V.P. Ostrogorsky wrote: “a person who does not love literature, has not found special interest and pleasure in it since childhood, does not have aesthetic taste and some abilities for expressive reading, at least a loud, flexible voice and the gift of speech, if he wants to be conscientious, I should give up and think about choosing this type of profession for myself.”
. The statement of an outstanding teacher and methodologist testifies to the impact the teacher’s word has on the learning process: bright, convincing, emotionally charged, it is an important tool of pedagogical influence.
A special, sometimes indelible impression on students is made by the teacher’s expressive reading, which increases students’ interest in literature, while inexpressive, colorless reading can reduce students’ interest in the work, cause a negative attitude towards it and lead to a distorted understanding of its meaning. Teacher reading is especially important when students are introduced to difficult-to-understand lyrical works.
The reading of a teacher should ideally be the same as the reading of professional masters of sound literature. Both the teacher and the reader are passionate promoters of the art of words, they strive to instill in schoolchildren a love of literature, encourage them to perceive in a new way in a work what is lost when “reading with the eyes” or with unskilled reading.
However, the teacher’s reading also has its own specifics. Following R.R. Maiman we see it in the following:
A professional performer first of all introduces a work of art of the spoken word, and a teacher introduces a work of literature; in this respect, his reading is closer to the author’s. But, unlike the author, he often reads the same text in different interpretations, which helps to penetrate the subtext and gives students the opportunity to refute one reading decision and accept another;
The teacher’s reading is intended for a specific audience, he is obliged to take into account the age and psychological characteristics of a particular class;
The teacher independently prepares for reading, therefore, he must also have directing and pedagogical skills in order to show “what ways should be used to translate the text into the spoken word”
The teacher's reading is usually included in his story or lecture, framed by explanations, additions, and comments, especially when repeated reading.
Expressive reading is an indispensable means of developing intonation expressiveness of speech. However, the question arises what form of speech it refers to. Expressive reading, obviously, should be considered as an oral form of speech, despite the fact that the written text in reading is usually transmitted without change. You can simply read it out loud, observing punctuation marks, but such reading will not be expressive. Expressive reading differs from “spoken” speech only in that it is not created in the process of verbal improvisation, but in reading, just as in oral speech, the thought, feeling and will of the speaker are manifested in unity, therefore, voicing the text, reading not only “reads” the intonation that is written into it, but also expresses his attitude towards what he reads about, trying to convince the listeners. Your own perception of what you read determines different interpretations of reading. K.S. Stanislavsky said: “The meaning of creativity is in the subtext. Without him, the word has nothing to do on stage. At the moment of creativity, the words are from the poet, the subtext is from the artist. If it were otherwise, the viewer would not rush to the theater to watch the actor, but would sit at home and read the play.”
The main rule of expressive reading was put forward by V.I. Chernyshev at the beginning of the 20th century: “Read as you speak”
. The origins of intonational expressiveness of speech and reading lie in the fact that the spoken word is a living, expressive word. Initially, verbal art was only sound. The advent of writing turned it into literature and led to the separation of the creativity of the performer and the writer. Consequently, written literature and the art of reading emerged from the same source.
Oral speech is richer than written speech, it is more diverse than written speech, it is distinguished by variety and stylistic features. In oral speech, the speaker (reader), using not only intonation, but also facial expressions and gestures, expresses his attitude to what he is talking about, therefore the main source of expressiveness of speech and reading is the speaker’s enthusiasm for the spoken text.
The most important function of speech is communication. The general problem of verbal communication is the relationship between “meanings” and “meanings”
. The intonation of live speech is always adequate to the meaning, not the meaning, the semantic content of the phrase, and not its grammatical form. Consequently, the spoken word, containing certain information and meaning, also performs the function of embodying a certain meaning (subtext) from the many internal meanings embedded in this word in various contexts.
Another feature of oral speech is that it is designed for direct auditory perception. The speaker is always not indifferent to who, how and for what purpose perceives his speech. This is where the source of speech expressiveness comes from: close communication with the audience.
Communication always occurs with a specific purpose: I want to convey my thoughts and feelings; I want my listeners to sympathize with me; I want to excite them, make them laugh, scare them, etc. Therefore, for the expressiveness of speech, the participation of the will is absolutely necessary. Effectiveness (volitional effort) lies in the very nature of speech. The speaker, as it were, performs a speech act, a “verbal action”, in the terminology of K.S. Stanislavsky. “Nature has arranged it in such a way that when we communicate verbally with other people, we first see with our inner gaze what we are talking about we're talking about, and then we talk about what we saw. If we listen to others, then first we perceive with our ears what they tell us, and then we see with our eyes what we hear. In our language, listening means seeing what is being said, and speaking means drawing visual images. For an artist, a word is not just a sound, but a stimulator of images. Therefore, when communicating verbally on stage, say “not so much to the ear as to the eye.”
. Work on expressive reading is based on the sincerity of experiences. In order for the reader to speak “with feeling,” he must strive for verbal action. Often schoolchildren, and students too, pronounce words mechanically. But it is necessary that the speaker (reader) communicate meaningfully and purposefully with the listeners. To do this, he must know exactly what (topic) and for what purpose (idea) he wants to convey to the audience. Setting a specific task allows you to increase the effectiveness of speech and reading.
Literary reading is an independent art form, the essence of which lies in creative embodiment literary work in an effective sounding word. It is defined as “a secondary, relatively independent artistic activity, the creative side of which is manifested in the form of artistic interpretation,” which is understood as “the interpretation of the product of primary artistic activity in the creative process of performance”
. Indeed, the art of music cannot do without a composer, and the composer needs instrumentalists and singers. The same is true of the playwright and the actor, the choreographer and the dancer. Due to the fact that the art of reading acquired its independence as a result of a long process of transformation of oral folk art into written literature, the author's style of many works sometimes simply cannot be expressed by any other art other than the art of reading. For example, Gogol’s description of the steppe is very difficult to convey through any other art, for example, cinema.
Literary reading is a performing art based on a literary work. This is synthetic art. It is at the intersection of literature and theater. Unlike an actor, the reader does not impersonate the characters, but talks about them, how they live and act, what they say, think, feel. Revealing his attitude towards the characters and the events happening to them, the reader tells as if he himself had witnessed everything depicted by the author. At the same time, he evokes in the listeners’ imagination not only images of characters, but also pictures of their surroundings, everyday life, living conditions, etc. Literary material appears before the performer primarily as a linguistic reality, as an organized system of signs. The author's intonation, although it allows for semantic differences, is still within the limits set by the linguistic structure of the text. That is why the thought of caring for the author’s text is a law for every master of artistic expression.
In its form, artistic (expressive) reading is a reproductive activity. It would seem that it has a very distant relation to creativity, in the process of which something new is created. It turns out that creative activity is the prerogative of the author alone. This is true only in relation to static forms of art (sculpture, painting, graphics). In dynamic forms of art, that is, those that flow in time (music, theater, artistic reading), it happens that the product of primary activity (text) is inferior to performing activity in the concreteness of its implementation. According to Ya.M. Smolensky, the beauty of many literary works is fully revealed only in the spoken word
The essence of the aesthetic always manifests itself in the indissoluble, interdependent unity of three spheres: a work of art; the author (or process) creating the object of perception; and the subject who perceives it (reader, listener, viewer). In order to have an impact on the listeners, the reader must, while working on the work, go through a certain labyrinth, solve the “riddles” scattered by the author throughout the text in order to correctly evaluate it. To understand the true meaning of a work, linguistic and background knowledge is required, which is associated with the concepts of horizontal (provides an understanding of the meanings of words) and vertical (indicates the connection of the text with other sources) contexts. It is equally important for the reader to penetrate into the subtext of the work (its internal meaning), as well as into the overtext (into the understanding that the author is counting on) and intertext (implies a high level of cultural development, in particular the ability to compare the work with other texts, often included in figurative structure of this work).
Expressive reading in literature lessons
Expressive reading is most widely used in literature lessons, where it acts as the art of the spoken word, revealing all its magical effects. states: “Expressive reading is the first and main form of concrete, visual teaching of literature, which for us is more important than any visual clarity. We do not deny visual clarity, but the very nature of the sounding word determines the main method of penetration of the word into consciousness - the method of its expressive pronunciation.”
Even methodologists who mainly developed methods of expressive reading in Russian language lessons admit that expressive reading is fully used in literature classes. Thus, he writes: “Analysis of the accent structure of a sentence, taking into account the broad context and emotional attitude of the speaker to the expressed thoughts, should be carried out mainly in literature lessons when working on the expressive reading of a particular work of art.”
When reading literary works, the most obvious thing is the effectiveness of speech, its dependence on situations, and its connection with emotion.
1. Teacher's expressive reading.
In literature classes, three types of expressive reading are used: expressive reading by the teacher, expressive reading by students and reading by masters of the sound of the word in a recording. Teacher reading is crucial. A teacher who does not himself master this art cannot teach art. This is also true of the art of reading. But to what extent should a teacher master expressive reading is a question that requires clarification. Often a teacher will justify his lackluster reading with the statement, “I’m not an actor.” At first glance, this statement seems incontrovertible. But only at first glance. Yes, a language teacher is not an actor, but he is a professional who must be able to read expressively. Without expressive reading, there can be no full-fledged teaching of literature and the native language.
The psychological excursion made above convinces us of the possibility of mastering expressive reading with proper persistence.
A very great service to a literature teacher can be provided by listening to the masters of the spoken word in recordings, on radio and television, but under one condition: if the teacher does not outwardly imitate the master, but tries, through the perception of his reading, to penetrate deeper into the content of a literary work. Without passion, without love for a work, there cannot be a full-fledged expressive reading by a language teacher. Passion for a work will cause a natural desire to penetrate deeper into its content and master its form. Here’s how he describes his laboratory: “Having chosen a work, I consider myself obligated to comprehensively study the author’s biography, read everything he has written and everything written about him.
The social content of this author’s work is important to me and social role his work, every little detail concerning his life and work is important to me. It sometimes happens (and even very often) that from the tomes I read, I extract only insignificant pages for direct use in my work, but this is precisely the requirement that a storyteller should have of himself.”
Of course, the teacher should not and cannot literally follow. But it is important to understand that mastery, even with great talent, requires a broad and deep study of the work. This is the kind of study that the reader-teacher must do, to the best of his ability. From the information received, the teacher selects those that are necessary for the correct understanding and implementation of the work or passage that he will read. Taking information from literary scholars and methodologists, the reader-teacher must master it fully and turn it into his own beliefs. If there are contradictions in the views of critics, you should choose one and stick to it. In a word, the reader must have his own firm view of the work and each phrase.
It is very important to imagine in a very concrete, figurative manner everything that is said in the work, so that our visions are conveyed to the listeners. It is desirable that the reading of a literature teacher should approach the reading of a master, but for many teachers this is unattainable. Especially when they begin to engage in expressive reading relatively late and do not have enough persistence and time. In this case, you should strive for your “ceiling”, i.e., the expressiveness possible for a given performer. If the teacher adheres to this rule, his skill will gradually improve.
In general, some dissatisfaction with your reading is a good sign, showing the possibility of creative growth.
2.Students' expressive reading.
The task of teaching students expressive reading in literature lessons is to develop in schoolchildren the ability to translate a literary work into a spoken word in accordance with their understanding. In this regard, there is a need to instill in schoolchildren the qualities necessary for a reader, and for them to acquire certain knowledge in the field of the art of literary reading. In school practice, it is believed that general literary analysis is sufficient preparation for expressive reading. Sometimes, in addition, logical markings are made, and usually only logical stresses are noted. This is seen as special preparation of the student for expressive reading. After such preparation, the student’s reading is listened to and a mark is given with the addition of an oral assessment: “read expressively” or “...not expressively.” Meanwhile, preparing expressive reading at all levels school education consists of a number of stages. Already in the introductory lesson, providing students with the information necessary to understand the work, the teacher Special attention devotes attention to those that can help translate the work into spoken words. The teacher’s reading should create passion for the work and provide the key to understanding the theme, idea, originality of the genre and perfection of forms. Then a specially directed analysis is carried out and expressive reading is practiced.
Expressive reading depending on the age (grade) of students. The methodology of artistic (expressive) reading is the same for both primary school students and teachers. We demand naturalness, simplicity and effectiveness from any reader. But the teaching method is special for each age.
Teaching expressive reading begins in the first grade. The book formulates the basic principles on which the method of expressive reading in the primary grades should be based: “1) Students must understand well what they should convey to the listeners when reading the text of the work. 2) Students should have a lively and true attitude to everything that is said in the work. 3) Students must read the text of the work with a conscious desire to convey specific content: facts, events, pictures of nature, so that those listening correctly understand and appreciate them.” Thus, already in elementary school, students are given the main tasks of expressive reading. In accordance with the age of the children, the solution to these problems in the primary grades is achieved through practical work on expressive reading without relying on any theoretical knowledge.
Students will take a course in expressive reading, including theoretical information, in grades IV-VI. The success of teaching expressive reading in the middle classes is ensured by two circumstances: the age characteristics of schoolchildren aged 10-12 years and the content of the literature program. According to the division accepted in psychology, ten-eleven-year-old children belong to the youngest school age. Their psychological makeup is characterized as follows: they are receptive, impressionable, impulsive, spontaneous and trusting. In addition, the concreteness and emotionality of their thinking is noted. The observed acceleration has certainly made some adjustments to this characteristic, but basically it remains true. It is the traits mentioned above that make it extremely easy to learn expressive reading at this age.
The receptivity, impressionability and concrete thinking of students in grades IV-V create an excellent basis for the development of reconstructive and creative imagination. The guys easily get involved in the story, for example, about how the princess entered the tower of the heroes, together with the princess they see “under the saints there is an oak table, a stove with a tiled bench...”.
The spontaneity, gullibility and emotionality of students make it quite easy to involve them in experiencing the vicissitudes of Vanya Solntsev’s fate, and then arouse in them the desire to tell themselves about how Vanya escaped from an experienced intelligence officer or how he envied and admired a boy who was dressed in a military uniform.
During adolescence, which includes sixth grade schoolchildren, there is a noticeable development of strong-willed personality traits. It is the development of strong-willed qualities, the desire to act, to influence others that creates favorable conditions for the development of the ability to act with words in the process of communicating with listeners.
The curriculum for grades IV-VI also promotes learning to read expressively. It presents works of various genres, mainly corresponding to the age needs and capabilities of schoolchildren. Speech development tasks that are of paramount importance in the middle grades include expressive reading as one of the types of oral speech among schoolchildren.
Not only the program, but also the methodology of teaching literature in the middle classes creates favorable conditions for conducting a course of expressive reading in literature lessons. In grades IV-VI, the analysis of a literary work is carried out mainly “following the author.” For students in these classes, the main thing when perceiving a literary work is the plot, real events, episodes, and, given the nature of their perception, it is most appropriate to conduct an analysis as the action develops.
Not considering this method of analysis to be the only possible one in grades IV-VI, it is still necessary to recognize that it is used extremely widely in the middle grades. And it is this path that is most convenient for teaching expressive reading.
In the method of expressive reading, one of the most important principles of didactics must be fully implemented - the principle of gradual accumulation of knowledge and skills. Theoretical information from the field of art, relevant skills and abilities are acquired by students gradually. From lesson to lesson, new tasks are set before them.
Starting in fourth grade, students are introduced to expressive reading as an art. Children consolidate previously acquired practical skills and develop new ones, for example: the ability to identify genre features of a work (fairy tale, riddle, proverb - in IV grade, epic and fable - in V, etc.). In fourth grade, when reading the fairy tale “The Frog Princess,” students develop the skill of storytelling about sequentially occurring events and at the same time develop the ability to give the story a fairy-tale character. When reading proverbs, one develops the ability to express one’s attitude towards the person or phenomenon to which the proverb refers, and to convey the subtext of the proverb as a complex generalization.
In grade V, when reading epics, students convey the special character of their sound. Get acquainted with the features of reading fables.
In the 6th grade, the task arises of translating into reading works that are more complex in content and form. For example, to express the increasing intensity of feelings in the poem “Prisoner” (“Where the mountain is white behind the cloud, Where the sea edges are blue, Where only the wind and I walk”); convey the multicolored and complex composition of the description of the steppe in the story “Taras Bulba”, which requires a vivid visual representation of the entire picture as a whole and, as it were, a gradual examination of its individual elements.
We have named only part of the problems solved when teaching expressive reading. But in each individual case, the teacher must be able to select elements of speech expressiveness that most clearly characterize one of the most important aspects of the work and at the same time are understandable to students of a given age.
By the 7th grade, the course of teaching expressive reading should be basically completed, that is, it is assumed that students have practically mastered the basics of the art of expressive reading and become familiar with the terminology adopted in it. However, it must be borne in mind that seventh-graders need to be introduced to the techniques of expressive reading of Mayakovsky’s dramatic works and poems. In addition, in the 7th grade, students’ understanding of the performance task is enriched and the ability to solve it in their reading is strengthened.
In the 7th grade, schoolchildren study dramatic works for the first time. Students are already familiar with role-based reading. They read by role fables, scenes from “Dubrovsky”, “Taras Bulba”, etc. However, the special purposefulness and effectiveness of the speech of the characters in a dramatic work pose new tasks for students. Reading by roles will help you understand the very essence of a dramatic work and theatrical art. As on stage, in role reading the performer transforms into a hero, acts and speaks like the person whose words he pronounces. The second feature of role-based reading is communication with a partner. In Gogol’s comedy “The Inspector General,” the study of which is usually lively and quite easy, there is, however, not a single role that schoolchildren could at least “play” to some extent, except for the roles of Bobchinsky and Dobchinsky at the time of their announcement of their appearance in at the tavern of the mysterious “young man of good appearance in a private dress.” But this scene alone and the general focus on thinking through the characters, actions and intentions of the characters make it possible to introduce students to expressive reading of a dramatic work.
To understand Mayakovsky’s poems and to develop the ability to read them, it is important to teach schoolchildren to convey in reading the peculiarities of the rhythm of this poet’s poems. In preparation for reading “An Extraordinary Adventure...”, seventh-graders can think through and, to some extent, solve a complex performance task in reading: reveal to listeners Mayakovsky’s high understanding of the purpose of poetry, convince listeners of its importance not only for the poet, but in general for every person set the goal of life: “To shine always, to shine everywhere until the last days of the bottom...” so that “the wall of shadows, the prison of nights under the suns will fall like a double-barreled gun.” The complexity of the performance task of this poem lies in the fact that it is solved not only in the last part, when the slogan is pronounced, but throughout the entire poem.
A student reading a poem, talking about Mayakovsky’s funny adventure-fantasy, must always remember why he is telling it.
Having received training in grades IV-VI and expanded it in VII, students in grade VIII should be able to read expressively any poem or prose they were introduced to in a literature course, just as they are expected to write competently after completing a morphology course. However, the ability to read expressively needs to be strengthened and improved. It is also necessary to continue working on expressive reading because high school students must solve problems that are already familiar to them using much more complex material. Teachers’ inattention to expressive reading in high school impoverishes the teaching of literature and reduces its influence on moral and aesthetic education. And a culture of emotions is even more necessary for teenagers than for children. In the art of the sounding word, as in every form of art, a long absence of exercises leads to a gradual loss of what has been acquired. In this regard, it is necessary to conduct separate lessons, the purpose of which is the special preparation of expressive reading. Such lessons are absolutely necessary when studying those works that are recommended by the program for memorization. But a wider use of expressive reading is desirable, for example reading by roles of plays, some fragments of the novel “Eugene Onegin”, etc.
3. The role of expressive reading in the development of theoretical and literary concepts.
4.Student reading requirements and assessment.
After educational reading, for which, as a rule, no mark is given, you can move on to reading for the mark, to monitoring the reading prepared at home.
The role of correct and motivated assessment is great, especially for the creative activity of students. The main thing that is important in an assessment is its objectivity, so that it is perceived by students as “fair”. And this is what is difficult to achieve in literary reading.
Methodists of the last century thought about this. N. Svedentsov (1874), V. Zimnitsky (1886), and K. Elnitsky (1914) were among the first to speak about reading requirements.
In later years, she specifically indicated “what we have the right to demand from a student moving to the VIII grade.” She believes that the student should be able to independently prepare a literate reading that conveys the theme of the text being performed and its emotional overtones. There are different requirements for reading a text prepared with the teacher: the reading must be not only explanatory, but also expressive. A seventh-grader “must, through reading, convey the features of the genre,” the writer’s intention, the structure of the work, and his attitude “to the subject of the description.” Within a simple and complex sentence (not periods), the student must give the correct intonation. The requirements are quite high. In the foreground is not a literal knowledge of the text (this goes without saying), not the technical side, but the emotional, figurative and logical expressiveness of reading with an emphatic attitude towards what is being performed. Rybnikova considers this reading excellent. What criteria do language teachers use?
It is impossible to establish uniform assessment standards: it all depends on how much the class has mastered the art of expressive reading. The teacher has the right to evaluate the expressiveness of reading only if he systematically teaches this. Otherwise, it would be more pedagogically tactful to only encourage students’ attempts to independently achieve expressiveness with praise, while giving grades only for knowledge and understanding of the text. But even in this case, it is necessary to ensure compliance with the norms of diction and spelling. With a pronounced influence of the dialect environment, orthoepic requirements should be presented gradually, otherwise all attention can be transferred only to the implementation of these norms, which will inevitably lead to a loss of emotionality and even meaningfulness of reading. If systematic work on expressive reading is carried out in the class, then not all students read at the same level. Gradually the number of good readers will increase. Assessment should stimulate this process without putting those who struggle with expressive reading into a bind. When the opportunity arises to present demands in full, they are as follows:
1) simplicity and naturalness;
2) penetration into the ideological and artistic content of the work to the extent that it is accessible to students of a given age;
3) clear communication of the author’s thoughts;
4) identifying your attitude to what you are reading;
5) active communication with listeners;
6) clear and correct pronunciation;
7) conveying the specifics of the genre and style of the work;
8) the ability to correctly use the range of your voice.
All these requirements need to be understood relatively, depending on the level achieved by the majority of the class. But since there is always a group of people lagging behind in the area of expressive reading, the rating scale usually looks like this: poor knowledge of the text - 2, good knowledge of the text with inexpressive reading - 3, good knowledge of the text with incomplete expressiveness - 4, good knowledge of the text with full expressiveness - 5 .
Assignments for students to independently prepare expressive reading. A sign of true mastery of any academic subject is the student’s ability to apply the acquired information in practice. In the field of art of the sounding word, we strive to bring the student to the ability to independently prepare for expressive reading.
The task of preparing for expressive reading in school practice is given in all classes, often without any preliminary class work. This cannot be considered legitimate in grades IV-VI, with the exception of individual cases, for example, as a test of already acquired skills on new material. But starting from VII and especially in VIII-X grades, the task of independently preparing for expressive reading does not raise any objections, if, of course, a course in expressive reading was completed in grades IV-VI. However, the assignment to independently prepare for expressive reading should complete the analysis and be accompanied by detailed instructions. At the beginning of expressive reading classes, no matter in what class they begin, not only should you not be given tasks for independent preparation of expressive reading, but it is advisable to even begin the process of memorizing by heart in the class under the supervision of a teacher. If we look at the literary assignments in the textbook, we will always see their decoding, for example: “Compare the description of Onegin’s office in St. Petersburg and in the estate, how is the evolution of the hero’s personality reflected in their setting?” Along with this task, the expressive reading task is given without any explanation: “Prepare an expressive reading of one of the lyrical digressions.”
Preparing expressive reading, no less than any other independent work, requires explanations, leading questions, or indication of the path of work. Here are examples of tasks for self-preparation of expressive reading. Lessons on the poem “Mtsyri” in the 7th grade are always accompanied by reading by the students. Lessons are structured in different ways, but usually students are asked to choose one of the chapters of the poem to read at will.
A task for independent preparation can be given of this kind: what is the performance task of reading the entire chapter? What parts can it be divided into and what is the performance task of reading each part? Emphasize the main logical centers in each part.
Sample answers to questions for Chapter 8: division into parts -
1) “You want to know...” - convey the happiness that Mtsyri experienced in freedom. Logical center - “Zhil”;
2) tell how Mtsyri dreamed of escaping. The logical center is “is the earth beautiful”, “for freedom or prison”, etc.
The executive task of reading the entire chapter is to convince listeners that Mtsyri could not help but run away from the monastery, to talk about his rapture of will, his passionate desire for freedom and struggle. In a more complex form: life in freedom is happiness, true life; a thunderstorm, a storm - the most beautiful thing in life, anyone who is afraid of a thunderstorm - “the wrath of God” - is worthy of contempt.
After a lesson on the topic “Pushkin’s Lyrics,” students can be given the following task: prepare an expressive reading of the poem “Arion” (from a book or by heart) and “To Siberia” (by heart); when preparing the reading, compare what is stated in each of these poems, who the lyrical hero is addressing, and what the reader’s performance task will be. The poem “Arion” affirms loyalty to the cause of Decembrism and is addressed to all who sympathized with the ideas of the Decembrists. In the poem “To Siberia,” the lyrical hero (or author) addresses the exiled Decembrists, he encourages them, affirms the impending victory.
Class X assignment. Prepare an expressive reading based on the book of two prose excerpts from Gorky’s stories: a romantic one - the beginning of “The Old Woman Izergil” and a realistic one - “Konovalov”, a portrait of Konovalov. When preparing to read the first passage, try to “draw” the silhouettes of grape pickers melting “in the blue darkness of the night” so that this picture corresponds to Gorky’s words, “... night and fantasy dressed them more and more beautifully,” in the story “Konovalov”, define and express in reading the author's attitude towards Konovalov.
When working on the poem “Comrade Nette, the Steamship and the Man,” you can offer the following task: find a sentence in the poem, the meaning of which can be fully understood only by taking into account its intonation, and convey this meaning in reading. (Answer: the sentence “I sweated funny while teaching poetry” is an affectionate joke towards Netta, a good-natured, even a little funny in life, at the same time vigilant and brave deep courier, who died heroically in a battle with the enemy.)
Assignments for high school students for independent work on expressive reading transfer performance analysis and its implementation in sound from the classroom to home. In class we listen to readings as a result of all the student's work.
The reason for this is not only the focus on the independence of the high school student, on his ability to solve the problem of preparing expressive reading without the help of a teacher. The main reason lies in the peculiarities of the psychology of adolescence and youth. If it is not possible to teach reading to every student in grades IV-VI in the presence of the class, then this technique is generally not applicable to 14-16 year old high school students. Shyness, vulnerable self-esteem, a keenly felt attitude towards oneself from the collective and individual comrades - all this prevents the emergence of a creative state in front of the eyes of the class. Youth, with its inherent emotionality, is especially susceptible to the influence of mood. Changing mood can be an assistant when working on the expressiveness of reading, but it can also become a big obstacle, making it difficult to penetrate the emotional mood in the presence of witnesses. It’s another matter when the reading has already been prepared, when the work has been thought out, felt at home, when the position of the reader has already been determined.
Therefore, in high school, a student’s reading is taken as a test. If possible, educational reading should be moved to after-hours. The teaching moment, however, will be the critical judgments of classmates and the teacher. But, of course, when conducting a reading discussion, one must be tactful.
When a student reads in front of a class, he must clearly know what he is reading in order to convey to the listeners those thoughts, experiences, feelings that the author put into the work, and his attitude towards them. Sometimes an objection is encountered: a student, reading a poem, has one goal - to get a mark; he cannot communicate with the class in order to convey to him some thoughts and feelings, since he remembers that his listeners understand this work just like he himself , and he can't tell them anything new. This view of reading is established if expressive reading is not carried out in the classroom, if students do not receive appropriate aesthetic education.
This “view is deeply erroneous and does great harm to the culture of oral speech and the development of students. It is a mistake to say that the student’s answer contains nothing new for his peers. In expressive reading, what is new to the listener is the subtext: those shades of meaning that the reader puts into the words of the text as a result of his understanding of this work, his vision of the life depicted in it, his personal attitude both to the work as a whole and to individual details of its content and forms.
The reader must read to the audience, to his comrades, and not just to the teacher. In this case, genuine communication arises between the reader and the listeners, increasing the creative well-being of the reader and the interest and attention of the listeners. The responsibility that the reader feels, the tension of will in the desire to convey, convince, and evoke sympathy are good character training, and the need to overcome excessive anxiety teaches one to control oneself. All this will be very useful young man in future.
5.Learning texts by heart.
Memorizing texts has long been given great importance. Opposing “cramming”, “reciting poetry by heart” (), progressive teachers of the 19th century. considered the correct memorization of literary material to be an important way to enrich memory and speech, a means of developing and educating students, instilling and strengthening a love of literature. , and others advised combining text analysis, memorization and expressiveness training.
These ideas were further developed in Soviet time. Already in 1918 he said: “... we must pay attention to learning by heart in school; here it’s about a conscious attitude towards a work of art.”
Over the past decades, a lot has been done to increase the educational and educational significance of memorizing literary works. The development of expressiveness in reading text is becoming more and more organically connected with the process of memorizing it.
Literary scholars seriously study and widely use the experience of professional readers. And this is quite natural: masters of artistic expression work on the text in order to perform it with utmost expressiveness and artistry. School faces different tasks; for school the result is not as important as the process of mastering the text itself, but the ways of working are fundamentally the same and the methods of memorizing text are largely common. Not everything can be transferred to school, but it is simply necessary to analyze the evidence accumulated by readers and actors, descriptions of the memorization process.
argued that it is not the text that should be taught, but “something else.” What to teach? Which ways to go? With all the variety of approaches to memorizing text, depending on the originality of the material, the type of memory and other individual psychological characteristics of the performers, most masters of artistic expression rely on imagination and ideas. This corresponds to the specifics of literature as an art form, and the school cannot but accept this main direction in its work on mastering the text.
The director recalls Stanislavsky’s remark made during rehearsal: “First of all, ... do not learn the text until you thoroughly study its content, only then will it become necessary. Secondly, we need to learn something else - we need to remember the vision in the role, the material of internal sensations that is needed when communicating.” Prominent Soviet masters of literary reading describe approximately the same path to mastering text.
recommends, carefully reading the text, to recreate in your imagination the pictures drawn by the author, consolidate the visions and try to convey them in your own words. This technique will allow you to determine what turned out to be the closest and what has not yet been mastered. Repeated reading will bring you closer to the original, displace the random, and deepen your vision. Fantasy and life experience will help make what the author depicts seem like personal memory.. This way of work is considered one of possible ways, leading to the fact that the memorized text will be performed lively and naturally.
Many masters of artistic expression are characterized by primary attention to the sequence of development of thought. warned against dead, mechanical speech and recommended starting with the “soul of words” - with subtext. The director of the literary reading advised, during the initial period of work, to pronounce aloud judgments that are part of the subtext of the author’s phrase3. It goes by revealing the author’s subtext and “adding his own.” I followed approximately the same path: “I keep more than one hundred pages in my memory. How do I do this? Memorability of a text is closely related to word processing and comprehension. This same process is accompanied by work on the presentation or interpretation of a work of art.”
For language teachers, it is also very instructive that he notes: “... when a performer honestly goes through the professional path to a complete comprehensive study of the material, when the main and non-main thoughts of the author become their own, and the figurative world of the work is enriched by personal life experience so much that it opens the way a living feeling, when the logical structure of each phrase is mastered, and the phrase itself is appropriated to the required extent - then the bulk of the text is remembered without additional effort. Moreover, it is remembered seriously and for a long time, because the text becomes the natural result of everything that the performer learns in the process of work.”
Of course, not everything from professional experience can be transferred to school, but the fruitfulness of such a direction in training is undeniable.
Meanwhile, a still common mistake is the desire of teachers to ask schoolchildren to memorize unanalyzed texts. Thus, a teacher at one of the schools, having told about K. Simonov in the first lesson and read the text of “The Artilleryman’s Son,” assigned homework to learn the passages of the poem she recommended. In the next lesson, students read the text by heart, discussed the quality of reading, and only then moved on to analyzing the text.
Analysis of a literary work, work on the expressiveness of reading and memorization of the text should be closely interconnected.
As has already been emphasized, many performers, in the process of memorizing a text for its subsequent reading, widely use various types retelling. This technique is part of the practice of secondary schools.
As a private technique for mastering the text, it is recommended to rewrite it by hand.
, recalling the well-known position of psychology that with any type of memory “first of all, what is vitally necessary is remembered”, notes: “... this ability to make it “necessary” is born as a consequence of ardent love, and later - deep love for a work” .
Therefore, work on expressive reading and memorization are facilitated if the work is freely chosen by the reader according to his taste. M. Tsarev writes: “It seems to me that in high school Nowadays, not enough attention is paid to independent memorization of passages from poetic and prose works. But independent selection of works and their memorization develop taste and contribute to the awakening of literary interests.”
The independent choice of works by students for memorization is rightly considered by many methodologists as an element of student creativity, as a condition that contributes to a more expressive reading of the text. In addition, the independent choice of material for its embodiment in the sounding word significantly expands the very short list texts recommended by the school curriculum for memorization.
Students, as a rule, readily commit literary works (or excerpts from them) they like to memory. It is characteristic that with the best literature teachers, all students, without exception, both memorize a lot and read by heart with visible pleasure.
Literature teachers should heed the fair advice of the masters of the living word - read by heart only absolutely accurately mastered texts.
Using technology in teaching expressive reading. “The dignity of teaching each academic subject depends as much on the personality of the teacher as on the educational means that he can freely dispose of. Without them, he does not have the opportunity to satisfy many pedagogical requirements, no matter how solid and reasonable they may seem to him.” These lines begin the book “On Teaching Russian Literature,” written in 1864. This idea sounds especially relevant now. In complex and important work, a wordsmith now needs not only “silent” aids, but also “talking” ones. The teacher has a variety of technical means at his disposal: electric players, tape recorders, film and overhead projectors, radio, television. However, they are not always used rationally, and one of the main reasons for this is the insufficient methodological equipment of the vocabulary specialist.
6. Radio and television in teaching schoolchildren expressive reading.
Radio and television are relatively young, but already indispensable assistants to literary scholars: listeners and viewers get acquainted with literary works performed by authors and professional readers.
, one of the first to highly appreciate the capabilities and importance of the microphone, read his poems on the radio with great pleasure. The microphone played a huge role in promoting the art of spoken word, in preparing a multimillion-dollar audience of qualified listeners, and in developing the speech culture of the population of our country. The microphone also plays an exceptional role in improving the skills of readers. “The reader’s performance at the radio microphone, where the visual category of psychological influence is excluded, obliges him to maximize the concentration of those expressive means available to the art of the spoken word,” he wrote.
In addition to individual, mainly thematic, speeches by masters of sound literature, the All-Union Radio has been broadcasting a series of lectures and concerts “The Art of the Reader” since 1968. It includes creative portraits of outstanding performers (“Alexander Yakovlevich Zakushnyak”, “Anton Schwartz”, etc.), group portraits of readers (“Actors on the Literary Stage”, etc.), as well as conversations devoted to individual problems of performance (“The Art of Artistic words and Soviet literature”, “reads Pushkin”, etc.). The programs reflect the most important issues in the history, theory and practice of the art of the spoken word. Recordings of performances, statements by masters, chapters from books help to peek into the reader’s creative laboratory.
Literature teachers, together with students (mostly club members), listen to the programs of this series and discuss. In some schools, such radio broadcasts are recorded on tape and then used in full or in fragments in literature lessons, in elective classes or in an expressive reading studio.
Sound recordings of many central radio programs are available in the record libraries of regional radio studios. The texts of some conversations are in the book “We Listen to the Readers.” All-Union Radio repeats individual programs of the series “The Art of the Reader” at the request of listeners. You can send your wishes to the literary editorial office, ask about what interests you in the art of artistic expression.
Programs about the art of reading are also produced in some regional studios. Literature teachers have the opportunity to participate in the preparation of such programs or the preparation of concerts, where the works of one author will be performed in readings by various masters, or one master will perform the works of a number of authors. Such entries require at least brief comments.
It is very useful to listen to conversations about the Russian language, especially programs about the figurative power of words, literary pronunciation, stress, etc.
Television programs in which famous masters of artistic expression participate also help to learn and love the art of sound literature. Now television films introducing the work of I. Andronikov and others have been recorded on VCR tape. Individual literary concerts, where texts are read by different performers, have also been recorded.
Television has now become the most widespread and most accessible entertainment. Literature teachers turn to television programs mainly during extracurricular hours, as well as during special television lessons. These programs are used in different ways, depending on the purpose of the work and the types of television programs. Mainly these are collective and individual viewings followed by discussions - oral and written.
Directly during lessons and, of course, during extracurricular hours, language arts specialists show films in which the voices of leading readers are heard, as well as author’s speeches. Thus, films about V. Mayakovsky depict the reading of the poet himself, the performance of his poems by A. Goncharov, Yu. Myshkin and other masters of the sounding word.
The films " Bronze Horseman" and "Egyptian Nights" performed and "House in Kolomna" performed, as well as a number of concert programs. A conversation about the art of reading was recorded on film.
Students also create works of “dynamic” clarity. Thus, members of expressive reading circles produce filmstrips based on the art of literary expression - both silent and fully or partially voiced. Dialent themes include creative portraits of readers and authors-performers of their works, theoretical issues, the history of “talking machines,” pictures of native nature, etc.
This is the content of the unvoiced filmstrip “The Performer of His Works.” The first frame reproduces the portrait and the words: “Gogol read inimitably.” The next shot shows the Nizhyn gymnasium and a few words about Gogol’s first theatrical experiences. Further, against the backdrop of old images of the Alexandria Theater in St. Petersburg and the Maly Theater in Moscow, Gogol’s words are given: “... this is a pulpit from which you can say a lot of good to the world” and “The theater is a great school, its meaning is deep: it is a whole thousand people at a time reads a lively and useful lesson.” Now students see a portrait of the person who first read Gogol’s works to the public in 1843, and the text: “I am glad that we have finally begun public readings of the works of our writers. Skilled readers must be created among us” (N. Gogol).
The next frame consists only of a title, continuing the thought of the previous one: “Only skillful reading can establish a clear concept about poets. But, of course, it is necessary that the reading itself be carried out by a reader who is able to convey every elusive feature of what he is reading” (N. Gogol). And right there, below, is the question: “How did Gogol himself read?” The eight frames that follow, alternating, reproduce the evaluative memories of contemporaries or depict Gogol reading. Used the drawing by E. Dmitriev-Mamonov “Gogol reading” Dead Souls"(1839), M. Klodt's painting "у" (1887), P. Geller's painting "Gogol, Zhukovsky and Pushkin" (1910), engraving from Taburin's drawing "Gogol reads "The Inspector General" to the artists of the Maly Theater" and etching by V. Danilova and O. Dmitriev “Gogol reads “The Inspector General” on November 5, 1851 in Moscow” (1951).
Under these images are captions indicating that actors and writers loved to listen to Gogol’s talented reading, as well as the words of the playwright himself from a letter to Zhukovsky (1837): “If I had become an actor, I would have been well off. You yourself know that I would not be a bad actor.” The captions also reproduce three statements by contemporaries about what made Gogol the Reader special. I. Turgenev (about reading “The Inspector General”): “Gogol... struck me with the extreme simplicity and restraint of his manner, with some important and at the same time naive sincerity, which seemed not to care whether there were listeners here and what they thought ... It seemed that Gogol was only concerned with how to delve into the subject, which was new to him, and how to more accurately convey his own impression.” V. Sollogub: “Whoever has not heard of Gogol, does not fully know his works. He gave them a special flavor with his calmness, his pronunciation, the elusive shades of mockery and comedy that trembled in his voice and quickly ran across his original, sharp-nosed face, while his small gray eyes smiled good-naturedly, and he shook the hair that always fell on his forehead " : “Gogol read so masterfully, or, better to say, played his play, that many people who understand this matter still say that on stage... this comedy (“Marriage”) is not so complete, whole and far from being funny, like reading the author himself.” Next, a series of frames introduces students to the best modern readers of Gogol and their repertoire (V. Kachalov, A. Schwartz, I. Ilyinsky, D. Zhuravlev), and before this part of the film strip are placed the famous Gogol words: “To read a lyrical work properly is not at all trifle: for this you need to study it for a long time. The poet must share the high feeling that filled his soul, he must feel every word of his with both soul and heart - and then come out for a public reading of it.”
Teacher, demonstrating this filmstrip before studying the Examiner" in a certain system and on large material will show seventh graders Gogol’s love for the living word, his talent as a reader, Gogol’s requirements for readers and the peculiarities of his Gogol performance. Despite a certain text overload, the filmstrip is perceived well.
Almost three decades ago she wrote: “In our school now, raising the effectiveness of the lesson, relying on the impressions of life brought by students to the class, we are obliged to more flexibly modify the working methodology, we must use not only books and notebooks, but also a radio and a gramophone, and cinema, and the magic lantern." This call is very relevant today.
1. Expressive reading by the teacher. -
2. Expressive reading by students.
3. The role of expressive reading in the development of theoretical and literary concepts.
4. Students' reading requirements and assessment.
5. Learning texts by heart.
6. Radio and television in teaching expressive reading to schoolchildren.
Plan
1.The essence of expressive reading
2. Exercises for teaching expressive reading according to the method of M.A. Rybnikova
3.Lesson summary on teaching expressive reading
1. Expressive reading permeates all activities of both teacher and student in the process of studying literature
According to M.A. Rybnikova, the teacher’s expressive reading usually precedes the analysis of the work and is the key to understanding its content. The student’s expressive reading concludes the process of analysis, summarizes the analysis, and practically realizes the understanding and interpretation of the work. And if students read dispassionately, thinking... only about the formal side of reading, without imagining the pictures they are talking about,” that is, they simply “pronounce the words,” then what can we say about the impact of the literary word on their feelings, about understanding and their interpretation of the poetic text?
The performance should have the goal of pronouncing the text with maximum transmission of the theme of the work and its ideological intent, believes M.A. Rybnikova. Reading must correspond to the style of the work, its genre features; this performance embodies in the voice the logical and syntactic melody of speech, the music and rhythm of verse, one or another structure of prose. This performance must comply with the rules of correct pronunciation, what is called orthoepy; it must, of course, be loud, clear, conveying the sounding word to the listener with complete clarity.
Common shortcomings in children's speech - lack of loud and clear speech, basic errors in pronunciation - are overcome in primary school. The best teachers junior classes They are taught to highlight logical stresses, to pause, they are taught to read poetry, learn the roles of fables - all this is perceived by children with great sensitivity and contributes to best production literary reading at its first stages in grades III-IV.
Work on expressive words is formalized in a number of special lessons devoted to reading or telling a text, but in addition, the teacher observes the pronunciation, phrasing and intonation of students in each lesson. Errors in pronunciation are corrected: not youth, but youth, not percentage, but percentage[e]nt, not thisT, but this one, not poetry, but poetry, etc.
In schools where any local pronunciation is observed, special attention is paid to it. This work on orthoepy is long-term, constant and persistent. For reference, the teacher can use the dictionary edited by; D. N. Ushakova, where each word is given with emphasis.
Each answer, quote from a poem, example of grammar should be given in the appropriate voice. “Take your time, speak loudly and clearly. Repeat again, say it so that everyone can hear and understand you.” Everything that can be said from memory should be said without a book, by heart, since oral speech is more natural, livelier, simpler, and therefore more expressive. When giving a quote, the student will repeat it without the book, by heart. Riddles and proverbs that are worked on in class are all material for polishing diction and for the culture of lively intonations.
The teacher himself, his manner of speech, his expressive words, his story, his reading of poetry - all this is a constant example for students. And therefore, the teacher must speak loudly (but not loudly), clearly and clearly (but lively), emotionally (but without nervous pressure and with a minimum number of gestures). As soon as the opportunity arises, the wordsmith must recite the poems by heart; By allowing students to memorize, the teacher should not exempt himself from this task. It makes an exceptional impression on the class when a new poem comes to the ears from the teacher’s lips, and not from a book. This is tenfold attention, this is a tangible experience of what is happening in the story!
So, first of all, everyday attention to pronunciation, to the clarity and clarity of words, to the liveliness and simplicity of speech.
And secondly, a system of lessons devoted to expressive reading of poetry and prose, class choral performances, and storytelling of literary prose.
Expressive reading by the teacher usually precedes the analysis of the work and is the key to understanding its content. The student’s expressive reading concludes the process of analysis, summarizes the analysis, and practically realizes the understanding and interpretation of the work.
Students must come to the idea and conclusion that to read expressively means to voice the idea and theme of the work.
Moreover, not every student is able to immediately grasp the tonality of a work and express her in the voice. You have to work on this.
According to Rybnikova, the first and main task of a literature teacher is to interpret the internal content of the work, identify the theme, the subject of the image, and most importantly, identify the author’s attitude to the subject of the image (anger, delight, irony, calm, cheerfulness, sadness, ridicule, admiration).
According to the method of M.A. Rybnikova:
Theoretical information
1. On speech technique. The requirements that the art of reading places on breathing, diction, and spelling.
2. According to the logic of reading. Logical pauses. Their duration and character (quality). Logical stresses and methods of their practical implementation. The combination of voice strength, pitch and duration in stress. Pace. Rhythm. The relationship between logical and rhythmic pauses. Types of rhythmic pauses (interverse, caesura, leima).
3. About emotional-figurative expressiveness. Visions. Destination. Position. Pose. Empathy. Verbal action. Pauses: psychological, initial, final.
Practical skills
1. On speech technique. Breathe unnoticed. Often, but not frequently. Skillfully use pauses to gain (replenish) air. Read clearly, intelligibly (do not swallow sounds, do not nasal). Observe the norms of orthoepy.
2. According to the logic of reading. Master the “six levers”: louder - quieter, higher - lower, faster - slower. Master the ability to “read punctuation marks.” Perform various tasks to determine the place and nature of pauses in a poetic text, as well as to determine the quality of logical stresses and their practical implementation in the process of expressive reading.
2. Exercises for teaching expressive reading according to the method of M.A. Rybnikova
In order to learn expressive reading, exercises have been developed through which the teacher must guide students, cultivating attention to sound, to a word, to a sentence, to a paragraph, cultivating clarity and clarity of pronunciation, sonority and flexibility of the voice, sensitivity and demandingness of hearing. In addition to lessons in comprehensive literary analysis and pronunciation of the entire work, it is necessary to devote time, at least 5-6 hours a year, to special classes in pronunciation techniques.
For example.
Undeveloped, unclear speech is characterized by blurred sounds, unclear diction, and insufficient identification of consonants and vowels. Work on speech should aim to develop phonetic clarity. The attention of the grammar course to the study of the sounds of Russian speech should be used by the teacher not only for spelling purposes, but also for the needs of expressive speech, for spelling and diction.
Works of oral folk poetry are good for this purpose:
riddles, proverbs, tongue twisters. The riddle is often onomatopoeic; we reveal this onomatopoeia in pronunciation:
The priests fought, the priests beat, they came to the cage and hanged themselves. (Flails)
You need to pronounce it, emphasizing the labial sounds b, p, a Also minting out the onomatopoeic rhythm of the riddle (threshing rhythm).
A pike walks around the creek, looking for the warmth of a nest, where the grass is thick for the pike.
A whistling sound is produced, conveying the sound of mowing.
Little brownie, where did you go?
Keep quiet, twist and turn, you'll be there yourself.
This conversation between a pot and a grip is based on the reproduction of shuffling sounds: cast iron touches under the stoves, water hisses on hot edges of cast iron, the grip shuffles along the walls of cast iron. Pronunciation emphasizes hissing sounds. Here are a few proverbs based on sound recording (already not on sound rubbing);
The jester made a joke: he stole a shushun and a fur coat. They gave the hungry Melania pancakes; she says baked wrong
(la-lo-ala). With the same sound combinations there is a riddle about cabbage:
A patch on a patch, but there was no needle.
Small forms of artistic speech, showing high sound mastery, are pronounced several times in class; children learn clear and sonorous pronunciation, listen to sounds and syllables, and go through a school of artistic phonetics. This is class V work, and mainly at the beginning of the year.
It is advisable that children know even in elementary school that the language contains verbs, interjections, and onomatopoeic nouns: bang, fuck, buzz, meow, assent, cuckoo, taratayka, balalaika, drum, stomp, roar of thunder, etc. .
But even in grade V, it is advisable to once again dwell on this phenomenon of speech, because poetic language always and everywhere uses this linguistic material for its own purposes.
The flooded stove crackles with a cheerful sound. Bell "ding-ding-ding... Etc.
This work on the sounding word gives resonance at all subsequent stages of communication with the artistic word.
While reading “Demons,” students convey the whirling of a snowstorm, the obsessive repetition of sounds, they consciously work on diction:
The clouds are rushing, the clouds are rolling, I'm driving, I'm driving in an open field
Invisible moon Bell ding-ding-ding
The flying snow illuminates, Scary, scary involuntarily
The sky is cloudy, the night is cloudy. Among the unknown plains!
And the consonance of the epithet with the word it defines, at least in the poem “Mower”: father’s blood, a new scythe, a native village, to the Black Sea.
Or this example:
Their dark hands sometimes rose, and their black eyes sparkled from there.
Leaves with a rattling key do not whisper 1.
Observation of a sound word poses an acute question for students about the presence of labial, hissing, soft and hard sounds, about the difference in style and pronunciation (Black Sea, black-
A skillful teacher in expressive reading lessons will increase students' interest in language, phonetics, morphology and syntax; This new approach to speech for students will also produce results in grammar lessons.
Introduction………………….……………...…………...............3
1. Objectives of reading lessons to develop the expressiveness of children’s speech………………..…………….4
2. Stages of working on expressive reading...........6
3. Means of expressive speech…………...…8
4. Work on expressive reading……………...11
5. Intonation, raising and lowering the voice……………………………………………………….....13
6. Working with poetic texts in literary reading lessons………………………………20
Conclusion……………………………………………………………...27
List of references………………………………………………………………...29
Introduction
Teaching children to read correctly, fluently, consciously, and expressively is one of the tasks of primary education. And this task is extremely relevant, since reading plays a huge role in the education, upbringing and development of a person. Reading is a window through which children see and learn about the world and themselves. Reading is what is taught junior schoolchildren, through which they are raised and developed. Reading abilities and skills are formed not only as the most important type of speech and mental activity, but also as a complex set of abilities and skills that have an educational character, used by students in studying all academic subjects, in all cases of extracurricular and extracurricular life.
Therefore, it is necessary to systematically, purposefully work on the development and improvement of fluent, conscious reading skills from class to class.
One of the most important tasks of primary school is to develop reading skills in children, which is the foundation of all subsequent education. Formed reading skill includes at least two main components:
a) reading technique (correct and quick perception and pronunciation of words, based on the connection between their visual images, on the one hand, and acoustic and speech motor images, on the other);
b) understanding the text (extracting its meaning).
It is well known that both of these components are closely interrelated and rely on each other: thus, improving reading techniques makes it easier to understand what is being read, and easy-to-understand text is better and more accurately perceived. At the same time, in the first stages of developing reading skills, greater importance is attached to reading technique, and in subsequent stages - to understanding the text.
Working on the expressiveness of speech during reading lessons in primary school is an important stage in the development of children's speech.
1. Tasks of expressive reading.
The educational value of literature in school is also enormous. But the ability to read does not come by itself. It must be developed skillfully and consistently.
The first, most accessible form of perception of a work of art for children is listening to the teacher’s expressive reading and storytelling. “Expressive reading” is based on the knowledge, skills and abilities acquired by students while studying their native language and literature. The study of these subjects is the basis for the formation of speech qualities.
M.A. Rybnikova believed that “expressive reading is the first and main form of concrete visual teaching of literature.”
Expressive reading is the embodiment of a literary and artistic work of spoken speech.
Expressive reading accurately preserves the text of the work, which is emphasized by the word “reading.” To speak expressively means to choose figurative words, that is, words that evoke the activity of the imagination, inner vision and emotional assessment of the depicted picture, event, or character. Correctly expressing your thoughts and feelings means strictly adhering to the norms of literary speech.
Clear and correct transmission of the author’s thoughts is the first task of expressive reading. Logical expressiveness ensures a clear transmission of the facts conveyed by the words of the text and their relationship. But facts do not exhaust the content of the work. It always includes the author’s relationship to the life phenomena he depicts, his assessment of the phenomena, and their ideological and emotional understanding. The recreation of artistic images in the sounding word in the unity of their individually specific form and ideological and emotional content is called emotional-figurative expressiveness of speech. Emotional-figurative expressiveness cannot be considered as some, albeit necessary, addition to logical expressiveness. Both of these sides of the art of reading are inextricably linked, which is due to the very nature of speech. Psychology considers reading aloud as monologue speech; therefore, reading should be characterized by everything that is characteristic of oral speech. The words of the text recreate in the imagination of the reader images that evoke in him emotional attitude, which naturally and involuntarily manifests itself in reading along with the transmission of the author’s thoughts. These same emotions are transmitted to the listeners. In his Everyday life a person talks about what he knows, has seen and what he wants to talk about for a specific purpose.
The spoken words are an expression of the speaker’s own thoughts; behind these words there are always factors of reality that evoke a certain attitude, a certain volitional aspiration.
The tasks of expressive reading are an important component in the development of speech. Knowing the tasks, the teacher expediently works with students, setting them certain goals for their implementation.
Tasks:
Improving reading skills: expedient work on the accuracy, fluency, consciousness and expressiveness of reading.
formation of reading skills by working with text. The teacher develops in students the ability to think about a work before reading, during reading and after finishing reading, which contributes to the rapid development of the text.
formation of initial literary knowledge.
reading provides moral and aesthetic education for children,
development of speech, thinking, imagination of children.
The listed tasks should be implemented in reading lessons. And then working with text will activate the mental activity of children, form worldviews and attitudes. The tasks and stages of expressive reading are closely related.
Mastering full reading skills for students is the most important condition successful schooling in all subjects; At the same time, reading is one of the main ways of acquiring information during extracurricular time, one of the channels of comprehensive influence on schoolchildren.
2. Stages of working on expressive reading
For an expressive reading of a literary text, it is necessary that the reader himself becomes captivated by the work, loves and deeply understands it. Work on expressive reading of a work goes through several stages:
The first stage is preparing listeners to perceive the work, called an introductory lesson. The content and scope of this lesson depends on the nature of the work. The closer the work is to the listeners, the more understandable, the smaller this introductory part will be, and the more difficult it is for them to understand, the longer the preparation for listening is; when the teacher himself prepares for reading, the introductory stage does not disappear. In preparing for expressive reading, the teacher strives to deeply and clearly imagine the life depicted. He reads the introductory article that precedes the text of the work, comments that are given in footnotes or at the end of the book. If there are still unanswered questions, look for answers to them in the reference book. Before you start reading, you need to understand every word, every expression in the text. It is at this stage that the reader becomes interested in the text.
The second stage is the first acquaintance with the work, which at school is usually carried out through an expressive reading of the work by the teacher. “The first impression is pristinely fresh,” says K.S. Stanislavsky.- They are the best stimulators of artistic passion and delight, which are of great importance in creative process" Stanislavsky calls first impressions “seeds.”
The indelibility of first impressions imposes great responsibility on the reader; it requires careful preparation for the first reading, thoughtfulness of the text, so that listeners do not get wrong impressions, which “harm creativity with the same force as correct impressions help it. You can't fix a bad impression.
The third stage is analysis, analysis of the work. Analysis has its purpose. We think deeply about a work in order to perform it better, since expressive reading is, first of all, conscious reading. The course of creative analysis should be natural, like a series of answers to questions that arise as we think about the work. The analysis of the work itself can be carried out in different sequences: by deduction or by induction. The first path, when one goes from defining a theme, an idea to a composition and a system of images, resembles the path of the author. The inductive path corresponds to the sequence in which the reader gets acquainted with the work. He traces the development of the plot and composition and at the same time gets acquainted with the images and only at the end decides on the theme and idea of the work.
In expressive reading, the task of remembering the text takes on special significance. After we have parsed the text, when we understand every word, the images of the characters, their psychology, super-task and private performance tasks are clear, we can begin to memorize the text. It is difficult to memorize a text, and remembering it is fragile. It is better remembered gradually, in the process of preparing the performance. When working on a text in this way, involuntary memorization occurs. M.N. Shardakov experimentally established that the best method of memorization is combined. At this stage, it is important to correctly summarize the work read, so that students leaving the lesson have a complete understanding of the text.
The sequence of stages is very important in lessons extracurricular reading. It allows you to master the work easily, quickly and correctly. Children are given the opportunity to penetrate into the depths of the work and feel it. Each word spoken by the teacher has its own specificity. And therefore it is very important to be guided by the means of expressive reading.
3. Means of expressiveness of oral speech
The teacher must have a good command of the technical side of speech, i.e. breathing, voice, diction, compliance with spelling standards. Correct, expressive reading depends on this.
Speech technique: M.A. Rybnikova wrote that in the system of working on expressive reading, it is necessary to allocate time for special classes in pronunciation techniques. Speech technique includes breathing, voice, diction, orthoepy:
Breathing: should be free, deep, frequent, imperceptible, automatically subordinate to the will of the reader. Of course, the ability to use breathing correctly largely determines the ability to control the voice.
Voice: a ringing, pleasant timbre, flexible, fairly loud, obedient voice is of great importance for expressive reading. A voice of medium strength and height is optimal, since it can easily be lowered and raised, made quiet and loud. One of the main tasks in voice production is the ability to use the so-called attack of sound in order to achieve a free, relaxed sound based on correct breathing. The attack of sound is the way the vocal cords close at the moment of transition from the breathing position to the speech position. The voice has special properties: strength, height, duration, flight, quality. These properties of the voice, in fact, are the condition for the expressiveness of speech.
Properly organized breathing plays a primary role in speech. The lack of the necessary supply of exhaled air leads to voice breakdowns, unjustified pauses, distorting the phrase.
It should be remembered that unevenly consumed air often makes it impossible to finish a sentence and forces you to “squeeze” the words out of yourself.
Correct, clear, expressive and beautiful pronunciation of sounds, words and phrases depends on the functioning of the speech apparatus and proper breathing.
When starting classes on breathing development, it is necessary to familiarize yourself with the anatomy, physiology and hygiene of the respiratory-vocal apparatus, with the existing types of breathing.
It should be remembered that the mixed diaphragmatic type of breathing is the most appropriate and practically useful.
In individual lessons with a teacher, it is advisable for students to perform a set of breathing exercises.
There is an inextricable connection between breath and voice. A correctly set voice is a very important quality in oral speech, especially for a teacher.
To educate and develop a voice means to develop and strengthen all the vocal data given to man by nature - the volume, strength and sonority of the voice.
Before training your voice using text exercises, you need to learn how to feel the work of resonators.
Resonators are sound amplifiers. Resonators include: palate, nasal cavity, teeth, facial bones, frontal sinus. When the voice sounds low, you can feel its vibration in the chest cavity.
If the voice is used incorrectly, it will sound artificial. For example: a “throaty” tone of voice is the result of an incorrect message of sound. The reason for this phenomenon is constriction of the pharynx.
It may be that a person speaks “lower” than is consistent with the nature of his vocal data. Then the voice turns out to be compressed, lacking sonority.
The habit of speaking in a voice that is not “your own” leads to rapid fatigue. To eliminate such phenomena, it is necessary to establish the normal position of the vocal apparatus.
In order to learn how to check the operation of resonators, you need to do various exercises.
For example:
Exhale the air, inhale (not too much) and, as you exhale, say slowly on one note:
MMMI - MMME - MMM A - MMMO - MMMU - MMMY.
Pronounce this combination of sounds on different notes, gradually moving from low to high (within the limits of possibilities) and, conversely, from high to low notes.
Choose a poem with a medium-sized line, for example, “A lonely sail is white” or “I love a thunderstorm in early May.” Say the first line on one exhalation, take in air and say the next two lines on one exhalation, take in air again and say three lines at once, etc.
You need to get air invisibly through your nose and mouth. Thus, doing the exercises breathing exercises, we involve breathing in voice formation. When practicing your voice, you need to
In normal speech, do not shout.
Do not clear your throat if your throat is sore.
Do not drink very hot or very cold drinks.
If you feel unwell, consult a doctor.
Diction: one of the most important qualities of a teacher’s speech. Therefore, it is recommended to start working on diction with articulatory gymnastics, allowing you to consciously control the desired muscle groups. Diction is a clear pronunciation of speech sounds that corresponds to the phonetic norm of a given language.
Orthoepy: incorrect stress in words, phonetic deviations from generally accepted norms of pronunciation are gross violations of the correctness of speech, without which expressive speech is impossible. Orthoepy establishes the norms of literary pronunciation.
4. Work on expressive reading
In order to correctly present the text, the teacher should know the conditions for working on expressive reading:
An example of expressive reading of the work must be demonstrated. This can be either an exemplary reading by a teacher, or a reading by a master of the literary word in a recording. If a sample is demonstrated during the initial acquaintance with the work, it is better to resort to reading by a teacher. If exemplary reading is used at the stage of exercises in expressive reading, then technical means can be used to reproduce the reading by a master. Demonstration of a sample of expressive reading has a purpose: firstly, such reading becomes a kind of standard to which a beginning reader should strive; secondly, exemplary reading reveals to the listener an understanding of the meaning of the work and, thus, helps its conscious reading; thirdly, it serves as the basis for “imitative expressiveness” and can play a positive role even if the depth of the work is not clear to the reader: by imitating intonation that expresses certain feelings, the child begins to experience these feelings and through emotional experiences comes to understand the work .
Work on expressive reading should be preceded by a thorough analysis of a work of art. Therefore, exercises in expressive reading should be carried out at the final stages of the lesson, when work on the form and content of the work has been completed. Teaching expressive reading is a complex process that permeates all stages of the lesson, as it is organically determined by preparation for the perception of the work, and initial acquaintance with the work, and work on the idea of the work.
Working on the language of a work is also one of the conditions for practicing expressive reading. It is impossible to get students to read expressively if they do not understand the form of the work, so observations of visual and expressive means become an organic part of the work to understand the ideological orientation of the work.
Work on the expressiveness of reading should be based on the reconstructive imagination of schoolchildren, that is, on their ability to imagine a picture of life according to the author’s verbal description, to see with their inner gaze what the author depicted. The recreating imagination of an inexperienced reader needs to be trained, taught to create an episode, a landscape, a portrait in front of the mind’s eye using the “author’s sign”. Techniques that develop and recreate the imagination are graphic and verbal illustrations, compiling filmstrips, writing film scripts, as well as role-playing and dramatization. Thus, we can name another factor influencing the expressiveness of reading - the combination of such work with a variety of activities in the reading lesson.
A prerequisite for working on expressive reading is also a discussion in class of options for reading the analyzed work.
The main goal Teaching children to read expressively is to develop the ability to determine the task of reading aloud: to convey to the listener their understanding of the work using correctly chosen means of oral speech.
5. Intonation, raising and lowering voices
Intonation is one of the aspects of speech culture and plays an important role in the formation of narrative, interrogative and exclamatory sentences. Expressive reading of a sentence, observing the punctuation mark at the end, is impossible without observing logical stress, pauses, raising and lowering the voice. Students' awareness of the role of these proposals and practicalmastery different intonations is of great importance for the development of expressive skillsreading. Intonation is of particular importance when reading poems and fables. For speech warm-ups, you can take sentences from already studied works or come up with your own. Examples: Exercises for raising and lowering the pitch of your voice
a) Exercise “Jump”
This exercise helps develop vocal flexibility. The teacher asks the children to imagine that they are watching a high jump competition on TV. The athlete's jump is always repeated in slow motion, so the jumper's movements are smoother. You need to try to draw a jump line with your voice. The voice should rise and fall freely and easily.
b) Exercise “Hike”
This exercise is aimed at the ability to distribute the pitch of the voice. The teacher tells the schoolchildren that when reading they should not raise their voice quickly: it is necessary to have enough voice for all the lines. Readingevery line, you need to imagine that you are “walking with your voice” straight towards the sun, convey the upward movement with your voice.
Along a narrow mountain path
Together with a perky song, you and I are going on a hike,
Behind the mountain the sun is waiting for us,
Our rise is higher and steeper,
Here we are walking on clouds,
Beyond the last pass
The sun rose towards us.
c) Exercise “Cave”
This exercise helps develop vocal flexibility and the ability to raise and lower your voice. Studentscomfortable sit down, close their eyes and imagine themselves in a cave. Any sound (word) reverberates undervaults caves You need to try to reproduce “sounds”, “words” in the cave, going further and further
Therefore, the functions of intonation are very diverse:
The speech stream is divided;
Forms the statement into a single whole;
Distinguishes between communicative types of utterance;
Highlights the important;
Expresses emotional condition;
Distinguishes between speech styles;
Characterizes the personality of the speaker.
Intonation is described using acoustic parameters: intensity, duration, pitch frequency and spectrum. The intonation should be lively and bright.
Intonation is a complex phenomenon. To imagine it more clearly, let's look at the individual components that make up intonation:
2. Logical stress is the selection by voice of the words that are most important in terms of semantic load. “Emphasis,” wrote K.S. Stanislavsky, - the index finger, marking the most important word in a phrase or in a bar! The highlighted word contains the soul, the inner essence, the main points of the subtext!”
In order for the proposal to acquire a certain and exact meaning, you need to use the power of your voice to highlight a word that is important in meaning among other words. The meaning of a sentence changes depending on where the logical stress is placed. It is this idea that is important to convey to students by performing simple exercises.
Examples: Sentences are written on the board or on individual cards.
The children will go to the cinema tomorrow.
The children will go to the cinema tomorrow.
The children will go to the cinema tomorrow.
The children will go to the cinema tomorrow.
The teacher asks with what intonation the sentences should be read. Students take turns reading the sentences, trying to emphasize the highlighted word. After reading the sentences and data by students of four possible options In response, the teacher asks the children to guess why the meaning of the sentence changes, despite the same words and punctuation mark at the end. Then the teacher asks you to read these sentences again and watch how the given word is highlighted in your voice. It is established that the selection of an important word in a sentence occurs through amplification, prolongation and a slight increase in the sound of the voice.
Pauses
In addition to logical stress, pauses play a huge role in live speech and reading. A speech pause is a stop that divides the sound stream into separate parts, within which the sounds follow one after another continuously. The role of a pause in a sentence is especially clear when a combination of the same words in the same order, being separated by pauses in different ways, acquires different meaning. Pauses can be artistic and psychological. Artistic pauses are pauses before words and phrases to which the speaker wants to give special meaning and special power. The greater the meaning of the word, the longer the pause observed before it. Speech warm-ups when working on artistic pauses are best done with proverbs.
A psychological pause most often coincides in the text with an ellipsis, which signals some great emotional disturbance. Acquaintance with this kind of pauses is carried out when reading various works of fiction. The teacher expressively reads a passage of the work, then goes through a joint analysis with the students of what they have read: where are the pauses made; Why; what will happen if we don’t pause here, etc. After which, under the guidance of the teacher, the schoolchildren conclude that in some cases, where possible different understanding text, pauses help to correctly convey its meaning in oral speech; pauses are made before words to which the speaker wants to give special meaning, strength, and expressiveness. Examples:
The teacher writes sentences on the board or distributes sentences on cards to students in which pauses are graphically indicated. Students are asked to read them expressively and explain the semantic difference between the variants of these sentences with different placement of pauses.
How surprised | his words | brother!
How they surprised him | brother's words!
Tempo and rhythm are essential components involved in creating a certain intonation. These expressive means are interconnected. Stanislavsky united them into a single concept, tempo-rhythm.
The reading pace can be slow, slow, medium, accelerated, fast. Changing the pace of reading is a technique that helps convey in the spoken word the nature of the text being read and the intentions of the reader. The choice of tempo depends on what feelings and experiences the reader reproduces, as well as on the character, emotional state, and behavior of the characters being told or read about.
The teacher also has to deal with issues of speech tempo. In lessons, quick, easy speech is sometimes required, the clarity of which must be extremely clear.
Therefore, working on your tongue twister is a means to achieve clarity of speech at any pace. Mechanical, monotonous memorization of tongue twisters will never give practical benefit.
Based on the meaning of the phrase, varying it on the go, changing the intonation accordingly, the speaker will easily use different speech rates.
There is no need to strive to quickly pronounce tongue twisters right away. At first, say it slowly, pronouncing each individual sound, stopping after each word. When pronouncing a tongue twister, make sure that all spoken sounds are complete, avoiding vagueness and blurriness.
When pronouncing tongue twisters, try to set different performance tasks (internal speech settings). For example:
When performing this text verbally, I want to joke, I want to complain, I want to gossip, I want to brag, etc.
Examples:
1. Mow, mow, while there is dew, away with the dew - and we’ll go home.”
“The protocol about the protocol was recorded as a protocol.”
“Tell me about your shopping!
What about purchases?
About shopping, about shopping,
about my purchases."
Rhythm is associated with the uniformity of respiratory cycles. This is an alternation of sounding segments of speech and pauses, strengthening and weakening of the voice.
5. Speech melody - movement of the voice along sounds of different pitches. It is with work on the melody of reading that the formation of expressive speech begins in the primary grades. To determine the melody, it is not enough to proceed only from punctuation marks. The melody may not match the punctuation marks. It is born from deep penetration into the text and from the reader’s clear understanding of the task of reading.
7. Timbre is the natural coloring of the voice, which to one degree or another remains constant, whether the speaker expresses joy or sadness, calmness or anxiety... Timbre can be changed to a certain extent.
8. Non-verbal means (facial expressions, body movements, gestures, postures) help improve the accuracy and expressiveness of speech. They are additional means of influencing listeners. Non-linguistic means of expressiveness are organically connected with intonation, and their nature depends on the situation and the content of the utterance, so they never need to be invented. The reader’s choice of nonverbal means should
involuntarily flow from the psychological state that arises in connection with the perception and comprehension of the text. The use of gestures and facial expressions must be reasonable; they cannot be overused, otherwise it will lead to grimacing, formalism and distract listeners from the meaning of the statement. It is advisable for the teacher to follow the rules for using non-linguistic means of expression. Here are some of them:
It's better to stand in class. This position helps to capture the attention of students, makes it possible to observe the audience, and keep all children in sight;
You should not walk around the classroom: walking distracts the attention of children and tires them;
The teacher needs to stay straight, collected and at the same time at ease;
Mechanical gestures that are not psychologically justified should be avoided;
A comfortable posture that does not interfere with breathing and the functioning of the entire speech apparatus gives the performer a feeling of confidence and helps to find the internal state necessary for performance.
An important component of performance is expressive facial expressions. It should be remembered that inaccurate and excessive use of facial expressions complicates perception and irritates viewers. Therefore, when preparing for performance, it is recommended to read the text in front of a mirror, analyzing and correcting facial expression.
All of the listed components that make up intonation help in mastering expressive reading.
Intonation is a response to a conversation situation. In the process of his own speech, a person does not think about it: it is a manifestation of his inner state, his thoughts, feelings.
6. Working with poetic texts in literary reading lessons.
Using an example, let’s look at children’s acquaintance with A.S.’s poem. Pushkin “The sky was already breathing in autumn...”
Read piece of art expressively difficult. To do this, it is not enough to learn it by heart; you need to understand the picture of life drawn by the author, determine the rhythm of the poem, consider the rhyme and learn the law of the “end of the line.” The end-of-line law helps the reader understand where to pause; rhymes emphasize these pauses - they also need to be emphasized a little with the voice. But many other author’s “secrets” are known to professional readers and actors. Children also open them one by one. While working, children are invited to discover new “secrets” that will help them expressively read A.S.’s poem. Pushkin.
Stage I: Preparation for the initial perception of the poem. Children are invited to take a short trip into the distant past, to the time when A.S. lived. Pushkin (address to the portrait, which indicates the dates of A.S. Pushkin’s life). The poet's contemporary artist Tropinin portrayed him as thoughtful and concentrated. Everyone knows this portrait. How good it is that Tropinin captured for us the appearance of a person dear to everyone. This portrait is carefully kept in the Tretyakov Gallery. Today, on an autumn day, we will be able to find out how Alexander Sergeevich loved this time of year. He himself spoke about it this way: “Autumn... my favorite time... the time of my literary works.”
It is suggested to listen to the following poetic lines:
The days of late autumn are usually scolded,
But she’s sweet to me, dear reader,
Quiet beauty, shining humbly.
Such an unloved child in the family.
It attracts me to itself. To tell you frankly,
Of the annual times, I am glad only for her,
There is a lot of good in it...
Or some more lines:
And every autumn I bloom again;
Russian cold is good for my health...
But there was in the life of A.S. Pushkin’s special autumn is the autumn he spent in the village of Boldino: all three months.
On September 1, Pushkin left for Boldino to sell the estate given to him by his father. During these days, a terrible disease, cholera, was raging. Quarantine was imposed on many cities, including Moscow, Moskovskaya, Vladimir region, and Alexander Sergeevich could not leave Boldino for three months.
During this time, Pushkin worked with unprecedented creative energy, and I did so fruitfully. In Boldino he wrote many poems, completed greatest work"Eugene Onegin".
Children are invited to imagine a little, to imagine autumn, which so inspired the poet’s creativity.
(Illustrations with autumn landscapes open on the board. Pre-prepared students read poems one by one).
The forest drops its crimson robe,
Frost will silver the withered field,
The day will appear as if involuntarily
And disappears over the edge of the surrounding mountains...
Already autumn's cold hand
The heads of birch and linden trees are bare,
She rustles in the deserted oak groves;
A yellow leaf spins there day and night,
There is fog on the chilled waves,
And an instant whistling of the wind is heard...
October has already arrived - the grove is already shaking off the last leaves from its naked branches;
The autumn chill has blown in - the road is freezing,
The stream still runs babbling behind the mill,
But the pond has already frozen...
Late autumn evokes a feeling of solemnity and majesty in a person. Nature is forever alive, and its fading is also part of permanent life, a necessary strict rite of change that does not violate, but gives nature a special beauty.
Autumn in Boldino gave the world many beautiful works. Listen to another one of them. This is an excerpt from the novel by A.S. Pushkin Evgeniy Onegin" “The sky was already breathing in autumn..."
Stage 2: Primary perception of the poem Reading the poem by heart by the teacher.
Stage 3: Checking the quality of primary perception
Did you like it?
What pictures of autumn were presented while listening?
What feeling, mood arose when you listened to it?
Stage 4: Secondary perception of the poem Re-reading the poem again and thinking about how the poet was able to convey the picture of late autumn.
Stage 5: Analysis of the work
What period of autumn are we talking about in the poem? Find words that support your opinion.
What signs of autumn does the poet mention?
Imagine that you are in an autumn forest. What sounds do you hear?
Previously, and even now, poets use various figurative words and expressions to create artistic images, which may be incomprehensible to us.
How do you understand the words “The mysterious canopy of the forests was revealed with a sad noise?”
What does the word "caravan" mean? (a moving line - one after another).
Have you ever watched birds migrating in autumn?
How do they fly? Why does Pushkin use the word “stretched”?
Why do you think the poet calls late autumn “boring time”? Working with an illustration for a poem.
Look at the illustration in the textbook. Does it apply to the whole poem or to some part of it?
What colors did the artist use?
What mood does this picture evoke?
Stage 6: Preparation for expressive reading of the poem.
1) The mood of the poem.
What kind of mood is this poem in?
What words in this poem are the most important, defining its mood? We call such words key words. (Boring time)
Why is November a boring time? (Because “the sun shines less often,” “the day becomes shorter,” the birds fly away.)
Notice that this entire poem is one big sentence.
What sign is at the end of the sentence? How should this poem be read?
Why does the author speak so calmly about the approaching boring time? (It's inevitable. It always happens in November.)
2) When reading, it is very important to pause at the right place. Pauses vary in length. The longest pause is after the announcement of the title of the poem. After announcing the name, you need to count to yourself to five. In this case, the title will be the first line of the poem. If there is a red line in the text, then you need to silently count to four. There is no red line in this poem. Pauses are required for punctuation marks:
Where there is a comma, pause for the count of ONCE;
Dot, dash, colon - count ONE, TWO;
Question and exclamation marks require a pause for the count of ONE, TWO, THREE.
1. PAUSES
№ p/n Punctuation marks, counting, designation
1 , - times I
2 . - : - one, two II
3 ? ! - one, two, three III
4 Red line - one, two, three, four IIII
5 After reading the title - one, two, three, four, five III1I
2. LOGICAL Stress
Designation
Words on which logical stress falls
Connecting lines, intonation transfer
Raising the tone
Lowering the tone
3) Graphic work. Tracing paper is applied to the text of the poem in the textbook and symbols are added (see above).
4) Observation of alliteration
To better imagine the picture of autumn, the poet used another technique - alliteration (the word is printed on the board) or sound recording (lines from the poem are printed on the board).
Forests Mysterious Canopy
With a sad noise she got naked
Let's say these words so that you can hear the rustling of falling leaves.
What sounds create this feeling? (S-H-S-J.)
5) Listening to an audio recording of a poem
Listen to the poem by A.S. Pushkin’s “The sky was already breathing in autumn...” performed by a professional artist.
6) Expressive reading of a poem
Work on the text yourself. Prepare to read expressively.
(Listening to several students).
In your reading, were you able to convey to the listeners the feelings and mood of the narrator?
Children are also encouraged to memorize poems and recite them in front of a mirror, using facial expressions, movements, and various gestures, because all of these are means of expressive speech.
Conclusion.
The living word performs miracles. The word can make people rejoice and grieve, awaken love and hatred, cause suffering and inspire hope, can awaken in a person high aspirations and bright ideals, penetrate into the deepest recesses of the soul, bring to life hitherto dormant feelings and thoughts.
When you listen to a good reader, it’s as if you see everything he’s talking about, you understand seemingly familiar works in a new way, and you get imbued with the mood of the performer. The art of artistic reading lies in the deep impact of the reader on the audience. However, the ability to perceive good reading, as well as the ability to convey a readable work to its listeners, does not arise by itself. Of great importance here is the work that is carried out in reading lessons, in particular the work of analysis readable texts and preparing them for expressive reading.
Reading and speaking expressively means “acting with words,” i.e. influence the listener with your will, make you see the text the way the speaker sees it or relates to it. Taking into account the differences in the speech preparation of children, work on the expressiveness of speech must be carried out in literacy, reading and grammar lessons. Starting from the first lessons, with exercises in pronunciation by students of deaf and voiced consonants, hissing and vowel sounds. This work continues when looking at pictures, when children’s own thoughts are formed into a sentence or short statement.
During this period, it is necessary to help the children choose the correct intonation and tempo of speech, so that
so that they contribute to the truthful expression of thoughts,
It is important for the teacher to know the methodology for working on expressive reading. It is he who instills in children the initial knowledge of mastering reading. Awakening a love of reading is difficult, but using the rules described above, you can quickly and effectively get the desired result.
Bibliography
1. Arginskaya I.I. Training according to the Zankov JI.B system. - M.: Enlightenment. - 1994.
2. Artobolevsky V.G. Literary reading. - M.: Education. - 1978.
3. Vvedenskaya M.A. Culture and art of speech. - M.: Phoenix. - 1995.
4.Gorbushina L.A. Expressive reading and storytelling. - M.: Enlightenment.-1975.
5.Gorbushina JI.A. Expressive reading and storytelling for preschool children. - M.: Education. - 1983.
6.Gorbushina L.A. Teaching expressive reading to younger schoolchildren. - M.: Education. - 1981.
7. Kubasova O.V. Expressive reading. - M.: Academy. - 2001.
8. Lvov M.R., Goretsky V.G., Sosnovskaya O.V. Methods of teaching the Russian language in primary school. - M.: Academy. - 2000.
9. Naidenov B. S. Expressiveness of speech and reading. - M.: Enlightenment. - 1969.
10.Politova I.I. Student speech development primary classes. - M.: Enlightenment. - 1984.
11.Romanovskaya I.I. Reading and development of younger schoolchildren. - M.: Enlightenment. - 1984.
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15. Educational system “School 2100”.-M.: Ballas.-2004.
The modern school faces an acute question about the development of students' personalities. In this regard, the issue of increasing the educational significance of reading lessons in elementary school becomes more relevant, since reading necessarily involves communication with the book, its characters, and, finally, communication with oneself.
But in order for students to emotionally perceive and reproduce the written speech of other people, it is necessary, first of all, that their speech, as well as their reading, be expressive. Productive reading and communication between children and books is impossible without teaching them expressive reading, because expressive reading helps to better understand and realize the experience contained in each work.
Teaching expressive reading is a school for instilling in students an aesthetic perception of works of fiction, a means of forming and developing artistic taste.
Pedagogical experience shows that many students simply do not understand the meaning of the text they are reading, not only because they read slowly, but mainly because their reading is inexpressive.
The reason for the inability to read expressively should be recognized as the imperfection of teaching reading in public schools and the lack of understanding by the teacher of the need for purposeful formation of reading activity in younger schoolchildren.
We developed a questionnaire and offered it to ten primary school teachers at our school to answer questions regarding the expressive reading of younger schoolchildren. ( Annex 1)
Having analyzed the results of this survey, we can draw the following conclusions: primary school teachers note the educational, developmental and nurturing potential of expressive reading, they understand the need for serious work on developing the skill of expressive reading, but in practice they pay little attention to the formation of this important skill.
The problem of the development and formation of expressive speech of schoolchildren, which has a high degree of relevance especially today, has a history of its development.
N.A. spoke about the importance of expressive reading for elementary school students. Korf is a teacher and organizer of public schools. He highly valued expressive reading in the aspect public education. This teacher was interested in expressive reading as both a means and a result of the level of understanding by public school students of someone else's written speech.
General provisions put forward by N.A. Korfom, in relation to primary education back in the 19th century, retains its significance today.
The second important figure in the development of issues of teaching expressive reading to younger schoolchildren is D.I. Tikhomirov. He is called the “teacher of teachers” because... he gave the elementary school teacher not general (pedagogical), but specific (methodological) recommendations. He described each recommendation in detail. It was Tikhomirov D.I. For the first time, he drew the attention of a public school teacher to where to raise and lower his voice when reading, and how to correctly place logical stress. “In order to give the student a feel for the significance of logical stress, it is necessary to first train the student for this purpose on individual phrases, transferring the emphasis to each word in turn, and paying attention to the change in shade in the meaning of the phrase due to a change in the place of stress.” As material for exercises in expressive reading, D.I. Tikhomirov suggests using proverbs. In his opinion, “...it is the teacher who shows children an example of the correct pronunciation of proverbs.”
To practice with children the desired tone, intonation, gradual raising and lowering of the voice, slowing down and speeding up spoken words and phrases. DI. Tikhomirov chose a fable for the first time. The main exercise that develops the expressiveness of a child’s transmission of “other people’s thoughts” and feelings is role reading. “These exercises lead to the child’s awareness of what is depicted in the book using the art of words.”
The most active promoters of expressive reading were V.P. Ostrogorsky and V.P. Sheremetevsky.
Ostrogorsky V.P. noted the great educational value of expressive reading. It, by teaching you to control your voice and breathing, not only develops your voice, but also strengthens your lungs; it corrects pronunciation deficiencies; forcing you to pay attention to every expression and word in a sentence, it is the best means of studying a literary work. Expressive reading helps to expel from school “the dullness and senseless cramming of lessons... accumulates, developing at the same time taste, feeling and imagination.” Expressive reading Ostrogorsky V.P. defined as intelligent and pleasant pronunciation by heart and reading from a book of poetry and prose. Expressive reading is an art “that, like music and drawing, can largely be learned.”
Expressiveness of speech is one of the criteria for assessing the spoken text from the point of view of B.G.’s speech culture. Golovin gives the following definition of expressiveness: “If speech is structured in such a way that the very selection and placement of language means affects not only the mind, but also the emotional area of consciousness, maintains the attention and interest of the listener or reader, such speech is called expressive.”
“The richer the language system, the more opportunities to vary speech structures, providing best conditions communicative speech influence. The more extensive a person’s speech skills, the better the speech communication qualities - accuracy, correctness, expressiveness. Speech culture is, first of all, mastery of language norms in the field of pronunciation, stress, and word usage.”
So, for example, F.I. Buslaev wrote that “... the first and most important thing is to develop the practical ability, which consists in understanding what is expressed by forms of speech and using them in the right way, that is, as educated people speak, by oral speech about objects of reality, by careful reading. Through oral and written exercises, we develop in the student the ability to correctly understand the forms of speech in conversation and in writing with due ease.”
The same idea was pursued in his works by K.D. Ushinsky, who considered one of the main tasks of teaching the Russian language to be the development of the “gift of speech” in schoolchildren
S.T. Nikolskaya and other authors of the book “Expressive Reading” consider such reading to be the penetration of the reader into the author’s text by a special, specific method, with the help of which a given work of art in the mouth of the performer becomes a new phenomenon of art, while remaining at the same time the author’s, writer’s work. At the same time, they emphasize, expressive reading obeys the general laws of oral speech, when the reader not only conveys some information and feelings to the listeners, but also influences the listener, his imagination, emotions and will.”
L.A. Gorbushina reveals this concept in this way: “Expressive reading is intonationally correct reading. To read a work expressively means to find a means of verbally conveying the ideas and feelings contained in the work. This means finding a means of emotionally influencing listeners and conveying the correct attitude towards the facts, events and people depicted in the work, their thoughts and feelings.
M.A. Rybnikova calls expressive reading “the first and main form of concrete, visual teaching of literature.”
O.V. Kubasova explains this concept in this way: “Reading is usually called expressive, in which the performer, with the help of special linguistic means, conveys his understanding and his assessment of what is being read. Preparation for expressive reading and the performance itself is that Practical activities with the text of a work of art, which helps the student understand the content of what he read and express his attitude to this content, thereby getting closer to inner world hero, perceiving the mood and feelings that excite him as his own.
The ability to read expressively is an integral part of the reading skills of primary schoolchildren. In turn, this complex skill itself represents a system of skills. The components of this system, according to M.I. Omorokova, are the following skills:
1. Skills related to technical expressiveness of reading:
– the ability to correctly distribute your breathing when pronouncing a text out loud (short inhalation, long exhalation during the speech process, provided that this process occurs naturally, rhythmically);
– the ability to clearly, accurately, “fly” pronounce sounds, find a natural and organic level of volume;
– the ability to read text spelling correctly.
2. Skills related to logical expressiveness of reading:
– the ability to use different types of pauses: logical and psychological;
– the ability to correctly highlight logical stress when pronouncing a text out loud;
– the ability to realize in reading a wide variety of shades of logical melody;
3. Skills associated with emotional-figurative expressiveness of reading:
– the ability to recreate complex moving visions in one’s imagination;
– the ability to show one’s attitude to what is being read;
– the ability to influence listeners with one’s reading;
We consider teaching expressive reading from the perspective of developmental and educational activities, therefore, at the beginning of work, together with the students, we determine methods of action. They are a guide to how to work. Then students work independently, without the help of a teacher.
The skill of controlling breathing while reading is to ensure that it does not in any way interfere with the reader’s reading or the listener’s listening. However, more than just breathing is important for expressive speech.
Exercise 1.
You need to sit down and turn your shoulders. Keep your head straight. Taking a deep breath, pronounce consonant sounds smoothly and protractedly. m, l, n: mmm...llll...nnn...
Exercise 2.
To consonants m, l, n add vowels one by one and, uh, a, o, y, s and say smoothly and drawlingly: mmi, mme, mma, mmo, mmu, mmy.
When reading, good diction.
In the system of working on expressive reading, it is necessary to allocate time for special classes in pronunciation techniques. You need to start with the simplest thing - with sounds. Work on speech should aim to develop phonetic clarity.For articulation gymnastics, you must use the following exercises:
1. Pronounce vowel sounds clearly, opening your mouth wide.
2. Reading straight syllables.
3. Each vowel sound is accompanied by a consonant, for example:
bee-bee-ba-bo-boo-boo.
4. Reading tongue twisters or tongue twisters helps to increase the mobility of the speech apparatus and helps the development of diction skills.
“A tongue twister,” taught K.S. Stanislavsky, - must be developed through very slow, exaggeratedly clear speech. From long and repeated repetition of the same words, the speech apparatus is so adjusted that it learns to do the same work at the fastest pace.”
First, the tongue twister is carefully read to oneself, then pronounced silently with emphatically clear articulation, then slowly in a whisper, quietly, louder, and finally loudly and quickly. If pronouncing a sound is difficult, you need to practice using specially selected tongue twisters in which this sound is often repeated.
O.V. Kubasova offers special exercises to ensure that children do not violate the correctness of speech, without which expressiveness is impossible.
1. Finish the word.
If only I had a friend
There will be... (leisure).
When performing this exercise, children cannot pronounce the spoken word with the wrong accent. Such poetic passages can be learned by heart.
3. Parallel use of two types of reading: spelling and spelling. Children are asked to read the sentence twice: first, as we write, the second time, as we speak.
“After seeing my best friend, he began to laugh joyfully.”
From the technical side of oral speech, we will move on to consider issues related to intonational means of expressiveness.
“Intonation is a set of jointly acting sound elements of oral speech, which is determined by the content and purpose of the utterance.”
It is intonation, from the point of view of O.V. Kubasova, that “actually organizes oral speech as a whole, including reading. With the help of intonation, sentences are given the meaning of a question, motivation, request, message. Intonation allows you to convey the emotional and semantic shades of the text, expressing the state and mood of the author. If the reader, in the process of working on the text, correctly perceives the circumstances proposed by the author and correctly determines his performing task, then his intonation while reading will be natural and expressive.”
According to O.V. Kubasova, logical stress is the selection by voice of the words that are most important in terms of semantic load.
“Emphasis,” wrote K.S. Stanislavsky - an index finger marking “the most important word in a phrase or in a text!” “The emphasis is in the wrong place,” wrote K.S. Stanislavsky, distorts the meaning, cripples the phrase, whereas it, on the contrary, should help create it!” The reason for errors in the placement of logical stresses is a misunderstanding of the meaning of what is being read or an insufficiently good vision of what is being said.
Meaningful pronunciation of a sentence requires its correct division into units, beats. The division of speech is indicated by pauses.
Pauses (logical and psychological) - stops, breaks in sound. Pauses, with the help of which a sentence or text is divided into semantic parts, are called logical. Their presence and duration are determined by meaning. The more closely the speech units are connected to each other, the shorter the pause. The smaller the connection, the longer the pauses.
Considering semantic pauses, you should draw the student's attention to the fact that these pauses do not always coincide with punctuation marks, especially when it is necessary to pronounce phrases.
Line-by-line pauses there must be, but they must be observed not mechanically, but taking into account the meaning. It is the meaning that will dictate the duration of the pause and its character. However, often teachers, struggling with the mechanical arrangement of line-by-line pauses, require the placement of pauses only in accordance with punctuation marks. This is mistake; such reading will turn poetry into prose.
For example: Fog lay on the field,
Noisy caravan of geese
Reached south. (A.S. Pushkin)
Here, after the word “caravan”, a pause is needed. Firstly, it is short, and secondly, it is filled with content, offering continuation.
Along with the logical pause, there is psychological pause. This is a stop that enhances the psychological significance of the thought being expressed. A psychological pause, according to O.V. Kubasova, “is always rich in internal content, eloquent, since it reflects the reader’s attitude to what he is saying”
Stanislavsky wrote: “Eloquent silence is a psychological pause. It is an extremely important tool of communication.” He noted that it “is certainly always active, rich in internal content.” A pause can take place: a) at the beginning of a phrase or before some word; b) inside a phrase, between words - then it emphasizes the dependence between previous and subsequent thoughts; c) at the beginning of a phrase, after the words have been read - then she focuses on the words that have been spoken.
Separate types of psychological pauses can be considered initial and final pauses.
The initial pause prepares the reader for performance and the listener for perception.
The final pause involves being in the psychological atmosphere that was created by reading for several seconds.
Taking into account all of the above, the teacher should accustom students to the fact that before stopping while reading, they need to think carefully about whether this pause is necessary, what meaning does this phrase acquire if some pauses are removed from it, what will happen to the text if It will indicate new pauses. Gradually, students get used to checking the correctness of pauses by analyzing the text. Children perform these exercises on the board, on cards and while reading textbook materials.
In the third grade, it is already possible to draw students’ attention to such a technique of expressive speech and reading as a psychological pause. Children need to be shown that this is a special emotional stop, with the help of which the reader conveys strong internal excitement and the tension of the events of the story. The author suggests taking for practical work with students the simplest cases of determining the location of a psychological pause, which children can comprehend without difficulty.
Tempo and rhythm- obligatory components involved in creating a certain intonation. These means of expression are interconnected. Stanislavsky united them into a single concept tempo - rhythm.
The reading pace can be slow, slow, medium, accelerated, fast. Changing the pace of reading is a technique that helps convey in the spoken word the nature of the text being read and the intentions of the reader. The choice of tempo depends on what feelings and experiences the reader reproduces, on the emotional state, behavior of the characters about whom (or whose words) they are telling or reading. Children should be reminded that it is easier for listeners to focus on those passages that are pronounced more slowly. You need to read the initial phrase somewhat slowly in order to focus attention, as well as the last one so that the listener feels the end of the reading.
Rhythm exists in any speech, including prose. However, it manifests itself especially clearly in reading poetry. “Rhythm,” said V.V. Mayakovsky is the basis of every poetic thing. Rhythm is the main force, the main energy of poetry.”
Kubasova O.V. calls an interesting technique that shows the difference between rhythmic poetic and prosaic speech, and thus the importance of rhythm in poetry. The teacher writes a short poem in prose form (on a line) on the board. Students read the text from the book and from the board and compare them. To work on children’s rhythmic hearing, we offer the following exercises: after reading the poem “Train,” children try to move alone or in a large group to walk in rhythmic steps to their reading:
The sleepers bend, the sleepers groan,
The rails are drowning in the light sea...
In addition to stress, tempo and rhythm, the concept of intonation also includes melody. Speech melody is the movement of the voice up and down through sounds of different pitches. It is with work on the melody of reading (together with pauses) that the formation of expressive speech in the elementary grades begins. Already from the period of learning to read and write, children learn to use intonations of narrative, interrogative, enumerative, explanatory, and address. When reading a work of art, melody serves as one of the brightest expressive means of spoken speech; it affects the listener, facilitates the perception of the work, and reveals its emotional side.
M.I. Omorokova offers special exercises that develop the flexibility of the voice, the ability to raise and lower it at the right time, to speak quietly or loudly. Students, when reading the text, must explain why they need to read it this way.1. Read the dialogue. Watch for the rise and fall of your voice.
Timbre is the natural coloring of the voice, which to one degree or another remains constant, whether the speaker expresses joy or sadness, calm or anxiety. This is due to the peculiarity of the structure of the speech apparatus. Despite the sufficient stability of this intonation device, the timbre can be changed to a certain extent. You can organize observation of changes in voice timbre using Russian material folk tale"The wolf and the seven Young goats".
A teacher who has a good command of the technical side of speech and intonation must realize that simple instruction on how to pronounce it often does not help matters much. Students need an example. Children are great imitators. But showing the teacher and students imitating him can by no means be the only means of teaching intonation. Whether you are reading a dialogue, a fable, or a poem, you must always exhaust the possibilities for students to independently find the appropriate intonation. To do this, a guiding conversation is conducted about who is speaking, and, therefore, in what voice he should speak, what the speaker is experiencing and how it should be conveyed in his voice.
To organize work with children on emotional tone, you must use the following tasks:
1. Say “hello” with a hint of surprise, bewilderment, joy of indifference, confidence, indignation.
2. Game “Whose intonation is richer?” Participants take turns saying a phrase like “come here,” trying not to repeat the previously heard intonation. A participant who fails to say a phrase with a new intonation is eliminated from the game. Children and the teacher sum up the results.
3. Using a speech situation is the most important technique in working on emotional intonation. It is this that provides the student with emotional confidence, because... his speech behavior in this case is regulated not by general, but by situational attitudes of the individual that arise under the influence of specific conditions
4. Great opportunities for organizing work on the formation of emotional intonation, in our opinion, lie in plot pictures, illustrations (drawings) for children's works and cartoons. They are associated with tasks of a high level of complexity. Therefore, we supplemented the conversation based on the drawings with: 1) questions that form the ability to determine the emotional state of a character by facial expressions, gestures, and posture; and 2) encouragement to speak on behalf of the character. For these purposes, we used visual handouts for speech development lessons.
A drawing is one of the effective speech stimuli, especially if something close and interesting to children is depicted, if these drawings are dynamic, expressive, and contain elements of humor. Therefore, students willingly talk about cartoon characters.
5. Work with the memo: “Words-names of emotional states.”
Thus, using only the methodological apparatus of the textbook, it seems difficult to effectively develop the expressive side of reading. It seems to us indisputable to supplement the methodological apparatus of reading textbooks with speech training exercises, various questions and tasks that require students to pay attention to the intonation side of speech, to comprehend those intonation elements with the help of which expressiveness of speech is achieved, and exercises for intonation-expressive production of speech.
As our observations have shown, students’ speech has become more focused and organized, i.e. Students began to correct each other when pronouncing a word incorrectly or placing word stress. This indicates that speech technique is developing well through training exercises to warm up the speech apparatus. During lessons, they try to speak loudly, clearly and with expressive intonation. The acquisition of intonation expressiveness follows a practical path and has a pronounced developmental dynamic from the formation of intonation hearing to the correct independent use of various intonations in various speech situations. The active vocabulary of schoolchildren has expanded significantly through the use of elementary linguistic terms and, especially, through adjectives and adverbs denoting emotional states of a person.