Introduction………………….……………...…………..............3

1. The tasks of reading lessons in the formation of the expressiveness of children's speech………..............…………….4

2. Stages of work on expressive reading .......... 6

3. Means of expressiveness of oral speech…………...…8

4. Work on the expressiveness of reading……………....11

5. Intonation, raising and lowering the voice……………………………………………………….....13

6. Work with poetic texts at the lessons of literary reading……………………………………20

Conclusion………………………………………………...27

List of used literature………………………………………………...29

Introduction

Teaching children correct, fluent, conscious, expressive reading 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 also something that is taught to younger students, through which they are brought up and developed. Reading skills and abilities are formed not only as the most important type of speech and mental activity, but also as a complex set of skills and abilities that have a teaching character, used by students in the study of all academic subjects, in all cases of out-of-class and out-of-school life.

Therefore, systematic, purposeful work is needed to develop and improve the skills of fluent, conscious reading from class to class.

One of the most important tasks of elementary school is the formation of reading skills in children, which is the foundation of all subsequent education. The formed reading skill includes at least two main components:

a) reading technique (correct and quick perception and voicing of words, based on the connection between their visual images, on the one hand, and acoustic and motor speech, on the other);

b) understanding of the text (extracting its meaning of the content).

It is well known that both of these components are closely interrelated and rely on each other: for example, the improvement of reading technique makes it easier to understand what is being read, and easy-to-understand text is better and more accurately perceived. At the same time, at the first stages of the formation of the reading skill, greater importance is attached to its technique, at the subsequent stages - to understanding the text.

Work on the expressiveness of speech in reading lessons in primary grades is an important stage in the formation of children's speech.

1. Tasks of expressive reading.

The educational value of literature in the 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 expressive reading and teacher's storytelling. "Expressive reading" is based on the knowledge, skills and abilities acquired by students in the study of 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 sounding speech.

Expressive reading accurately preserves the text of the work, which is emphasized by the word "reading". Speaking expressively means choosing figurative words, that is, words that evoke the activity of the imagination, inner vision and emotional assessment of the depicted picture, event, character. To correctly express one's thoughts and feelings means to strictly adhere to the norms of literary speech.

The clear and correct transmission of the author's thought is the first task of expressive reading. Logical expressiveness provides a clear transmission of the facts reported by the words of the text, and their relationship. But the facts do not exhaust the content of the work. It always includes the author's attitude to the phenomena of life depicted by him, his assessment of the phenomena, their ideological and emotional comprehension. Recreation in the sounding word of artistic images in the unity of their individual-specific form and ideological-emotional content is called emotional-figurative expressiveness of speech. Emotional-figurative expressiveness cannot be regarded as some, although a necessary addition to logical expressiveness. Both of these aspects of the art of reading are inextricably linked, 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 images in the reader's imagination that evoke an emotional attitude in him, which naturally and involuntarily manifests itself in reading along with the transfer of the author's thoughts. These same emotions are transmitted to the listeners. In his daily life, a person talks about what he knows, has seen and what he wants to talk about for the sake of a specific goal.

The spoken words are an expression of the speaker's own thoughts, behind these words there are always factors of reality that cause a certain attitude, a certain volitional aspiration.

The tasks of expressive reading are an important component in the formation of speech. Knowing the tasks, the teacher expediently works with students, setting them certain goals for their implementation.

Tasks:

improvement of reading skills: appropriate work on the correctness, fluency, consciousness and expressiveness of reading.

the formation of reading skills on the discount with the text. The teacher forms the ability of students to think about the work before reading, during reading and after reading, which contributes to the rapid development of the text.

formation of initial literary knowledge.

reading provides moral and aesthetic education of children,

development of speech, thinking, imagination of children.

These tasks should be implemented in reading lessons. And then work with the text will activate the mental activity of children, form worldviews and attitudes. The tasks and stages of expressive reading are closely related.

Mastering a full-fledged reading skill for students is the most important condition for successful schooling in all subjects; At the same time, reading is one of the main ways of acquiring information outside of school hours, one of the channels of comprehensive influence on schoolchildren.

2. Stages of work on expressive reading

For an expressive reading of a literary text, it is necessary that the reader himself be carried away by the work, love and deeply understand it. The work on expressive reading of a work goes through several stages:

The first stage is the preparation of listeners for the perception of the work, called the 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 clearer it is, 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 seeks to deeply and clearly present the depicted life. 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 questions remain unanswered, the answer to them is sought in the directory. Before you start reading, you need to understand every word, every expression in the text. It is at this stage that the reader's interest in the text occurs.

The second stage is the first acquaintance with the work, which at school is usually carried out by expressive reading of the work by the teacher. “The first impression is virginally fresh,” says K.S. Stanislavsky. - They are the best stimulators of artistic passion and delight, which are of great importance in the creative process. Stanislavsky calls first impressions "seeds".

The indelibility of first impressions imposes a great responsibility on the reader, requires careful preparation for the first reading, thoughtfulness of the text so that the listeners do not get wrong impressions that “harm creativity with the same force as correct impressions help it. You can't fix a bad impression.

The third stage is analysis of the work. The analysis has its purpose. We think 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 a different sequence: by deduction or by induction. The first path, when one goes from the definition of the theme, the idea to the composition and to the system of images, resembles the path of the author. The induction path corresponds to the sequence in which the reader gets acquainted with the work. He traces the development of the plot and the 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 memorizing the text acquires special significance. After we have parsed the text, when every word is clear to us, the images of the characters, their psychology, the most important task and private performing tasks are clear, we can begin to memorize the text. It is difficult to memorize the text, and it is fragile to remember this. It is better remembered gradually, in the process of preparing the performance. With such work on the text, involuntary memorization occurs. M.N. Shardakov experimentally established that the best memorization method is combined. At this stage, it is important to correctly sum up the read work so that the listeners leaving the lesson have a complete understanding of the text.

The sequence of stages is very important in extracurricular reading lessons. It allows you to easily, quickly and correctly master the work. Children are given the opportunity to penetrate deep into the work, to feel it. Each word spoken by the teacher has its own specifics. 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, observance of orthoepic norms. Correct, expressive reading depends on this.

Speech technique: M.A. Rybnikova wrote that in the system of work on expressive reading, it is necessary to allocate time for special classes in the technique of pronunciation. The speech technique includes breathing, voice, diction, orthoepy:

Breathing: should be free, deep, frequent, imperceptible, automatically subject to the will of the reader. Of course, the ability to use the breath correctly largely determines the ability to control the voice.

Voice: a sonorous, pleasant timbre, flexible, fairly loud, obedient voice is of great importance for expressive reading. The optimal voice is of medium strength and height, as it can be easily lowered and raised, made quiet and loud. One of the main tasks in staging the voice is the ability to use the so-called sound attack in order to achieve a free, relaxed sound based on proper breathing. An attack of sound is a way of closing the vocal cords at the moment of transition from the respiratory 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 paramount role in speech. The lack of the necessary supply of exhaled air leads to voice breakdowns, unjustified pauses that distort the phrase.

It should be remembered that unevenly consumed air often does not make it possible to complete the sentence to the end, it 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.

Starting classes on the development of breathing, it is necessary to familiarize yourself with the anatomy, physiology and hygiene of the respiratory-voice 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 exercises in respiratory gymnastics.

There is an inextricable link between breath and voice. Correctly delivered voice is a very important quality of oral speech, especially for teachers.

To educate, to put the voice - this means to develop and strengthen all the voice data released to man by nature - the volume, strength and sonority of the voice.

Before you train your voice on text exercises, you need to learn how to feel the work of resonators.

Resonators are sound amplifiers. Resonators include: palate, nasal cavity, teeth, facial skeleton, frontal sinus. With a low sounding voice, you can feel its vibration in the cavity of the chest.

In case of improper use of the voice, an artificial sound is obtained. For example: the "throat" tone of the voice is the result of an incorrect sound sending. The reason for this phenomenon is the tightness of the pharynx.

It may be that the person is speaking "lower" than is consistent with the nature of their voice data. Then the voice turns out to be compressed, devoid of sonority.

The habit of speaking in a voice that is not “one’s 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, it is necessary to do various exercises.

For example:

Exhale the air, inhale (not too much) and as you exhale, drawl out 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 possibilities) and, conversely, from high to low notes.

Choose a poem with a medium-sized line, for example, “A lonely sail turns white” or “I love a thunderstorm in early May.” Say the first line on one exhale, take in air and say the next two lines on one exhale, take air again and say three lines at once, etc.

You need to get air imperceptibly through your nose and mouth. Thus, performing breathing exercises, we involve breathing in voice formation. When practicing voice, it is necessary

Do not shout in normal speech.

Do not cough if it tickles in the throat.

Avoid very hot and very cold drinks.

At the slightest discomfort, 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, which allows you to consciously control the necessary 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 deviation from generally accepted norms of pronunciation are gross violations of the correctness of speech, without which expressiveness of speech is impossible. Orthoepy establishes the norms of literary pronunciation.

4. Work on the expressiveness of reading

In order to correctly present the text, the teacher should know the conditions for working on the expressiveness of reading:

Be sure to demonstrate an example of expressive reading of the work. This may be either exemplary reading by the teacher, or reading by the master of the artistic word in the record. If the sample is shown during the initial acquaintance with the work, it is better to resort to reading by the teacher. If exemplary reading is involved at the stage of exercises in expressive reading, then technical means can be used to reproduce the reading by the master. Demonstration of a sample of expressive reading has a goal: firstly, such reading becomes a kind of standard that a novice reader should strive for; secondly, exemplary reading reveals to the listener an understanding of the meaning of the work and, thus, helps to consciously read it; 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: imitating the intonation expressing certain feelings, the child begins to experience these feelings and through emotional experiences comes to comprehend the work .

Work on expressive reading should be preceded by a thorough analysis of the work of art. Therefore, the exercise in expressive reading should be carried out at the final stages of the lesson, when work on the form and content of the work is completed. Teaching expressive reading is a complex process that permeates all stages of the lesson, as it is organically conditioned by both preparation for the perception of a work, and initial acquaintance with the work, and work on the idea of ​​the work.

Working on the language of the work is also one of the conditions for developing the expressiveness of reading. It is impossible to achieve expressive reading from students if they do not understand the form of the work, therefore, observation of figurative and expressive means becomes an integral part of the work to understand the ideological orientation of the work.

Work on the expressiveness of reading should be based on the recreating imagination of schoolchildren, that is, on their ability to present a picture of life according to the author's verbal description, to see with an inner eye what the author depicted. The recreating imagination of an inexperienced reader needs to be trained, taught by the "author's mark" to create an episode, landscape, portrait before the mind's eye. Techniques that develop and recreate the imagination are graphic and verbal illustration, compiling filmstrips, writing screenplays, as well as reading by roles, and dramatization. Thus, we can name another factor that affects 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 the class of options for reading the analyzed work.

The main goal of teaching children expressive reading is to develop the ability to determine the task of reading aloud: to convey to the listener their understanding of the work with the help of correctly chosen means of oral speech.

5. Intonation, raising and lowering the voice

Intonation is one of the aspects of speech culture and plays an important role in the formation of declarative, interrogative and exclamatory sentences. An expressive reading of a sentence with a 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 tone of the voice

a) Exercise "Jump"

This exercise helps develop the flexibility of the voice. The teacher asks the children to imagine that they are watching high jump competitions 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 "Hiking"

This exercise is aimed at the ability to distribute the pitch of the voice. The teacher tells the students that when reading, you should not quickly raise your voice: it is necessary that the voice is enough for all the lines. Readingevery line, you need to imagine that you are “walking with your voice” straight to the sun, convey the upward movement with your voice.

Along a narrow mountain path

Together with a fervent song, you and I are going on a hike,

Behind the mountain the sun is waiting for us,

Our rise is higher, steeper,

Here we are walking through the clouds,

Beyond the last pass

The sun rose towards us.

c) Exercise "Cave"

The exercise contributes to the development of voice flexibility, the ability to raise and lower the voice. studentscomfortable sit down, close their eyes and imagine themselves in a cave. Any sound (word) resounds undervaults caves It is necessary to try to reproduce the "sounds", "words" in the cave, going further and further

Therefore, the functions of intonation are very diverse:

Divides the speech flow;

Forms the statement into a single whole;

Distinguishes between communicative types of utterance;

Highlights the important;

Expresses an emotional state;

Distinguishes styles of speech;

Describes the personality of the speaker.

Intonation is described using acoustic parameters: intensity, duration, pitch frequency and spectrum. The intonation should be lively, bright.

Intonation is a complex phenomenon. To imagine it more clearly, consider the individual components that make up intonation:

2. Logical stress is the emphasis by the voice on the main words in terms of semantic load. “Stress,” wrote K.S. Stanislavsky, - the index finger, marking the most important word in a phrase or in a measure! In the highlighted word, the soul, the inner essence, the main points of the subtext are hidden!

In order for the sentence to acquire a definite and precise meaning, it is necessary to single out an important word among other words with the power of the voice. The meaning of the sentence changes depending on where the logical stress is placed. It is this idea that is important to convey to students through 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 focus on the underlined word. After the sentences have been read and the students have given four possible answers, the teacher asks the students to guess why the meaning of the sentence changes despite the same words and punctuation at the end. Then the teacher once again asks to read these sentences and follow how the given word stands out with the voice. It is established that the selection of an important word in a sentence occurs through amplification, length and some increase in the sound of the voice.

pauses

In addition to logical stresses, 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 sounds follow one after another continuously. The role of a pause in a sentence is especially clear when the combination of the same words in the same order, being differently separated by pauses, acquires a 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, 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 kind of great emotional excitement. Acquaintance with this kind of pauses is carried out when reading various works of art. The teacher expressively reads an excerpt from the work, then there is a joint analysis of what was read with the students: where are the pauses; why; what happens if we don't pause here and so on. After that, under the guidance of the teacher, the students conclude that in some cases, where a different understanding of the text is possible, 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, expressiveness. Examples:

The teacher writes on the board or distributes sentences on the cards to the students, in which the pauses are graphically indicated. Students are invited to expressively read them and explain the semantic difference between the variants of these sentences with different placement of pauses.

How surprised | his words | brother!

How surprised him | brother's words

Tempo and rhythm are essential components involved in creating a certain intonation. These expressive means among themselves. Stanislavsky united them into a single concept of tempo-rhythm.

The pace of reading can be slow, slow, medium, accelerated, fast. Changing the pace of reading is a technique that helps to 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, experiences the reader reproduces, as well as on the character, emotional state, behavior of the characters that are being told or read about.

The teacher also has to deal with issues of speech tempo. Lessons sometimes require quick, easy speech, the clarity of which should be extreme.

Therefore, working on a tongue twister is a means to achieve clarity of speech at any pace. Mechanical, monotonous memorization of tongue twisters will never be of practical use.

Based on the meaning of the phrase, varying it on the go, changing intonation accordingly, it will be easy for the speaker to use different rates of speech.

No need to strive to immediately quickly pronounce tongue twisters. Speak it slowly at first, pronouncing each individual sound, stopping after each word. When pronouncing a tongue twister, follow the completeness of all spoken sounds, avoiding fuzziness and blurring.

Try, pronouncing tongue twisters, to set different performing tasks (internal speech settings). For example:

In the speech performance of this text, I want to play a joke, I want to complain, I want to gossip, I want to brag, etc.

Examples:

1. Mow, spit, while the dew, down with the dew - and we are home.

"The protocol about the protocol was recorded by the protocol."

“Tell me about shopping!

About what about purchases?

About shopping, about shopping

about my shopping.

The rhythm is associated with the uniformity of the respiratory cycles. This is the alternation of sounding segments of speech and pauses, strengthening and weakening of the voice.

5. Melody of speech - the movement of the voice through sounds of different heights. It is with work on the melody of reading that the formation of the expressiveness of speech in the primary grades begins. 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 a deep penetration into the text and from a clear understanding of the reader about the task of reading.

7. Timbre is the natural coloring of the voice, which remains constant to one degree or another, whether the speaker expresses joy or sadness, calmness or anxiety ... The timbre can be changed to a certain extent.

8. Non-verbal means (facial expressions, body movements, gestures, postures) help to increase the accuracy and expressiveness of speech. They are additional means of influencing listeners. Non-linguistic means of expression are organically related to intonation, and their character depends on the situation and the content of the statement, so they never need to be invented. The reader's choice of non-verbal means should

involuntarily follow 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 must not be abused, otherwise it will lead to grimacing, formalism and distract listeners from the meaning of the statement. It is expedient for the teacher to observe the rules for the use of non-linguistic means of expression. Here are some of them:

It's best to stand in class. This position helps to capture the attention of students, makes it possible to observe the audience, keep all children in sight;

You should not walk around the classroom: walking distracts the attention of children and tires them;

The teacher must stand 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 work of the entire speech apparatus gives the performer a sense of confidence and helps to find the inner state necessary for the performance.

An important component of the performance is expressive facial expressions. It should be remembered that inaccurate as well as excessive use of facial expressions makes it difficult to perceive and annoys the audience. Therefore, when preparing for performance, it is recommended to read the text in front of a mirror, analyzing and correcting facial expressions.

All of these components that make up intonation help in the assimilation of 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. Work with poetic texts in the lessons of literary reading.

For example, consider the acquaintance of children with the poem by A.S. Pushkin "Already the sky was breathing in autumn ..."

It is difficult to read a work of art expressively. 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 law of "end of line" helps the reader know where to pause; rhymes emphasize these pauses - they also need to be emphasized a little with the voice. But professional readers and actors know many other author's "secrets". Children also open them one by one. When working, children are invited to discover new “secrets” that will help to expressively read A.S. Pushkin.

Stage I: Preparation for the primary perception of the poem. Children are invited to make a short journey into the distant past, at the time when A.S. Pushkin (appeal to the portrait, where the dates of the life of A.S. Pushkin are indicated). Tropinin, a contemporary of the poet, portrayed him as thoughtful and concentrated. Everyone knows this portrait. It's good that Tropinin captured for us the face 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 lines of poetry:

The days of late autumn are usually scolded,

But she is dear to me, dear reader,

Silent beauty, shining humbly.

So unloved child in the native family.

It draws me to itself. To tell you frankly

Of the annual times, I am glad only for her alone,

She has a lot of good...

Or more lines:

And every autumn I bloom again;

Russian cold is good for my health...

But in the life of A.S. Pushkin's special autumn - 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 raged - cholera. Quarantine was imposed on many cities, including Moscow, Moscow, Vladimir regions, and Alexander Sergeevich could not leave Boldino for three months.

Pushkin this time worked with unprecedented creative energy, and fruitfully for me. In Boldino he wrote many poems, completed the greatest work "Eugene Onegin".

Children are invited to dream up a little, to imagine autumn, which so inspired the poet to work.

(Illustrations with autumn landscapes open on the board. Prepared students read poems in turn).

The forest drops its crimson dress,

The withered field is silvered by frost,

The day will pass as if involuntarily

And hide behind the edge of the surrounding mountains ...

Already in autumn with a cold hand

The heads of birches and lindens are bare,

She rustles in the deserted oak forests;

There, day and night, a yellow leaf is spinning,

There is a fog on the waves of the cooled,

And an instant whistle of the wind is heard ...

October has already come - the grove is already shaking off the last leaves from its naked branches;

The autumn chill has died - the road freezes through,

The murmuring stream still runs behind the mill,

But the pond has already frozen ...

Late autumn makes a person feel solemn and majestic. Nature is eternally alive, and its withering is also a 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 wonderful works. Listen to one more of them. This is an excerpt from the novel by A.S. Pushkin Evgeny Onegin "" Already the sky was 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 at the hearing?

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 season is referred to 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 different figurative words and expressions to create artistic images, which we may not understand.

How do you understand the words "Forests mysterious canopy with a sad noise was exposed?"

What does the word "caravan" mean? (moving string - one after another).

Have you ever watched the migration of birds in autumn?

How do they fly? Why does Pushkin use the word "stretched"?

Why do you think the poet calls late autumn "boring times"? Work 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 the expressive reading of the poem.

1) The mood of the poem.

What mood is this poem?

What are the most important words in this poem that determine its mood? We call such words keywords. (boring time)

Why is November boring? (Because “the sun shines less often”, “the day becomes shorter”, the birds fly away.)

Note that this entire poem is one big sentence.

What sign is at the end of a sentence? How should this poem be read?

Why does the author speak so calmly about the approach of a boring time? (It's inevitable. It's always like that in November.)

2) When reading, it is very important to pause at the right place. Pauses are of different duration. The longest pause is after the announcement of the title of the poem. Having announced 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 must count to yourself to four. There is no red line in this poem. Pauses are required for punctuation marks:

Where there is a comma, a pause at the expense of ONCE;

Dot, dash, colon - at the expense of ONE, TWO;

Question and exclamation marks require a pause at the expense of ONE, TWO, THREE.

1. PAUSES

№ n / n Punctuation marks, counting, designation

1 , - time 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 ACCENT

Designation

Words with logical emphasis

Connecting lines, intonation transfer

 Raising the tone

 Lowering the tone

3) Graphic work. Tracing paper is superimposed on the text of the poem in the textbook and conventional signs are affixed (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 was naked

Let's pronounce these words so that you can hear the rustle of falling leaves.

What sounds create this feeling? (S-W-W-F.)

5) Listening to an audio recording of a poem

Listen to the poem by A.S. Pushkin "Already the sky was 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).

Did you manage to convey to the listeners the feelings and mood of the narrator in your reading?

Children are also invited to memorize poems and recite them in front of a mirror, using facial expressions, movements, various gestures, because all this is a means of expressiveness of oral speech.

Conclusion.

The living word works miracles. The word can make people rejoice and grieve, awaken love and hatred, cause suffering and inspire hope, can awaken high aspirations and bright ideals in a person, penetrate into the deepest recesses of the soul, bring to life hitherto dormant feelings and thoughts.

When you listen to a good reader, it is as if you see everything that he is talking about, you understand in a new way, it would seem, already familiar works, you are imbued with the mood of the performer. In the deep impact of the reader on the listeners lies the art of artistic reading. However, the ability to perceive good reading, as well as the ability to convey to his listeners a readable work, does not arise by itself. Of great importance here is the work that is carried out in reading lessons, in particular, work on the analysis of readable texts and preparing them for expressive reading.

To read expressively, to speak - this means "to act with words", i.e. influence the listener with his will, make him see the text the way the speaker sees it or treats it. Given the differences in the speech preparation of children, work on the expressiveness of speech must be carried out in the lessons of literacy, reading and grammar. 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 the children's own thoughts are formed into a sentence or a short statement.

It is necessary during this period to help the children choose the correct intonation and tempo of speech, so that

so that they contribute to the truthful expression of thought,

It is important for the teacher to know the method of working on expressive reading. It is he who instills in children the initial knowledge of learning to read. 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 system JI.B. - M.: Enlightenment. - 1994.

2. Artobolevsky V.G. Artistic reading. - M.: Enlightenment. - 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 students. - 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. The development of speech of primary school students. - M.: Enlightenment. - 1984.

11. Romanovskaya I.I. Reading and development of younger students. - M.: Enlightenment. - 1984.

12. Filigshova O.V. Professional speech of the teacher. Intonation: Textbook. - M.: Science. - 2001.

13. Educational and methodological complex for a four-year elementary school. - A.: Smolensk. - 2003.

14. Promising elementary school. - M.: Academy. - 2006.

15. Educational system "School 2100".-M.: Ballas.-2004.

The book is presented with some abbreviations.

(V. S. Naydenov)

Expressive reading as the art of artistic reading in school conditions. There is sometimes a dispute among Methodists, what is expressive reading, a method or a technique? It seems to us that such a formulation of the question is fundamentally wrong. Expressive reading is an art, as independent as music or painting. But each of these types of art can be involved in the study of language and literature. The only difference is that the involvement of expressive reading is more necessary and more fruitful than the involvement of any other art form. Using it in the process of learning a language or literature in each case can be either a technique or a method. If a teacher, explaining a sentence with homogeneous members and wanting to show an enumerative intonation, expressively reads the sentence, this is just a trick. When a work is analyzed in order to teach students to read it expressively, expressive reading acts as a method.
If expressive reading is not regarded as an art, then classes in it lose their life-giving influence on the pedagogical process, lead to cluttering up the memory of students with formal rules about intonation. As a result, boredom reigns in the classroom instead of revitalization from the enthusiasm for the work.
The closer class reading approaches the artistic reading of masters, the better. But the reading of the masters (whether recorded or tape-recorded), being an important addition, cannot replace the reading of the teacher and students. In addition to the fact that the latter convinces schoolchildren of the accessibility of expressive reading for them, the reading of the teacher and comrades makes it possible to trace the creative path they followed. The analysis of errors in reading is also very important. In a word, the perception of reading masters, being an important element of education, cannot replace the creativity of the teacher and students.
The connection between the methodology of expressive reading and the methodology of teaching literature and the native language. In contrast to the pre-revolutionary period, expressive reading has never been a separate academic subject in the Soviet school. It was used in literature lessons, Russian language lessons and in extracurricular activities. Therefore, in the methodology of teaching the Russian (native) language and in the methodology of teaching literature, some methodological issues of expressive reading were also covered. This connection of methods should not be violated in the future.
Teaching expressive reading in literature lessons makes literary analysis more emotional, deepens the perception of a literary work, leads to an understanding of literature as an art of the word and causes that enthusiasm, without which a full-fledged teaching of literature is impossible.
The use of expressive reading in the process of learning their native language opens up the sound side of speech for students, demonstrates the skill of the writer, helps to understand the connection between intonation and syntactic structure, and dramatically improves the culture of oral speech. It is more expedient to teach expressive reading together with literature and language classes also because such training can take place throughout the entire school course. Mastering the skills and abilities is gradual, without creating additional difficulties for children and adolescents. For these reasons, the closest connection between the methods of teaching literature and the Russian language and the method of expressive reading is necessary.
Ways of developing the methodology of expressive reading in the Russian pre-revolutionary school. Teaching students expressive reading, that is, the ability to pronounce the text of literary works aloud, has a long way of development. It was determined by the nature of literary works, the level of development of professional art and the tasks that society set for the school.
We do not know of a school that does not teach the reading of literary texts. Already in the ancient Greek school of music, Homer and other poets were studied. The text was not just read, but recited first by the teacher, then by the student. Attention was paid not only to the correct pronunciation, but also to harmony and rhythm. The teaching of recitation was organically connected with the teaching of music. Usually both music and recitation were taught by the same teacher. Aristotle and other Greek authors testify to such a connection between music and singing and speech. In the Russian school, the teaching of oral speech and, in particular, the pronunciation of literary texts was part of the pedagogical process from the first years of the existence of the school in Russia. Old Russian literature is usually regarded as bookish, but at the same time it was at the same time sound literature.
Long before the emergence of writing and book literature in Russia, the Eastern Slavs had a rich and varied oral poetry. A. M. Gorky called her "the ancestor of book literature." Fairy tales, sayings, proverbs, lyrical and ritual songs were performed by non-professionals. Professional performers - buffoons, harp singers, storytellers stood out by the time the early feudal state was formed.
With the advent of written literature, folklore continued to develop, enriching itself with new genres and interacting with written literature. "Artistic creativity stood out among other types of creativity in oral poetry earlier than in writing, and in this sense, oral poetry as a whole stood higher than writing."
Genres such as preaching were primarily designed for oral delivery. But the teachings, and the lives of the saints, and the psalms were read aloud, and not only in the church, but also in families.
Many researchers believe that the brilliant poem "The Tale of Igor's Campaign" was read aloud. Thus, even in Kievan Rus, author's readings began.
An Orthodox liturgy is a composition in which singing is combined with speech, the latter being of a semi-melodious nature and tonally consistent with the singing. Therefore, in schools they taught semi-chanting reading.
The 17th century in the history of Russian culture is characterized by the weakening of church influence and the strengthening of "worldly" elements. Reunification with Ukraine led to a rapprochement with Ukrainian and Belarusian culture, and through them - with Western culture. There is significant progress in pedagogy, with special attention being paid to the culture of oral speech. The most interesting in this sense are the statements of two prominent writers and teachers - Epiphany Slavinetsky and Simeon Polotsky.
But even before them, certain reading rules were developed in the Russian school. It was recommended to read “clearly, cleanly, loudly”, loudly enough, but not loudly (“neither screaming loudly, nor quietly”), reciting in verse, getting air at pauses (“not a greyhound, but firmly three or four lines in spirit, and speak exactly in a line"), before reading, inhale ("every word is sealed in the spirit"). Such rules are given in the instructions (“decrees”) for reading the psalms. As you can see, the rules for the technique of speech are reasonable and close to those that we adhere to now.
Epiphanius Slavinetsky, in his essay "Citizenship of Children's Customs," indicates that one should speak in a pleasant, quiet voice, but not quietly, so as not to force the interlocutor to listen intently. Speech should not be very fast, "so that the mind does not precede."
We have the right to consider Simeon of Polotsk not only the initiator of syllabic poetry, but also secular artistic reading in Russia. In the education and upbringing of children, Polotsky attaches great importance to oral speech. He recommends that educators already in the first seven years of a child's life pay attention to the development of correct, pure speech in him, and further improve the speech of a teenager at a higher level. This is largely devoted to the collection of Polotsky "Rhymologion", which the author intended "to give young people into science, even they will be able to speak decorously."
Despite the presence of religious motives, pious instructions, Polotsky considered his works as secular.
“There I try to put rhymes,
Not so that tacos in the church would be reading,
But hedgehogs often read at home.
All greetings and other verses of Simeon of Polotsk are clearly designed to be spoken aloud. They were read by the poet himself, his students and others.
At this time, the term "declamation" first appears. The declamation replaced the singing that Polotsky counted on when creating the Rhyming Psalter. In the future, Polotsky also determined many of the rules of the new art. You must recite by heart. He expresses such a profound thought as the need for truth in art: "Let them not speak contrary to being true." The reader should convey not words, but a thought, to be "not a catcher of words, but a seeker of the mind."
Feeling the difficulty of reciting verses, the author insists on the isochronism of reading and recommends, in case of diversity of complexity, to achieve isochronism with “lungfulness and sweet singing”, i.e., melodiousness.
As you can see, Simeon of Polotsk not only introduced expressive reading into the practice of the Russian school, but also gave many methodological instructions based on the desire for truth and beauty, but truth and beauty were understood at that time in many ways opposite to our modern concepts.
An important role in the education of students' speech culture was played by the school theater. At the Moscow Academy, as well as at the Kiev-Mohyla Academy, whose experience was widely used first, school performances were not "amateur performances". They were included as compulsory classes in the pedagogical system, not only as a means of religious education and propaganda, but also for teaching students the art of speech.
The repertoire of the school theater was varied. The plays included interludes, the performance of which required characterization and vernacular from the players. The text of the plays themselves was recited. The pronunciation of prologues and epilogues was especially emphatically declamatory.
So, expressive reading entered the practice of the Russian school and the system of education in the second half of the 17th century. simultaneously with the development of syllabic versification. It was associated with theatrical art.
The reforms of Peter I led to the "secularization" of literature and schools, that is, to a significant liberation of them from church influence and their transformation into secular ones, subordinate to state interests and the interests of the ruling class - the nobility.
From the 30s. 18th century the French influence on Russian culture and literature, on the Russian theater, is increasingly affecting. The melodiousness coming from the past collides in the theater with the French manner of recitation.
The school practice includes the teaching of recitation. For an educated nobleman, the ability to recite is considered mandatory. From the 70s. 18th century the decline of classicism in Russian literature begins. At the same time, the nature of stage speech is also changing. Instead of pathos, which dominated the classic recitation, the actors strive to convey the diversity of human feelings. Young actors carry "sensibility" from the stage, move away from the French manner of recitation, realistic tendencies are increasingly manifested in their work.
The most characteristic figure of this period was Melters. The new direction influenced the declamation of students of general educational institutions. Plavlshchikov was not only an actor, but also a teacher. He taught at the Petersburg Mining Corps, where he taught rhetoric and rhetoric "according to his own style", later in Moscow he taught history at a military school and taught recitations to pupils of the Noble Boarding School at Moscow University.
The memoirs of contemporaries testify to the enormous impact of the theater on young people. In the theater, young people saw examples of speech art, which they imitated. In the same period, the first articles appeared in journals on the issues of recitation. The 19th century brought significant changes in the field of education. The liberal "Charter of Educational Institutions" of 1804, the organization of the Tsarskoye Selo Lyceum and other higher educational institutions marked a general shift in the field of education.
In literature during this period, along with the outgoing classicism, sentimentalism, romanticism, mainly Zhukovsky's poetry, is gaining more and more influence. One of the founders of the realistic trend, I. A. Krylov, also publishes his fables. Reading literary works is becoming more widespread and significantly changes its character under the influence of author's readings. A big step forward towards simplicity and naturalness were the author's readings by I. A. Krylov. “And how this Krylov reads,” one of his contemporaries admires, “clearly, simply, without any frills, and, meanwhile, with extraordinary expressiveness, every verse is embedded in memory.”
In parallel with the author's reading, actor's reading became more and more widespread. In this reading, we clearly see a change of direction, closely related to the growth of theatrical art, its evolution. M. S. Shchepkin played a major role in the development of realism in the Russian theater. The desire for national and realistic art emerged at the end of the 18th century. long before Shchepkin - in the theoretical articles of Plavilshchikov, in the work of a number of actors. But Shchepkin determined the paths of development of the Russian theater with the greatest consistency and completeness, predicting the future fifty years ahead. With him we first encounter the term "declamation" in the sense of unnatural, stilted pronunciation. He writes about foreign theaters: "Where feeling, passion should speak, there I heard recitation everywhere, the same memorized tones."
The greatest influence on the development of the art of the sounding word in Russia was exerted in the 20-30s. A. S. Pushkin. A. S. Pushkin loved the theater, he subtly understood theatrical art and clearly saw the ways of its further development. “The truth of passions,” wrote A.S. Pushkin, “the plausibility of feelings in the alleged circumstances - this is what our mind requires from a dramatic writer.” And this was said at a time when the Russian theater was still looking for ways to this plausibility. A hundred years after A. S. Pushkin, K. S. Stanislavsky will take as one of the main requirements formulated by the poet for theatrical art.
The author's readings by A. S. Pushkin indicated the ways for the further development of the art of the sounding word. One of A. S. Pushkin’s contemporaries, recalling the poet’s reading of his tragedy “Boris Godunov”, writes that instead of the grandiloquent language of the gods, a simple, clear, ordinary, and yet poetic and fascinating speech sounded (M. P. Pogodin. From the memoirs of Pushkin ). But A. S. Pushkin, apparently, read his works in different ways, poetry - somewhat sung.
Although Pushkin read in small circles, his reading aroused imitation. One can trace the influence of Pushkin's manner of reading on his contemporaries, and from them to subsequent generations. “Lev Sergeevich Pushkin,” recalls Yu. P. Polonsky, “read poetry excellently and imagined how his late brother Alexander Sergeevich read them. From this I conclude that Pushkin recited his poems as if in a singsong voice, as if wishing to convey to his listener all their musicality. This tradition of semi-chanting performance by poets of their poems was adopted by subsequent generations of poets. So, for example, I. S. Turgenev read poetry. The melody is preserved by some modern poets.
Thus, during this period, different directions coexisted and fought in acting and author's reading. The classicist Dmitrievsky, the sentimentalist Gnedich, continued to teach recitation, a new direction was determined by the reading of Pushkin, Krylov, artists Semenova, Martynov, Sosnitsky, and especially Shchepkin. All this undoubtedly influenced the staging of reading literary works at school.
In the educational institutions of this period: the gentry corps, the Tsarskoye Selo lyceum, boarding schools, institutes of noble maidens and gymnasiums, there was no literature as an independent subject, the “Russian calm” was taught, which included grammar, rhetoric and piitika. The main task was to learn to write prose and poetry. Circles and student societies were organized with the same goals. Readings at meetings of circles and societies of their own and exemplary works, as well as public speeches of students at solemn acts, which were accepted everywhere, forced teachers to pay special attention to the development of oral speech and the ability to speak publicly with the reading of literary works. Among the teachers were skillful readers, for example, Pushkin's teacher Koshansky.
Meanwhile, recitation is becoming more widespread in the pedagogical practice of educational institutions and in family education, as evidenced by the manual “Exercises in recitation for children from 8 to 10 years old” published in St. Petersburg in 1832. A collection of poems for learning by heart and reading aloud for educational purposes. The compiler included poems by both old poets and contemporaries in the manual. The author recommends some methods of memorization and cites the "experience of declamatory analysis", linking memorization by heart with teaching expressive reading. In order for the reading to be meaningful, it is necessary to pay attention first of all to the position of the poet, to understand the meaning of the phrases, to place stresses, to give the words a psychological justification. As you can see, the unknown author gives a number of very significant and correct advice.
The reaction, including in the field of education, which began in the second half of the reign of Alexander I, intensified under Nicholas I, especially after 1848, but it could not stop the development of social thought. Pedagogy also developed; albeit slowly, but the number of educational institutions grew. Despite all efforts, Nicholas I and his government failed to stifle progressive thought. In the 40s. XIX century the dominant trend in Russian literature becomes critical realism - natural school.
From this time, the history of artistic reading should begin. For the first time, public readings of poetic works are organized not in salons and living rooms, but in relatively large auditoriums. The reading is performed mainly by theater actors headed by M. S. Shchepkin. Contemporaries argued that Shchepkin "guessed and realized the secret" of the combination of play and recitation, that is, he embarked on the path of creating a special art - artistic reading. They contrasted Shchepkin's performance with ordinary acting reading.
N. V. Gogol provided great support to the emerging new art. He himself was a great reader. According to those who heard him, "Gogol read inimitably." But the speeches of Gogol the Reader were not so much important as his theoretical article "Reading Russian poets before the public." “For the education of readers,” writes Gogol, “our language also contributes, which, as it were, was created for skillful reading, containing all the shades of sounds and the most daring transitions from the sublime to the simple in one and the same speech.” Gogol recommends reading first of all poets: "Skillful reading alone can establish a clear concept of them." “To read, as it should, a lyrical work,” writes N.V. Gogol, “is not a trifle at all: for this you need to study it for a long time; one must sincerely share with the poet the high feeling that filled his soul; you need to feel with your soul and heart every word of it - and then already speak out for its public reading. This reading will not be noisy at all, not in the heat and fever. On the contrary, it may even be very calm, but an unknown force will be heard in the voice of the reader, a witness to a truly moved inner state. This power will be communicated to everyone and will produce a miracle: those who have never been shaken by the sounds of poetry will also be shaken. Precisely and in Gogol's figurative and vivid way it is said what the reader should do when preparing for the public reading of the work. But how to achieve this, how to "sincerely share with the poet the high feeling that filled his soul"? In resolving this issue, the whole essence of the methodology of artistic reading and the methodology of expressive reading.
The year 1843, when public readings of literary works began, is considered the date of the birth of artistic reading in Russia; in 1943, the centenary of this event was celebrated.
In the 40s. In the 19th century, the teaching of literature in secondary schools changed significantly. Since 1833, a section of the history of literature appeared in the program, initially representing a dry list of authors and works. Such a statement did not satisfy the advanced teachers. Gradually, the reading of works is included in the pedagogical process, and thus the question arises of how to read.
The first systematic manual for teaching the Russian language and literature was the book by F. I. Buslaev "On the teaching of the national language." In it, the author for the first time speaks about the quality of reading aloud as mandatory when studying the Russian language. F. I. Buslaev develops questions of both the methods of teaching literature and the methods of teaching the Russian language. He sets a single goal - the comprehensive mastery of the native, "domestic" language, and subordinates both work on the language and reading literary works to it. “By studying the native language, we become true partners in our people and heirs of its spirit, so that anyone educated in their own language can say: the nation is me.” According to Buslaev's "method", which he called "genetic", based "on the gradual development of the child's innate gift of speech", he strives "together with the language to form and develop all spiritual abilities." The student masters the art of reading, speaking and writing. In this combination, reading is leading. “The best and surest thing that we can draw from various pedagogical opinions about the teaching of literature in gymnasiums is that writers should be read. Reading is the basis of theoretical knowledge and practical skills and practical exercises.
Buslaev's advice is very valuable, directed against the then widespread cramming. “I only speak against learning by heart, not learning by heart. I saw people who never learned anything by heart and knew a lot by heart. The pleasure of reading and listening and then re-reading and listening again to such a thorough knowledge, which, if necessary, can easily be brought to knowledge by heart. Therefore, the teacher must guide the student how to teach by heart, must memorize together with him and thereby prevent the student from falling into a deadly mechanism. It should help him to delve into the inner connection of the work and into the content of each sentence, as a necessary link between the previous and the next.
In other words, Buslaev recommends starting the development of the text under the guidance of a teacher, so that it is based on a deep understanding of the work as a whole and each phrase. All these recommendations are very useful for the modern teacher. Buslaev is far from underestimating memorization - on the contrary, he claims: "Memory not only does not really harm the mind, but even helps it, and in children it often replaces the mind itself."
Considering learning by heart primarily as a means of developing speech, Buslaev prefers prose to poetry. “Prose should be given more attention than poetry. The poem already by its external form supports the mechanism of learning by heart and leads the student from verse to verse only formally, and not by internal connection.
It can be thought that Buslaev is limited only to "sensible", i.e., in modern terminology, logical reading. Indeed, he writes: “It is the greatest mistake to force pupils to read oratorically what they do not quite understand, this leads to mannerism and spoils the feeling by deceit.” This is a warning against melody, not emotionality. Buslaev understands the difficulties that stand in the way of full-fledged artistic reading: “Fascinating theatrical reading lies outside the duties of the gymnasium, firstly, because there are not many good readers among the teachers themselves, and secondly, dramatic reading, which still does not have positive laws cannot be the subject of rigorous science. But Buslaev hopes that in the end, students will read not only with "sensibility", but also with "feeling." The teacher "should learn to read with sense and meaning, the feeling will come by itself." We recommend a completely correct path, from our point of view: from understanding to feeling. "If a teacher can read gracefully, then his example will guide the students." As you can see, F. I. Buslaev not only substantiated the need for expressive reading, but also gave many methodological instructions for its formulation at school, although the term “expressive reading” appeared in the methodological literature later. There is every reason to consider Buslaev the first methodologist who developed the issues of expressive reading, and to attribute the beginning of the use of expressive reading in the Russian school to 1840, when Buslaev's book was published, and not to the 70s, as is usually claimed.
The second half of the 50s-60s. - the time of a great social movement in Russia, when all social issues were posed very sharply. One of the most important was the question of education. The leading idea, which was shared by all the leading teachers and writers of this period, was the idea of ​​educating a person in the broadest sense of the word.
The decisive importance in pedagogy and methodology in these years belonged to K. D. Ushinsky. Considering nationality the basis of education, Ushinsky paid great attention to the study of his native language and attached particular importance to the development of the “gift of speech” in the child. He cites German and Swiss schools as an example for Russian teachers, where “exercises in oral speech begin with the entry of the child into school and end only with his exit; in these schools they pay even more attention to oral speech than to written language. “In our schools, it is almost always forgotten that the responsibility of the teacher of the native language lies not only in writing, but also in the oral speech of the students, and that, in addition, good written speech is mainly based on good oral speech.”
Ushinsky distinguishes between two types of expressive reading: "one exclusively dedicated to logical development, the other to smooth and graceful reading." Business articles are read first, works of art are read second. “For smooth reading, I would advise the teacher to first tell the content of the selected article, then read this article aloud himself and only then force the students to read aloud what was said and read several times.” As you can see, Ushinsky, like Buslaev, recommends teaching children expressive reading by imitating the teacher. In addition to individual reading, choral reading is recommended. “If the teacher cannot sing, let him teach the children to say some prayers, poems, proverbs as a whole class: this can partly replace singing as a means of refreshing a tired and upset class.”
All other Methodists of the 60s. They also attached great importance to expressive reading, but their articles did not cover the reading experience, did not give the necessary methodological instructions. Therefore, in school practice, there were often cases of anti-artistic reading of teachers. A very characteristic example is given by one of the Smolny institutes. The teacher of the Russian language devoted part of his lessons to reading Krylov's fables. “He was always dissatisfied with the answer and showed each girl he called how to recite. The real show began. He portrayed the animals in their faces: a fox, bent over in three deaths, incredibly squinting his already slanting eyes, he uttered the words in a treble, and to remind him of her tail, he threw one arm back, waving a notebook rolled into a tube from behind. When it came to the elephant, he rose on his toes, and the long trunk was supposed to indicate three notebooks, rolled up into a tube and nested one inside the other. At the same time, looking at the beast, he either ran and growled, then, standing still, shrugging his shoulders, bared his teeth.
Ushinsky, having visited such a performance as an inspector of classes at the institute, said to the teacher: “You have probably heard a lot of praise for expressive reading, but you already have a whole idea ... It’s even somehow humiliating for the teacher’s dignity to grimace like that.” What has been described could be regarded simply as an anecdotal incident, but it does not take place in a remote province, but in St. Petersburg, where there was one of the best Russian theaters of that time, where talented artists and writers performed reading.
From the memories we know that this case is not the only one. The main reason for such facts was that the promotion of expressive reading was not accompanied by the popularization of information on the methodology of art itself and its specifics. These questions were addressed in the 70s and 80s.
During these years, manuals appeared that spoke not only about the use of expressive reading, but also about the laws of art itself. The name "expressive reading", which was used earlier, has become a generally accepted term.
The authors of books that covered the laws and techniques of expressive reading were V. P. Ostrogorsky, P. D. Boborykin, D. D. Semenov and D. D. Korovyakov. For the first time they raise the question of the need for special training of the teacher as a reader-master. Manuals on the art of reading are sent to both teachers and artists, and their authors consider expressive reading at school and artistic reading on the stage to be essentially one and the same art.
Considering the development of expressive reading in the 80s, they usually make a significant mistake: they ignore previous experience and exaggerate the influence of Western authorities on Russian pedagogy. Here, first of all, they have in mind Legouwe's book "Reading as an Art", published in Russian translation in 1879, and do not take into account the fact that Legouwe proceeds from the formalist trend that dominated the French theater. The Russian theater, on the other hand, was already firmly on a realistic position and in this respect was far ahead of the French. In addition, as we have seen, in Russia since the 40s. develops independently, to a large extent independently of the theater, artistic reading.
In 1872, P. D. Boborykin's book "Theatrical Art" was published, and in 1882 - "The Art of Reading". The last book is a lecture given for the benefit of students of pedagogical courses. Having drawn a disappointing picture of the state of expressive reading, the author emphasizes the contrast between the general development of the student and his ability to read. He points to the need to explore the pedagogical side of this issue as an independent one, that is, to create a school methodology for expressive reading based on the laws of professional art. Boborykin highlights questions about the role of the teacher, about the individual approach to students, about the correspondence of the material to the personal qualities of the performer, about the importance of expressive reading, about familiarization with "exemplary works".
The works of V. P. Ostrogorsky had a great influence on the development of the methodology of expressive reading and on the use of expressive reading in Russian schools. Stoyunin's student and successor, V.P. Ostrogorsky, paid special attention to the emotional side of the perception of a work of art and to aesthetic education.
The school must certainly educate aesthetic taste, good feelings and a vivid imagination as a solid basis for further human activity, Ostrogorsky believed. From this position, he approached expressive reading. Ostrogorsky considered it expedient to introduce expressive reading into the program as a special subject, as well as to use it in the classroom and in extracurricular work in literature. Especially popular was his book Expressive Reading, which went through many editions. The author complains that "the ability to read decently is lost in the upper grades." The book proposes a certain system for teaching expressive reading: the technique of speech, the logic of speech, and then "the study of different tones", that is, work on emotional-figurative expressiveness. This sequence is observed by most authors, including modern ones.
Along with Ostrogorsky, other talented methodologists spoke on the issues of expressive reading. In 1886, V.P. Sheremetevsky, in the article “The Word in Defense of the Living Word,” opposed an overly detailed analysis - “catechesis”, which prevents students from perceiving a work of art in its entirety. If V.P. Ostrogorsky in his works had in mind mainly the senior classes of the gymnasium, then V.P. Sheremetevsky paid the main attention to the junior classes. He combines expressive reading with explanatory, strives for classes to be "conscious reading" and "a school of the living word." He believes that “a more practical and more interesting goal for both students and teachers should be recognized as the preparation for expressive reading.” Shcheremetevsky gives an example of such a lesson, where A. Fet's poem "Fish" is analyzed for subsequent expressive reading. In this lesson, the teacher introduces students to pauses, logical stress, and, finally, emotional-figurative expressiveness. Classes are based on the flair of the language, colloquial speech and on the imagination of students. It is interesting to note that Sheremetevsky follows approximately the same path as modern teachers who are guided by the Stanislavsky system. Sheremetevsky tells the students: "Let's try to imagine ourselves in the place of a fisherman", that is, in modern terminology, we will put ourselves in the proposed circumstances. Sheremetevsky came close to the methods used by the modern school.
The works of Ostrogorsky and Sheremetevsky significantly enriched the methodology of expressive reading and contributed to the introduction of expressive reading into school practice. But the most solid work on the issues of expressive reading in this period must be recognized as the book by D. D. Korovyakov “The Art and Etudes of Expressive Reading”. If Ostrogorsky's book is designed for teachers and students, then Korovyakov is addressed only to teachers, believing that expressive reading without a guide is impossible. It is necessary to note the independent position of Korovyakov, independent of foreign authorities. Recognizing that their works, especially Leguve, whom Korovyakov repeatedly quotes, contain many indications that are also suitable for a Russian teacher, D. D. Korovyakov writes: to approach the issues of Russian recitation with ready-made theoretical standards, there is a more direct and correct way, ”and he recommends the disclosure of the theoretical foundations and ideals of Russian expressive reading. D. D. Korovyakov thoroughly and for the most part correctly interprets the issues of orthoepy, diction and logic of speech. In these matters, his observations and conclusions remain of interest to us as well. Thus, having considered the attempts of contemporary authors to establish a firm correspondence between logical stresses and grammatical categories, Korovyakov comes to the conclusion that "the desire to determine the place of stresses in a grammatical way does not lead to any results." Korovyakov speaks absolutely correctly about the relativity of pauses and about logical perspective. “Pauses on punctuation marks, like all other methods of logical toning, obey the general, main law of the logical perspective, according to which everything that is most important is toned with a greater significance of all methods, and everything less important causes the use of a less significant degree of toning methods, in a gradual ratio and strictly parallel direction.
The situation is different with Korovyakov's emotional-figurative expressiveness. Here Korovyakov, following some Western authors, is trying to establish some standards, using rather arbitrary terms from other art forms, primarily the term "tone". It has 12 "kinds of tones". This contradicts what the author says a few pages below: "No theory is able to calculate and indicate all their (intonation) diversity and shades, just as it is impossible to enumerate all the shades of the movement of the human soul."
All the theorists of expressive reading were good readers and convincingly confirmed the theory by their own practice. The situation was different in most schools. The same Korovyakov testifies: “Even those of our teachers of Russian literature who assign a certain place to expressive reading in their classroom studies are limited to superficial scattered remarks and amendments to student reading, without a definite system and connection, which is understandable by the novelty of this matter and the absence of developed the practice of teaching methods. Because of this, the best intentions of teachers remain fruitless and the level of expressive reading continues to be extremely low.
Expressive reading in the Russian pre-revolutionary school. In the 90s. In the 19th century, a new direction appeared in Russian literature, which gradually intensified, took shape, and later received the name symbolism.
Symbolist poets opposed themselves to the writers of the 60s and 70s, believing that the latter were too rationalistic, while poetry was a kind of magic, comprehended only by intuition, feeling. They also believed that their poetry required a special presentation in reading. They were not satisfied with the reading of actors who, having been brought up on the literature of critical realism, continued to look in poetry, first of all, for an idea, meaning and, according to the symbolist poets, were not able to convey the musical side of speech. Poets themselves perform readings of their works. Poetry evenings are gaining wide popularity.
“The majority,” a contemporary testifies, “read poetry in a calm, measured voice, highlighting rhythm and rhyme and letting the content reach the minds of the listeners in its own ways.” From our modern point of view, neither acting reading nor poetic reading can be unconditionally accepted: the musicality of the verse must reach the listeners, but not obscure the content and imagery of the work.
The theory of expressive reading makes a significant step forward in these years. Yu. E. Ozarovsky should be recognized as the leading methodologist for this period. Continuing in many ways Korovyakov, Yu. E. Ozarovsky expands and deepens the method of expressive reading. In his main book "Music of the Living Word", Yu. E. Ozarovsky gives "the foundations of Russian artistic reading", relying on the theoretical heritage and his extensive teaching experience. He talks about methods for developing the imagination, believing that the teacher should “direct the student’s artistic imagination” towards the content of the work being prepared for reading, reproduce the author’s working conditions, his state of mind, and the environment.
Yu. E. Ozarovsky attaches great importance to the ability of the reader to take a lively part in everything that happens on the pages of the work being performed. The “I” of the reader, in his opinion, should not obscure the “I” of the author, but merge with him. In the book by Yu. E. Ozarovsky, the concept of the "face" of the reader is introduced. Artistic reading is characterized as creativity, the success of which is determined by love for the work.
Yu. E. Ozarovsky advocates realism in recitation, that is, a way of reading that is close to "ordinary colloquial speech."
Yu. E. Ozarovsky also speaks in detail about how to conduct literary and declamatory analysis so that the sound embodiment of the text becomes creativity. He advises first to get a grasp of the text, to recreate the general psychological character of the work, to formulate it as briefly as possible, and to introduce this psychological connotation into the reading. Further, depending on the nature of the text, the performance analysis will go according to one plan or another. The book contains plans for the analysis of literary works of various genera and types.
Calling his main work “Music of the living word”, Yu. E. Ozarovsky reflected not only his point of view, but also the trend of the times. As already mentioned, the symbolists give primacy to the musical side of speech. K. S. Stanislavsky attaches great importance to the musicality of speech, Yu. E. Ozarovsky unconditionally brings speech closer to music, he writes: “We will have to recognize the presence of the most important musical elements in declamatory performance. For, apart from phonetic sounds, all voice sounds of speech are periodic changes in tone in height, strength and duration in the presence of pauses that impart a certain rhythm to the course of speech, ... connected through a musical relationship with melody, the beginnings of harmony and adorned with the beginnings of timbre, give us a complete and convincing picture of musical manifestations. Ozarovsky distinguishes between the music of thought, where he refers the logical melody, and the music of feeling - the timbre.
Contrary to Korovyakov and Ostrogorsky, who believed that emotional-figurative expressiveness is available only to talented students, Ozarovsky is confident that expressive reading is available in full to the average student, subject to systematic studies.
Ozarovsky's observation of accentuation is extremely important. He establishes a "logical hierarchy", i.e., different strengths of emphasis on words in a phrase. So he quotes a phrase from Borodin, denoting the strongest accent with a unit: “Tell me, uncle, it’s not for nothing that Moscow, burned down by fire, was given to the Frenchman?” No less interesting is Ozarovsky's observation of the connection between timbre and facial expressions. He claims that timbre is born in facial expressions. “We noticed,” writes Ozarovsky, “that phrases have never been colored with such genuine timbres in recitation lessons, as it was seen in mimicry lessons.” We now know very well that mimicry itself must be engendered by sincere experience, otherwise it turns into a grimace.
Ozarovsky's advice is not of a narrowly technical nature. He recommends oral and written literary creativity, the refinement of observation by studying the surrounding life, communication with nature, travel. In other words, he makes the development of reading skills dependent on the general and aesthetic development, coming close to the idea of ​​the need for harmonious all-round development, although he does not formulate this position.
In the pre-revolutionary years, many works devoted to the art of the sounding word appeared. Many of them had in mind not only professional art, but also school expressive reading. There were also works specially dedicated to the school. Of these, the most interesting is the book by N. I. Sentyurina “The Living Word of a Child in Expressive Reading and Oral Speech”. Unlike Sheremetevsky, whom Sentyurina largely follows, she does not combine expressive reading with explanatory reading provided for by the program, but contrasts expressive reading with explanatory reading. According to Sentyurina, explanatory reading “scatters and diverts his (child’s) attention from what is being read. During the lessons of expressive reading, children learn only those thoughts that the author put into his work, live with the impressions inspired by this work. N. I. Sentyurina offers a whole system of classes in the lower grades of gymnasiums, based on the experience of her predecessors and the scientific work of a number of psychologists. Classes in expressive reading, in her opinion, correspond to the very nature of the child. “Nature itself,” writes Sentyurina, “shows the way: let us follow her generous instructions and trust in the hearing, the living word and the healthy imagination of the child, as powerful means for his mental and moral development.”
Thus, during the period under review, the theory of artistic and expressive reading was enriched by a number of very serious works. A lot has been done to introduce expressive reading into the practice of schools. In some educational districts, expressive reading has been introduced as a special subject and programs have been developed. The use of expressive reading in literature classes also expanded, which was greatly facilitated by the introduction of "immanent" reading into programs. Among the teachers were also masters of reading, for example, the teacher of the 1st Vyazma women's gymnasium M. A. Rybnikova. But even she did not conduct systematic classes in expressive reading in the classroom, but transferred them to circle work. In the majority of gymnasiums, expressive reading was not conducted, or it was conducted ineptly and without a system.
Expressive reading in the Soviet school (pre-war period). After the revolution, the task arose to decisively and quickly raise the cultural level of the people. In this regard, from the very first years, attention was paid to the culture of oral speech, the ardent propagandist of which was the first people's commissar of education, A. V. Lunacharsky. In Petrograd and Moscow, two special higher educational institutions were opened - institutes of the word, artists and poets performed before a wide audience.
In the 20-30s. artistic reading developed as an independent art form. Three masters played an important role in its development, each of whom represented a special direction in the art of the sounding word. A. Ya. Zakushnyak considered his art to be a continuation of the tradition of folk storytellers and narrators. “New and new facts convinced me,” said Zakushnyak, “of the powerful impact of the sounding word (not oratory, not theater, but literature in live speech) on the mass listener.” He called his performances “story evenings”, he really seemed to be telling the text, but, according to our terminology, it was an artistic reading of prose, since the text was not freely retold by the artist, but reproduced by him literally. The art of VN Yakhontov was completely different. He called his art "one-man theatre". Yakhontov usually performed with specially composed compositions, which included, in addition to poetry and fiction, newspaper articles and documents. All this heterogeneous material turned into a single artistic alloy. The gesture, his speaking hands, was very important in Yakhontov's speeches. In his performance, the artist used some accessories: costume elements, furniture and objects, such as a cane. Yakhontov's performance was a theatrical performance, although very different from the usual performance.
The third master, who played a major role in the development of artistic reading, was V. K. Serezhnikov, the successor of the art of recitation, who, in accordance with the spirit of the times, created its new form - collective, choral recitation. The Theater of the Reader Serezhnikov, in contrast to the theater of one actor Yakhontov, was a comparatively large group. Serezhnikov himself connects the emergence of collective recitation with the trends that dominated art in the pre-revolutionary period. "The whole atmosphere of the pre-revolutionary period was saturated with collectivist aspirations," Serezhnikov recalls. But in addition to the ideas of “sobornost”, which were often expressed in theatrical literature of the pre-revolutionary years, Serezhnikov’s success is also explained by the fact that collective recitation combined reading with music, which was also characteristic of that period. Serezhnikov defines collective declamation as a literary and musical declamatory art built on the principle of polyphenia.
This diverse practice of artistic reading should have influenced and indeed influenced the production of expressive reading in school. Leading teachers, attending the performances of Zakushnyak, Yakhontov and Serezhnikov, learned from them and, to the best of their ability, transferred what they learned into their teaching practice.
The school itself during this period was in the stage of organization and continuous searches. But even in this extremely difficult situation, the importance of expressive reading was recognized by both the methodologists and the directives that determined the foundations of the new labor school. The very work was understood very broadly. The explanatory note to the Russian language curriculum for 1918 stated: “In the field of teaching methods, the labor school puts forward such a powerful and valuable factor as labor. Of course, labor as a teaching method, especially at the first stage of the new school, must be understood in relation to the horizons of students, in the broadest sense of the word, merging, on the one hand, with the field of artistic creativity and, on the other hand, expanding to the concept of free self-activity of students in relation to the educational material being passed. Listing the types of classes, the note calls familiarity with the rules of diction, basic oratory techniques, expressive reading, storytelling, recitation. Even at a time when the existence of literature as a special subject in the school curriculum was called into question, recitation was of great use, since along with the decrease in the role of literature, extracurricular and social work of the school increased. Schoolchildren performed with individual and collective recitations, with dramatization and dramatizations.
If the practice of using expressive reading was wide and varied, then theoretical works on the professional art of the sounding word and school expressive reading did little to give the teacher. The teacher continued to use the books of Ostrogorsky, Korovyakov and Ozarovsky.
The resolution of the Central Committee of the All-Union Communist Party of Bolsheviks of September 5, 1931 on the school and subsequent directives radically changed the school policy. The leading role of the teacher in the pedagogical process was restored and the lesson was recognized as the main form of education. By this time, socialist realism was becoming the defining trend in Soviet literature and art.
An important step forward in the field of expressive reading was the articles by V. G. Artobolevsky in the journal Russian Language at School. This appeal of the great master directly to the teachers is very significant. The author characterizes his task as follows: “I did not set myself the goal of giving methodological guidance ... I am not talking about how to teach reading, but about what you need to know about reading ... Therefore, I did not limit myself to a range of issues related to expressive reading in the narrow sense (“logically expressive”), which is most consistent with the tasks of schooling, but touched in part on the specific issues of reading as an art that are important for the teacher in circle work and in his personal practice as a reader.
Almost simultaneously with Artobolevsky, M. A. Rybnikova tried to answer the methodological questions of expressive reading. The sixth chapter of her "Essays on the Method of Literary Reading" talks about how to teach expressive reading to schoolchildren. Expressive reading for M. A. Rybnikova is not a technique or method of teaching, but an art, with the help of which the main goal is achieved - preparing a young person for life and creative work. This broad view of literary education continues the tradition of Ushinsky, Ostrogorsky and Sentyurina. It is very important that Maria Alexandrovna was not only a methodologist-theorist, but also an excellent reader. What explains the enormous impression that Rybnikova the Reader made on her listeners? Here, first of all, her sincere interest in life, people, nature and their reflection in literary works affected. This gave her performance warmth and warmth. The deep penetration of the reader into a literary work and love for the word affected. But Maria Alexandrovna also had purely reading qualities. She saw what she read about, and this vision was conveyed to the listeners. An extremely important role in Rybnikova's reading was played by her innate musicality. “Maria Alexandrovna perfectly mastered the musicality of speech,” recalls one of her regular listeners. - The importance she herself attached to this side of the reader's work can be judged from the words she said after the performance of "Taras Bulba" by A. Ya. Zakushnyak that excited her: "Outside of musicality, there can be no art of artistic reading." From here came the perfect sense of rhythm. "The reading of Maria Alexandrovna stood comparison with the performance of the best masters of the sounding word."
Rybnikova's reading practice helped her solve very concretely and convincingly questions about the use of expressive reading in the process of studying the Russian language and literature. Rybnikova used expressive reading both in her lectures and in the open lessons she gave for teachers. In her views on expressive reading, Rybnikova largely followed Ozarovsky, but took into account the specifics of the Soviet school and the current program. Therefore, her advice is closer to practice and can be more easily used by the teacher. The initial position of the methodologist is extremely important. The teacher is recommended to learn from Zakushnyak, Yakhontov, Zhuravlev. Thus, it is clear that Rybnikova considers expressive reading as artistic reading. This confirms her terminology. Calling school reading sometimes expressive, sometimes artistic, she clearly considered these terms to be equivalent.
Unlike her pre-revolutionary predecessors, although Rybnikova recommends devoting several lessons specifically to expressive reading, she transfers most of the work to the lessons of the Russian language and literary reading.
A step forward is also the recommendation to engage in expressive reading in full, and not just logical. Circle classes are also recommended, but these are not basic, but auxiliary classes. The help of such a circle can be used both in literature lessons and in evenings held at school. The main use of expressive reading is in the classroom. Rybnikova shows which elements of expressive reading should be acquired in the process of language lessons, and which ones in literary reading lessons.
“The expressive reading of the teacher usually precedes the analysis of the work and is the main key to understanding its content. The expressive reading of the student concludes the process of analysis, sums up the analysis, and practically realizes the understanding and interpretation of the work.
M. A. Rybnikova did not create a complete methodology for expressive reading and could not create it, since the theory of the art of reading had not yet determined the principles of methodology borrowed from the system of K. S. Stanislavsky, the expediency of using which is confirmed in psychology and physiology. Rybnikova did not consider her recommendations as a complete methodology. She considered the development of a technique for expressive reading to be a matter of the future. She complained that “the ground is not being prepared for the creation of a methodology for teaching expressive reading at school. This training should be planned, systematic, ascending in degree of difficulty; it should be such work on the word, which will give its result, first of all, in the approach to literature, as well as in raising the general speech culture of our country.
The decade from 1931 to 1941 was marked by significant progress in the formulation of expressive reading: in the works of Artobolevsky and Rybnikova, teachers were given valuable methodological recommendations, there were circles in which philologists studied the art of sounding words under the guidance of masters. Thanks to the radio, artistic reading received millions of listeners. In April 1936, a special conference on expressive reading was held in Moscow. At it, after the report of V. V. Golubkov, teachers and students of Moscow schools showed high standards of expressive reading. Still, expressive reading remained the lot of a small minority.
Expressive reading in the Soviet school (post-war period). The war naturally delayed the further development of expressive reading. But already at the end of the war, at the January meetings of 1944, one of the leading questions was the question of improving the culture of oral and written speech. "Schools were asked to create a united front in the struggle for a culture of speech with the leading role of the philologist and the support of teachers of other subjects ... The teacher's speech should become a model for students."
With the beginning of peacetime, the development of the theory of expressive reading was resumed and measures were taken to introduce expressive reading into school practice. The curriculum of pedagogical institutes for the 1944/45 academic year was introduced as a mandatory workshop on expressive reading and the culture of oral speech - 30 hours.
In the first post-war years, two directions were clearly outlined in the methodology of expressive reading: philological and artistic-psychological. The first of these directions considers expressive reading as something different from the art of a sounding word and focuses on speech intonation as a phenomenon of linguistics. The second - considers expressive reading as artistic reading in school conditions and relies on the theory and practice of this art, based on the provisions of the system of K. S. Stanislavsky.
A prominent spokesman for the philological direction was the associate professor of the Russian language department of the Moscow State Pedagogical Institute. V. I. Lenin I. Ya. Blinov. In his book, Blinov writes: "In-depth and systematic work on speech obliges us to search, mainly philological." He contrasts expressive reading with artistic reading. Claiming that works of art are the best material for studying intonational expressiveness, Blinov makes a reservation: “But this circumstance, in itself, of course, does not make our work only a manual on “artistic reading”, that is, the genre of art that is most suffers from the lack of a correct philological instinct and an objective orientation in speech intonation, as a phenomenon of the Russian language, among the performers of the genre and among the persons who direct them. Simultaneously with this initial position, Blinov tries to rely on Stanislavsky's system and repeatedly quotes the latter. The result is a very obscure eclecticism.
In a different direction was the development of questions of expressive reading at the Institute of Teaching Methods, and since 1947 - at the Institute of Artistic Education of the Academy of Pedagogical Sciences of the RSFSR. The Expressive Reading Sector of this institute, together with the Speech Laboratory of the Institute of Psychology of the APN of the RSFSR, set as its task to answer the question "how can everything that Stanislavsky said be adapted for readers."
The philological direction that dominated the Pedagogical Institute. V. I. Lenin and some other institutes, led to the fact that the workshop on expressive reading and the culture of speech did not satisfy students, and the Ministry of Education of the RSFSR since 1954 recommended it as an optional subject. But in 1959, a mandatory workshop on expressive reading was introduced with a doubling of the number of hours. The program proceeded from the position that expressive reading is artistic reading in school conditions, and was based on the Stanislavsky system.
This growth in the importance of expressive reading is explained by the need to look for new ways in teaching literature and language. After the 20th Party Congress, school curricula and teaching methods were thoroughly revised, including methods for teaching literature and the Russian language.
During these years, the professional art of the sounding word acquired the widest scope. Special evenings of artistic reading have become commonplace. Readers very often spoke directly in schools. But the main thing is that radio and television opened a million audience to the readers. An important step was a positive decision on the application of the provisions of the Stanislavsky system in the art of reading, despite the fact that there is a significant difference between the actor and the reader-narrator. “The reader shows the image for the sake of his task, with his attitude - conveying and emphasizing only those features of the image that are needed to confirm his thought for his task as a storyteller. No matter how convincing, lively and artistic the presentation of the reader may be, the reader never transforms into an image. This is the fundamental difference between the actor's and the reader's transmission of the image.
The methodologists who worked on the issues of expressive reading at school also came to the conclusion that it was expedient and necessary to build the methodology of this art on the basis of the Stanislavsky system. “The method of expressive reading at school needs to be revised. It must meet the requirements of the realistic art of the artistic word, which developed and determined its theoretical positions in the Soviet period.
In the late 50s - early 60s. There has been a lot of discussion about the teaching of literature. The most striking were the performances of A. T. Tvardovsky. Even at the XXII Congress of the CPSU, Tvardovsky said: “One of the amazing features of art is that if the artist himself is not excited, not truly shocked by those ideas, images, pictures of life with which he fills his creation, then ... the reader, the viewer or listener, perceiving this creation, also remains cold, it does not affect his soul. Proceeding from this basic position, Tvardovsky at the teacher's congress addressed the language teachers: “It's all about love for work. You can’t teach to love what you yourself don’t love or don’t know how to love.” Love for a literary work is transmitted in the process of reading. Tvardovsky does not reject the analysis of the work at all. He is against cold, rational analysis. In solidarity with S. Ya. Marshak, he says: “Happy is the teacher who manages, starting with simple reading, to move on to serious and thoughtful reading and even analysis of the work, without losing the pleasure that a work of art should give people.”
The discussion about teaching literature continued. The cause of anxiety and dissatisfaction was the indifference of schoolchildren to literature, especially classical literature. Some methodologists have proposed abandoning historicism and even analysis, which, in their opinion, can be replaced by simply expressive reading, forgetting that expressive reading itself, being primarily conscious reading, requires preliminary analysis. Others defended historicism and analysis. But both of them paid special attention to expressive reading.
Thus, one of the most experienced methodologists notes in his article that "in recent years, the culture of expressive reading has fallen dramatically in school." Emphasizing the decisive importance for the success of teaching literature of reading literary works, the author points out: “But this should be such reading that would contribute to the maximum extent to emotional and aesthetic perception, that is, expressive reading. Which of the experienced language teachers does not know that the most beloved teacher of literature is not the one who repeats the pages of the textbook, but the one who sincerely, truthfully, emotionally knows how to read, or, when appropriate, recall poetic passages or pieces from prose. This is one of the most important indicators of the skill of a teacher of literature. This is where the very thread often begins that pulls the love of schoolchildren for literature, and the passion for reading, and the desire to know by heart, to imitate the teacher in his ability to read expressively.
Extremely important for strengthening the artistic and psychological direction in the method of expressive reading was the change in the position of the oldest and most authoritative methodologist in literature, V. V. Golubkov. In his repeatedly reprinted “Methods of Teaching Literature”, V. V. Golubkov always devoted a significant place to expressive reading. But in his interpretation, he proceeded from the books of Leguve, V. P. Ostrogorsky and D. D. Korovyakov, referring to them, repeating their doctrine of tones.
In the Methods, published in 1962, the author radically restructured the sections devoted to expressive reading, taking into account both the latest works on expressive reading and changes in the most professional art of the sounding word. Two years before the release of the “Methodology”, in a report at a scientific conference on teaching literature at the Institute of Methods of the Academy of Pedagogical Sciences of the RSFSR, Golubkov said: “The first question put forward in the teaching of literature and related to its specifics is the strengthening of the direct perception received by the reader from the work, during the initial acquaintance with the text, in order to maximize the effectiveness of the cognitive, moral and aesthetic impact of literature. The question of the direct perception of the text is connected with reading. "In terms of properly organized direct perception of the text, the question of the comparative value of various reading methods is being decided." In accordance with this view of direct perception, Golubkov significantly expanded the sections on expressive reading in Methods of Teaching Literature (1962) and revised the methodology. He talks about the expressive reading of the teacher and separately about the expressive reading of students. In addition, he turns to expressive reading in the study of lyrical and dramatic works and, finally, introduces the sections "How to read Pushkin" and "How to read Gogol".
All this information is preceded by a brief historical sketch, where Golubkov, quite correctly, in contrast to those who wrote before him, who began the history of expressive reading from the 70s. XIX century, states: “Expressive reading in high school is very old. In its elementary form, it originated already at the time when literature first entered the school as a subject of instruction. The method of expressive reading in the history of the school has changed depending, on the one hand, on a change in views on the teaching of literature, and on the other hand, on the development of theatrical and performing arts. After tracing the history of expressive reading in connection with the history of the Russian theatre, Golubkov dwells on the works of Korovyakov, criticizes the theory of tones, and concludes: "In principle, it was close to what lay at the basis of the old stage declamatory reading." “A new, third period of stage art begins with the first productions of the Art Theater and with the “Stanislavsky system” ... In contrast to the prevailing “art of performance”, K. S. Stanislavsky put forward the “art of experiencing” and demanded efficiency, purposefulness, sincerity from playing on stage and simplicity."
Pointing out that the principles of the Art Theater are accepted by the readers, Golubkov recommends that the teacher also adhere to these principles. He considers it especially necessary to take from Stanislavsky: “1) the study of the text, the maximum getting used to its ideological and emotional content,
2) social orientation, the effectiveness of expressive reading,
3) a clear understanding of the "tasks" that should be put before the listeners when reading each episode and individual scenes.
For complete clarity, Golubkov considers it necessary to dwell on the question of determining tone: “Is it necessary to clarify and accurately designate intonations in preliminary work on the text? It is better not to do this in order to avoid the danger of coarsening your feelings and falling into a pattern.
Thus, in his book, V. V. Golubkov answered a number of essential questions of the methodology of expressive reading and indicated the absolutely correct direction for its further development.
At the same time, the role of expressive reading was also defined in the directives of the Ministry of Education of the RSFSR. Thus, in the methodological letter of the Ministry dated October 21, 1961, it is said: “Reading literary works is one of the most important methods for studying literature in the classroom. With expressive reading of poetry and prose, artistic images are revealed especially fully. Lively speech, rhythm, intonations are capable of conveying to the listener such shades of knowledge, such qualities of an image that are lost when reading “silently” ... Without expressive reading, there can be no full-fledged study of literature. As an implementation of this provision, in 1961, expressive reading was introduced into the school curriculum as a mandatory part of it, which is considered as part of the "Speech Development" section. This includes special lessons on expressive reading.
But the use of expressive reading is mandatory in the process of studying both literature and the Russian language. Physiology and psychology of expressive speech and reading. The first question to be addressed by physiology and psychology is the question of who should be taught expressive reading? Pre-revolutionary and some Soviet methodologists believed that all students should be taught only logical (“intelligent”) reading, and only the most gifted with emotional-figurative reading. Our school is massive, and in modern manuals no one proposes dividing children into gifted and non-gifted. But in practice, such a division is carried out. Usually in the class a few people read expressively, the majority read inexpressively, and the teacher puts up with this.
Therefore, the question becomes more relevant: is it possible to teach expressive reading in full to all children and is it necessary? In order to answer this question, let's look at how modern science considers such phenomena as abilities, giftedness, talent, intuition and temperament.
It is impossible not to see that there are capable and incapable children. Modern psychology does not deny differences in abilities, but does not consider them innate. Anatomical and physiological features can be congenital, i.e., the inclinations that underlie the development of abilities, while the abilities themselves are the result of development. Abilities are not only manifested in activity, but, most importantly, are created in this activity.
Therefore, we must teach expressive reading to all children so that they develop the corresponding abilities. Speaking about the specifics of artistic creativity, they usually point to the role of intuition in it. It is impossible to deny the role of intuition in artistic creativity. Intuition is understood by our modern psychology as a special kind of thought process, different from discursive thinking, verbally formulated, at least in inner speech. This thinking is connected with what I. P. Pavlov called "a bright spot of consciousness." Ordinary thinking proceeds within this spot. But outside of it, processes are also taking place that take place without conscious control, and therefore the results of this thinking seem sudden, unexpected. But this involuntary, suddenness of intuition is apparent. In fact, a sudden "insight" is prepared by the previous, sometimes very long and intense mental work. Thus, if the intuitive element of creativity itself does not lend itself to conscious influence, then the process of thinking that prepares intuition is completely in our power. Often, when performers are divided into gifted and non-gifted, they refer to temperament, which is innate, as it is determined by the natural characteristics of the nervous system. Experimental studies have shown that the dynamics of mental activity is determined not only by temperament, but also by other personality traits and situations (primarily interest). The same performer conveys the emotional overtones the more vividly, the more he is interested, passionate about the content. Temperament is not absolutely constant. “Based on the available experimental facts,” the researcher asserts, “it can be reasonably asserted ... that by means of appropriate training methods and techniques it is possible to increase the strength of excitation and inhibition, as well as the degree of their mobility.”
As you can see, individual psychological characteristics, in which talent and giftedness are expressed, are not completely innate, but develop as a result of activities and exercises. Therefore, teaching expressive reading is both possible and necessary for all children. In this respect, the principle of universality, which underlies our system of education, is consistent with the provisions of physiology and psychology. Previously, no one can judge the giftedness of the child. But even the most "ungifted" we have no right not to involve in expressive reading, since the skill in the intonation-logical analysis of literary works and their performance, i.e. work on expressive reading, will undoubtedly contribute to the overall improvement of speech.
The effectiveness of speech. Modern science considers speech as one of the types of human activity - “speech activity”, and individual statements as “speech acts”. In phylogeny, language arose and developed as a means of communication, a means of influencing other people. In ontogenesis, speech also develops as a means of influencing others; the child, pronouncing “ma” (mother), not only refers this word to a specific person, but wants to induce this person to certain actions. This "ma", depending on the situation, means: "Mom, come to me" or "Mom, I'm hungry", etc.
The purposeful action of a word determines the accent division of the phrase, the variety of intonations, the timbre coloring of the voice, that is, all the means of phonetic expressiveness of speech. Meanwhile, when answering, and especially when reading by heart often, schoolchildren have a mechanical, inactive pronunciation of words. This school habit must be overcome. It is necessary that the student, pronouncing the words of the text, strives to convey the mastered and specific content (thoughts, images, assessments and intentions of the author), so that the listeners understand and in a certain way evaluate what is said in the text, i.e. it is necessary that the reader truly and purposefully communicated with the audience. This is a very important activation technique, which, on the one hand, increases the meaningfulness and expressiveness of speech, and on the other hand, sharpens the attention of the listeners and thereby contributes to memorization.
Speech and thinking. Thinking as a socially conditioned, psychological process of searching for and discovering something new, a process of indirect and generalized reflection of reality in the course of analysis and synthesis is inextricably linked with speech. It is possible to develop thinking and speech only in unity. Thinking develops in practical activities, including speech. Psychologist L. S. Vygotsky believes that thought is not expressed, but is accomplished in the word. Consequently, thinking and speech are so mutually conditioned that without the participation of speech there is no possibility to develop thinking.
Speech and thinking enter into special relationships in the process of inner speech. Inner speech differs not only from loud speech, but also from whispered speech. It is characterized by hidden articulations, from which weakened kinesthetic stimuli enter the brain, sufficient for a normal thought process. Then inner speech is characterized by folded judgments. The idea is expressed briefly, sometimes in one word, which is explained by the strong associative connection of this word or phrase with detailed verbal statements. Thanks to this connection, one word or phrase can replace and signal a series of extended statements.
Thinking is usually divided into conceptual - abstract and concrete - figurative. In reality, both types of thinking are interconnected. Understanding is based on the connection between the abstract and the concrete, the general and the individual, and is not achieved without this connection. Given this mutual connection, the division of thinking into conceptual and figurative has a psychological basis and practical significance. It is associated with a very important process for creativity - imagination.
Figurative speech. Imagination is the creation of a new image, idea, idea, which is then embodied in a material thing or in practical activity. In our field, this is the creation of an image or representation that will be embodied in a sounding word. Without imagination, no artistic creation is possible. The physiological basis of imagination is the formation of new combinations from those temporary connections that have already been formed in past experience. Therefore, the richer the experience, the greater the scope for imagination. The observation of what takes place in life is the raw material of the imagination. The process of imagination differs from simple memory in that, as a result of establishing new connections, we obtain an image that was not in the past experience. This is what happens in literary reading, where certain features of the image given in the poetic text evoke an image that is constructed from what we had in our experience. The absence of the necessary elements in the memory of the speaker or perceiver makes it difficult for the image to emerge. This, for example, explains the difficulty of our schoolchildren's perception of classical pre-revolutionary literature.
When we read or listen to a literary work, images in our imagination arise involuntarily, without much effort on our part. At the same time, they are to varying degrees clear and precise. The reader or narrator consciously seeks to conjure up concrete and vivid images, or, as they are often called, visions, in the minds of the hearers. But this is possible only on condition that the speaker or reader himself clearly and with all the details sees (imagines) what he is talking about. In the imagination of the reader or narrator, a film of visions should pass, as it were, which he deploys to the audience. In this sense, one should understand the recommendation of K. S. Stanislavsky to speak "not to the ear, but to the eye." Recreative imagination expands the personal experience of the speaker and the listener. Imagination, which is of great importance for the implementation and organization of activities, is itself formed in various activities, including artistic reading.
Emotionality of speech and reading. “Read with feeling,” the teacher sometimes says to the student and does not understand that he sets an impossible task for the student and pushes him onto the wrong path of playfulness and pretense. The area of ​​feelings is an emotional sphere and does not lend itself to direct control.
The emotional reaction of a person is a complex reflex act in which all of his, inextricably linked motor and vegetative components participate. "Emotion arises somewhere between a need and actions to satisfy it." The decisive role in triggering emotional reactions belongs to the cerebral cortex, where the integration of signals from the internal environment of the body with motor signals takes place. Thus, emotions, like other mental processes, are regulated by the centers of the brain. Human emotions are expressed in a variety of motor acts - gestures, facial expressions, expressive body movements, changes in voice and speech. The vegetative reaction, indicating emotional arousal, manifests itself in “changes in breathing, heart rate, blood pressure and vascular volume, skin temperature and its resistance to electric current, sweating, pilomotor reaction (“goosebumps”), galvanic skin reflex, pupil diameter, movements of the stomach and intestines, salivation, secretory function of the endocrine glands, cellular and chemical composition of blood, metabolism. This complex process is not amenable to volitional order. The vegetative part of emotion cannot arise at our will.
Emotions and the system of K. S. Stanislavsky. But how to be? After all, reading, in order to be fully expressive, must also convey feeling. Answering this question, both physiologists and psychologists point to the system of K. S. Stanislavsky. “There is no direct path to feelings,” says the psychologist. - Based on this position, the remarkable theater figure and theorist of acting K.S. Stanislavsky taught that “you can’t order a feeling, but you need to achieve it in other ways ... A psychological situation should appear that makes it possible for a person’s emotional attitude to certain range of phenomena, and this emerging emotional relationship will be experienced by him.
The most essential element of Stanislavsky's system is the "method of physical action". The essence of this method is that by performing the actions of the character of the play authentically, purposefully, the performer provides the necessary conditions for the emergence of emotions.
In artistic reading, it is also legitimate to use the total method. If the reader or narrator purposefully acts with a word, he will definitely speak "with feeling."
Based on the teachings of I. P. Pavlov about the “bright spot of consciousness”, P. V. Simonov argues that the action stimulates not only conscious thinking, but also the subconscious, in which he sees the advantage in the theory of theatrical art of the system of experience over the system of representation. “It should be clear how impoverished and schematized the picture of the external expression of emotions appears with the imitative reproduction of its individual conspicuous signs ... Shades of movements, facial expressions, intonations, especially organically and directly associated with vegetative changes in the body, are irretrievably lost.”
Speech intonation. Very often, speaking about the art of a sounding word, they define it as the art of intonation. Indeed, the presence of a variety of intonations distinguishes expressive speech from inexpressive speech. “The speaker must be able to freely use non-linguistic, but psychologically essential communicative means of expressing thought, and above all, intonation.” What is intonation? According to psychologists, speech intonation is the sound system of a sentence as a whole. It includes all the signs of a complex sound: a change in the fundamental tone, volume, timbre, duration. In addition, there are breaks in the sound - pauses. Intonation expresses the emotional-volitional relations of people in the process of communication. But for all the importance of intonation, it cannot be considered as the basis of expressiveness: intonation is a derivative. It not only expresses the emotional-volitional relations of people, but is also determined by them.
Therefore, even Yu. E. Ozarovsky warned against the search for intonations, and N. I. Zhinkin writes: “The question is how intonation is searched for and whether it is possible to learn good, correct intonation. The answer to this question is negative. You can't learn intonation. This is the same as learning to cry, laugh, grieve, rejoice, etc. The intonation of speech in a certain life situation comes by itself, you don’t need to think about it or care about it. Moreover, as soon as you try to do it, it will be seen as false. But there is a way to find intonation when the task is to read some text that was not compiled by us. This problem is solved in the theory of stage speech, the most perfect of which is the Stanislavsky system.
Psychology of reading perception. Reading aloud, like speaking, is addressed to the listeners. For the perception of speech and reading, it is necessary that listeners understand what they are told or. are reading. Understanding is due to the listeners having certain knowledge, certain experience. “The use of knowledge, acquired connections -“ there is understanding, ”says I.P. Pavlov. Hence the obligation of the teacher to take into account the supposed experience of his students, and consequently, their age and development.
There are two types of understanding: direct and indirect. Immediate understanding arises immediately and merges with perception. This is the understanding that arises at the first acquaintance with the work.
Mediated understanding is created gradually as a result of a series of mental operations. It must go from an initial vague, undifferentiated understanding to an increasingly clear and differentiated one. This is a complex analytical-synthetic activity that proceeds differently not only in different people, but also in the same person. This process takes place not only during the analysis of the work, but also later, during the public performance of the work, in some cases it continues for years.
For expressive reading at school, the direct perception that occurs upon first acquaintance with the work is extremely important, since here the question is decided: do you like or dislike the work. K. S. Stanislavsky attaches great importance to the initial acquaintance, arguing that the first impressions are “virginally fresh”, that they are the “seeds” of future creativity. “If the impressions from the first reading are perceived correctly, this is a great guarantee for further success. The loss of this important moment will be irretrievable, since the second and subsequent readings will be devoid of the element of surprise, so powerful in the field of intuitive creativity. Correcting a spoiled impression is more difficult than creating the right one for the first time.
Therefore, at the first reading of the work, the teacher is recommended to either read it himself or give students the opportunity to listen to the master's reading in the recording. If the teacher has reason to believe that one of the students can read well, then he must first prepare such a reader, and not rely only on the fact that this student or student reads well in general. But the perception of the listener can also be wrong. Therefore, the first reading is usually preceded by a conversation or lecture by the teacher.
Stanislavsky recommends: “It is important to take care of creating an appropriate atmosphere around you, sharpening your sensitivity and opening your soul for a joyful perception of artistic impressions. We must try to furnish the reading with solemnity, helping to abandon the everyday, in order to focus all attention on what is being read. Reading in the classroom also requires, if not solemnity, then the full attention of students. Children listen with their books closed so that their attention is not scattered.
The role of expressive reading in shaping the worldview of students. Any pedagogical issue cannot be considered in isolation. It is necessary to correlate it with the main goal of education, to determine its place in the general pedagogical system. The goal of communist education is the all-round development of the individual. The comprehensive development of the personality is an idea that has been repeated many times by pedagogy since antiquity. However, the specific meaning of this principle changed dramatically, since different content was put into the concept of personality. This difference is determined by worldview. “For educators,” said V. I. Lenin at the All-Russian Conference of Political Enlightenment of the provincial and district departments of public education in 1920, “and for the Communist Party, as the vanguard in the struggle, the main task should be to help educate and educate the working masses, in order to overcome old habits, old habits left to us as a legacy from the old system, possessive skills and habits that permeate through and through the thickness of the masses.
Expressive reading is one of the ways to educate the communist world outlook. The reader is the foremost person in our society. Even when reading works of pre-revolutionary or foreign literature, he perceives them, and then transmits them from the standpoint of our time and our era. “I miss the classics,” says A. Ya. Zakushnyak, “through my individuality (the individuality of a contemporary).” K. S. Stanislavsky called the expression of his civic position “super-super-task”, that is, the most important in the artist’s work.
Expressive reading and labor education. In the system of communist education, labor education is the leading one. From our point of view, a full-fledged personality is, first of all, a worker, a worker, a creator. V. I. Lenin attached great importance to work, including in communist education “... work out of habit to work for the common good and according to a conscious (has become a habit) attitude towards the need for work for the common good, work as a need for a healthy organism.”
Labor education was made the leader in his system by our most talented teacher A. S. Makarenko. It includes in the sphere of labor education not only physical, but also mental labor. But not every labor educates, but only creative labor. “To teach creative work,” says A. S. Makarenko, “is a special task of education. Creative work is possible only when a person treats work with love, when he consciously sees joy in it, understands the benefits and necessity of work, when work becomes for him the main form of manifestation of personality and talent. Such an attitude towards work is possible only when a deep habit of labor effort has been formed, when no work seems unpleasant, if there is any sense in it.
These provisions of Makarenko are fully applicable to expressive reading. The main and most difficult thing is to instill a love for expressive reading, so that doing it brings the joy of creativity. The main obstacle is that schoolchildren are not instilled with a "deep habit of labor effort." Instead of going deep into the text, striving to empathize with the author, schoolchildren try to express the feeling “in general”, look for intonations. Hence the usual picture - the student declares with chagrin: "I can't do it." When you begin to figure out the course of his work, it turns out that instead of thinking about the work, its content, form, mood of the poet, there were only attempts to evoke a feeling of “in general” and a mechanical search for intonations. Breaking this tradition is the first task of the teacher, without which it is impossible to productively teach expressive reading.
Expressive reading as a means of ethical and aesthetic education. Usually, when considering the role of expressive reading in communist education, aesthetic education comes to the fore. Truly expressive reading is the subject of an aesthetic cycle, but aesthetic and moral are inextricably linked. By cultivating the ability of aesthetic perception of fiction, developing taste, expressive reading ennobles and deepens emotions. The reader must "sincerely share with the poet the high feeling that filled his soul ... feel his every word with his soul and heart."
Such empathy operates deeper and more truly than any reasoning about literature. Expressive reading helps the student to feel that literature is beautiful, to love it, hence the desire to expressively read the most exciting works of art, to experience the joy of creativity is born. The first success serves as an effective incentive for further work, during which skills in the field of expressive reading will be improved, the aesthetic and moral feelings of students will develop.
Expressive reading as a means of educating the culture of oral speech. In the school curriculum, expressive reading belongs to the “Speech Development” section, and in essence this is correct, since it is a very important element of this culture, along with vocabulary, phraseology, grammar and style.
The question of the culture of oral speech was raised by the majority of methodologists: Buslaev, Ushinsky, Ostrogorsky, Sheremetevsky, Sentyurina, Rybnikova, and others, but it has not been resolved in modern methodology, and, most importantly, in the practice of the school. V. V. Golubkov complains: “Some teachers have not yet got rid of the prejudice that the school is not particularly in need of special work on oral speech, if the development of written speech is well established.” V.V. Golubkov considers it necessary to “create a genuine interest among schoolchildren not only in what is said, but also in how it is said - the upbringing of a “sense of language”, that is, a sense of correctness, harmony and beauty of someone else and one’s own speech. Expressive reading, which ends with memorization, and artistic storytelling, like no other exercise, enrich and cultivate the student's oral speech. It is not for nothing that methodologists from Buslaev to Rybnikova strongly recommended this path for the development of the speech of children and adolescents.
Development of speech hearing. In the process of oral speech, along with the speaker, there is always a listener who perceives speech. The speaker himself also perceives his speech, but his perception is different from that of the listeners. That is why the “neutral ear” of a teacher or an experienced comrade is so important in the process of preparing expressive reading or artistic storytelling. The perception of expressive reading or artistic storytelling is a complex process, it involves the auditory, speech-motor and visual analyzer, the first and second signal systems. But the importance of hearing prevails.
Hearing is the main controller of the correctness and expressiveness of speech. Success in expressive reading is largely due to the development of speech hearing, which is not necessarily associated with musical ear and hearing acuity. From here, students who are deprived of a musical ear can also master the expressiveness of speech. The researcher of musical ear B. M. Teplov states: “The main thing that should interest both the teacher and the researcher is not the question of how musical this or that student is, but the question of what his musicality is and what, therefore, should be be the way of its development. The same can be said about speech hearing. What gives the teacher the statement that the student suffers from speech hearing? It is much more important for him to know the specific shortcomings resulting from this, for example: student A. does not get along with high-pitched hearing, so he fails to raise and lower his voice, student B. does not catch the semantic meaning of timbre changes, and student C. cannot maintain the pace, because he does not hear and feel well enough. After all, only knowing what the student’s hearing is, what exactly his shortcomings are, the teacher will be able to recommend certain exercises to the student.
Although musical and speech hearing are different, however, long-term observations show that musicality helps to master expressive reading.
Review of modern literature on expressive reading. In recent years (60s and 70s) a lot of manuals on expressive reading have been published. The authors of these works can be divided into supporters of the philological direction, who see the main significance of expressive reading in improving the culture of students' speech, revitalizing their native language classes, and supporters of the artistic and psychological direction. They consider expressive reading as the art of a sounding word and consider aesthetic education to be a paramount task. Most authors of methodical works do not sharply raise the question.
Supporters of the first direction also talk about aesthetic education, while supporters of the second direction also mean the culture of speech. Of the works published in the 1960s and 1970s, a striking example of the artistic and psychological direction is the book by E. V. Yazovitsky “Expressive reading as a means of aesthetic education” (L., 1963, 2nd ed.). Having characterized aesthetic education, the necessary conditions for aesthetic perception and transmission of the author's text, as well as the organization and methods of work on expressive reading, Yazovitsky gives exemplary practical developments of lessons from grades I to X.
If the book of E. V. Yazovitsky covers all classes and the entire program in literature, then the book of M. G. Kachurin "Expressive reading in grades VIII-X" (L., 1960) refers only to older students. Having considered expressive reading as a method of teaching literature and giving vivid examples of its application, the author introduces the basics of expressive reading technique, gives examples of expressive reading lessons: "The Tale of Igor's Campaign", VIII chapter of A. S. Pushkin's novel "Eugene Onegin", poem M Y. Lermontov "Motherland", a lyrical digression in the poem by N. V. Gogol "Dead Souls" - "Rus-troika", A. P. Chekhov's play "The Cherry Orchard", poems and poems by V. V. Mayakovsky.
Among the works devoted to the linguistic side of expressive reading, the works of G. P. Firsov should be mentioned first of all. The most fundamental is his book "Observations on the sound and intonational side of speech in the lessons of the Russian language" (M., 1959). The author talks about the study of phonetics in the 5th grade (the role of phonetics and phonetic analysis in the development of students' correct pronunciation and spelling skills), phonetic analysis in teaching literacy, auditory and visual images of words and the role of speech kinesthetic sensations. The second half of the book is devoted to the role of observation in the study of syntax in grades VI and VII. Observations are described during the passage of a simple sentence, a non-union complex sentence, isolated secondary members of a sentence, direct and indirect speech.
Several authors seek to highlight the use of expressive reading both in Russian language lessons and in literature lessons. These authors include M. M. Strakevich, L. A. Gorbushina, and B. S. Naydenov. Strakevich's book is entitled "Work on Expressive Reading in the Study of the Russian Language (Grades V-VIII)" (Moscow, 1964), but the author also talks a lot about the use of expressive reading in literature lessons and suggests using examples from those read in the lessons to understand grammatical concepts literature works.
The book by L. A. Gorbushina "Expressive reading and storytelling of the teacher" (M., 1965) is addressed to students of pedagogical schools and primary school teachers. The author arranges the material in the usual order for most textbooks on expressive reading: he introduces the technique of speech and the corresponding exercises, talks about observing the rules of literary pronunciation, about the elements of intonation, then about expressive reading, and, finally, about different types of storytelling. Examples are taken from an anthology for elementary grades.
A manual for teachers by B. S. Naydenova “Expressiveness of Speech and Reading” (M., 1969) was constructed differently. The author characterizes the general laws of oral speech, introduces the types of monologue speech, different types of storytelling, and then turns to expressive reading. The second part of the book deals with practical phonetics and the role of intonation in the process of learning syntax. In the third part - "Expressive reading in literature lessons" - examples of work on expressive reading of works studied in the VIII grade are given.
Using the listed benefits, the teacher should take into account that the school curriculum has changed significantly. In general, methodical articles should be viewed not as a directive, but as a description of the experience that enriches the teacher. Each creatively working linguist develops his own system and methods of work.

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The scientist-teacher M.A. Rybnikova believed that “expressive reading is ... the first and main form of concrete, visual teaching of literature ...”. (22)

Expressive reading is an opportunity to penetrate into the very essence of the work, to learn to understand the inner world of the characters. It deepens children's understanding of the expressive means of oral speech, its beauty and musicality, and serves as a model for students.

The basic principle of expressive reading is penetration into the ideological and artistic meaning of what is being read.

Expressive reading is one of the aspects of reading skill. Reading that correctly conveys the ideological content of the work, its images. Signs of expressive reading:

2) the ability to observe pauses and logical stresses that convey the author's intention;

3) the ability to observe the intonation of a question, statement, and also to give the voice the necessary emotional coloring;

4) good diction, clear, precise pronunciation of sounds, sufficient volume, tempo. (thirty)

Expressiveness is an important requirement for reading primary school students. We call expressive such a loud reading, during which the reader expresses with sufficient clarity the thoughts and feelings invested by the author in the work. Reading the text expressively means:

1) reveal the characteristic features of the images, paintings depicted in it

3) convey the main emotional tone inherent in the work.

The primary school program requires students to use elementary means of expression: observing pauses, logical stress, correct intonation coloring. To this it must be added that the basis of children's expressive reading is the desire to most clearly express their understanding of what they have read.

The expressive reading of the teacher has a great influence on students. The more expressively the teacher read, the deeper and more stable the impression left in the minds of young listeners, and the more conscious the further work on analyzing what was read. Reading a teacher gives children aesthetic joy, revealing the nobility of the hero's moral character, causing deep emotional experiences - "exercises in moral feeling," as K.D. Ushinsky called them. Observing the teacher's exemplary reading, students themselves strive to reveal their own attitude to what they read by all means available to them when reading.

The main condition that ensures the expressiveness of reading is the conscious perception of the text by students. Natural, correct expressiveness can be achieved only on the basis of thoughtful reading and a sufficiently deep analysis of the images of the work. This does not mean that we do not pay attention to this side of reading before the generalizing conversation.

On the contrary, in the process of repeated loud reading, we use every opportunity to gradually prepare for expressive reading: we offer to correctly read passages or episodes already understood by the children; we draw their attention to individual visual means, looking for a logically and emotionally important word in them, we demand compliance with intonation corresponding to punctuation marks - in a word, throughout the lesson we help students master the necessary means of expression.

The same requirements cannot be imposed on the reading of a teacher and a schoolchild as on the artistic reading of an artist who, in addition to a specially left voice, also owns other means of expression, which has the possibility of a long organized preparation for reading. For school expressive reading, it is mandatory to fulfill the following requirements proposed by L.A. Gorbushina (7):

1. Compliance with punctuation marks. This elementary skill is especially important for students in grades 1-2.

Children, while still reading the primer, are accustomed to the natural lowering of the voice at the point, to the transfer of interrogative or exclamatory intonation with the appropriate signs at the end of the sentence. At the same time, it is necessary to cultivate in them the skill to associate a certain sign of intonation with the content of the sentence. It is not enough just to indicate that one or another sign is at the end of the sentence: the student must realize the need to express joy, surprise or fear, depending on the thought of the sentence.

Gradually, students learn typical intonations with other punctuation marks: a comma for homogeneous predicates, a dash in a non-union sentence, a colon before enumeration, and so on. In the third grade, students will learn about which punctuation marks do not require pauses and changes in tone. So, there is no stop before the appeal at the end of the sentence, there is no pause or single introductory words and single gerunds.

2. Pauses are logical and psychological.

They do not depend on punctuation marks, but are determined by the meaning of individual words and parts of a sentence. Logical pauses are made to highlight the most important word in the sentence, before or after the word. A pause after a word draws the listener's attention to that word. The use of a pause also enhances the meaning of common members of a sentence, helping to capture the meaning of the entire phrase.

A psychological pause is needed to move from one part of the work to another, which differs sharply in emotional content. It is very appropriate to pause before the end of the fable, in the climax of a fairy tale or story, and also to remember the nature of small pauses at the end of poetic lines, which are made regardless of the punctuation marks and the meaning of the words of the next line. These pauses emphasize the rhythmic pattern of the verse. Compliance with them does not allow a lowering of the voice at the end of the line, which results in a deep "chopped" reading. The intonation in a poem is distributed according to the sentence, not along the line, and the pauses between the verses should not distort it.

3. Emphasis.

In a sentence or in a complex phrase, one of the words is distinguished by a greater force of exhalation, and sometimes by a change in the tone of voice. Usually this is the most important word in meaning. Therefore, such a selection of a word from a sentence is called logical stress. It is wrong to assume that stress is always expressed by a relatively greater volume and an increase in tone. Often, the accent is achieved, on the contrary, by lowering the voice, and the increased exhalation is manifested in the slow pronunciation of the word.

The expressiveness of reading is greatly enhanced due to the successful choice of words that are important in a logical sense and the correct exhalation during their pronunciation. A sharp increase in the word, acceleration, lack of a pause during it is unacceptable - this leads to shouting out, the euphony of speech is disturbed. It is recommended to emphasize nouns, enumerated homogeneous members, repeated words. If the verb is at the end of a sentence, then the stress usually falls on it. The stress is often on the qualitative adverb before the verb. When comparing actions or qualities, both compared words carry a logical stress.

A single adjective, like a pronoun, is usually not stressed. It is sometimes extended by the voicing that is done for a noun. If the adjective comes after the noun, it most often carries the main meaning of the sentence and is emphasized by pauses and increased voice. Bright, expressive means (metaphors, comparisons, sound repetitions) are shaded for aesthetic purposes in order to emphasize the beauty or emotional content of the artistic image.

4. The pace and rhythm of reading.

The pace of reading (the degree of speed of pronunciation of the text) also affects expressiveness. The general requirement for the pace of expressive reading is its correspondence to the theme of oral speech: too fast, as well as too slow, and with unnecessary pauses, it is difficult to perceive. However, depending on the picture drawn in the text, the pace changes, accelerating or slowing down according to the content.

Changing the pace is a good technique for the characteristic coloring of speech when reading a dialogue.

Correct rhythm is especially important when reading poems. The uniformity of the respiratory cycles determines the rhythmic reading. Usually the nature of the rhythmic pattern (clarity, speed or melodiousness, smoothness) depends on the size in which the poem is written, on the alternation of stressed and unstressed syllables in it. But it is necessary to teach children, when choosing a rhythm in each individual case, to go primarily from the content of the work, determining what it says, what picture is drawn. (28)

5. Intonation.

The definition of intonation was given by O.V. Kubasova (), which in this broad concept includes the use of all means of expression: stress, pauses, tempo and rhythm, which are combined into an inseparable totality with the help of emotional and semantic coloring, determined by the content of the text or sentence. This coloring most often conveys the author's attitude to the described facts: approval, contempt and other emotions and assessments. Most clearly, this coloring is manifested in the melody of speech, that is, in lowering and raising the voice. Also, changes in voice pitch are called intonation (narrower meaning). Intonation drops at the end of a declarative sentence, rises at the semantic center of the question, rises up and then drops sharply at the place of the dash sign, rises evenly when listing definitions or predicates that precede nouns, and also decreases evenly when they are reversed. But, in addition to these syntactic conditioned changes in pitch, a huge role in determining the expression of thoughts and feelings is played by semantic and psychological intonation, determined by the content and our attitude to it.

The question of the basic coloring of tone is usually put before children after a complete or partial analysis of the content, on the basis of the children's assimilation of the images and thoughts of the work. At the same time, a directive definition of tone is unacceptable: it is necessary, they say, to read sadly or cheerfully. Only then will the expressiveness be sincere, lively and rich, when we are able to awaken in the student the desire to convey to the listeners his understanding of what he has read. This is possible under the condition of a deep perception of the content based on analysis, after which a question is posed that stimulates the reader to express what is perceived.

After preparing for reading, students acquire a lively, natural coloring, intonation becomes meaningful and psychologically justified.

Teaching expressive reading is one of the main tasks of elementary education for younger students. The ability to expressively speak and read is formed throughout all four years of primary education. the starting point of teaching the expressiveness of speech and reading is live, colloquial speech. By developing the sound side of children's oral speech, we thereby improve the expressiveness of their reading and vice versa. The difference lies in the fact that speech reflects the intention, intention of the speaker and constructs his own statement, and when reading, a “foreign” text is transmitted, compiled by the author (writer, poet) and before reading the work expressively, you must first study it, understand the content (idea and the intention of the writer) and only after that to present to the listener, the method of saying the text aloud so that it reaches the listener and aesthetically influences him.

Expressive speech is an oral spoken speech that corresponds to the content of the utterance or the text being read. The means of expressiveness of sounding speech is intonation. Upon entering school, children already speak their native language, have a certain vocabulary, use them in conversation, in combinations that are understandable to others, are able to answer questions, and so on. Together with the assimilation of the language, children assimilate intonations common in everyday life, although so far all these elements are not singled out by them and are not realized, since they are learned by imitation, by imitation.

When teaching literacy (writing and reading), and then when mastering phonetics and grammar, all elements of the structure of the language are gradually realized, including intonation as a way of implementing the language in sounding speech. It is at this level of sound that intelligibility and expressiveness of speech is achieved.

Speech intelligibility is primarily a clear, distinct pronunciation of sounds. It is developed through special diction exercises. intonation work requires special work both in the lessons of teaching reading, and in the lessons of grammar and spelling. Special hours for this are not assigned or are rarely assigned. Here, intra-subject connections should be observed so that the younger student has a unified system of ideas about the language and about intonation as a phenomenon of sounding speech. In addition, special exercises should teach children to practically apply the ability to speak and read expressively. This preparatory work is the specificity of the course in the primary grades.

Teaching expressiveness of speech and reading continues in secondary school, where expressive reading is regarded as the art of artistic reading in school conditions, as one of the ways to improve the culture of oral speech and visual teaching of literature, since it leads to a deepening of the figurative analysis of a work of art and reveals the skill of the writer. The current program of middle and high school requires that students practice expressive reading on each coherent text, so that not a single text in the lesson is read monotonously, inexpressively. This obliges primary school teachers to properly prepare younger students for the upcoming work on expressive reading and thereby ensure continuity in teaching children in subsequent classes.

Thus, all these requirements proposed by L.A. Gorbushina are very important in teaching expressive reading in primary grades.

Next, you need to consider the issue of speech technique. From the first days of study, it is necessary to acquaint children with the technique of speech - breathing, voice, diction. Breathing for oral speech is of great importance. We must teach children this art, at least on an elementary basis and by personal example. Proper breathing is health.

Expressive reading depends on the reader's ability to see with his own voice, its properties. The voice, like breathing, should be developed in the best voice - natural, of medium strength and height, which is owned by a good reader.

A few words about diction, a clear pronunciation of sounds, words, phrases. Good diction is equally important for both the reader and the listener. Diction facilitates breathing, the work of the vocal cords.

In the work on the expressiveness of speech, much attention should be paid to the means of speech expressiveness. These are intonation, logical stress, pauses, tempo, strength and pitch of the voice. All means of speech expressiveness are closely interconnected and complement each other. The main means of speech expressiveness is intonation. In everyday life, intonation is born involuntarily, by itself, as the speaker expresses his thoughts and feelings.

When reading a work of art, intonation occurs after comprehending the text, understanding the intention and intention of the author, a conscious attitude towards the characters, their actions and events. Intonation does not express the essence of the phrase, it is the result of a deep penetration of the reader into the text. Therefore, it is necessary to teach children the right intonation.

Consider the components of the speech technique presented in the article by V.G. Guro-Frolova "Work on the expressive means of speech." (21)

1. Breath.

Proper breathing is the economical, uniform use of air. This is achieved by using the entire muscular apparatus of the chest. Replenishment of the lungs with air occurs in the intervals between words or phrases, where it is required by the meaning of speech.

The correct type of breathing is mixed costal-diaphragmatic breathing. The lower lobes of the lungs are the most capacious. With a deep breath, they are filled with air, the chest expands and, with the gradual expenditure of air during reading, falls. At the same time, the ribs and diaphragm move vigorously.

It is necessary to learn to control breathing so that it does not interfere with the reader and does not distract the listeners during reading.

Proper breathing during speech consists not only in the economical use of air, but also in the timely and imperceptible replenishment of its supply in the lungs (during stops - pauses). While reading aloud, the shoulders are motionless, the chest is slightly raised, the lower abdomen is tightened.

With improper chest breathing, only part of the muscles of the chest is used, and the weakest. Such breathing tires the chest with frequent breaths, the air is spent irrationally.

The development of correct voluntary breathing requires training of the respiratory apparatus, establishing the correct mode. This requires special exercises that are best done under the guidance of an experienced reader or specialist teacher. With a certain self-control, you can work on your breathing yourself.

When we pronounce words, we exhale air from the lungs, which passes through the respiratory tract into the larynx, where, as a result of the closing and opening of the vocal cords, it forms a sound called a voice.

The voice must be of sufficient strength (sonority) and purity (harmoniousness. A person with a weak voice, as well as with incorrigible hoarseness, hoarseness, nasality, cannot work at school. Less significant shortcomings can be corrected or smoothed out by training. The voice must be protected by observing a certain regime , do not overstrain the vocal cords, do not go out hot in frosty weather.

Distinguish between loudness and loudness. The power of sound is an objective value that characterizes the real energy of sound ... Loudness is a reflection in our minds of this real power of sound, that is, a subjective concept. The key to the discrepancy between the strength and loudness of sounds lies in the unequal sensitivity of our hearing to tones of different heights, although of equal strength. Loudness should be understood as the fullness of the voice. Changing the strength of the voice is used as one of the expressive means. You can speak loudly, medium and softly, depending on the content of what is being read. Reading only aloud or only quiet gives the impression of monotony.

During a certain segment of speech, the tone consistently changes in height: it becomes higher, then lower. In order for the voice to easily come from a low tone to a high one and vice versa, it is necessary to develop its flexibility and range. The reader must study his pitch range and know its limit.

It is necessary to develop a voice of medium height, normal for a reader, which does not require tension. To develop a voice in the sense of mobility, it is necessary to change its duration (tempo). Through practice you can get a sense of tempo, a sense of rhythm. First of all, you should develop a calm, even and smooth pace of speech.

In addition to strength, height and duration, the sound of the voice also differs in its quality, that is, in the color of the voice - timbre.

3. Diction.

Each word of the teacher must be pronounced clearly, distinctly. The clarity of pronunciation depends on the device of the speech apparatus and its correct operation. Pronunciation organs include: lips, tongue, jaws, teeth, hard and soft palate, small tongue, larynx, pharynx, vocal cords. The pronunciation of words and sounds is the result of muscle contraction of the corresponding parts of the speech apparatus (articulation). At the direction of certain parts of the central nervous system, the speaker pronounces sounds, words, sentences.

In everyday life, we sometimes hear careless, sluggish speech. certain sounds are omitted during fluent pronunciation, the endings of words are “swallowed”, some sounds are not pronounced clearly or are replaced by others. These shortcomings make speech illegible and difficult to perceive.

Clarity and purity of pronunciation is achieved by the correctness of articulation, that is, the correct operation of the speech apparatus. To achieve this, it is necessary to develop the flexibility and mobility of the tongue, lips, lower jaw and posterior palate, at the same time eliminate some speech defects, and pronounce sounds correctly.

The study of the articulation of sound speech is usually engaged in the lessons of the Russian language in connection with the work on the section of phonetics. The first initial exercises are preferably carried out under the guidance of an experienced teacher. In addition, you need to persistently study on your own, looking for the correct pronunciation of words. (17)

The teacher must necessarily take into account all the components of speech technique in teaching expressive reading, as they help to use the voice expediently.

© MSGU, 2016

© Shelestova Z. A., 2016

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Introduction

Excessive logicization of teaching literature at school, the transfer of scientific methods to a specific sphere of emotional-figurative thinking and aesthetic experience lead to an impoverishment of the educational process, a decrease in the aesthetic education of students, and their unwillingness to read works of art.

It would seem that fiction is art, and its best examples are studied at school. But in literature lessons, art ceases to be art, because it is more often dead there, because it is not recreated as a living creation, it is not revealed in its vital and aesthetic content. For example, no amount of verbal analysis can bring a piece of music to life: it is dead until it is performed. And a work of literature reveals itself better in its artistic existence when it lives. And life gives him artistic reading (expressive reading in school conditions) - the closest to literature of all the arts. We analyze too much and read little - hence the dislike for lessons, where there are a lot of mind-draining conversations about the subject matter, problems, structure of the work and there is no work itself.

In our opinion, no analysis can convince schoolchildren in the way that the text of a work of art does, the content of which is learned by them in the process of active creative activity, because knowledge cannot be “given”, it must still be able to “take”. Expressive reading is just one of such effective types of creative activity of students. However, modern teachers make poor use of the possibilities of expressive reading and almost do not know its methodology.

One of the directions in the development of a modern methodology for teaching expressive reading to schoolchildren is the active inclusion of the main provisions and achievements of theater pedagogy in the educational process. The expressive reading of the teacher should ideally be the same as the reading of professional masters of sound literature. Both the teacher and the reader are passionate propagandists of the art of the word, they strive to instill in schoolchildren a love of literature, encourage them to perceive in a new way in the work what is lost when “reading with the eyes” or when reading unskilled. Only a teacher who knows how to read professionally and tell stories in an engaging way is able to master the methodology for teaching schoolchildren this type of creative activity. Consequently, the second direction of the method of expressive reading is the improvement of the communicative culture of the future teacher in the classes of the "Practice on expressive reading" and an elective during the period of study at a pedagogical university, the formation of his performing and directing and pedagogical competencies.

The third direction in the development of methods for teaching expressive reading to schoolchildren is associated with the introduction of new technologies that the Internet and audiovisual means provide us with. A modern teacher works in an environment where, thanks to the Internet, any information becomes available to every student. However, the virtual world takes the quantity, but not the quality and depth of communication. Nothing - neither TV, nor a computer, nor audio equipment can replace the live contact between a teacher and a student. Schoolchildren of the 21st century stop reading books, in literature lessons they are often not ready for classes, they do not know how to navigate the text. Many children find it difficult to speak, to express their thoughts in words.

Some teachers see a way out in the lessons to read aloud more. The children listen and then begin to speak slowly. For example, teachers of school No. 1567 of the Dorogomilovsky district of Moscow, using distance learning, read literary works on the Internet at a certain time. Schoolchildren, together with their parents, listen to their reading and thus get acquainted with the content of the work on which work is to be done in the classroom. Other teachers use audio-visual aids in their lessons. For example, the teacher of school No. 1130 of the Western District of Moscow, O. S. Shelestova, suggested that schoolchildren listen to the reading of his story “The Bishop” performed by O. Tabakov while studying the work of A. Chekhov in the 10th grade and express their opinion in writing about the story and the position of the author in German

In the book, we tried, in the light of recent achievements in such sciences as art criticism, literary criticism, psychology, pedagogy, methods of teaching literature, to reveal the basics of artistic (expressive) reading, the features of reading works of various genres and show the methodology for teaching students expressive reading in literature lessons.

The author thanks his reviewers, Dr. Ped. Sciences, Professor V. F. Chertov, Associate Professor, Candidate of Philology. Sciences M. I. Alekhin, Associate Professor, Candidate of Philology. Sciences V. A. Starikov, as well as teachers who conducted experimental lessons - O. S. Shelestov, T. V. Mokhnachev, N. I. Ivanchenko, I. A. Ilyin, T. I. Makarov, G. A Sokolov-Puzin and others.

Chapter 1
Artistic foundations of expressiveness of speech and reading

1.1. The art of artistic (expressive) reading as one of the art forms of oral speech

E. Leguve saw one of the advantages of reading aloud in the fact that such reading reveals many small shades in works of art, unknown to the artist who scattered them. "As a result of this, the art of reading could become a powerful tool for education and be an excellent professor of literature."

The theory and methodology of expressive reading as an effective means of deepening the perception and understanding of a literary work by schoolchildren has gone through a long and difficult path in its development, associated with the development of literature and theater. The history of artistic reading was studied by A. M. Argo, G. V. Artobolevsky, P. Brang, N. Yu. Verkhovsky, N. S. Govorov, L. I. Kareev, R. V. Kolosov, A. N. Kravtsov, P. E. Lyubimtsev, G. N. Shcherbakova and others. So, L. I. Kareev believes that the prerequisites for the art of the sounding word arose in ancient times - in ancient Greece and ancient Rome. The author collected information about the first rhapsodic readers who performed from the 7th century. BC e. according to the II-III centuries. n. e. works of ancient Greek poets, which had to be not only pronounced, but also sung. Over time, the ratio of musical and speech elements changed, which led to the development of two performing arts.

Great importance in the 1st century. BC e. acquired public readings by authors who considered the word as a material for the writers' work, as well as a material for performance by a reader, actor, singer, orator. An indispensable condition for mastery was considered to be the impact on the listeners, achieved with the help of representations, visual images. Aristotle compared speech to painting: “It seems to the listener that he is observing everything that the speaker said.” Plutarch considered visual images as the basis of one or another attitude to the narrated. The principles of the sounding word, developed in antiquity, have artistic value to this day. We have the right to consider, notes L. I. Kareev, "artistic reading in Russia as part of a common European culture."

“The beginning of the art of the word is in folklore,” M. Gorky emphasized more than once. From time immemorial, performers of folk songs, epics, fairy tales have walked along Russian roads from village to village, from city to city, gathering listeners around them. Perfected by many generations of nameless creators, oral folk art has reached great artistic heights. However, the modern art of artistic reading is the performance of written literature, so its closest sources should be sought in the development of Russian literature of the 19th century. The rapid growth of the public role of literature was accompanied by "author's readings" - public readings by writers of their own works. The significance of these readings was so great that Alexander II issued a decree banning them. A. S. Pushkin laid the foundation for the author's readings.

At the end of the XVIII - beginning of the XIX century. declamation dominated the stage - a high-flown, pompous, upbeat-singing manner of pronunciation, which came at one time from the French classical theater. This manner was ridiculed in the novel “War and Peace” by L. N. Tolstoy: “The art of reading consisted in pouring words loudly, melodiously, between desperate howling and gentle murmuring, completely regardless of their meaning, so that it was completely accidental for one word there was a howl, and on the other - a murmur. (However, we note that it is necessary to distinguish between the concepts of "declamation" and "declamation", the first is art, the second is a parody of it.)

Of course, for those who read Pushkin's works, the old declamation became unacceptable: a simple and clear manner of reading was required. Pushkin himself was a model for the performance of his poems for his contemporaries. He loved to read his works, and his reading made an indelible impression with its simplicity and truthfulness. One of his contemporaries recalls: “Pushkin read excellently, reading him, in contrast to the then custom of reading poetry in chant and with some pretentiousness, was distinguished, on the contrary, by complete simplicity.”

Almost all famous Russian writers contributed to the development of author's readings. Here is what S. Aksakov tells about Gogol's reading of "The Marriage": ... this comedy is not as complete, whole and far from as funny as in the reading of the author himself. I. Panaev confirms Aksakov’s review: “Gogol read inimitably ... He read more dramatically than Ostrovsky and with much more simplicity than Pisemsky ...”. A.F. Pisemsky, mentioned by Panaev, was well known as a reader not only of his own works, but also of the works of other writers. This proved that the author's reading is not a companion of literature, but an independent art, looking for its own paths. Reading the works of Dostoevsky literally shocked the listeners. This was especially impressive in the performance of Pushkin's "Prophet", which the writer was very fond of reading.

At the beginning of the XX century. charitable evenings were widely used, at which the most prominent writers and poets performed, divided into two directions in terms of performance. One of them was headed by M. Gorky, who read "with great expression and a great sense of proportion, as simply as he told it." Excellent, according to the memoirs of V. Kachalov, he read the play "At the Bottom" to the troupe of the Art Theater. “What truthfulness of internal characteristics, what a variety and richness of intonations characteristic of each person!” .

Representatives of the second direction, the poets of the Silver Age, read their works in a peculiar way, in whose work music was of great importance as a metaphorical and rhythmic beginning. The works of K. Balmont, F. Sologub, A. Bely were defined as the poetry of conspiracies and spells for the fact that the poets "shamanized" in front of the public, singing their poems. Typical in this sense is the reading of the fashionable poet of that time I. Severyanin. According to the memoirs of M. T. Shchepkina-Kupernik, with a motionless face, not seeing anyone and not wanting to see, “he almost sang in a neutral,“ blue ”sound:“ It was at mo-o-or's. In the next half-line, he flaunted the pronunciation of Russian vowels in some foreign way, namely “where is the openwork pe-ena ...”. V. Mayakovsky loved to parody the manner of reading I. Severyanin and sang his poems, stretching out the sounds: “I wanted siraini”, “there was no dayneg”. However, the melodiousness, melodiousness, lyricism of I. Severyanin's poetry brought him great success. At one of the evenings at the Polytechnic Museum, he was awarded the title of the king of poets (second place was taken by V. Mayakovsky, third - by K. Balmont).

V. Bryusov, A. Bely and A. Blok organized a "little musical" group in the sense that by music they understood not a literal melody, but everything that in nature is in harmony with the human soul. Music for them served only as a background. So, A. Blok recited his poems in a singsong voice, without any effects or embellishments. “He did not seek direct contact with the audience, but he did not flirt, like I. Severyanin, with disdain for them. A. Blok believed that the very form of the verse, embodied in sound, would convey his thought to the listeners.

And here is how the translator of his poems into French F. Ellens describes the manner of reading S. Yesenin: “Yesenin either raged like a storm, then rustled like young foliage at dawn. It was like revealing the very foundations of his poetic temperament. Never in my life have I seen such a complete fusion of poetry and its creator. This recitation in its entirety conveyed his style: he sang his poems, he broadcast them.

But the best, unsurpassed reader of his works was V. Mayakovsky. All the poems of the poet are created "for the voice." In the voice, in the pronunciation - their real life. Oral reading of his own poems and oratorical speeches by V. Mayakovsky were an integral part of his work. The poet could justifiably speak of his "traveling specialty as a reciter of poetry and a lecturer in literature." “Kachalov reads better than me, but he cannot read the way I do,” wrote V. Mayakovsky, asserting the enormous importance of the author's interpretation and emphasizing its uniqueness. In each verse there are hundreds of the finest rhythmic, measured and other active features, indescribable by anyone but the master himself, and by nothing but the voice.

However, not all poets and writers, like Mayakovsky, have the gift of translating their idea into a sounding word. And here they come to the aid of actors and professional readers who have played no less than writers a role in the development of the art of artistic reading. The acting line in reading originates from M. S. Shchepkin, who also has the honor of organizing the first public literary readings in Russia, which took place in Moscow in 1843. It was Shchepkin’s “Evenings for Reading” that evoked an enthusiastic response from Gogol : “I am glad that public readings of our writers have finally begun ... I always thought that we need public reading ... Our language also contributes to the education of readers, which, as it were, was created for skillful reading, containing shades of sounds and bold transitions from the sublime to the simple in the same speech. I even think that public readings will eventually replace performances with us. N. A. Rigelman highly appreciated “Evenings for Reading”, in whose article the term “artistic reading” first appeared: “... what pleasure can be compared with when, through the skillful transmission of an elegant work of words in a lively voice, all the images, all the ideas of the artist ... rise before the eyes of the imagination with all the fullness of life breathed into them by creativity ... Reading art should complement what remains elusive for the author's pen. Some actors have made fiction reading their main profession. Such was P. A. Nikitin, propagandist of the poetry of N. A. Nekrasov.

In parallel with reading, another line of the art of the sounding word developed - the art of oral storytelling, improvisational storytelling. MS Shchepkin was a brilliant storyteller and dramatizer. It is known that a number of his oral stories served as material for the works of Russian writers, for example, for "The Thieving Magpie" by A. I. Herzen. Following Shchepkin, P. M. Sadovsky became interested in oral storytelling. I. F. Gorbunov was an unsurpassed storyteller. His stories, called "Scenes from the People's Life", were included in his book. The art of Gorbunov had such followers as V. A. Andreev-Burlak, V. Z. Sladkopevtsev and V. F. Lebedev, in our time - I. Andronikov, M. Zhvanetsky, M. Zadornov and others.

The literary stage reached its most rapid development by the end of the 1970s. nineteenth century V. N. Davydov, P. A. Strepetova, M. G. Savina, A. P. Lensky, M. P. Sadovsky, V. F. Komissarzhevskaya and others read. M. N. Ermolova made a particularly large contribution. She gave an example of the deepest penetration into the author's thought, which became for her the most intimate, dear thought.

Along with the development of reading and storytelling by the end of the 70s - the beginning of the 80s. revived interest in the problems of expressive reading at school. Well-known teachers V. P. Ostrogorsky in St. Petersburg and V. P. Sheremetevsky in Moscow developed a methodology for expressive and “explanatory” reading, contributed to the rise and development of the culture of oral speech in the Russian school. Other theorists and methodologists have created theories of expressive reading in relation to the tasks of theatrical practice. So, P. D. Boborykin gave lectures on the art of reading, D. D. Korovyakov headed the department of recitation in one of the drama schools. A. F. Brodovsky, in parallel with teaching literature in various educational institutions, acted as a reader in the best concert and educational facilities in St. Petersburg for 25 years.

A lively movement in favor of expressive reading arose partly under the influence of E. Leguve's book Reading as an Art, which went through four editions in Russia. V. P. Ostrogorsky’s book “Expressive Reading” was reprinted eight times (from 1885 to 1916). Ostrogorsky was one of the first to raise the issue of the exceptional role of expressive reading in aesthetic education and literary education and is rightfully considered the founder of "school" literature on artistic reading. Yu. E. Ozarovsky, director, actor, author of the book Music of the Living Word (1914), made a great contribution to the “reading” training of philologists. Subsequently, K. S. Stanislavsky and M. A. Rybnikova referred to it more than once.

An ardent propagandist of expressive reading was the teacher V. I. Chernyshev, author of the book "The ABC of Expressive Reading". He was convinced that the living word, including expressive reading, is more effective in education than a book. However, despite the abundance of works, the question of how to teach to read remained open. The methodological recommendations dealt mainly with the technique and logic of speech, the authors proceeded from the form of speech, and not from its content, which fully corresponded to the level of development of theorists' ideas about the creative process as a phenomenon. What was needed was a person whose quest, having absorbed the achievements of his predecessors, would give life to a new art. They became A. Ya. Zakushnyak, who embodied the laws of "sounding literature" in his work. He became the founder of the art of artistic reading not only because he was the first to devote himself to the profession of a reader, but also because he tried to substantiate it theoretically. Zakushnyak wrote: “The task turned out to be very difficult - to destroy the actor in oneself, not to play certain images acting in the work, but to try to talk about these images, becoming, as it were, a second author.” He clearly disclosed another indispensable condition for the art of storytelling: “Working on each character, I find out the author’s attitude to this character, I pass the author’s point of view through the filter of my own consciousness.”

A. Ya. Zakushnyak also considered it absolutely necessary to create accurate life representations (visions) and used them not intuitively, as was the case with the best masters before him, but consciously included them among the obligatory conditions for the work of a reader. “I can’t imagine working on the stage without the deepest communication with the public,” Zakushnyak formulated another condition for the art of reading. That is why there must be light in the hall so that not only the listeners can see the reader, but also the reader can see his partner-listeners. Reading primarily classical works, Zakushniak emphasized in them what was close to today's listener. The artist was the interpreter of each piece performed. At the same time, he never went against the author, considering the transfer of the author's style to be the most important and fascinating in his art. Each writer spoke with him "in his own voice." The study of the era, creative biography and numerous literary materials about the writer helped him internally become related to the author.

The creator of a new genre in the art of reading, the theater of one actor, was V. N. Yakhontov. Yakhontov created more than 20 concert programs. Many of them are literary montages. In them, various material is subordinated to the idea and theme that the reader has set himself - this is, as it were, a new work created for sound; in it, the performer and the author are combined in one person. Yakhontov's literary montages brought together themes that run through the work of various writers. Thus was born, for example, the montage "Petersburg", showing the life of a little man in cold Petersburg. This montage was built from Dostoevsky's White Nights, Gogol's Overcoat, and Pushkin's The Bronze Horseman. V. Yakhontov read all of “Eugene Onegin”, “Woe from Wit” by A. S. Griboyedov, poems and poems by V. V. Mayakovsky, the composition “Nastasya Filippovna” (based on the novel by F. M. Dostoevsky), “Tambov Treasurer » M. Yu. Lermontov, etc. The works performed by V. Yakhontov, familiar from the school bench, dropped their “textbook gloss”. According to the reader, "the magic of this art is the imagination of the audience." V. Yakhontov forced to serve the word things that played the role of images: the details of the costume (cylinder hat, plaid, umbrella) recreated the era in the imagination of the listeners, the cane turned in the hands of the artist into a dueling pistol of Dantes, the table into a wagon in which A. S. traveled. Pushkin.

In the 1920s S. I. Bernshtein began to conduct his research on the art of artistic reading. He tried to create a "theory of recitation", collected more than 600 votes of writers of the Silver Age, Soviet authors, taught at the Institute of the Living Word (1920-1930). After the closure of the Institute, the work of S. I. Bernstein was qualified as “scientific quackery”, the material he collected fell into “inept and careless hands” . Decades later, part of the material was saved by L. A. Shilov, a student of S. I. Bernshtein. Some articles by S. I. Bernstein were translated into German during his lifetime and fell into the hands of Peter Brang, professor of Slavic philology at the University of Zurich, whose subject of study was the history of the development of the art of artistic expression in Russia. Books by P. Brang himself on this topic were translated into Russian in 2008 and 2010.

P. Brang believes that neither linguistics nor literary criticism in Russia still takes into account the oral forms of existence of literary texts. “The speaker, even in the works of Yu. M. Lotman, B. A. Uspensky, V. V. Ivanov and others, is present only metaphorically, in the sense of the science of language communication; the authors understand the speaker as the sender, respectively, the listener is understood as the potential reader. According to P. Brang, even in Kievan Rus, the artistic pronunciation of rhetorical texts was practiced both in church life and outside it - “otherwise, such a monument of the highest oratorical culture as “The Word of Law and Grace” would be unthinkable.” During the XVIII and the first half of the XIX century. recitation was taught in both ecclesiastical and secular schools, along with literary theory and rhetoric. In the 60s. 19th century recitation became the work of actors, among whom M. N. Ermolova, M. P. Sadovsky, P. I. Kachalov later stood out. In 1876, the writer P. D. Boborykin organized the first recitation courses in Moscow.

Great support was given to the art of speech in general and artistic reading in particular in the 1920s. A. V. Lunacharsky. In a speech at the opening of the Living Word Institute, he said that "a person who does not master the art of artistic reading, in essence, is illiterate in the matter of artistic speech."

In the 30s. a whole detachment of readers of the “second generation” appears, who have developed the art of reading and supplemented it with the achievements of their skill. The glory of V. I. Kachalov began with the performance of the "Song of the Falcon" and "Song of the Petrel" by M. Gorky. V. Kachalov was the first of the actors to read A. Blok's poem "The Twelve" from the stage and was one of the first to turn to Mayakovsky's poems. When an artist appeared on the stage, the hall invariably stood up, expressing love and respect for him. The work of the reader influenced the theatrical activity of V. Kachalov.

In the performance of the Moscow Art Theater "Resurrection" he played the role from the author. The artist did not play Tolstoy, he remained Kachalov, but thinking, feeling, understanding the world with the ingenious penetration of L. Tolstoy. To express these thoughts, he either went out in front of the curtain, or stopped on the side of the proscenium, talking to the audience.

AI Schwartz can be called a philosopher in sound literature. In his book "In the Reader's Laboratory", he noted that he was fascinated by the task of deepening the logic of a work of art to the maximum, revealing its meaning. Schwartz considered the penetration into the author's intention, his idea, the first stage of the reader's work. The second is the creation of the image of the narrator, which reveals the work from the point of view of today. Schwartz, talking about the characters from the point of view of the author ("The Singers" by Turgenev, "Anyuta" by Chekhov, "Dead Souls" by Go-gol, the poetry of Pushkin, Tyutchev, Blok, Marshak, etc.), used the show that he had precise and extremely concise. There were so many acting colors that the attitude of the narrator was clearly manifested through the show.

The work of D. N. Orlov entered the golden fund of the art of artistic reading primarily thanks to the plates. When you listen to P. Ershov’s fairy tale “The Little Humpbacked Horse” performed by him, it seems that it was composed by him, so “on his own”, from his wise and at the same time mischievous vision of the world, every description, image, word is born. The poem by N. A. Nekrasov “Who should live well in Russia”, the novel by M. A. Sholokhov “Quiet Flows the Don”, the poem by A. T. Tvardovsky “Vasily Terkin” found the best performer in Orlov.

V. N. Aksenov is one of the best performers of lyric poetry, the author of the book "Artistic Word". A well-known actor at the Maly Theatre, he transferred to the stage that purity and musicality of Russian speech, which the Shchepkin House was famous for. V. Aksenov grouped the parts of the poem, uniting them by comparing the same thought, describing the same feeling by different poets. So, for example, in one of the programs dedicated to love lyrics, he included excerpts from Dante's "Divine Comedy", A. Blok's poem "She came from the frost ..." and three love confessions: passionate Heine, gentle Gauthier and at the same time playful Pushkin . Of great interest were the searches of VN Aksenov in the field of fusion of music and words. Reading in his concerts was replaced by musical excerpts, individual scenes were even staged (for example, the scenes of Peer Gynt and Anitra, Peer Gynt and Solveig), the singers performed vocal parts. These creations by Aksyonov, in which he restored the connection between music and text - the music of the composers Grieg and Bizet and the dramas Peer Gynt by Ibsen and The Arlesian by Daudet, are still performed from the stage.

I. V. Ilyinsky - theater and film actor, director, called himself a "reading actor." The work of the actor and the reader-narrator came into closest contact in those works where the narration was given by the author to some character. The stories of M. Zoshchenko performed by I. Ilyinsky are, as it were, a monologue. Humor lies in the fact that a person tells from his point of view and appeals to the listeners in search of their sympathy. Ilyinsky’s reading of I. A. Krylov’s fables, excerpts from the trilogy of L. N. Tolstoy (“The History of Karl Ivanovich”), “Old World Landowners” by N. V. Gol, etc., became a classic. The creative path of I. Ilyinsky is instructive in that in the future, the artist increasingly refused to show characters, which overshadowed the main thing - the idea of ​​\u200b\u200bthe work.

D. N. Zhuravlev is an artist who had boundless faith in the purifying power of literature, in its inexhaustible depths, in its necessity for people. In the performance of Zhuravlev, a chapter from Tolstoy's novel "War and Peace", "The Queen of Spades" by Pushkin, stories by Turgenev, Chekhov, short stories by Maupassant and Mérimée, etc., were embodied. G. V. Artobolevsky called Zhuravlev’s work “the theater of the imagination.” The brightness and persuasiveness of visions is one of the strengths of the artist's skill. He so powerfully captured the imagination of the listeners that he left a vivid impression of what he read for a long time. The richness of visions helped D. Zhuravlev to emphasize the artistic detail, which played an important role in his creative method.

About readers - our contemporaries are interestingly told in the book "Masters of the Artistic Word" (1983). The largest of them, in our opinion, are Ya. Smolensky and S. Yursky. Ya. Smolensky amazes with composure, vigilance of thought. The artist wonderfully performs the works of V. V. Mayakovsky, the novel in verse by A. S. Pushkin "Eugene Onegin", "The Golden Rose" by K. G. Paustovsky, "Three Comrades" by E. M. Remarque, "The Little Prince" by A. Saint -Exupery, poems by 20 poets (Zhukovsky, Pushkin, Lermontov, Blok, Yesenin, Zabolotsky, Marshak, D. Samoilov, R. Gamzatov, etc.). Ya. M. Smolensky is the author of the books “In the Union of Sounds, Feelings and Thoughts ...” and “Reader. Reader. Actor”, in which he skillfully shows his creative workshop.

The Yakhontov line in the genre of one-actor theater is successfully continued by S. Yursky, a theater and film actor, director, author of the book “Who Holds the Pause”. Like a magician, he populates the empty space of the stage with bizarre creatures of the writers' fantasy. What is spoken becomes visible. S. Yursky's repertoire is extremely rich (Pushkin, Gogol, Dostoevsky, Bulgakov, Maupassant, Yesenin, Babel, Zoshchenko, Zhvanetsky, Shukshin, Pasternak and others). The strength of S. Yursky, notes R. Krechetova, lies in the fact that “he feels precisely the mobility of the boundaries between many sovereign “I” of literary material. He most often appreciates the possibility of different degrees of immersion either in the author's world, or in the world of heroes, or in his own, personal world. The actor raises us to a new level of understanding the work, those creative impulses that led the author to it, the reality that was reflected in it, and the ways in which one can go to this understanding.

Without history there is no theory, without theory there is no methodology. The modern theory and methodology of artistic reading has found answers to many questions in the "system" of K. S. Stanislavsky. Artistic reading is an independent form of art, but at the same time, at its core, it does not have fundamental differences with stage art. This made it possible to creatively apply the "system" created for the theater in reading. The work of the reader, as well as the actor, is based on the sincerity of experiences. In order for the reader to speak "with feeling", he must strive for verbal action. Verbal action is the main law in Stanislavsky's teaching on stage speech. Words in the process of speech turn into action when the performer finds the cause of the birth of words and determines their scenic task, and is also guided by the reason found and achieves his own task (goal) through words.

Introduction

Expressive reading is intonationally correct reading, reflecting the reader's penetration into the content of a work of art. Expressive reading at school is understood as oral reading by heart or from a book, which correctly conveys the ideological content of the work, its images and implies strict adherence to the orthoepic norm.

The expressiveness of reading is manifested in the ability to reasonably, based on the content of the text being read, use pauses (logical-grammatical, psychological and rhythmic - when reading works). Make logical and psychological stress, find the right intonation, partly suggested by punctuation marks, read loudly and clearly enough.

Expressive reading as the highest type of reading is the ability to use the main means of expression to reflect in reading one's understanding, evaluation of the content and meaning of the text, attitude to it. The desire with the greatest completeness, persuasiveness and contagiousness to convey all this to the listener or audience, to make clear to them the intention with which the reader took up reading and which he is trying to reveal through his reading. In order to read expressively, you need to have certain skills. They are based on text analysis and intonational means of speech expressiveness.

The relevance of the research topic we have chosen is confirmed by the fact that the question of the features of expressive reading in the process of analyzing a work of art at school has not been sufficiently and fully studied, as a result of which it is of undoubted interest to us.

The object of research in this work is the techniques and methods of teaching expressive reading, which contribute to the formation of schoolchildren's skills to analyze a work of art.

Subject of research: skills and abilities of expressive reading; approaches that create the possibility of including expressive reading techniques in the educational process; the formation of the ability to analyze the work.

The purpose of this study is to prove that the development of expressive reading in the process of analyzing a work of art in the classroom will contribute to the comprehensive harmonious development of the personality of younger students and increase the level of perception of a work of art.

To achieve this goal, the following tasks were set:

1. Study the methodological, pedagogical and psychological literature on this topic.

2. To identify the levels of perception of a work of art among students

second grades.

3. Analyze the specific features of expressive reading.

4. Consider methods and means of teaching expressive reading.

5. Experimentally test the effectiveness of expressive reading in the process of analyzing a work of art.

The research hypothesis is as follows: the use

expressive reading increases the level of perception of artistic

works by younger students.

Research methods: ascertaining section, forming experiment, analysis of students' work, observation, conversation with teachers, students.

The research work was carried out in two classes: experimental 4 "A" - 21 people and control 4 "B" - 21 people in the secondary school LGO No. 1 in Gornye Klyuchi, Primorsky Krai.

The study of the significance of expressive reading in the process of analyzing a work of art at school is studied both in the science of pedagogy and psychology.

The process of teaching students expressive reading as an object of research is studied both in pedagogy and in psychology and methods of teaching literature.

The work consists of an Introduction, two main chapters and a Conclusion.

The practical significance of the work lies in the fact that it can serve as a material for the teacher to work in reading lessons, namely, to develop the ability and skill of younger students not only to expressively read a literary work, but also to be able to analyze it.

The practical significance of the work lies in the fact that it can serve
material in the development of school lessons on the study of comparisons in the genre of a literary fairy tale, as well as used in the analysis of artistic means as a category of stylistics.

Chapter I. Expressive reading: its characteristic features and features

1.1. Expressiveness of speech and expressive reading

The main goal of schooling is the formation of the student's personality. Reading as an academic subject has at its disposal such a strong means of influencing the personality as fiction. Fiction has a huge developmental and educational potential: it introduces the child to the spiritual experience of mankind, develops his mind, ennobles his feelings. The deeper and more fully perceived by the reader this or that work, the greater the impact on the personality it has. Therefore, as one of the leading tasks of teaching reading, the program puts forward the task of teaching the perception of a work of art.

K.D. Ushinsky saw one of the most important tasks of the school in "accustoming the child to a reasonable conversation with a book." To solve this problem, the teacher needs to create favorable conditions for working on the content, analysis and assimilation of what is read on the basis of various types of work.

According to O.I. Kolesnikova, reading lessons in the primary grades, in addition to the utilitarian goals of the didactic and educational plans, are designed to solve the problem associated with the adequate perception of works of art by children of the word.

“The technique of perception must be taught,” says A.A. Leontiev, founder of the Russian theory of speech activity.

Quite often, when reading a work of art, children perceive the image depicted inaccurately and even incorrectly, because, in reading lessons, the teacher does not work on the development of abilities associated with artistic reception purposefully. M.S. Soloveichik argues that the ability to figuratively analyze a work of art does not develop by itself. And if it is absent, then the reader perceives only the main actions of the characters, follows the course of the plot and skips everything in the work that makes it difficult. This way of reading is fixed in children and persists even into adulthood.

Continuing the thought of M.S. Soloveichik, O.I. Nikiforova writes that with a defective mechanism of perception, readers and from a truly literary work assimilate only its plot scheme and abstract, schematic ideas about its images, that is, approximately the same as from books of little art.

Therefore, M.S. Soloveichik, agreeing with A.A. Leontiev, speaks of the need to teach children "thinking" perception, the ability to reflect on a book, and therefore about a person and about life in general. Other well-known methodologists, such as M.S. Vasilyeva, M.I. Omorokova, N.N. Svetlovskaya. Adequate perception is formed in the process of analyzing the work, which should be joint (teachers and students) thinking aloud, which over time will allow the development of a natural need to understand what has been read. According to the Methodists A.I. Shpuntova and E.I. Ivanina, the analysis of a work should be aimed at identifying its ideological content, the main idea that the author seeks to convey to his reader, and at identifying the artistic value of the work. So, many well-known domestic scientists, psychologists, and methodologists have worked and are working on the problem of a full-fledged perception of a work of art. Among them G.N. Kudina, Z.N. Novlyanskaya, T.G. Romzaeva, M.S. Soloveichik, M.R. Lvov, O.V. Sosnovskaya. However, at present, the problem of a full-fledged perception of a work of art is not sufficiently studied, since a unified classification of perception levels has not been created, the opinions of scientists are divided regarding terminology, the number of perception levels, and the skills that a student should possess at each level. In addition, the positions of researchers and methodologists differ on when to start teaching children to understand the author's position, the mastery of which implies a full perception of a work of art. Expressive reading differs from other types of reading, primarily in that it is aimed not at extracting information, but at transmitting it. If other types of reading have certain thematic boundaries (for example, artistic reading refers to the performance of only works of art, search reading is most common in scientific work), then expressive reading is applicable to any text.

Expressive reading also has several forms: individual, dialogic (according to roles and persons) and choral (polyphonic). Another classification can be presented based on the style of the language and the genre of the text being read.

L.A. Gorbushina characterizes expressive reading as “... the embodiment of a literary and artistic work in sounding speech. Expressively reading a work means finding in oral speech the means by which you can truthfully, accurately, in accordance with the writer's intention, convey the ideas and feelings invested in the work.

M.A. Rybnikova calls expressive reading "... that first and main form of concrete, visual teaching of the Russian language and literature, which for us is often more important than any visual order."

Expressive reading brings concreteness, visualization and emotionality into the teaching of language and literature, which makes it possible to increase the effectiveness of teaching, to involve all students in the work on the work, which makes the educational process creative. Expressive reading teaches intonation, punctuation, vocabulary, etc.

1.2. Components of expressive reading

Expressive reading as the highest type of reading is the ability to use the main means of expressiveness to reflect in reading one’s understanding, evaluation of the content and meaning of the text, attitude to it, the desire to convey all this to the listener or audience with the greatest completeness, persuasiveness and contagiousness, to make it understandable to them. the intention with which the reader has taken up the reading and which he is trying to reveal through his reading.

The main means of expressiveness include: breathing, logical and psychological pauses, logical and phrasal stresses, tempo-rhythm, raising and lowering the voice (melody), voice power, voice coloring (timbre), tone, intonation, facial expressions and gesture.

Breath. The concept of "speech technique" includes correct breathing (the physiological basis of speech), voice (lasting sound), pronunciation (diction) in the process of speech and reading.

Proper breathing is the economical, uniform use of air. This is achieved by using the entire muscular apparatus of the chest. Replenishment of the lungs with air occurs imperceptibly between words or phrases, where it is required by the meaning of speech.

The correct type of breathing is mixed costal-diaphragmatic breathing. The lower lobes of the lungs are the most capacious. With a deep breath, they are filled with air, the chest expands and, with the gradual expenditure of air during reading, falls. At the same time, the ribs and diaphragm move vigorously. It is necessary to learn to control breathing so that it does not interfere with the reader and does not distract the listeners during reading. Proper breathing during speech consists not only in the economical use of air, but also in the timely and imperceptible replenishment of its supply in the lungs (during stops - pauses). While reading aloud, the shoulders are motionless, the chest is slightly raised, the lower abdomen is tightened. With improper chest breathing, only part of the muscles of the chest is used, and the weakest. Such breathing tires the chest with frequent breaths, the air is spent irrationally.

Voice. When we pronounce words, we exhale air from the lungs, which passes through the respiratory tract into the larynx, where, as a result of the closing and opening of the vocal cords, it forms a sound called a voice. The voice has the following properties: strength, pitch, duration (tempo), flight, quality (timbre). These properties of the voice are an important condition for expressiveness.

Distinguish between loudness and loudness. “The strength of sound is that objective value that characterizes the real energy of sound ... Loudness is a reflection in our minds of this real strength of sound, that is, a subjective concept ... The solution to the discrepancy between the strength and loudness of sounds is in the unequal sensitivity of our hearing to tones of varying pitch, though of equal strength.

Loudness should be understood as the fullness of the voice. Power shift voice is used as one of the means of expression. Reading only loud or only quiet gives the impression of monotony. During a certain segment of speech, the tone consistently changes in height: it becomes higher, then lower. In order for the voice to easily move from low to high and vice versa, it is necessary to develop its flexibility and range.

A well-trained voice is distinguished by flight. Flightability is the ability of sound to fly far, to spread over long distances, to stand out from other sounds. In addition to strength, height and duration, the sound of the voice also differs in its quality, i.e., in the color of the voice - timbre. “The timbre, that is, the sound coloring of the voice, as well as the strength of the sound, its softness and “warmth,” can improve with constant care for it, with special exercises, each time individually selected for a given voice.”

Intonation. The totality of jointly acting sound elements of oral speech, determined by the content and goals of the utterance, is called intonation.

The value of intonation in expressive speech is very high. “No living speech is possible without intonation,” say psychologists. “Intonation is the highest and most acute form of speech influence,” say the masters of the artistic word.

It phonetically organizes speech, dividing it into sentences and phrases (syntagms), expresses semantic relationships between parts of the sentence, gives the spoken sentence the meaning of a message, question, command, etc., expresses feelings, thoughts, states of the speaker - this is how philologists assess the role of intonation.

Elements of intonation according to their cumulative role in oral speech should be considered as an inseparable whole. However, for the convenience of illumination, it is necessary, somewhat artificially highlighting the main components of intonation, to talk about each of them separately.

Logical and phrasal stress. An integral syntactic intonation-semantic rhythmic unit is called a syntagma or phrase. Syntagma can be one word or a group of words, for example: Autumn. All our poor garden is crumbling. From pause to pause, the words are pronounced together. This fusion is dictated by the meaning, the content of the sentence.

The group of words representing the syntagma has an accent on one of the words, mostly on the last one. It is necessary to distinguish logical stress from phrasal stress. (True, sometimes these types of stress coincide: the same word carries both phrasal and logical stress.) Words that are important in thought in a sentence stand out, they are brought to the fore by the tone of voice and the force of exhalation, subjugating other words. This is “nomination by the tone of voice and the power of expiration (exhalation) words to the fore in a semantic sense and is called logical stress.

In a simple sentence, as a rule, there is one logical stress, but sentences with two or more logical stresses are often found. Logical stress is very important in oral speech. Calling it a trump card for the expressiveness of oral speech, K. S. Stanislavsky said: “Stress is the index finger, marking the most important word in a phrase or in a measure! In the highlighted word, the soul, the inner essence, the main points of the subtext are hidden!

If it is incorrect to highlight the logical stress, then the meaning of the whole phrase may also be incorrect.

Will you be at the theater today? (and not anyone else?)

Will you be at the theater today? (Will you come or not?)

Are you going to the theater today? (and not tomorrow, not the day after tomorrow?)

Will you be at the theater today? (and not at work, not at home?)

Logical and psychological pause. The meaningful pronunciation of a sentence requires its correct division into links, measures. But in ordinary connected speech there is no clear divisibility into words, so that the gaps, white spaces separating words from each other in a written or printed text, are not always indicators of the articulation of speech in pronunciation. The semantic completeness of a syntagma or sentence serves as a sign, a stop signal. The segmentation of speech is indicated by pauses. A pause combines words into a continuous series of sounds, but at the same time separates groups of words, limits them. This is a logical break. Pauses can be of different duration, depending on the thought being expressed, on the content of what is being read. The reader, observing logical pauses, pronounces the words enclosed between them, together, as one word. The pause divides the phrase into links.

With an incorrect pause, the meaning of the sentence is violated, its content becomes unclear, and the main idea is distorted.

Logical pauses shape the speech, give it completeness. Sometimes a logical pause turns into a psychological one. The logical pause “is allotted a more or less definite, very short time of duration. If this time is delayed, then the inactive logical pause should soon be reborn into an active psychological one.

A psychological pause is an expressive means when reading a work. In the words of K. S. Stanislavsky, “eloquent silence” is a psychological pause. It is an extremely important communication tool.” "All of them (pauses) they know how to say what is inaccessible to the word, and often act in silence much more intensively, more subtlely and more irresistibly than speech itself. Their wordless conversation can be interesting, meaningful and convincing no less than verbal.

"The pause is an important element of our speech and one of its main trumps." Pause segmentation of speech (pause) is very important for comprehending the read and spoken text. It is between two pauses following one after another that a segment of speech stands out, which is the main intonation unit.

Rhythm is the quantitative ratio of effective durations (movement, sound) to durations conditionally taken as a unit in a certain tempo and size. This is how K. S. Stanislavsky defines the concepts of tempo and rhythm, which are necessary for us to study oral expressive speech. These concepts are very close, and the phenomena themselves are almost inseparable in speech, K. S. Stanislavsky combines tempo and rhythm into one concept - “tempo-rhythm”.

“Letters, syllables, and words,” he says, “are the musical notes in speech, from which bars, arias, and whole symphonies are created. It is not for nothing that good speech is called musical.

Timbre- this is a specific (supra-segmental) coloring of speech, giving it certain expressive-emotional properties.

Timbre is considered as a very important, but additional means of enriching the melody of speech and is organically connected with it, determines it. Each person has his own characteristics of the sound of speech, associated with the structure and operation of his speech apparatus, the nature of the sounds of his voice. By the combination of these signs, even without seeing a person, you can find out what he is saying. But the coloring of speech can change, deviate from the usual norm, depending on emotions. The stronger the emotions, the more deviations from the usual sound. The expressiveness of speech is reported by this deviation. The timbre colors the whole work, endowing it with infinitely varied shades.

Timbre is an exponent of the artistic interpretation of the text, the reader not only conveys it in accordance with the understanding of the creative tasks of the author of the work, but also enriches the sound with his own creative ideas. There are no recipes for "timbre coloring". Thoughtful reading of the text, "getting used to" the images of the writer, the poet - that's what gives the basis for emotionally expressive reading. “The harmonious unity of the intonation of speech with its inner roots should provide speech with that naturalness and simplicity, which are dearer than thoughtless “beautifulness”.

facial expressions- these are expressive movements of the muscles of the face, which are one of the forms of manifestation of various feelings. Accompanying speech, they complement and reinforce its meaning. For the reader and narrator, facial expressions are one of the additional means of influencing the audience. Through facial expression, the eye of the narrator conveys his experiences, his attitude to events, persons and circumstances. Mimicry is closely connected with the thoughts, actions and feelings of the speaker, with all his inner life. This gives grounds, observing reality and studying the manifestations of internal experiences, to use facial expressions in the process of expressive oral speech, that is, to make facial movements arbitrary.

A special means of expression is gesture. It is also an additional means of expressiveness of speech, entirely subordinate to it. Skillful selection of certain gestures helps the reader to reveal the essential aspects of the life depicted in the story. At the same time, the reader and narrator need a gesture that would not duplicate speech, would not compete with it, but flow from the content, be conditioned by it. “...Even the most complete and varied system of gestures is much poorer than a system of words...with even the most limited exposure, a gesture will never evoke that response in the mind, in the imagination of the listener, which always evokes a word filled with thought.”

Thus, in order to expressively read a work, it is necessary to be able to correctly use all these intonational means. After all, they are the components of expressive reading.

1.3 Methodological conditions for the formation of expressive reading when working with a literary text

In order to learn to read expressively, it is necessary to master certain skills and abilities. They are based on text analysis and intonational means of speech expressiveness. The main skill is the ability to determine the main task. This skill also includes a number of particular skills, the isolation of which makes it possible to determine the logical sequence of their formation. These include:

The ability to understand the thoughts of the characters, empathize with them, determine their attitude to events;

Skills that develop creative, recreating imagination;

The ability to properly control breathing;

Ability to correctly use the properties of the voice;

Ability to correctly set logical and phrasal stress;

The ability to select the desired pace and rhythm of reading;

Ability to use facial expressions and gestures;

Given the age of elementary school children, we cannot form all the skills at once. They are formed sequentially one after another at the entire stage of teaching literature. Therefore, we can highlight the main skills that need to be formed in elementary school students:

Ability to control breathing;

Ability to correctly analyze the text;

The ability to mentally recreate the images conveyed by the author;

The ability to choose the right intonation;

Ability to use logical and psychological pauses;

Ability to correctly put phrasal and logical stress;

So, it is necessary to form skills related to expressive reading in elementary school, but not all skills should be developed at this age, but only some.

1.3.1 Text analysis

There is an opinion that the analysis dries, “discolors” the perception of the work. But it is impossible to truly comprehend the depth of a work of art without thinking about it, only through reading. And the point is not that analysis interferes with direct perception, but that the excessive rationality of analysis destroys artistic perception: “... in art, rational analysis, taken by itself and for itself, is harmful, since it often, due to its intellectuality, mathematics, dryness, does not inspire, but, on the contrary, cools the impulse of artistic passion and creative delight,” writes K. S. Stanislavsky.

When you are carried away by a work, you naturally want to re-read it, think deeply about the content, peer into the form, and this is analysis. The course of creative analysis should be natural and present a series of answers to questions that arise as we think about the work. Of course, we want to know who the author is. This, on the one hand, is the result of a born feeling of sympathy, and on the other hand, a desire to understand why he was able to write like that. We strive, first of all, to learn about the author, because each work of art is a reflection of the world in the perception of this artist, and therefore, for a truly deep understanding of a work of art, it is necessary not only to know the depicted life, but also the one who in his own way depicted, brought something of himself into this work.

The analysis of the work itself can be carried out in a different sequence: by deduction (from the general to the particular) or by induction (from the particular to the general). The first way, when they go from the definition of the theme, idea and composition to the system of images, resembles the way of the author. The inductive path corresponds to the sequence in which the reader gets acquainted with the work. He first 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.

The analysis of a work usually begins with the definition of the genre. The genre is often indicated in the subtitle of the work. Some of these designations immediately indicate the features of the work and their corresponding performance. In all cases, the reader should not pass by the question of the genre, since the genre largely determines the manner of performance.

The next question that arises in front of those who analyze the work is the question of the theme of the work, about what phenomenon of life made the author take up the pen. There are many works in which the theme is easy to determine. Determining the topic, we must not forget that literature is human science. Therefore, the topic always lies in the sphere of human relations.

Determining the idea of ​​a work of art is usually more difficult than the theme. There are works in which the author made it easier for the reader to understand the idea by formulating it (most of the fables, a number of lyrical poems). But in most works the idea is not formulated by the author. It follows from the entire content of the work. When defining the idea of ​​a work, simplified formulations should be avoided, and on the other hand, it is necessary to find the main one among many ideas.

A reader, including a teacher, rarely has to read large epic works in full, more often they read excerpts from them. When determining the theme and idea of ​​a passage, it is necessary to take into account the theme and ideological orientation of the entire work. Otherwise, a gross violation of the author's intention may occur.

In another sense, the language of images-characters is important. Along with actions, relationships with other people, the author's description and portrait, he gives us the opportunity to understand the image of the hero of the work. These images are extremely important for understanding the idea of ​​the work, and for the brightness of perception. Avoid schematism, listing character traits without taking into account the unique originality that is inherent in both people in life and the heroes of a work of art. After all, images are not only an illustration of ideas. The reader must comprehensively imagine the hero so that the character is as concrete for him as a good acquaintance. The author also imagines the hero, in whom, no matter how dispassionately he narrates, one can see a certain attitude towards the persons depicted by him. This attitude of the author must be perceived by the reader-performer and transmitted to the listeners. In essence, to convey such attitudes towards the characters, to make listeners not only interested in the fate of the characters, but also to love them or hate them, laugh at them - this is the main task of the performer. If the listener feels a deep sympathy for the characters or antipathy for them, the reader can consider his task completed. In addition to the author's characterization, colored by a certain attitude towards the character, it is very important to make the very speech of the depicted person characteristic. What the characters say is given by the author, and how he says, the performer must show. To do this, you need to remember the effectiveness of speech, where each item is a verbal act that has a specific purpose.

1.3.3 Breath control

The development of correct voluntary breathing requires training of the respiratory apparatus, establishing the correct mode. This requires special exercises that are best done under the guidance of an experienced reader or specialist teacher. With a certain self-control, you can work on your breathing yourself.

Exercises:

1. Stand up straight, calmly, without tension. Turn your shoulders without raising or lowering them. Place one hand on your upper abdomen. the other on the side, above the waist, to control the movement of the diaphragm and ribs. Take a small breath, counting 1 - 5. Control the simultaneous movement of the diaphragm and ribs. Make sure that there is no overflow of the lungs. Inhale and hold the air for a count of 1 - 3 without relaxing the muscles. Then exhale smoothly, without jerks, to the count of 1-5. Relax the abdominal muscles, rest and repeat the exercise.

1.3.4 Selecting the desired intonation

Is it possible to learn intonation that accurately reflects the content of the utterance? Psychologists answer this question in the negative: “This is the same as learning to cry, laugh, grieve, rejoice, etc. The intonation of speech in a certain life situation comes by itself, you don’t need to think about it or worry about it. to hustle... But there are ways to find intonation when the task is to read some text that is not composed by us, this task is solved in the theory of stage speech, the most advanced of which is considered to be the system of K. S. Stanislavsky. All speech is situational. Intonation is a response to a conversation situation. It is, to a certain extent, arbitrary. 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, features of his nervous system. With the transfer of someone else's, written speech (when reading a work), liveliness, intonational correspondence appears in the situation of communication: the speech "alien" must be "assigned" by the reader, must become "one's own". This technique is characterized by psychologists as follows: “You must report your own thoughts, believing that for the interlocutor these messages are new and interesting. Then both partners will be interested in communication, and speech will acquire an emotional appeal, expressed in intonation.

1.3.5 Logical and psychological pauses

It is almost impossible to teach to hear a logical pause, because. this is a physiological process, this skill can be developed through training and text analysis. “A psychological pause can occur at the beginning of a phrase - before words, within a phrase - between words, and at the end of a phrase - after words are read. In the first case, she warns the meaning of the words to come; in the second, it shows the psychological dependence (unifying or separating) of the expressed thought from the subsequent thought, emphasizing the meaning of these thoughts and the attitude towards them; in the third case, it detains attention on the words and images that have resounded, as if prolonging the depth of their meaning in silence. The impact of the psychological pause in the latter case is enormous.”

1.3.6 Phrase and logical stress

The correct setting of logical stress is determined by the meaning of the entire work or its part (piece). In each sentence, you need to find a word on which the logical stress falls. The practice of reading and speech has developed a number of guidelines on how to place logical stresses. It is impossible to mechanically apply these or other rules for setting logical stresses. You should always take into account the content of the entire work, its leading idea, the whole context, as well as the tasks that the teacher sets himself when reading the work in this audience. Not recommended, and "abuse" logical stress. Speech overloaded with stresses loses its meaning. Sometimes this overload is the result of the separation of words during pronunciation. “Dividing is the first step towards emphasizing...—the first step towards spreading the stress on that which does not require stress; it is the beginning of that unbearable speech, where every word becomes "significant", where there is no more important, because everything is important, where everything matters, and therefore nothing means anything anymore. Such speech is unbearable, it is worse than vague, because you cannot hear vague or you can not listen, but this speech forces itself to listen, and at the same time it is impossible to understand, because when the stress does not help the clear disclosure of thought, it distorts and destroys her. Fussiness makes speech difficult. It facilitates her calmness and endurance.

The formation of intonation skills in primary school in accordance with the age of children is achieved through practical work on expressive reading without relying on any theoretical knowledge. Preparation for expressive reading is conditionally divided into three stages:

a) clarification of the specific content of the work, analysis of the motives for the behavior of the characters, establishment of the idea of ​​the work, etc., in other words: comprehension of the ideological and thematic basis of the work, its images in unity with artistic means;

b) text markup: putting down pauses, logical stresses, determining the pace of reading;

c) an exercise in reading (re-reading is possible until it is possible to convey the thoughts of the author, his attitude to the depicted events and characters with his voice).

Analysis of the content and ideological orientation of the work includes teaching expressive reading; they act in a certain unity. In order to form the skill of expressive reading of works of art in children, methodological support is necessary. At school, such a main support is a textbook on literary reading. But the analysis of textbooks showed that at the present stage, the authors of textbooks pay very little attention to the expressive reading of works of art. This conclusion was made on the basis of the absence of tasks and questions after literary texts that would help the teacher to form the skill of expressive reading of works by students.

Chapter II. Analysis of research work on the development of expressive reading in the process of analyzing a work of art at school

2. 1 Ascertaining experiment

In order to determine the initial level of formation of the ability to expressively read works of art, a stating experiment was conducted in two classes: experimental 4 "A" - 21 people and control 4 "B" - 21 people in the secondary school No. 1 in Gornye Klyuchi, Primorsky Krai.

Both classes study according to the textbook by V.G. Goretsky "Native speech". During the ascertaining experiment, reading lessons were attended in the fourth grades in order to find out how expressively students can read works of art.

Ivan Sergeevich Shmelev.

"Egoriev's day".

“... The street was flooded with a pinkish light of the sun rising behind the houses, the upper windows gleamed. Behold, the wild gates of the shepherd's yard opened, and the old, gray-haired shepherd-owner, in a new blue coat, in boots anointed with tar, and in a tall hat, similar to a top hat, which dandy best men wear at weddings, came out into the middle of the still deserted street, set I put my hat at my feet on the pebbles, crossed myself to the sky behind our house, put a long horn to my lips with both hands, puffed out my thick rosy cheeks - I shuddered at the first sounds: the horn played so loudly that it even rattled in my ears. But it was only at first. And then it played thinner, spilled and froze. Then he began to take everything higher, pitiful, pitiful ... - and suddenly he began to play cheerful ... and I felt expanse-fun, I didn’t even hear a chill. Cows mooed in the distance, began to creep up little by little. And the shepherd stood and played. He played in the sky behind our house, as if forgetting about everything that was around him. When the song ended, and the shepherd caught his breath, voices were heard in the street:

This is a master! .. Pakhomych has proved himself! .. a master ... And why is there so much spirit in him! ..

It seemed to me that the shepherd also hears and understands this, and it pleases him ... ".

The order of the experimental work.

Each student reads the passage aloud. The formation of the skill of expressive reading of lyric poems was carried out according to the following criteria:

Proper breathing;

Correct intonation;

Correct placement of pauses;

Optimal reading pace.

Characteristics of expressive reading of an excerpt from the story of I. S. Shmelev "Yegoriev's Day" in grades 4 "A" and 4 "B" (stating experiment).

	4 "A" class (experimental)	4 "B" class (control)
Wrong breathing	8 people (38%)	7 people (33%)
	14 people (66%)	13 people (62%)
Wrong choice of intonation	12 people (57%)	11 people (52%)
	13 people (62%)	14 people (67%)
Incorrect pauses	15 people (71%)	13 people (62%)
Wrong reading pace	14 people (66%)	13 people (52%)

The obtained results show that the skill of expressive reading of lyrical poems in children is developed at a low level.

They do not know how to properly control breathing 8 people. in the experimental and 7 people in the control class; change the strength of the voice - 14 people. in the experimental and 13 people. in the control; choose the desired intonation - 12 people. in the experimental and 11 people. in the control class; correctly put logical stress - 13 people. in the experimental and 14 people in the control class; pause correctly - 15 people. in the experimental and 13 people in the control class; choose the desired pace - 14 people. in the experimental and 13 people in the control class.

Based on these results, we can conclude that very little attention is paid to the work on expressive reading in the lessons. Most students do not know how to read works of art with proper intonation, do not keep pace, pause, read quietly and in one breath. In many ways, these facts are explained by the fact that children have the most general ideas about the expressiveness of reading. This became clear from the students' answers to the question: "What does it mean to read expressively?"

The survey involved 42 people. After analyzing the answers of the children, the following results were obtained:

25% believe that this means not to rush, to read slowly, pausing between words;

From the children's answers, we can conclude that only a small number of children (4%) characterize expressive reading, taking into account different components of expressiveness. Therefore, it is necessary to teach children to read expressively, because only expressive reading of literary texts helps to understand and feel the work.

2.2. Formative experiment

Based on the analysis of literary, psychological, pedagogical and methodological literature, as well as taking into account the results of the ascertaining experiment, a training experiment was developed and conducted. The purpose of the experiment was to develop the ability of 4th grade students to expressively read works of art. In the formative experiment, students of the 4th "A" class of the secondary school No. 1 of the village of Gornye Klyuchi took part - a total of 21 people. The basis for training was the textbook "Native speech" by V.G. Goretsky and others.

Formative experiment program

lesson number	Lesson topic	Learning objectives	Formed knowledge and skills
	I. S. Shmelev "Egoriev's Day"		2. Development of hearing and listening skills. 3. Ability to define language means. 5. The ability to correctly analyze the text.
	V. V. Nabokov "Butterflies"	1. Statement of speech breathing. 2. Analysis of a work of art in order to clarify the language means of expression. 3. Observation of the connection between the feelings of the author and the setting of logical stress and the change in the strength of the voice when reading the work.	1. Ability to take the breath correctly. 3. The ability to correctly identify epithets. 4. The ability to correctly put the logical stress in the text. 6. The ability to mentally recreate the pictures of nature described by the author.
	B. K. Zaitsev "Home Lar"	1. Statement of speech breathing. 2. Work on the analysis of the work.	1. Ability to take the breath correctly. 2. The ability to holistically perceive and comprehend the text. 4. The ability to mentally recreate the images of the main characters.
	B. S. Zhitkov "How I caught little men"	1. Analysis of a work of art in order to clarify the language means of expression. 2. Observation of the connection between the feelings of the author, the change in the strength of the voice and the choice of the correct intonation when reading the work.	2. The ability to mentally recreate the images of the characters described by the author.
	K. G. Paustovsky "Basket with fir cones"	2. Development of the skill of expressive reading.	1. The ability to holistically perceive and comprehend the text. 3. The ability to choose the right intonation correctly.
	M. M. Zoshchenko "Christmas Tree"	1. Work on artistic images in order to clarify the language means of expression. 2. Practicing the skill of correctly arranging pauses when reading a work.	1. The ability to holistically perceive and comprehend the text.
	A.P. Platonov "Dry Bread"	1. Work on the analysis of a work of art.	1. The ability to holistically perceive and comprehend the text. 3. The ability to mentally recreate the images described by the author. 4. The ability to correctly pause when reading a work of art.

The developed program includes two interrelated areas:

Work on the perception of a work of art (linguistic features of the text, images of the main characters, theme and idea of ​​the work).

Work on the components of expressiveness: setting pauses and stresses, breathing, voice power, reading pace, intonation.

We will show how the work was carried out to establish the relationship between the features of a work of art and the choice of certain components of expressiveness when students read some texts.

For example, when studying the story of I. S. Shmelev "Egoriev's Day", students observed the connection between the author's emotions and the correct setting of logical stress. After the secondary reading of the text, work was carried out on the work.

Did you understand everything in the story?

What are you particularly interested in?

How did the old shepherd play? Confirm with words from the text (expressive reading).

How did the young shepherd play? Confirm with words from the text (expressive reading).

What visual means does the author use to convey his feelings?

Have you heard the horn playing? Tell about it.

Why did the old shepherd play "for the last time" this morning?

How do you imagine the old shepherd?

What is the young shepherd like?

Work on the work of B. S. Zhitkov “How I Caught Little Men” is carried out as follows: first, students read the passage they read at home, tracing the dynamics of events, noting how tension gradually builds up (it is important that children observe the relationship between the feelings of the protagonist and strength voices while reading the work). After completing the reading of the work, students pause so that they can feel and experience what they heard.

Questions from the teacher after reading:

What trick did the boy use?

Why did he do it?

What did the boy Borya experience when his grandmother left, and the cherished steamboat ended up in his hands?

Read how B. S. Zhitkov talks about this (expressive reading).

What do you think the boy experienced when he saw that the steamer was empty?

Why did Borya's hands tremble when he tried to fix everything? Is it just for fear of being punished?

How do the last words of the work characterize the boy?

Which part of the story moved you the most?

What feelings do you have for the main character?

Which part of the story did you find more intense? Read.

Why do you think B. S. Zhitkov decided to tell about the deeply personal experiences of his childhood?

What does this story teach?

Work on the study of the story of M. M. Zoshchenko "Christmas Tree" is carried out after the initial reading of the work by students at home. In the next lesson, a secondary conversation is held on the story, as well as an expressive reading of some episodes.

Work on the story (students read the work in roles).

What do you want to say about what you read?

What mood did you feel?

What did the children look like to you?

Why was the long-awaited holiday ruined?

What words in the story do you consider the most important, the most important? Read them.

Why do you think the writer remembered this Christmas tree for the rest of his life?

What does this story teach?

Do you think that Mikhail Mikhailovich is right that he decided to tell other children about this event from his childhood? Why so decided?

The work on the formation of the skill of expressive reading of works of art according to the program of this experiment turned out to be effective. The results are presented in the control experiment.

2.3. Control experiment

In order to determine the level of formation of the ability to expressively read works of art after special training, a control experiment was conducted in two classes: experimental 4 "A" - 21 people and control 4 "B" - 21 people in the secondary school No. 1 in Gornye Klyuchi settlement .

The order of the control cut.

Each of the students expressively reads an excerpt from the already familiar work of A. And Kuprin "Barbos and Zhulka". The formation of the skill of expressive reading of works of art was carried out according to the following criteria:

Correct word stress

Proper breathing;

Correct intonation;

Correct phrasal and logical stress;

Correct pauses;

Optimal reading pace.

The data obtained are calculated and given in quantitative and percentage terms in the table.

Characteristics of expressive reading of a familiar work of art in 4 "A" and 4 "B" classes.

Criteria for assessing the formation of the skill of expressive reading	Results in percentage and quantity
	4 "A" class (experimental)	4 "B" class (control)
Wrong breathing
		12 people (57%)
Wrong choice of intonation		11 people (52%)
Incorrect phrasal and logical stress		13 people (62%)
Incorrect pauses	10 people (48%)	11 people (52%)
Wrong reading pace		13 people (62%)

The results of this experiment show that after special training in the experimental class, the level of formation of the skill of expressive reading of a work of art increased.

The ability to properly control breathing increased by 19%;

The ability to choose the right intonation - by 19%;

The ability to correctly put phrasal and logical stress - by 24%;

The ability to correctly pause - by 23%;

Based on these results, we can conclude that the most effective was the work on the formation of such components of expressiveness as the strength of the voice, the pace of reading, and the setting of phrasal and logical stress. The level of formation of other components of expressiveness (intonation, pauses, breathing) also increased.

In the control 4 "B" class, where the skill of expressive reading of a work of art was not formed with the help of special training, the results practically did not change. At the first stage, a stating experiment was carried out, the purpose of which was to identify the initial level of formation of the skill of expressive reading of a familiar work of art. The results of the ascertaining experiment showed that this skill in children is developed at a low level. These results show that it is possible to form the skill of expressive reading of works of art in elementary school children if attention is paid to this at each lesson.

Conclusion

Expressive reading, as the highest type of reading in school conditions, is usually applicable, firstly, mainly to works of art, and secondly, most of all to them.