his face encourages dialogue and active interaction.
I.I. Rydanova argues that “a falsely understood pedagogical authority, the desire for self-exaltation encourages some teachers, cheerful and cheerful in everyday life, to put on a mask of deliberate formality, mimic equanimity and emotional dryness. This tendency complicates the transition from role interaction to interpersonal interaction and reduces the strength of the teacher’s personal influence.”
From the point of view of psychology and pedagogy, V. Levi writes very accurately about the importance of facial expressions, about the ability to convey goodwill on the face: “Facial tone. A very cunning, very subtle thing... The face is the center of mental muscles... Quickly releasing the clamps on the face is a good means of maintaining calm and confidence in the face of any surprises. In addition, you probably noticed that facial play enlivens mental activity... Separately, a smile... It is important to understand that a smile is not only born of a feeling, but also gives birth to it... Let us discover that only a genuine one, from the inside a luminous smile truly has an effect on others and on ourselves.”
The teacher needs to study and know the features and capabilities of his facial activity and practice facial expressiveness. To develop orientation in understanding your own facial behavior, you need to study the standards of facial expression presented by psychologists. Knowledge of these standards (calmness, fun, thoughtfulness, sadness, anger, surprise, efficiency, etc.) helps to develop facial mobility of muscles. The teacher needs to have a “living” face as a tool for interacting with students, meet the most important requirements for facial expression: be facially expressive, but not grimace, constantly maintain visual contact with participants in pedagogical interaction.
Particular attention should be paid in the process of practicing facial expression visual contact. With a glance directed at the interlocutor, they attract attention to themselves and the subject of the conversation, express disposition or alienation, irony, severity, a question, that is, they maintain psychological contact. A closer look enhances the impression of the information being conveyed. An elusive or heavy, angry gaze irritates and repels. Every student in the class needs visual contact with the teacher, which helps maintain attention and delve more deeply into the teacher's explanation. However, it should be remembered that a gaze lasting more than 10 seconds causes a feeling of psychological discomfort in the interlocutor.
These are the means of facial expression of the teacher, an important structural component of pedagogical technique. A.S. Makarenko was deeply convinced that a teacher who does not control his facial expressions, who cannot give his face the necessary expression or control his mood cannot be a good teacher.
The pedagogical expediency of a teacher’s appearance and his aesthetic expressiveness largely depend on the level of development of his pantomimic skills. Pantomime is the movements of the arms, legs, and posture of a person. Pantomimic means are posture, gait, posture and gesture.
Gestures and hand movements have exceptional power of expression. . E.N. Ilyin calls the teacher’s hand “the main technical means.” “When it is unfolded,” he writes, “it is a picture illustrating words and illustrated by words, raised up or directed at someone - an emphasis that requires attention, thought; clenched into a fist - a certain signal for generalization, concentration of what was said, etc.” .
The gesture requires a lot of attention from the teacher, working on its appropriateness, plasticity, grace and simplicity. It should be taken into account that a gesture, to a greater extent than a word (a reflection of the work of consciousness), is subordinate to the human subconscious, but, like a word, it carries information. A gesture is ahead of the words that it accompanies, so sometimes the information of the word and the gesture do not coincide, which requires thoughtfulness of the gesture, correlating it with what needs to be said.
There are different gestures psychological and descriptive. Psychological ones contribute to the expression of feelings and non-verbal communication with the interlocutor. Descriptive ones provide non-verbal communication to a greater extent, as they carry additional information about the subject of the conversation. The teacher must master them equally, since his communication must be lively, emotional, colored by certain feelings and experiences.
The teacher's pantomimic expressiveness also depends on his mastery of body movements, posture, and his posture and gait. The teacher’s activity presupposes pantomimic energy, expressed in slender posture, lightness and grace of gait, and general physical fitness of the body. “Bodily relaxation, uncontrollability of the external pattern of behavior,” writes I.I. Rydanov, “a round back, a protruding belly, the habit of not sitting down on a chair, but “plumping down” heavily, spreading your legs wide, randomly walking back and forth or marking time—are critically interpreted by children, cause ridicule, and distract attention from the subject of conversation.” Often the teacher's pantomime is shocking. Scratching the nose or head during an explanation, sitting on the edge of a student’s table, hands tucked into trouser pockets are negative aspects in the pantomime of individual teachers who do not attach importance to pedagogical technology, and sometimes are not aware of its existence. Possession of pedagogical skills presupposes developed abilities to control pantomimic expression and adhere to moral and aesthetic standards in organizing one’s behavior.
The pantomimic expressiveness of the teacher and the refinement of his pedagogical technique also depend on how the teacher moves around the class and what place he chooses during communication with the audience. In order for communication to be active and supported by visual contact, the teacher must always face the children (especially when he is working at the board or with instruments) and be in the front center of the room in which he is working with students.
When moving around the class, it is necessary to remember that several steps forward at the time of explanation enhance the significance of the spoken words and help focus attention on them, and moving backward or to the side, on the contrary, non-verbally means that what is being said at the moment is not so important and attention can be weakened. By stepping back, the speaker seems to give the listeners a rest. At the moment of explanation, there is no need for intense movement in the audience. The teacher is required to walk around the classroom while students are doing exercises, independent work, or tests. Moreover, the gait at this moment should be light, you need to move silently, so as not to distract the guys from work.
The effectiveness of communication between a teacher and students is also determined by its spatial organization. An important role is played by the teacher’s correct choice of the necessary distance with students in a given situation. It has a deep pedagogical meaning. “When talking with the guys, I don’t stand still, but walk around the class. I try to “get close” to everyone,” writes E.N. Ilyin. “I put the word in quotation marks, because approaching does not mean only shortening the distance, but by close proximity, by the fact that everyone is given attention, to create comfortable conditions in the lesson, a situation of mutual success and friendship.” Lengthening or shortening the distance causes weakening or strengthening of the interaction between the teacher and the student, introduces a certain emotional aspect into it, that is, it can create a formal communication environment (distance more than 3 m) or, conversely, intimate, intimate, friendly (less than 0.5 meters) . Ignoring this provision can provoke stressful conditions in students, which does not contribute to the effectiveness of the educational process.
Thus, summing up all of the above about a teacher’s skill in organizing himself within the framework of pedagogical technology, we can highlight the following main indicators of the manifestation of his pedagogical professionalism:
1. Psychological culture(emotional balance, self-control, one’s feelings, the ability to quickly enter into a creative working state).
2. Pedagogical imageology(clothing, hairstyle, etc. reflect spiritual depth and charm, high level of intelligence, intelligence).
3. Facial expressions(mobile, aesthetically expressive, smiling and goodwill dominate in facial expression).
4. Eye contact(always observed).
5. Gesticulation(lively, organic personality of the teacher and the teaching situation, graceful and smooth).
6. Vigorous posture, plasticity, absence of muscle tension and uncontrolled unaesthetic movements.
7. General artistry of the teacher’s personality(aesthetics of manners, external design in general).
The teacher's speech is the main instrument of his professional activity. The process of its perception and understanding of educational material by students is closely related to the process
listening to what the teacher is talking about (half of the student’s teaching time is allocated for this). Therefore, it is quite obvious that the process of schoolchildren’s learning largely depends on the perfection of the teacher’s oral speech. Incorrect pronunciation of individual sounds causes laughter and bewilderment among students, monotony of speech leads to boredom, and unjustified intonation and inappropriate pathos are perceived as false and cause distrust in the teacher. An essential sign of a teacher’s professional skill is the refined technique of his speech.
The main means of speech technique include controlled breathing and voice, clear diction, optimal tempo and rhythm of speech, intonation.
Breath is not only a physiological function of the body, but also the energy base for the process of pronouncing sounds. In everyday life, when our speech is predominantly dialogical and there is no need to pronounce it in front of a large enough audience, breathing does not cause difficulties, but in a lesson, if it is not well-organized, problems may arise: it will not be enough to pronounce phrases, monologues ( value judgments, explanation and interpretation of material, reading a school lecture, etc.).
There are two types of breathing in one respiratory process: physiological, ensuring human life, oxygen supply to the body, and phonic, which determines the energy of pronunciation of sounds in the process of speech activity. Their difference
