CC BY
3THE IMPORTANCE OF VERBAL COMPETENCIES IN THE
PROFESSIONAL ACTIVITY OF A TEACHER-CHOREOGRAPHER
Olga Konstantinovna Komarova Uzbekistan State Academy of Choreography
Abstract: The article raises current issues of speech competence of student choreographers. The role of the teacher's oral explanation in the process of practical learning of new choreographic material is assessed. The need to improve the speech culture of students is substantiated.
Keywords: pedagogical communication, verbal skills, professionalisms, idioms, vocabulary, diction, speech techniques
Oratory, starting from Ancient Greece, was considered an essential quality of leaders, heroes and chiefs. In ancient times, training in rhetoric and dialogue techniques was mandatory. Since then, verbal communication has been a key element of human society. And today, artistic control of the voice, its timbre, tonality, and the ability to place accents sometimes becomes more important than the content of the message itself. In addition, different shades of voice form the image of the speaker in the minds of the audience.
Professional speech is an important component of the success of many professional public fields - politicians, journalists, lawyers, announcers, artists. It is difficult to overestimate the importance of speech in pedagogical activity.
The professional activity of a teacher - pedagogical communication, pedagogical influence, during which educational information is transferred from the teacher to the student, can be divided into two components: verbal (verbal, verbal) and non-verbal (visual, visual, illustrative). When teaching choreographic disciplines in any educational institution, the greatest importance is attached to the non-verbal component - practical demonstration.
Showing is the main means of presenting educational information in choreographic pedagogy. Basic, but not the only and not exhaustive, since the show does not contain sufficient information completeness necessary for understanding and solid assimilation of the parameters and nature of dance-expressive actions, and, therefore, cannot ensure the proper quality of assimilation of educational material. The teacher's demonstration when learning a dance element requires verbal reinforcement. Only a harmonious relationship and complementarity of practical demonstration and oral explanation can ensure the effectiveness of the teaching process. But to achieve such effectiveness, to achieve educational goals, along with broad knowledge of a professional nature, the teacher must be fluent in the means of
speech communication and methods of speech influence. The teacher must have the ability to clearly explain the meaning of dance movements, the methodological and technical features of their implementation, and clearly and accurately describe the stylistic and figurative characteristics. That is, the teacher must be able to effectively influence the development of motor skills in students using verbal means of teaching.
By showing and verbally explaining certain dance compositions, the teacher helps students understand the features of dance music, informs students about the history and current state of choreography and individual dances. That is, in the art of choreography there is information that cannot be shown, but which can be told.
The wealth of speech means and the ability to influence a student with words reflects the professional experience of the teacher and is one of the facets of the teacher's individuality and professional skill.
Speech competencies include the ability to clearly and accurately express one's thoughts, formulate questions, argue one's position, and listen and understand others.
Professional speech skills are formed gradually, with the acquisition of experience. Future teachers begin teaching already in their student years. However, having mastered the technique and methodology of practical performance, a student sometimes cannot clearly and intelligibly explain the technique of performing a movement, does not always know how to verbally describe technical and artistic errors in execution, does not know how to formulate his thoughts, structure them into correct speech forms, does not find suitable words for designing your thought forms. Students often lack vocabulary.
The reasons for such shortcomings should be looked for in our teaching methodology. Apparently we, the teachers, do not pay enough attention to the formation of students' methodological skills in verbalizing pedagogical actions. The main method of teaching at a choreographic university is the illustrative-reproductive method of demonstration and repetition. In this case, the student, as a rule, is quite passive and only performs the movements he is learning. And we do not sufficiently require him to actively include the speech component - the word - in this process.
Students, as future teachers, must be aware of the full significance of the teacher's speech, the degree of its influence on the behavior of students, on the formation of his educational motivation, on the creation of a friendly creative atmosphere in the lesson. Students must understand that in the process of pedagogical, primarily verbal communication, the student's personality, his professional and intellectual development are formed. In addition, speech behavior in the classroom: the ability to organize conflict-free verbal communication, be resourceful and persuasive, avoid platitudes and verbal demagoguery, form the image of a teacher in the minds of the audience, which is an important factor in achieving the effectiveness of educational activities.
Among the requirements for a teacher's speech are diction, expressiveness, accuracy, logic, appropriateness, purity, richness, correct pronunciation and use of language units.
Diction is the clear and precise pronunciation of speech sounds. Unclear articulation results in slurred speech and makes it difficult to understand the speaker.
An important component of speech is the correct literary pronunciation of all words (spelling), compliance of speech with language norms, as well as norms for the formation and modification of words.
Expressiveness is the fullness of speech with emotional and intellectual content, capturing attention and creating an atmosphere of empathy. The expressiveness of a teacher's speech is a powerful tool for influencing the listener.
The accuracy of word usage is the correspondence between the semantic content of speech and the information that underlies it.
Logic is the semantic connection of the components of speech and the relationships between the parts and components of thought.
Relevance is the use in speech of units that correspond to the situation and conditions of communication. The appropriateness of a teacher's speech presupposes, first of all, having a sense of style.
Richness is the ability to use all linguistic units in order to optimally express information. The rich vocabulary of the teacher himself helps to expand the professional vocabulary of the student as a future teacher.
Purity is the absence in speech of elements alien to the literary language, parasitic words, dialect and slang words. Meanwhile, such words exist in the choreographic vocabulary.
The teacher-choreographer's speech includes several components:
- professional choreographic vocabulary, professionalisms, professional idioms;
- techniques of intonation and melodic-rhythmic coloring;
- figurative and metaphorical expressions;
- technique of forming figurative-associative connections.
The first component is professional choreographic vocabulary (terms, designations) that function as signs that briefly and accurately designate a movement and, sometimes, simultaneously characterize some of its qualities.
The choreographic term (often French) is perceived by students as an abstract signal. Therefore, when explaining, the teacher introduces into his speech additional multifunctional - figurative and metaphorical expressions that have similar, but broader functions than choreographic terms. Figurative and metaphorical expressions are used in pedagogical activities to facilitate the perception of educational information. A word or phrase becomes such an expression in a choreographer's pedagogical speech when it is used in a figurative sense and has the meaning of an
image, comparison, analogue, one way or another connected with the object of study (movement, posture, position of a body part). Each dance movement has its own character of execution, manner, and image. These expressions are more informationally effective than terms, since they provide the necessary information about the qualities of the movement, the nature and characteristics of the performance. The teacher figuratively characterizes the movement, thereby helping to expressively, meaningfully, spiritually perform the combination, as well as achieve technical accuracy. Each dance movement has its own character of execution, manner, its own image, which should give the words that characterize them an appropriate melodic coloring. These expressions not only influence the development of correct muscle sensations, but also create a creative, emotional and artistic atmosphere in the classroom. For example, "majestic body", bend "like a willow branch", "grow" upward during rotation; Fuete - turning a key in a keyhole.
Professionalisms are words and expressions characteristic of the speech of any professional group. Unlike terms that are official names of special concepts, professionalisms are perceived as "semi-official" words that do not have a strict character, being a figurative and expressive means. For example, a barre (exercise at a barre), a "beveled" foot, steppers.
Idioms are set expressions that are used in professional vocabulary for purposes other than their intended purpose, and are very close to professionalisms. The teacher-choreographer's speech is also rich in them. For example: open your leg, close your arm, hold your back; take force; break the rise. All verbs in the examples "open", "close", "hold", "take", "break" are not used for their direct semantic purpose, but are actively used by choreographers and therefore are idioms.
Unfortunately, in the colloquial speech of choreographers (mostly young people and children) there are slang words. Sometimes quite vulgar. For example, a foot is a hoof, an unstretched foot is an iron, hands are a rake.
The listed components of the teacher-choreographer's speech will be effective if they are used taking into account the current capabilities of students, taking into account the level of their professional training, gender, age, psychophysiological, and intellectual characteristics. Otherwise, the purpose of the speech will not be achieved. The effectiveness of influence increases when the speaker and the listener coincide, that is, if the listener understands and perceives what is being said to him. In order for the interlocutor to understand what was said, it is necessary to speak in a language that he understands. So in the lower grades the teacher will explain the material differently than in the older grades, in the male classes differently than in the female ones.
Students-choreographers, as future teachers, should know that when working with children it is inappropriate to use exaggerated negative comparisons and irony.
Positive humor will not cause a negative reaction from the student and will make humorous, apt remarks memorable.
In the process of pedagogical communication, it is very important to take into account the student's temperament. A teacher who is interested in being understood must use an individual, personality-oriented approach in communicating with students, which will allow him to find an adequate language of communication with a particular student, making contact not only conflict-free, but also effective. When communicating with any student, the first place should be attention, understanding, goodwill, and politeness, which, as a rule, evoke reciprocal feelings and reactions.
Important techniques in the pedagogical practice of verbal communication are intonation and melodic-rhythmic coloring of speech. This is the selection of the main words from a phrase by raising or lowering the voice, changing the tempo, pausing, and melody of speech. By consciously increasing the volume of your voice, lowering or raising the tone of speech, slowing it down or speeding it up, you can significantly intensify the attention of students. This technique is also used to convey the nature of the action being studied.
If we want our students to learn to speak correctly, we should intensify the speech component in teaching, pay sufficient attention to the quality composition and organization of the pedagogical culture of speech, the competent construction of phrases and sentences, the ability to express one's thoughts, and present information in an intelligible form.
In the lessons of special disciplines, the teacher should conduct a high-quality selection of speech expressions, figurative comparisons that accurately and concisely characterize the movements, allowing one to clearly imagine the features and muscle sensations when performing the movement.
Perhaps, in order to activate the process of memorizing speech patterns, it makes sense for students to pronounce out loud, and perhaps memorize individual phrases of the teacher. Tasks should be given on an independent methodological description of exercises with mandatory verification of its implementation in class.
Being a tool for consolidating, transmitting and storing information, language is closely related to thinking. The purposeful work of our consciousness is embodied in the word, in speech.
Consequently, the importance of the speech component in teaching lies not only in developing the ability to use professional vocabulary, but in activating the mental activity of future teachers. "We are given thoughts to express them in words." But first you need to have these thoughts.
References
1. Семушкина Л.Г., Ярошенко Н.Г. Содержание и технологии обучения в средних специальных учебных заведениях. М., Мастерство., 2001.
2. Володина Л.В. Деловое общение и основы коммуникации. СПбГУТ, 2002.
3. Асадов А.Н. Покровская Н.Н., Касалимова О.А. Культура делового общения. СПбГУФ, 2010.
4. Тарасов Классический танец. М., Искусство,! 981.
