What are the means of expressive reading? Expressive reading

(V.S. Naydenov)

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

Popular site articles from the “Dreams and Magic” section

Introduction

1. The essence of expressive reading

1.1 Reading as a type of speech activity

1.2 Main characteristics of the process of expressive reading

2. Methodology for working on expressive reading

2.1 Formation of expressive reading skills in students

2.3 Sample lesson plan for expressive reading

3. Advantages and disadvantages of using various methods when teaching expressive reading

Conclusion

Bibliography

Application

Introduction

The main goal of schooling is the formation of the student’s personality. The skills of expressive reading are formed not only as the most important type of speech and mental activity, but also as a complex set of abilities and skills that have a general educational character, used by students in studying all academic subjects, in all cases of extracurricular and extracurricular life.

Reading as an academic subject has at its disposal such a powerful means of influencing the individual as fiction. Fiction carries enormous developmental and educational potential: it introduces a child to the spiritual experience of humanity, develops his mind, and ennobles his feelings. The deeper and more fully the reader perceives a particular work, the greater the impact it has on the individual. Therefore, as one of the leading tasks of teaching expressive reading, the program puts forward the task of teaching the perception of a work of art.

Reading skill is a synthetic phenomenon consisting of four components: accuracy, awareness, fluency, expressiveness. At the same time, developing expressive reading skills in children contributes to the formation of correct, clear pronunciation, development of imagination, expansion of vocabulary, and makes their speech brighter and more imaginative. As a result of developing the skill of expressive reading, children’s cognitive processes and mental activity are activated, memory and communication skills develop.

Being an effective and accessible means of developing imagination and speech, moral and social feelings of students, nurturing their artistic taste, and developing creative work skills, expressive reading allows us to solve the problem of the most complete assimilation of the ideological, moral and aesthetic content of a work of art, turning this process into empathy.

The development of expressive reading skills is ultimately the result of better socialization of students. A teacher in a reading lesson can develop the skill of expressive reading as a component in the overall work on developing reading skills in schoolchildren.

The relevance of the study is due, on the one hand, to the fact that the need to teach children correct, conscious, expressive reading is one of the main tasks of school education, and on the other hand, expressive reading presupposes the development in students of a certain minimum of skills associated with pronunciation culture of speech.

Scientific and methodological relevance is due to the fact that in the extensive scientific, pedagogical and methodological literature there are various methods of working on expressive reading

The research problems determined the research topic “Methods of working on expressive reading.”

Based on the foregoing, the purpose of the course work is to determine the most effective methods of work that promote the development of expressive reading skills.

The object of the study is the process of mastering the expressive side of reading by students. The subject of the study is the methods and techniques of work in the classroom that contribute to the development of expressive reading skills.

Hypothesis: In this study, I hypothesize that the development of expressive reading technique skills will be effective if the following conditions are met. Select a system of exercises that activate the attention of schoolchildren, help them read the text with ease and understand what they read (creating a situation of success). The system includes exercises that promote the development of fluent, conscious, and expressive reading skills.

To achieve this goal, the following tasks were set and solved:

Consider reading as a type of speech activity;

Study the main characteristics of the process of expressive reading;

To become familiar with the process of developing expressive reading skills in students;

Determine the importance of intonation, raising and lowering the voice when teaching expressive reading;

Develop a sample lesson plan for expressive reading;

Consider the advantages and disadvantages of using various techniques in teaching expressive reading.

To solve the problems and test the hypothesis, the following research methods were used: theoretical analysis of linguistic, psychological, methodological literature; observation of the educational process; ascertaining and teaching experiments; quantitative and qualitative analysis of the results obtained.

The methodological basis of the study was the theory of methods of working on expressive reading, developed in the works of Ushinsky K.D., Maiman R.R., Lvov M.R., Zavadskaya T.F.

The theoretical significance of the study lies in the fact that it formulates the theoretical and methodological foundations of the system of work on expressive reading.

The basis of the research was educational literature, the results of practical research by prominent domestic authors, articles and reviews in specialized and periodical publications devoted to the topic “Methods of working on expressive reading”, reference literature, other relevant sources of information, as well as the works of such famous methodologists as Ushinsky K. D., Maiman R.R., Lvov M.R., Kubasova O.V. Solovyova N.M., Vorobyova S.N., Kondratina T.I.

The course work consists of an introduction, three chapters, a conclusion, a list of references and three appendices.

1. The essence of expressive reading

1.1 Reading as a type of speech activity

Reading is more closely related to listening, as both processes involve receiving a message. Reading is a written form of communication (as is writing).

Speech activity, and therefore reading, has a certain structure, subject content, and speech mechanisms. There are three levels in the structure of speech activity:

So, the subject of speech activity is thought, and the result is its understanding. Reading can be done for different purposes, so there are different types of reading:

1. Study reading presupposes detailed familiarity with the content of the text and the desire to obtain information in detail. It requires one hundred percent understanding of the text being read.

2. Search reading involves finding the answer to a question.

In fact, these types of reading are finally mastered in basic school. In elementary school, students master exploratory reading, although it is necessary to give an idea of ​​other types of reading.

Reading functions must also be taken into account:

Cognitive, which is realized in the process of obtaining information (I read to know);

Regulatory, which is aimed at managing practical activities (I read in order to be able to);

Value-oriented, which is associated with the emotional sphere of a person’s life (I read to enjoy).

So, it is important for us to form learning reading in two forms - out loud and silently (to ourselves). Reading aloud is intended for listeners, that is, it is a clear, intelligible, error-free reading in whole words, at a normal pace. In school education, it contributes to spelling literacy and the formation of perception skills. In addition, this type of reading allows the teacher to check the accuracy and fluency of reading when organizing front-line work in the class.

Reading silently is reading with your eyes, without external speech movements. The presence of lip movements is not silent reading. Silent reading is also a necessary component in learning to read, because correctly delivered silent reading contributes to the development of students’ independence in perceiving and assimilating the content of what they are reading. Mastering this type of reading is of practical importance, since people usually read silently, to themselves.

Silent reading develops gradually, starting from the 3rd grade, and only by the end of the 4th grade should it be well and qualitatively formed. The transition from reading aloud to reading silently is closely related to the stage of “humming”, silent reading, which is the next step in the formation of this complex skill.

Work on the formation of all the qualities of full-fledged reading is carried out during the study of the text, as well as in specially structurally allocated parts of the reading lesson: speech gymnastics and five-minute reading.

Currently, the problem of teaching reading is being solved from reading silently to reading aloud. Studies have proven that the speed of reading and comprehension when reading silently among students completing primary grades was slightly higher than the results when reading aloud (20-40 words), and for children who read aloud quickly it reached 200-250 words per minute.

Mastering the basics of silent reading techniques should occur in parallel with learning to read aloud. In this case, the ratio of these forms should gradually change in favor of the first (silently).

At the stage of mastering literacy, the leading place belongs to reading aloud, with which silent reading should alternate (70 and 30%). At subsequent stages of learning, the proportion of silent reading will increase. (In the middle level its share should be 90-95%).

1.2 Main characteristics of the process of expressive reading

Expressive reading presupposes the development in the reader of a certain minimum of skills associated with pronunciation culture of speech. This minimum includes the following components: tone of voice, strength of voice, timbre of utterance, rhythm of speech, tempo of speech (speeding up and slowing down), pauses (stops, breaks in speech), melody of tone (raising and lowering of voice), logical and syntagmatic stress. All means of intonation, expressiveness of speech and reading are supported by general speech technique - diction, breathing, spelling-correct pronunciation. To develop speech technique, it is necessary to carry out special exercises (Appendix 1).

Pure tongue twisters, tongue twisters, proverbs and sayings are well received by children. Reading tongue twisters and tongue twisters helps to increase the mobility of the speech apparatus and helps develop diction skills. The teacher first offers the children pure sayings, and then you can give them the task of coming up with pure sayings themselves. Tongue twisters should be kept short and then gradually complicated. Work at the first stage is slow, but with constant and repeated repetition of the same words, the speech apparatus learns to perform tongue twisters at a fast reading pace. Work with sayings and tongue twisters is carried out in different ways (Appendix 2).

The process of expressive reading includes two sides: technical and semantic.

The technical side includes: the method of reading, the pace (speed) of reading, the dynamics (increase) of reading speed, the correctness of reading. Semantic includes expressiveness and understanding (consciousness).

The technical side obeys and serves the first. But in order to use reading as a tool for obtaining information, it is necessary to learn to read in order to achieve a skill in this process, that is, a skill brought to automatism. (A child who reads syllables understands what he reads worse than a fast-reading peer).

Let's consider the chain of development of the technical side of reading skill. Reading method - reading speed - reading dynamics.

Psychologists and teachers have established a relationship between the way of reading and speed, speed and dynamics. Nowadays children come to school already reading, but their ways of reading are different. Some read syllabically, others read syllables and whole words; still others use whole words, and individual, difficult words - syllable by syllable; still others have the skill of reading. whole words and groups of words.

Thus, children are at different stages of mastering reading techniques. And the more imperfect the method, the slower the child reads. And at school the following happens: the child reads syllable by syllable, but he is asked to read a text that does not correspond in complexity to his technique, and their speed is also recorded. Now it is impossible to recruit students of the same level of preparation. This means that it is necessary to work with the child at a stage appropriate to his capabilities.

For example, if a child reads using the syllabic method, then you need to read as many syllables and words with a small number of syllables as possible, and read texts in a small volume. If a child reads syllables and whole words, then you need to read words with a simple and complex syllable structure. The volume of texts can be increased. Little by little, the child begins to read whole words and groups of words. The further task is to make this method sustainable, that is, to achieve reading skills.

It can be represented schematically as follows:

1. Syllable+syllable

2. Syllable+word

3. Word + syllable

4. Whole word (groups of words).

Children cope with this task in different ways: some quickly, and some slowly, lingering at each stage. But none of them can jump over one step; everyone goes through these levels.

Gradually, the child reads better and faster, his progress is recorded by the teacher, who monitors the dynamics of reading, comparing reading speed indicators over any period of time. Psychologists have proven that reading speed and its dynamics are interconnected: in children who read at a speed of 20 words per minute. and less, reading speed increased more slowly than in children who read 70 words (30 words) per minute.

As already indicated, the technical side also includes correct reading. Correct reading is reading without errors: omissions, substitutions, distortions. This quality must be developed at all stages of mastering the skill of reading, since at each stage the child makes mistakes.

At the syllabic stage, errors can arise due to inaccurate ideas about the images of letters. This is easy to detect, because when reading syllables (words) with these letters, the child pauses before reading the syllable. At this moment he remembers which sound corresponds to the letter.

At the second stage (syllable + word), there may be errors in the form of rearrangements and omissions of syllables. This is due to an insufficiently developed skill of unidirectional, sequential eye movement, and inattention. In addition, the child reads in an orthographic way (as it is written). But it is already necessary to introduce orthoepic reading into practice: ask the child to pronounce the word as it is pronounced.

At the third stage (word + syllable), it is necessary to overcome spelling reading. It is easier for a child to cope with this problem, since he already reads whole words at a sufficient speed that allows him to guess the next word (syllable) by meaning and pronounce it correctly. It has been proven that when a child begins to read in an orthoepic way, his speed increases, reading becomes smooth, interest in the semantic content appears, and a desire to read more appears.

This desire is based on the child’s ability to understand well what he reads, i.e., such an aspect as awareness.

This component plays a leading role, since reading is carried out in order to obtain the information contained in the text, understand its meaning, and understand the content.

Reading comprehension involves the student's awareness of the meaning of all words. And this requires an appropriate vocabulary, the ability to correctly construct sentences, and an understanding of the semantic connection between them. It turns out that awareness is determined not only by the technical side of the skill (the way the child reads), but also by the level of speech development. This is an interconnected process: the more a child reads, the better his speech is developed, and vice versa, the better his speech is developed, the easier the understanding and deeper the awareness of what he has read.

Therefore, when working on consciousness, we must pay special attention to the development of speech. It should be noted that the depth of awareness depends on the age requirements and capabilities of the reader, the range of his interests and needs, life experience and stock of observations. Therefore, the same work can be understood and perceived differently by an adult and a child, as well as by people of the same age. From this perspective, reading comprehension has no limits.

Expressiveness plays a special role in reading comprehension. To teach reading expressively, you need to automate the reading technique. However, even at the initial stages, one should not only draw students’ attention to the need to use pauses and place logical stress, but also find the desired intonation, suggested by punctuation marks. We need to show students how the same phrase can be pronounced in different ways.

Transferring logical stress from one word to another can completely change the meaning (the famous phrase “Execution cannot be pardoned” from the cartoon). This is where we need to start talking about expressiveness. There are specific expressiveness requirements for each grade level.

2. Methodology for working on expressive reading

2.1 Formation of expressive reading skills in students

In order for a sentence to acquire a definite and precise meaning, it is necessary to use the power of the voice to highlight a word that is important in meaning among other words. The meaning of a sentence changes depending on where the logical stress is placed. It is this idea that is important to convey to students by performing simple exercises. For example:

1. Sentences are written on the board or on individual cards:

Children tomorrow they will go to the cinema.

Children Tomorrow will go to the cinema.

Children tomorrow they'll go to the cinema.

The children will go tomorrow to the cinema.

The teacher asks with what intonation the sentences should be read. Students take turns reading the sentences, trying to emphasize the highlighted word. After reading each sentence, the teacher asks you to say what the sentence asks. After reading the sentences and the students given four possible answers, the teacher asks the students to guess why the meaning of the sentence changes, despite the same words and punctuation mark at the end. Then the teacher asks you to read these sentences again and watch how the given word is highlighted in your voice. It is established that the selection of an important word in a sentence occurs through amplification, prolongation and a slight increase in the sound of the voice.

2. A sentence is written on the board:

Hot summer is coming soon.

The teacher invites students to read this sentence twice so that on the first reading it answers the question “When will the hot summer come?”, and on the second reading it answers the question “Which summer will come soon?” Both sentences are analyzed and re-read expressively.

3. The teacher reads two or three sentences consistently and expressively. Students listen carefully and, after finishing reading each sentence, indicate which word is emphasized.

Silver fog fell on the surrounding area.

I I will reward you.

Streams tears rolled down the pale face.

4. Proverbs are written on the board or on cards, the topics of which are selected in accordance with the work of art being studied. Students are asked to read the proverbs expressively, observing the indicated logical stresses (the words are highlighted in a different color or font), and explain the meaning of the proverbs.

Homeland - mother, know how stand up for her.

There's nothing in the world more beautiful, how Motherland our.

Live- Homeland serve.

That hero who is for Motherland mountain.

Honest work- is our wealth.

More affairs- less words.

You'll miss it minute- you will lose watch.

5. The teacher asks students to read the sentences written on the board or on cards, taking turns independently making logical emphasis on one word or another, and explain what new semantic connotation is obtained in each case.

For example, reading this sentence assumes the following placement of logical stress in it:

We read Lermontov's poem.

We read poem by Lermontov.

We have read poem Lermontov.

We read a poem Lermontov.

6. The sentence is written on the board: “Today the students read Pushkin’s story.” The teacher suggests reading the sentence so that you can grasp four different semantic shades, depending on the movement of the logical stress in it. For this purpose, the teacher asks the following questions:

When did students read Pushkin's story?

Who read Pushkin's story today?

What did the students do today?

What did the students read today?

Whose story did the students read today?

7. The teacher gives students cards on which a text of several sentences is written, or offers an already read excerpt from the work being studied.

Students must independently place logical stresses and prepare for expressive reading in compliance with these stresses.

Weaker students are given fewer sentences or words for logical stress are already indicated. After the student reads the sentences, the class discusses whether the logical stresses are placed correctly, whether it could have been done differently, and if so, how.

A psychological pause most often coincides in the text with an ellipsis, which signals some great emotional disturbance. Acquaintance with this kind of pauses is carried out when reading various works of fiction. The teacher expressively reads a passage of the work, then goes through a joint analysis with the students of what they have read: where are the pauses made; Why; what will happen if we don’t pause here, etc. After which, under the guidance of the teacher, the schoolchildren conclude that in some cases, where different understandings of the text are possible, pauses help to correctly convey its meaning in oral speech; pauses are made before words to which the speaker wants to give special meaning, strength, and expressiveness. For example:

1. The teacher writes sentences on the board or distributes sentences on cards to students in which pauses are graphically indicated. Students are asked to read them expressively and explain the semantic difference between the data options.

How pleased | his father's successes!

How pleased | his successes | father!

Recently | scientist who visited Australia | gave a lecture.

A scientist who recently visited Australia | gave a lecture.

All the schoolchildren were sitting | calmly listening to the teacher.

All the schoolchildren sat quietly, | listening to the teacher.

I stopped in bewilderment, | looked back.

I stopped | looked around in bewilderment.

2. The teacher expressively reads several proverbs selected for the work of art being studied. Students listen carefully and after the teacher has finished reading each proverb, indicate which words there was a pause between and explain the meaning of the proverb. After this, students are invited to read the proverbs themselves, observing the necessary pauses. In the future, the task becomes more complicated; proverbs are read observing the necessary pauses and logical stresses.

Alone in the field | not a warrior.

Good Brotherhood | better than wealth.

Alone in the field | not a warrior.

Consent | stronger than stone walls.

One bee | doesn't bring much honey.

3. The teacher distributes cards to students with proverbs written on them. Students carefully read the proverbs to themselves, highlight with a pencil the words that need logical emphasis and mark with a line the places where they need to pause. When called, teachers read the proverb expressively, explaining its meaning.

The truth is brighter than the sun.

Truth is more valuable than gold.

Stand boldly for what is right.

2.2 The importance of intonation, raising and lowering the voice when teaching expressive reading

Intonation plays a significant role in expressive reading. Intonation is one of the aspects of speech culture and plays an important role in the formation of narrative, interrogative and exclamatory sentences.

Intonation speech means are selected depending on the reading task. Intonation is a set of jointly acting sound elements of oral speech, determined by the content and purpose of the utterance.

The main components of intonation are logical stress, logical and psychological pauses, raising and lowering the tone of voice, tempo, timbre, emotional coloring.

1. Logical stress - highlighting the most important word in meaning. Thanks to the successful choice of words that are important in a logical sense, the expressiveness of reading is greatly enhanced. A sharp emphasis on a word and the absence of a pause during it are unacceptable. This leads to shouting and disrupts the euphony of speech.

2. Logical and psychological pauses. Boolean ones are made to highlight the most important word in a sentence, before or after it. Psychological pauses are needed to transition from one part of a work to another, which differs sharply in emotional content.

3. Pace and rhythm of reading. Reading tempo - the degree of speed of pronunciation of the text. It also affects expressiveness. The general requirement for the tempo of expressive reading is that it corresponds to the tempo of oral speech: too fast reading, as well as too slow, with excessive pauses, is difficult to perceive. However, depending on the picture painted in the text, the pace may change, speeding up or slowing down according to the content.

Rhythm is especially important when reading poetry. The uniformity of the respiratory cycles also determines the rhythmic reading. Typically, the nature of the rhythmic pattern (clarity, speed or smoothness, melodiousness) depends on the size in which the poem is written, i.e. alternation of stressed and unstressed syllables. But when choosing a rhythm in each specific case, children must be taught to proceed from the content of the work, determining what is said in it, what picture is being drawn, otherwise errors may occur when reading.

4. Speech melody (raising and lowering the tone of voice). Sometimes called intonation in the narrow sense. The voice goes down at the end of a declarative sentence, rises at the semantic center of the question, rises up, and then drops sharply at the place of the dash. But, in addition to these syntactically determined changes in pitch, there is also semantic or psychological intonation, which is determined by the content and our attitude towards it.

5. Basic emotional coloring (timbre). The question of emotional coloring is usually raised after a complete or partial analysis of the work. It is unacceptable to prescribe the tone: reading is fun or sad. Only then will expressiveness be sincere, lively and rich when we can awaken in the student the desire to convey his understanding of what he has read. And this is possible subject to a deep perception of the content based on analysis.

To develop expressive reading, students must master the skills that are developed in the process of analyzing a work, as well as the ability to use intonational means of expression.

Identifying the reading task is related to understanding subtext. The ability to penetrate into the emotional mood of an entire work (for example, a poem) or to understand the state of the hero includes certain micro-skills: the ability to find words in the text that reflect the emotional state of the hero, to determine this state, to correlate the hero with his actions, to be imbued with sympathy, sympathy or antipathy towards him, that is, the ability to determine one’s attitude towards the hero, the author’s attitude towards him, and then decide what intonation means will be used to convey all this when reading aloud.

The expressiveness of reading as a result of awareness of its task increases significantly, since the student strives to convey to listeners what he himself understands and feels, what is most interesting and important in the text from his point of view. Since the ability to understand the task of reading is difficult for elementary school students, the process of mastering it in the elementary grades is not completed.

The necessary skills associated with preparing for expressive reading are skills that develop the creative, recreating imagination of children. These skills are formed using such a technique as verbal drawing of pictures based on the text read (“seeing the text”), and the development in students of a certain attitude towards what they read. It is necessary to teach how to evaluate characters, their actions, and events, which is only possible if children understand the text and grasp the subtext.

So, in order to “draw” a verbal picture, you need to understand the content of the text, be able to select a passage of text in accordance with the proposed topic, identify objects (what will be drawn), find words with which the picture will be recreated (define “colors”), imagine it mentally, then check it with the text (checking yourself) and, finally, draw it in words. Word drawing builds on previous text analysis. Tasks can be completed either collectively or independently.

In teaching expressive reading, you can use a reminder that is created by the students themselves (Appendix 3).

Intonation is of particular importance when reading poems and fables. For speech warm-ups, you can take sentences from already studied works or come up with your own. For example:

a) Exercise “Jump”:

This exercise helps develop vocal flexibility. The teacher asks the children to imagine that they are watching a high jump competition on TV. The athlete's jump is always repeated in slow motion, so the jumper's movements are smoother. You need to try to draw a jump line with your voice. The voice should rise and fall freely and easily (Figure 1).

Figure 1. Exercise “Jump”

b) Exercise “Hike”

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

Along a narrow mountain path

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

Behind the mountain the sun is waiting for us,

Our rise is higher and steeper,

Here we are walking through the clouds,

Beyond the last pass

The sun rose towards us.

c) Exercise “Cave”

This exercise helps develop vocal flexibility and the ability to raise and lower your voice. Students sit comfortably, close their eyes and imagine themselves in a cave. Any sound (word) echoes loudly under the arches of the cave. You need to try to reproduce the “sounds”, “words” in the cave, going further and further.

Expressive reading can and should be taught to schoolchildren not only in primary and secondary schools. In high school, working on expressive reading is necessary both for a deeper understanding of a work of art and for a better understanding of the rules of syntax and punctuation. Conducted in parallel in reading and writing lessons, work on expressive speech and reading contributes to the correct and easier understanding of a number of rules of syntax and punctuation, the development of expressive speech skills, and the development of speech hearing.

2.3 Sample lesson plan for expressive reading

The foundations of expressive reading are laid in elementary school. A language arts teacher working in middle and high schools must guide the work of elementary school teachers, provide assistance to them, and conduct special lessons on expressive reading in elementary grades.

Theme of the lesson: work on two poems about autumn: I. Bunin “Falling Leaves”, A. Fet “The Swallows Are Missing...”.

The purpose of the lesson: teaching children the ability to draw pictures with words, convey subtext in reading and communicate with listeners.

Lesson plan:

1. Performing exercises on speech technique.

2. Pronunciation of individual sentences with different intentions.

3. Analysis and reading of excerpts from I. Bunin’s poem “Falling Leaves” (based on the excerpt, students learn the ability to find and convey elements of subtextual content).

4. Analysis and reading of A. Fet’s poem “The Swallows Are Missing...” (based on the material of this poem, the ability to delve into the subtextual content and convey it in the spoken word is deepened).

During the classes:

The lesson begins with exercises on speaking techniques. First, breathing exercises are performed, and then diction training. Pronunciation of individual sentences with different intentions (subtexts).

A sentence is written on the board:

“Well, it’s already been a day!”

Teacher. Read this sentence with two different intentions: a) You want to say that the day was very good: the weather was warm, the sun was shining all day, you were relaxing on the shore of the lake, swimming, fishing. b) You want to say that the day was bad; It was raining all the time, it was slushy, you didn’t leave the tents. "Boredom!" Somehow we waited for the bus and went home in the evening. “We shouldn’t have come to the lake.”

The sentence “Autumn has already come” is written on the board. Read this sentence with two different intentions.

a) You are glad that autumn has come (there is no heat and heat; it has become beautiful in the forest: there are golden birches and crimson aspens; you came to school, met with friends whom you had not seen for the whole summer).

b) You are not happy about autumn (the birds have flown away, the water in the river has become cold, you can’t swim, the days are cloudy).

You can have some students pronounce sentences in the first version, others in the second, and you can also have some students pronounce each sentence in two versions.

Teacher. It's autumn now. You are in the forest. Tell me, which pictures do you remember most, which seemed beautiful, what special thing did you notice in the forest?

Students. I saw the mountain turn yellow. Yellow, all yellow.

And I noticed: there are golden birches, and green pine trees nearby.

And we were by the river, the water was cold, and the bushes were yellow and red near the shore.

And I liked how the road was covered with leaves.

Teacher. Yes, guys, nature can be very beautiful in autumn. It's good that you noticed this. Now let's see how the poet describes autumn. Analysis and reading of an excerpt from I. Bunin’s poem “Falling Leaves.” There is text on a sheet of paper.

The forest is like a painted tower,

Lilac, gold, crimson,

A cheerful, motley wall

Standing above a bright clearing.

Birch trees with yellow carving

Glisten in the blue azure,

Like towers, the fir trees are darkening,

And between the maples they turn blue

Here and there through the foliage

Clearances in the sky, like a window.

The forest smells of oak and pine...

Teacher. Read the poem carefully to yourself, try to see in your imagination the pictures of autumn that the poet painted (2-3 minutes are allotted for reading). We know that the same sentence, for example, “Autumn has already come,” can be read with different intentions: in one case, to say that we like autumn, in the other, we don’t like it. Can we read this poem with different intentions?

Students. No we can not.

Teacher. Why?

Students. And right there it is written that the forest is beautiful, that it is good to be in the forest.

It's beautiful all around... that's why I like it.

Teacher. Right. We can only read a poem with one intention; we like the picture. This is how the poet painted it. We cannot read it any other way.

Now let's read aloud. But first I want to introduce you to one rule. When you read a text silently, you read it for yourself: you want to understand what the work is saying, you want to imagine the pictures that are drawn there, the people the author is talking about, etc. But when you read aloud , in class, then you are already reading for those who are listening to you. You paint the pictures depicted by the author to the listeners, draw them so that the listeners see them and evaluate them correctly. When reading this poem, you must try to describe the forest in such a way that those listening can imagine it well, understand that it is very beautiful and you like it.

How to do it? And you can do it like this. For example, when you and the guys are walking through the forest and suddenly find a beautiful flower, you not only admire it yourself, but you want others to admire it too, show it and say: “Look, what a beautiful flower!” Or, for example, when you see a beautiful clearing, you draw the attention of others to it, you want others to see how good it is. You say: “Look what a wonderful clearing, how many flowers there are, how good they smell.”

Now think for yourself how to pronounce the second line. Student. I will read it as if I were showing: “Here is a purple forest, and here is a golden one, and there is a crimson one.”

Teacher. Right. Read it as you said.

The student is reading. Two or three more people can read it.

The teacher notes: you must not only “show”, but at the same time pronounce the words in such a way that everyone understands that you really like these colors, that you admire them.

The poem says that “the forest stands above the bright clearing.” In order to see the entire forest and the clearing over which it stands, how do you think it can be observed: close or far?

Read by two or three people.

Teacher. Read the second and third parts of the poem to yourself and say: to see the picture painted in these parts of the poem, where should you be: far from the forest or in the forest itself?

Student. You need to be in the forest. It says here: “Birch trees shine with yellow carvings in the blue azure,” their leaves are clearly visible, but you can’t see the leaves from afar.

Teacher. What is azure?

Student. This color is so blue, this is the sky.

Second student. “Gaps in the sky” can only be seen in the forest. This is when you stand and look up, and the sky is visible between the leaves.

Third student. It says here: “The forest smells of oak and pine.” It is when you enter the forest that you notice that it smells.

Teacher. You see what beauty opened up when we came closer to the forest and entered it. We saw that the leaves were shining with yellow carvings against the bright blue sky, and the fir trees were darkening like towers, and gaps in the sky were visible like windows. Read these parts of the poem, as if addressing the listeners with the following thought: “And the forest is even more beautiful if you come closer to it, enter into it. Look at the leaves on the birch trees and the fir trees. The forest smells so good!” Read by one or two people.

A homework assignment is given: learn the poem by heart and prepare an expressive reading of it.

3. Advantages and disadvantages of using various methods when teaching expressive reading

Teaching students expressive reading, that is, the ability to pronounce the text of literary works out loud, has a long path of development. It was determined by the nature of literary works, the level of development of professional art and the tasks that society set for the school.

Expressive reading entered the practice of the Russian school and the education system in the second half of the 17th century. simultaneously with the development of syllabic versification. It was associated with theatrical art.

Basic reading techniques were developed by K.D. Ushinsky. He recommended looking at a work of art “as a window through which we must show children this or that side of life,” and emphasized that “it is not enough for children to understand the work, but it is necessary for them to feel it.”

Ushinsky distinguishes two types of expressive reading: “one exclusively devoted to logical development, the other to smooth and elegant reading.” Business articles are read first, fiction works second. “For smooth reading, I would advise the teacher to first tell the content of the selected article, then read this article aloud himself, and only then make the students read aloud what was told and read several times.”

Ushinsky recommends teaching children expressive reading by imitating the teacher. In addition to individual reading, choral reading is recommended. “If the teacher does not know how to sing, let him teach the children to recite some prayers, poems, proverbs with the whole class: this can partially replace singing as a means of refreshing a tired and upset class.”

Choral exercises have a positive effect on correcting a number of speech deficiencies (tongue twister, loudness, lethargy, etc.”).

It must be said that it is almost impossible to use choral exercises only to practice the technique and logic of speech: the exercises themselves include emotional and figurative expressiveness.

Choral reading at school often causes very significant harm and contributes to the development of that dull monotony that becomes habitual for many schoolchildren. To avoid this, it is necessary to monitor the correctness and expressiveness of choral reading. Common reading defects that create monotony, lack of logical centers (stresses), when all words are pronounced with the same accent and at a protracted pace, which entails the length of pronunciation of vowels. If a poetic text is pronounced, then children often chant, that is, they make too long pauses between verses and put emphasis on the last rhyming words. All these shortcomings that children learn in the process of multivocal reading have to be overcome when learning expressive reading.

Expressive choral reading has a significant positive impact on the expressiveness of individual reading and students’ speech culture.

On what do some methodologists base their negative attitude towards choral reading? T. F. Zavadskaya explains: “It should be said that at present many teachers and methodologists, who base the teaching of expressive reading on the principles of K. S. Stanislavsky, have a negative attitude towards this type of activity (polyphonic reading), since the passion for “musical richness” choral performance often leads to purely formal methods of work, when the teacher’s main attention is directed to the “orchestration” of children’s voices to the detriment of identifying the ideological and artistic content of the text; While reading, schoolchildren’s attention is focused not on the thoughts and images of the work, but on joining the chorus in a timely manner, pronouncing the words of the text with a certain volume of sound and in a certain testi-tour.”

One more thing is usually added to the above arguments: choral reading deprives the reader of individuality, subordinating him to the general choral sound, forcing him to imitate. It seems that there is no reason to deny imitation as a stage of mastery. The creative path of any talent is a search for oneself, but the creative path begins with imitation. The artistic word is no exception to this rule.

You can’t command someone to feel, but you can infect them with a feeling. It is precisely this kind of infection that is intended for reading a work by a teacher, listening to the reading of masters of the sounding word, and students who read well. But the most contagious thing is participation in multi-voice reading. The reader, being close to others who pronounce the text emotionally, involuntarily succumbs to their influence and gradually becomes emotionally enriched and becomes convinced that he, too, can pronounce the text expressively. Auditory impressions are enhanced by speech motor sensations.

Polyphonic reading teaches you to convey thoughts and feelings in speech intonation, use means of expressiveness: increase and decrease the volume, speed up and slow down the tempo, raise and lower the tone, use different timbre colors. If we talk about interdisciplinary connections, the most organic connection exists between expressive reading and singing.

Choral exercises are very helpful when working with teenagers and young men. Many of them speak in a deep, deep voice, some mutter rather than speak. This is the result of the school's inattention to the voices of boys during the mutation period and the following period. The teacher’s beliefs and comments in these cases are not enough. After working in a speech choir for some time, such students “discover” their normal voice.

The mutual influence of the participants in a multivocal reading is very important. This applies not only to the technique and logic of speech, but also to figurative and emotional expressiveness. Proof of the appropriateness of choral exercises is that students of all ages do these exercises willingly and with interest, and interest and passion in art is a very important, even decisive moment.

In order for participation in collective reading to bring the greatest benefit, it must be completely conscious for each participant. Each choir member must understand what he is expressing and how he achieves it. Therefore, the choral reading must be preceded by a detailed and thorough analysis of the work.

As is known, modern science considers speech as one of the types of human activity - “speech activity”, and individual statements as “speech acts”. In phylogenesis, language arose and developed as a means of communication, a means of influencing other people. In ontogenesis, speech also develops as a means of influencing others; a child, pronouncing “ma” (mother), not only relates this word to a certain person, but wants to induce this person to take certain actions. This “ma”, depending on the situation, means: “Mom, come to me” or “Mom, I’m hungry,” etc.

Purposeful action with a word determines the accent division of a phrase, the variety of intonations, the timbre coloring of the voice, i.e., all means of phonetic expressiveness of speech. Meanwhile, when answering questions and especially when reading by heart, schoolchildren often experience a mechanical, inactive pronunciation of words. This schoolboy habit must be overcome. It is necessary that the student, pronouncing the words of the text, strive to convey the mastered and specific content (thoughts, images, assessments and intentions of the author), so that the listeners understand and in a certain way evaluate what is said in the text, i.e. it is necessary that the reader truly and communicated with the audience with purpose. This is a very important activation technique, which, on the one hand, increases the meaningfulness and expressiveness of speech, and on the other hand, sharpens the attention of listeners and thereby promotes memorization.

Emotionality of speech and reading. “Read with feeling,” the teacher sometimes says to the student and does not understand that he is setting an impossible task for the student and pushing him onto the wrong path of acting and pretending. The area of ​​feelings is the emotional sphere and cannot be directly controlled.

A person’s emotional reaction is a complex reflex act in which all of his inextricably linked motor and autonomic components participate. “An emotion arises somewhere between a need and actions to satisfy it.”

Stanislavsky’s expressiveness training system taught that “feeling cannot be commanded, but must be achieved in other ways... A psychological situation must arise that makes it possible for a person to develop an emotional attitude towards a certain range of phenomena, and this resulting emotional attitude will be experienced by him.”

The most essential element of Stanislavsky’s system is the “method of physical action.” The essence of this method is that, by performing the actions of the character in the play authentically and purposefully, the performer provides the necessary conditions for the emergence of emotions.

In literary reading, it is also legitimate to use the total method. If a reader or storyteller purposefully uses words, he will definitely speak “with feeling.”

Based on the teachings of I. P. Pavlov about the “bright spot of consciousness,” P. V. Simonov argues that action stimulates not only conscious thinking, but also the subconscious, which he sees as an advantage in the theory of stage art of the system of experience over the system of presentation. “It should be clear how impoverished and schematized the picture of the external expression of emotions appears during the imitative reproduction of its individual conspicuous signs... The shades of movements, facial expressions, intonations, especially organically and directly related to vegetative shifts in the body, are irretrievably lost.”

Very often, when talking about the art of the spoken word, they define it as the art of intonation. Indeed, the presence of various intonations distinguishes expressive speech from inexpressive speech. “The speaker must be able to freely use not linguistic, but psychologically significant communicative means of expressing thoughts and, above all, intonation.” What is intonation? According to psychologists, speech intonation is the sound system of a sentence as a whole. It includes all the signs of a complex sound: changes in the fundamental tone, volume, timbre, and duration. In addition, there are interruptions in sound - pauses. Intonation expresses the emotional and volitional relationships of people in the process of communication. But despite the importance of intonation, it cannot be considered as the basis of expressiveness: intonation is derivative. It not only expresses the emotional-volitional relationships of people, but is also determined by them.

Therefore, Yu. E. Ozarovsky warned against searching for intonation, and N. I. Zhinkin writes: “The question is how to look for intonation and whether it is possible to learn good, correct intonation. The answer to this question is negative. You can't learn intonation. This is the same as learning to cry, laugh, grieve, rejoice, etc. The intonation of speech in a certain life situation comes by itself, you don’t need to think or care about it. Moreover, as soon as you try to do it, it will be noticed as false. But there is a way to find intonation when the task is to read some text that was not compiled by us. This problem is solved in the theory of stage speech, the most perfect of which is considered to be Stanislavsky’s system.”

Reading aloud, like speaking, is addressed to the listener. To perceive speech and read, it is necessary that listeners understand what is being said to them. read. Understanding is conditioned by the listeners having certain knowledge and experience. “Using knowledge and acquired connections is understanding,” says I. P. Pavlov. This entails the teacher’s obligation to take into account the expected experience of his students, and, consequently, their age and development.

There are two types of understanding: direct and indirect. Direct understanding arises immediately and merges with perception. This is the understanding that arises upon first acquaintance with the work.

Indirect understanding is created gradually as a result of a series of mental operations. It must go from an initial vague, undifferentiated understanding to an increasingly clear and differentiated understanding. This is a complex analytical and synthetic activity that occurs differently not only in different people, but also in the same person. This process occurs not only during the analysis of the work, but also later, during the public performance of the work, in some cases it continues for years.

For expressive reading at school, the direct perception that occurs upon first acquaintance with a work is extremely important, since here the question is decided: whether you like or dislike the work. K. S. Stanislavsky attaches great importance to the initial acquaintance, arguing that first impressions are “pristinely fresh”, that they are “seeds” of future creativity. “If the impressions from the first reading are perceived correctly, this is a big guarantee for further success. The loss of this important point will be irretrievable, since the second and subsequent readings will be deprived of the elements of surprise that are so powerful in the field of intuitive creativity. It is more difficult to correct a spoiled impression than to create a correct one for the first time.”

Therefore, when reading a work for the first time, it is recommended that the teacher either read it himself or give students the opportunity to listen to the master read in a recording. If the teacher has reason to believe that one of the students can read well, then he must first prepare such a reader, and not rely only on the fact that this student or student generally reads well. But the listener’s perception may also be wrong. Therefore, the first reading is usually preceded by a conversation or lecture by the teacher.

Stanislavsky recommends: “It is important to take care of creating an appropriate atmosphere around yourself, sharpening sensitivity and opening the soul for the joyful perception of artistic impressions. We must try to surround the reading with solemnity, which helps to detach from the everyday in order to focus all attention on what is being read.” Reading in class also requires, if not solemnity, then the full attention of the students. Children listen with books closed so that their attention does not wander.

Any pedagogical issue cannot be considered in isolation. It is necessary to correlate it with the main goal of education, to determine its place in the general pedagogical system. The goal of modern education is the comprehensive development of the individual. Comprehensive development of the individual is an idea that has been repeated many times in pedagogy since antiquity. However, the specific meaning of this principle changed dramatically, since different content was embedded in the concept of personality.

Expressive reading is one of the ways to develop a modern worldview. The reader is a leading person in our society. Even when reading works of pre-revolutionary or foreign literature, he perceives them, and then conveys them from the perspective of our time and our era.

In the modern education system, labor education is the leading one. A full-fledged personality is, first of all, a worker, an activist, a creator.

Labor education was made the leader in his system by the most talented teacher A. S. Makarenko. It includes in the scope of labor education not only physical, but also mental labor. But not every work educates, only creative work. “Teaching creative work,” says A. S. Makarenko, “is a special task of education. Creative work is possible only when a person treats work with love, when he consciously sees joy in it, understands the benefits and necessity of work, when work becomes for him the main form of manifestation of personality and talent. Such an attitude towards work is possible only when a deep habit of labor effort has been formed, when no work seems unpleasant if there is any meaning in it.”

These provisions of Makarenko are fully applicable to expressive reading. The main and most difficult thing is to instill a love for expressive reading, so that practicing it brings the joy of creativity. The main obstacle is that schoolchildren are not instilled with a “deep habit of work effort.” Instead of following the path of deep penetration into the text, the desire to empathize with the author, schoolchildren try to express a feeling “in general”, looking for intonations. Hence the usual picture - the student declares with disappointment: “I can’t do it.” When you begin to find out the progress of his work, it turns out that instead of thinking about the work, its content, form, and the poet’s mood, there were only attempts to evoke a feeling of “in general” and a mechanical search for intonation. Breaking this tradition is the first task of the teacher, without which it is impossible to productively teach expressive reading.

Expressive reading as a means of ethical and aesthetic education. Truly expressive reading is the subject of the aesthetic cycle, but the aesthetic and moral are inextricably linked. By cultivating the ability to aesthetically perceive fiction and developing taste, expressive reading ennobles and deepens emotions. The reader must “sincerely share with the poet the high feeling that filled his soul... feel every word of his with soul and heart.”

Such empathy acts deeper and more accurately than any reasoning about literature. Expressive reading helps the student to feel that literature is beautiful, to love it, hence the desire to expressively read the most exciting works of art, to experience the joy of creativity. The first success serves as an effective incentive for further work, during which the skills in the field of expressive reading will be improved, and the aesthetic and moral feelings of students will develop.

Conclusion

In modern pedagogy, reading is considered as one of the types of speech activity. And speech activity is an active, purposeful, mediated by the language system and conditioned by the communication situation, the process of transmitting or receiving a message.

Therefore, speech is language in action, communication. When we receive messages, we listen or read; when we transmit messages, we speak or write. Thus, there are four types of speech activities that are interconnected: listening and reading, speaking and writing.

Speech activity, and therefore reading, has a certain structure, subject content, and speech mechanisms. There are three levels in the structure of speech activity.

The first is the motivational link, the presence of motives and goals of action. A junior schoolchild has such motives - the desire to learn to read, to learn something specifically from a book, to understand what it says, and to enjoy reading.

The second level is indicative-research, the level of planning, internal organization of speech activity. In reading, this level is realized in viewing the text, its title, determining the topic, establishing connections, predicting the content. The student examines the structure of the text and tries to predict events.

The third level is performing. When reading, the student processes the text semantically using various actions: marks the text, emphasizes important thoughts, determines a personal attitude towards events and characters. The result of working with the text is its understanding.

Expressive reading is understood as the correct, meaningful and emotional (in appropriate cases) reading of a work of art. It is this kind of reading that significantly improves the quality of assimilation of literary material and promotes understanding and comprehension of textual material.

Expressive reading presupposes the development in the reader of a certain minimum of skills associated with pronunciation culture of speech. This minimum includes the following components: tone of voice, strength of voice, timbre of utterance, rhythm of speech, tempo of speech (speeding up and slowing down), pauses (stops, breaks in speech), melody of tone (raising and lowering of voice), logical and syntagmatic stress. All means of intonation, expressiveness of speech and reading are supported by the general technique of speech - diction, breathing, and spelling-correct pronunciation.

Of great importance for expressive reading is the ability to correctly, accurately (in full accordance with the meaning of the sentence) make logical stresses.

In order for a sentence to acquire a definite and precise meaning, it is necessary to use the power of the voice to highlight a word that is important in meaning among other words. The meaning of a sentence changes depending on where the logical stress is placed. It is this idea that is important to convey to students by performing simple exercises.

In addition to logical stress, pauses play a huge role in live speech and reading. A speech pause is a stop that divides the sound stream into separate parts, within which the sounds follow one after another continuously. The role of a pause in a sentence is especially clear when a combination of the same words in the same order, being separated by pauses in different ways, acquires different meanings. Pauses can be artistic and psychological. Artistic pauses are pauses before words and phrases to which the speaker wants to give special meaning and special power. The greater the meaning of the word, the longer the pause observed before it. Speech warm-ups when working on artistic pauses are best done with proverbs.

A psychological pause most often coincides in the text with an ellipsis, which signals some great emotional disturbance. Acquaintance with this kind of pauses is carried out when reading various works of fiction. Intonation plays a significant role in expressive reading. Intonation is one of the aspects of speech culture and plays an important role in the formation of narrative, interrogative and exclamatory sentences.

Intonation speech means are selected depending on the reading task. Intonation is a set of jointly acting sound elements of oral speech, determined by the content and purpose of the utterance. The main components of intonation are logical stress, logical and psychological pauses, raising and lowering the tone of voice, tempo, timbre, emotional coloring. To develop expressive reading, students must master the skills that are developed in the process of analyzing a work, as well as the ability to use intonational means of expression.

Among the number of skills associated with text analysis, the following are distinguished: the ability to understand the emotional mood of a work, as well as its characters, the author; the ability to imagine pictures, events, faces in one’s imagination based on the so-called “verbal pictures”; the ability to comprehend the meaning of the described events and facts, create your own judgments about them and express your definite attitude towards them; the ability to determine the task of one’s reading - what is communicated to the listeners, what thoughts and feelings arose in the characters and the reader.

The expressiveness of reading as a result of awareness of its task increases significantly, since the student strives to convey to listeners what he himself understands and feels, what is most interesting and important in the text from his point of view. Since the ability to understand the task of reading is difficult for elementary school students, the process of mastering it in the elementary grades is not completed. The necessary skills associated with preparing for expressive reading are skills that develop the creative, recreating imagination of children. These skills are formed using such a technique as verbal drawing of pictures based on the text read (“seeing the text”), and the development in students of a certain attitude towards what they read.

Bibliography

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Annex 1

Exercises to develop breathing

Appendix 2

“How to learn a tongue twister”

Appendix 3

"How to Prepare for Expressive Reading"

© I. I. Andryushina, E. L. Lebedeva, 2012

© Prometheus Publishing House, 2012

Introduction

This manual was developed based on the experience of teaching a course in expressive reading at the Faculty of Preschool Pedagogy and Psychology at Moscow State Pedagogical University and complements the educational kit for students on the subject “Theory and Methods of Children’s Speech Development” by M. M. Alekseeva and V. I. Yashina.

Modern society needs a linguistic personality who not only knows the means of communication in his native and foreign languages, but also has the ability to improvise in the speech process. A workshop on expressive reading facilitates the completion of such a difficult task. Works included in children's reading are traditionally used as educational material.

The manual contains not only information about the art of expressive reading, speech technique, features of the performance and dramatization of literary works of different genres, but also practical tasks for students’ independent work, aimed at developing expressive performance skills.

The manual consists of five chapters, including texts for classroom and independent study, and applications. In the selection of texts, priority is given to works that meet the objectives of developing students’ expressive reading and storytelling skills.

The manual also contains brief terminological and spelling dictionaries, a list of literature recommended for teacher training colleges and universities, scripts for puppet shows, and sample speech scores for texts.

Practical classes end with a generalization of the results obtained and the drawing up of a long-term plan for the formation of means of intonation expressiveness in children. There are sample questions and guidelines for analyzing children's activities.

Chapter I. Workshop on expressive reading as an academic discipline at a university

A necessary condition for successful work with children and professional training of teachers is proficiency in speech and the art of expressive reading. The Faculty of Preschool Pedagogy and Psychology has accumulated significant experience in this area. At the origins of the creation of the theory and practice of the expressive reading course was the founder of the scientific school of Moscow State Pedagogical University, corresponding member of the Academy of Pedagogical Sciences of the RSFSR, professor, wonderful teacher, master of artistic expression E. A. Flerina. She became the author of the first workshop training programs as part of a course on speech development methods, and for many years she conducted practical training for preschool workers on the use of artistic expression in working with preschoolers. This work was continued by her student M. M. Konina. In the 70s of the twentieth century. it published a program for pedagogical institutes. This publication formed the basis for subsequent programs and teaching aids for universities and teacher training colleges throughout the country.

The fundamental ideas of the structure and content of educational material have been preserved in modern publications. The main place in them is occupied by material devoted to students’ mastery of the technique of expressive reading.

Issues of methods for developing expressive reading and storytelling skills in children were not touched upon in the program, since, according to the established tradition at that time, this material was studied in the course of the discipline “Methodology for the development of speech in preschoolers.”

The first and subsequent programs contained texts for dramatizing literary works, but issues of independent artistic activity of children were not covered.

This work was provided only within the framework of specialization or elective courses, which subsequently significantly enriched the content of the workshop.

The main objectives of the course are: introduction to the art of artistic reading, the history of its origin, the basic principles of expressive reading and storytelling of literary works; developing skills in analyzing a work and its performance; the formation of ideas about the theatrical activities of preschool children and the development of didactic communication skills among students.

Teaching declamation has been part of the pedagogical process since the first years of the existence of schools in Rus'. Even before the widespread spread of writing and book literature, the people highly valued the ability to perform traditions, songs, legends and fairy tales. Works of folk poetry and prose were passed down orally from parents to children and were traditionally performed in the manner of semi-chanted recitation.

The appearance of fiction enriched folklore, led to the creation of new genres and changes in the rules of performance. However, the main methodological recommendations for the formation of expressive reading remain relevant today. The works of Simeon of Polotsk, in particular, contain a very urgent requirement for the meaningfulness of the transmission of the text. The reader should be “not a catcher of words, but a seeker of the mind.”

Modern tasks of training specialists in the field of development of preschool children require teachers to master all means of speech communication. For future specialists, the most difficult thing is teaching preschoolers expressive speech. The influence of the teacher is optimal when he himself is ready for this activity. Competence in the field of literary reading and storytelling is the professional responsibility of every teacher.

A significant part of the workshop is traditionally occupied by work on mastering speech techniques. Students become familiar with the basic principles of expressive reading and storytelling of literary works of different genres, learn to analyze works of art, independently prepare their performance and analyze the performance of others; through exercises, they develop speech breathing, clear diction, and the necessary voice qualities. Students use the acquired skills in practical work with children. The course program involves two exits for students to preschool institutions. The task of one of them is to study the features of the use of means of intonation expressiveness in different age groups of kindergarten. Students become familiar with the forms and methods of developing means of intonation expressiveness in children, and analyze the conditions for their formation.

The theatrical activity of preschoolers undoubtedly represents a creative process, and as research by E. A. Flerina has shown, any creative activity of children needs the guidance of an adult, without whom it fades away. One of the objectives of the workshop is to prepare specialists for organizing and managing this type of activity.

During the second visit to the preschool institution, students become familiar with the content and methods of the teacher’s work on theatrical activities of preschoolers.

In the process of theatrical and play activities, many problems associated with the artistic education of children and the formation of their aesthetic taste can be solved; relieving tension, resolving conflict situations and creating a positive emotional mood; development of memory, imagination, creativity and speech. Theater is one of the most accessible and democratic forms of art.

During the laboratory workshop, a lesson or leisure activity is observed using theatrical activities. The analysis of what is seen is built from the point of view of the correct choice of a work of art; mastery of techniques and means of artistic and intonation expressiveness, skills in working with a doll; the effectiveness of using selected techniques to solve professional problems; a general assessment of the event is given.

Special course program “Workshop on expressive reading”

Code and direction of training: 050100 “Pedagogical education”.

Profile: "Preschool education."

Graduate qualification (degree): bachelor.

Andryushina Irina Ivanovna, Candidate of Pedagogical Sciences, Associate Professor of the Department of Theory and Methods of Preschool Education, Moscow State Pedagogical University;

Lebedeva Elena Lvovna, Associate Professor of the Department of Theory and Methods of Preschool Education, Moscow State Pedagogical University.

1. Purpose of the special course: the formation of special competencies in the field of professional speech of a teacher who has expressive, emotional, logically coherent, literary literate speech, good diction and an expressive voice.

2. The place of the special course in the structure of undergraduate education. The discipline “Workshop on expressive reading” belongs to the option part of the professional cycle (B.3.2.21).

To master the discipline “Workshop on Expressive Reading,” students use the knowledge, skills and abilities developed in the course of mastering the following disciplines: “Pedagogical Rhetoric” and “Literary Education of Preschool Children.” Mastering the discipline “Workshop on Expressive Reading” is a necessary basis for subsequent study of the disciplines “Scientific Foundations of Speech Development in Preschool Children,” “Theory and Technology of Children’s Speech Development,” as well as disciplines of the student’s choice.

3. Competencies of students, formed as a result of mastering a special course. The process of studying the discipline is aimed at developing the following general professional competencies:

– mastery of the basics of speech professional culture (OPK-3)

As a result of mastering the special course, the student must:

– basic principles of expressive reading;

– types of theater used in preschool institutions;

– analyze a literary text, prepare it for performance;

– draw up scripts for performances, leisure activities, matinees for children of different age groups;

– work with various types of puppets (glove, finger, spoon, life-size, etc.);

Own:

– expressive reading skills;

– the basics of performing and directing work with children;

– skills in analyzing one’s own activities in order to improve them and raise the level of one’s qualifications.

4. Structure and content of the special course(Table 1, 2). The total labor intensity of the special course is 2 credit units (72/36 hours).

Table 1. Structure of the special course

Table 2. Contents of the special course

5. Educational technologies. In the process of studying the discipline, the following types of educational work are implemented: problem-based lectures (with various models of interpretation of the material being studied); binary classes that reconstruct different approaches to the interpretation of images of literary characters; practical classes reproducing the real conditions of pedagogical activity, aimed at developing performing skills, where the technique of expressive reading of works of oral folk art and fiction of various genres and nature is developed; practical exercises in the form of presentation.

Classes are held regularly with the participation of two teachers, giving students the opportunity to analyze a simulated situation, where they need to understand the essence of the problem, propose possible solutions and select the best ones. Students are asked to analyze the performance of their colleagues according to developed criteria and evaluate it.

Independent work consists of preparing individual works for performance, completing assignments, creative works, and preparing presentations.

The section “Theatrical activities in kindergarten” ends with the creation of an independent creative project in the genre of play, performance, theatrical action using various types of theater.

6. Independent work of students. Independent work is carried out in the following forms: preparing a presentation justifying the problem, completing test tasks. To consolidate and systematize knowledge, the following are used: answers to control questions; analytical text processing (annotation), compilation of a glossary, bibliography (Table 3).

Table 3. Types of independent work of students

7. Competency-oriented assessment tools.

Assessment tools:

1) Diagnostic control. Oral questioning, defense of individual creative tasks (Table 4).

2) Current control.

Table 4. Types of individual creative tasks

Interim certification based on the results of completed tasks.

The assessment is carried out based on the results of the submitted tasks.

List of sample questions and tasks for tests:

1. Make a list of lip exercises and do them.

2. Make a list of exercises for the language and carry them out.

3. Make a list of exercises for developing articulation using sounds and carry them out.

4. Make an approximate complex of articulatory gymnastics for children of primary preschool age and conduct it.

5. Make an approximate complex of articulatory gymnastics for children of middle preschool age and conduct it.

6. Make an approximate complex of articulatory gymnastics for children of senior preschool age and conduct it.

7. Make a list of breathing exercises for children of primary preschool age and carry them out.

8. Make a list of breathing exercises for children of middle preschool age and carry them out.

9. Make a list of breathing exercises for children of senior preschool age and carry them out.

10. Create a scenario for literary leisure with children of senior preschool age.

11. Create a script for a puppet show (on a screen) based on a fairy tale (of the student’s choice).

12. Create a script for a puppet show (on flannelgraph) based on a fairy tale (of the student’s choice).

13. Create a script for a puppet show (on the table) based on a fairy tale (of the student’s choice).

14. Write a script for the play (student’s choice).

15. Create a script for the performance using life-size puppets (of the student’s choice).

16. Compose a “performing score” of a work of art (rhyme, poem, story, fable, fairy tale) to read to children. Age of the student's choice.

8. Educational, methodological and information support for the special course:

A) MAIN LITERATURE:

1. Andryushina I. I., Lebedeva E. L.. Expressive reading: Textbook. a manual for students of the faculties of preschool pedagogy and psychology. – M., 2009.

2. Explanatory dictionary of the Russian language including information about the origin of words / RAS. Institute of Russian Language named after. V. V. Vinogradova. Rep. ed. N. Yu. Shvedova. – M., 2007.

3. Stage speech: Textbook / Ed. I. P. Kozlyaninova and I. Yu. Promptova. – M., 2009.

B) ADDITIONAL LITERATURE:

2. Artemova L. V. Theatrical games for preschoolers: A book for kindergarten teachers. – M., 1991.

3. Bogolyubskaya M. K., Shevchenko V. V.. Artistic reading and storytelling in kindergarten. – M., 1970.

4. Large phraseological dictionary of the Russian language. Meaning. Use. Cultural commentary / Rep. ed. V. N. Telia. – M., 2008.

5. Bukchina B. Z., Sazonova I. K., Cheltsova L. K.. Spelling dictionary of the Russian language. – M., 2008.

6. Golub I. B., Rosenthal D. E.. Secrets of good speech. – M., 1993.

7. Gorbushina L. A. Expressive reading and storytelling. – M., 1975.

8. Gruzdeva Z., Kutskaya S.. Guide to speech development. – M., 1974.

9. Humanities in a creative university: Collection of articles. Issue 1. – M., 2005.

10. Daletsky Ch. Workshop on rhetoric. – M., 1995.

11. Dmitrieva E. D. Expressive reading. – M., 1975.

12. Zhukovsky V. A. About Krylov’s fables and fables // V. A. Zhukovsky. Full collection Op. – M., 1960.

13. Karamarenko T. N., Karamarenko Yu. G.. Puppet theater for preschoolers. – M., 1973.

14. Kokhtev N. N. Rhetoric. – M., 1994.

15. Knebel M. O. Poetry of pedagogy. On the effective analysis of the play and the role. – M., 2005.

17. Nikolskaya S. T. Speech technique (methodological recommendations and exercises for lecturers). – M., 1978.

18. Say poetry with your hands. – M., 1999.

19. Reznichenko I. L. Dictionary of accents of the Russian language. – M., 2008.

20. Rybnikova M. A. Essays on the method of literary reading. – M., 1963.

21. Savina L. P. Finger gymnastics for the development of speech in preschoolers. – M., 2001.

22. Savostyanov A. I. Speech technique in professional teacher training. – M., 1999.

23. Sorokina N. F.. We play puppet theater. Program

“Theater – creativity – children”: A manual for educators, additional education teachers and music directors of kindergartens. – M., 2002.

24. Stanislavsky K. S. My life in art. – M., 1983.

25. Tsarev M. The World of Theater: A Book for Teachers. – M., 1987.

26. Yakhontov V. One actor theater. – M., 1958.

C) MULTIMEDIA: COMPUTER PRESENTATIONS.

9. Logistics support for the special course.

Audiovisual, technical and computer teaching aids: multimedia projector, camera, audio and video equipment: video recorder, tape recorder.

Diagrams and visual illustrative materials: vocal apparatus, manuals for self-massage of the face.

Didactic aids: puppets for tabletop theater, flannelgraph and sets for flannelgraph, screens for showing puppet shows, sets of glove puppets, life-size puppets, spoon puppets, sample scripts for performances for children of different age groups.

Audio materials: recordings of speech of children of early, junior and senior preschool age, audio recordings of the performance of various works for children by masters of artistic expression.

Video materials: fragments of speech development classes, literary quizzes, leisure evenings; video recordings of the performance of literary works by masters of artistic expression, self-presentation of students.

Literature: literature for reading and telling to children; children's books with illustrations; collections and anthologies on children's literature for preschool children.

Chapter II. From the history of the art of expressive reading

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

One should not think that the ability to speak well in front of an audience and read literary texts expressively is the lot of a select few. With a certain amount of effort and desire, anyone can achieve this skill.

Even the Roman statesman, writer and orator Cicero (Marcus Tullius Cicero, 106–43 BC) said: “Poets are born, orators become orators!”

The greatest political orator of Ancient Greece was Demosthenes (384–322 BC). According to contemporaries, the inhabitants of Athens greeted Demosthenes’ first speech with a hail of ridicule: the public did not like his burr and naturally weak voice. But in this frail-looking young man lived a truly powerful spirit. Through tireless work and continuous training, he achieved victory over himself.

He overcame his unclear, lisping accent by putting pebbles into his mouth, and so recited passages from poets from memory. He strengthened his voice by running, talking on steep climbs. To get rid of the involuntary twitching of his shoulders, he hung a sharp spear above him, which caused him pain with any careless movement.

He confirmed the most important principle - anyone can become a speaker if they spare no time and effort.

The Greek myth about Tyrtaeus tells how an army besieged by the enemy was waiting for reinforcements, but instead of the expected military detachment, one small, lame man named Tyrtaeus was sent.

The besieged greeted such help with distrust and ridicule. But when Tyrtaeus spoke, the power of his eloquence, the ardor of his words were so strong and infectious that the besieged perked up, furiously rushed at the superior enemy forces and won.

Literary reading is an independent art form, the essence of which lies in the creative embodiment of a literary work in an effective sounding word.

The art of reading did not develop overnight. It has gone through a long path of formation and development. Its history is closely connected with the history of literature and theater, with their struggle for the establishment of realism and nationality.

Its homeland is ancient Greece. In Ancient Greece, for a long time, the art of reading organically merged with poetry and was accompanied by music and movement. The main performers were poets. This art was inherited by Rome, and the very name of this type of art is associated with it - declamation (from the Latin declamatio - an exercise in eloquence). The decline of ancient culture also leads to a decline in the art of declamation. And only the Renaissance brings back classical art.

At the end of the 18th century, classical declamation became widespread in Russia - a pompous, pompous, elevated, melodious manner of pronouncing a text, common at that time in France. This manner, far from natural, lively speech, met the tastes of high society. Here is what L.N. Tolstoy wrote about this: “The art of reading was considered to consist in pouring out words loudly, melodiously, between a desperate howl and a lifeless rumble, completely regardless of their meaning...”

In the 18th century principles and methods were determined by the requirements of the aesthetics of classicism. The peculiarity of dramaturgy was that its static images-schemes were a kind of “mouthpiece” for the author’s ideas. Monologues occupied a central place; they revealed the meaning of the work. The actor’s task was to deliver pompous and pompous monologues in a bright, spectacular, solemn manner, which set out the author’s point of view on the problems of love, honor, good and evil. There was a single canonized manner of performance. The words were pronounced very loudly, almost every one was accompanied by gestures. The words “love”, “passion”, “betrayal” were shouted as loudly as they could.

Stressed words

In every phrase up to lies there must be one peak, one logical center, which stands out la appears as the main one. Then sequentially, according to Art. ep If they are less important, the remaining words are highlighted. And with ov Secondary words are not emphasized. For in s divisions of logical centers are amplified, increasing I have a voice, and sometimes by lowering it and ame duration of tempo. Identify drums with lo A number of rules of logical reading will help you in the text. Uda rn They are mainly words, convoys on important concepts that were not previously in the text tr learned, that is, new concepts. This is one of the wasps but clear rules.

In a simple sentence R The sentence falls either on the subject or on the predicate; customs h but to the word that comes second in order:

Deals A elk confusion. Gate creaked.

When the meaning of a sentence is lost what is implied in the subject itself, then in response to this ye my emphasis does not fall if there is no opposition:

All of a sudden lightning illuminated the whole thicket.
Surf makes noise.

If there is a contradiction in the text in statement, then the words opposed to each other are highlighted:

Grandpa on balcony and grandma under the window is sitting.
Got burned with milk, blowing and to the water.

The contrast may and frown

AND fool will understand this (not only the smart ones).

Rule about logical values en fuck, when opposed, subjugates others. Thus, if the subject is expressed by a pronoun, it is not ol it is necessary to be an accent word:

I I won't touch you his.
That's all sad she.

But when opposed A In this case, the pronoun stands out:

Today - You, and tomorrow - I.

If the verb has an object n s words, then they take on the emphasis.

A weak wind blew along to the top.
I love the guy for sincerity.

If the definition is expressed by a name being l noun in the genitive case, the emphasis is transferred to this noun.

Eyes turned to her men.
The noise merged with conversation guests.

But when contrasted n and the emphasis is not transferred.

Towards the north Aurora
Star appear from the north!

According to the rule, the emphasis should be s t on the word “north”. But since the star is opposed to Aurora, the emphasis falls on the next ov about "star".

Definition expressed adj. and those flat, does not happen under stress.

Black clouds hung above the sea.
In small rooms warm and cozy.

But if “small rooms” are opposed that “big ones” appear, the emphasis will move.

In small The rooms are warm and cozy.

If a noun is preceded by several la adjectives, then the one closest to it does not stand out, but merges with it.

He is a calm, reasonable, positive person.

But if one or more adjectives with That yat after a noun, like predicates, then the emphasis goes to the adjectives.

He is a human proud and wayward.

If after the noun st oh t adjectives are definitions, then the stress falls on both the noun and the adjective those flax.

Her face emerged from the darkness - thin, wrinkled, worn out.

The emphasis falls on words expressing cf. avnenie.

Moaned like beast.
How doe the forest one is timid.

If the comparison and the words related to it ov o do not stand next to each other, then the emphasis falls on both words.

How did he look like poet,
When I was sitting in the corner one.

If the concept is expressed in several words, then you de the last word is spoken. For example, with a first name, patronymic and last name, the last name is most important. However, if a few words are used lady There is not a single concept, but a whole thought, then there can be several stresses.

Belinsky - a wonderful Russian critic.

When contrasted in the verbose concept of shock neither It can't move.

Comparing Moscow operetta theater and Odessa operetta theater...(The emphasis moves from the end to the beginning of a multi-word concept).

Logical and psychological pauses

Expressiveness of reading And sits not only from the stressed words highlighted by the voice O m. Its influence on the emotionality of eye reading h There are also pauses. They make sense You mi, i.e. logical and pauses dictated by feeling i.e. psychological. Logical pauses can s There are different durations: from instantaneous, which yes before a word to highlight it, to a continuous one, from affairs revealing the semantic parts of the phrase.Observations on living things ech were allowed to draw up several rules to help define units Eliminate places for logical pauses. They are done:

1) after the subject, which carries in with fuck e logical stress:
2) after the subject, when it is expressed in two or more words:

This arrogant Angelo,
This evil man, | this sinner | - was loved;

3) before the adjective that follows su right now literal and explains it:

Finally a woman appeared, | wrapped up to the point of impossibility;

4) before a noun that defines another entity with the literal:

Artist Serov | notice l famous Russian portrait painter...

But if the noun comes before the attribute spruce the word being said, no pause needed:

Wonderful Russian ki th portrait painter artist Serov;

5) before connecting conjunctions: a, and, but, yes, so ka To they relate to the following words, with which they should be in the same group:

He's a troublemaker, | and the owner is bad.
We dined in silence | And Sun They left the table more quickly than usual.

6) At dash and at prop ske words:

Book - | friend of human.

7) Before and after the introductory sentence (so that more than once e to pick up the thread of thought):

She would be ready to pay off, | and told the master, | Yes, he doesn’t announce any decision.

8) Between explanatory words, as well as between for predicate, predicate and explanatory words.

9) In complex common sentences same niyah:

Walking with heavy steps back and forth across the hall, | he accidentally looked out the window | and saw a trio stopped at the gate...

10) The longest pause is the pause during the transition period about two parts:

There is a lot of game on his estate, | house n OS triple according to the plan of a French architect, | people dressed in English | he sets excellent dinners, | receives guests affectionately, | but still you don’t want to go to him.

Examples of logical parsing from weight rich aphorisms about the art of oratory.

If to determine lo giche there are a number of rules about the pause psychological a pause can only say that it is e has the right to suspend the flow of speech at any point O ve and depends on a creative approach, based eg axis on the analysis of the text and the emotion that defines it and about nal content. A psychological pause can ov fall with the logical one, but may not coincide. IN how different from a logical, psychological pause cannot would just silence. She is "eloquent". In no th as if he were living out, thinking out, examining what was expressed in previous words and incipiently railway What is new is what will be expressed in the subsequent speech.

Most difficult to express solid reading material consisting of lengthy n semantic parts (periods) in which it is easy to get lost beat get lost” and lose the main idea. Important scientific it Please also handle introductory words and appendices full-time with our proposals. They should be shaded, the floor b based on changes in voice, pauses and pace of reading. In A why the speech will be difficult, and this will interfere with joint venture acceptance of the material.

To learn to speak correctly, competently and beautifully, in addition to expressiveness, you need to have a good command of speech technique. Do exercises to improve your voice. To develop your diction well in the project you will find

the art of recreating in the living word the feelings and thoughts with which the artist is saturated. work, expressions of the performer’s personal relationship to the work. The term "V. h." became widespread in the middle. 19th century and on a par with the terms “declamation” and “art. reading" denoted the art of painting. words and the subject of teaching this art to children. In the 80s 19th century the first method appeared. articles and manuals for teachers, outlining the basics of the theory and methodology of the art of painting. reading. Until the 60s. 20th century teaching methodology V. ch. in So. least built on the provisions expressed in these manuals by M. M. Brodovsky, D. D. Korovyakov, V. P. Ostrogorsky and others: preliminary. selection of the reader’s intonations in accordance with the pre-established classification of tones and timbres of the human voice and the use of the “six levers of tone” (K. S. Stanislavsky), which determine the tempo of reading, the strength and pitch of the voice.

In accordance with modern scientific representations, intonation arises spontaneously, as a consequence of the performer’s interpretation of the concept, moral and aesthetic. position, ideal of the author of the artist. works. V. ch. is one of the means, thanks to which the teacher evokes empathy in children, helping them not only to correctly understand, but also to feel the author, to be enriched by his lofty thoughts and noble feelings. V. h. is also an indicator of reading consciousness. It strengthens education. the impact of the work improves children’s speech culture and is one of the means of developing aesthetics. needs, enrichment of the emotional sphere, personality formation.

The specificity of the teacher's teacher lies in the ability to discreetly and convincingly, simply, sincerely and intelligibly present to students the thoughts, feelings, experiences, and moods of the author, recreating the aesthetic. the originality of the work, the features of its art. form, genre, style, and at the same time reflect your personal attitude to the work. Reading art to students. text is one of the forms of self-expression of the teacher, self-disclosure of his spiritual appearance. From a literature teacher, the art of literature requires the presence of natural inclinations, most. The most important of which are speech hearing, a vivid, reconstructive and creative imagination, emotional responsiveness (the ability to empathize), and the ability to purposefully influence listeners.

When determining the nature and methods of work in V, part, it is necessary to proceed from the real capabilities of both the teacher and the students, their abilities, inclinations, temperament, general development, psychol. and physical states in the process of working on the text. Insisting on the spontaneity of expression of feelings and experiences, Stanislavsky warned against affectation, false artistry, the desire to show off, as well as against stereotypes and mechanics. reconstruction of the text, because “it is impossible to mechanically love, suffer, hate without any experience” (Collected works, vol. 2, M., 1955, p. 159). Work on V. ch. is based on the principle of sincerity of experiences. You should not require children to express feelings (for example, grief or joy) that did not appear in them when reading the work, but it is necessary to help them understand these feelings; for this you need to strive to create an atmosphere in the lesson that would evoke empathy. It is important to skillfully execute the text, to talk convincingly and interestingly about the author, the circumstances under which the work was created, to arouse the activity of students, and to awaken their imagination.

The process of preparing a teacher for a V. lesson follows the following steps: initial-beginning. familiarization with the text, analytical. work (text analysis), determination of performance tasks and training in recitation, highlighting, clarification, comprehension of the range of issues to be explained in the lesson. In the process of perceiving a text, feeling and imagination work intensively. V. G. Belinsky called this stage of work on a work the moment of “delight” and insisted that first the work is perceived by the heart, and only then by the mind. At the second stage of turning to the text, which Belinsky defined as “true pleasure,” thinking becomes the leading factor, which deepens emotional perception and develops aesthetics. feeling. At the third stage of work, the teacher determines a performing task for himself and practices the manner of performance. On the fourth, he selects a range of questions (historical and biographical information, explanation of incomprehensible words, etc.) that make it easier for the student to perceive the work and work on recreating it in living words.

Teaching high school students at school is a creative process, it includes elements of searches, discoveries, and discoveries, and it takes into account the real capabilities of students. Work on V. ch. requires the creation of a psychol. a climate conducive to students’ mental and sensory perception of works. max. effective teaching method V. h. - show. Its purpose is not to impose a ready-made intonation on students, but to evoke vivid pictures in their imagination and excite their feelings. An important place in this work is given to the use of sound recordings, which give the student the opportunity to listen to the performance of art. works by master artists words (V.I. Kachalov, V.N. Yakhontov, D.N. Orlov, etc.). The technique of comparison encourages discussion and evaluation of diff. interpretations of the author's intention by the performer and warns against formal copying. It has traces and variations: comparison of a student’s performance with a teacher’s performance, comparison of two (or more) students’ performances, comparison of contrasting sounding options performed by a teacher, a teacher’s recreation of a student’s intonations, sometimes with a touch of caricature, i.e. the teacher must emphasize the error with his repetition and direct the performance towards the correct tone - “by contradiction”. A means of stimulating the development of creative imagination is oral drawing, i.e. an oral description of pictures that appear or should appear in the student’s imagination. When teaching schoolchildren V. ch., the teacher also uses conversation. Elements of choral reading in the classroom are also effective, helping some students overcome shyness. In addition, choral reading infects with a general uplift, mood, and tone, which the teacher sets by demonstration. In V.'s method, great importance is attached to reading in faces, which is practiced, as a rule, in conclusion. stage of work on the text.

Uch. The school's programs contain requirements for students' skills in the following areas: read clearly, intelligibly, follow the rules of spelling, master the “six levers of tone” (louder - quieter, higher - lower, faster - slower), the ability to “read punctuation marks”, see “with your inner eye” the pictures drawn by the author, feel them, recreate feelings in reading (“draw with intonation”), observe psychological pauses, beginning, ending, etc. Tactful and friendly. The teacher’s attitude towards children is thoughtful and analytical. approach to each of them is provided by a planned and systematic approach. improving their skills in art V. ch. Lit.: Korovyakov D. D., Express sketches, readings of artists. lit. works, St. Petersburg, 1914; Artobolevsky G.V., Essays on art. Reading, M., 1959; Zavadskaya T.F., Role will express, readings in aesthetics. student development. (Elementary school), M., 1960; Kachurin M. G., Express, reading in VIII-X grades. L., 1960; Aksenov V.N., Artistic art. words, M.; F and p with about in G.P., Express, reading in Russian lessons. language, M., I9602; Orlov D.N., Book about creativity, M., 1962; Smirnov S. A., Teaching literature in V-VIII grades, M., 1962; Methodology will express, readings, M., 1977; Solovyova N. M., Zavadskaya T. F., Express, reading in grades 4-8, M., 1983; Buyalsky B. A., Isk-vo will express, readings, M., 1986.

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