Recreational (restorative) and sports and health technologies are designed to ensure and maintain human viability. They are universal in their use in the process of socio-cultural activities.

Modern recreational methods are based on the psychological and pedagogical patterns of entertainment and gaming, sports and recreation, artistic and entertainment activities. In the process of developing most recreational projects aimed at improving the quality of life and improving life, the main attention of specialists is focused on introducing the latest achievements in biology, physiology, psychology, and medicine into the practice of mass and specialized leisure.

A special place in recreational techniques is occupied by animation socio-cultural technologies. The experience of Western countries, primarily France, where these technologies are widely used, testifies to the undoubtedly significant opportunities for social cultural animation. Using various types of artistic creativity as methods of "revitalization" and "spiritualization" of relations between people, socio-cultural animation is one of the most attractive types of leisure activities based on modern principles. The purpose of animation technologies has a pronounced humanitarian orientation - to prevent the alienation of the individual in the culture of society, in the structure of social relations.

Socio-cultural animation was born and formed under the influence of philosophical, psychological, medical, pedagogical views and views on the nature and essence of man. The main subject of socio-cultural animation has always been and remains the personality as a unique integral system, which is an "open possibility" of self-actualization, inherent only to man.

There are two types of professional animators: leaders-coordinators and specialist teachers who lead circles and studios, teach courses, engage in social and cultural activities at the place of residence, and provide psychological support in the structure of everyday social relations. The content of animation technologies includes a comprehensive assessment of a crisis situation (“good or bad”), assisting in determining and understanding which of the methods of action in a given situation is suitable for effectively achieving the goal, understanding real opportunities and their choice, understanding the likely consequences of one or a different solution (what happens in a changed situation).

The creation and alternation of long-term "end-to-end" entertainment programs in leisure institutions implies the consistent development of the activity of participants in gaming, entertainment, ritual-holiday, sports and other events. The methods of bioenergetics, rebirthing, shaping, art therapy and others are put at the service of recreation (restoration). In the musical-meditation and theatrical-health programs, the specific possibilities of conversational psychotherapy, bibliotherapy, and psycho-gymnastics are realized.

The organization of recreation and entertainment carries a significant social, educational, psychological, rehabilitation burden. The content side of recreational technologies is constantly expanding and enriching by attracting the traditions of folk leisure culture, reviving old and cultivating new folk holidays, rites and rituals - Christmas events and humor, days of laughter and carnivals, literary, artistic, sports tourism and family holidays, holiday flowers and the holiday of Russian tea, days of cities and other events.

Organizer of the social cultural activities very often one has to deal with the methodology of family leisure - the study of preferences for leisure forms of individual family choice of leisure activities, the creation of conditions for professional programming and the implementation of alternative types and forms of organizing free time in family communities.

Methods designed for childhood and adolescence, dynamic youth categories, middle-aged and elderly people require the same close attention. Technological aspects are discussed in detail in special courses.

Social policy is aimed at creating the most favorable, optimal conditions for recreation, development of spiritual and creative abilities of people. Social and cultural work with vacationers of health resorts (resorts, sanatoriums, houses and recreation centers, dispensaries) and tourists (at tourist bases and motor ships, in tourist hotels and tourist trips) is subordinated to these goals.

A distinctive feature of the organization of leisure in health resorts, sports and recreation and tourist and excursion centers is the integration of recreation, health promotion, spiritual enrichment and versatile development of the individual.

Within the limits of the recreational, health-improving, medical period established by the voucher, vacationers are outside their permanent residence and are not directly related to their main profession. In addition, vacationers in health resorts and camp sites differ in age, nationality, profession, social status, and education. All this, as well as the limited stay in a health resort or on a tourist route, leads to the fact that the leisure community that arises here is of a transitory nature. A relatively stable group consists only of medical and service personnel of health-improving institutions, the indigenous inhabitants of the resort. It is these categories of the population that form the main "backbone" of the organizers and participants of long-term leisure programs, constant cycle forms of education, creativity, entertainment, amateur groups and studios.

The information-developing, educational function of leisure activities aims at information and organization of people's cognitive activity, dissemination of a complex of various social and humanitarian knowledge, health education, instilling active recreation and physical culture skills, familiarization with the therapeutic possibilities of health resorts and their most rational use.

Recreational leisure functions

The recreational function maximally contributes to the full rest of people, the restoration of their physical and spiritual strength, the organization of active leisure activities and entertainment, providing a variety of activities, a change of impressions, a positive emotional mood, relieving stress and fatigue.

In leisure programs for vacationers, all these functions are closely interconnected and complement each other. There are a number of features in their implementation. Cultural and leisure activities in health resorts and tourist institutions are built in accordance with their main purpose - the restoration of strength and health of people. That is why the recreational therapeutic function of leisure and leisure activities is of paramount importance here.

Due to the continuity and duration of the entire period of vacation or treatment of people, the leisure program in health resorts and tourist institutions is diverse, provides for the unity of information-developing, communicative and recreational elements, is carried out at different times of the day, for example, not only in the evening, but also in the morning. and daytime hours. The logic of leisure here implies a transition from the simplest leisure activities, when a person only needs to relieve tension and psychologically relax, to more saturated, active, intense forms.

In terms of its orientation, the content of leisure in health resorts and tourist institutions includes: concert, entertainment and film services; library work; theatrical and sports festivals; organization of Q&A evenings, oral magazines, themed evenings, discos, gaming competitions, etc.

Among leisure forms, excursions have the greatest information and developmental content. According to survey data, the majority of vacationers in health resorts and tourists consider excursions to be the most favorite events. The popularity of the tour is due to a number of reasons.

This is, firstly, a wide variety of topics and content: excursions on historical topics, natural history (landscape, botanical, geological, hydrogeological, etc.), literary and art history, on architectural and urban planning topics, overview (multifaceted) business, commercial, which acquaint representatives of business circles with the activities of industrial, agricultural and commercial enterprises. For vacationing young people, among whom many will have to choose their own path in life, such excursions are also career guidance.

Excursions attract with a variety of elements of recreation and recreation in nature (swimming, picking berries and mushrooms, etc.) and modes of transportation, since walking tours and excursions-walks are supplemented by transport (bus, boat, plane, horseback, bicycle and ski, etc.). etc.), often over long distances and along a well-defined theme and route. Excursions contribute to the formation of community, the formation of interests, collectivism and camaraderie, and a change of impressions helps to create a favorable emotional atmosphere in the group.

Concert, entertainment and film services include concerts and performances by professional and amateur groups, reviews, festivals and competitions, meetings with literary and art figures, evenings on various topics, film screenings, film concerts, etc.

Library services are also an important part of cultural work. When compiling book collections, much attention is paid to the selection of local history publications - reference books, guidebooks, books about nature, the historical past, the economy, the culture of the region, as well as fiction. Simultaneously with individual work with readers, literary readings, literary evenings, reader conferences and book discussions are organized, book reviews on certain topics and bibliographic reviews, book exhibitions are held, newspaper windows are arranged, posters are hung out. The main thing is a set of active recreational activities in through leisure programs, which are characterized by a relatively long duration and involve consistent participation in entertainment, games, sports and recreation, ritual, festive and other leisure activities. The involvement of specialists in this work allows us to adopt the methods of bioenergetic healing, oriental health systems, cosmic bioenergetics, rebirthing, shaping, musical healing, etc.

In everyday life there are specially equipped rooms for psychological unloading, which include autogenic training, interpersonal training, suggestion, rest-hypnosis, and health-improving psycho-corrections in the content of their sessions. The specific possibilities of musical-medial and theatrical-health programs, conversational psychotherapy, bibliotherapy, psycho-gymnastics are realized.

There is every reason to believe that in the near future, non-traditional forms of recreational and health-improving activities carried out by professional doctors, psychologists, and sports coaches will be more actively mastered. This will include, first of all, schools of extrasensory bioenergetics, aimed at opening energy centers, biofield diagnostics, correction of the human biofield structure; courses on teaching methods of muscle relaxation and mental self-hypnosis; centers of collective meditation, whose activities are aimed at eliminating extreme emotional manifestations and bringing the psyche into a state of relaxation; free breathing groups that help to master psychotechnics, which allows a person to maintain clarity of thinking in stressful situations, quickly restore emotional balance, and more fully realize their creative potential; special medical and health-improving catering establishments, the cuisine of which is based on the use of publicly available sedatives that cause relaxation and soothe the nervous system, etc.

Pedagogical game technologies

In a number of recreational and health-improving technologies, a significant place is occupied by an extensive gaming activity.

As pedagogical practice testifies, any technology has means that activate and intensify the activity of the audience. There are technologies where these means are main idea and the basis for evaluating the effectiveness of the results. These technologies include pedagogical game technologies.

Of all the known types of socio-cultural activity, the game appears to be the most free activity. Freely entering the game, its participant is also free to leave it. This "game" rule applies to the most common everyday situations - market relations, study, sports, family relationships, etc.

In other words, essentially recreational gaming technologies demonstrate the productive socio-cultural activity of independent subjects, which is carried out within the framework of conditional rules voluntarily assumed and has many attractive qualities - socio-psychological, aesthetic, hedonistic, moral and ethical.

As a recreational technology, the game has well-known pedagogical and organizational and methodological advantages. It allows you to significantly reduce the time for the accumulation of the necessary information, the acquisition of certain skills and abilities; contributes to the imitation of various types of social activity, expands the scope of contact of the individual with various social groups, organizations and movements, familiarization with many genres of art and literature. By intensifying the self-reflection of the individual, the game is an effective tool for deepening the democratic nature of communication, cooperation, and social dialogue.

S.A. Shmakov identifies the following main methods of organizing children's leisure (49, p.67-69):

Methods of the game and game training. The game is an independent and very important type of activity for children, equal in rights with all others. A game can be a form of non-game activity, an element of a non-game business. The game, like a fairy tale, a cartoon, is repeated many times in a child's life, becoming his educational training. Sh. Amonashvili foresaw that by the end of our century, the goal of pedagogy would not be the "general development" of children, but the disclosure of the creative potential of each child.

Theatrical methods. Children's leisure has an infinite number of subjects and social roles. Informal communication of guys can be in the form of a party; "blue light"; evenings by candlelight; "marine wardroom"; Russian "gatherings", "semechnikov", "zavalinka", "theatrical living room", evenings of Russian (any) cuisine; birthday feast; etiquette evenings; collective birthday; "cabbage"; "zucchini 13 chairs"; "dance of friends"; "holiday evening", etc. etc.

According to A.V. Sokolov, depending on the intended purpose and psychological context, gaming technologies can be divided into several behavioral types.

The most common in gaming technologies is the adversarial method. Its essence lies in the struggle for excellence in sports competitions, gambling, lotteries, erudite competitions, providing opportunities for using one's chance. The main game gain here is the feeling of victory and self-affirmation. Competition is a purely childish privilege, competition is an internal “spring” for unwinding creative forces, stimulating search, discovery, and victory over oneself. The competition extends to all spheres of the child's creative activity, except for moral.

A game-fairy tale is a kind of game technology in terms of content. In this technology, the main emphasis is shifted to psychological relief, illusion, hedonistic sensations, which to a certain extent borders on self-manipulation. Both primitive and modern folklore is built on "fabulous-game" technologies.

Quite remarkable are the entertaining and gaming technologies of the “masquerade game” type.

6. Educational technologies

Socio-cultural animation today is one of the most relevant pedagogical system, the subject of which are animators and individuals involved in this process. The competent organization of leisure time of the population forms a healthy moral and psychological climate in society, raises the cultural level, physical and moral recreation (restoration of human strength). Working with children requires special attention in animation activities. A properly built animation program is a lever to control the formation of a child's personality.

The main means in the work of an animator with children are: a living word (methodos "method" is of Greek origin, in translation it means "way of knowing"); radio; a television; seal; literature; art; sport; visual art and technical means. These tools do not act separately from each other, but are closely intertwined and interconnected. Their combination is due to the choice of the form of interaction, the thematic focus of the event: a conference, an exhibition, a round table, a competition, a disco, and so on.

Animation is inextricably linked with the social education of the child. The relationship of these two forms is designed to perform a number of common functions:

Adaptations and inclusions, the purpose of which is to ensure the socialization of the individual, its preparation for the diverse changes in the industrial society in economic and cultural terms;

Recreational, associated with the possibility of cultural development of the individual in practical activities in their free time;

Educational;

Cultural, where pedagogical animation appears as an intermediary structure between cultural creativity, the spread of culture and the children's audience;

Critical, acting as a catalyst in the search for new relationships between individuals and groups, the highest quality way of life

In working with children, the most common, leading means of rapid involvement in the process is a game or, as it is customary to call play therapy today. This unique, versatile and simple entertainment tool has great creative potential aimed at the effective implementation of animation activities.

Game programs consist of competitions based on the competition method:

Artistic journalistic (the main method of illustration);

Folklore and spectacularly theatrical;

Dance and entertainment;

Sports (based on the method of physical relaxation and recreation).

Animation potential of the game:

Relieving stress from a person’s stay in real life, getting a new positive life attitude;

Team building (the game contact of people with each other is so high that game communities can be maintained even after the end of the game);

Neutralization of the shortcomings of reality (opposition to the hard world of reality - the world of harmony and joy);

Submission to the rules of the game (the concept of honor, nobility, dignity, self-restraint and self-sacrifice in favor of the team);

Physical improvement of the body (training and application of various motor skills and actions);

Development of intellectual abilities (building a logical chain of actions during the game that require psychological and mental activation);

The possibility of expressing creativity, their improvement in the process of game action;

The game is a powerful means of self-education and self-improvement, correction emotional state. With the right inclusion of the game in the entertainment program, it can significantly change the mood of people for the better, emotionally enrich and transform the personality.

Along with the game in the animation activity, the competition (from the Latin “collision, meeting”) is widely used. Competition and play are basically the same. In essence, this is a gaming activity, but involving the selection of a winner by means of competition, through a system of judging and evaluation. The main objective of the competition is to identify the leader, develop the abilities and interests of its participants. The competitive program is an emotionally rich and at the same time active form of leisure. This is a complex activity in which there are signs of cognitive, transformative, competitive, artistic, value-oriented and gaming activities.

Often, in animation activities, competitive-game and competitive-entertainment programs are harmoniously combined.

Another type of cultural animation of activity - theatricalization - has a bright spectacular character.

Theatrical programs are an ideological and artistic concept, an author's idea, an ideological position, a plot and its eventual basis. This is a fairly complex creative method, which has a capacious socio-psychological justification, which is closest to art. The spectacular and visual components of theatricalization are: scenography, costumes of the participants in the performance, the musical component, static-dynamic effects, as well as the audience, which creates an atmosphere of theatrical action with its emotional response. "The duality of theatricalization, synthesizing the real into artistic activity, is associated with specific moments in people's lives that require an unusual understanding of this or that event, expression and consolidation of their feelings towards it."

Saturated informational content dedicated to social and political events, holidays are artistic and journalistic animation programs, the main organizing method of which is illustration. The creation of a single, monolithic artistic and journalistic work occurs by combining publicistic speeches, documentary materials, ceremonies with poetic works, songs, music, fragments from performances and films. Particular attention is paid here to the specific content of the artistic and journalistic program. Their preparation requires increased attention to the modeling of the content-text part of the program.

The most common type in animation activities are dance and entertainment programs (dance therapy). Them technological basis based on the method of rhythmic movement of the body. Animation properties of dance and entertainment programs were originally incorporated in the very nature of the dance and contain a relaxing, relaxing character based on dynamic movement. Dance promotes convergence of one's own reactions, causes a lot of emotional experiences such as joy, laughter, pleasure, most often occurring between two or more dancers. Dance and entertainment animation programs have a perspective and communicative character, therefore such programs have gained great popularity today and are being intensively implemented in entertainment establishments.

It is especially important that no matter what kind of social and cultural activity it belongs to, work should be carried out at a high quality level, aimed at familiarizing a person with high cultural values, increasing his social activity, the realization of creative potential.

Animation, as a factor of human social activity, consists of many forms and methods, the application of which requires professionally trained specialists in this area of ​​social activity. In the arsenal of socio-cultural workers there should be a variety of means and methods of influencing a person designed to satisfy the socio-cultural interests and needs of citizens in the field of leisure, despite the difference in age, social status, health, spiritual preferences...

As a rule, work is carried out in the following areas:

Identification of socio-cultural interests;

Consolidation and coordination of the activities of out-of-school and other institutions to solve the problems of the complex organization of free time;

Revival of cultural traditions;

Organization of various forms of family leisure (joint pastime of children and their parents, friends, peers).

Interaction with children in the leisure sphere is differentiated, variable and individualized. Its educational effectiveness is determined by which individuals take part, to what extent they themselves feel themselves to be individuals and see a personality in everyone with whom they communicate.

The main tasks of leisure interaction are:

Formation in children and adolescents of motivation for various ways of amateur performance, including the invention of new free forms of creative pastime;

Formation and organization of primary interest groups;

Attracting the interest of children and adolescents through creative communication;

Organization of general holidays and events;

The main widely used methods in the organization of cultural and leisure animation for children and adolescents school age are:

Quizzes, olympiads;

Exhibitions of crafts, achievements;

Theatrical performances;

Concert programs;

Carnival ball, mass celebrations, parades, masquerades;

Mysteries, theatrical performances of plays;

Sports holidays with competitive elements;

Achievement award ceremonies with elements of theatrical and

concert numbers;

Discos, dance programs with games, etc.;

multimedia animation projects;

The last point requires special attention in view of its novelty and relevance. The rapid development of information interactive technologies invariably affects the educational process. Today modern educational institutions have computer classes, classrooms with multimedia projectors, electronic boards, etc. The use of such aids significantly improves the quality of education, improves teaching methods. It is a powerful visual thinking tool that makes studying proccess more effective and attractive, promotes the development of research skills in children, provides an increased level of motivation and creative activity in the classroom. Multimedia projectors allow you to conduct lessons using multimedia lectures, electronic textbooks, illustrative presentations using photo and video materials, perform virtual mini-studies and much more.

One of the main advantages of using multimedia animation in working with children is the visibility and dynamism of the animated material. Conducting classes using animated drawings, especially with elementary school students, contributes to a positive emotional and psychological background and, as a result, more productive assimilation of the studied material.

The use of such animation is possible in the classroom of any academic disciplines, as well as when managing class hours, general and parent meetings and other activities involved in the educational process.

The main thing is that the animation program, no matter what kind it is, should give a feeling of emotional comfort for all its participants - a feeling of fulfillment of a desire, achievement of a goal, a feeling of joy, a surge of vitality and psychological uplift.

Leisure institutions such as theaters, museums, cinemas, the media, creative unions, technical and sports societies, and voluntary organizations act as an auxiliary link in the cultural and aesthetic education of children. Therefore, it is desirable to consolidate the positive result of the work done by visiting exhibitions, galleries, theaters, as well as religious, cultural and historical institutions. Such visits should be of an introductory, voluntary nature, leaving the opportunity for each individual to form his own point of view, worldview position on the information provided.

It is important to understand that any organized activity is not an end in itself - it is only a means to create an environment in which everyone can successfully develop. For children, this is especially important, because a well-organized social environment has a tremendous impact on raising the general level of a person's culture, awakens faith in one's own strengths and capabilities, and establishes a new high-quality style of interpersonal communication.

Socio-cultural animation is one of the relatively young branches of applied social psychology and pedagogy, which is increasingly referred to as the pedagogy of socio-cultural activities. Being a special and completely self-sufficient element of socio-cultural activity, animation is included in the leisure infrastructure of the population of various countries of the world. Sociologists note the growth of the free time budget and the change in this regard, the interests and needs of people in the field of recreation, tourism, amateur art, and public amateur performance.

The leisure sphere is turning into a space for the implementation of civil initiatives, attracting the population to participate in significant cultural, educational and socio-pedagogical projects.

Term "animation"(from lat. animation - revitalize, inspire, inspire) first appeared at the beginning of the 20th century. in France in connection with the introduction of a law on the creation of various associations and was interpreted as an activity aimed at provoking and enhancing a keen interest in culture and artistic creativity.

In Russian society, the trend of initiating social movements in the field of leisure is currently very relevant. Therefore, it is important to turn to the world experience in organizing expedient, accessible and unobtrusive socio-cultural activities. The study of theoretical ideas and technologies of French socio-cultural animation is updated by a number of typically Russian reasons, among which the following should be highlighted:

change of spiritual and ideological foundations in the organization pedagogical work in society;

change in the economic status of socio-cultural activities;

the need to find an "entrepreneurial niche" in the field of free time;

reorientation of socio-cultural activities to a diverse range of real needs of the population, manifested in the period of social disintegration, disunity, loss of value orientations of social and personal development.

By the end of the 20th century, socio-cultural animation was already an independent direction of psychological and pedagogical activity in the field of cultural leisure.

Sociocultural animation (animation) is a special kind of cultural and leisure activities of social groups and individuals, based on modern (pedagogical and psychological) humanistic technologies for overcoming social and cultural alienation.

Summarizing the theoretical ideas of animation and the experience of organizing the socio-cultural activities of animators in France, E. B. Mambekov gave the following detailed definition: “Sociocultural animation is a part of the cultural and educational system of society and can be represented as a special model of organization (institutions, enterprises ) socio-cultural activity: as a set of elements (institutions, state bodies, organizations, audiences) that are in permanent relationships that characterize this model; a set of occupations, activities and relationships, where the leading role is played by animators, professional or voluntary, with special training and using, as a rule, methods of active pedagogy.

Further, Mambekov refers to the studies of R. Laburi, who notes that the phenomenon of animation has a dual meaning, being both a method of adaptation, social therapy, and an ideology of liberation through participation: “Most of the definitions given by animation express a pedagogical project for the growth of self-awareness, participation and social creativity : Behind these intentions, which express great plans for social and cultural recovery, there is a certain ideology on two levels.

The first is the level of educational sociology: for some it is the growing role of the animation apparatus, its activity, the service of visitors, the strengthening of the position of professional workers, that is, the importance of educational technology; for others, animation is to a lesser extent the creation of an apparatus and to a greater extent the emergence of a group that forms its own community of values, interests, actions and creates its own social project.

The second is the level associated with the main ideological currents of French sociology.

For some, the function of animation is to unlock social bonds, to establish warm, trusting relationships. Others see it as a function (according to the traditions of French culture) in learning and mastering the great languages ​​of thought, aesthetics, poetics, economics. In the Marxist understanding, animation is seen in the perspective of the expansion of human consciousness, seen as a complete liberation; it opens up opportunities for critiquing existing institutions and transforming economic and political structures.”

Animation in tourism is a holistic process of interaction between animators and tourists in the leisure sector based on the combination of formal leadership and informal leadership of a specialist who interacts. As a result of such interaction, relaxation and health-improving, cultural and educational, cultural and creative needs and interests of the participants in this process are satisfied, conditions are created for the formation of a socially active personality capable of transforming the surrounding reality and oneself in it.

Such a detailed definition as a whole fairly reflects the specifics of animation activity, which manifests itself at the organizational, activity and methodological (technological) levels. At the same time, one cannot limit the essence and specifics of this phenomenon only to external manifestations, because a very important component of socio-cultural animation is its spiritual, ideological potential.

The very concept of "animation" allows, on the one hand, to accurately characterize the goals of sociocultural activity, to identify its inspiring, consolidating nature, and on the other hand, to designate the actual spiritual (anime- dusha) aspect of the relationship between the subjects of the pedagogical process (special ways of communication, dialogue filled with genuine sympathy, empathy, assistance), based on a deep appeal to the eternal value-semantic absolutes of spirituality.

Thus, the main directions of animation work are overcoming personal tendencies towards social disintegration (prevention of social and psychological deviations, for example, deviant behavior of adolescents, drug addiction, alcoholism, suicide, etc.); rehabilitation of critical states of personality; assistance in the creative self-realization of the individual.

Socio-cultural animation uses traditional types and genres of artistic creativity as the main methods of "revitalization and spiritualization" of relations between people. This is what allows us to recognize it today as an alternative direction for the development of cultural and leisure activities.

The fundamental novelty of animation activity can be characterized by new goals, objectives and applied technologies that determine the process of optimizing interpersonal and intergroup relationships.

Content
Introduction...2

1.1. Modern technologies in Russia4

2.1. The concept of socio-cultural animation...6
2.2. Tasks of socio-cultural animation.8
2.3. Animators.10
Chapter 3 Animation Directions
3.1. Animation for the unemployed...12
3.2. Animation for the elderly.15
3.3. Animation in tourism...16
3.4. Sports and recreation direction of animation.18
3.5. Types of animation programs .... 20
3.6. Technology for creating animation programs..21
Conclusion.23
References .... 25
Introduction
According to experts, at present, the inclusion of animation programs of a cultural, educational, sports, tourist, and entertainment nature in the content of tourist routes and trips, in the operation of hotels increases their prestige and demand in the tourist services market.
Having fun, a person or a group of people satisfies his spiritual needs, evaluates his own personality, analyzes his role on the scale of various subsystems. Entertainment processes are carried out both in natural and artificially created environments.
The entertainment industry aims to create conditions for entertainment, i.e. a set of phenomena on the presence of which the process of entertainment depends.
The social orientation of the development of the entertainment industry is expressed in the fact that it serves the formation of new personal and social needs, as well as the manifestation and development of needs under the prevailing prerequisites. The entertainment industry, solving multifaceted tasks (first of all, education, the formation of an optimistic mood, education, recreation, the development of a person’s culture), essentially forms and develops a person. Filling with entertainment, a person restores himself as a labor unit as well as part of his free time.
In the world practice, tourism enterprises, including tourist accommodation facilities, belong to the sphere of servicing the population with entertainment. A number of enterprises, organizations, institutions provide entertainment in the form of their secondary activities. In addition to hotels, these include recreation areas and historical sites.
The entertainment industry acts as an independent, relatively isolated link in the economic system, attracting significant material, financial, and labor resources. In this regard, entertainment industry enterprises are characterized by specific technologies, management systems, performance results, labor organization, and personnel.
The study of tourists as consumers of specific results of the entertainment industry, of course, has great importance. Special activities are also carried out, purposefully causing the corresponding emotions. The patterns of consumption of entertainment products must be studied in relation to the previous way of life of a person.
The purpose of the work is to study the relationship associated with the process of social and animation services.
The object of research is the process of animation itself.
The subject of the research is modern technologies and animation methods and techniques that ensure the overcoming of social and cultural alienation.
To achieve the goals of this work, it is necessary to define the following tasks:
- the concept of socio-cultural technologies;
- study of the concepts of socio-cultural animation, definition of its tasks;
- study of animation directions.
The structure of this work consists of: introduction, three chapters, including ten paragraphs, conclusion and bibliography.
Chapter 1. Socio-cultural technologies
1.1. Modern technologies in Russia
The modern period of development of social practice in Russia is characterized by the wide use of various social technologies - from monotechnologies to polytechnological systems. The social space is expanding, in which individual technologies or their combination find their application: from political and elective to sociological and analytical, from Internet technologies to technologies of various types of communication, from educational and pedagogical to technologies for providing targeted social services to various groups of the population and etc.
The penetration of technologies as an instrumental cognitive-transformative means into various sectors of the social sphere (not to mention others) can rightly be considered as one of the patterns of development of modern society, and in sectors social work and socio-pedagogical activity - as a stable trend of their development (which is confirmed by the exponential growth in the number scientific research and publications on this issue). At the same time, each technology has a well-defined theoretical and methodological potential for cognition and transformation of social practice.
Naturally, the analysis of this potential can be carried out from different positions: from the point of view of various sciences and scientific disciplines; goals and target orientations; functional purpose of a particular technology; definitions of their nomenclature; revealing the structure, content, sequence, etc., i.e. within a wide range of evaluation criteria for these technologies
In progress constant change taking place in society, the idea of ​​\u200b\u200bthe possibilities, abilities and goals of a person in the modern world is also changing. Modern reality makes special demands on a person, dictates to him the need to combine costs and restore vitality, by balancing passivity and activity. The importance of a person's personal activity, initiative, and ability to creatively perceive reality is increasing more and more. However, not every person has such qualities, especially at the time of experiencing a difficult life situation. One of the most acute problems of our time is the loss of work by able-bodied citizens of the country. For most people who have lost their jobs for various reasons, there comes a period of difficulties, illness, poverty, and a passive attitude to life.
Chapter 2. Socio-cultural animation
2.1. The concept of socio-cultural animation
Animation in the generally accepted sense of an owl is a certain type of activity that pursues the goal of developing and presenting special programs for spending free time. Animation programs include sports games and competitions, dance evenings, carnivals, games, hobbies, spiritual activities, etc.
Socio-cultural animation is a special kind of socio-cultural activity of social groups and individuals, which is based on modern technologies (socio-pedagogical, psychological, cultural-creative, etc.) that ensure the overcoming of social and cultural alienation.
Socio-cultural animation technologies offer in the form of the main ways of "revitalization" and "spiritualization" of relations between people, the extensive use of public spiritual and cultural values, traditional types and genres of artistic creativity, thereby providing the individual with certain conditions for inclusion in creative, health-improving, educational, entertaining and other types of social and cultural activities.
In the process of entertainment, a person or a group of people satisfy their specific spiritual needs, evaluate their own personality, and also analyze their role on the scale of various subsystems. A variety of entertainment processes can occur in both natural and artificially created environments.
The main goals of the entertainment industry are the creation of certain conditions for entertainment, otherwise, the totality of phenomena, on the presence of which the entire entertainment process will depend.
The social orientation of the development of the entertainment industry is expressed in the fact that it serves the formation of new personal and social needs, as well as the manifestation and development of people's needs under the prevailing prerequisites. Dealing with the solution of multifaceted tasks, such as education, the formation of an optimistic mood, education, as well as recreation, the development of human culture, the entertainment industry, in its essence, forms and develops a personality. Filling with entertainment, a person restores himself as a labor unit as part of his leisure time.
The entertainment industry is an independent, relatively isolated part of the economic system, attracting quite significant, both material and financial and labor resources. In this issue, entertainment industry enterprises are characterized by specific technologies, management systems, performance results, labor organization, and personnel.
Socio-cultural animation is one of the main links in the general entertainment industry, using specialized techniques and techniques.
2.2. Tasks of socio-cultural animation
Socio-cultural animation, in its essence, is a pedagogy of understanding and mediation, designed to establish relations of equality, overcoming hierarchical subordination, establishing personal relationships on the basis of greater freedom and independence, providing an individual choice in activity, creativity and communication.
Majority modern technologies socio-cultural animations involve a comprehensive solution to various human problems, giving him the opportunity to self-identify as a full-fledged representative of a particular socio-cultural and leisure community, as well as providing conditions for involvement in educational, creative, recreational and other types of socio-cultural activities.
At the same time, there is a question of every kind of overcoming social isolation, psychological alienation not only of the disabled, but also of some other categories of the population. Today, in many social and age categories of our society, there are people who are on the verge of "social extinction", for them the constant struggle for a full-fledged social status acquires the meaning of a struggle for life, and the rhetorical question "life or death" for many of these people becomes decisive. This provision encourages animators, who can be social workers and social educators and other specialists in social and cultural activities, to seek and find more and more effective pedagogical technologies to overcome the problems of sociocultural maladaptation.
A special direction of Western socio-cultural pedagogy, which is socio-cultural animation, is aimed at solving these problems. In social and cultural animation, the interweaving of both philosophical and ideological approaches and various applied practices, from psychotechnical to theatrical, is absolutely bizarre. With all this, socio-cultural animation widely uses traditional types and genres of artistic creativity in the form of the main methods of "revitalizing and spiritualizing" relations between people, it is this approach to the problem that has made it possible to recognize socio-cultural animation as an innovative direction today. in order to develop socio-cultural activities.
Socio-cultural animation, today is one of the most intensively developing areas of modern socio-cultural activity, involving the implementation of programs for creative rehabilitation, active recreation, socio-psychological consolidation of social groups based on cultural values.

Fragment of the work for review

Chapter 3 Animation Directions
3.1. Animation for the unemployed
In the modern theory and practice of socio-cultural activities, animation technologies are innovative, which involve solving issues of various problems of the individual, which create certain conditions for the inclusion of the individual in socio-cultural activities in the complex.
Socio-cultural animation (animation) is considered a special type of socio-cultural activity of social groups and individuals, which is based on modern technologies (social, pedagogical, psychological, cultural, etc.) that provide problem solving social and cultural alienation.
Socio-cultural animation is focused on the personality of a person, fully focusing on the formation of its independence and activity.
Animation work can solve a complex of interrelated tasks:
- a comprehensive assessment of the crisis situation, assistance in understanding the value subtext by the individual;
- assistance in determining and understanding which way of action in a particular situation to use in achieving the desired goal;
- bringing the personality to the need to realize the irrational subtext of the situation, i.e. the forces that stand behind the openly manifested desire, the awareness of one's own unconscious desires;
- identification and assistance in realizing the real possibilities, between which there is a choice;
- assistance in understanding the consequences that may entail a decision in a particular case;
- bringing a person to the awareness that awareness as such does not change the crisis situation without a special desire to act.
Socio-cultural animation has a humanistic orientation, since its subject is a person capable of self-actualization, self-development, self-improvement.
Socio-cultural animation provides not only the provision of psychological, psychotherapeutic support to the categories of citizens in need of this, it also offers conditions and methods for a constructive way out of a person from a difficult life situation. Applying the technologies of social and cultural animation in practice, we get a comprehensive assessment of the crisis situation, the definition of the most constructive ways of behavior in it to achieve the goal.
Among the main directions of animation work with various categories of citizens, the most basic, in our opinion, are the provision of assistance in overcoming difficult life situations and critical states of the individual, with the help of psychotherapeutic training and rehabilitation by creativity.
Persons left without work are the social group most in need of socio-psychological, psychological-pedagogical, socio-cultural assistance.
The most optimal solution to the problems of the unemployed is seen in the creation of stable, stimulating conditions for the formation of their active life position. Episodic exposures have only a temporary effect, giving only temporary positive results.
A more effective process of forming an active life position of the unemployed is seen in the introduction into practice of well-planned animation programs of a complex nature.
Animation programs are most often complex in nature, and involve the use of the whole variety of means, forms and methods of work. They combine events of various kinds. This combination, depending on the purpose, makes these programs more effective, rich, and interesting.
When developing and organizing animation programs, it is necessary to take into account the peculiarities inherent in people who are left without work. After the dismissal, the activity of people as a whole decreases. The unemployed are more characterized by a passive, dependent position. The inertia of consciousness and the instability of the situation in society makes it difficult to constructively overcome the situation of unemployment. Most people who have lost their jobs consider themselves victims of the socio-economic changes taking place in society. The loss of a job for them is not a kind of incentive to be active, it is stress, for the most part leading to depression and social illness. The unemployed experience difficulties in setting a clear goal of their activity, as well as methods for achieving it.
Realizing the complexity of the situation of people left without work, it can be assumed that the development and implementation in the practice of institutions of the socio-cultural sphere of animation programs for the formation of an active life position of people left without work is one of the conditions for their successful exit from the crisis, difficult life situation.
Animation programs for the formation of an active life position of people left without work should be aimed at actualizing the need for self-improvement, self-development; increasing the level of self-assessment of the unemployed; the formation and development of skills and abilities, the acquisition of new theoretical knowledge and ways to practical application; active involvement of the unemployed in social and cultural activities; on the formation of their positive life prospects, etc.
Thus, animation technologies for the formation of an active life position of people left without work have modern stage development of society is of no small importance. The problem of their application requires deep reflection and specific practical developments.

Bibliography

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In the studies of M. V. Nikitsky, socio-cultural animation activity is considered as part of the cultural and educational system of society, as a kind of socio-pedagogical system in which animators play a leading role, professional or voluntary, with special training and using, as a rule, methods of active pedagogy. The author draws attention to a very important component of sociocultural animation - its ideological (semantic) potential, since the very concept of "animation" allows, on the one hand, to accurately characterize the goals of sociocultural activity, to identify its consolidating (unifying) nature, and on the other hand, to designate internal (anima - soul) aspect of the relationship between the subjects of the pedagogical process.

Socio-cultural animation activity is one of the relatively young branches of social pedagogy and social psychology, which is increasingly referred to as the pedagogy of socio-cultural activity. It can also be described as the pedagogy of leisure.

In general, sociocultural animation (animation - anim: soul - animation, revival) is a special type of cultural and leisure activity of social groups and individuals, based on modern pedagogical and psychological technologies for activating (revitalizing) the surrounding social environment and the subjects included in it. Summarizing the theoretical ideas of animation and the experience of organizing socio-cultural activities in a number of foreign countries, one of the leading domestic specialists in the field of cultural and leisure activities E. B. Mambekov defines socio-cultural animation as part of the cultural and educational system of society, which can be represented as a special models of organization of socio-cultural activities:

- as a set of elements (institutions, government bodies, organizations, voluntary associations, animators, audience) that are in permanent relationship;

- as a set of occupations, activities and relationships that meet the interests shown by a person in his cultural life and especially in his free time;

- as a kind of socio-pedagogical system in which the leading role is played by animators, professional or voluntary, with special training and using, as a rule, methods of active pedagogy.

On the whole, such a detailed definition fairly reflects the specifics and even the structure of animation activity, which manifests itself at the organizational (who), activity (what), methodological and technological (how) levels. At the same time, one should not limit the essence and specifics of this phenomenon to only external manifestations (just to fill leisure time, no matter what, no matter what for), since a very serious component of sociocultural animation is its ideological (semantic) potential. The very concept of "animation" allows, on the one hand, to accurately characterize the goals of sociocultural activity, to identify its consolidating (unifying) nature, and on the other hand, to designate the internal aspect of the relationship between the subjects of the pedagogical process (special ways of communication, dialogue filled with participation, - feeling, co-action).

In this regard, we can say that in modern psychological and pedagogical science, the use of the concept of "animation" is associated for the most part with the second aspect, that is, it is used mainly to characterize relationships.

In this regard, the thought of the French researcher of sociocultural animation Anne-Marie Gourdon is typical that when the word animation is mentioned, it is not about the revival of the body and inanimate matter, but about the revival of relations between individuals and social groups. A similar idea is expressed by M. Simono, who defines sociocultural animation as an area of ​​social life, whose participants set themselves the goal of a certain change in behavior in interpersonal and collective relations through direct influence on individuals. It is clear that this impact is carried out mainly through a variety of activities.

It must be said that the emergence of sociocultural animation, at least as an independent phenomenon in science, is conditionally associated by sociologists with France in 1901, when a law was introduced on the creation of various non-political associations. Until this year, various social associations of people (according to interests, according to the way they fill their leisure time, etc.) could not be conceived outside of concrete political action, obvious or hidden. By 1901, the situation had changed dramatically: the amount of free time of the population increased due to the gradual reduction of working time. Amateur associations (associations) began to develop, which required appropriate legal registration.

At the same time, the emergence of a special interest in the pedagogical modeling of the social environment and the purposeful construction of the pedagogical process is formally attributed to the period of the 70s of the twentieth century. At that time, extensive sociological research was carried out in France, which concerned, among other things, the characteristics of the extracurricular time of the younger generations and, accordingly, the influence of the content of this time on the general social background both among young people and in society in general. The results were disastrous. On the one hand, the conditions for the constructive filling of the life time of the younger generations were reduced to the minimum values, on the other hand, the children themselves, for the most part, wanted and could not do anything except for consumption: neither to know history, nor to maintain and cultivate their own and world culture and etc. Then the French government hastily attended to the allocation of large budgetary resources to solve this problem.

There was also a person who is now considered to be the founder of socio-cultural animation - this is Jean Friedman. He came up with the idea of ​​forming a harmonious unity of the child and the environment in which he develops. The government, for its part, elevated Friedman's idea to the rank of the state's top-priority programs. According to her plan - the whole country becomes an educational nation. Such decisions, of course, required major changes, and not only general social, but also purely pedagogical ones: it was necessary to revise the entire scientific apparatus of the theory and practice of education, to develop a concept of educational forces and elements of society that could revive the environment and social life in general. Therefore, from the beginning of the 70s of the twentieth century, research began to be actively carried out on the pedagogy of animation, animators, their psychology, education and goal-setting, the audience of socio-cultural activities carried out within its framework, its institutions. As a result, by the end of the 20th century, sociocultural animation began to represent an independent direction of psychological and pedagogical activity in the field of leisure.

As for our domestic experience in the field of socio-cultural activities, the following can be said here. In the recent past, in the era of the Soviet Union, in our domestic pedagogy and the sphere of filling leisure as a whole, a fairly rich experience in building such an activity was accumulated. And although it was rarely called socio-cultural animation, it was this area of ​​social activity that was very rich.

It suffices to recall the extremely active and constructive activity of the pioneer and Komsomol organizations, the rich experience in organizing summer (holiday) leisure, extracurricular work at school, the functioning of social and pedagogical complexes, and more. However, we must also remember the well-known events of the last decade of the twentieth century, when the entire social (including educational) sphere in the country was left in the most helpless and wretched position. This is understandable - what kind of professional organization of leisure could be discussed during colossal socio-economic and political upheavals ... At the same time, the rich experience accumulated over the past century in the field of socio-cultural development of the population in our country is increasingly attracting the attention of not only domestic but also foreign experts.

Now, in modern Russian society, the trend of initiating social actions in the field of leisure is becoming more and more relevant, and, according to experts, there are a number of reasons for this:

– change of ideological foundations in the organization of pedagogical work in society;

- change in the economic status of socio-cultural activities, the need to find an "entrepreneurial niche" in the field of free time;

- reorientation of socio-cultural activities to a diverse range of real needs of the population, manifested in the period of social disintegration, disunity, loss of value orientations of social and personal development.

One more reason can be added to these:

- the need to constructively use the positive experience of the socio-cultural activities of the Soviet period.

What is the socio-cultural animation activity today? It should be recalled that although the concept of socio-cultural animation is found not only, sometimes not so much, in the pedagogical sphere, nevertheless, the activity of social revitalization, the inclusion of a person in active life, is inherently psychological and pedagogical. This becomes all the more obvious if we consider the methods of socio-cultural animation, the specifics of the preparation of various animation events.

It is known that such a specialist as a sociocultural animator (at least in this sound) is more common in the field of cultural and leisure, and not in the pedagogical one, for example, in tourism, entertainment business, show business, etc. A similar designation for such specialist previously sounded like a "mass entertainer". However, in our case, a sociocultural animator is not only and not so much a stage character leading a show, but a specialist. What are the characteristics of such a specialization?

The most common: an animator is a specialist who performs animation work. If we turn to the French experience of sociocultural animation, we will see that the majority of sociocultural animators in France are volunteers, enthusiasts working on a voluntary basis in their free time. These are teachers, scientists, public figures, engineers, employees. Here there is a constant process of formation of activists from among the visitors of institutions of the socio-cultural sphere.

But, along with voluntary activists, there are also professional animators. Their training is carried out by numerous training centers. According to the magazine of French animators "L`Education Nouvelle" for 2009, about 2500 people studied here. Professional animators receive training in administration and management, research and creative work, Pedagogy.

In this regard, two types of animators are distinguished:

– leaders (animators-coordinators);

- animators-specialists who head various associations, associations, circles (craft, technical, amateur art, etc.). They teach in various courses, provide legal advice, promote social adaptation emigrants, even provide psychological assistance.

But the main thing is that socio-cultural animators are responsible for meeting the needs of the population in the field of culture, sports, and entertainment. Such a specialist reports to the director of the Department of Youth and Sports Affairs of this department, he oversees the activities of local groups of art lovers and sports associations, organizes the training of voluntary animators and leaders of amateur associations, and establishes cooperation between animators and associations.

A sociocultural animator is hired under a contract and must pass a competitive examination, in accordance with the approved charter. At the same time, he enjoys freedom in choosing the forms and methods of pedagogical work.

If we correlate such activity with our domestic experience, then we have the right to attribute it to the activity of a social pedagogue. And there is no contradiction here, rather the opposite: after all, we believe that sociocultural animation in essence and character is an applied discipline of social pedagogy. Modern concept socio-pedagogical activity significantly pushes the boundaries of social pedagogy, considers it as a scientific discipline that studies the process of social education and socialization of a person as a whole in all age groups. From the standpoint of socio-pedagogical analysis, socio-cultural animation can be defined as a branch of social pedagogy based on the methods of organizing cultural and leisure activities of the population. It is no coincidence that the name of the specialization of managers of socio-cultural activities in Russia has recently been determined by the state educational standard as "pedagogy of the socio-cultural sphere".

If we talk about the functions of socio-cultural animation activities, then, perhaps, the main one can be called regulative. This function is designated as the main one, based on the understanding that a person does not live in society in isolation, he is involved in the activities of social institutions, and the function of social control is necessary to regulate the relationship between them. This social regulatory control should promote the use of free time for self-development and more active participation of the individual in the social life of society.

The well-known French sociologist J. Dumazedier identifies four functional characteristics of socio-cultural animation activity (in direct translation):

1. Specific social control of free time, which contributes to the maximum expression of the inner "I" of the individual (idleness is the mother of all vices).

2. Restriction and direction of the market of consumerism, in which the doings of the individual are realized (follows from the thesis: creativity is bestowal, not consumerism).

3. Establishing a balance between the leisure needs of an individual or a team and their social and professional activities (time for business, hour for fun).

4. Social control aimed at non-formal education of the individual, his self-education.

As for the actual goal of socio-cultural animation activity, it can be described as "revitalization", "spiritualization" of interpersonal and intergroup social relations, restoration of meaningful life orientations of the individual by means of cultural and leisure activities. At the same time, the main tasks of this activity can be considered:

– overcoming personal tendencies towards social disintegration;

- prevention of social deviations (for example, deviant behavior of adolescents, drug addiction, alcoholism, suicide, etc.);

– rehabilitation of critical states of the individual;

- assistance in the creative self-realization of the individual.

It is believed that to solve these problems in the socio-cultural animation activity, three interrelated processes are distinguished:

1) the process of creating conditions for the disclosure of an individual or group;

2) the process of establishing interpersonal relationships;

3) the process of creativity as a solution to problems in the surrounding world.

An analysis of research on the problems of modern socio-cultural activity shows that it has a scientific and, one might say, quite specific methodological basis.

Obviously, considering the phenomenon environment as a kind of potential that contains positive and negative trends that can in one way or another influence the development of a person, did not begin in the 70s of the twentieth century, but much earlier. Pedagogical environmental studies can be considered the historical prototype of sociocultural activity. This area of ​​scientific knowledge arose at the turn of the 19th–20th centuries. Its founder is considered to be the German scientist Adolf Bazuman. Assuming that the main premise of the general theory of education is the science of the influence of the environment, the researcher concluded that a special science of the environment is needed to achieve pedagogical goals. He published the first part of "Pedagogical Environmental Studies" and the work " Pedagogical doctrine about the environment." The field of pedagogical environmental studies can also include the works of Bazuman's compatriots - Heinrich Kautz ("Under the shade of factory chimneys"), A. Wolf ("Types of environment") and others.

However, the so-called pedagogy of the environment can be considered as a kind of theoretical and, in a certain sense, practical basis for socio-cultural animation activities in our country.

Unlike environmental studies, environmental pedagogy was the brainchild of domestic scientific and pedagogical thought. S. T. Shatsky is considered to be its founder, and the authorship of the term itself is attributed to him, although long before Shatsky, K. D. Ushinsky, N. I. Pirogov and other thinkers raised the question of research educational opportunities environment.

It should be noted that the pedagogy of the environment is not just a set of views on the environment and the dependence of human behavior on it. This is technology. And today we can say that the pedagogy of the environment is a direction of pedagogical thought and practice, focused on accounting, organizing and using the possibilities of the environment for educational purposes.

By the beginning of the 20th century, the domestic bibliography included more than five hundred works on the problems of pedagogy of the sociocultural environment, and by the 1920s and 30s, “environmental” problems occupied an exceptional place in the studies of pedologists, reactologists, reflexologists, psychologists and teachers. The statements of scientists and organizers of education of those years are indicative: “The question of the impact of the environment, the organization of these impacts is central to our pedagogy” (A. S. Pinkevich); “The social environment is the true lever of the educational process, the whole role of the teacher comes down to managing this lever” (L. S. Vygotsky); “In any pedagogical impact, three points can be distinguished:

1) one or those who are the organizer (i.e. the subject) of this impact;

2) one or those who are under the influence of the subject;

3) the environment that is created for the purpose of pedagogical influence "(A. G. Kalashnikov).

In conclusion, we can cite the well-known words of A. S. Makarenko: it is not the educator who educates, but the environment; as well as the thought of N. N. Iordansky, no less famous in the pedagogical world: there is no environment - there is no education.

The problem of theoretical and practical study of the environment to which children had to adapt or which had to adapt to children was the most acute in the pedagogy of the environment. Teachers looked at the environment in different ways, typologized it in different ways. Popular were such phrases as “environment for the child”, “environment of the institution”, “socially organized environment”, “class-differentiated environment”, “social household”, “village”, “urban”, “own”, “ age-related”, “spiritual environment”, etc. One way or another, but the representatives of the pedagogy of the environment were united by the vision of the pedagogical process in the form of a tripartite scheme: object - environment - subject.

At the same time, there were significant differences in the answers to the question of how and what should be studied in the environment. Some researchers proposed to study its objective characteristics, and for this purpose to use predominantly objective and sociological methods of collecting and processing information (M. S. Bernshtein, S. S. Molozhavy, V. N. Shulgin, M. V. Krupenina). Various schemes for examining the environment have been proposed. (The establishment of a system of indicators and measuring units for pedagogical accounting and the study of the educational role of the environment, these authors thought as an integral part of the plan for the participation of teacher-researchers in the alteration of the environment.)

Others considered the study of the objective characteristics of the environment insufficient. They believed that the usually practiced method of studying the environment by means of lengthy tables and questionnaires or general sociological schemes can neither give positive objective results nor satisfy the researcher-educator. “We are studying some absolute indicators of the environment as a situation,” wrote L. S. Vygotsky, “believing that knowing these indicators, we will know their role in the development of the child ... We must study the environment not as such, not in its absolute indicators, but in relation to the child. The same environment in absolute terms is completely different for a child of 1 year old, 3, 7 and 12 years old.

In practice, studying the environment, from the point of view of this scientist, meant determining the role of various factors of education in it in order to figure out what is good and what is bad in the education that is given by the environment, and also to have an organizational impact on it, i.e. to find such elements of it that could work to revitalize the socio-cultural space.

S. T. Shatsky thought and studied the environment in an interesting way - both from the subjective and from the objective positions. He considered it important to study the environment through children, in children's light, refracted through a children's prism, and also to be drawn little by little into a more serious, objective study of the environment. He believed that two points of view are important for a teacher - children's (individual, specific) and objective (approaching scientific). This teacher considered the following methods of studying the environment to be effective: analysis of children's statements, drawings, writings reflecting the life of the environment, analysis of what is happening in front of them, so that, according to the child’s reaction, according to his skills, habits, habits, determine the environment from where he came out and into which is located.

In those years, a lot of data was obtained confirming the dependence on the environment of various abilities, properties, qualities, personality traits of a child, and not only a child, speech skills, thinking and judgment ability (A. R. Luria, E. I. Tikheeva), goals, motives, the entire content of life (M. Ya. Basov). S. S. Malozhaviy, for example, argued that the personality is not only a product of the environment, it also manifests itself in response to external and internal environmental conditions: it is worth changing social environment how human behavior is changing. That is, there is a certain dynamics, flexibility of the process of interaction between a person and the environment, while there is no simple and unambiguous result, conditioned (visible) from the very beginning.

It is fair to say that educators consider the study of the environment as a condition for the subsequent study of the personality, for drawing up work plans and organizing environmental influences. In modern socio-pedagogical realities, such views can be taken into account in a constructive way when organizing psychological and pedagogical interaction within the framework of a holistic pedagogical process. The latter allows us to conclude that the general line for the implementation of socio-cultural animation activities is to actively prevent the alienation of the individual in the culture of society, in the complex structure of social relations.