What does expressive reading depend on? Report "Expressive Reading"

Plan

1.The essence of expressive reading

2. Exercises for teaching expressive reading according to the method of M.A. Rybnikova

3.Lesson summary on teaching expressive reading

1. Expressive reading permeates all activities of both teacher and student in the process of studying literature

According to M.A. Rybnikova, the teacher’s expressive reading usually precedes the analysis of the work and is the key to understanding its content. The student’s expressive reading concludes the process of analysis, summarizes the analysis, and practically realizes the understanding and interpretation of the work. And if students read dispassionately, thinking... only about the formal side of reading, without imagining the pictures they are talking about,” that is, they simply “pronounce the words,” then what can we say about the impact of the literary word on their feelings, about understanding and their interpretation of the poetic text?

The performance should have the goal of pronouncing the text with maximum transmission of the theme of the work and its ideological intent, believes M.A. Rybnikova. Reading must correspond to the style of the work, its genre features; this performance embodies in the voice the logical and syntactic melody of speech, the music and rhythm of verse, one or another structure of prose. This performance must comply with the rules of correct pronunciation, what is called orthoepy; it must, of course, be loud, clear, conveying the sounding word to the listener with complete clarity.

Common shortcomings in children's speech - lack of loud and clear speech, basic errors in pronunciation - are overcome in primary school. The best primary school teachers teach how to highlight logical stresses, pause, teach how to read poetry, learn fables by role - all this is perceived by children with great sensitivity and contributes to better development of literary reading at its first stages in grades III-IV.

Work on expressive words is formalized in a number of special lessons devoted to reading or telling a text, but in addition, the teacher observes the pronunciation, phrasing and intonation of students in each lesson. Errors in pronunciation are corrected: not youth, but youth, not percentage, but percentage[e]nt, not thisT, but this one, not poetry, but poetry, etc.

In schools where any local pronunciation is observed, special attention is paid to it. This work on orthoepy is long-term, constant and persistent. For reference, the teacher can use the dictionary edited by; D. N. Ushakova, where each word is given with emphasis.

Each answer, quote from a poem, example of grammar should be given in the appropriate voice. “Take your time, speak loudly and clearly. Repeat again, say it so that everyone can hear and understand you.” Everything that can be said from memory should be said without a book, by heart, since oral speech is more natural, livelier, simpler, and therefore more expressive. When giving a quote, the student will repeat it without the book, by heart. Riddles and proverbs that are worked on in class are all material for polishing diction and for the culture of lively intonations.

The teacher himself, his manner of speech, his expressive words, his story, his reading of poetry - all this is a constant example for students. And therefore, the teacher must speak loudly (but not loudly), clearly and clearly (but lively), emotionally (but without nervous pressure and with a minimum number of gestures). As soon as the opportunity arises, the wordsmith must recite the poems by heart; By allowing students to memorize, the teacher should not exempt himself from this task. It makes an exceptional impression on the class when a new poem comes to the ears from the teacher’s lips, and not from a book. This is tenfold attention, this is a tangible experience of what is happening in the story!

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

And secondly, a system of lessons devoted to expressive reading of poetry and prose, class choral performances, and storytelling of literary prose.

Expressive reading by the teacher usually precedes the analysis of the work and is the key to understanding its content. The student’s expressive reading concludes the process of analysis, summarizes the analysis, and practically realizes the understanding and interpretation of the work.

Students must come to the idea and conclusion that to read expressively means to voice the idea and theme of the work.

Moreover, not every student is able to immediately grasp the tonality of a work and express her in the voice. You have to work on this.

According to Rybnikova, the first and main task of a literature teacher is to interpret the internal content of the work, identify the theme, the subject of the image, and most importantly, identify the author’s attitude to the subject of the image (anger, delight, irony, calm, cheerfulness, sadness, ridicule, admiration).

According to the method of M.A. Rybnikova:

Theoretical information

1. On speech technique. The requirements that the art of reading places on breathing, diction, and spelling.

2. According to the logic of reading. Logical pauses. Their duration and character (quality). Logical stresses and methods of their practical implementation. The combination of voice strength, pitch and duration in stress. Pace. Rhythm. The relationship between logical and rhythmic pauses. Types of rhythmic pauses (interverse, caesura, leima).

3. About emotional-figurative expressiveness. Visions. Destination. Position. Pose. Empathy. Verbal action. Pauses: psychological, initial, final.

Practical skills

1. On speech technique. Breathe unnoticed. Often, but not frequently. Skillfully use pauses to gain (replenish) air. Read clearly, intelligibly (do not swallow sounds, do not nasal). Observe the norms of orthoepy.

2. According to the logic of reading. Master the “six levers”: louder - quieter, higher - lower, faster - slower. Master the ability to “read punctuation marks.” Perform various tasks to determine the place and nature of pauses in a poetic text, as well as to determine the quality of logical stresses and their practical implementation in the process of expressive reading.

2. Exercises for teaching expressive reading according to the method of M.A. Rybnikova

In order to learn expressive reading, exercises have been developed through which the teacher must guide students, cultivating attention to sound, to a word, to a sentence, to a paragraph, cultivating clarity and clarity of pronunciation, sonority and flexibility of the voice, sensitivity and demandingness of hearing. In addition to lessons in comprehensive literary analysis and pronunciation of the entire work, it is necessary to devote time, at least 5-6 hours a year, to special classes in pronunciation techniques.

For example.

Undeveloped, unclear speech is characterized by blurred sounds, unclear diction, and insufficient identification of consonants and vowels. Work on speech should aim to develop phonetic clarity. The attention of the grammar course to the study of the sounds of Russian speech should be used by the teacher not only for spelling purposes, but also for the needs of expressive speech, for spelling and diction.

Works of oral folk poetry are good for this purpose:

riddles, proverbs, tongue twisters. The riddle is often onomatopoeic; we reveal this onomatopoeic quality in pronunciation:

The priests fought, the priests beat, they came to the cage and hanged themselves. (Flails)

You need to pronounce it, emphasizing the labial sounds b, p, a Also minting out the onomatopoeic rhythm of the riddle (threshing rhythm).

A pike walks around the creek, looking for the warmth of a nest, where the grass is thick for the pike.

A whistling sound is produced, conveying the sound of mowing.

Little brownie, where did you go?

Keep quiet, twist and turn, you'll be there yourself.

This conversation between a pot and a grip is based on the reproduction of shuffling sounds: cast iron touches under the stoves, water hisses on hot edges of cast iron, the grip shuffles along the walls of cast iron. Pronunciation emphasizes hissing sounds. Here are a few proverbs based on sound recording (already not on sound rubbing);

The jester made a joke: he stole a shushun and a fur coat. They gave the hungry Melania pancakes; she says baked wrong

(la-lo-ala). With the same sound combinations there is a riddle about cabbage:

A patch on a patch, but there was no needle.

Small forms of artistic speech, showing high sound mastery, are pronounced several times in class; children learn clear and sonorous pronunciation, listen to sounds and syllables, and go through a school of artistic phonetics. This is class V work, and mainly at the beginning of the year.

It is advisable that children know even in elementary school that the language contains verbs, interjections, and onomatopoeic nouns: bang, bang, buzz, meow, assent, cuckoo, tarataika, balalaika, drum, stomp, roar of thunder, etc. .

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

The flooded stove crackles with a cheerful sound. Bell "ding-ding-ding... Etc.

This work on the sounding word gives resonance at all subsequent stages of communication with the artistic word.

While reading “Demons,” students convey the whirling of a snowstorm, the obsessive repetition of sounds, they consciously work on diction:

The clouds are rushing, the clouds are rolling, I'm driving, I'm driving in an open field

Invisible moon Bell ding-ding-ding

The flying snow illuminates, Scary, scary involuntarily

The sky is cloudy, the night is cloudy. Among the unknown plains!

And the consonance of the epithet with the word it defines, at least in the poem “Mower”: father’s blood, a new scythe, a native village, to the Black Sea.

Or this example:

Their dark hands sometimes rose, and their black eyes sparkled from there.

Leaves with a rattling key do not whisper 1.

Observation of a sound word poses an acute question for students about the presence of labial, hissing, soft and hard sounds, about the difference in style and pronunciation (Black Sea, black-

A skillful teacher in expressive reading lessons will increase students' interest in language, phonetics, morphology and syntax; This new approach to speech for students will also produce results in grammar lessons.

Introduction

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

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

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

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

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

Subject of research: skills and abilities of expressive reading; approaches that create opportunities for incorporating expressive reading techniques into the educational process; developing the ability to analyze a work.

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

To achieve this goal, the following tasks were set:

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

2. Identify the levels of perception of a work of art among students

second grades.

3. Analyze the specific features of expressive reading.

4. Consider methods and means of teaching expressive reading.

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

The research hypothesis is as follows: the use

expressive reading increases the level of artistic perception

works by younger schoolchildren.

Research methods: ascertaining section, formative experiment, analysis of students’ work, observation, conversation with teachers and students.

The research work was carried out in two classes: experimental 4 “A” - 21 people and control 4 “B” - 21 people in Municipal Educational Institution Secondary School LGO No. 1 in the village of Gornye Klyuchi, Primorsky Territory.

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

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

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

The practical significance of the work is that it can serve the teacher as material for work in reading lessons, namely, for developing the ability of younger schoolchildren not only to read a literary work expressively, but also to be able to analyze it.

The practical significance of the work is that it can serve
material for developing school lessons on studying comparisons in the genre of literary fairy tales, and also be used in the analysis of artistic means as a category of stylistics.

Chapter I. Expressive reading: its characteristic features and features

1.1. Expressive speech and expressive reading

The main goal of schooling is the formation of the student’s personality. Reading as an academic subject has at its disposal such a 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 a reader perceives a particular work, the greater the impact it has on the individual. Therefore, as one of the leading tasks of teaching reading, the program puts forward the task of teaching the perception of a work of art.

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

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

“The technique of perception needs to be taught,” says A.A. Leontyev, founder of the Russian theory of speech activity.

Quite often, children, when reading a work of art, perceive what is depicted inaccurately and even incorrectly, because during reading lessons the teacher does not purposefully work on developing abilities related to artistic reception. M.S. Soloveitchik argues that the ability to figuratively analyze a work of art is not formed by itself. And if it is absent, then the reader perceives only the main actions of the characters, follows the course of the plot and misses everything in the work that complicates it. This way of reading is fixed in children and persists even into adulthood.

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

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

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

L.A. Gorbushina characterizes expressive reading as “... the embodiment of a literary and artistic work in spoken speech. To read a work expressively means to find in oral speech the means by which one can truthfully, accurately, in accordance with the writer’s intention, convey the ideas and feelings embedded in the work.”

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

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

1.2.Components of expressive reading

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

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

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

Proper breathing involves using air economically and evenly. This is achieved by using the entire muscular system of the chest. The replenishment of the lungs with air occurs imperceptibly in the intervals between words or phrases, where it is required by the meaning of the speech.

The correct type of breathing is mixed costal-diaphragmatic breathing. The lower lobes of the lungs are the most capacious. When you inhale deeply, they fill with air, the chest expands, and as the air is gradually consumed while reading, it falls. At the same time, the ribs and diaphragm move vigorously. We must learn to control our breathing so that during reading it does not interfere with the reader or distract the listeners. Proper breathing during speech consists not only in the economical consumption of air, but also in the timely and imperceptible replenishment of its supply in the lungs (during stops and pauses). While reading aloud, the shoulders are motionless, the chest is slightly raised, and the lower abdomen is tucked. With improper chest breathing, only part of the chest muscles is used, and the weakest. Such breathing tires the chest with frequent breaths, and the air is wasted irrationally.

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

It is necessary to distinguish between sound strength and volume. “The strength of sound is that objective quantity that characterizes the real energy of sound... Loudness is a reflection in our consciousness of this real strength of sound, i.e., a subjective concept... The solution to the discrepancy between the strength and loudness of sounds is in the unequal sensitivity of our hearing to tones of different heights, although of equal strength."

Loudness should be understood as the fullness of the voice. Change of power voices are used as one of the expressive means. Reading only loudly or only quietly gives the impression of monotony. Over the course of a certain segment of speech, the tone consistently changes in pitch: it becomes higher, then lower. In order for the voice to easily move from low to high tones and vice versa, it is necessary to develop its flexibility and range.

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

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

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

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

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

Logical and phrasal stress. A complete syntactic intonation-semantic rhythmic unit is called a syntagma or phrase. A syntagma can be one word or a group of words, for example: Autumn. Our entire poor garden is crumbling. From pause to pause, the words are spoken together. This unity is dictated by the meaning, the content of the sentence.

A group of words representing a syntagma has an emphasis on one of the words, mostly the last one. Logical stress must be distinguished from phrasal stress. (True, sometimes these types of stress coincide: the same word bears both phrasal and logical stress.) The main words in a sentence are highlighted, the tone of voice and the force of exhalation bring them to the fore, subjugating other words. This is “promotion by the tone of voice and the force of expiration (exhalation) words to the fore in a semantic sense and is called logical stress.”

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

If the logical stress is highlighted incorrectly, then the meaning of the entire phrase may also be incorrect.

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

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

Will you be at the theater today? (and not tomorrow, not the day after tomorrow?)

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

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

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

Logical pauses shape speech and give it completeness. Sometimes a logical pause turns into a psychological one. A logical pause “is allotted a more or less definite, very short duration. If this time drags on, then the inactive logical pause should rather degenerate into an active psychological one.”

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

“The pause is an important element of our speech and one of its main assets.” Pause division of speech (pause) is very important for understanding the read and spoken text. It is between two pauses, following one after another, that a segment of speech is distinguished, which is the main intonation unit.

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

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

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

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

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

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

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

Thus, in order to read a work expressively, you must be able to correctly use all these intonation means. After all, they are the components of expressive reading.

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

In order to learn to read expressively, you need to master certain skills and abilities. They are based on text analysis and intonation means of speech expressiveness. The main skill is the ability to identify the main task. This skill also includes a number of private skills, the isolation of which allows us to determine the logical sequence of their formation. These include:

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

Skills that develop creative, recreating imagination;

Ability to control breathing correctly;

Ability to correctly use the properties of the voice;

Ability to correctly establish logical and phrasal stress;

Ability to select the desired pace and rhythm of reading;

Ability to use facial expressions and gestures;

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

Ability to control breathing;

Ability to correctly analyze text;

The ability to mentally recreate images conveyed by the author;

Ability to choose the right intonation;

Ability to use logical and psychological pauses;

Ability to correctly place phrasal and logical stress;

So, it is necessary to develop skills related to expressive reading in elementary school, but it is not advisable to develop all skills at this age, but only some.

1.3.1 Text analysis

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

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

The analysis of the work itself can be carried out in different sequences: by deduction (from the general to the particular) or by induction (from the particular to the general). The first path, when one goes from defining the theme, idea and composition to the system of images, resembles the path of the author. The inductive path corresponds to the sequence in which the reader gets acquainted with the work. He first traces the development of the plot and composition and at the same time gets acquainted with the images and only at the end decides on the theme and idea of ​​​​the work.

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

The next question that arises before the person analyzing the work is the question about the theme of the work, about what phenomenon of life forced the author to take up the pen. There are many works in which the theme is easy to determine. When defining a topic, we must not forget that literature is the study of humankind. Therefore, the topic always lies in the sphere of human relations.

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

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

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

1.3.3 Breath control

Developing correct voluntary breathing requires training the breathing apparatus and establishing the correct mode. This requires special exercises, which are best done under the guidance of an experienced reader or specialist teacher. With some self-control, you can work on your breathing yourself.

Exercises:

1. Stand straight, calmly, without tension. Rotate your shoulders without raising or lowering them. Place one hand on your upper abdomen. the other on the side, above the waist, to control the movement of the diaphragm and ribs. Take a small breath, counting 1 - 5. Control the simultaneous movement of the diaphragm and ribs. Be careful not to overfill your lungs. Inhale and hold the air for a count of 1 - 3, without relaxing your muscles. Then exhale smoothly, without jerking, for a count of 1-5. Relax your abdominal muscles, rest and repeat the exercise.

1.3.4 Selecting the desired intonation

Is it possible to learn intonation that would accurately reflect the content of the statement? Psychologists answer this question negatively: “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.” ... But there are ways to find intonation when the task is to read some text that was not compiled by us, this task is solved in the theory of stage speech, the most perfect of which is considered to be the system of K. S. Stanislavsky. All speech is situational. Intonation is a response to a conversational situation. It is to a certain extent involuntary. During the process of his own speech, a person does not think about it: it is a manifestation of his internal state, his thoughts, feelings, the characteristics of his nervous system. With the transmission of someone else's written speech (when reading a pro-work), liveliness and intonation correspondence appear in the communication situation: the “alien” speech should be “appropriated” by the reader, should become “one’s own”. This technique is characterized by psychologists as follows: “You need to communicate your own thoughts, believing that these messages are new and interesting for the interlocutor. Then both partners will become interested in communication, and speech will acquire an emotional appeal, expressed in intonation.”

1.3.5 Logical and psychological pauses

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

1.3.6 Phrase and logical stress

The correct placement of logical stress is determined by the meaning of the entire work or its part (piece). In each sentence you need to find a word that has logical stress. The practice of reading and speech has developed a number of instructions on how to place logical stress. It is impossible to mechanically apply these or other rules for setting logical stresses. You should always take into account the content of the entire work, its leading idea, the entire context, as well as the tasks that the teacher sets for himself when reading the work in a given audience. It is not recommended to “abuse” logical stresses. Speech overloaded with stress loses its meaning. Sometimes this overload is the result of the separation of words during pronunciation. “Separation is the first step towards emphasizing...—the first step towards extending the emphasis to what does not require emphasis; this is the beginning of that unbearable speech where every word becomes “significant”, where there is no longer anything important, because everything is important, where everything matters, and therefore nothing means anything anymore. Such speech is unbearable, it is worse than unclear, because you don’t hear unclear speech or you don’t have to listen, but this speech forces you to listen, and at the same time, you cannot understand, because when the emphasis does not help the clear disclosure of thoughts, it distorts and destroys it. Fussiness makes speech difficult. Calmness and restraint make it easier.”

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

a) clarifying the specific content of the work, analyzing the motives of behavior of the characters, establishing the idea of ​​the work, etc., in other words: understanding the ideological and thematic basis of the work, its images in unity with artistic means;

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

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

Analysis of the content and ideological orientation of a work includes teaching expressive reading; they appear in a certain unity. In order for children to develop the skill of expressive reading of works of art, methodological support is necessary. At school, the main support is a textbook on literary reading. But an analysis of textbooks has shown that at the present stage, textbook authors pay very little attention to expressive reading of works of art. This conclusion was made based on the lack of assignments and questions after literary texts that would help the teacher develop the skill of expressive reading of works by students.

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

2. 1 Ascertaining experiment

In order to determine the initial level of development of the ability to expressively read works of art, a confirmatory experiment was conducted in two classes: experimental 4 “A” - 21 people and control 4 “B” - 21 people in Municipal Educational Institution Secondary School No. 1 in the village of Gornye Klyuchi, Primorsky Territory.

Both classes are taught according to the textbook by V.G. Goretsky "Native Speech". During the ascertaining experiment, reading lessons were visited in fourth grades in order to find out how expressively students can read works of fiction.

Ivan Sergeevich Shmelev.

"Yegoryev Day".

“...The street was flooded with the pinkish light of the sun rising behind the houses, the upper windows glittered. So, the wild gates of the shepherd's yard opened, and the old, gray-haired shepherd owner, in a new blue coat, in boots smeared with tar and in a tall hat, similar to the top hat that dandy best men wear at weddings, went out into the middle of the still deserted street, set I placed my hat on the pebbles at my feet, crossed myself to the sky behind our house, put a long horn to my lips with both hands, puffed out my thick pink cheeks - I shuddered at the first sounds: the horn began to play so loudly that it even rattled in my ears. But it was only like that at first. And then he played more subtly, spread out and died away. Then he began to take it higher and higher, pathetic, pathetic... - and suddenly he started playing a merry song... and I felt free and happy, I didn’t even hear a chill. The cows mooed in the distance and began to approach little by little. And the shepherd still stood and played. He played in the sky behind our house, as if he had forgotten about everything that was around him. When the song ended and the shepherd caught his breath, voices were heard on the street:

What a master!.. Pakhomych has proven himself!.. a master... And where does he have so much spirit!..

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

The procedure for conducting experimental work.

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

Correct breathing;

Correct intonation;

Correct placement of pauses;

Optimal reading pace.

Characteristics of expressive reading of an excerpt from I. S. Shmelev’s story “Yegory’s Day” in grades 4 “A” and 4 “B” (ascertaining experiment).

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

8 people do not know how to control their breathing correctly. in the experimental and 7 people in the control class; change voice strength - 14 people. in the experimental and 13 people. in the control; choose the desired intonation - 12 people. in the experimental and 11 people. in the control class; correctly place logical stress - 13 people. in the experimental and 14 people in the control class; set pauses correctly - 15 people. in the experimental and 13 people in the control class; choose the desired pace - 14 people. in the experimental class and 13 people in the control class.

Based on these results, we can conclude that in the lessons very little attention is paid to working on expressive reading. Most students do not know how to read works of fiction with proper intonation, do not observe tempo, do not pause, and read quietly and in one breath. These facts are largely explained by the fact that children have the most general ideas about the expressiveness of reading. This became clear from the students’ responses to the question: “What does it mean to read expressively?”

42 people took part in the survey. After analyzing the children's answers, the following results were obtained:

25% believe that this means taking your time, reading slowly, pausing between words;

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

2.2. Formative experiment

Based on the analysis of literary, psychological, pedagogical and methodological literature, as well as taking into account the results of the ascertaining experiment, a training experiment was developed and conducted. The purpose of the experiment was to develop the ability of 4th grade students to read works of art expressively. Pupils of grade 4 “A” of Municipal Educational Institution Secondary School No. 1 in the village of Gornye Klyuchi took part in the formative experiment - a total of 21 people. The basis for training was the textbook “Native Speech” by V.G. Goretsky and others.

Formative experiment program

The developed program includes two interrelated areas:

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

Work on the components of expressiveness: setting pauses and stress, breathing, voice strength, reading tempo, intonation.

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

For example, when studying the story “Egory’s Day” by I. S. Shmelev, students observed the connection between the author’s emotions and the correct placement of logical stress. After the secondary reading of the text, work was carried out on the work.

Did you understand everything in the story?

What particularly interested you?

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

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

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

Did you hear the horn playing? Tell us about it.

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

How do you imagine the old shepherd?

What is a young shepherd like?

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

Teacher questions about the reading:

What trick did the boy resort to?

Why did he do this?

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

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

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

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

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

Which episode of the story moved you the most?

What feelings do you have for the main character?

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

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

What does this story teach?

Work on studying M. M. Zoshchenko’s story “The Christmas Tree” is carried out after the students have initially read the work at home. The next lesson involves a secondary conversation about the story, as well as an expressive reading of some episodes.

Work based on the story (students read the work by role).

What do you want to say about what you read?

What mood did you feel?

How did the children seem to you?

Why was the long-awaited holiday ruined?

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

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

What does this story teach?

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

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

2.3. Control experiment

In order to determine the level of development of the ability to expressively read works of art after special training, a control experiment was conducted in two classes: experimental 4 “A” - 21 people and control 4 “B” - 21 people in Municipal Educational Institution Secondary School No. 1 in the village of Gornye Klyuchi .

The procedure for conducting a control cut.

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

Correct word stress;

Correct breathing;

Correct intonation;

Correct placement of phrasal and logical stress;

Correct pause setting;

Optimal reading pace.

The obtained data were calculated and presented in quantitative and percentage terms in the table.

Characteristics of expressive reading of a familiar work of art in grades 4 “A” and 4 “B”.

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

The ability to properly control breathing increased by 19%;

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

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

The ability to pause correctly - by 23%;

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

In the control 4 “B” class, where the skill of expressive reading of a work of fiction was not developed with the help of special training, the results practically did not change. At the first stage, a confirmatory experiment was conducted, the purpose of which was to identify the initial level of formation of the skill of expressive reading of a familiar work of art. The results of the ascertaining experiment showed that this skill is developed at a low level in children. These results show that elementary school children can develop the skill of expressive reading of works of fiction if attention is paid to this in every lesson.

Conclusion

Expressive reading, as the highest type of reading in school settings, is, as a rule, applicable, firstly, mainly to works of art, and secondly, most of all to them

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 is said what is implied in the subject itself, then in response to this ye my emphasis does not fall if there is no opposition:

Suddenly 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 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 across 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. ate flat, does not happen under stress.

Black clouds hung over 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's a man proud and wayward.

If after the noun st oh Since adjectives are modifiers, 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 - | man's friend.

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 io 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

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

References

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 academic nature, 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 a 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 the skill of expressive reading 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 selected 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 different 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 “Methodology 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 reading for exploration, 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 demands 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 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 at the end of 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- ours wealth.

More affairs- less words.

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

5. The teacher asks students to read the sentences written on the board or on cards, alternately 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 success!

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 of a certain attitude in students to 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 on clouds,

Beyond the last pass

The sun rose towards us.

c) Exercise “Cave”

This exercise helps develop vocal flexibility and the ability to raise and lower your voice. 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).

Lesson progress:

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't.

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 for your listeners the pictures depicted by the author, you paint them in such a way 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 this? 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 recite the text of literary works, 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 choir 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 in 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 system of teaching expressiveness 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 representation. “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 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 implies 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 fall in love with 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 of a certain attitude in students to what they read.

References

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Appendix 1

Exercises to develop breathing

Appendix 2

“How to learn a tongue twister”

Appendix 3

"How to Prepare for Expressive Reading"

The modern school faces an acute question about the development of students' personalities. In this regard, the issue of increasing the educational significance of reading lessons in elementary school becomes more relevant, since reading necessarily involves communication with the book, its characters, and, finally, communication with oneself.

But in order for students to emotionally perceive and reproduce the written speech of other people, it is necessary, first of all, that their speech, as well as their reading, be expressive. Productive reading and communication between children and books is impossible without teaching them expressive reading, because expressive reading helps to better understand and realize the experience contained in each work.

Teaching expressive reading is a school for instilling in students an aesthetic perception of works of fiction, a means of forming and developing artistic taste.

Pedagogical experience shows that many students simply do not understand the meaning of the text they are reading, not only because they read slowly, but mainly because their reading is inexpressive.

The reason for the inability to read expressively should be recognized as the imperfection of teaching reading in public schools and the lack of understanding by the teacher of the need for purposeful formation of reading activity in younger schoolchildren.

We developed a questionnaire and offered it to ten primary school teachers at our school to answer questions regarding the expressive reading of younger schoolchildren. ( Appendix 1)

Having analyzed the results of this survey, we can draw the following conclusions: primary school teachers note the educational, developmental and nurturing potential of expressive reading, they understand the need for serious work on developing the skill of expressive reading, but in practice they pay little attention to the formation of this important skill.

The problem of the development and formation of expressive speech of schoolchildren, which has a high degree of relevance especially today, has a history of its development.

N.A. spoke about the importance of expressive reading for elementary school students. Korf is a teacher and organizer of public schools. He highly valued expressive reading in the aspect of public education. This teacher was interested in expressive reading as both a means and a result of the level of understanding by public school students of someone else's written speech.

General provisions put forward by N.A. Korfom, in relation to primary education back in the 19th century, retains its significance today.

The second important figure in the development of issues of teaching expressive reading to younger schoolchildren is D.I. Tikhomirov. He is called the “teacher of teachers” because... he gave the elementary school teacher not general (pedagogical), but specific (methodological) recommendations. He described each recommendation in detail. It was Tikhomirov D.I. For the first time, I drew the attention of a public school teacher to where to raise and lower the voice when reading, and how to correctly place logical stress. “In order to give the student a feel for the significance of logical stress, it is necessary to first train the student for this purpose on individual phrases, transferring the emphasis to each word in turn, and paying attention to the change in shade in the meaning of the phrase due to a change in the place of stress.” As material for exercises in expressive reading, D.I. Tikhomirov suggests using proverbs. In his opinion, “...it is the teacher who shows children an example of the correct pronunciation of proverbs.”

To practice with children the desired tone, intonation, gradual raising and lowering of the voice, slowing down and speeding up spoken words and phrases. DI. Tikhomirov chose a fable for the first time. The main exercise that develops the expressiveness of a child’s transmission of “other people’s thoughts” and feelings is role-playing. “These exercises lead to the child’s awareness of what is depicted in the book using the art of words.”

The most active promoters of expressive reading were V.P. Ostrogorsky and V.P. Sheremetevsky.

Ostrogorsky V.P. noted the great educational value of expressive reading. It, by teaching you to control your voice and breathing, not only develops your voice, but also strengthens your lungs; it corrects pronunciation deficiencies; forcing you to pay attention to every expression and word in a sentence, it is the best means of studying a literary work. Expressive reading helps to expel from school “the dullness and senseless cramming of lessons... accumulates, developing at the same time taste, feeling and imagination.” Expressive reading Ostrogorsky V.P. defined as intelligent and pleasant pronunciation by heart and reading from a book of poetry and prose. Expressive reading is an art “that, like music and drawing, can largely be learned.”

Expressiveness of speech is one of the criteria for assessing the spoken text from the point of view of B.G.’s speech culture. Golovin gives the following definition of expressiveness: “If speech is structured in such a way that the very selection and placement of language means affects not only the mind, but also the emotional area of ​​consciousness, maintains the attention and interest of the listener or reader, such speech is called expressive.”

“The richer the language system, the more opportunities there are to vary speech structures, providing the best conditions for communicative speech influence. The more extensive a person’s speech skills, the better the speech communication qualities - accuracy, correctness, expressiveness. Speech culture is, first of all, mastery of language norms in the field of pronunciation, stress, and word usage.”

So, for example, F.I. Buslaev wrote that “... the first and most important thing is to develop the practical ability, which consists in understanding what is expressed by forms of speech, and using them in the correct way, that is, as educated people speak, by oral speech about objects of reality, by attentive reading. Through oral and written exercises, we develop in the student the ability to correctly understand the forms of speech in conversation and in writing with due ease.”

The same idea was pursued in his works by K.D. Ushinsky, who considered one of the main tasks of teaching the Russian language to be the development of the “gift of speech” in schoolchildren

S.T. Nikolskaya and other authors of the book “Expressive Reading” consider such reading to be the penetration of the reader into the author’s text by a special, specific method, with the help of which a given work of art in the mouth of the performer becomes a new phenomenon of art, while remaining at the same time the author’s, writer’s work. At the same time, they emphasize, expressive reading obeys the general laws of oral speech, when the reader not only conveys some information and feelings to the listeners, but also influences the listener, his imagination, emotions and will.”

L.A. Gorbushina reveals this concept in this way: “Expressive reading is intonationally correct reading. To read a work expressively means to find a means of verbally conveying the ideas and feelings contained in the work. This means finding a means of emotionally influencing listeners and conveying the correct attitude towards the facts, events and people depicted in the work, their thoughts and feelings.

M.A. Rybnikova calls expressive reading “the first and main form of concrete, visual teaching of literature.”

O.V. Kubasova reveals this concept in this way: “Reading is usually called expressive, in which the performer, with the help of special linguistic means, conveys his understanding and his assessment of what is being read. Preparation for expressive reading and the performance itself is that practical activity with the text of a work of art that helps the student understand the content of what he read and express his attitude to this content, thereby getting closer to the inner world of the hero, perceiving the mood and feelings that excite him as his own .

The ability to read expressively is an integral part of the reading skills of primary schoolchildren. In turn, this complex skill itself represents a system of skills. The components of this system, according to M.I. Omorokova, are the following skills:

1. Skills related to technical expressiveness of reading:

– the ability to correctly distribute your breathing when pronouncing a text out loud (short inhalation, long exhalation during the speech process, provided that this process occurs naturally, rhythmically);
– the ability to clearly, accurately, “fly” pronounce sounds, find a natural and organic level of volume;
– the ability to read text spelling correctly.

2. Skills related to logical expressiveness of reading:

– the ability to use different types of pauses: logical and psychological;
– the ability to correctly highlight logical stress when pronouncing a text out loud;
– the ability to realize in reading a wide variety of shades of logical melody;

3. Skills associated with emotional-figurative expressiveness of reading:

– the ability to recreate complex moving visions in one’s imagination;
– the ability to show one’s attitude to what is being read;
– the ability to influence listeners with one’s reading;

We consider teaching expressive reading from the perspective of developmental and educational activities, therefore, at the beginning of work, together with the students, we determine methods of action. They are a guide to how to work. Then students work independently, without the help of a teacher.

The skill of controlling breathing while reading is to ensure that it does not in any way interfere with the reader’s reading or the listener’s listening. However, more than just breathing is important for expressive speech.

Exercise 1.

You need to sit down and turn your shoulders. Keep your head straight. Taking a deep breath, pronounce consonant sounds smoothly and protractedly. m, l, n: mmm...llll...nnn...

Exercise 2.

To consonants m, l, n add vowels one by one and, uh, a, o, y, s and say smoothly and drawlingly: mmi, mme, mma, mmo, mmu, mmy.

When reading, good diction.

For articulation gymnastics, you must use the following exercises:

1. Pronounce vowel sounds clearly, opening your mouth wide.
2. Reading straight syllables.
3. Each vowel sound is accompanied by a consonant, for example:

bee-be-ba-bo-boo-boo.

4. Reading tongue twisters or tongue twisters helps to increase the mobility of the speech apparatus and helps the development of diction skills.

“A tongue twister,” taught K.S. Stanislavsky, - must be developed through very slow, exaggeratedly clear speech. From long and repeated repetition of the same words, the speech apparatus is so adjusted that it learns to do the same work at the fastest pace.”

First, the tongue twister is carefully read to oneself, then pronounced silently with emphatically clear articulation, then slowly in a whisper, quietly, louder, and finally loudly and quickly. If pronouncing a sound is difficult, you need to practice using specially selected tongue twisters in which this sound is often repeated.

O.V. Kubasova offers special exercises to ensure that children do not violate the correctness of speech, without which expressiveness is impossible.

1. Finish the word.

If only I had a friend
There will be... (leisure).

When performing this exercise, children cannot pronounce the spoken word with the wrong accent. Such poetic passages can be learned by heart.

3. Parallel use of two types of reading: spelling and spelling. Children are asked to read the sentence twice: first, as we write, the second time, as we speak.

“When he saw his best friend, he began to laugh joyfully.”

From the technical side of oral speech, let us move on to consideration of issues related to intonational means of expressiveness.

“Intonation is a set of jointly acting sound elements of oral speech, which is determined by the content and purpose of the utterance.”

It is intonation, from the point of view of O.V. Kubasova, that “actually organizes oral speech as a whole, including reading. With the help of intonation, sentences are given the meaning of a question, motivation, request, message. Intonation allows you to convey the emotional and semantic shades of the text, expressing the state and mood of the author. If the reader, in the process of working on the text, correctly perceives the circumstances proposed by the author and correctly determines his performing task, then his intonation while reading will be natural and expressive.”

According to O.V. Kubasova, logical stress is the selection by voice of the words that are most important in terms of semantic load.

“Emphasis,” wrote K.S. Stanislavsky - an index finger marking “the most important word in a phrase or in a text!” “The emphasis is in the wrong place,” wrote K.S. Stanislavsky, distorts the meaning, cripples the phrase, whereas it, on the contrary, should help create it!” The reason for errors in the placement of logical stresses is a misunderstanding of the meaning of what is being read or an insufficiently good vision of what is being said.

Meaningful pronunciation of a sentence requires its correct division into units, beats. The division of speech is indicated by pauses.

Pauses (logical and psychological) - stops, breaks in sound. Pauses, with the help of which a sentence or text is divided into semantic parts, are called logical. Their presence and duration are determined by meaning. The more closely the speech units are connected to each other, the shorter the pause. The smaller the connection, the longer the pauses.

Considering semantic pauses, you should draw the student's attention to the fact that these pauses do not always coincide with punctuation marks, especially when it is necessary to pronounce phrases.

Line-by-line pauses there must be, but they must be observed not mechanically, but taking into account the meaning. It is the meaning that will dictate the duration of the pause and its character. However, often teachers, struggling with the mechanical placement of line-by-line pauses, require the placement of pauses only in accordance with punctuation marks. This is a mistake; such reading will turn poetry into prose.

For example: Fog lay on the field,
Noisy caravan of geese
Reached south. (A.S. Pushkin)

Here, after the word “caravan”, a pause is needed. Firstly, it is short, and secondly, it is filled with content, offering continuation.

Along with the logical pause, there is psychological pause. This is a stop that enhances the psychological significance of the thought being expressed. A psychological pause, according to O.V. Kubasova, “is always rich in internal content, eloquent, since it reflects the reader’s attitude to what he is saying”

Stanislavsky wrote: “Eloquent silence is a psychological pause. It is an extremely important tool of communication.” He noted that it “is certainly always active, rich in internal content.” A pause can take place: a) at the beginning of a phrase or before some word; b) inside a phrase, between words - then it emphasizes the dependence between previous and subsequent thoughts; c) at the beginning of a phrase, after the words have been read - then she focuses on the words that have been spoken.

Separate types of psychological pauses can be considered initial and final pauses.

The initial pause prepares the reader for performance and the listener for perception.

The final pause involves being in the psychological atmosphere that was created by reading for several seconds.

Taking into account all of the above, the teacher should accustom students to the fact that before stopping while reading, they need to think carefully about whether this pause is necessary, what meaning does this phrase acquire if some pauses are removed from it, what will happen to the text if It will indicate new pauses. Gradually, students get used to checking the correctness of pauses by analyzing the text. Children perform these exercises on the board, on cards and while reading textbook materials.

In the third grade, it is already possible to draw students’ attention to such a technique of expressive speech and reading as a psychological pause. Children need to be shown that this is a special emotional stop, with the help of which the reader conveys strong internal excitement and the tension of the events of the story. The author suggests taking for practical work with students the simplest cases of determining the location of a psychological pause, which children can comprehend without difficulty.

Tempo and rhythm- obligatory components involved in creating a certain intonation. These means of expression are interconnected. Stanislavsky united them into a single concept tempo - rhythm.

The reading pace can be slow, slow, medium, accelerated, fast. Changing the pace of reading is a technique that helps convey in the spoken word the nature of the text being read and the intentions of the reader. The choice of tempo depends on what feelings and experiences the reader reproduces, on the emotional state, behavior of the characters about whom (or whose words) they are telling or reading. Children should be reminded that it is easier for listeners to focus on those passages that are pronounced more slowly. You need to read the initial phrase somewhat slowly in order to focus attention, as well as the last one, so that the listener feels the end of the reading.

Rhythm exists in any speech, including prose. However, it manifests itself especially clearly in reading poetry. “Rhythm,” said V.V. Mayakovsky is the basis of every poetic thing. Rhythm is the main force, the main energy of poetry.”

Kubasova O.V. calls an interesting technique that shows the difference between rhythmic poetic and prosaic speech, and thus the importance of rhythm in poetry. The teacher writes a short poem in prose form (on a line) on the board. Students read the text from the book and from the board and compare them. To work on children’s rhythmic hearing, we offer the following exercises: after reading the poem “Train,” children try to move alone or in a large group with rhythmic steps to their reading:

The sleepers bend, the sleepers groan,
The rails are drowning in the light sea...

In addition to stress, tempo and rhythm, the concept of intonation also includes melody. Speech melody is the movement of the voice up and down through sounds of different pitches. It is with work on the melody of reading (together with pauses) that the formation of expressive speech in the elementary grades begins. Already from the period of learning to read and write, children learn to use intonations of narrative, interrogative, enumerative, explanatory, and address. When reading a work of art, melody serves as one of the brightest expressive means of spoken speech; it affects the listener, facilitates the perception of the work, and reveals its emotional side.

1. Read the dialogue. Watch for the rise and fall of your voice.

Timbre is the natural coloring of the voice, which to one degree or another remains constant, whether the speaker expresses joy or sadness, calm or anxiety. This is due to the peculiarity of the structure of the speech apparatus. Despite the sufficient stability of this intonation device, the timbre can be changed to a certain extent. You can organize observation of changes in voice timbre using the material of the Russian folk tale “The Wolf and the Seven Little Goats.”

A teacher who has a good command of the technical side of speech and intonation must realize that simple instruction on how to pronounce it often does not help matters much. Students need an example. Children are great imitators. But showing the teacher and students imitating him can in no case be the only means of teaching intonation. Whether you are reading a dialogue, a fable, or a poem, you must always exhaust the possibilities for students to independently find the appropriate intonation. To do this, a guiding conversation is conducted about who is speaking, and, therefore, in what voice he should speak, what the speaker is experiencing and how this should be conveyed in his voice.

To organize work with children on emotional tone, you must use the following tasks:

1. Say “hello” with a hint of surprise, bewilderment, joy of indifference, confidence, indignation.

2. Game “Whose intonation is richer?” Participants take turns saying a phrase like “come here,” trying not to repeat the previously heard intonation. A participant who fails to say a phrase with a new intonation is eliminated from the game. Children and the teacher sum up the results.

3. Using a speech situation is the most important technique in working on emotional intonation. It is this that provides the student with emotional confidence, because... his speech behavior in this case is regulated not by general, but by situational attitudes of the individual that arise under the influence of specific conditions

4. Great opportunities for organizing work on the formation of emotional intonation, in our opinion, lie in plot pictures, illustrations (drawings) for children's works and cartoons. They are associated with tasks of a high level of complexity. Therefore, we supplemented the conversation based on the drawings with: 1) questions that form the ability to determine the emotional state of a character by facial expressions, gestures, and posture; and 2) encouragement to speak on behalf of the character. For these purposes, we used visual handouts for speech development lessons.

A drawing is one of the effective speech stimuli, especially if something close and interesting to children is depicted, if these drawings are dynamic, expressive, and contain elements of humor. Therefore, students willingly talk about cartoon characters.

5. Work with the memo: “Words-names of emotional states.”

Thus, using only the methodological apparatus of the textbook, it seems difficult to effectively develop the expressive side of reading. It seems to us that it is indisputable to supplement the methodological apparatus of reading textbooks with speech training exercises, various questions and tasks that require students to pay attention to the intonation side of speech, to comprehend those intonation elements with the help of which the expressiveness of speech is achieved, and exercises for the intonation-expressive production of speech.

As our observations have shown, students’ speech has become more focused and organized, i.e. Students began to correct each other when pronouncing a word incorrectly or placing word stress. This indicates that speech technique is developing well through training exercises to warm up the speech apparatus. During lessons, they try to speak loudly, clearly and with expressive intonation. The assimilation of intonation expressiveness follows a practical path and has a pronounced dynamics of development from the formation of intonation hearing to the correct independent use of various intonations in various speech situations. The active vocabulary of schoolchildren has expanded significantly through the use of elementary linguistic terms and, especially, through adjectives and adverbs denoting emotional states of a person.