Expressive reading. Tutorial

I. I. Andryushin Tutorial Absent

The training manual contains a program of a workshop on expressive reading, theoretical material, texts of artistic works for audit, independent activities and practical tasks for the formation of expressiveness of students' speech. This publication is designed to help students of the Faculty of Preschool Pedagogy and Psychology seize the basics of expressive reading and telling necessary for future professional activities.

Developing reading games, ideas, complexes, recipes for the adult behavior in the group of children will significantly simplify your tasks in an important business to upbringing your own child. The whole head of the book is devoted to libraries and librarians, their problems and innovations. The book will be useful not only to parents, but also to educators of preschool institutions, school librarians and psychologists.

Victor Slavkin Dramaturgy FTM Agency Drama Library There is no data

To a sharp change, the epoch remained without a small 10 years, but in the stagnant air of the 80s, the diversion of the Lock Soviet period has already tracked the changing moods, trying to express their generation. Piez Viktor Slavkin "SERSO" was rightfully became the legendary text of the outgoing era, perpetuating the "internal emigrants" of the Soviet period, the descendants of Chekhov's notepad, disappointed in themselves and in the country of people humbly living at the time when they fell to live.

"SERSO" has a different name that has become a winged expression: "I am 40 years old, but I look young: a company of 40-year-olds, in varying degrees of friends with each other, people come to a weekend to a country house. Combines them all the owner of the house, more precisely, the unexpectedly received this property inherited from the cousin of the Cockerel, as the 40-year-old Peter's lovingly clicham.

Almost all his life in the same room with mom (as his friends state - "He has a housing complex"), the cockerel is experiencing Euphoria and calls on the crowd of singles (all the heroes are also united and the fact that they have no family) staying here forever, exhausted From the worldly bustle and forming a squat of happy colonists.

None of them feeds the illusions, realizing that this idea is utopic, but on the weekend - agree to accept the conditions of the game. According to its shape, the play is very theatrical and contains three temporary layers: besides the present time - the following 80s, - there is still a reference to Paul I (Pasha, a historian for education and the enterprise repair worker in life, mystifies the furniture located in the house, hinting that it was she in the bedroom of the emperor on the night of the murder); As well as the 20s of the 20th century - the grandmother correspondence found in the house in the house inspires the colonists on the costume reading letters out loud.

Then they lived and loved differently: imitation of the time - the unhurried game of heroes in Serso strengthens the Elegy Chekhov drama play. What does not cancel its social promise: in any historical reality, the ideal is not achieving. In the Hamburg Account, "Serso" was set once: in 1985, the most powerful of the directors, working and today - Anatoly Vasilyev - came up with an original and expressive art decision, concisely placing the actors in the eases blowing from all sides wooden house And seeding viewers in a circle, so that everyone can see what is happening from his unique angle.

Exquisite circle of hands with transmission of letters in a circle, red glasses and white envelopes - thickening to the limit of space, the director created an amazing and atmosphere of the play, asked a high bar directing director of subsequent generations. But the presence of an ideal performance should not scare, but to challenge to contemporaries, because the theme of loneliness does not become obsolete in the "Serrso" and in its own way resonates with any time.

I. Feta is completely unusual for our era. Among the natural sciences, besides mathematics and physics, biology was especially close. He had in-depth knowledge of the humanitarian sphere, including not only history and philosophy, sociology and psychology, but also literature and art.

Abram Ilyich read freely at seven European languages. The circle of his reading was huge, and he unmistakably defined the true meaning of each book. Those that he believed particularly important translated for samidate that with the totalitarian system of power and tough censorship it was especially important.

It was he who first introduced the Russian reader with the basic works of Conrad Lorenz, Eric Bern Eric Fromma and many others. Performed: Alexander Borders Producer Edition: Vladimir Sparrow, © Copyright Ericberne "Games People Play" © Translation A.

The manual contains 32 texts with control issues determined by the number of words and standards for evaluating the reading technique for weekly and test work in the 2nd class. Reading speed is the number of words read in 1 minute. The student must read expressively, without changing the pace of reading, observing the signs of punctuation, clearly saying words.

Read speed standards for grade 2: at the end of the first half of the year 35-40 words per minute; At the end of the second half of the year 45-50 words per minute. To work out reading skills, it takes each week to check the read speed. With a methodically correctly supplied learning process, the student is able to achieve these results and even surpass them.

Otel Roca

Valentin Tumaykin Modern Russian literature Absent

The intriguing scene lines of the novel, bizarrely intertwining, tell about life in a distant Don farmer in the turning 80-90s of the 20th century. Non-easy ways are the main characters for their happiness. They strongly prove their right to love. But they can not find peace and peace.

Final Roman - tragic. A peculiar manner of narrative with a multitude of bright lyrical retreats makes reading breathtaking. Thin humor and sad sarcasm draw a picture of the events expressive and realistic. A large product is read in one breath.

After each text is given control questionsthat allow you to check how consciously schoolboy perceives read, as well as standards that the teacher can use for an objective assessment of reading skills. The number of words in the texts is given in brackets.

Reading speed standards for grade 4: at the end of the first half of the year 95-100 words per minute; At the end of the second half of the year 110-120 words per minute. To work out reading skills, it takes each week to check the read speed. With a methodically correctly supplied learning process, the student is able to achieve these results and even surpass them.

The manual is addressed to teachers and parents.

Plan

1. Supply of expressive reading

2. Upracts for learning expressive reading according to M. Ya Bnikovaya techniques

3.Cecture lesson on learning expressive reading

1. Expressive reading permeates all activities and teachers, and student in the process of studying literature

According to Rybnikova MA, the expressive reading of the teacher usually predicts the analysis of the work and is the key to understanding its content. Expressive reading of the student concludes the analysis process, summarizes the analysis, practically implements understanding and interpretation of the work. And if students read impassively, thinking ... Only about the formal side of reading, not imagining the paintings about which they tell ", that is, they simply" pronounce words ", what is there to talk about the impact of the artistic word on their feelings, about understanding And the interpretation of them poetic text?

The execution should be as to pronounce text with the maximum transfer of the topic of the work and its ideological design, M.A. Rybnikova believes. Reading must match the style of the work, its genre features; This execution embodies in the voice of the logical and syntactic melody of speech, music and rhythm of verse, one or another prose system. This execution must comply with the rules of competent pronunciation, what is called orthoepia; It must be, of course, loud, clear, coming to the listener with full clarity sounding word.

The usual shortcomings of children's speech are the lack of loud and clear speech, the main mistakes in pronunciation are overcome the elementary school. The best teachers of junior classes teach to allocate logical strokes, making pauses, learn to read poems, learn from Basni's roles - all this is perceived by children with great sensitivity and contributes to the best setting of literary reading at its first steps in III-iv classes.

Work on an expressive word is drawn up in a number of special lessons dedicated to reading or telling text, but, in addition, the teacher is watching pronunciation, phrase and intonation of students at each lesson. The pronunciation errors are corrected: not the youth, and the youth, not the percentage, and the percentage of [E] NT, does not, and this, and this, not, and poetry, etc.

In schools where any local pronunciation is observed, it is paid to him. This work on orthoepia-long, permanent and stubborn. For reference, the teacher can use the ed; D. N. Ushakov, where every word is given with stress.

Each response, a quote from the poem, an example of grammar should be given in the appropriate voice supply. "Do not rush, speak loudly, clear. Repeat again, say so that everyone heard you and understood. " Everything that can be said to memory should be pronounced without a book, by heart, as oral speech is natural, more and more easier, and therefore expressive. Having cited a quote, the student will repeat it without a book, by heart. Riddles, proverbs that work in the class are all this material for polishing the diction and for the culture of living intonations.

The teacher himself, his manner of speech, his expressive word, his story, his reading of the verses - all this is a permanent example for students. And therefore the teacher must speak loudly (but not shrieking), clearly and clearly (but alive), emotionally (but without nervous pressure and with a minimum number of gestures). As soon as the ability is the wonderful, the wonderingman must say poems by heart; Giving students to memorize for memory, the teacher should not release himself from this task. The class produces an exceptional impression when a new poem comes to hearing from the mouth of the teacher, and not from the book. This is a meaningful attention, it is a tangible experience of what is happening in the story!

So, first of all, everyday attention to pronunciation, clarity and clarity of the word, to the liveliness and simplicity of speech.

And in the second place, the system of lessons dedicated to the expressive reading of poems and prose, cholar performances of the class, telling artistic prose.

Expressive teacher reading usually precesses the analysis of the work and is the key to understanding its content. Expressive reading of the student concludes the analysis process, summarizes the analysis, practically implements understanding and interpretation of the work.

Students must come to thinking and to the conclusion that expressively read-it means to give the idea and the topic of the work.

And far from every student can grab immediately the tone of the work and express her in voice. Over it has to work.

According to the Rybnika, the first and main task of the Literature teacher, the interpretation of the internal content of the work, the identification of the topic, the object of the image, and the main-identification of the author's attitude to the subject of the image (anger, delight, irony, calm, cheerfulness, sadness, mockery, admiration).

According to the method of M.A. Zhebnikova:

Theoretical information

1. Speech technique. Requirements that make the art of reading to breathing, diction, orphoepium.

2. By reading logic. Logical pauses. Their durability and character (quality). Logic strokes and techniques of their practical implementation. The combination of power of voice, height and duration in the emphasis. Pace. Rhythm. The ratio of logical and rhythmic pauses. Types of rhythmic pauses (interstit, cesura, leisure).

3. P on emotionally-shaped expressiveness. Vision. Destination. Position. Pose. Empathy. Verbal action. Pause: psychological, initial, final.

Practical skills

1. Speech technique. Breathe unnoticed. Often, but not participated. Skillfully use pauses for a good air (replenishment) of air. Read clear, distinctly (not to collect sounds, do not hesitate). Observe the norms of orthoepia.

2. By reading logic. Severe "six levers": louder - quieter, above - below, faster - slower. Melt the ability to "read punctuation marks". Perform various tasks to determine the place and nature of the pause in the poetic text, as well as to determine the quality of logical strokes and their practical implementation in the process of expressive reading.

2. Upracts for learning expressive reading according to M. Ya Bnikovaya techniques

In order to learn how to expressive reading, exercises are developed through which the teacher must conduct students, raising attention to the sound, by the way, to the proposal, to the paragraph, bringing up the clarity and clarity of pronunciation, the soundness and flexibility of the voice, readiness and demanding hearing. In addition to the lessons of a comprehensive literary analysis and the pronunciation of work, the whole, it is necessary to give time, at least 5-6 per year, on special occupations of the technique of pronunciation.

For example.

Undeveloped, fuzzy speech is characterized by sounding sounds, obscure diction, insufficient detection of consonants and vowels. Work on the speech should set its task the development of phonetic clarity. The attention of the grammar course to the study of the sounds of Russian speech should be used by the teacher not only for the purposes of spelling, but also for the needs of expressive speech, for orthoepia and diction.

For this purpose, the works of oral folk poetry are good:

riddles, proverbs, patterings. The riddle is often sound-powered, we open this sound resistance in pronunciation:

Facgobes beat, progreded priests, came to the crate, outstretched. (Chains)

Need to say, emphasizing the lip sounds b, p, and also Correcting sound-powered "rhythm of the riddles (rhythm of grinding).

Schuchka walks along the creek, looking for a sugh of heat of the nest, where she would suffocate the herb of thick.

A whistling whistles, transmitting the sound of the boss.

Chernysh Zanarysh, where did you go?

Silent, twisted it, you yourself will be.

This conversation Pot with grasp is based on playing shocking sounds: cast iron hurts under the stoves, water hits on the Cast iron crashes, grabs scarves on the walls of the cast iron. Pronunciation highlights hissing sounds. Here are some proverbs built on sounding (already Not on soundop drying);

Judge joke gag saddled: stole shushun yes fur coat. Gave hungry melanie pancakes; she says baked impudent

(La La-Ala). With the same sound mystery of the cabbage:

Latched latch, and the needle was not.

Small forms of artistic speech showing high sound skills are pronounced in a class several times; Children study a clear and calling pronunciation, liefly in sounds and in syllables, pass the school of artistic phonetics. This is a class of V class, and mainly at the beginning of the year.

It is desirable that the children know even in elementary school that there are verbs in the language, interjections, sound-powered nouns: Bach, Fuck, Cuckoo, Taratayka, Balalaika, Drum, Topot, Thunder Return, etc. .

But in the V class, it is advisable to once again dwell on this phenomenon of speech, because the poetic language is always and everywhere uses this language material for its purposes.

A cheerful cracker cracks flooded oven. Bell "Din-Ding Ding ... and so on.

This work on the sounding word gives the resonance on all the following steps of communication with the artistic word.

Reading "demons", students transmit breakage of blizzards, obsessive repetition of sounds, they deliberately work on diction:

Rush clouds, clouds are clouded, food in a clean field

Invisible moon Bell Ding Ding Ding

Illuminates the snow of volatile, scary, terribly involved

Mute sky, mutna night. Important unknown plains!

And the consonance of the epithet with a defined word, at least in the poem "kosar": the father's blood, braid new, the village is native, to the sea black.

Or such an example:

Their dark handles sometimes raised, and black eyes sparkled.

Do not whisper the leaves with a ratcheim key 1.

The observation of the sounding word puts in front of the students a sharp question about the presence of luminous, hissing, soft and solid sounds, about the difference in the design and pronunciation (the sea is black,

A skilled teacher at the expressive reading lessons will increase the interest of students to the language, phonetics, morphology and syntax; This new for students approach to speech will give its results and in grammar lessons.

Municipal budgetary educational institution Secondary school № 21 urban district Garia Kostroma region

"Expressive reading - a way to develop the speech of younger schoolchildren"

Soboleva Galina

Valentinovna

Primary teacher

classes

g. Sharya

Introduction ........................................................................................ 3.

Chapter 1. Theoretical foundations of expressive reading in the system of development of the speech of younger students. …………………………………………………………… 6

1.1. The concept of expressive reading ... .. .................................... .. 6

1.2. The main components of expressive reading ...................... 13

Chapter 2. Psychological and pedagogical features of the development of the speech of younger schoolchildren .......................................................................................... 25.

Conclusion .................................................................................... 33.

LIST OF LITERATURE ...................................................................................... ... 34

Introduction

Expressive reading plays a big role in the system of development of the speech of younger students. Of particular importance are the classes of expressive reading in elementary classes, where the process of assimilating children of the literary language occurs.

Man all his life improves his speech, mastered by wealth native language. Each age stage makes something new in his speech development. The most important steps in mastering the speech falls at the children's age - its preschool and school periods. But we are primarily interested in a child going to school. So a child at the desk. And the task of the primary school teacher is to bring the speech skills of students to this minimum, below which no student should remain in the classroom, i.e. The teacher is obliged to improve the speech of the child, to enrich his vocabulary, develop and increase the culture of speech and all of its expressive opportunities, for it is an important and wider sphere of human activity.

The relevance of the problem under study is due to a number of circumstances:

first, the attention of the current program to the culture of sounding speech as an integral quality of the educated person;

secondly, a clear and accurate statement of a schoolchild can be built only in the presence of accurate and decent presentation, concepts, knowledge of the surrounding reality;

thirdly, focusing on an arbitrary level of development of speech, we are thereby taking on the problems of intellectual and emotional personal development.

On the problem of the qualities of a full-fledged reading skill, in particular, expressive reading, there are plenty of publications. Methodists involved in expressive reading, emphasized the importance of working on the intonational side of the sounding speech. Thus, in the method of reading E.A. Adayovich formulates certain requirements for expressiveness of reading. In his works she gives great importance Independent search for the necessary expressiveness in the process of deep understanding of each word separately and content as a whole. The same thought can be traced in the works of V.I. Yakoveva and N.N. Shepetova. According to them, to achieve the expressiveness of reading, funds such as the allocation of logical centers, the observance of the pause, the painting of the readable intonation, etc. is recommended. A great contribution to the development of these issues was introduced by A.N. Rodydev "Mastering the child of the sound side of the Russian Language", T.F . Zavodskaya "The role of expressive reading in the aesthetic development of students", N.I. Zincin "Speech Mechanisms". According to this problem, the works of N.S. Ogabosnsky, B.N.Golovin, L.A. Gorbushina, M.R. Lvov, T.G.Razayeva, are of the greatest interest.

Summarizing the above, it can be concluded that many scientists and methodologists paid significant attention to the issues of expressive reading in the Speech Development System.

But despite its greater importance and having separate developments of specialists on this issue, they are not solved to the end of the issues of forming the qualities of the full-fledged reading skill, including the skills and skills of expressive reading.

All of the above allows you to determine the problem of research - which is an expressive reading and how it affects the development of speech of students in primary classes.

Purpose of the study -to identify and substantiate the possibilities of expressive reading in the system of development of students of primary classes.

Object of study- The process of mastering expressive means of language.

Subject of study- Expressive reading as a means of developing speech students of primary classes.

Tasks:

identify the theoretical foundations of expressive reading in the system of development of the speech of students of primary classes;

specify the psychological and pedagogical features of the development of the speech of students of primary classes.

When performing the work, a set of complementary methods were used:

method of analyzing psychological and pedagogical literature on this issue;

polls and diagnostic methods: Questioning, testing, conversations with students;

empirical: observation, experiment;

methods for processing the data obtained: Quantitative and qualitative analysis;

analysis of the results of practical activity of students.

CHAPTER I. Theoretical foundations of expressive reading in the system of developing the speech of junior schoolchildren.

1.1. The concept of expressive reading.

This point of view was expressed by well-known theorists and Methodists T. Zavadskaya, V. found, M. Kachurin, K. Stanislavsky, G.V. Artobolevsky, L.A. Gorbushchy, who believed that the basis of expressive readings is the understanding of the meaning, "vision" and empathy. "Only knowing the goal of the narrative (i.e., where it goes and why it all tells everything) and figuratively presenting the content in its imagination, the reader will be able to involve listeners in the circle of those events that we are talking about, to make them" empathists "of these events." It is necessary to decipher these skills so that the child knows what an expressive reading is, and at each stage of training to set a certain task in accordance with which the exercises were selected to develop expressive readings.

Properly express your thoughts and feelings - it means strictly adhere to the norms of literary speech. Speak accurately - to be able to choose those who are similar in the meaning of the words (synonyms) those that are most brightly characterized by the subject or phenomenon and in this situation speech are most appropriate and stylistically justified. Speak expressively - it means to choose words figurative, i.e. Words causing the activities of the imagination, internal vision and emotional assessment of the picture of the picture, the events acting.

Speech expressive can be expressed in different forms. Writer, the poet use unusual syntactic turns (figures) or words in portable meaning (trails), which enhance the effectiveness of the artwork structure; With their help, the paintings depicted by the writer come to life in the imagination. Actually, any component of speech can create figurative views, and the articulated system can update words using stylistic agents. All these funds are called the figurative means of poetic speech.

Expressive means of artistic speech should be distinguished by expressive means of sounding speech. Raising and lowering the voice, stopping in speech, the strength of a special allocated, important in the sense of the word, the pace of statements, added coloring - tone, expressing joy, pride, sadness, approval or censure - all these expressive means of sounding speech.

L.A. Gorbushina in his benefit "Expressive reading" gives such a definition of speech techniques: "Under the technique of speech, the combination of skills and skills through which language is being implemented in a specific communication situation".

And the well-known psychologist T.G.Gorov in the work "Essays of the Psychology of Children's Children's Teaching" gives a different definition: "The term technique of the speech is indicated by all three interrelated actions: the perception of alphabetic signs, sounding (pronunciation) of what they are indicated, and understanding read."

Having studied their experience acceptable to their practice, I consider it correct to define L.A. Gorbushina, since the technique of speech is not a means of expressiveness. It is necessary to prepare the speech apparatus to an intonational expressive reading.

Expressive is called reading, in which the performer with the help of special language funds transmits its understanding and its assessment of the readable.

How to learn how to use these means? The fact is that the meaning of speech is always expressed in the meaning of words. Material shell words - sounds. According to the role in speech, they are not the same. Some, connecting, form words (house, brother, big, native, build, talk), others in the process of speech acquire an additional value. The first are located in line (d, o, m; b, p, a, t) and are called linear sound units. Each sound is part, segment - the word segment, so it is called the segment unit. Each of them can be distinguished in the word, as it can exist separately from the word. Other sound units differ from linear. The main difference from the sounds is that they do not exist separately from the material shells of sound units, they characterize these shells in general, as if extending over them. They are called supreme supercountable, prosodic (single term not yet established). The intrusion of these sound units includes intonation.

It is impossible to speech without intonation. It is extended above the linear structure and is a mandatory sign of oral, sounding speech. It has been proven that intonation is found in writing speech. Of course, text is not notes in which the tone height, duration and often the power of the sound is directly indicated. None of these signs of intonation in the text is indicated. However, the letter perceived in the text cannot be recognized as a word if this combination is not attributed to the same word of live speech. The reading must deduct the intonation that is entered into the text. Without this, the correct reading and understanding of the text is impossible. The artistic words masters highly appreciate this means of expressiveness, calling the intrusion of the highest and most acute form of speech exposure.

In whatever form, there was no sound speech: in the form of whether the statements of their thoughts and experiences in the form of expressive reading of the artwork, i.e. Transfer of someone else's text, the basis is always the thought, feeling, intention of the speaker reading. The reporting should not only be entertaining, interesting, but also valuable in educational relation, accessible to understand the reader, narrator and listener. Only on this condition is achieved bright, alive, specific idea of \u200b\u200bthe content of the readable work.

Preparatory stage In mastering the skills of expressive reading and telling - mastering the technique of speech and literary pronunciation. The verbal emphasis and rules of orthoepia are the condition for mastering the skills of expressive reading and literary pronunciation.

The basis of the external (pronounced) speech is breathing. Cleanliness, correctness, beauty of the voice and its changes (tonal shades) depend on the right respiration. When inhaling, the lungs are filled with air, the chest expands, the ribs rise, and the diaphragm is lowered. The air is delayed in the lungs and in the process of speech is economically spent.

Breathing is involuntary and arbitrary. The difference between these types of respiration can be schematically portrayed as follows:

involuntary breathing: inhale - exhalation - pause;

arbitrary breathing: inhale - pause - exhalation.

You can not exhale to do before the failure or when inhaling your shoulders. The air gets into lungs imperceptibly, during the natural stops of the so-called lower breathing, in which the upper part of the chest and the ribs remain raised and fixed, only the diaphragm moves. This type of respiration is called Röbebno-diaphragmatic, arbitrary (in contrast to the usual, involuntary).

The development of proper arbitrary breathing during speech and reading is achieved by training, i.e. appropriate exercises.

Voice participates in the formation of speech. The sound of voice is the result of complex psychophysiological activities sent by the intelligence of the speaker, his emotions, will. The pronouncement of words is connected with breathing. Meaning to speak, the person, above all, breathes the air, and then gradually exhales it. As a result, the closure and opening of the voice ligaments is formed. It is quite weak.

Everyone's voice is characterized by timbre, i.e. Such quality for which you can find out who speaks. The fact is that, in addition to the main tone, we hear a number of additional tones - overtons depending on the device of the larynx, the oral and nasal cavity of the speaker. These overtones are created by individual timbre and purity of human voice.

Listening to speech around others and to their own, you can see the movement of the voice in the sounds of different heights. From the main tone, the voice deviates up, down, installed at the average level (register), rises again, falls. And not in disorder, but according to certain laws, forming the melody of speech. The ability to vote is easy to move from high sounds to medium or low wears the name of the voices flexibility. Improving his speech, readers or narrator must examine the possibilities of his voice, determine its range, develop its mobility.

Each word must be pronounced correctly: Clearly, clearly. Therefore, first of all, it is necessary to eliminate the ambiguity, insecurity, hurry and mistakes in their speech.

"To everyone who wants to succeed, you need to start with the purity of the aid. Since the development of strength and fortress in a voice, "wrote M.V. Volonosov. What does it mean? This is, first of all, compliance with the rate of consumption of words and speak so as to secure a favorable understanding from the interlocutor. And here such a "technical" side of speech plays a huge role, as a diction - clear, complete progress of words.

Clarity and purity of pronunciations produce systematic exercises in articulation, i.e. In the acquisition of stereotypes of the movement of the speech organs, which are necessary to uttending certain sounds. These exercises also help eliminate the lips of the lips, stiffness of the jaws, lethargy of the tongue, lipliness, moldability (easy cases), hurried, slowness and some other shortcomings of speech.

The articulation of speech sounds improve in the lessons of the Russian language in the course of phonetics. Knowledge of phonetics helps to correctly perform diction exercises. Exercises for the correction of pronunciation are first conducted under the control of the teacher. Students master them, imitating the pronunciation of the teacher, in the future, when the skills will be sufficiently stable, the correction of the shortcomings of speech students are engaged independently.

Sounds of speech are the "natural matter" of the language; Without a sound shell, there can be a language language. The norm of pronouncing the sounds that make up the words and combinations of words should correspond to the phonetic system. So, which speaks Russian distinguishes the main sounds (phonemes), their quality, changes in certain positions and combinations, for example: Russian g is pronounced as an explosive, and not slit (as in the southern dialects): mountain, and not / h / opa; Corresponding consonants at the end of the words are replaced by pair deaf: mushrooms - gr / p / et al.

The combination of the norms of literary pronunciation, adopted in this language, is called Orphoepia.

Orphoepium has a great practical value. The rules of orthoepia, like spelling, are intended, bypassing all the individual characteristics of speech, as well as the features of local govors, make the language of the most perfect means of wide communication. This is understandable: the language as a means of communication will fully satisfy its social purpose only if all its elements will contribute to the fastest and easy communication.

Teacher's speech, reading artworks should be immaculate: Children assume speech by imitational way to imitate. Incorrectly assimilated spoken form of speech with difficulty can be corrected. It follows from this that it is necessary to create such a speech environment that would contribute to the development of pronunciation skills and skills. Teacher's speech is one of the most necessary conditions for creating a speech environment conducive to the assimilation of the native language.

1.2. The main components of expressive reading.

In the initial period of assimilation and development of speech, intonation, rhythm and general sound pattern of the word receive a semantic, semantic load.

The role of intonation in speech is enormous. It enhances the value of words itself and sometimes expresses more than words. With the help of intonation, you can give a statement to the sense, the opposite of what expresses the word used, for example, seeing the child, swollen clothes in the dirt, mockingly pronounce: "Khor - Osh!" (with the lengthy sound of oh and a decrease in voice.) The word said expresses the censure, and not approval. The proposal of "Thunderstorm comes" can be uttered with fear, anxiety, horror or joy, indifference, tranquility, etc., depending on the situation of speech or intention of the speaker. The researcher of the Russian speech intonation V.N.Vsevolodsky-Gerzross has 16 intonations in it. Another researcher is Professor V.A. Artemov described an experiment with the pronouncement of a single sentence: "Caution" - 25 intonations. What is intonation? Under intonation, the complex complex of jointly active elements (components) of the sounding speech is understood. In any statement or part of it (sentence), the following components can be distinguished:

Strength determining the dynamics of speech and expressed in stress;

The direction determining the melody of speech and expressed in the movement of the voice in the sounds of different heights;

Speed \u200b\u200bdetermining the tempo and rhythm of speech and expressed in the duration of sound and stops (pauses);

The timbre (tint), which determines the nature of the sound (emotional color) speech.

All of these components are a sound sheath of speech, its sound, the material embodiment of the content, the meaning of speech.

The components of intonation are interconnected. They really exist in unity.

There are phrasal and logical stress, very important for the development of the intonational system of the Russian language. In addition, Professor L.V. Stherbo, the concept of "emphatic emphasis" was introduced into scientific use.

Describe each of these varieties of emphasis. Sound flow in speech is dismembered on the sentences. In the proposal itself, the words are combined within the meaning of rhythmic groups, which are actually segmenting the proposal - speech tacts of a pronunciation. These speech tacts are distinguished between two pauses, following one after another; In the middle of this phonetic-syntactic unity of the pause is absent. These unity are called phrases.

Membership on intonational-semantic segments (phrases) helps to understand the proposal, clarifying its content. All statement from this wins.

Already the secondweek / Standing amazingweather//. From half the night / sky was delayedclouds / And starteddrizzle / Tercalrain//. He tapping on the roof of the house /, on solid leavesmagnolia And whispered with the samequiet, / Like himself /, out of raughted onshore / /.

(To paustovsky)

In this example, we are discussed on the proposals, the end of which is designated by the pause (//). Suggestions are dismembered for segments denoted by small stops ( /). For live pronunciation, these segments are characteristic. This is intonational-semantic segments, less than the offer, but each segment is comprehended, more convenient for perception. This membership creates conditions for a better understanding of the statement.

In any segment, one of the words of the phrase is slightly advanced forward: the voice on the shock syllable is enhanced, usually when pronouncing the last word phrase (tact). This is a phrase emphasis (in the example, the shock words are linged).

Logical stress is the allocation of the word most significant in terms of the situation of speech. The text should be emphasized the characteristic features of inexplicably strange weather. In the first sentence, this topic is planned: the word is put forward weather,as important in meaning, the word "key" in this context. In this proposal, the phrase and logical stress fall on the same word, but according to its extension to the fore, it sounds relatively dynamic, prevails over others. Next, the figurative picture seems to be drawn: the sky was delayedclouds and started to drip warm rain, whispered with quietsuit. "Supported", "key" words, important in the process of speech-thoughts are distinguished. They are also characteristic, significant in this situation of statements, as they create the mood of silence, the strange mutedness of the experiences for which the picture described is the background.

K.S. Stanislavsky called the logical emphasis of the "index finger", noting the most important word in the sentence: "In the Word, the soul is hidden, the inner entity, the main points of the subtext!" In a sentence, taken out of context (if it is not a proverb or phraseologism), almost every word can be put a logical stress. In the practice of determining the logical stress, the following structure was established:

The unpropered offer is most often emphasis on
taken: Autumn occurred.In an inverted sentence
emphasis goes to the subject: dried flowers.And look
sadly naked bushes.

Introducing a new concept in the statement, allocate its logical
empiment to attract attention to it.

Logical strokes fall on words opposites: more
yesterday freezingand now - thaw.This is observed in
contextual speech, if not even the word in this offer is not
mentioned: No, this weto blame (ie, none of those
the conversation is accused of something).

Logical emphasis falls on each of the listed words in
offer with homogeneous members: all whitewash
yellow, pale-purpleyes occasionally redflower.

When a combination of two nouns responsible for whose question?
who? what? Emphasis falls on the noun in the parent
pade: Whose words are it? - This is our teacherthe words.

When combining the author's words with a direct speech of the acting
persons emphasis falls on an important word in meaning
persons, from the author's words, the emphasis "removes", these words
pronounced flew: - Well, the old woman, - says man, - what
collardrive you on a fur coat!

With combinations of adjective with a noun (if there is no oppression), the logical emphasis is put on the noun: sees a fox,carried man on Sanya Murzlun fish.

You can not put a logical stress in pronouns, for example, in such combinations: Thank you; excuse me.

On the words itself, herself, at all, absolutely, also falls the emphasis. This word is of particular importance. They are called excretory: you at allnot understood. I will do it herself (himself).

These rules are not mechanically applied, but taking into account the speech situation, text content. It is not recommended to overload the text with logical strokes. In this case, the speech is badly perceived.

A special type of accent is an emphatic emphasis. Emphaz - Strengthening the emotional saturation of speech. The sound means of expressions of emotions are described in the work of L.V. Stherba. This type of emphasis makes and enhances the emotional side of the word or expresses the affective state of the speaker due to one or another word. Describing the difference between the logical and emphatic stress, L.V. Stherba indicates that logical emphasis attracts attention to this word, and the emphatic makes it emotionally saturated. In the first case, the intention of the speaker is manifested, and in the second it is expressed direct feeling.

Sounds of emphatic stress are more or less elongation (longitude) of shock vocabulary: Notech-a-a-a-anal man! Call-and-some welder! Sometimes there is an additional stress in the Word (Affective). Approval, admiration, pity, tenderness is expressed in the longitude of the shock vowel (expression of positive emotions). Otherwise, negative emotions (threat, anger, indignation) are manifested - the first consonant sound is lengthened: Ch-C-Chert, what an annoyance! With categorical approval or denial, a short vigorous pronouncement is: "Will you answer?" - "N-no!"

All listed types of accents are part of the intonation and act together with other components: pauses, melody, tempo and timbre.

Speech stream shared pauses. At the same time, linearly located elements of the speech sequence are combined and at the same time delimited at the break point between the rhythmic speech segments - phrases.

The duration of the pause is different. Short pauses are separated in the proposal of the clock (phrases). The average pause duration separate offers and are called logical pauses. Logic pauses are discussed, give it completeness, harmony. This is how the transition signals from one sentence to another, from one part of the whole text to another. Sometimes these parts of the text in writing speech begin with a red row and stand out by paragraphs. However, it is not only in the duration of breaks in speech, but also in their meaningality. Sometimes a long pause grows into a psychological, acting as an expressive agent of artistic speech and the strengthening of the statement. K.S. Stanislavsky calls the psychological pause with "eloquent silence."

A rhythmic pause in poetic texts occupies a special place. At the end of each poetic line, the so-called verse pause is necessarily observed. It separates verse, if even the end of the line is not the end of the phrase or suggestions. The versa pause is short if it does not overlap the logical and psychological pause.

Every year in Kalina's bushes +

Nightingale sings in spring//.

Outside the window rings string//. (M. Poznanskaya)

The pause of any duration and value is organically entered into the rhythmic structure of speech. It takes some time. We pronounce sounds of a variety of duration. Sounds are connected in words, syllables, i.e. in rhythmic groups. Some groups require a brief, ripple pronunciation, other stretched, singular (smooth) pronunciation. Some attract the stress, others are pronounced without emphasis.

Between the words and combinations of words are made stops - pauses, too different in time. All this together is the pace and rhythm of speech - the movement of speech, the rate of flowing it in time. This includes acceleration and slowing speech. There are a quick speech tempo and slow, smooth and intermittent. For quick speech, it is characterized by the "cooling" of vowels (reduction), skipping some sounds. The peculiarities of speech slowly lies in the fact that words act in full forms.

Rhythm is called uniform alternation of acceleration and deceleration, voltage and weakening, longitude and shortness, similar and different in speech. We find the most tangible expression of the rhythm in the poetic speech, such as the alternation of shock and unstressed syllables in a certain order, through certain commercial intervals. Rhythm is felt only in unity with the content. It is intertwined with the intonation structure of the verse.

Sorry, faithful Dubrava!

Sorry, the careless world of the fields

And lightly fluffy fun

So quickly flew days!

Sorry, Trigorskoe, where joy

I met so many times!

Tol learned to your sweetness,

So that leave you forever? (A.S. Pushkin.)

The rhythmic scheme of this poem can be depicted as follows: (__- The unstressed syllable; \u003d - shock syllable):

_ = _ =_ _ _ = _

_ _ _ = _ = _

_ = _ =_ _ _ = _

_ _ _ = _ = _

Rhythm verse can not be mixed with its size.

In artistic prosaic works, as well as in speaking speeches, sometimes there is also a rhythm (I.S. Romegennev - in poems in prose; M. Gorky - "Song of the Petrel"). When preparing the text of a literary work to read or draw up their story, it should be noted that a live speech constantly changes its pace-rhythm, which even during one sentence the pace of pronouncement under the influence of many reasons may change. If the interlocutor does not understand you or perceives it with difficulties, you will immediately stop the stop in speech, come back again to the story, explain again, more slowly, emphasizing the main idea or specific details of the statements.

An experienced reader and the narrator vary freely: where the emotional-pathetic execution of the poem is required, it reads a slowdown pace; When transferring a light conversation in the story, he will speed up the pace, reducing the number of pauses, weakening the phrase stresses, removing logical stress in individual places; Transmitting a significant, important, strengthen the stroke system will slow down, it will introduce logical and psychological pauses.

The movement of voices by sounds of different height is the melody of speech. From how easily the voice goes from the average, constantly inherent height reader to lower or high, one of the main qualities of speech is flexibility, musicality.

Your natural sound sounds of speech are acquired only thanks to the system of resonators (throat and nasal cavity): "If you observe them with the help of x-rays during speech or singing, then you can see how the volume and the form of resonators are bizarrely changed, then pulling into narrow tubes And the gaps, then, expanding, forming funnels and hrys. Thanks to these changes, the volume and shape of the oral and pharyngeal resonators acoustic configuration changes, and they form various vowels and consonant sounds. " Resonates the nasal cavity. Although it does not change its volume and form, but it is capable of changing the voice of the voice and even participates in the formation of vowels and consonant sounds (thanks to a soft nebu). Speech researchers give the great importance of the chest cavity, calling it a resonant drawer that gives the voice of particular strength. In some way, as in singing, thereby participates, in this way, a complex voyage system, managed, ultimately, the activity of the cerebral cortex. The sound structure of pronounced words and proposals in different people has its own characteristics, sometimes different from the regulatory. Having absorbed the language of imitation, the child can assimilate and deviates the speech of the teacher, which, of course, is unacceptable. It should be borne in mind that when hearing, children are reproduced in internal speech not only words, phrases and suggestions, but also intonation in all its components, including melody. Stereotypes of the melodics of speech are remembered and easily absorbed by the child.

The complete form includes an increase, the climax and decrease.

Monotonous form - with minor increases and voices (usually at low register).

In speech practice, the melody of many syntactic constructions is adopted as a regulatory, for example narrative, questionative, exclamation, translucent, affective (emotional) and others.

Voice timbre - a means of expressive oral speech and reading. Excitement, sadness, joy, suspicion - all this is reflected in the voice. In a state of excitement, depression and other voice is changing, deviating from the usual sound. This deviation is called emotional color, timbre. The stronger the excitement. The stronger the deviation of the voice from the usual sound.

The reasons for the appearance of emotional coloring in speech may occur directly in a certain speech situation. Speech color can be created by the will of the speaker or reading, according to its executive plan. For example, you are reading aloud Bassnya I.Krylova "Crow and Fox". Words for the fox you give the preliminary gear: "Golubushka, as good! Well, what kind of neck, what kind of eyes! To tell - so, the right, fairy tales! .. "

Coloring speech (reading) can give the words the opposite sense, for example: "Did you sing everything? This business. So go babes! " - says ant frivolous dragonfly: singing he, of course, does not consider anything, but he means just the opposite concept; Offering carefree jumping "Pay". The ant knows: what are the dangers on the hungry stomach! Do not dance, but crying is dragonfly. You can only transfer the opposite sense here only timbre.

How to determine the desired color when transmitting text content? Only through its analysis. It is necessary to carefully read the content of the work, to understand the idea of \u200b\u200bthe author, his creative task, the idea of \u200b\u200bthe work. Put the purpose of reading.

Working with the book you need to pay attention to the fact that the wrong choice of language agent (words, letters, the sign of punctuation, emphasis, intonation, etc.) can lead to a distortion of speech meaning, and, consequently, to malfunctions in speech communication. Meanwhile, the purpose of our communication is the transmission of meaning, meaning. At the same time, the speaker (writing) comes from the meaning, i.e. From what he wants to convey to the means of his expression, i.e. To search for how it is better to convey, as it is more precise to say. The semantic path of the speaking (or writing) person can be represented as follows: on the meaning - to the language means (its expressions in oral or written speech). Listening (or reading) is back by way: through words, intonation, punctuation marks and other language funds that the interlocutor uses, he comprehends someone else's speech: from language means in oral and written speech - to the meaning of statements. The Russian people have long noticed the peculiarities of communication and in one of the proverbs, respectfully responded to the serious work that a person performs, communicating with the other, and compared this work with the noble and difficult labor of the farmer: who he says - sows, who listens - collects.

The relationship listed the elements of expressive reading is carried out in the following working conditions on the expressiveness of reading:

Be sure to demonstrate a sample of expressive reading of the work. It can be a model reading teacher, or reading the artistic word master in the record. Demonstration of a sample of expressive reading has a goal: Such reading becomes a kind of reference to which the novice reader should strive; Example reading reveals an understanding of the meaning of the work and, thus, helps his conscious reading; It serves for "imitative expressiveness" and can play a positive role.

Work on expressive reading must be preceded by a thorough analysis of the artwork. Consequently, exercises in expressive reading should be carried out at the final stages of the lesson, when the work on the form and content of the work was completed.

Work on the language of the work.

Work on the expressiveness of reading should be based on the recreation of schoolchildren's imagination, that is, to present a picture of life on the author's verbal description, to see the inner eyes what the author depicted by accepting recreation imagination is graphic and verbal illustration, drawing up the film, writing filmcenereria, as well as reading on roles, dramatization.

A prerequisite for working on expressive reading is also a discussion in the class of options for reading an analyzed work. It is desirable that at the end of the lesson two - three student read out loud the work (or part of it), and class students discussed good luck and misses in their reading. The tone of such a discussion should be business and friendly.

I will give a few exercises, which on the one hand help the child to navigate the text and aware of the author's intention, and on the other, create conditions for emotional intonation, on the basis of which work is built on individual components of intonation:

find in the word-lit word indicating how to read, emphasize them and read the phrase correctly (for example, when reading the taway "Snow Maiden": snow Maiden sealed, asks the old woman: what did the height become?);

mark in the fields that express the words of the hero, think about how to read them (for example, when reading the work of M. Gorky "Vorobanyshko"):

Text: What? What?

The wind blows on you - chirk! And threw you on the ground - a cat!
Approximate places of children:

Puddle asks.

Mom warns.

So, work on expressiveness is a compound of several directions:

Technical - including breathing training, improving the articular apparatus;

Intonation - involving special work on
components of intonation;

Semantic - implementing the entire system of work on understanding the idea of \u200b\u200bthe work;

Training - aims to exercise children in expressive reading the work after analysis.

CHAPTER II. Psychological - pedagogical features of the development of the speech of junior schoolchildren.

Artistic images of stories, fairy tales, poems have a deep impact on children and contribute to understanding the surrounding reality. Sound oral speech is easily perceived, if it is meaningful, correct and intonationally expressive. But perception of speech, like speech itself, children need to be taught. Junior school age - optimal for learning language. The child finds the greatest sensitivity to language phenomena. With proper upbringing and training, children soon master the language in the limits available to their age: learn the dictionary, sound and grammatical system. The contextual coherent is gradually developing, understandable to others. There is a process that is called the development of speech. The development of speech is nothing but the introduction of a child in the brain in an implicit form, i.e. through speech. This means that the rules of the language and speech are applied, but the rules themselves are clearly not said.

By the time of arrival in the school, the vocabulary of the child increases so much that he can freely explain with another person for any reason relating to everyday life and its inbound of his interests. The dictionary of the child in primary classes consists of nouns, verbs, pronouns, adjectives, numerical and connecting unions.

The development of speech is not only due to those linguistic abilities that are expressed in the children of the child itself towards the tongue. The child listens to the sound of the word and gives an assessment of this sound. So, the child says: "Iva. True, beautiful word?! It is gentle. " At this age, children understand quite well, what words it is customary to use, and what are so bad that they are ashamed to pronounce them.

Junior schoolchildren appears orientation on the system of the native language. The sound shell of the language is an active, natural activity for a child of 6-8 years. By 6 - 7 years, the child already seizes in the colloquial speech by a complex grammar system that the language on which he says becomes native for him.

If the child attended a kindergarten, then he must be trained in the skills of a conscious speech analysis. It can produce sound analysis of words, dismember the word on the components of its sounds and set the order of sounds in the word. The child is easy and gladly pronounces words in such a way as to intonationally allocate that the sound from which the word begins. Then he also highlights the second and all subsequent sounds. Without special training, the child will not be able to conduct sound analysis even the simplest words. This is understandable: in itself, speech communication does not put tasks before the child, in the process of which these specific forms of analysis would develop.

The need for communication determines the development of speech. Throughout the childhood, the child intensively develops speech. Speech development turns into speech activities.

A child came to school is forced to move from the "own program" of learning speech to the program offered by the school.

The program development of speech includes the following types of educational and development of the child:

first, the assimilation of the literary language subordinate norms. This includes the development of reflection on the correlation of the literary and non-straining language. The child is still very sensitive to the amendments from an adult, he easily perceives the words of the teacher, which indicates that this speech corresponds to the literary language and vulgarly, integral, far from the requirements of speech. "The school teaches a literary language in his artistic, scientific and spoken options. This is a huge amount of material, many hundreds of new words and new values \u200b\u200bof the words learned earlier, many such combinations, syntactic structures that children do not use at all in their oral preschool speech practice. It happens, so adults and even the teachers do not understand how much this material is exhausted, and it is believed to be learned by a child resembling, in everyday communication with adults and with a book. But this is not enough: a system of enrichment and development of children is needed, a systematic work is needed, clearly and definitely dosing material, - dictionary, syntactic structures, types of speech, ability to compose a coherent text ";

secondly, mastering reading and writing. And reading, and a letter - speech skills based on the language system, on knowing its phonetics, graphics, vocabulary, grammar, spelling. Successes in mastering reading and writing determine the skills of building speech, features of expressing their thoughts and perception of someone else's speech;

thirdly, the correspondence of the speech of students in a certain level of requirements, below which the child should not be located, as it occupies the position of the student.

In the conditions of the school lesson, when the teacher gives the child the opportunity to answer questions or asks to retell the heard text, from him as a student require work on the word, over the phrase and offer, as well as over a connected speech. As M.R. Lvov indicates, "all these three lines are developing in parallel, although they are at the same time and in the supervisory relationships: vocabulary work gives material for proposals, for connected speech; When preparing for the story, the work is carried out work on the word and proposal.

Of particular importance is the correctness of speech, i.e. Its compliance with the literary norm.

Expressiveness - important quality of speech. The development of speech capable of expressing an emotional attitude towards what is being discussed, and to have a proper emotional impact on another, consciously using expressive means, requires a large and fine culture. Therefore, it needs a large and thorough work for mastering it, because people live together, living beings, who have lived thoughts closely and is relaxingly connected with the feeling of life-saturated life. Expressive agents of artistic speech are made up of various components, among whom S.L. Volubystein calls the following: the choice of words; combinations of words and suggestions; Structure of speech and order of words. When giving the word emotional color, these elements, combined, allow not only the subject matter of thought, but to express the attitude of the speaker to the subject of thought and to the interlocutor, i.e. Emotional subtext. As evidenced by the experience of working with students, the entire course of the development of an understanding of the emotional subtext with great brightness showed a dialectical unity between the moments of experience and understanding. In order to truly understand the subtext of speech, it is necessary to "feel" it, "empathy." And at the same time, in order to truly comply with the text, it is necessary to understand it deeply.

Reading refers to the written forms of speech activity, because associated with letters and visual perception. The letters are used as generally accepted signs (cipher, code), through which in some cases (letters) are recorded (encoded, encrypted) with a printed or handwritten method of speech forms, and in other cases (when reading), these forms are restored, reproduce, decoded. If the sound of speech is a kind of primary element, the phone is a kind of primary element, then for written forms, such a primary element turns out a code sign - letter. Reading belongs to the number of complex psychophysiological processes and is carried out in the interaction of a number of mechanisms or factors, among which the decisive role is played:

Visual.

Rachatitive.

Resuruchova.

Semantic.

The semantic factor plays in reading a key and cementing role. Actually, the whole reading process is carried out, ultimately, in order to extract the information you need for the reader, to identify and assimilate the content that lies in the reading text, give food and feel the feeling, enrich yourself spiritually, etc. At the same time, the semantic factor lies the load on managing the entire technical side of the reading process and control. Measurement reading, understanding of content reading text - This is the most basic in the process of reading, this is for which it is carried out. Among the many methodological methods of forming the ability to understand the readable central place belongs to the issues of the teacher. "The teacher must questions with his own," wrote K.D. Shushinsky, "it is indispensable to force the reader to delve into the meaning of reading, to experience and initiate his attention." Questions sent by them conversation, viewing illustrations, comparison of their content with the content of readable text, oral drawing - Illustration, preparation and conduct of reading on the roles, and much more - all this techniques aimed at developing meaningful reading.

Baby boy in younger school age Step by step mastering the ability to fully and adequately perceive the speech of adults, read, listen to the radio. Without much effort, he learns to enter into speech situations and navigate in its context: to capture what we are talking about, follow the deployment of the context of speech, ask adequate questions and build a dialogue. It begins to expand his lexical stock with interest with interest, intensify the use of words and phrases, absorb typical grammatical forms and designs. All this is desirable and possible achievements in the speech and mental development of the child.

However, a large number of children are already depending on the surprise, dialects, jargon, etc. These are usually children from a low-cultural speech environment. A small margin of words, primitive vocabulary has already formed certain stereotypes of the child. Such children "do not hear" cultural speech, instructions of the teacher pass by, if we specifically do not build conditions that psychologically immersing the child in the situation of mastering the right speech. Speech exercises with such children, as a rule, do not give a noticeable advancement in mastering the correct speech in a short time. Here the fact is that the child is already saying and understand it, so that the communicative function of speech is already performing its destination. In addition, speech stereotypes have already been formed, which act automatically. It is a lot of work, which requires tremendous efforts to track and block the established non-straining speech.

Speech stereotypes are so strong that even in the speech of a person who chooses in an adult age of his profession, the languages \u200b\u200bthat have mastered not one foreign and native language, no, no, and even surround the spaciousness learned in childhood. However, this circumstance should not be an excuse for a teacher or a student. Mastering a cultural speech is the norm of mental development of a modern person. The formed motive of the assimilation of the speech will be formed by the child to master the literary language. Following the program, the child should strive to correctly pronounce words, track the morphological, syntactic level of connected speech, strive to control his speech.

The development of speech is promoted by mental development - the ability to fully and correctly assess the situation, analyze what is happening, as well as the ability to determine the problem. This also includes the ability to logically correctly describe the situation discussed (consistently, clearly highlighting the main thing). The child should be able to not miss anything significant, not to repeat the same thing, not to include in the story that it is not directly related to this story, it is also important to control the accuracy of speech. This is not just a skill to convey the facts, observations and feelings, but the ability to choose the best language tools for this purpose - words, verbal turns that transmit exactly the meanings and meanings that are appropriate in this context. Accuracy requires the richness of language funds, their diversity, the ability to use synonyms, antonyms, phraseology, most precisely expressing what he wants to say saying.

Fairy tales, myths, proverbs and sayings, riddles, jokes, patters - -Ceriously rich material not only for the development of a child's speech, but also for his mental development.

Folk works serve as samples of brief and deep thought, their syntactic structure is clear, reinforced, and the vocabulary is always diverse and the file. Antonyms, synonyms, phraseological units have specifically psychological content, installation and evaluation. Actually, these phenomena of speech culture give the installation on a certain kind of social expectations facing each person. It is in these pearls of speech culture that the national mentality is formed, the national mentality, it is through the context of speech nuances that the system of values \u200b\u200bof orientation and claims for recognition are formed.

Multiflower native language is not only a subject of study, it is a source of formation of personal qualities. Living culture of the language with all its formative start and organization of some type of consciousness through a single system of values \u200b\u200band meanings behind the language concepts leads to the pronounced individualization of a person as a person if it is facing the individual use of language traditions.

The child learned in elementary school is still to pass the way to climb to master the speech as a nationwide cultural property, to new heights of individualization of its speech culture.

On the basis of mastering the language, new social relations appear, which not only enrich and change the thinking of the child, but also form his personality.

Conclusion.

Expressive reading is an integral part of any lesson in elementary school. It has a huge impact on the overall development of students. And also contributes to an increase in the culture of oral speech, the formation of a poetic taste, helps to perceive the artistic work as a work of art!

Expressive reading promotes mental, moral and aesthetic student development, and also develops their artistic abilities.

In order to read expressively, it is necessary to own certain skills. They are based on the analysis of the text and the means of speech expressiveness. All means of speech expressive are in close relationships and complement each other.

The main means of speech expressiveness is intonation. The intonation does not express the essence of the phrase, it is the result of a deep penetration of the reading in the text. Therefore, it is necessary to teach children the desired intonation.

The role of expressive reading is that it allows you to feel the peculiarities of speech expression (stylistic, genre, visual), which is especially important for younger students.

The use of various forms of work on the work, the ownership of the teacher himself, the expressive reading skills will help in resolving this problem.

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Tell me how you read, and I will tell you

do you understand what you read.

V. Sheremetyevsky

One of the most important stages of studying the literature, its integral component is an expressive reading of the work. It provides a holistic and emotional perception of an artistic work.

Features of art art reading

The concept of " expressive reading" It has several values:

Reading out loud while preserving proper intonation (dictionary

D.M. Ushakov);

The art of creative incarnation of literary works in artistically organized oral speech (Artobolevsky);

An independent type of art, the essence of which is in the creative embodiment of the literary work in an effectively sounding word

(B. found);

Performing art, whose material is a literary work (M. Germanov);

Public performance of the literary work (BSE).

All these definitions combine three points: Expressive reading is art, it is an art in action, material for this type of art is literature.

In this way, expressive reading is a type of art whose essence is in the creative embodiment of a literary work in an effective sounding word.

Imagine the work in the Word means to cause listeners in the imagination of the listeners with the author in all its completeness and diversity, reveal the attitude of the artist to the pictured, transfer the features of the artistic form, the author's style.

The concept of expressiveness was historically interpreted as detection of deep meanings and hidden elements. The modern French researcher of the P. Pavi Theater notes: "... expressiveness - no more than the secondary process of" extraction "of ready-made meanings that already exist in the text."

Art art (expressive) reading just like theatrical, - art performers Based on which literary work lies. However, in each of these arts, the embodiment is carried out by various expressive means. In the play theater is executed by the staff of the participants, in the art of artistic reading the performer of the work is one person. In the theater, every actor plays a single role, embodies one image, and the reader, fulfilling the work, embodies the entire image system.

Theater art - synthetic art. "To live" in a play and influence the audience an actor help the scenery, light, props, makeup, costumes. And in the art of artistic reading there are no additional expressive tools, except for those who have the performer itself (his voice, intonation, mimic, gesture).

The actor reincarnates the character of the character, acts from his face, lives his life. The reader is not reincarnated in the image of the characters. He tells about them, about how they live, act, think, they say, detecting at the same time

own attitude towards them; It says as if himself witnesses those events that the author tells about. At the same time, the readers in the imagination of the listeners cause not only the images of the characters, but also

environmental to the situation, their life, the conditions of their life, etc. Zhuravlev D.N.

costume, and composer, and hero, and heroine, because he must keep all the components of the story in his hands and transfer them to the hall (about the art of the reader. - M., 1960, - p.43).

The task to embody the work in the Word requires a careful analysis of the text, clarify the thoughts and intentions of the author, his attitudes towards people, the facts and events that he tells, the idea he claims.

Each performer interprets the images of heroes, the thoughts and intentions of the author, according to his "sees" the life depicted on them, in its own way determines the meaning of its phenomena and the idea that is revealed. The variety of interpretations is due to the personal individual features of each artist: his life experience, understanding of this author, those shades of feelings, experiences that cause people and events depicted in the work. These personal impressions, thoughts and feelings, caused by the originality of the interpretation, determine creative intent reader , i.e., h t o and c k a k o th t el He wants to reveal to the listeners, reading this work.

The ultimate goal of the reader – in accordance with his interpretation, to disclose the ideological and artistic essence of the work, to make them see, feel and evaluate the phenomenon shown in it as it sees, is experiencing and evaluated by him - performer.

The implementation of the intended goal creates a verbal effect, which is "actually art reading" (V.N. Aksenov).

K.S. Stanislavsky claimed: "Activity, genuine, productive, appropriate action - the most important thing in creativity, has become in speech! To speak - it means to act. This activity gives us a task: to introduce your visions in others. It does not matter - it will see another or not. This will take care of Mother - Nature and Batyushka - subconscious. Your business want to implement, and wants to generate actions ".

Through an artistic (expressive) reader, the reader best understands the essence of the work, his originality, the heroes feel better, the mood of the work.

Expressive reading is a powerful means of penetration into the text of the artistic work. Methodist MA Rybnikova argues that the main method of penetrating the word into consciousness is the method of expressive reading.

Great reformer of the Russian Theater K.S. Stanislavsky in the works "My life in art" and "the work of the actor over the role" clearly formulated the rules of work with the text, the role, which became known as the Stanislavsky system.

Methodist V.V. Doves from this system proposes to borrow work principles Above text:

Learning text, maximum briefing in its ideological and artistic content;

Social orientation, effectiveness of expressive reading;

Good understanding of "tasks", which should be put in front of the listener when reading the text.

Expressive reading is practical mastering students of the basic laws of art of reading. Training of schoolchildren to expressive reading is based on the laws of artistic reading - the art of the creative embodiment of the literary work in an effective sounding word. Expressive reading at school is primarily educational goals: - the formation of spiritually rich, comprehensively developed, student's creative personality. The content and methods of teaching expressive reading are complicated by class to the class in accordance with the age of students and the program on literature, but the observance of the laws of art is necessary at all levels of learning.

Expressive reading has two sides:

penetration into the meaning of the executable work,

"" The transfer of the performing entry of students "" ( S. Kocharyan).

The book is given with some abbreviations.

(V. S. found)

Expressive reading as art of artistic reading in school. Among the methodologists sometimes there is a dispute, what is the expressive reading, method or reception? It seems to us such a question in the root of incorrect. Expressive reading - art, the same self, like music or painting. But each of these types of art can be involved in learning the language and literature. The only difference is that the attraction of expressive reading is more necessary and more fruitful than attracting any other type of art. Using it in the process of learning a language or literature in each particular case can be either a reception or method. If the teacher, explaining the proposal with homogeneous members and wants to show the enumeration intonation, expressively reads the proposal - this is just a reception. When the analysis is underway to teach students expressively to read it, the expressive reading performs in the form of a method.
If the expressive reading is not considered as art, then the classes are losing their own impact on the pedagogical process, lead to undermining the memory of students with formal policies on intonation. As a result, boredom reserves in the class instead of revivaling from passionateness.
The larger the class reading to the artistic reading of the masters, the better. But reading masters (in gramzapsy or tape recorder), being an important addition, cannot replace the reading of the teacher and students. In addition to the fact that the latter convinces schoolchildren in accessibility for them to expressive reading, the reading of the teacher and comrades makes it possible to trace the creative path they walked. Analysis of reading errors is also very important. In a word, the perception of reading masters, being an important element of learning, cannot replace the creativity of the teacher and students.
Communication of the methodology of expressive reading with the methodology of teaching literature and native language. In contrast to the pre-revolutionary period in the Soviet school, expressive reading has never been a separate academic subject. It was used in literature lessons, Russian lessons and extracurricular work. Therefore, in the method of teaching the Russian (native) language and in the teaching methodology, some methodological issues of expressive reading are also covered. This communication methodology should not be violated in the future.
Training to expressive reading on literature lessons makes a literary analysis more emotional, deepens the perception of the literary work, leads to an understanding of the literature as the art of the word and causes that passion, without which the full teaching of literature is impossible.
The use of expressive reading in the process of studying the native language opens the sound side of the speech before students, demonstrates the mastery of the writer, it helps to understand the connection of intonation with the syntactic structure and sharply increases the culture of oral speech. Teach expressive reading together with literary and language and language is also expediently because such training can pass throughout the school course. Mastering the skills and skills is gradually, without creating additional difficulties for children and adolescents. For these reasons, the closest relationship of the teaching of literature and the Russian language with the methodology of expressive reading is necessary.
Ways for the development of the methodology of expressive reading in the Russian pre-revolutionary school. Teaching students to expressive reading, that is, the ability to pronounce the text of literary works out loud, has a long way of development. It was determined by the nature of the literary works, the level of development of professional art and the tasks that the Society put before the school.
We do not know the school in which they would not have trained the reading of literary texts. Already in an ancient Greek musical school, Homer and other poets were studied. The text was not just read, but he was reclined first by the teacher, then the student. Attention was paid not only to the correctness of pronunciation, but also for harmony and rhythm. Declamation training organically combined with music learning. Usually both music and declamen trained the same teacher. About such a connection of music with singing and speech is evidenced by Aristotle and other Greek authors. In the Russian school, learning oral speech and, in particular, the pronouncement of literary texts was part of the pedagogical process from the first years of the School's existence in Russia. Old Russian literature is usually considered as a book, while she was simultaneously both literature sounding.
Long before the emergence of writing and book literature in Russia, the eastern Slavs had a rich and diverse oral poetry. A. M. Gorky called her "the Rodonarchist of the Book Literature". Fairy tales, sayings, proverbs, lyrical and ritual songs were performed by non-professionals. Professional performers - scomeros, singers-Huslarians, the storytectors stood at the time of the formation of the early feudal state.
With the advent of written literature, Folklore continued to develop, enriched with new genres, interacting with written literature. "Artistic creativity was separated among other types of creativity in oral poetry earlier than in writing, and in this sense, oral poetry as a whole stood more highly than writing."
Such genres, as a sermon, were primarily designed for oral pronunciation. But the teachings, and the lives of saints, and the Psalms were read aloud and not only in the church, but also in families.
Many researchers believe that the brilliant poem "Word about Igor's regiment" was read out loud. Thus, the author's readings began in Kievan Rus.
Orthodox worship is a composition in which singing is combined with a speech, and the latter is semi-voice and talidly consistent with singing. Therefore, in schools taught half ski reading.
The XVII century in the history of Russian culture is characterized by the weakening of the church influence and the strengthening of the "worldly" elements. Reunion with Ukraine led to rapprochement with the Ukrainian and Belarusian culture, and through them - with Western. There is significant progress in pedagogy, and special attention is paid to the culture of oral speech. The most interesting in this sense of the statement of two outstanding writers and teachers - Epiphani Slavinetsky and Simeon Polotsk.
But even before them, in the Russian school, certain readers were developed. It was recommended to read "Clear, purely, ringing", quite loud, but not screaming ("Neither for the power of shouting, nor quietly"), to pronounce poems, getting air on pauses ("Nor Borzo, and firmly three or four lines in spirit And exactly the row speak "), before reading the breath (" Every word of printing with the Spirit "). Such rules are given in the instructions ("decrees") to reading the psaltires. As you can see, the rules for the technique of speech are reasonable and close to those we follow and now.
Epiphanas Slavinetsky in his essay "Citizenship of children's customs" indicates that it follows a pleasant, unfriendly voice, but not quiet, so as not to force the interlocutor to hardly listen. Speech should not be very fast, "not preceded by reason."
Simeon Polotsk, we are entitled to consider not only the subject of Sillabic poetry, but also a secular artistic reading in Russia. In the formation and education of children, Polotsk attaches great importance to oral speech. It recommends that teachers already in the first seven years of the child's life of the child pay attention to the development of it right, clean speech, and further improve the speech speech at a higher level. This largely dedicated to the collection of Polotsk "Rhymemology", which the author was "young to the science of Dati, and the chinno verbati will arise."
Despite the presence of religious motives, pious instructions, Polotsky considered his works as secular.
"Tuzhda Az Rhymes are careful
Unhappy in the church reading to life
But hedgehog in the house is often read. "
All greetings and other verses of Simeon Polotsk are clearly designed to pronounce loud. They read by the poet himself, his students and other persons.
At this time, the term "Declamation" appears for the first time. The declamation replaced the singing, which was calculated by Polotsky, creating a "rhyme-rhythmic psalter". In the future, Polotsk determines the many rules of new art. Record should be pressed. He expresses such a deep thought as the need for truth in art: "Yes, it is not afraid of the opposite truth." The reader should not be transferred not to words, but the thought, to be "not the words of the catcher, but the seeker's mind."
Feeling the difficulty of the virgian declamation, the author insists on the reading isochronism and recommends that with a difference to achieve isochronism "La Body and Sladkopenia", i.e. with respect.
As you can see, Simeon Polotsk not only introduced a expressive reading into the practice of Russian school, but also gave a lot of guidelines, which are based on the desire to truth and beauty, but the beauty was understood at that time in many ways the opposite of our modern concepts.
An important role in the upbringing of speech culture of students played school theater. In the Moscow Academy, as well as in Kiev-Mogilyan, the experience of which was widely used first, school performances were not "self-identity". They entered both mandatory classes in the pedagogical system not only as a means of religious education and propaganda, but also for learning students to speech art.
The repertoire of the school theater was diverse. The plays included intermediates, the execution of which required the playing characteristics and spacious. The text of the Pieces themselves declared. Especially emphasized, the declamatory character was pronounced prolvers and epilogues.
So, the expressive reading entered the practice of Russian school and in the education system in the second half of the XVII century. Simultaneously with the development of Sillabic poems. It was associated with theatrical art.
Peter I reforms led to the "omarism" of literature and schools, i.e., to a significant release of them from the church influence and transformation into secular, subordinate to the state interests and interests of the dominant class - nobility.
From the 30s. XVIII century The French influence on Russian culture and literature is becoming increasingly influenced by the Russian theater. Going out of the past, the title facing in the theater with the French manner of the declamation.
School practice includes learning to the declamation. For the formed nobleman is considered a mandatory ability to reclaim. From the 70s. XVIII century The decline of classicism begins in Russian literature. At the same time, the character of the stage speech is also changing. Instead of Paphos, who dominated the classic declamation, the actors seek to transfer the diversity of human feelings. Young actors carry from the scene "Sensitivity", depart from the French manner of the declamation, more and more realistic trends are increasingly manifested.
The most characteristic figure of this period was smelters. The new direction has affected the declamination of students in general education institutions. Madillers was not only an actor, but also a teacher. He taught in the St. Petersburg Horus, where he led the rhetoric and painting, later in Moscow, he taught history at a military school and taught the declamination of pupils of a noble guesthouse at Moscow University.
Memories of contemporaries testify to the enormous impact of the theater for young people. In the theater, young people saw samples of speech art, which were imitated. In the same period, the first articles in journals on the declamation issues appear. The XIX century brought significant changes in the field of education. The liberal "charter of educational institutions" 1804, the organization of the Tsarskosiel lyceum and other higher educational institutions marked the overall shift in the field of education.
In the literature during this period, along with leaving classicism, Sentimentalism, romanticism is becoming increasing influence, mainly Zhukovsky's poetry. Publishes its fables and one of the founders of the realistic direction I. A. Krylov. Reading literary works is becoming increasingly distributed and significantly changes its character under the influence of copyright readings. A big step forward to the simplicity and naturalness was the author's readings I. A. Krylov. "And as this wings reads," one of his contemporaries admires, "it's clear, simply, without any silent, and, meanwhile, with an extraordinary expressiveness, every verse is so carved in memory."
In parallel with the copyright, the acting reading was increasing. In this reading, we are clearly visible to the change of trends, closely related to the growth of theatrical art, its evolution. The greatest role in the formation of realism in the Russian theater was played by M. S. Shchepkin. The desire to national and realistic art has emerged at the end of the XVIII century. Long before Shchepkin - in the theoretical articles of the meltelikov, in the work of a number of actors. But Schepkin determined the ways of development of the Russian theater with the greatest sequence and completeness, predicting the future for fifty years ahead. For the first time, we will celebrate the term "declamation" in the sense of unnatural, wounded pronunciation. He writes about foreign theaters: "Where the feeling should say, passion, there I have heard the declaignation, the same learned tones everywhere."
The greatest influence on the development of the art of the sounding word in Russia was provided in the 20-30s. A. S. Pushkin. A. S. Pushkin loved the theater, thinly understood theatrical art and clearly saw the path of his further development. "The truth of passion," wrote A. S. Pushkin, - the plausibility of the feelings in the alleged circumstances - this is what our mind requires from a dramatic writer. " And this is said at that time when the Russian theater was still looking for ways to this truth. A hundred years after A. S. Pushkin K. S. Stanislavsky will take as one of the main formulated by the poet's requirement for theatrical art.
Author's readings A. S. Pushkin pointed out ways to further develop the art of the sounding word. One of the contemporaries A. S. Pushkin, remembering the reading by the poet of his tragedy "Boris Godunov", writes that instead of the highly alone gods, a simple, clear, ordinary and meanwhile, and a fascinating speech (M. P. Pogodin was sounded. From the memories of Pushkin ). But A. S. Pushkin, apparently, read his works in different ways, poems are somewhat singing.
Although Pushkin read in small circles, but his reading caused imitation. You can trace the influence of Pushkin's reading manner on his contemporaries, and from them for the next generations. "Lev Sergeyevich Pushkin," recalls Yu. P. Polonsky, "the poems read perfectly and represented how the deceased brother Alexander Sergeevich readed. From this, I conclude that Pushkin's poems read their own as if hazardous, as if wishing to convey to his listener all their musicality. " This tradition of half-performance by poets of their verses was perceived by the subsequent generations of poets. So, for example, I read the poems I. S. Turgenev. Opportunities are preserved and some modern poets.
Thus, during this period, different directions coexisted and fought and fought. The classicist Dmitrievsky, Sentimentalist Gzzych, continued to still teach the declamination, the new direction was determined by the reading of Pushkin, Krylov, Semenova's artists, Martynov, Soskitsky and especially Shchepkin. All this undoubtedly influenced the statement of reading literary works at school.
In educational institutions of this period: the Shankhetsky Corps, Tsarskoselsky Lyceum, Pensions, Institutes of Noble Maiden and Gymnasiums - Literature as an independent item was absent, "Russian Shtill" was taught, which included grammar, rhetoric and peeits. The main task was to study prose and verses. Circles and student societies were organized with the same goals. Reading at meetings of circles and societies of their own and exemplary works, as well as everywhere public performance Pupils at solemn acts forced teachers to pay special attention to the development of oral speech and the ability to publicly advocate with reading literary works. Among the teachers were skillful readers, such as Pushkin Koshansky teacher.
Meanwhile, the declamation is becoming increasingly distributed in the pedagogical practice of educational institutions and in family education, as evidenced by the allowance "Exercises in the declaignation for children from 8 to 10 years old. Collection of poems to memorize and read out loud in educational purposes. " The compiler included poems as old poets and contemporaries. The author recommends some learning methods and leads the "experience of a declamatic parsing", associating memorizing by heart with learning expressive reading. To read the reading to be meaningful, it is necessary to pay attention primarily to the position of the poet, to understand the sense of phrases, put the emphasis, give the words a psychological justification. As you can see, an unknown author gives a number of very significant and faithful tips.
The reaction, including in the field of enlightenment, which began in the second half of the reign of Alexander I, intensified under Nicolas I, especially after 1848, but she could not stop the development of public thought. Pedagogy developed; Although slowly, but the number of educational institutions grew. Despite all efforts, Nicholas I and his government failed to strangle progressive thought. In the 40s. XIX centuries, critical realism becomes a dominant direction in Russian literature - a genuine school.
From this time, the history of artistic reading should be started. For the first time, public readings of poetic works are organized not in salons and living rooms, but in relatively large audiences. With reading, they are mainly actors of theaters led by M. S. Schepkin. Contemporaries argued that Shchepkin "guess and carried out the mystery" combinations of the game and declamation, i.e., joined the way of creating special art - artistic reading. They opposed the execution of Shchepkin to ordinary acting reading.
N. V. Gogol rendered great support to the emerging new art. He himself was a great reader. According to the testimony of those who heard it, "Gogol read in ease." But not so much important was the performances of Gogol-readers, how much his theoretical article "Reading Russian poets before the public." "To the formation of readers, - writes Gogol, - also contributes to our language, which, as it were, is created for a skillful reading, concluding all the shades of sounds and the most courageous transitions from elevated to simple in the same speech." Gogol recommends reading first of all poets: "One skillful reading can establish a clear concept about them." "Read, as it should, the work is lyric, - writes N. V. Gogol - not at all the stradder: for this you need to study it for a long time; It is necessary to divide sincerely with the poet the high feel that filled his soul; You need a soul and heart to feel every word of him - and then already speak to his public reading. Reading it will be not at all shrieking, not in the heat and hot. On the contrary, it can even be very calm, but an unknown force will be heard in the reader's voice, the witness of the true-touched internal state. For power, this will report all and make a miracle: they will shock themselves and those who have not shook never from the sounds of poetry. Exactly and in Gogolevsky is figuratively and clearly said that the reader should do, preparing for the public reading of the work. But how to achieve this, how to "divide sincerely with the poet, a high feel that filled his soul"? In solving this issue, the whole essence of the artistic reading methodology and the methodology of expressive reading.
1843, when the public reading of literary works began, the birth date in Russia is considered, in 1943, the century of this event was celebrated.
In the 40s. The XIX century is significantly changing the formulation of the teaching of literature in secondary educational institutions. From 1833, a section of the history of literature appears in the program, originally imagined the dry list of authors and works. This setting did not satisfy advanced teachers. Gradually, the pedagogical process includes reading works and thus the question arises how to read.
The first systematic manual for the teaching of the Russian language and literature was the book of F. I. Buslaev "On the teaching of the domestic language". In it, the author first talks about the quality of reading out loud as mandatory when studying the domestic language. F. I. Buslaev is developing issues of both the methods of teaching literature and methods of teaching Russian. He puts a single goal - comprehensively mastering his relatives, "domestic" language and she is subordinated to her work on the tongue and reading literary works. "We become the study of the domestic language we become true accomplices of our people and the heirs of His Spirit, so that everyone formed in his own language can say: a nation is me." According to the "method" of Buslayev, which he called "genetic", based "on gradual development in the child in a congenital gift," he seeks "along with the language to form and develop all spiritual abilities." The student takes on the art to read, speak and write. In this combination, the lead is reading. "The best and more faithful that we can learn from various pedagogical opinions about teaching literature in gymnasiums, there is something that writers needed. Reading is the basis of theoretical knowledge and practical ability and practical exercises. "
The advice of Buslayev, directed against the cavity spread, is very valuable. "I speak only against learning by heart, not knowledge by heart. I saw people who have never who did not teach anything by heart and knew a lot of memory. Pleasure to read and listen and then reread and listen to such a solid knowledge that, if you need, can easily be brought to knowledge by heart. Therefore, the teacher brings the student to lead a student, how to learn in memory should, together with him to memorize and thus let the student fall into a dead mechanism. It should help him delve into the internal connection of the work and the content of each sentence as the required link between the previous and subsequent. "
In other words, Buslaev recommends the development of the text under the guidance of the 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 and modern teacher. Buslaev far from the underestimation of the memorization, "on the contrary, he claims:" Memory is clear not only does not harm the mind, but even helps him, and children often replaces the most reason. "
Considering the learning by heart primarily as a means of developing speech, Buslaev prefers prose before verses. "At the prose should pay more attention than poetry. The poem already on its external form supports the mechanism of teaching by heart and leads a student from verse to verse only formally, and not internal communication. "
It can be thought that Buslaev is limited only to "sensible", i.e., according to modern terminology, logical reading. Indeed, he writes: "The greatest mistake to force students to read oratorski is that they do not quite understand, it leads to manners and spoils a feeling of deception." This is a warning against the naigry, and not against emotionality. Buslaev understands the difficulties on the way to a full-fledged artistic reading: "The fascinating theatrical reading lies out of the duties of the gymnasic, firstly, because of the teachers themselves there are not many good readers, secondly, dramatic reading, without having a positive laws, can not be the subject of strict science. " But Buslaev hopes that ultimately students will read not only with the "sense", but also with "feeling." The teacher "must learn to read with a lot and meaning, the feeling will come to themselves." It is recommended that the path is completely correct and from our point of view: from understanding to the feeling. "If the teacher knows how to read elegant, then his example will be the head of the disciples." As you can see, F. I. Buslaev not only substantiated the need for expressive reading, but also gave a lot of guidelines for its statement, although the term "expressive reading" appeared in the methodical literature later. There is a complete reason to consider Buslayev to the first methodologist, which has developed an expressive reading issues, and attribute the beginning of the use of expressive reading in the Russian school by 1840, when Beslaev's book was published, and not to the 70th., As is usually approved.
The second half of the 50s-60s. - Time of a large social movement in Russia, when all social issues were very acute. One of the most important was the question of upbringing. The leading idea that was divided by all advanced educators and writers of this period was the idea of \u200b\u200beducating a person in a broad sense of that word.
The K. D. Ushinsky was determined in pedagogy and the technique in these years. Considering the nationality of the basis of education, Ushinsky paid great attention to the study of his native language and especially attached to the development of the child "Dara's Word". He puts in the example of Russian teachers of German and Swiss schools, where "Exercises in an intertwine speech begin with the entry of a child to school and ends only with his exit; In these schools, pay more attention to an intertwine speech than in writing. " "In our schools, they almost always forget that the duties of the mentor of the domestic language lies not only in writing, but also an absolute speech of students and that, in addition, a good written speech is mainly based on a good is good."
Ushinsky distinguishes two types of expressive reading: "One exclusively dedicated to logical development, another - reading smooth and elegant." Business articles are read first, the second is artistic works. "For a smooth reading, I would advise to the teacher first to tell the content of the selected article, then read this article aloud myself and then to force students to read out loud and read several times." As you can see, Ushinsky, like Buslaev, recommends teaching children to expressive reading by imitating the teacher. In addition to individual reading, choir is recommended. "If the teacher does not know how to sing, let some prayers, poems, proverbs: this can replace partially singing as a means of refreshing a tired and upset class."
All other methods of the 60s. Also attached to expressive reading of great importance, but in their articles did not cover the reader experience, they were not given the necessary methodical instructions. Therefore, in school practice, there were cases of anti-death reading teachers. A very characteristic example leads one of the institutes Smolny. The Russian Language Teacher part of his lessons devoted to the reading of Bassen Krylov. "He was always unhappy with the answer and every girl caused to him showed how to reclaim. The real representation began. The beasts he depicted in the faces: a fox, bent into three deaths, to the incredibility of having his already oblique eyes, the words pronounced the Cottage, and to remind about her tail, he folded one hand back, having fluttered behind a notebook, rolled into the tube. When it was about the elephant, he climbed onto socks, and a long trunk should have specified three notebooks, rolled into the tube and nested one to another. At the same time, looking through the beast, he ran and growled, then standing on the spot, polishing his shoulders, scolded his teeth. "
Ushinsky, visiting the Institute as an inspector of the institute's classes, told the teacher: "You probably heard a lot of praise to expressive reading, but you already have a whole idea ... so even somehow humiliating to the dignity of the teacher." The described one could consider simply as an anecdotal case, but the case is not at the deaf province, but in St. Petersburg, where there was one of the best Russian theaters of the time where talented artists and writers were with reading.
From the memories, we know that this case is not the only one. The main reason for such facts was that propaganda of expressive reading was not accompanied by the popularization of information on the method of art himself and its specifics. These questions appealed to the 70-80s.
During these years, allowances that spoke not only about the application of expressive reading, but also on the laws of art itself. The name "Expressive reading", applied and previously became a generally recognized term.
The authors of the books in which the laws and techniques of expressive reading were covered by V. P. Ostrogorsk, P. D. Boborykin, D. D. Semenov and D. D. Korovyakov. They first put the question of the need for special teacher training as a custom-master. Manuals for 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 essentially the same art.
Considering the development of expressive reading in the 80s., Usually make a significant error: ignore the previous experience and exaggerate the impact on Russian pedagogy of Western authorities. Here, first of all, they mean the book of Level "Reading as Art", published in Russian translation in 1879, and do not take into account that the legume proceeds from the formalistic direction that dominated the French theater. The Russian Theater was already firmly in realistic positions and in this regard far ahead of French. In addition, as we have seen, in Russia from the 40s. It develops independently, largely regardless of the theater, artistic reading.
In 1872, the book of P. D. Boborakina "Theater Art" was published, and in 1882 - "Art of reading". The last book is a lecture, read in favor of students of pedagogical courses. Drawing a disappointing picture of the state of expressive reading, the author emphasizes the contrast between the general development of the student and read it. It indicates the need to explore the pedagogical side of this question as an independent, i.e. to create a school method of expressive reading based on the laws of professional art. Boborakin highlights questions about the role of the teacher, about the individual approach to students, on the compliance of the material to the personal qualities of the Contractor, about the meaning of expressive reading, about familiarizing with "exemplary works".
A large influence on the development of the methodology of expressive reading and the use of expressive reading in Russian schools was provided by V. P. Ostrogorsk. The student and the successor of Stulanina, V. P. Ostrogorsk, paid special attention to the emotional side of the perception of the artwork and for aesthetic education.
The school must certainly educate as a solid basis for further human activity aesthetic taste, good feelings and a living imagination - Ponosh-Ostrogorsky. From these positions, he approached expressive reading. Ostrogorsky considered it appropriate to introduce expressive reading into the program as a special subject, as well as the use of it in lessons and in extracurricular work on literature. An especially popular was his book "Expressive reading", which withstood many editions. The author complains that "a decrease in the senior class decrease to decrease." The book offers a certain training system to expressive reading: Speech technique, speech logic, and then "studying different tones", i.e., work on emotionally-shaped expressiveness. Such a sequence is observed by most authors, including modern.
Along with Ostrogorsky on expressive reading, other talented methodists also performed. In 1886, V. P. Sheremetevsky in the article "The Word in Protection of the Living Word" opposes unnecessary detailed analysis - "Catechization", which prevents students to perceive the artwork in its integrity. If V. P. Ostrogorsky in his work meant predominantly the senior classes of gymnasium, then V. P. Sheremetevsky focused on junior classes. It combines expressive reading with the explanatory, seeks the classes to be "conscious reading" and the "School of Living Word". He believes that "more practical and more interesting both for students and the purpose of explanatory reading should be recognized as a preparation for expressive reading." Chchevertevsky gives a sample of such a lesson, where the poem of A. Fetka "Fish" is understandable for the subsequent expressive reading. In this lesson, the teacher introduces students with pauses, logical stress and, finally, with emotional-shaped expressiveness. Classes are based on the flair of the language, speaking and on the imagination of students. It is interesting to note that Sheremetevsky is about the same way as modern teachers who are guided by Stanislavsky's system. Sheremetevsky says to the disciples: "Let's try to imagine yourself at the place of the fisherman", i.e., on modern terminology, we will put ourselves in the proposed circumstances. Sheremetevsky closely approached the methods that the modern school enjoys.
The works of Ostrogorsk and Sheremetevsky significantly enriched the methodology of expressive reading and contributed to the introduction of expressive reading in school practice. But the most solid work on the expressive readings during this period should be recognized by the book D. D. Korovyakova "Art and Etudes of Expressive Reading." If the Book of Ostrogorsky is designed for students and on students, then Korovakov addresses only to teachers, believing that expressive reading without a manager is impossible. It is necessary to note the independent position of Korovyakov, independent of foreign authorities. Recognizing that their work, especially the legume, which korovakov repeats many times, contains a lot of instructions, suitable for both Russian teachers, D. D. Korovyakov writes: "Not at all silent the values \u200b\u200bof the works of Western European theorists ... it seems to me that instead of To approach the questions of the Russian declamation with ready-made theoretical measurements, there is a path of more direct and correct, "and it recommends the disclosure of the theoretical foundations and ideals of Russian expressive reading. D. D. Korovyakov thoroughly and mostly true interprets orphoepia questions, dictations and speech logic. In these questions, its observation and conclusions are kept and for us. So, having considered the attempts of modern authors to establish a solid compliance between the logical strokes and grammatical categories, the cowbanks conclude that "the desire to determine the place of strokes with a grammatical way does not lead to any results." Completely correctly says Korovakov on the relativity of the pause and about the logical perspective. "Pauses on punctuation marks, like all other techniques of logical toning, are subject to the general, the main law of the logical prospects in which the most important is toned with greater significance of all receptions, and less important is the use of less significant degree of toning techniques, in a gradual ratio and strictly parallel direction. "
Otherwise, the case is in Korovakov with emotionally-shaped expressiveness. Here, kovyatakov, after some Western authors, trying to establish some standards, using quite arbitrary terms of other types of art, primarily the term "tone". He has 12 "birth of tones." This contradicts what the author says with several pages below: "No theory is able to calculate and specify all of them (intonations) a variety and shades, as it is impossible to list all the shades of the human soul movement."
All theoretics of expressive readings were good readers and convincingly confirmed the theory of their own practice. Otherwise, it was the case in most schools. The same korovakov testifies: "Even those of our teachers of Russian literature, which are given to expressive reading a well-known place in their class activities, are limited to superficial disparate comments and amendments to a student reading, without a certain system and communication, which is understandable for the novelty of this case and the absence of developed Practice teaching techniques. Because of this, the best teacher intentions remain fruitless and the level of expressive reading continues to be extremely low. "
Expressive reading in the Russian pre-revolutionary school. In the 90s. The XIX century in Russian literature appears a new direction, which is gradually enhanced, is issued and in the future it receives the name of symbolism.
The poets symbolists opposed themselves to writers of the 60-70s., Believing that the latter are too rationalistic, the poetry of some magic, comprehended only by intuition, feeling. They also believed that their poetry requires a special filing in reading. They were not satisfied with the reading of actors who, being brought up on the literature of critical realism, continued to look for in poetry, first of all, the idea, meaning and did not know how to convey the music side of speech. Poets themselves speak with reading their works. Evenings of poetry acquire wide popularity.
"Most," the contemporary testifies, they read the poems with a calm, measured voice, highlighting rhythm and rhyme and providing content with their ways to reach the consciousness of the listeners. " With our modern point Vision Not acting reading, nor reading poets can be unconditionally accepted: Music of verse must reach the listeners, but not to shade the content and image form.
The theory of expressive reading makes these years a significant step forward. The leading methodologist for this period should be recognized by Yu. E. Ozarovsky. Continuing in many ways Korovyakov, Yu. E. Ozarovsky expands and deepens the methodology of expressive reading. In his main book "Music of the living word" Yu. E. Ozarovsky gives the "Fundamentals of Russian artistic reading", relying on theoretical heritage and its great experience of teaching. He talks about the techniques for the development of imagination, believing that the teacher must "direct the artistic imagination of the student" in the direction of the content of the work prepared for reading, reproduce the conditions of the author, its mental state, the surrounding environment.
J. E. Ozarovsky's ability to take a living part throughout what happens on the pages of the executable work. "I" reader, in his opinion, should not blame the author's "I", but to merge with him. In the book Yu. E. Ozarovsky introduces the concept of "Lika" the reader. Artistic reading is characterized as creativity, whose success is determined by love for the work.
Yu. E. Ozarovsky stands for realism in the declamation, that is, such a way of reading, which is close to "ordinary speech".
It says in detail by Yu. E. Ozarovsky and how to conduct a literary-declamination analysis, so that the audio incarnation of the text has become creative. He advises first to read in the text, recreate the overall psychological nature of the work, whenever possible briefly formulate it and introduce this psychological shade into reading. Further, depending on the nature of the text, the performing analysis will go on anyway. The book provides plans for analyzing literary works of various kinds and species.
By calling their main work "Music of the Living Word", Yu. E. Ozarovsky reflected not only his point of view, but also the trend of time. As already mentioned, the championship of the musical side of the speech give symbolists. K. S. Stanislavsky, Yu. E. Ozarovsky comes with great importance of speech musical, Yu. E. Ozarovsky, he writes: "We will have to recognize the list of main musical elements in the declamation performance. For, not to mention the sounds of phonetic, all voice speech sounds are periodic changes in tones in height, strength and duration in the presence of a pause, reporting speech-specific rhythm, ... associated with a musical ratio with a melody, origin of harmony and decorated in the beginning of the tone, Give us a complete and convincing picture of musical manifestations. " Ozarovsky distinguishes the music of thought, where he relates a logical melody, and the music of the feeling is the timbre.
Contrary to Korovyakov and Ostrogorsk, which was considered that emotionally-shaped expressiveness is available only by talented students, Ozarovsky is confident in the availability of expressive reading in full of the average student under the condition of systematic classes.
Extremely important to observe Ozarovsky over the accentuation. It establishes a "logical hierarchy", i.e., the accents in words in the phrase. So he leads the phrase from Borodin, denoting the strongest accepted unit: "Tell me, uncle, because it is not uncomfortable by the Moscow, the Frenchman is given to the Moscow" " No less interesting to observe Ozarovsky over the tone tone with faith. He claims that the timbre is born in faith. "We noticed," writes Ozarovsky, "that the phrases never stained with such genuine timbs in the lessons of the declaignation, as was noticed in the lessons of the Mimici." We now know well that the Mimician itself should be generated by a sincere experience, otherwise it turns into a grimace.
Ozarovsky tips do not bear a narrowotechnical nature. He recommends oral and written literary creativity, sophistication of observation by studying the surrounding life, communicating with nature, travel. In other words, he sets the development of reading skills dependent on the general and aesthetic development, close to the idea of \u200b\u200bthe need for harmonic comprehensive development, although it does not form this provision.
In the pre-revolutionary years, many works devoted to the art of a sounding word appeared. Many of them meant not only professional art, but also school expressive reading. There were work and specially dedicated to school. Of these, the book N. I. Sentyurina "Live Word of the Child in expressive reading and oral speech" is most interesting. Unlike Sheremetevsky, to whom Senture, it is largely, it does not combine expressive reading with the program provided by the program, but antislauses the expressive reading explanatory. According to Senture, explanatory reading "disperses and distracts him (child) attention from readable. During the same lessons of expressive reading, the children assimilate only the thoughts that are invested by the author in his work, live impressions inspired by this product. " N. I. Sentyurine offers a whole system of classes in junior gymnasium classes, relying on the experience of its predecessors and scientific work of a number of psychologists. Expressive readings, in her opinion, correspond to the very nature of the child. "Nature itself," Sentyurine writes, "indicates the path: we will follow its generous instructions and carrying hearing, the living word and a healthy imagination of a child, as a powerful means for his mental and moral development."
Thus, in the period under review, the theory of artistic and expressive reading has enriched near very serious works. Much is done and for the introduction of expressive reading into the practice of schools. In some educational districts, expressive reading was introduced as a special subject and programs developed. The use of expressive reading and on the literature lessons has expanded, which a lot has contributed to the introduction to the program of "immanent" reading. Among the teachers there were a reading masters, for example, a teacher of the 1st Vyazem Women's Gymnasium M. A. Rybnikov. But even she did not led to systematically expressive reading in the lessons, but transferred them to a circle work. In most of the gymnasium, expressive reading was not conducted, or was carried out ineptly without a system.
Expressive reading in the Soviet school (pre-war period). After the revolution, the task of decisively and quickly increase the cultural level of the people. In this regard, from the first years, attention was drawn to the culture of oral speech, the hot propagandist of which was the first acquisition of A. V. Lunacharsky. Two special higher educational institutions were opened in Petrograd and Moscow - the institutes of the Word were opened, artists and poets performed before the broad audience.
In the 20-30s. Artistic reading developed as an independent type of art. In its development, three masters played a major role, of which each represented a special direction in the art of the sounding word. A. Ya. ZashnyakA considered his art by continuing the tradition of folk narrator and teachers. "New and new facts convinced me," said the crumpled, "in the mighty impact of the sounding word (not oratory art, not the theater, namely literature in live speech) on the mass listener." He called his performances by the "Story evenings", he really as if told the text, but, according to our terminology, it was an artistic reading of prose, because the text was not fluent in the artist, but he was reproduced literally. The art was completely different, V. N. Yakhontov. He called his art "Theater of one actor." Yahontov was usually performed with specially compiled compositions in which included, except poems and artistic prose, newspaper articles and documents. All this dissimilar material turned into a single artistic alloy. It was very important in the performances of Yakhontov Gesture, his speaking hands. In its performance, the artist enjoyed some accessories: elements of suit, furniture and objects, such as a cane. The speech of Yakhontov was a theater representation, although very different from the usual performance.
The third Master, which played a large role in the development of artistic reading, was V. K. Seriegranikov - a continuer of art of the declamination, which created a new form in accordance with the trend of time - a collective declamination, choral. Theater of Reader Seriegradov, as opposed to the theater of one actor Yakhontov was a relatively large team. Sergey himself binds the emergence of a collective declamation with the trends that dominated art in the pre-revolutionary period. "The entire atmosphere of the pre-revolutionary period was saturated with collectivist aspirations," recalls sorrings. But besides the ideas of "Cattle", which were often expressed in the theater literature of pre-revolutionary years, the success of Seriegraders is explained by the fact that the collective declamation has joined reading with music, which was also characteristic of that period. Surrellians defines a collective declamation as a literary and musical declamation art, built on the principle of polyphenium.
This diverse practice of artistic reading was supposed to influence and really influenced the production of expressive reading at school. Advanced teachers, visiting the appearances of the Zashnyak, Yakhontov and Serieznikov, studied with them and in the measure of their capabilities transferred learned to their pedagogical practice.
School herself during this period was in the organization and continuous searches. But in this extremely complex setting, the significance of expressive reading was recognized by the methodologists and directives that determined the foundations of the new labor school. The most difficulty was understood very widely. In an explanatory note to the curriculum in Russian language in 1918, it was said: "In the field of teaching techniques, the labor school puts forward such a powerful and valuable factor as labor. Of course, the work as a teaching method, especially at the first stage of the new school, should be understood in relation to the horizon of students, in the broadest sense of the word, merging, on the one hand, with the area of \u200b\u200bartistic creativity and, on the other hand, expanding to the concept of free Independence of students in relation to the passable educational material. " Listing the types of classes, the note calls familiarity with the rules of diction, the main oratorical techniques, expressive reading, telling, declaignation. Even in the period when the existence of literature as a special subject in the school curriculum was questioned, the declamation found great use, since at the same time the extracurricular and public work of the school intensified with a decrease in the role of literature. Schoolchildren performed with an individual and collective declamation, with dramatization and dramatization.
If the practice of applying expressive readings was wide and diverse, then theoretical works on the professional art of the sounding word and school expressive reading have given little to the teacher. The teacher continued to use the books of Ostrogorsk, Korovyakov and Ozarovsky.
Decision of the Central Committee of the WCP (b) of September 5, 1931, about school and subsequent directives in the root changed school policies. The leading role of the teacher in the pedagogical process was restored and the lesson was recognized as the main form of training. By this time, socialist realism becomes the decisive direction in Soviet literature and art.
An important step forward in the method of expressive reading was the articles of V. G. Artobolevsky in the magazine "Russian in school". This circulation of a large master directly to the teacher is very significant. The author so characterizes his task: "I did not put the goal to give a methodological guide ... I'm not talking about how to learn reading, but about what you need to know about reading ... Therefore, I did not limit himself with a circle of questions related to Expressive reading in a narrow sense ("logically expressive"), which is most consistent with the tasks of school learning, but touched in part and specific readings, such as arts that matter for the teacher in circle and in his personal practice of the reader. "
Almost simultaneously with Artobolevsky tried to respond to the methodological issues of expressive reading M. A. Rybnikov. The sixth chapter of her "essays according to the method of literary reading" talks about how to teach expressive reading of schoolchildren. Expressive reading for M. A. Rybnikova not acceptance and not the method of teaching, but art, with which the main goal is achieved - the preparation of a young person to life and creative work. This wide view of literary education continues the tradition of Ushinsky, Ostrogorsk and Senture. It is very important that Maria Aleksandrovna was not only a tech-theoretical, but also a wonderful reader. What is explained by the huge impression that Rybnikov-reader produced on the listeners? Here, first of all, her sincere interest in life, people, nature and their reflection in literary works were affected. This attached its execution cordiality and warmth. The deep penetration of the reader in the literary work and love for the Word affected the literary work. But Mary Aleksandrovna and purely read-quality qualities. She saw what I read about, and this vision was transferred to listeners. An extremely important role in reading Rybnikova played her innate musicality. "Maria Alexandrovna perfectly owned the musicality of speech," recalls one of her permanent listeners. "What matter is the meaning of the CTTER creativity herself, it can be judged from the words that she said by her after the excited execution of" Taras Bulba "A. Ya. Zashnyakom:" Out of musicality there can be no artistic reading art. " From here there was a perfect feeling of rhythm. "Reading Mary Alexandrovna kept comparison with the performance of the best masters of the sounding word."
The Practice of Rybnika helped her to solve very specifically and convincing questions about the use of expressive reading in the process of studying Russian and literature. Rybnikova applied expressive reading and on his lectures, and at open lessons, which gave for teachers. In his views on expressive reading, Rybnikov was largely followed by Ozarovsky, but took into account the specifics of the Soviet school and the existing program. Therefore, its advice is closer to practice and easier can be used by the teacher. The initial position of the methodologist is extremely important. The teacher is recommended to learn from the zubnyak, Yakhontova, Zhuravleva. Thus, it is clear that Rybnikov considers expressive reading as reading artistic. This confirms its terminology. Right school reading is expressive, it is artistic, she clearly considered these terms equivalent.
Unlike its pre-revolutionary predecessors of Rybnikov, although it recommends dedicated to several lessons specially expressive reading, but most of the work transfers to the lessons of the Russian language and literary reading.
A step forward is also a recommendation to deal with expressive reading in full, and not just logical. Circle classes are recommended, but these are not basic, but auxiliary classes. Helping such a mug can be used in literature lessons, and at the evenings held at school. The main application of expressive reading is in the lessons. Rybnikova shows which elements of expressive reading should be assisted in the process of language, and which in the lessons of literary reading.
"The expressive reading of the teacher usually precesses the analysis of the work and is the main key to understanding its content. The expressive reading of the student concludes the process of parsing, summarizes the analysis, practically implements understanding and interpretation of the work. "
M. A. Rybnikova did not create a complete technique of expressive reading and could not create it, because in the theory of reading the art of reading, the principles of the methodology, the expediency of the use of which find confirmation in psychology and physiology. Rybnikov and did not consider his recommendations as a complete technique. She considered the development of the methodology of expressive reading the case of the future. She complained that "the soil is not prepared to create a methodology for learning expressive reading at school. This training should be a systematic, systematic, ascending to the degree of difficulty; It should be such a work on the word, which will give its result primarily in the approach to literature, as well as in increasing the overall 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 Rybnika teachers, valuable methodical recommendations were given, there were mugs in which the verbians studied the art of the sounding word under the guidance of masters. Thanks to the radio artistic reading received millions of listeners. In April 1936, a special conference on expressive reading took place in Moscow. After the report, V. V. Golubkov, the teacher and students of Moscow schools showed high samples of expressive reading. But still, expressive reading remained a lot of minority.
Expressive reading in the Soviet school (post-war period). War, naturally, detained the further development of expressive reading. But at the end of the war in January 1944 meetings, one of the leading issues was the question of improving the culture of oral and written speech. "Schools were asked to create a united front in the struggle for the culture of speech at the leading role of the Worder and the support of teachers of other subjects ... 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 in school practice. The educational plan of the pedagogical institutions of the 1944/45 school year was introduced as a mandatory workshop on the expressive reading and culture of oral speech - 30 hours.
In the first post-war years, two directions were clearly outlined in the method of expressive reading: philological and artistic and psychological. The first of these areas is considering expressive reading as something different from the art of a sounding word and concentrates on speech intonation as the phenomenon of ligvistics. 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 K. S. Stanislavsky system.
A vivid expressive of the philological direction was the associate professor of the department of Russian Language MHPI. V. I. Lenin I. Ya. Blinov. In his book, Bernot writes: "In-depth and systematic work on a speech obliges us to find, by the benefit, philological." He opposes expressive reading artistic. Arriving that artistic works represent the best material for studying intonation expressiveness, pancakes are negotiated: "But this circumstance, in itself, of course, does not work our only a manual for" artistic reading ", that is, the genre of art, which is most He suffers from the lack of genre performers and those, their leadership, proper philological alignment and objective orientation in speech intonation, as the phenomenon of the Russian language. " Simultaneously with such an initial position, the pancakes tries to rely on the Stanislavsky system and multiple times quotes the latter. As a result, very neurotic eclecticism is obtained.
According to another direction, the development of issues of expressive reading at the Institute of Training Methods, and from 1947 - at the Institute for Art Education of APN RSFSR. The sector of the expressive reading of this institute, together with the Laboratory of the Speech Institute of Psychology, the APN RSFSR raised his task to answer the question, "how can I adapt everything that Stanislavsky said, 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 culture of speech did not meet students, and the Ministry of Education of the RSFSR since 1954 recommended it among the optional items. But in 1959, an obligatory workshop was introduced on expressive reading with an increase in the number of hours twice. The program proceeded from the situation that expressive reading is artistic reading in school conditions, and relied on the Stanislavsky system.
Such an increase in expressive reading is explained by the need to look for new ways in teaching literature and language. After the XX party congress, school programs and teaching methods, including the methods of teaching literature and the Russian language, were thoroughly revised.
During these years, the professional art of a sounding word has acquired a wide range. We became the usual special evening reading evenings. Readers very often performed directly in schools. But the main thing - radio and television opened a million-line audience before the readers. An important step was a positive decision on the application of the provisions of the Stanislavsky system in the reading art, despite the fact that there is a significant difference between actor and a storyteller. "The reader shows the image for the sake of its task, with its attitude - transmitting and emphasizing only those traits that are needed to confirm his thought for his taller's task. No matter how convincing, alive and artistic, the reader's show is never reincarnated into the image. It is precisely the root difference in acting and reading the image. "
Methodists who worked on the issues of expressive reading at school were also concluded about the feasibility and the need to build the methodology for this art based on the Stanislavsky system. "The method of expressive reading at school needs a revision. It must comply with the requirements of the realistic art of the artistic word, which has developed and determined its theoretical provisions in the Soviet period. "
In the late 50s - early 60s. A wide discussion on the issues of teaching literature has unfolded. The most vivid were the performances of A. T. Tvardovsky. Even at the XXII Congress, the CPSU Tvardovsky said: "One of the amazing features of art is that if the artist himself is not excited, not shocked by the real ideas, images, paintings of life, which he fills his creation, then ... reader, The viewer or listener, perceiving this creation, also remains cold, it does not affect his souls. " Based on this main position, the Tvardovsky appealed to teachers in the teacher's congress: "It's all in love for business. You can not teach to love, what you yourself do not like or do not know how to love. " Love for literary work is transmitted during the reading process. Tvardovsky does not reject the analysis of the work at all. He is against cold, rational analysis. Solidarizing with S. Ya. Marshak, he says: "A happy teacher, who succeeds, starting with a simple reading, go to reading a serious and thoughtful and even analyzing the work, not losing that pleasure that people should deliver the work of art."
The discussion about the teaching of literature continued. The cause of anxiety and dissatisfaction was indifference to schoolchildren to literature, especially classical. Some methodologists offered to abandon historicism and even from the analysis, which, in their opinion, can be replaced by simply expressive reading, forgetting that the expressive reading itself, being primarily reading conscious, requires preliminary analysis. Others defended historicism and analysis. But those and others paid special attention to the expressive reading.
So, one of the most experienced methodologists notices in his article that "in recent years, the culture of expressive reading has fallen in school." Stressing crucial importance for the success of teaching literary literature literature, the author indicates: "But this should be such a reading that would mostly contribute to emotional-aesthetic perception, that is, reading expressive. Who is not known from experienced teachers, the most beloved teacher of literature is not the one who repeats the page of the textbook, but the one who sincerely, truthfully, emotionally knows how to read, or, when appropriate, bring poetic passages or pieces from prose. This is one of the most important indicators mastery of teacher literature. It often begins the very thread that pulls the love of schoolchildren to literature, and the passion for reading, and the desire to know by heart, imitate the teacher in his ability to read expressively. "
It was extremely important to strengthen the artistic and psychological direction in the method of expressive reading was the change in the position of the oldest and most authoritative methodology for literature V. V. Golovkova. In its repeatedly reprinted "methodology of teaching literature", V. V. Glukov always paid a significant place to expressive reading. But in his interpretation, he proceeded from Legue's books, V. P. Ostrogorsk and D. D. Korovyakov, referring to them, repeating their teachings about tones.
In the "Methodology", published in 1962, the author in the root rebuilt sections devoted to expressive reading, taking into account the latest work on expressive reading, and changes in the very professional art of the sounding word. For two years before the release of "Methods" in the report at the Scientific Conference on Teaching Literature at the Institute of APN Methods of the RSFSR, Glukov said: "The first question put forward in the teaching of literature and related to its specificity is to strengthen the immediate perception of the reader from the work, With initial acquaintance with the text, in order to maximize the effectiveness of the cognitive, moral and aesthetic effects of literature. " The question of direct perception of text is related to reading. "In terms of correctly organized direct perception of the text, the question of the comparative value of various readings of readings is solved." Accordingly, such a look at the immediate perception, doves significantly expanded in the "methodology of teaching literature" (1962) sections devoted to expressive reading, and revised the technique. He talks about the expressive reading of the teacher and separately about expressive reading of students. In addition, he addresses expressive reading when studying lyric 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 essay, where doves are absolutely correct, unlike those who have written to him, which began the history of expressive reading from the 70s. XIX century, approves: "Expressive reading in high school has a very greater prescription. In elementary form, it originated already at the time when literature first entered the school as a subject of learning. The method of expressive reading in the history of the school changed depending on the one hand, from the change of views on the teaching of literature, and on the other, from the development of theatrical, scenic art. " Following the history of expressive reading in connection with the history of the Russian theater, doves stops at the works of Korovyakov, criticizes the theory of tones and concludes: "It was fundamentally close to what was at the heart of the old stage declamation reading." "A new, third period of scenic art begins with the first productions of the artistic theater and with the" Stanislavsky system "... as opposed to the dominant" art of representation "K. S. Stanislavsky put forward the" art of experience "and demanded from the game on the scene of effectiveness, focus, sincerity and simplicity. "
Indicates that the principles of the artistic theater are accepted by the readers, Golubov recommends that the teacher hold these principles. It is especially necessary to take from Stanislavsky: "1) the study of the text, the maximum briefing in its ideological-emotional content,
2) social orientation, effectiveness of expressive reading,
3) A clear understanding of "tasks", which should be put in front of the listeners when reading each episode and individual scenes. "
For a complete clarity of Doves, it considers it necessary to dwell on the question of determining the tone: "Do I need to find out in preliminary work on the text and define intonation? It is better not to do this to avoid danger to reflect your experiences and fall into the pattern. "
Thus, in his book, V. V. Glukov answered a number of significant issues of the methodology of expressive reading and pointed out the right right direction of its further development.
At the same time, the role of expressive reading was also determined in the directorial instructions of the Ministry of Education of the RSFSR. Thus, in the methodological letter of the Ministry of October 21, 1961, it was said: "Reading literary works is one of the most important methods for studying literature in the classroom. With expressive reading of poems and prose, artistic images are revealed especially fully. Live speech, rhythm, intonation is able to convey to the listener such shades of knowledge, such qualities of images that are lost when reading "to themselves" ... without expressive reading there can be no full-fledged literature study. " As the implementation of this provision in 1961, an expressive reading was introduced as a mandatory part to its part, which is considered as part of the section "Speech Development". This includes special lessons for expressive reading.
But the use of expressive reading is necessarily in the process of studying both literature and Russian language. Physiology and psychology of expressive speech and reading. The first question, to the decision of which it is necessary to attract physiology and psychology, is the question of whom to teach expressive reading? Pre-revolutionary and some Soviet methodists believed that all students should be trained only by logical ("sensible") reading, and the emotional-shaped only most gifted. Our school is massive, and in modern manuals no one offers to divide the children on gifted and unmarried. But in practice, this division is held. Usually, several people are expressively reading in the class, most are read in an inexpressive, and the teacher puts up with it.
Therefore, the question becomes more relevant: is it possible to teach expressive reading in full of all children and is it necessary? In order to answer this question, let's see how modern science considers such phenomena as abilities, gifts, talent, intuition and temperament.
It is impossible not to see that there are children capable and unable. Modern psychology does not deny the differences in the abilities, but does not consider them congenital. Anatomy-physiological features may be congenital, that is, the depositations that underlie the development of the abilities themselves are the result of development. Abilities not only manifest in activities, but also, most importantly, are created in this activity.
Consequently, we must teach expressive reading of all children so that they have developed appropriate abilities. Speaking about the specifics of artistic creativity, usually indicate the role in it intuition. To deny the role of intuition in artistic work is impossible. Intuition is understood to our modern psychology as a special kind of thought process, different from thinking of a discursive, verbally formulated, at least in the inner speech. This thinking is due to the fact that I. P. Pavlov called the "light spot of consciousness." Conventional thinking proceeds within this stain. But outside of its limits, there are also processes passing without conscious controls, and therefore the results of this thinking are represented by sudden, unexpected. But this involuntaryness, surrounding intuition. In fact, a sudden "illusion" is prepared by preceding, sometimes very long and tense mental work. Thus, if the intuitive element of creativity is not amenable to conscious influence, the process of thinking is quite in our power, preparing intuition. Often, when performers are divided into gifted and inaccurate, refer to temperament, which is congenital, as it is determined by the natural features of the nervous system. Experimental studies have shown that the dynamics of mental activity is due not only to temperament, but also other personality properties and the situation (primarily interested). The same performer invoices an emotional subtext, the more he is interested, passionate about the content. The temperament is not absolutely unchanged. "Based on the existing experimental facts," the researcher says, it can be approved with sufficient reasonableness ... that by appropriate training methods and techniques it is possible to increase the power of excitation and braking, as well as the degree of their mobility. "
As you can see, individual-psychological features, in which talent is expressed, gifts are not fully congenital, but develop as a result of activities, exercises. Therefore, to teach expressive reading and you can, and you need all children. In this question, the principle of universality underlying our education system is consistent with the provisions of physiology and psychology. Almost no one can judge the child's rival. But also the "inextural" itself, we do not have the right to not involve expressive reading in the classes, since the skill in the intonational and logical analysis of literary works and their execution, i.e., work on expressive reading will undoubtedly contribute to the overall improvement of speech.
Rech effectiveness. Modern science considers it as one of the activities of a person - "speech activity", and separate statements as "speech deeds". In phylogenesis, the language arose and developed as a means of communication, means of exposure to other people. In Ontogenesis, it is also developing as a means of exposure to others, the child, uttering "Ma" (Mom), not only relates this word to a certain person, but wants this face to encourage certain actions. This "ma" depending on the situation means: "Mom, come to me" or "Mom, I want to eat", etc.
A focused on the word defines the accent membership of the phrase, the variety of intonations, the collected color of the voice, i.e., all means of phonetic expressiveness of speech. Meanwhile, schoolchildren with answers and especially when reading, a chaser is observed mechanical, inactive writing words. This Skolyar habit needs to overcome. It is necessary that the student, by pronounceing the words of the text, sought to convey the mastered and specific content (thoughts, images, assessments and the author's intentions) so that the listeners understand and specifically appreciate what is said in the text, i.e. it is necessary to read truly And purposefully communicated with the audience. This is a very important method of activation, which, on the one hand, increases the meaning and expressiveness of speech, and on the other, it aggravates the attention of the listening and thereby promoting memorization.
Speech and thinking. Thinking as a socially determined, the psychological process of searches and discovering a new, the process of mediated and generalized reflection of reality during analysis and synthesis is inextricably linked with the speech. Develop thinking and speech is possible only in unity. Thinking is developing in practical activities, including speech. Psychologist L. S. Vygotsky believes that the thought is not expressed, but takes place in the Word. Consequently, thinking and speech are so mutually due to the fact that without the participation of speech, there is no possibility to develop thinking.
Special relationships come into speech and thinking in the process of internal speech. Inner speech is different not only from loudly sounding, but also from speech in a whisper. It is characterized by hidden articulations, from which weakened kinesthetic irritations are incorporated to the brain sufficient for the normal process of thinking. Then the inner speech is characterized by minimized judgments. The thought is briefly expressed, sometimes in one word, which is explained by a solid associative bond this word Or phrases with unfolded verbal statements. Thanks to this connection, one word or phrase can replace and signal a number of deployed statements.
Typically share thinking to conceptual - distracted and concrete - figurative. In reality, both types of thinking are connected. Understanding relies on the connection of the abstract and concrete, general and one and out of this connection is not achieved. Taking into account this mutual connection, the division of thinking on the conceptual and figurative has a psychological basis and practical importance. It is associated with a very important process for creativity - imagination.
Picture of speech. Imagination is the creation of a new image, ideas, ideas embodied in a material thing or in practical activity. In our area, this creation of an image or representation, which will be embodied in a sounding word. Without imagination, no artistic creativity is impossible. The physiological basis of the imagination is the formation of new combinations from those temporary connections that have already been formed in the past experience. Consequently, the richer experience, the greater the possibility for imagination. Observation of what takes place in life is the source material of the imagination. From simple memories, the process of imagination is characterized by the fact that as a result of the establishment of new connections, we obtain the image that was not in the past experience. This happens in artistic reading, where some features of the image, the data in the poetic text cause 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 perceive makes it difficult to occur. This, for example, explains the difficulty of perceiving by our schoolchildren of classical pre-revolutionary literature.
When we read or listen to a literary product of images in our imagination arise involuntarily, without much effort on our part. At the same time, they are in varying degrees clear and accurate. The reader or the narrator consciously seeks to cause concrete and bright images in the imagination, or, as they are often called vision. But this is possible only under the condition if the speaker or reading or reading clearly and with all details sees (imagines) what tells about. In the imagination, the reader or the narrator should pass as if the film of the visions, which he deploys in front of the listeners. In this sense, it is necessary to understand the recommendation of K. S. Stanislavsky to say "not ear, and the eye." Resting imagination expands personal experience Speaking and listening. Imagination, which is very important for the implementation and organization of activities, itself is formed in various activities, including in artistic reading.
Emotionic speech and reading. "Read with a feeling," sometimes the teacher says the student and does not understand that he puts an impractive task before the student and pushes him on the false path of the naigry and pretend. The area of \u200b\u200bfeelings is an emotional sphere and is not directly controlled.
The emotional response of a person is a complex reflex act in which all of it involves it, inextricably with each other related motor and vegetative components. "Emotion arises somewhere between the need and actions for its satisfaction." The crucial role in the launch of emotional reactions belongs to the crust of large hemispheres of the brain, there are also integration of signals from the internal environment of the body with motor signals. Thus, emotions, like other mental processes, are regulated by cerebral centers. Human emotions are expressed in a variety of motor acts - gestures, facial expressions, expressive body movements, votes and speech changes. A vegetative reaction indicating emotional excitation is manifested in the "change in respiration, heartbeat rhythm, blood pressure and volume of vessels, skin temperature and its resistance electric Toku., sweating, saw motor reaction ("goose leather"), skin-galvanic reflex, diameter of pupils, stomach and intestines, salivation, secretory functions of endocrine glands, cellular and chemical composition, metabolism. " This complex process is not amenable to a volitional order. The vegetative part of the emotion cannot arise at our request.
Emotions and System K. S. Stanislavsky. But how to be? After all, reading to be quite expressive should also pass the feeling. Answering this question, both physiologists and psychologists indicate the system K. S. Stanislavsky. " Direct Path No feelings, "says a psychologist. - It is based on this situation, a wonderful leader of the theater and theorist of the acting game K. S. Stanislavsky taught that "the feeling should not be ordered, but it must be achieved by other ways ... such a psychological situation should appear, which makes it possible to arise the emotional attitude of a person to A certain circle of phenomena, and this sampled emotional attitude will be experienced. "
The essential element of the Stanislavsky system is the "physical action method". The essence of this method is that, performing the action of the play of the play is truly valid, purposefully, the Contractor provides the necessary conditions for the occurrence of emotions.
In art reading, it is also legitimate to use the total method. If the reader or the narrator is purposefully acting in the word, he will definitely speak "with feeling".
Based on the teachings I. P. Pavlova on the "light 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 the scenic art of the experience system before the presentation system. "It should be clear how the picture of the external expression of emotions in the imperative reproduction of its individual signs of signs ... The shades of movements, mimics, intonations are irretrievably lost, especially organically and directly related to vegetative shifts in the body.
Speech intonation. Very often, speaking of the art of the sounding word, determine it as an art of intonation. Really the presence of various intonations is distinguished by expressive speech from the inexpressive. "A speaking should be able to freely use non-linguistic, but significant with the psychological side by communicative means of expressing thought and first of all intonation." What is intonation? By definition of psychologists, the speech intonation is the sound system of supply as a whole. It includes all signs of complex sound: changing the main tone, volume, timbre, duration. In addition, there are sound breaks - pauses. The intonation expresses the emotionally volitional relations of people in the process of communication. But with all the importance of intonation, it is impossible to consider it as a basis of expressiveness: intonation is derivative. It not only expresses the emotional-volitional relationship of people, but also determined by them.
Therefore, Yu. E. Ozarovsky warned against the search for intonations, and N. I. Zhinkin writes: "It is asked how intonation is searched and it is possible to learn good, correct intonation. The answer to this question is negative. It is impossible to learn intonation. It is the same thing that learning to cry, laugh, grieve, rejoice, etc. The intonation of speech in a certain life situation comes by itself, it does not need to think about it or take care. More than once you try to do it, it will be noticed as a false. But there is a way to find an intonation when the task is set to read any text that we are not compiled. This task is solved in the theory of stage speech, the most perfect of which is considered to be the Stanislavsky system. "
Psychology of reading perception. Reading out loud, as well as orally addressed to the listening. To perceive speech and reading, it is necessary that listening to understand what they say or. Read. Understanding is due to the presence of certain knowledge of certain knowledge, a certain experience. "The use of knowledge acquired by connections is" there is an understanding, "says I. P. Pavlov. Hence the responsibility of the teacher to reckon with the estimated experience of their students, and therefore, with their age and development.
There are two types of understanding: Immediate and mediated. Direct understanding arises immediately and merges with perception. This is an understanding that occurs when I first get acquainted with the work.
Mediated understanding is created gradually as a result of a number of thought operations. It should go from the initial vague, undifferentiated understanding to the increasingly clear and differentiated. This is a complex analytical and synthetic activity that flows in different ways not only among different people, but also in the same person. This process takes place not only during the parsing of the work, but later, with a public performance of the work, in some cases it continues for years.
For expressive reading at school, the direct perception occurring at the first acquaintance with the work is extremely important, as the question is solved here: I like it or do not like the work. Initial acquaintance K. S. Stanislavsky attaches great importance, arguing that the first impressions of "nine fresh" that they are "seeds" of future creativity. "If the impressions of the first reading are perceived correctly, is a big deposit for further success. Loss of this an important point It turns out to be irretrievable, since the second and subsequent readings will be deprived of the elements of surprises, so powerful in the field of intuitive creativity. Correct your damaged impression is more difficult than creating the right one for the first time. "
Therefore, when you first read the work, the teacher is recommended either to read it yourself, or give students the opportunity to listen to the reading of the wizard in the record. If the teacher has a reason to believe that any of the students can read well, he must pre-prepare such a reader, and not only rely on the fact that this student or student is well read. But it may be wrong and the perception of the listener. Therefore, the first reading is usually preceded by a conversation or lecture of the teacher.
Stanislavsky recommends: "It is important to take care of creating around yourself the appropriate atmosphere, exacerbating sensitivity and opening the soul for the joyful perception of artistic impressions. It is necessary to try to furnish reading solemnity that helps to donate from everyday to focus on the readable. " Reading in the class also requires if not solemnity, then the full attention of students. Children listen with closed books so that attention does not dissipate.
The role of expressive reading in the formation of the worldview of students. Any pedagogical question cannot be considered isolated. It is necessary to relate it to the main purpose of upbringing, to determine its place in the general pedagogical system. The purpose of communist education is the comprehensive development of the personality. Comprehensive identity development is an idea that has repeatedly repeated pedagogy, starting with antiquity. However, the concrete meaning of this principle changed dramatically, since various content was invested in the concept of personality. This difference is determined by the worldview. "For employees of the Enlightenment, V. I. Lenin said at the All-Russian Meeting of the PolitpoSvetov of the provincial and county departments of the national education in 1920, and for the Communist Party, as an avant-garde in the struggle, should be the main task - to help the upbringing and education of workers, To overcome old habits, old skills, remaining in our heritage from the old building, the skills and habits of the proprietary, which are soaked through the mass of the masses. "
Expressive reading is one of the ways to educate the communist worldview. Reader is an advanced man of our society. Even reading the works of pre-revolutionary or foreign literature, he perceives them, and then transmits from the standpoint of our time and our era. "I miss the classic," says A. Ya. Zashnyak, - through his individuality (individuality of the contemporary). " The expression of its civil position K. S. Stanislavsky called "superpowering", i.e., the most important in the work of the artist.
Expressive reading and labor education. In the system of Communist Education, the leading is a labor education. From our point of view, a full-fledged personality is primarily a worker, a figure, creator. V.I. Lenin attached great importance to work, including the Communist Education "... work on habit to work for general benefits and according to the conscious (transferred to the habit) attitude towards the need for general benefit, work, as the need for a healthy body."
Labor education made our talented teacher A. S. Makarenko leading in his system. It includes in the scope of labor education not only physical, but also mental work. But not every work raises, but only the work is creative. "To teach creative work," says A. S. Makarenko, - the special task of upbringing. Creative work is possible only when a person belongs to work with love when he deliberately sees joy in it, understands the benefits and the need for labor when labor is done for him the main form of personality and talent. This attitude towards work is possible only when a deep habit of labor effort was formed when no work seems unpleasant if there is any meaning in it. "
To expressive reading, these provisions of Makarenko are applied to the fullest. The main thing and the most difficult to instill the love of expressive reading so that the classes will deliver the joy of creativity. The main obstacle is that schoolchildren are not vaccinated "deep habit of labor effort." Instead of going through deep penetration into the text, the desire to empathize to the author, schoolchildren try to express the feeling "at all", are looking for intonation. Hence the usual picture - a student with a chagrin declares: "I don't have it." When you start to find out the course of his work, it turns out that instead of thought over the product, its content, form, the mood of the poet, were only attempts to cause a feeling "at all" and mechanical searches for intonations. Reflect this tradition is the first task of the teacher, without solving which it is impossible to productively teach expressive reading.
Expressive reading as a means of ethical and aesthetic education. Usually, considering the role of expressive reading in communist education, put forward aesthetic education to the foretical. Really expressive reading the object of aesthetic cycle, but aesthetic and moral is inextricably linked. Rising the ability of aesthetic perception of fiction, developing taste, expressive reading ennobles and deepens emotions. The reader must "divide sincerely with the poet, a high feeling that filled his soul ... soul and heart feel your word."
Such empathy acts deeper and rather than any reasoning about literature. Expressive reading helps the disciple feel that the literature is beautiful, love it, from here there is a desire to expressively read the most excited artworks, survive the joy of creativity. The first good luck serves as an effective incentive for further work, in the process of which skills in the field of expressive reading will be improved, develop aesthetic and moral senses of students.
Expressive reading as a means of educating an oral speech culture. In the school program, expressive reading refers to the section "Speech Development", and essentially it is correct, as it is a very important element of this culture, along with vocabulary, phraseology, grammar and stylistics.
The question of the culture of oral speech was rising by the majority of methodists: Buslaev, Ushinsky, Ostrogorsk, Sheremetevsky, Senture, Rybnikova, etc., but also in the modern method, and, most importantly, in the practice of the school he is not resolved. V. V. V. Glukov complains: "Part of the teachers has not yet got rid of the prejudice, as if the school does not particularly and need special work on the oral speech, if it is well delivered with the development of speech in writing." V. V. V. Glukov considers it necessary "the creation of genuine interest among schoolchildren not only to what is said, but also to how it is said - the upbringing of" senses of language ", that is, the feelings of the correctness, harness and beauty of someone else's and their own speech. Expressive reading, which is completed by learning by heart, and artistic told, like no other exercise enrich and cultivate the oral speech of the schoolchild. No wonder the Methodists from Buslayev to Rybnika so strongly recommended this path to 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 listening, perceiving speech. The speaker himself also perceives his speech, but his perception is different from the perception of listeners. That is why the "neutral hearing" of the teacher or experienced comrade in the process of preparing expressive reading or artistic telling is so important. The perception of expressive reading or artistic telling is a complex process, it participates the auditory, speaking and visual analyzer, the first and second signal system. But the value of the hearing prevails.
Rumor 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 hearing and with a sharp hearing. Hence the expressiveness of speech may also master students, devoid of musical hearing. Researcher of the musical hearing B. M. Teplov claims: "The main thing is that the teacher must also be interested in, and the researcher is not the question of how mustered is the one or another student, but the question of what his musicality and what, therefore, should Be the way of its development. " The same can be said about speech hearing. What gives teacher a statement that the student suffers from speech hearing? It is much more important for him to know the specific disadvantages resulting from this, for example: a student A. does not get along with high hearing, therefore he does not manage to increase and decrease the voice, the student B. does not catch the semantic meaning of collected changes, and the student V. does not know how to power the pace, Since it is not good enough to hear it and feels. After all, only knowing what the student's rumor is exactly its shortcomings, the teacher will be able to recommend certain exercises.
Although musical and speech hearing are different, but perennial observations show that musicality helps to master expressive reading.
Overview of modern literature on expressive reading. In recent years (60s and 70s) there were a lot of benefits for expressive reading. The authors of these works can be divided into supporters of the philological direction, which see the main importance of expressive reading in an increase in the culture of speech of students, reviving classes by their native language, and supporters of the artistic psychological direction. They consider expressive reading as the art of a sounding word and a primary task consider aesthetic education. Most of the authors of methodical works are not sharply set.
Supporters of the first direction are also talking about aesthetic education, and supporters of the second mean and speech culture. From the works published in the 60-70s., A bright sample of the artistic and psychological direction is the book E. V. Yazovitsky "Expressive reading as a means of aesthetic education" (L., 1963, 2nd ed.). Describing the aesthetic education, the necessary conditions for the aesthetic perception and transfer of copyright, as well as the organization and methods of work on expressive reading, Yazovitsky leads exemplary practical developments of lessons with I according to the X class.
If the book E. V. Yazovitsky covers all classes and the entire program in literature, then the book of M. G. Kachurin "Expressive reading in the VIII-X classes" (L., 1960) means only senior schoolchildren. Having considered expressive reading as a method of teaching the literature and bringing bright examples of its application, the author introduces the basics of expressive reading techniques, gives examples of expressive reading lessons: "Word about the regiment of Igor", VIII Head of Roman A. S. Pushkin "Eugene Onegin", poem . Yu. Lermontov "Motherland", lyrical retreat in the poem N. V. Gogol "Dead Souls" - "Rus-Troika", Piez A. P. Chekhov "Cherry Sad", poem and poem V. V. Mayakovsky.
From the number of works dedicated to the linguistic side of the expressive reading, it should be primarily called the works of P. Firsov. The most fundamental is his book "Observation on the sound and intonation side of speech in the lessons of the Russian language" (M., 1959). The author speaks of the study of phonetics in the V class (the role of phonetics and phonetic disclaimers in the development of proper pronunciation and spelling skills), about phonetic analysis when taking a diploma, about 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 when studying the syntax in VI and VII classes. Observations are described when passing a simple supply, a non-union complex proposal, separate secondary members of the proposal, direct and indirect speech.
Several authors seek to highlight the use of expressive reading and in the lessons of the Russian language, and in the literature lessons. Such authors include M. M. Strechevich, L. A. Gorbushin and B. S. found. The book Strachevich is entitled "Work on expressive reading when studying the Russian language (V-VIII classes)" (M., 1964), but the author says a lot about the use of expressive reading in literature lessons and offers to clarify grammatical concepts to use examples from readable in lessons Literature works.
Book L. A. Gorbyshina "Expressive reading and teacher's told" (M., 1965) addressed to students of pedecisis and primary school teachers. The author has a material in a common manual for the most expressive order: introduces the technique of speech and appropriate exercises, talks about compliance with the rules of literary pronunciation, on intonation elements, then about expressive reading, and finally about different types of telling. Examples are taken from the readstatology for primary classes.
Otherwise, a manual for teachers B. S. was found "expressiveness of speech and reading" (M., 1969). The author characterizes the general laws of oral speech, introduces the types of monologic speech, different types of telling, and then refers to expressive reading. In the second part of the book, practical phonetics are considered and the role of intonation in the process of studying syntax. In the third part - "Expressive reading in literature lessons" - are given examples of work on the expressive reading of works studied in the VIII class.
Using the listed benefits, the teacher must take into account that the school program has changed significantly. In general, the methodological articles should be found not as a directive, but as a description of the experience that enriches the teacher. Each creative working writer produces its system and work techniques.

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