Sociometric status of Theatre College students and its relation to their personal characteristics and educational activitie
| Autor: | Tatyana A. Lykova, V S Sobkin |
|---|---|
| Rok vydání: | 2015 |
| Předmět: |
media_common.quotation_subject
lcsh:BF1-990 Professional development Context (language use) Interpersonal communication personal characteristics Personality changes sociometric status lcsh:Psychology Openness to experience Personality psychology of the actor Psychology (miscellaneous) actor’s talent Group work Big Five personality traits Psychology Social psychology media_common |
| Zdroj: | Psychology in Russia: State of Art, Vol 8, Iss 4, Pp 155-166 (2015) |
| ISSN: | 2307-2202 2074-6857 |
| Popis: | IntroductionPsychological research that deals with the personality and professional peculiarities of an actor typically aims at studying two primary spheres. The first sphere of research is aimed at specific physical functions such as the cogitation, will, imagination, memory and emotional spheres (Drankov, 1973; Natadze, 1972; Simonov, 1962; Tal'yan, 1966). The second research area involves personality structure and its peculiarities such as the motivational, self-construction, skills and professional orientation spheres (Galkina, 2011; Kochnev, 1983; Malevski, 1998; Popova, 2004; Roslyakov, 1992; Fishman-Borisov, 2005). Giving weight to the works mentioned above, we concluded that the most effective approach to studying an actor s gift would be a complex approach. This approach would combine creative skills diagnosis with analysis of personal and psycho-physiological peculiarities of an individual as well as the specific character of his or her professional activities (Groisman, 2007; Rozhdestvenskaya, 2005; Sobkin, 1984; Sobkin, Feofanova, 2012).Activity analysis of the actor s profession is primarily found in research based on the study of art, which looks at the variety and peculiar properties of some dramatic psychotechnics and their pedagogical aspects (Chekhov, 1999; Ershov, 2010; Gracheva, 2005; Knebel, 2005; Koshevaya, 2009; Stanislavskii, 2012; Tabakov, 1986;). It is important to mention that educating an actor is "projecting activity onto the layer of its acquisition" (Davydov, 2010). Thus, it is possible to examine the structure and peculiar properties of the acting profession on a wider scale. One of the most interesting phenomena to look at, in our opinion, is the personality change of actors-to-be (students) at various steps of mastering the profession. Several of our previous works involved analyzing those personality changes (Sobkin, 1984; Sobkin, Feofanova, 2012).Notably, the process of educating an actor is triggered by the general sociocultural context. Broadly speaking, this context determines the general path of an actor's personality formation. Of primary importance here are the plot and subject matter of a piece of fiction, which are offered to the students in the process of work.Specific organization of the educational process involves active cooperation and participation of teachers and students in discussing up-to-date social problems, politics, details of their own lives and interpersonal conflicts. They also talk about literary works, cinema, music pieces, etc. A large part of creative exercises and tasks based on extracts of classic and modern drama is dealt with by students themselves; thus, they are expected to choose partners and organize work on their own. In this regard, intra-group relationships of actorsto-be seem to be vitally important. The peculiarities of these relations result in general productivity and success in the work, atmosphere and psychological climate of the group.The personality traits of each student (emotionality, sociability, urge to dominate, etc.) influence the intra-group relationship in a meaningful way. In the phase of short listing during entrance examinations, a number of personality traits and accentuations play a major part (Sobkin, Feofanova, 2012). Those traits are sociability, openness, courage, high-level emotional response, conformism, and readiness to cooperate and participate in group activities. These personal peculiarities are professionally important and fundamental for a future actor. Furthermore, those qualities take a great toll on the relationships inside the group and create a unique communicative situation because an actors education suggests constant group work and cooperation. A question arises at this point: how can a study group (usually consisting of 24 students) with similar personality traits function in an effective way? In this respect, classic socio-psychological scenarios dealing with the study of small groups are considered. … |
| Databáze: | OpenAIRE |
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