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Choosing a training method
role training game information
One of the main problems that arise in the preparation of the training is the problem of choosing the method by which information is transmitted to the participants.
There are many different types of training, and the chosen method greatly affects how the objectives of the program will be solved, and for how long the effects of the training will be maintained after its completion.
There are many ways for the trainer to present the material. Just as different roads lead to the same destination, there are a number of different approaches to help achieve the objectives of the training. No path is the only right one, and some obscure path may be the shortest path to achieving learning goals.
The trainer should not be limited to only one method throughout the course. The use of a variety of techniques not only helps to maintain the attention and performance of the group, but also reflects real life situations in which it may be necessary to use several behaviors simultaneously. For example, if an important case study is to be reviewed using a procedure just learned to assess whether the participants understood it well, either simulation or case studies followed by discussion and evaluation can be used equally effectively.
Role-playing games
Description
Role play is a way to expand the experience of participants by presenting them with unexpected situations in which it is proposed to take the role of one of the participants and develop a way to bring the situation to an end.
The lecture form of work allows you to control the time of the lesson. It is not always possible to estimate how long a particular question and answer session will take, but it is possible to calculate with great accuracy how long the entire lecture will last.
An approach
In order to get the most out of the role play, the proposed situations should be as close to reality as possible. It is necessary to allocate time to prepare a brief description of the characters involved and make sure that the game conditions created are as close as possible to the specifics of the main activity of the participants.
The instructions for the role play should describe in detail all aspects of the situation.
However, this instruction should not set rigid boundaries that prevent participants from playing their roles in accordance with their own ideas about how to act in such cases,
The task that the members of the group participating in the role-playing game strive to solve is the creation of a model of behavior that is typical in everyday life for real people.
It is the behavior, and not the manifestation of the talents of the speakers, that will be the basis of the subsequent discussion.
The group must observe the content of each scene played out. Those who are not participating in the game should be asked to take on the role of observers and record the behavior of the participants and its consequences.
Observation can be even more useful if a videotape of the role play is made and used to provide feedback or individual counseling if necessary.
1. Careful preparation of the plan.
Properly conducting a role-playing game brings invaluable benefits to its participants. Such exercises should be used towards the middle of the course, when the group is already able to overcome the resistance that may arise at the beginning of the training.
2. Use role-playing correctly.
The effectiveness of the role-playing game is due to its vitality and novelty of experiences. This means that this method should be used with caution. If games are played at every opportunity, their value can quickly disappear.
3. It's better to keep groups small.
The process of overcoming group resistance can be aided by limiting group size to ten people. The small number of participants helps to create a calm, informal environment that is necessary for the success of the exercise.
Opportunities to use role-play as part of the training program remain even when there are more than ten people in a group, large groups can be divided into several small ones, each of which will have its own observers, sets of role-plays and instructions. The time in such cases is calculated so that all members of small groups can discuss the results of the activities of their teams in a general circle.
4. Role play must be used creatively.
There is no reason to isolate role playing from other teaching methods. It is best to build the process so that after the theoretical part, a role-play follows, giving the opportunity to put into practice the principles just learned.
In cases where all participants in the training need to cope with some practical situation, a role play can be arranged for everyone. In this case, you need to divide one large group into several small ones. Each of them plays their own situation.
Role playing benefits
1. The acquired experience is stored for a long time.
"Learning by doing" is one of the most effective ways to learn and gain experience. Own experiences are remembered vividly and persist for a long time.
2. Pleasure.
In most cases, role-playing offers a relatively painless and enjoyable way to acquire knowledge and skills.
3. The emergence of an understanding of how other people behave.
The role play allows the participants to understand how people feel when faced with certain situations. This understanding can be a powerful learning tool; it can help develop the ability to assess the premises of the behavior of other people, which would be difficult to achieve in any other way.
4. Safe conditions.
There is an element of risk involved in the use of role play, but it mainly relates to how the group may respond, not to the effect of the play on them. Role play provides participants with a chance to learn or reinforce a variety of behaviors. The advantage here is a training environment that is free from the dangers associated with the use of a particular model, which could arise in natural conditions.
Role Playing Disadvantages
1. Artificiality.
The essence of a successful role-playing game is to create a situation as close to reality as conditions allow. If the group feels that the scenario of the game is unrealistic or does not take into account some details of the practical activity, the value of the game will be lost and the learning objectives will not be achieved.
2. The possibility of a frivolous attitude on the part of the participants.
If the objectives of the exercise are not fully explained and the importance of demonstrating behavior (rather than acting ability) is not emphasized, there is a danger that the role play will be perceived as something fun. Having serious goals for the exercise does not prevent people from enjoying participation in it and ensures the joy of interacting with the situation and getting out of it, and not just funny jokes during it.
3. The element of risk.
Like any training method that involves the active participation of participants, role-playing involves some risk. The game brings results only when the group is ready to join it. If group members are afraid of "losing face" while participating in the game, or are embarrassed by the process itself, this exercise will not be effective. The fact that the exercise is controlled further increases the tension.
The group should not be too large so as not to create discomfort. Role-playing can only be used when group members have dealt with their anxiety and feel that their self-esteem is not in danger.
Application
Role play is most commonly used in training to develop the interpersonal skills needed for success in areas such as interviewing, giving feedback and evaluation, negotiating, selling, and even coaching.
There is no logical reason why this method should not be used in other trainings.
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REMINDER. Be simple.
Role Play Choice
The procedure for checking the choice of a role-playing game or the suitability of one already available is shown in Figure 4.5.
Rice. 4.5. Role Play Choice
Each type of role-playing game described in this chapter reflects the justified and effective use of technology. It is important that mentors are clear about the type of game they intend to use. If they use one type, but apply techniques that are appropriate for another, then there is a real danger of alienating students from the essence of the matter, disappointing or even harming them. On the other hand, combining the right type of play with the right style creates a sensitive and accurate learning tool.
5. PREPARING FOR THE ROLE PLAY
Presentation of the role play to the participants
The planning of a role play depends to a certain extent on its place in the overall curriculum. If it is arranged at the beginning of the course, then you should explain how the entire course will be structured and why you start it with a game. If the session is scheduled in the middle of the course, then it is necessary to review what has been learned, evaluate what has been achieved and choose a specific way in which the role-play will highlight certain aspects of the subject being studied. If the game is supposed to bring together material learned in other disciplines, then most likely it will fit seamlessly into the course and require minimal explanation. In any case, the amount of clarification required will largely depend on the age and type of participants. If the exercises are carried out at school, then they can be accepted without question - which, of course, cannot be said about classes in production.
Unlike many situations in which the student easily accepts a logical explanation of what the next lesson will be, the use of role-playing requires overcoming certain psychological difficulties, which will later eliminate its possible negative consequences. There are as many options as there are mentors and students. Sometimes the mentor so fearlessly starts the role-playing game that no worries and doubts arise in the minds of the students. They willingly and enthusiastically undertake to play their parts in front of their peers, sometimes risking real or hypothetical criticism from the audience. In other cases, however, the mentor may run into serious obstacles before a group of middle-aged businessmen or immature self-confident youngsters are ready to genuinely share in the pleasure that the game promises them. Most mentors agree that the first entry into a role-playing game should be taken seriously.
The game program can be considered as a set of various types of game activities, united by a plot, which ensures the activation and development of the individual. An indispensable condition for success is the integrity of the program: compositional construction, the interaction of structural components, the dynamics of the development of the game task and ways to achieve a pedagogical result (what will be the result, what changes will happen to the child, what experiences, aspirations this or that action will cause, what the child will remember after the program ), a unified musical and artistic design.
Game programs meet the general principles of theatrical production art. The choice of topic in them should meet the interests and needs of the target audience. Bearing in mind that the focus is most often on children, it is necessary to take into account their age when choosing a topic and dosing loads during the game.
Compositional construction of the scenario: plot, development of action, climax. Scenario move. Game episode as the initial cell of the scenario.
For the game are especially important:
1. Amusement and intrigue, unexpected twists that are programmed when building a composition
2. The possibility of different reactions of the participants, which requires readiness for impromptu during the game
3. Providing the players with the possibility of independent decision-making in the course of the general rules of the game.
Today, special attention is paid to the creation of games that involve a large number of participants in their action. Invented full-scale long games with their own characteristics. They are called their scenario games because such games usually have a certain storyline (scenario) and all tasks in the game (objectives) correspond to this scenario basis. Such games, as a rule, take place over a fairly large area, they involve a large number of players at the same time, divided into two or more parties (teams) with a clear hierarchical control system within the team, and they last several hours in a row.
Such games are popular not only among children, so some of them are entertainment based on a commercial basis.
To implement the scenario move, clear rules are required, as well as the presence of an impartial jury (arbiter), which monitors the participants' compliance with the rules.
The main ideas of modern scenario (tactical) games are reconstructions of the battles of the past or fantastic battles of the future born by the imagination of the organizers. Good organizers of a scenario game always strive to exclude, if possible, dangerous areas in the territory where the action will take place and limit the size of this area. In some cases, it is necessary to pay special attention to the safety of the players and take into account their improvisational capabilities.
Compositional construction of game programs
(Fragment of the work "Dramaturgical basis of the game program".
Access mode:http:// bibliofond. en/ detail. aspx? id=30192)
Scenario - a detailed literary description of the action. The script of the game program is a detailed literary and dramatic development of the theme, conflict. It clearly defines game episodes, their sequence, the form and time of refereeing, the inclusion of spectacular screensavers.
The development of any leisure program begins with the definition of a topic: what will be discussed? What will be the basis of the presentation? Often the title itself already introduces the theme. Game programs can be devoted to the following topics: historical (memorable dates in the life of the country); heroic-patriotic (for example. “Hey, Slavs!”): sports and circus (“Strong, brave, dexterous”); literary ("Visiting Pushkin's heroes"); musical (“Do-re-mi”): entertaining (“Eh. Semyonovna!”).
The theme of the script is determined by the range of phenomena, issues that are currently worrying the audience. From the range of issues and phenomena that excite the audience, the screenwriter selects the most relevant ones. They determine the theme of the script. Thus, the theme is understood as a range of life phenomena that should be artistically explored in the script. The concept of "topic" in the "Explanatory Dictionary" by V. Dahl is interpreted as follows: "topic-task (position), which is explained, which is discussed."
The second problem of the screenwriter: for what? What is the main conclusion of the presentation? For example, the theme is "Wide Shrovetide". The idea is an emotional release, a sense of the Russian spirit and daring. Ideological comprehension should be expressed in a specific and continuous chain of actions (games) played out in a bright and meaningful environment.
To combine dissimilar parts into a whole, speech cords, reprises, poetic screensavers are selected. A considerable place is occupied by explanatory texts, announcements, calls, invitations to dances, games, participation in competitions, etc. All the material collected by the screenwriter must be compositionally built according to the laws of artistic montage. The next problem is the search for a method of presenting game material.
Drawing up a game program consists in the skillful creation of a game conflict situation. This is the basis and core of the game action, no matter what it is about, problems are solved in a game way. The basis of any game is overcoming obstacles. The essence of the game conflict is the confrontation of forces, skills, dexterity, erudition. Thanks to the tense conflict and interesting plot, many games acquire a kind of dramaturgy, representing small genre scenes full of humor.
Whatever the specific basis of the game, its plot should include a set of situations that enable the participants to show their literary, musical, choreographic abilities, show off their wit, show erudition, excel in dexterity and dexterity.
Entertainment-type programs may use a variety of game sets. not directly related to each other. However, recreation organizers prefer such a construction of programs in which a series of gaming entertainment is strung on a single plot core.
The theatrical plot-based game is a kind of story told in the language of quizzes, auctions, relay races, intellectual and artistic competitions, jokes, dances and songs. Thanks to the skillful directorial and dramatic organization, this story turns into a coherent story, played out by the forces of all those who play the mass performance. The plot allows you to logically build game episodes into a harmonious completeness. With the help of the plot, it is easier to provide such an arrangement of entertainment in which the overall line of play develops in an upward direction, and the tension and interest do not decrease, but increase.
There are various types of conflicts in the game:
The conflict of the presenter with one player (or two), and all the rest are the eyes of the game competition.
Leader's conflict with the group, for example: How do you know Russian? Let's check: I call the object in the singular, and you - - in the plural. Shall we try? Etc.
A conflict of equal numbers of parties. For example, "Nimble porters."
Who will quickly transfer table tennis balls from one basket to another using Chinese sticks.
There are various kinds of conflicts in the game. These include not only confrontation between 2 teams. Sometimes these are “Traps” - disputes (“repeat the tongue twister 3 times”), or game dialogues, a comic quarrel of personified presenters (clowns with a clown).
When there is no conflict, it is divertissement. The concert has no conflict. It develops through compositional construction.
The compositional basis of the script is plot. The concept of “plot” has had different meanings at different times. Initially, the main subject of the image was called the plot. IN AND. Dahl in the "Explanatory Dictionary" defines the plot not only as "the subject and content", but also as "the plot of the composition." Later, plots began to be called works depicting logically interconnected events.
The plot should ensure the dynamism of the action, which develops according to the laws of dramaturgy: from the exposition, the plot, through the build-up of the action and the climax to the denouement. The most rational construction of the plot is that. which spends most of its time under the build-up of action and climax. With the climax, a short, shock denouement should be extremely close. This will allow not to shoot until the final tense intensity of the action and most emotionally, effectively influence the viewer.
In theatrical performances and celebrations, the plot of a script should be understood as a dramatic arrangement of “facts of life” and “facts of art” in the order corresponding to the course of research.
Choosing a venue for the game program. It is desirable that the hall where the game program is held be festively decorated (if, of course, it is not held outdoors). Of the possible options, it is advisable to use decoration with balloons or flowers. Flowers are much more expensive, but more sophisticated, but balloons allow you to organize space with more imagination and usually become the most acceptable solution. Garlands, chains, panels, vaulted arches - a knowledgeable designer will offer dozens of options.
The moment of lighting is also important. The presence of at least minimal stage and so-called disco light is highly desirable. Remember a variety theater or a night club and try to imagine that instead of spotlights, scanners and strobe lights, they turned on ordinary “home” lights. The "festivity", "carnival" of the atmosphere is lost.
Techniques and methods of working on the material for the script. There are two traditional ways of interaction between the scriptwriter and the material.
First way. The screenwriter explores the facts associated with a particular event (or a series of events), forms his own concept of what happened or what is happening and writes a script, creating his own text based on what he has studied. P. Valery, a French literary critic and essayist, has an expression "A lion consists of eaten lamb." Whatever feeds the mind, imagination and fantasy of the screenwriter (lamb), he creates something new in relation to the studied material, remaining himself (the lion) in his work.
Second way. The screenwriter selects documents (texts, audio-video materials), works of art or fragments from them (poems, excerpts from prose, vocal, instrumental and choreographic concert numbers) and, in accordance with his plan, joins them using the so-called montage effect. A script arises, which is called a compilation (compilation, from Latin compilatio, - to collect).
But most often in dramatic work there is a mixed version. In this case, in the script, along with the author's texts, a document appears, next to the original song - a well-known film fragment.
In various forms of theatrical performances, the proportions of processed and untouched material are different. For example, in the scenario of a theatrical concert, the original text is minimal, while the main part is occupied by numbers prepared by genre experts, without prior orientation towards the general idea. In the competitive program, the opposite is true. The main thing is the author's game ideas and the text of the presenter, and the concert numbers that permeate the performance occupy a rather modest place.
In the practice of the organizers of the holiday, there is also a formal compilation. Connection of episodes of scripts devoted to the same topic and written by different authors in a new dramatic version. This kind of operation is not very fruitful and, apart from a semantic and stylistic hodgepodge, does not lead to anything.
However, no matter how artistic and documentary material is interpreted in the future, the problem of its selection first arises. Therefore, it makes sense to consider the main requirements for it.
First. Compliance of the material with the main components of the idea (theme, idea, genre, scenario).
Second. Stylistic compatibility of the material. We are talking about the fact that within the framework of one scenario, the adjacency of literary texts of different authors almost always gives rise to bad taste. There are several reasons for this. Different artistic level of the works used, the author's individuality.
And yet, some texts live side by side, despite the fact that they are separated by entire epochs (according to the time of writing), and some reject each other, despite the thematic proximity. We observe the same phenomenon in other types of art and even, oddly enough, in documentaries.
Third. The novelty of the material used. The constantly repeating thematic canon (the main cycle of holidays) leads to the fact that the same literary fragments, the same vocal works, the same feature films and documentaries roam from script to script. Moreover, after the second, third, fourth performances, real heroes begin to “fade”. All this leads to standard dramatic decisions, and hence the depreciation of the theatrical performance.
Fourth. The art material must be of high quality. Do not abuse verses from calendars, stories from second-rate newspapers and magazines. Poor material creates a poor script.
Fifth. Documentary material must be true. First of all, this concerns information that is obtained in an exclusive way. This is where the laws of journalism come into play. With regard to each controversial fact, one should listen to the opinions of several parties, get acquainted with different points of view.
The collection of material and further work with it depend on the concept and method of creating the dramatic basis of the theatrical performance. If a script is conceived on an original theme and its entire text will be the author’s, and the method of creation is similar to the method of creating a theatrical play (the development of a dramaturgical conflict from event to event, embodied in stage images), the relationship between the creator and the “raw material” is traditional. The work is based on live observations, studied literature, collected documents, melted down in the crucible of the author's fantasy. Screenwriters who decide to follow the path of borrowing have completely different concerns. Then the characters, individual elements of the plot, the vocabulary of folklore and literary works become the basis of the idea.
This method, oddly enough, is the most popular today. From Russian fairy tales, Ivan Tsarevich (or the fool), Emelya, Vasilisa the Wise, Baba Yaga, Kashchei the Deathless, Leshy, Vodyanoy came to the festive venues from Russian fairy tales; from European: Snow White. Cinderella, Little Red Riding Hood. The school stage is hosted by characters from children's literature: Dunno, old man Hottabych, Mary Poppins, Carlson, Alice the fox, Matroskin the cat, etc. On the club stage live and live: Chichikov, Ostap Bender, Vasily Terkin.
Borrowed characters are a long and strong tradition of the folk theater and there is nothing reprehensible in this. All these heroes have long acquired the status of a mask with a stable social and moral aura.
Method of illustration and theatricalization. In order to build an event in a dramatic way, it is not enough to understand the laws of the dramatic construction of a leisure event, to understand the specifics of a particular form of club work, it is necessary to be able to use the possibilities of illustration or theatrical techniques.
What are the potential possibilities of two techniques essential for the dramatic decision - illustration and theatricalization? We emphasize that these are two fundamentally different methods, but quite often the complete concept is replaced by another.
Illustrations and theatricalization are ways of artistic solution of the topic and they cannot be “introduced” into the event, because with their help it is organized, dramaturgically built. These techniques make it possible to artistically organize all the material, dramaturgically subordinating the means of expression used (music, poetry, dance, etc.).
The method of illustration, as well as the method of theatricalization, involves not a random, arbitrary installation of poems, songs, dances and other expressive means, but dramaturgically organized in accordance with the theme of the event and the creative plan of its directors. In both cases, it is important to determine the measure and order of using various expressive means that make up the material of the event.
Now let's try to define the peculiar boundaries between theatricalization and illustration. The task of illustrating is to enhance the perception of the content of the event by attracting various expressive means (documentary material, poetry, prose, music, etc.).
The task of all expressive means used in the structure of a mass event is to enhance its impact on the viewer, to turn, in modern terms, information about this or that phenomenon or event into “aesthetic information”, that is, one that evokes a special feeling. experiences, joys, pleasures.
The same goal is served, but by completely different means, and another technique is theatricalization. Its pedagogical significance was highly appreciated by N. K. Krupskaya, emphasizing the possibility of using it to "influence" the emotional side of the event.
The true essence of theatricalization in modern club practice is to create a single "cross-cutting action" at a mass event, which would not only unite and subjugate all the components used (poetry, prose, musical performances, film fragments), but also create the necessary conditions for an active effective participation of all those present at this event. In other words, it is theatricalization that turns the spectator-listener, the spectator-observer into a spectator-participant, that is, an “actor” (he performs simple stage tasks determined by the organizer’s intention).
The choice by the organizer of the reception of illustration or theatricalization of dramatic material depends on the correctly found harmonic relationship between the content and form of the event.
Role play is an interactive method that allows you to learn from your own experience through a specially organized and regulated "living" of a life or professional situation.
Playing a role defined by the scenario, identification (identification) with it helps the student:
1) gain emotional experience of interaction with other people in personal and professionally significant situations;
2) to establish a connection between their behavior and its consequences based on the analysis of their experiences, as well as the experiences of communication partners;
3) take the risk of experimenting with new behaviors in similar situations.
Role-playing games are classified in several ways.
By purpose, they are divided into role-playing games:
- on the diagnosis of personal qualities;
- on training social-role behavior (including with elements of psycho- and sociodrama);
– on the development of communicative and organizational skills.
Depending on the completeness of the given plot, role-playing games are differentiated into games:
- with a poorly defined plot;
- with a fairly complete outline of the plot;
- with a rigidly set plot.
Characteristic features of a role-playing game:
- presence and distribution of roles. Each participant in the role-playing game receives a specific role;
- the difference in role goals in solving the tasks. Participants in a role-playing game make decisions in accordance with the social roles assigned to them;
- the interaction of players performing certain roles. It occurs vertically and horizontally;
- the presence of a common goal for the team. The overall goal in a role-playing game is to acquire new knowledge and develop skills for making conscious responsible decisions in the process of joint activities and in interpersonal communication;
– multi-alternative solutions. In a role-playing game, players have to make a decision after analyzing several alternatives, possible options for the further development of situations;
- the presence of controlled emotional stress. It arises due to the fact that social roles are performed by participants in the context of a conflict situation; this situation is involuntarily accompanied by forced activity of the players;
- a system of individual and/or group evaluation of players' activities.
Role play process:
1. Preparing for the game. The facilitator explains the essence of the method, the game rules and the tasks of the participants. At this stage, the scenario is outlined and the playing space is organized.
2. Direct playing of the game. The participants in the game embody the scenario, the participants "live" the problem situation in its game incarnation, i.e. in a role-playing game, students acquire the experience of activity and the corresponding experiences similar to what they would get in reality. Other trainees record their assessments of what is happening according to predetermined criteria. The use of video technology can significantly increase the effectiveness of the role-playing game method.
3. Summing up the game. The essence of this stage is the comprehension of the “experienced”. It is desirable to start with the verbalization by the participants of the game of their experiences (descriptions in words of their feelings that arose during the game) and the exchange of emotional experience between
game participants.
Example questions for a reflexive analysis of the situation by the participants of the role-playing game can be the following.
1. Are you satisfied with the results of the game and why?
2. What experiences did you experience during the game?
3. Would you like to change something if you find yourself in this situation again, and what exactly?
4. How did your partner help and/or hinder you the most in your search?
compromise?
5. Can your current experience be useful, if so, in what circumstances of real life?
The comments should not contain assessments of either the person himself or his actions, words and manner of communication. Productive feedback should not contain advice or interpretation, it may contain information about how the partner (or observer) feels, what he thinks about and how he can act in this situation. For example, his statement might be: "I don't like it when you interrupt me, and I have a desire to interrupt our conversation."
Appendix 6
STORY-ROLE GAME "EXAM"
Source: Zhukov Yu.M. Effectiveness of business communication / Yu.M. Zhukov. - M.: Knowledge, 1988. - S. 53-64. 49
Role-playing games are held according to a previously developed scenario, they have detailed instructions for all participants in the game with a description of their subject and even interpersonal positions. Story games are based on the tasks that the host sets himself in advance, planning the entire training cycle. They are focused on the analysis of the most typical communication problems, which, in the opinion of the facilitator, are characteristic of most members of the group. In such games, complex communicative situations are modeled, a mechanism for deploying sufficiently long communicative processes is laid, which requires certain time costs in the educational process.
Game Description
Role-playing game “The exam simulates a complex communicative situation with a conflict of goals. Characters involved in it: Student and teachers of the Department of Physics (Assistant, Associate Professor and Professor - Head of the Department). The conflict of goals of the main characters (the Student and the Head of the Department) is set by the fact that, trying to solve their actual (momentary) problems, these participants in the game want to achieve different exam results: the Student - to get "failed", and the Head of the Department - to put a positive mark.
The game is intended primarily for the analysis of the strategic component of communication, as well as finding out the reasons for choosing communication strategies. At the same time, it can be used to work with the tactical and technical components of the participants' communicative competence.
The main characters of the game have similar problems - problems of dependence on others. The peculiarity of the plot of this game is that the participants cannot solve their problems with the help of a closed strategy. At the same time, it does not matter who achieved their goals - the problems of addiction are not being worked out and no one is moving forward in solving these problems. Participants can effectively solve the problem of dependence only by abandoning the closed strategy and entering into cooperative interaction. But this requires them (especially the Head of the Department) to leave the role position.
Similar information.
Description: The embodiment of selected work situations that allow the group to see the variety of approaches to solving the problem. Depending on the objectives of the training, this form of training may take the form of a game or exercise. It usually includes an element of competition or role reversal. In many cases, the roles of employees of some organization (salespeople, managers, leaders, etc.) are distributed among the training participants. Participants receive data “entering the game” - a condition, a description of role behavior. Mandatory instructions for each participant.
Impact on group dynamics:
Increases: tight time frames, video camera, feedback only from the coach, illiterate feedback, if not long and clear, if there are time limits. When the game - as a result of the lesson.
Reduces: deroling (out of role), soft format, positive feedback (Feedback) from participants, humor, reaction, involvement of other participants. Stretching in time. Lack of clarity about who does what. You can not turn the game into rural amateur performance. The members start to get bored.
Number of participants: up to 5 people in one game.
Role-playing algorithm:
1) Choose an active participant. You give instructions.
2) Choose a supporting participant. Give instructions.
3) Read the tasks to the group.
4) Give time for preparation (2-3 minutes).
5) Indicate how long the game will last. (no more than 5 minutes)
6) After - deroling (denoting the exit from the role of players, "You are now not a manager, but a participant in the training - Vasya")
7) Ask active players if they did everything they wanted. You give the opportunity to “name the mistakes themselves”, to remove the negative.
8) Discussion in the group. Analysis of actions according to specified criteria (whether they followed the technology of making contact, non-verbal behavior, etc.
9) Give eco-friendly feedback.
In short, here is a summary table for the conscious use of role play during training. And not in order to "take time."
Role playing is a systemic action. It is wrong to give a role-playing game immediately after the information is given!
Remember the order of actions during the classic skill development module:
| elemental exercise | 
| complex action |
| ROLE-PLAYING GAME |
| 1 element: for example the phrase greeting and contact. | 2 elements: contact + question to clarify the need | 3 elements: Contact + Need + Presentation |
An example of a role-playing game for the training of sales representatives: “Making contact during a visit to a sales outlet
- Instructions to the active participant:You are a sales representative.
You arrive at a retail outlet and find out that the owner of the outlet has suddenly left on urgent business for a month.
In his place is his son (28 years old), he is endowed with all powers. But you don't know him. The owner's son is unaware that you almost agreed to supply 100 sets.
2. Instruction to the accompanying participant: You are the son of the store owner.
You are 28 years old. You finally got the opportunity to manage your father's affairs. Today is your second working day. In the morning there was an unpleasant conversation with the tenants of the shopping complex. Now you are talking with a sales representative, you see him for the first time, and you know nothing about him, the product, or past agreements.
3.Group instruction:
Now you will see the beginning of the conversation between the sales representative and the new owner of the outlet. This is their first meeting, they must establish contact. Carefully follow the course of the conversation, note the actions of each interlocutor that contributed to establishing contact.
Example role play for retail sales training: “Fitting and closing the sale”
You need to complete the sale by offering to try on the shoes for a middle-aged man. The man liked the specific shoes, but he behaves a little strange.
2. You are a man who liked the shoes of the Sport asset line.
Would you like to try on, while there are doubts about the appropriateness of the acquisition. There is a discount card. There is a hole in the left toe. In a particular store for the first time. If your feet in boots are praised, buy. You will pay by card.
3. Group instruction:
Now you will see the communication between the client and the seller - consultant at the stage of fitting and completion of the sale. Carefully follow the course of the conversation, note the actions of the seller - consultant, which contributed to the completion of the sale.
Example role play for training retail sales: “Clarification of the need”. (Sale of air conditioners)
- Instructions to the active participant. You are a sales consultant.
Your task is to find out the needs of the client and offer him an equipment option that meets his needs.
2.Instruction to the accompanying participant. You are a married man. Your wife recently became ill with a heart. Since the whole week, it's hot, and the apartment is on the south side. Doctors said that this attack was weather-conditioned, that it was the elevated temperature in the room that led her to such a state. You have surrounded her with fans on all sides, but she is unhappy with her blowing hot air strongly, while, as she says, everything around rumbles and makes noise, and it is impossible for her to sleep. You need an air conditioner that suits your needs. Since the purchase is unplanned, you plan to buy a simple air conditioner. You make a decision about the purchase, depending on the actions of the seller!
3.Group instruction:
Now you will see the communication between the client and the seller - consultant at the stage of clarifying the needs and presenting the proposal. Carefully follow the course of the conversation, note the actions of the seller - consultant, which contributed to the clarification of the need and the formation of the offer.
Example role-playing game for the training of managerial skills:"Management Conversation"
- Instructions to the active participant. You are a retail store manager.
You need to have a motivational conversation with the salesperson A.P. Petrova. She is regularly late for work. You are interested in this employee. She proved to be an active and competent employee. You know that she has a small child, and you assume that this is the reason for being late. However, you need to ensure that all employees, without exception, adhere to the working hours.
2. Instruction to the accompanying participant. You are the seller Petrov A.P.
You are satisfied with your work. You have a small child 3.5 years old. He does not like to go to kindergarten, often delays the fees in connection with which you are late for work. You hope that the store manager will enter into your position, because know that he is interested in you.
3.Group instruction:
Now you will see a conversation between a retail store manager and a salesperson. Carefully follow the course of the conversation, note the methods of conducting a managerial conversation.
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