There are many publications about the importance of emotions in the educational process. They prove that emotions are an effective management tool, including the attention of students. However, the practical application of this tool remains outside the scope of research, that is, there are no methods for managing emotions. This article offers the experience of transferring theoretical concepts into practice using all basic emotions in the context of the main forms of studies at the university.The aim of the research is to analyze the features of the use of emotions in the educational process in higher education and to offer practical tools for managing emotions.Research methods: content analysis of specialized literature, morphological analysis of all basic emotions and basic forms of employment, descriptive analysis for presenting emotion management tools, their main advantages and disadvantages.Results: correspondence of emotions to learning goals and forms of classes was obtained, a method for managing students’ emotions was developed, a test example of applying the method was given, the capabilities and limitations of the most common tools for managing emotions were analyzed: teaching metaphor, storytelling, facilitation, and gamification.Practical use. The results allow managing the students’ emotions in the context of solving educational and methodological problems. The proposed tools are universal and can be used in teaching technical and humanitarian disciplines to increase the emotional involvement of the audience in the educational process, as a motivating component, thereby increasing the quality of mastering the material.Discussion. Since excessive emotions can block the cognitive abilities of students, lead to emotional “sticking”, methods of harmonizing the cognitive and emotional components in the educational process are needed.
The article attempts to concretize the essence of the two aesthetically polar staging approaches — theatrical and non-theatrical (performative) — in the context of the choreographic art development. The author suggests that the basis for separating these approaches can be some peculiarities in the ways they interpret such fundamental concepts as “actor”, “role”, “spectator”, “drama”, “action”, “conflict”, which, in a choreographic performance, are in certain relationships determined by cultural traditions, and in a non-theatrical production, they are transformed up to their disappearance. A similar experience of separating a theater and a non-theater on the basis of the presence of an actor, a role, a spectator and an hierarchy between them is proposed in theater studies. However, in choreographic (including ballet) performances, the content of the role is closely linked with the music and is often determined by the emotional background and musical dramaturgy. In the case of a radical departure from the composer’s intention, turning to a different starting point for the composition, the specificity of the choreographic (ballet) performance is destroyed. Borrowings from non-theatrical art are showed in the construction of meanings when working with intrinsic body movement, as well as in the reliance on interdisciplinarity. Within a single line of choreographic art, there is a whole spectrum of ideas that interpret the concepts of “theatricality”, “non-theatricality”, “drama”, and “performativity” in different ways. On what basis to classify them in order to reduce them to a consistent system is a difficult question. The article attempts to outline the foundation for future classification. The relevance of this topic is caused by the insufficient elaboration of the conceptual base in the specialized literature on choreographic art.
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