Expressive reading: what it is, skills, rules. Expressive reading, learning, workshop

INTRODUCTION

CHAPTER 1. Expressiveness as a criterion for reading skills

2 The concept of expressive reading, components of expressive reading

3 Methodological techniques for the formation of expressiveness of reading

Chapter 1 Conclusions

CHAPTER 2

1 Description of the ascertaining stage of experimental research.

2 Conducting and analyzing the formative phase of the study

3 Reading competition as a control stage of experimental work

Chapter 2 Conclusions

CONCLUSION

LIST OF SOURCES AND LITERATURE

APPENDIX 1

APPENDIX 2

APPENDIX 3

INTRODUCTION

Reading plays a huge role in the education, upbringing and development of a person, therefore one of the main tasks of primary education is to master the reading skill for younger students in accordance with the requirements of the Federal State Educational Standard. Reading skills and abilities are formed not only as the most important type of speech and mental activity, but also as a complex set of skills and abilities of a general educational nature, used by students in the study of all academic subjects, in all cases of extracurricular and out-of-school life. The methodology highlights the main reading criteria: correctness, fluency, awareness, expressiveness.

The relevance of the study is due to the fact that the modern method of literary reading is aimed at finding a solution to the problem of forming reading skills, including the criterion of expressiveness. In the process of learning in elementary school, the language personality of the younger student is formed. The primary school teacher reveals to younger students the richness and beauty of the Russian language. Literary reading lessons use various methodological techniques aimed at improving children's speech, enriching vocabulary, and developing the ability to convey one's thoughts and feelings expressively. To this end, in the lessons of literary reading, it is necessary to organize listening to works of Russian literature in acting reading. The expressive reading of a work of art aloud by the teacher helps the younger student to understand the ideological content of the work, emotionally perceive the artistic images of the work, feel their aesthetic impact.

The purpose of the study is the selection of methodological techniques and tasks that contribute to the development of expressive reading skills in literary reading lessons.

The object of research is the formation of reading skills.

The subject of the research is the formation of the skill of expressive reading in junior schoolchildren of the 2nd grade.

Hypothesis: the formation of the skill of expressive reading of younger students will be more successful if the lessons of literary reading, subject to the following conditions:

1.if you systematically use methodological teaching methods aimed at the formation of expressive reading;

2.if specifically for the exercises to select didactic material that contributes to the development of expressive reading skills.

Research objectives:

.To study the concept of expressive reading and highlight the components of expressive reading.

2.Consider the content of the requirements of the Federal State Educational Standard and literary reading programs aimed at developing reading skills.

.To select modern methodological techniques for the formation of expressiveness of reading in the lessons of literary reading.

.In the process of experimental work, apply the selected methodological and didactic material.

The following research methods were used to solve the set tasks and test the proposed hypothesis: theoretical analysis of linguistic, psychological, and methodological literature; monitoring the educational process; ascertaining and forming experiments; quantitative and qualitative analysis of the obtained results. The methodological basis of the study was the theory of methods of work on expressive reading, developed in the works of Ushinsky K.D., Mayman R.R., Lvov M.R., Zavadskaya T.F.

The theoretical significance of the study lies in the analysis of modern methodological methods of forming the expressiveness of reading in the lessons of literary reading.

The practical significance is to clarify sufficient and accessible information for students of the 2nd grade about the criteria, components and techniques of expressive reading, aimed at developing the ability of expressive reading.

Base of the study: this study took place on the basis of the Moscow Autonomous Educational Institution Secondary School No. L.N. Gumilyov from January 2015 to February 2015. The study was conducted in grade 2a, the number of students was 24 - people, among them 16 boys and 8 girls.

The thesis consists of an introduction, two chapters, a conclusion, a list of sources and references, and three appendices.

CHAPTER 1. Expressiveness as a criterion for reading skills

The Federal State Educational Standard (FSES) of primary general education is a set of requirements that are mandatory for the implementation of the main educational program of primary general education. The Federal State General Educational Standard of the second generation defined the following requirements for reading skills when working with text: students must learn to find specific information in the text, explicitly stated facts; determine the topic and main idea of the text; divide texts into semantic parts, draw up a text plan; isolate the main events contained in the text and establish their sequence; arrange information according to a given basis; compare the objects described in the text with each other, highlighting 2-3 essential features; understand the information presented in an implicit form (for example, find several examples in the text that prove the above statement; characterize the phenomenon according to its description; highlight the common feature of a group of elements); understand information presented in different ways: verbally, in the form of a table, diagram, diagram; understand the text, relying not only on the information contained in it, but also on the genre, structure, expressive means of the text; use different types of reading: introductory, studying, search, choose the right type of reading in accordance with the purpose of reading and navigate in age-appropriate dictionaries and reference books.

At the same time, students will have the opportunity to learn: to compare different points of view; correlate the author's position with their own point of view; in work with one or more sources to identify reliable (contradictory) information.

Over the course of four years of teaching literary reading, the methods of mastering the skill of reading change: first, there is the development of holistic (synthetic) methods of reading within the limits of a word and a phrase (reading in whole words); further, methods of intonational combination of words into sentences are formed. The speed of reading increases (fluent reading), reading to oneself is gradually introduced with the reproduction of the content of what has been read. Students gradually master rational methods of reading and reading comprehension, orthoepic and intonation norms of reading, words and sentences, and use them in accordance with a specific speech task.

In parallel with the formation of the skill of fluent, conscious reading, purposeful work is carried out to develop the ability to comprehend the meaning of what is read, to generalize and highlight the main thing. Students master the techniques of expressive reading.

Improving oral speech (ability to listen and speak) is carried out in parallel with learning to read. The skills to perceive by ear the statement or reading of the interlocutor are improved, to understand the goals of the speech statement, to ask questions about the heard or read work, to express one's point of view. Productive forms of dialogue, formulas of speech etiquette are assimilated in the conditions of educational and extracurricular communication. Acquaintance with the peculiarities of national etiquette and communication of people is carried out on the basis of literary (folklore and classical) works. The monologue speech of students is improved (based on the author's text, on the proposed topic or problem for discussion), the active vocabulary is purposefully replenished. Students master a concise, selective and complete retelling of a read or heard work.

As a result of studying literary reading, at the stage of primary general education, students will acquire primary skills in working with information contained in texts in the process of reading age-appropriate literary, educational, scientific and educational texts, instructions.

The academic subject "Literary reading" provides the formation of the following universal educational activities:

meaning formation through tracing the “fate of the hero” (P.Ya. Galperin) and the orientation of the student in the system of personal meanings;

the ability to understand contextual speech based on the reconstruction of a picture of events and actions of characters;

the ability to arbitrarily and expressively build contextual speech, taking into account the goals of communication, the characteristics of the listener;

the ability to establish a logical causal sequence of events and actions of the heroes of the work;

the ability to build a plan with the allocation of essential and additional information. The priority goal of teaching literary reading in elementary school is the formation of the reader's competence of the younger student, awareness of himself as a literate reader, capable of using reading activity as a means of self-education. Reading competence is determined by the possession of reading technique, methods of understanding the read and listened to the work, knowledge of books and the ability to choose them independently; the formation of the spiritual need for books and reading.

Among the subjects included in the primary school curriculum, the course of literary reading has a special effect on the solution of the following tasks:

Mastering the general cultural skills of reading and understanding the text; fostering interest in reading and books. The solution to this problem involves, first of all, the formation of a meaningful reading skill: interest in the process of reading and the need to read works of various types.

Mastery of speech, written and communicative culture.

The fulfillment of this task is connected with the ability to work with various types of texts, navigate in the book, use it to expand knowledge about the world around.

Education of an aesthetic attitude to reality, reflected in fiction. The ability to compare the art of the word with other types of art (painting, music, etc.) develops; find similarities and differences in the artistic means used; create your own fiction based on what you read.

Formation of moral consciousness and aesthetic taste of a younger student; understanding of the spiritual essence of works.

In the process of working with a work of art, a junior student masters the basic moral and ethical values of interaction with the outside world, gains the skill of analyzing the positive and negative actions of heroes and events. Understanding the meaning of the emotional coloring of all storylines of the work contributes to the education of an adequate emotional state as a prerequisite for one's own behavior in life.

Thus, the literary reading course is designed to continue learning to read and help the younger student enter the world of fiction and comprehend the figurativeness of verbal art. The study is aimed at achieving the following goals: the development of artistic, creative and cognitive abilities, emotional responsiveness when reading works of art, the formation of an aesthetic attitude to the art of the word; improvement of all types of speech activity, the ability to conduct a dialogue, expressively read and tell, improvise; mastering conscious, correct, fluent and expressive reading as a basic skill in the education system of younger students; the formation of the reader's outlook and the acquisition of experience in independent reading activities; education of an aesthetic attitude to the art of the word, interest in reading and books, the need to communicate with the world of fiction; enrichment of the moral experience of younger students, the formation of ideas about good and evil, justice and honesty, the development of moral feelings, respect for the culture of the peoples of multinational Russia.

1.2 The concept of expressive reading, components of expressive reading

expressiveness reading skill literary

The concept of expressive reading is given in the works of O.V. Kubasova. She believes that “expressive reading is the ability to use the main means of expression to reflect one’s understanding in reading, evaluate 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 for they are the intention with which the reader has taken up reading and which he is trying to reveal through his reading.

Expressive reading - reading aloud (by heart or from a book), in which the ideological and figurative content of the text is conveyed while observing the norms of literary pronunciation. Expressive reading is considered as a consequence and an important indicator of reading consciousness and meets the following requirements: 1) sufficient volume, clarity and correct pronunciation; 2) clear transmission of the author's thoughts (correct placement of pauses and stresses); 3) revealing in reading the feelings and moods contained in the text, the main character traits, motives of behavior and relationships between the heroes of the work. The difference between expressive reading and the professional art of artistic reading lies in the degree of depth, completeness and brightness of the transmission of the content and artistic features of the readable work.

Reading includes four basic qualities: correctness, fluency, expressiveness and awareness. Let us dwell in more detail on the development of expressive reading skills in younger students.

The most complete, in our opinion, is the definition of expressive reading by the researcher Shishkova M.I., given in the article “Formation of expressive reading skills in students with learning difficulties” (logopedist magazine). By expressive reading, the author understands the correct, meaningful and emotional (if necessary) reading of a work of art. It is this kind of reading that significantly improves the quality of assimilation of literary material and contributes to the understanding and comprehension of textual material. Expressive reading involves the development in the reader of a certain minimum of skills related to the pronunciation culture of speech. This minimum includes the following components: tone and strength of the voice, timbre of the utterance, rhythm and tempo of speech (acceleration and deceleration), pauses (stops, breaks in speech), tone melody (raising and lowering the voice), logical and syntagmatic stresses. All means of intonation, expressiveness of speech and reading are supported by the general technique of speech - diction, breathing, orthoepically correct pronunciation.

In our study, we rely on the methodological developments of Kubasova O.V. and Shishkova M.I.

They highlight the main means of expression such as: breathing, logical and psychological pauses, logical and phrasal stresses, tempo-rhythm, raising and lowering the voice (melody), voice power, voice color (timbre), tone, intonation, facial expressions and gesture. Let's reveal the basic concepts.

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

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

The correct type of breathing is mixed costal-diaphragmatic breathing. It is necessary to learn to control breathing so that it does not interfere with the reader and does not distract the listeners during reading. Proper breathing during speech consists not only in the economical use of air, but also in the timely and imperceptible replenishment of its supply in the lungs (during stops - pauses). While reading aloud, the shoulders are motionless, the chest is slightly raised, the lower abdomen is tightened.

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

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

Loudness should be understood as the fullness of the voice. Changing the strength of the voice is used as one of the expressive means. You can speak loudly, medium and softly, depending on the content of what is being read. Reading only aloud or only quiet gives the impression of monotony.

During a certain segment of speech, the tone consistently changes in height: it becomes higher, then lower. In order for the voice to easily move from low to high and vice versa, it is necessary to develop its flexibility and range.

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. “The timbre, that is, the sound coloring of the voice, as well as the strength of the sound, its softness and “warmth”, can improve with constant care for it, with special exercises, each time individually selected for a given voice.

The expressive means of sounding speech is intonation. With the help of intonation, one can express the specific meaning of the statement, its purpose; feeling, the attitude of the speaker to what is being said, and to the interlocutor, the listener. Intonation organizes speech: it divides it into sentences and phrases (bars), draws out a semantic relationship between parts of a sentence, tells the spoken text the meaning of a message, question, order, request, etc. Intonation is a complex phenomenon of oral speech. In linguistic works, intonation is understood as a set of means for organizing sounding speech. The study of intonation is an integral part of the grammar of the language (syntax), the psychology of speech, and a number of disciplines in the technique and expressiveness of speech. The concept of "intonation" is difficult to dissect, because each of the elements (components) of intonation acts in conjunction with others. However, for the convenience of analysis, each of them can be discussed separately, although against the background of the entire phenomenon. The main components of speech intonation are: the force that determines the dynamics of speech and is expressed in stress; direction, which determines the melody of speech and is expressed in the movement of the voice over sounds of different pitches; speed, which determines the pace and rhythm of speech and is expressed in the duration of sound and stops (pauses); timbre (shade), which determines the nature of the sound (emotional coloring of speech).

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

The group of words representing the syntagma has an accent on one of the words, mostly on the last one.

It is necessary to distinguish logical stress from phrasal stress. (True, sometimes these types of stress coincide: the same word carries both phrasal and logical stress.) Words that are important in thought in a sentence stand out, they are brought to the fore by the tone of voice and the force of exhalation, subordinating other words. This "promotion by the tone of voice and the power of expiration (exhalation) of the word to the fore in a semantic sense is called logical stress." In a simple sentence, as a rule, there is one logical stress, but sentences with two or more logical stresses are often found.

Logical stress is very important in oral speech. Calling it a trump card for the expressiveness of oral speech, K. S. Stanislavsky said: “Stress is the index finger, marking the most important word in a phrase or in a measure! In the highlighted word, the soul, the inner essence, the main points of the subtext are hidden! Stanislavsky attached great importance to logical stress in artistic (stage) speech: “Stress is loving or malicious, respectful or contemptuous, open or cunning, ambiguous, sarcastic emphasis on a stressed syllable or word. This is the presentation of it, as if on a tray.

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

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

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

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

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

Working on expressiveness, includes the concept of a logical and psychological pause. The meaningful pronunciation of a sentence requires its correct division into links, measures. But “in ordinary connected speech there is no clear divisibility into words, so that the gaps, white spaces separating words from each other in a written or printed text, are not always indicators of the articulation of speech in pronunciation.” The semantic completeness of a syntagma or sentence serves as a sign, a stop signal.

The segmentation of speech is indicated by pauses. A pause combines words into a continuous series of sounds, but at the same time separates groups of words, limits them. This is a logical break. Pauses can be of different duration, depending on the thought being expressed, on the content of what is being read. The reader, observing logical pauses, pronounces the words enclosed between them, together, as one word. 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 the speech, give it completeness. Sometimes a logical pause turns into a psychological one. The logical pause “is allotted a more or less definite, very short time of duration. If this time is prolonged, then the inactive logical pause should rather be reborn into an active psychological one. A psychological pause is a stop that enhances, reveals the psychological meaning of a phrase, passage. It is rich in internal content, active, as it is determined by the attitude of the reader to the event, to the character, to his actions. It reflects the work of the reader's imagination, is immediately reflected in intonation, and sometimes even changes the logical grouping of words, since it stems from the inner life, from the life of the imagination.

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

Pause segmentation 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 stands out, which is the main intonation unit.

The tempo and rhythm of speech are inextricably linked with the concept of a logical pause.

“Tempo is the speed of alternation of identical durations conditionally accepted as a unit in one or another measure.

Rhythm is the quantitative ratio of effective durations (movement, sound) to durations conditionally taken as a unit in a certain tempo and measure.

This is how 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 bars, arias and whole symphonies are created. No wonder good speech is called musical.

Timbre is a specific (super-segmental) coloring of speech, which gives it certain expressive-emotional properties. Timbre is considered as a very important, but additional means of enriching the melody of speech and is organically connected with it, determines it.

Each person has his own characteristics of the sound of speech, associated with the structure and operation of his speech apparatus, the nature of the sounds of his voice. By the combination of these signs, even without seeing a person, you can find out what he is saying. But the coloring of speech can change, deviate from the usual norm, depending on emotions. The stronger the emotions, the more deviations from the usual sound. The expressiveness of speech is reported by this deviation.

The timbre colors the whole work, endowing it with infinitely varied shades. Timbre is a spokesman for 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 gives the basis for emotionally expressive reading. “The harmonious unity of the intonation of speech with its inner roots should provide speech with that naturalness and simplicity, which are more precious than thoughtless “beautifulness”.

Expressive movements of the muscles of the face, which are one of the forms of manifestation of various feelings, are called facial expressions. Accompanying speech, they complement and reinforce its meaning. For the reader and narrator, facial expressions are one of the additional means of influencing the audience. Through facial expression, the eye of the narrator conveys his experiences, his attitude to events, persons and circumstances.

Mimicry is closely connected with the thoughts, actions and feelings of the speaker, with all his inner life. This gives grounds, observing reality and studying the manifestations of inner experiences, to use facial expressions in the process of expressive oral speech, that is, to make facial movements arbitrary.

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

The most valuable is the psychological gesture as a manifestation of the thought, the inner experience of the speaker. The psychological gesture seeks to reveal the subtext, to reveal the intention. Filling the psychological pause, he brightens the following words, enhancing the effect of intonation. The appearance of a gesture is not attached to a specific moment of speech: it can precede the word, accompany it or follow it, emphasizing the meaning of what is being said, convincing the listener.

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

Having studied the concept of "expressive reading", we summarize all the studied sources and conclude that expressive reading is the art of recreating in a living word the feelings and thoughts that a work of art is saturated with, expressing the performer's personal relationship to the work. The term "expressive reading" became widespread in the middle of the 19th century. and along with the terms "declamation" and "artistic reading" meant the art of the artistic word and the subject of teaching this art to children. Expressive reading is the ability to use the main means of expression to reflect in reading one’s understanding, evaluation of the content and meaning of the text, attitude to it, the desire to convey all this to the listener or audience with the greatest completeness, persuasiveness and contagiousness, to make clear to them that intention, with which the reader has taken up reading and which he is trying to uncover through his reading. For us, the main means of expressiveness are essential, which include: breathing, logical and psychological pauses, logical and phrasal stresses, tempo-rhythm, raising and lowering the voice (melody), voice power, voice color (timbre), tone, intonation, facial expressions and gesture .

1.3 Methodological techniques for the formation of expressiveness of reading

Expressive reading involves the development in the reader of a certain minimum of skills related to the 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 (acceleration and deceleration), pauses (stops, breaks in speech), melody of tone (raising and lowering the voice), logical and syntagmatic stresses. All means of intonation, expressiveness of speech and reading are supported by the general technique of speech - diction, breathing, orthoepically correct pronunciation.

The formation of the skill of expressive reading begins with the period of learning to read and write. The process of expressive reading includes two sides: technical and semantic. The technical side includes: the way 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 in syllables understands what he read worse than a fast-reading peer). Let's consider the chain of formation of the technical side of the reading skill. Way of reading - reading speed - reading dynamics.

Psychologists and educators have established a relationship between the way of reading and speed, speed and dynamics. Now children come to school already reading, but their ways of reading are different. Some read in a syllabic way, others - in syllables and in whole words; the third - in whole words, and separate, difficult words - in syllables, the fourth have the skill of reading whole words and groups of words.

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

Children cope with this task in different ways: some quickly, and some slowly, lingering at each stage. But, none of them can skip one step, they all go through these levels.

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 permutations and omissions of syllables. This is due to insufficiently formed skill of unidirectional, consistent eye movement, inattention. In addition, the child reads in a spelling 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, allowing him to guess the next word (syllable) in meaning and pronounce it correctly. It has been proven that, starting to read in an orthoepic way, the child increases the speed, reading becomes smooth, there is an interest in the semantic content, a desire to read more. At the heart of this desire is the child's ability to understand well what he reads, that is, such a side as awareness. This component plays a leading role, since reading is carried out in order to obtain the information contained in the text, to understand its meaning, to understand the content.

Expressiveness plays a special role in reading comprehension. To teach to read expressively, you need to automate the technique of reading. However, at the initial stages, one should not only draw the attention of students to the need to use pauses, set logical stress, but also find the right intonation, prompted by punctuation marks. You 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. With this, it is necessary to start talking about expressiveness.

There are special requirements for expressiveness in each class, can be represented in the form of a table.

Grade 1 Grade 2 Grade 3 Grade 4 Correct conscious reading of whole words with elements of syllabic polysyllabic words. Reading rate 30-40 words per minute Conscious, correct and expressive reading in whole words. Compliance with intonation, pauses, logical stress and pace of reading. The pace of reading an unfamiliar text is at least 50 words per minute. Correct conscious and fluent reading in whole words. Correlation of intonation (tempo, logical stresses, pauses, reading tone) with the content of the text being read. The rate of reading is 70-75 words per minute. Fluent, conscious, correct expressive reading in compliance with the basic norms of literary pronunciation Conscious reading to oneself of any text in terms of volume and genre. The rate of reading is at least 100 words per minute. Independent preparation for expressive reading.

Teaching expressive reading begins in grade I, from the period of literacy. The lessons use specially selected exercises that prepare for the formation of the skill of expressive reading: read syllables with different intonation, reading syllables, singing them with an increase and decrease in voice. The textbook “Methods of expressive reading” by T.F. Zavadskaya formulates the main provisions of the methodology for the formation of expressive reading in primary grades: “1) Students should understand well what they should convey to the listeners when reading the text of the work. 2) Students should have a lively and true attitude to everything that is said in the work. 3) Students should read the text of the work with a conscious desire to convey specific content: facts, events, pictures of nature, convey so that the listeners understand and appreciate them correctly.

According to Rybnikova M.A., the expressive reading of the teacher usually precedes the analysis of the work and is the key to understanding its content. Work on an expressive word is organized in special lessons devoted to reading or telling a text, but in addition, at each lesson, the teacher observes the pronunciation, phrasing and intonations of younger students. For reference, the teacher can use the dictionary edited by D. N. Ushakov, where each word is given with stress. Each answer, quotation from a poem, grammar example should be given in the corresponding voice presentation. “Don't rush, speak loudly, clearly. Say it 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. The teacher himself, his manner of speech, his expressive word, his story, his recitation of poetry, all this is a constant example for students. And therefore, the teacher should 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 teacher should recite the verses by heart; allowing students to memorize, the teacher should not relieve himself of this task. It makes an exceptional impression on the class when a new poem comes to the ear from the lips of the teacher, and not from the book. This tenfold attention, this tangible experience of what is happening in the story!

This is how E.V. describes this work. Yazovitsky: “After the teacher reads and analyzes the literary work, the younger students, having received the task: to read expressively, must, first of all, read the poem, story or passage several times, find out the main idea of the author, determine the main purpose of reading, must draw in their imagination what the author proposes. circumstances and try to bring them to life with your own visions and associations.

Work on an expressive word is organized in special lessons devoted to reading or telling a text, but in addition, at each lesson, the teacher observes the pronunciation, phrasing and intonations of younger students.

In the lessons, it is necessary to use various types of reading, such as exemplary reading by the teacher, repeated recitation by the teacher of individual links in the learning process, listening to a recording with an exemplary performance of the artist, demonstration readings of the best students.

To designate various phenomena in oral speech, there are generally accepted text marking marks that help to fix the found intonations, make notes, separate parts of the story, and highlight the main thing in the text. By location in the text, signs are classified into lowercase, superscript and subscript. L. Gorbushina offers the following most commonly used signs, presented in the table.

1. Stress in a word (difficult cases) is indicated by the sign / above the letter 2. Phrase stress - the stressed word is underlined with a dotted line logical - with one line, psychological - [P] before a word or sentence. 3. Pause: short - with a vertical dotted line (¦), medium one vertical line (│), long two vertical lines (││). 4. Continuous pronunciation is indicated by an arc ∩ above the words. ); lower voice - ( ); monotone - a continuous horizontal line above the words. 6. Notes on the pace and color of reading are placed in the margins on the right with words quickly, slowly, accelerating.

When developing the skill of expressive reading in younger students, it is necessary to systematically use special techniques and exercises to control breathing, setting logical stress in the lesson; change in the strength of the voice; the ability to read with correct intonation; pauses and pace of reading.

For the formation of the skill of expressive reading in younger students, it is important to practice speech breathing, which can easily be done on syllabic material. Here, breathing exercises are combined with smooth movements of the hands up and down.

The next task that we can solve when working with syllables is to work on changing the strength of the voice: note that syllables differ in height: the higher the syllable is written, the louder we will read it. At the same time, with our right hand, we will “sculpt Easter cakes”. The louder we read the syllable, the more Easter cakes we will have.

pa pa pa pa pa pa pa

For the formation of expressive reading, it is important to work on the pitch (timbre) of the voice - after all, the timbre gives additional coloring to speech, enriches the melody.

The teacher uses a metallophone, bells, different in pitch.

-The syllables, next to which the arrow points up, are read in a high voice, and the syllables where the arrow points down, in a low, angry voice.

ma ma ma ma ¯

mo mo mo mo ¯

The next task, implemented when working with syllables, is working out stress. In work, you can use a tambourine. The beat of the tambourine is stronger on the syllable where the stress is, children also highlight the stressed syllable.

ra ra ra ¢ la la la ¢

ro ro ¢ ro lo lo ¢ lo

RU ¢ ru ru lu ¢ lu lu

Our speech either speeds up or slows down. A complex, emotional statement is varied in tempo. The presented motor exercises have a positive effect on the development of a sense of rhythm and tempo of pronunciation.

-We walk along the path cheerfully and in step. The stressed syllable is emphasized by a stronger kick. Pay attention to pauses.

that ¢ ta ta ¢ ta ta ta ta ¢ that

that ¢ ta ta ¢ ta ta ta that ¢ m

that ¢ ta ta ¢ ta ta ta "ta

The ability to recognize the punctuation mark ahead in time and tune in to the intonation suggested by this sign is helped by the following work, which can be done as physical education minutes.

For the development of the articulatory apparatus, it is advisable to use tongue twisters, tongue twisters, proverbs and sayings. Reading tongue twisters and tongue twisters helps to increase the mobility of the speech apparatus, helps to develop diction skills. The teacher first offers the children the tongue twisters, and then you can give the task to come up with the tongue twisters themselves. Tongue twisters should be taken short, and then gradually complicate them. 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 pace of reading. Working with sayings and tongue twisters is carried out in different ways. Riddles, proverbs that are worked on in the class, all this is material for the formation of diction and intonation.

For example, you can use the following exercises:

Read slowly, with pauses.

Karl from Clara / stole the corals, / and Clara from Karl / stole the clarinet.

Osip is hoarse, / and Arkhip is hoarse.

Like a hill on a hill /

Thirty-three Yegorkas lived.

For the development of expressive reading in the classroom, exercises are systematically used to form the ability to put logical pauses.rrrrrrrrrrrr perform simple exercises. Here are some examples:

Suggestions are written on the board or on individual cards.

The children will go to the cinema tomorrow.

The teacher asks with what intonation the sentences should be read. Students take turns reading the sentences, trying to focus on the underlined word. After reading each sentence, the teacher asks to say what the sentence is asking about. After the sentences are read and the students have given four possible answers, the teacher asks the students to guess why the meaning of the sentence changes despite the same words and punctuation at the end. Then the teacher once again asks to read these sentences and follow how the given word stands out with the voice. It is established that the selection of an important word in a sentence occurs through amplification, length and some increase in the sound of the voice.

The proposal 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 “What summer will come soon?”. Both sentences are analyzed and re-read expressively.

The teacher consistently and expressively reads two or three sentences. Students listen carefully and at the end of reading each sentence indicate which word is logically stressed.

Thus, after analyzing the methodological literature, we identified quite a lot of various methods, techniques and types of work to develop the expressiveness of reading. Using all of the above methods and techniques, the teacher should take into account the age characteristics of children, the level of development of the necessary skills and abilities, as well as their own capabilities and requirements of the program.

Chapter 1 Conclusions

Mastering a full-fledged reading skill for students is the most important condition for successful schooling in all subjects; At the same time, reading is one of the main ways of acquiring information outside of school hours, one of the channels of comprehensive influence on schoolchildren. As a special type of activity, reading provides extremely great opportunities for the mental, aesthetic and speech development of students. Thus, the process of reading consists of two interrelated aspects - semantic and technical, covering visual and sound - auditory - speech-motor mechanisms. And although this process is one, the formation and formation of its components proceeds in different ways, goes through a number of steps from initial to higher.

All of the above emphasizes the need for systematic and purposeful work on the development and improvement of reading skills. The formation of high-quality reading skills in younger students is one of the main tasks of elementary school.

Having studied the pedagogical and methodological literature, we conclude that the formation of the skill of expressive reading of younger students will be more successful in the lessons of literary reading, subject to the following conditions: if you systematically use teaching methods aimed at developing expressive reading; if specifically for the exercises to select didactic material that contributes to the development of expressive reading skills.

Chapter 2

1 Description of the ascertaining stage of experimental research

The ascertaining stage of the pilot study was carried out in the conditions of the secondary school No. 5 L.N. Gumilyov 2015. The purpose of this stage of the study: to identify the primary understanding of the students of the class about the expressiveness of reading and its components, the initial level of the ability to read expressively.

The experiment was carried out at the lessons of literary reading in the 2nd grade on the basis of material based on the works of A.S. Pushkin and F.I. Tyutchev.

The theme is "Autumn". A.S. Pushkin "Already the sky was breathing in autumn ..", F.I. Tyutchev "There is in the autumn of the original ..". The purpose of the lesson: to introduce children to these poems, to develop the skill of conscious, expressive reading.

At the lesson, an analytical analysis of the poem by A.S. Pushkin was carried out. Particular attention of the students was drawn to the fact that when reading a work by heart, it is necessary to do it expressively, taking into account the following criteria: the sound of one's voice, volume, pauses, and the pace of reading. The teacher in the lesson was given a sample of reading.

At the end of the lesson, a survey of younger students was conducted. The questionnaire included questions aimed at identifying their attitude to reading activity.

.Do you like to read literary works?

2.How do you think you read expressively in reading class?

.Have you ever participated in dramatizations of literary works?

In the process of generalizing the obtained results, we draw the following conclusions. During the experiment, it was found that 20% of students have an average indicator, a sufficient level of expressiveness of speech when reading familiar literary works, but make intonation errors when reading unfamiliar texts. students do not always understand the content and essence of the read works and the teacher's requirements for reading them.

To continue the study in the lesson, as homework, students were asked to prepare an expressive reading of the poem by heart.

The purpose of the next lesson, for which the students prepared a poem by A.S. Pushkin “Already the sky was breathing in the fall ...” by heart, is the identification of the initial level of the ability to read expressively in students by the teacher, the primary idea of \u200b\u200bprimary schoolchildren about the expressiveness of reading and its components.

To check reading by heart in the lesson, the teacher listens and analyzes the reading of students according to the proposed criteria, the results are entered in a general table.

Evaluation paper.

No. Expressiveness criteria Evaluation 1 Correct logical stress; 2 Change in voice strength; 3 Correct intonation 4 Correct pauses; 5 Optimal reading pace. 6 Breath control The results of evaluating the expressive reading of a poem by students are presented in the table.

LevelsIndicatorsHighChildren have a high level of expressiveness of speech when reading familiar and new literary works, they have a pronounced interest and enthusiasm for the reading process. They understand well the content and essence of the works they read, and accurately fulfill the teacher's tasks after reading any works. They do not always understand the content and essence of the works read and the teacher's requirements for reading them. They are not at all interested in the process of reading, and they do not understand the content and essence of the works they read and the teacher's requirements for reading them.

Characteristics of expressive recitation of a poem

Criteria for assessing the formation of the skill of expressive reading Results in a quantitative ratio Results in a percentage ratio Correct logical stress; 550% Change in voice strength; 550% Correct intonation; 440% Correct pauses;

When analyzing the data in the table, we see that 3 people do not know how to properly control their breathing; change the strength of the voice - 5 people; choose the desired intonation - 6 people; correctly put logical stress - 5 people; pause correctly - 6 people; choose the desired pace - 4 people.

When evaluating younger students, the teacher took into account: the ability to use voice intonation during expressive reading, to observe the pace of reading, to use pauses, to put logical stress. The evaluation criteria are as follows:

Grade "4" - the student reads clearly, observes semantic pauses, highlights logical stresses, but does not express his own attitude to what is being read; intonation is broken.

Summarizing the results, they compiled a table, tried to determine the initial level of expressive reading skills of younger students.

LevelScorePercentage resultsHigh Score "5" 220%Average Score "4" 550%Low Score "3" 330%Score "2"

The obtained results show that the skill of expressive reading in 30% of students is at a low level. Only 20% of students showed a high level of expressiveness in reading a poem. Most students do not know how to read poems with proper intonation, do not keep pace, pause, read quietly and in one breath. In many ways, these facts are explained by the fact that in the 1st grade more attention was paid to general reading skills: method, comprehension, reading comprehension, so children have the most general ideas about the expressiveness of reading. Therefore, it is necessary to systematically use teaching methods aimed at developing the expressiveness of reading.

2.2 Preparation and conduct of the formative phase of the study

The formative stage of experimental work was carried out in the 2nd grade (10 students). The purpose of this stage of the study: the formation of the ability of younger students to read expressively with their awareness of the constituent components of expressiveness.

Consider how the work was carried out in the lesson on the topic: The poem by S.V. Mikhalkov "My puppy".

Lesson objectives: in the process of introducing children to a poem, develop figurative thinking and form the skill of conscious, expressive reading.

Work with class students on the formation of the ability to expressively read poems includes two interrelated areas:

1.Work on the perception of the poem (work on the linguistic features of the poem, work on the image of the hero, determining the theme and idea of the poem)

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

At the stage of preparation for expressive reading, each group of students on their desks is given cards with the task: to read lines of poetry with a given intonation:

Read with sadness

The air is empty, the birds are no longer heard,

But far from the first winter storms

And pure and warm azure pours

Read with joy!

Is in the autumn of the original

Short but wonderful time -

The whole day stands as if crystal,

And radiant evenings ...

Read attentively!

Picked up - locked up

Threw away - begged

Read - passed

Then, in the lesson, breathing exercises and speech warm-up are carried out in order to form the correct breathing of schoolchildren while reading:

a) at the expense of 1,2,3,4,5 - inhale, at the expense of 1,2,3,4,5 - exhale.

This is followed by articulation exercises. Students, voicing the lines of verses, perform the movements indicated in the text.

The foliage wakes up and the spider wakes up.

Here the head woke up and the tongue woke up.

Ama, lama, lama

Choco bala bama

Eki weki beeches.

Ama lama lama

Choco bala bama

Onee coco yucca.

Based on the completed training exercises, students formulate the goal of the lesson: to learn to read expressively, to highlight the criteria for expressive reading.

To form the ability to put logical stress and the ability to observe pauses, an exercise in the form of a riddle is proposed, the answer of which will lead to the topic of the lesson. “Who lies on the porch, and the tail is ringed?”

When reading, work is carried out on logical stress and pauses. The teacher gives the task to read the proverb "A dog is a true friend to a man" with intonation and observance of pauses and explain the meaning and find the name of the poem in the textbook. To prepare expressive reading - the criterion of correctness - vocabulary work is carried out. The following words are taken from the text of the poem:

STORAGE ROOM - an extension to the house where food is stored.

JBAN - a wooden vessel for food storage.

BEE ROY - a family of bees.

SKILLED CHEEK - the left and right sides of the muzzle look different.

LIES IN A FORMATION - lies, stretched out and does not move.

1. Stress in a word (in difficult cases) is indicated by the sign / above the letter. 2. Phrasal stress - the stress word is underlined by a dotted line logical - with one line, psychological - [P] before a word or sentence. 3. Pauses: short - with a vertical dotted line (¦ ), the middle one - with one vertical line (│ ), long - with two vertical lines (││). 4. Continuous pronunciation is indicated by an arc ∩ above words. ); lower voice - ( ); monotone - a continuous horizontal line above the words.

Students read the words and explain their meaning.

Before reading the poem itself, younger students draw up instructions with the help of a teacher on how to read expressively: read the poem several times, find out the main idea of the author, determine the main purpose of reading, must draw in their imagination the circumstances proposed by the author and try to revive them with the help of their own visions and associations . Each student has methodological material on the table: a card on which the poem is printed, and a table with the score, the children should follow the teacher's reading and mark the means of expression in the poem using conventional signs. The sample reading of the poem is given by the teacher.

In the process of reading, students should follow the text, note pauses, movement of intonation.

At the stage of primary reading, students are invited to read a passage of a poem with a certain intonation and logical stress. To do this, in the process of analyzing the poem, a conversation is held about the mood conveyed by the author, about the feelings that arose during reading, about determining the characters of the main characters and their experiences. Checking the primary perception with the help of questions: “What feelings did you have while reading the work? What excited you about this poem? What pictures came to mind in your mind? How did you imagine the main characters? Let's try to write down on the board the words denoting the feelings that we experience with the girl when we read the poem. Joy, anxiety, fear, grief, sympathy, care.

When reading the passage, we analyze which words in each line carry the main semantic load. How do we start reading the poem? In the first line, the author shows fear and anxiety. What word conveys great feelings to us? Today I lost my legs I - I lost my puppy.II

What means of expression does the author use to show the change of mood? Pauses. Read the passage where the longest pause occurs.

At the stage of debriefing, students were asked to read the sentences written on the board or on the cards, one by one, making logical stresses on one or the other word, 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 Mikhalkov's poem

We read Mikhalkov's poem.

We read Mikhalkov's poem

The purpose of this exercise: to consolidate the ability to put logical stress, highlighting the word with your voice, the phrase that determines the meaning of the whole sentence, you can work out on almost any of the poetic texts, inviting the children to voice first the first word in the lines, then the second, third, fourth.

The process of teaching expressive reading included:

1.Training exercises for the development of breathing and diction.

2.Preparation for the perception of the poem.

.Expressive reading by the teacher.

.A thorough analysis of the work with the identification of figurative and expressive means of the language.

.Compiling a score (“notes”) for expressive reading.

6. Analysis of students' reading.

2.3 Reading competition as a control stage of experimental work

The control stage of experimental work was carried out from January 12 to February 20, 2015. The experiment involved 10 students of grade 2a. The purpose of this stage of the study is to identify the level of formation of the expressiveness of reading and its constituent components by students of grade 2a.

The experiment was carried out at the lessons of literary reading.

At the lesson of literary reading in grade 2a on the topic “F.I. Tyutchev "There is in the autumn of the original ..." without a preliminary analysis of the poem, as homework, the children were asked to independently parse the poem and read it expressively.

Group work is carried out at the lesson of literary reading. Each is given an evaluation sheet with a certain criterion. Students listen to each other and analyze reading according to the selected criterion, evaluate, the results are entered in a common table.

Correct logical stress;

Correct intonation;

Correct placement of pauses;

Optimal reading pace.

Breath control

Each of the students in the group expressively reads the poem by heart. The skill of expressive reading of a poem is evaluated according to the criteria described in the ascertaining experiment.

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

Characteristics of expressive reading of a poem

When evaluating expressive reading of students, the teacher took into account the ability to change the intonation of the voice, observe the pace of reading, use pauses, and put logical stress.

The teacher determined the level of expressiveness of students' reading in accordance with the following criteria:

Grade "5" - the student reads clearly, observes semantic pauses, highlights logical stresses, expresses his attitude to what is being read; the pace of reading and intonation pattern correspond to the content of the work.

Grade "3" - the student reads quietly, highlights semantic pauses and logical stresses, but the pace and tone of reading do not correspond to the content of the work.

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

Grade Results in quantitative terms Results in percentage terms Score "5" 330% Score "4" 550% Score "3" 220% Score "2"

Let's compare the results obtained in the ascertaining and control experiment:

Criteria for assessing the formation of the skill of expressive reading Ascertaining experiment Control experiment Correct logical stress 50% 50% Change in voice strength; 50% 60% Correct intonation; 40% 60% Correct pauses; 40% 50% Optimal reading pace.

This is clearly shown in the diagram. (Appendix 2)

Let's compare the results of the survey of the ascertaining and control experiments and see how the indicators have grown.

LevelStating experimentControl experimentHigh20%30%Average50%50%Low30%20%

Thus, after analyzing the results of students' activities at the stage of the control experiment, we came to the conclusion: the dynamics of the development of expressiveness of reading was revealed. Instead of 20% at the ascertaining stage of the experiment, at the control section, already 30% of the students in the class read technically correctly, with understanding of the text, expressively, without making mistakes, with clear pronunciation, put correct word stresses, observe intonation in accordance with the content of the text. The average level of expressiveness of reading remained at 50%. When analyzing the work performed, the following problems were identified that require daily work in the lesson: during reading, pauses were not observed, the pace of reading was violated, logical stresses were violated.

Chapter 2 Conclusions

Thus, the results obtained indicate that the path from the analytical stage to the stage of automation can be passed by a child within the framework of elementary school, provided that the teacher provides a certain mode of work in the classroom:

a) reading exercises should be everyday and varied;

) the selection of texts for reading should not be random, but should be made taking into account the psychological characteristics of children and the literary characteristics of the texts and in accordance with the requirements of the program;

) the teacher should conduct systematic work on the formation of the skill of expressive reading;

) the teacher should search for optimal forms of work.

) the teacher should use an expedient system for correcting mistakes made when reading.

CONCLUSION

Expressive reading is one of the powerful means by which the teacher, in the process of working on a work of art, arouses empathy in children, helping them not only to correctly understand, but also to feel the author, to be enriched by his lofty thoughts and noble feelings, and also to capture the essence and meaning of the read text. . To form the skill of expressive reading in younger students means to learn to express feelings and thoughts in a living word, which are saturated with both a work of art and the reader's perception.

After analyzing the psychological, pedagogical and literary sources on the research problem, as well as the experience of teachers-practitioners, they gained theoretical experience in organizing purposeful systematic work aimed at developing and improving the skill of expressive reading and speech of second-grade students in literary reading lessons. Having considered the essential characteristics of the process of teaching expressive reading, they revealed the concepts of expressive reading, determined the means of expressiveness and selected exercises for the formation of the expressive reading skill of younger students, in accordance with the requirements of the Federal State Educational Standard. We also studied the methodology for organizing this process, developed and conducted lessons in which an exercise was used to form the correct breathing and articulation, setting a logical stress in a sentence, teaching semantic intonation. Students have learned to use conventions that help create a score for the text of a poem in the process of preparing an expressive reading.

The results of the experimental work showed that the theoretical and methodological knowledge acquired by the teacher makes it possible for him to consciously include exercises aimed at developing the skill of expressive reading in the educational process. All this is reflected in the results of the experiment. The expressive reading of a poem by students, in addition to emotionality, is filled with awareness, understanding of what they read. The methodological preparation of the teacher himself, his conscious choice of exercises and didactic material is reflected in the results of teaching younger students.

The ability to speak expressively, emotionally, competently and fully is the key to the successful education of younger students in the future, and also plays an important role in the process of interpersonal communication in life.

LIST OF SOURCES AND LITERATURE

1. Asmolova A.G. How to design universal learning activities in elementary school. From action to thought of teacher's guides - 2nd ed. - M .: "Prosveshchenie", 2011.- 159p

Alekseeva L.L. and others. Planned results of primary general education - M .: "Prosveshchenie", 2011.- 120p.

Gashkova I.A. magazine "Primary School" Publishing House // "First of September" No. 1, 2013 - p.23

Goretsky V.G. etc. Native speech. Textbook for grade 2 of elementary school in 2 parts, M: "Enlightenment", 2012. - p.128

Loginova O.B. etc. My achievements. Final complex work of class 2, M: "Enlightenment", 2011.- 80s.

Ozhegov S.I. Dictionary. M .: "Onyx", 2011 - 736 p.

Savelyeva L.P. Sample programs for academic subjects. Primary school - M .: "Enlightenment", 2011. - 232 p.

B.M. Bim - Bad et al. Pedagogical Encyclopedic Dictionary - M.: Great Russian Encyclopedia, 2010. - 528 p.

Savinov E.S. Approximate basic educational program of the educational institution Primary, M .: "Prosveshchenie", 2012. - 32s.

Uzorova O.V. and others. Texts on checking the reading technique M .: AST, 2010.- 224p.

Aksyonova E. V. "Festival of Pedagogical Ideas "Open Lesson" Teaching Expressive Reading to Primary School Students: festival.1september.ru

12. "Expressive reading":<#"justify">APPENDIX 1

1. Exercises for practicing correct articulation and diction.

Slow, loud and clear pronunciation of a number of syllables.

MA-SHA-RA-LA-SA-NA-GA

The game "Hard-soft": b-b, p-p, s-s ...

Intonation selection of one sound in a number of vowels

A O I S U E

A O I S U E, etc.

Setting one vowel to all others

AA AO AI AU AE

Reading the table of vowels horizontally, vertically, with the addition of consonant groups, etc.

TRA TRE TRO TRU TRY

THREE THREE THREE THREE THREE

Work on short sentences. This is the most effective technique for improving diction. The material must be selected not beaten, not bored and not familiar. The method of working on the exercise:

carefully into the meaning of the tongue twister;

gradually speeding up the pace, clearly pronounce each sound

choral and individual pronunciation of tongue twisters at a very fast pace.

Working with texts that contain sound.

Sounds allow you to enhance the phonetic expressiveness of speech, create the tone of the work, the musical atmosphere, a certain emotional and psychological mood. Repeated repetition of sounds helps to visualize the movements of the characters, to hear rustles, whistles, squeals, crackles caused by movement, movement, action.

For example:

Cockerel whispers to the cat

See that big scallop?

The cat whispers to the cockerel:

Take a step and take a bite.

Tasks to the text: What sound is repeated most often? Why? Let's break the text into parties - the party of the cockerel (1st row) and the party of the cat (2nd row).

Children are happy to work on works with a sound refrain under the guidance of a teacher.

Half class / 2 half class

Can you hear the leaves rustle? Sh-sh-sh-sh...

The leaves seem to say: -Shhhhh ...

The wind blew, we make noise, Sh-sh-sh-sh...

Break down and fly down. Sh-sh-sh-sh...

Articulation without sound

You can pronounce the text to yourself, but at the direction of the teacher, “turn on” the sound. This allows you to concentrate on certain phonetic difficulties.

Practicing correct breathing

A) After a deep breath, keep counting on the exhale as long as possible:

There are 33 Egorkas on a hillock near the hill: one Egorka, two Egorkas, three Egorkas, and so on.

B) "Blowing off the fluff" from the palm.

The most well-known technique in methodological literature is the choral pronunciation of the text with the instructions of the teacher.

For example:

Twisted in silence

The first snow and whispered: / quietly

How long have I not flown! / in a whisper /

(V. Lanzetti)

You can invite the children to compose the “score” of the text themselves, compare what they have received, and choose the most successful options.

You can read the text under the “conduction” of the teacher, showing with gestures (previously discussed with the children) the tone or strength of the voice, which changes throughout the reading. The first step of this exercise is the pronunciation of one phrase, tongue twister, line of a poem under "conducting"; the highest is the reading of an unknown text under "conducting".

Exercises for setting the desired reading speed, as well as

improving the sense of tempo and rhythm. Working off the speed of reading is most often carried out on the material of tongue twisters, combining it with work on diction. All tongue twisters selected by the teacher can be numbered and put on separate sheets for each student. In the lesson, it remains only to name the number of the tongue twister. As a result, repeated reading of the material allows you to accumulate visual images of children, improve visual and auditory memory and, as a result, the reading technique. To improve the sense of tempo and rhythm, such literary texts are good, in which tempo-rhythmic means play an important role in creating a specific image. For example, an excerpt from Y. Tuvim's poem "The Locomotive", where a correctly found gradual acceleration of the tempo-rhythm will significantly enhance a specific vision.

He stands, he sniffs, he sighs heavily,

And sweaty shirt soaked with oil,

And he breathes steam, and he breathes heat.

There is a stoker and as if he does not hear,

How heavily he breathes!

And throws coal into a huge belly.

And heavy coal there thumps deafly.

And in the hot belly it burns so brightly.

Wow, it's hot.

Poof, it's hot.

Oooh, it's hot.

little by little

On the road!

Faster, faster the wheels turned

And now all the cars rolled forward,

As if they are not wagons, but balls!

tak-chiki,

So-chiki.

The teacher's questions will help children notice the features of the tempo-rhythm of this poem.

Why are the lines so unusually arranged? (This allows you to divide the poem into parts, each of which is pronounced with a special intonation and speed, and convey movement, dynamics.)

Will reading speed increase or decrease? (Increase as the locomotive picks up speed.)

From what words will the tempo begin to increase clearly?

Why is the last line printed in steps? (It looks like balls jumping up the stairs. The author compares swinging cars with them.)

How many of you have ever seen a train leaving? Try to convey his movement with the help of claps, blows, other sounds. This is the rhythm of the movement, try to keep it while reading the poem.

Exercises for mastering the norms of the culture of pronunciation.

In the process of working on orthoepy, students should feel that compliance with the norms of literary pronunciation is one of the conditions for the expressiveness of speech and reading, that even one or two mistakes will cause irritation and can negate the artistic impression of the performance. In addition, the constant attention of the teacher to the pronunciation culture includes students, as a result of which a speech environment is created that is conducive to literate speech and the rejection of errors. In orthoepic "exercises" you can include 5-10 "tricky" words that students hear from adults in everyday life, from TV screens. For example: funds, beets, kitchen, belt, catalog, rings, start, gas pipeline, sorrel, newborn, etc. Each student pronounces the next word proposed in the “charge”, marks the stresses. Based on the results of several such “exercises”, you can hold a competition for the knowledge of “cunning” words. The desire not to lose sharpens interest in the word and quickly consolidates its literary pronunciation and stress.

Exercise for the development of logical expressiveness.

Everything mentioned above is connected with the work on the technique of expressive reading. A person who can read expressively must master not only technique, but also the means of logical expressiveness: logical stress, pauses, intonation. The trouble with many schoolchildren is that they are not very expressive in their intonation. Its impersonality occurs because the child verbally transmits the written text, without forcing himself to see and hear what will be discussed. Meanwhile, an active desire to make others see and hear mobilizes all speech means, and the main role among them belongs to intonation.

At the same time, in the work on intonation expressiveness, it is necessary to learn how to introduce one's visions and feelings into the listeners. After all, it often happens like this: “I saw”, “heard”, “imagined”, but everything remained with the speaker. It is desirable that the training exercises of this plan are not cumbersome, short, entertaining.

Arrangement of logical stress.

Task: Say the tongue twister while answering the questions.

Grandma bought Marusya beads.

a) Who bought the beads? (Grandma bought beads for Maruse.)

B) Whom did they buy the beads for? (Grandma bought Marusya beads.)

Q) Maruse beads made?

D) Grandma gave a ring?

Task: Read the sentence several times, each time highlighting the next word with your voice.

Our Tanya is crying loudly.

Work on intonation expressiveness.

A) Say the phrase: Come! in different speech situations:

Your class is going to the cinema. All in the collection, except Luda. Time is running out. It's a pity ... such a film, but she won't watch it. And suddenly Luda runs out of breath.

The class gathered for a walk, but the one who was not expected appeared.

The younger sister is not at home. You didn't find it either in the yard or at your friend's. Come home and ask your mom...

B) Pronouncing a phrase with a specific target setting of verbal action.

Saying the phrase "Misha can dance"

grieve;

be ironic;

admire;

state a fact;

The mobility of such training texts (A, B) allows the speaker to focus his volitional efforts on a small verbal material, to influence the listeners more energetically, to personally experience the joy of success or the chagrin of failure. Such exercises develop the ability not only to quickly understand and feel the circumstances given by the literary text, but also to turn reading into a real live conversation.

C) Reading by roles, dramatization.

And Beresnev. Pumpkin.

Why, tell me pumpkin

Are you all lying down?

And I'm used to it.

Why don't you visit

Are you sad all day in the grass?

I'm tied by the ponytail

Tightly-tightly to the tops!

Preparatory work.

Read the poem yourself. Whose dialogue is this? What is the nature of a pumpkin? (Lazy, slow, bored.) How to convey this when reading? (Read her phrases slowly, measuredly, quietly. And the last remark - with resentment, as if complaining.) And what can be said about the second character? (He is curious, kind, attentive.) Indeed, therefore, his second remark must be read with sympathy.

D) Work with poems-pictures. Exercises with such texts allow you to develop the imagination and fantasy of the children, their emotional responsiveness, the ability to share their vision of the work with other readers.

The moon hung on a tree

She had fun hanging

She, like a fish, shone there,

And the tree was like a net!

N. Glazkov

Close your eyes and I will read you a poem. What picture did you present? Describe her. Can you draw on paper? Will it be hard to do? What words will help you?

Working on breaks

Here, from the first days of training, you can use the symbols for pauses in the text: a short pause (/) and a long pause (//). Gradually, other terms can be introduced: middle pause, psychological pause.

Poems // - not the feet of a football player, / Not a first-grader's notebook.//

APPENDIX 2

APPENDIX 3

Lena Sh No. Expressiveness criteria Score 1 Correct logical stress; 42 Change in voice strength; 43 Correct intonation 44 Correct pauses; 45 Optimal reading pace. 56 Breath control 4

Lera G No. Expressiveness criteria Score 1 Correct logical stress; 42 Change in voice strength; 43 Correct intonation 44 Correct pauses; 45 Optimal reading pace. 46 Breath control 4

Polina V No. Expressiveness criteria Score 1 Correct logical stress; 52 Change in voice strength; 53 Correct intonation 44 Correct pauses; 45 Optimal reading pace. 46 Breath control 4

Veronika K#Expressiveness criteriaEvaluation1Correct logical stress;32Change in voice strength;33Correct intonation34Correct pauses;35Optimal reading pace.36Breath control3Oleg M#Expressiveness criteriaScore1Correct logical stress;32Voice strength change;43Correct intonation34Correct pauses;35Optimal reading pace.36

Artem K No. Expressiveness criteria Score 1 Correct logical stress; 32 Change in voice strength; 33 Correct intonation 34 Correct pauses; 35 Optimal reading pace. 36 Breath control 3

Katya S No. Expressiveness criteria Score 1 Correct logical stress; 32 Change in voice strength; 33 Correct intonation 44 Correct pauses; 35 Optimal reading pace. 46 Breath control 4

Dima A No. Expressiveness criteria Score 1 Correct logical stress; 52 Change in voice strength; 53 Correct intonation; 54 Correct pauses; 45 Optimal reading pace. 56 Breath control 5

Artem S No. Expressiveness criteria Score 1 Correct logical stress; 32 Change in voice strength; 33 Correct intonation 34 Correct pauses; 35 Optimal reading pace. 36 Breath control 3

Matvey M No. Expressiveness criteria Score 1 Correct logical stress; 32 Change in voice strength; 33 Correct intonation 34 Correct pauses; 35 Optimal reading pace. 36 Breath control 3

Introduction

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

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

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

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

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

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

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

To achieve this goal, the following tasks were set:

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

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

second grades.

3. Analyze the specific features of expressive reading.

4. Consider methods and means of teaching expressive reading.

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

The research hypothesis is as follows: the use

expressive reading increases the level of perception of artistic

works by younger students.

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

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

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

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

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

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

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

Chapter I. Expressive reading: its characteristic features and features

1.1. Expressiveness of speech and expressive reading

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

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

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

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

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

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

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

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

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

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

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

1.2. Components of expressive reading

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Skills that develop creative, recreating imagination;

The ability to properly control breathing;

Ability to correctly use the properties of the voice;

Ability to correctly set logical and phrasal stress;

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

Ability to use facial expressions and gestures;

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

Ability to control breathing;

Ability to correctly analyze the text;

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

The ability to choose the right intonation;

Ability to use logical and psychological pauses;

Ability to correctly put phrasal and logical stress;

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

1.3.1 Text analysis

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

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

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

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

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

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

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

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

1.3.3 Breath control

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

Exercises:

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

1.3.4 Selecting the desired intonation

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

1.3.5 Logical and psychological pauses

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

1.3.6 Phrase and logical stress

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

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

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

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

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

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

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

2. 1 Ascertaining experiment

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

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

Ivan Sergeevich Shmelev.

"Egoriev's day".

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

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

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

The order of the experimental work.

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

Proper breathing;

Correct intonation;

Correct placement of pauses;

Optimal reading pace.

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


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

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

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

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

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

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

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

2.2. Formative experiment

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

Formative experiment program

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

The developed program includes two interrelated areas:

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

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

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

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

Did you understand everything in the story?

What are you particularly interested in?

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

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

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

Have you heard the horn playing? Tell about it.

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

How do you imagine the old shepherd?

What is the young shepherd like?

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

Questions from the teacher after reading:

What trick did the boy use?

Why did he do it?

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

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

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

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

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

Which part of the story moved you the most?

What feelings do you have for the main character?

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

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

What does this story teach?

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

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

What do you want to say about what you read?

What mood did you feel?

What did the children look like to you?

Why was the long-awaited holiday ruined?

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

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

What does this story teach?

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

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

2.3. Control experiment

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

The order of the control cut.

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

Correct word stress

Proper breathing;

Correct intonation;

Correct phrasal and logical stress;

Correct pauses;

Optimal reading pace.

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

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

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

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

The ability to properly control breathing increased by 19%;

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

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

The ability to correctly pause - by 23%;

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

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

Conclusion

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

Expressive reading. Tutorial

I. I. Andryushina Educational literature Is absent

The manual contains the program of the workshop on expressive reading, theoretical material, texts of works of art for classroom, self-study and practical tasks for the formation of expressiveness of students' speech. This publication is designed to help students of the Faculty of Preschool Pedagogy and Psychology to master the basics of expressive reading and storytelling, necessary for their future professional activities.

Games that develop reading, ideas, complexes, recipes for adult behavior in a group of children will greatly simplify your tasks in the important matter of raising your own child. A whole chapter of the book is devoted to libraries and librarians, their problems and innovations. The book will be useful not only for parents, but also for preschool teachers, school librarians and psychologists.

Viktor Slavkin Dramaturgy Drama Library of the MTF Agency There is no data

The abrupt change of eras was still nearly 10 years away, but in the stagnant air of the 1980s, playwrights of the late Soviet period were already catching the changing moods, trying to express their generation. Victor Slavkin's play "Serso" rightfully became a legendary text of the outgoing era, perpetuating the "internal emigrants" of the Soviet period, the descendants of Chekhov's klutzes, people who were disappointed in themselves and in the country, living humbly at the time when they had to live.

“Serso” has another name, which has become a catch phrase: “I am 40 years old, but I look young”: a company of 40-year-old people who know each other to varying degrees comes to a country house for the weekend. They are all united by the owner of the house, more precisely, who unexpectedly inherited this property from his great-aunt Petushok, as 40-year-old Peter's friends affectionately call.

Having lived almost all his life in the same room with his mother (as his friends state - “he has a housing complex”), Cockerel is euphoric and calls on the assembled singles (all the heroes are also united by the fact that they have no family) to stay here forever, abandoning away from the hustle and bustle of the world and forming a squat of happy colonists.

None of them have any illusions, realizing that this idea is utopian, but for the weekend they agree to accept the terms of the game. In its form, the play is very theatrical and contains three time layers: in addition to the present time - actually the 80s - there is also a reference to Paul I (Pasha, a historian by education and an enterprising repair worker in life, mystifies the furniture in the house, hinting at that it was she who was in the emperor's bedroom on the night of the murder); and also in the 20s of the 20th century - the correspondence of the grandmother with her lover found in the house inspires the colonists to read the letters aloud in costume.

Then they lived and loved differently: imitation of that time - the unhurried play of heroes in the serso enhances the elegiac Chekhovian drama of the play. Which does not negate its social message: in any historical reality, the ideal is not achievable. According to the Hamburg account, "Serso" was staged once: in 1985, the most powerful of the directors, who is still working today - Anatoly Vasilyev - came up with an original and expressive artistic solution, succinctly placing the actors in the skeleton of a wooden house blown from all sides and seating the audience in a circle, so so that everyone can see what is happening from their own unique perspective.

Exquisite whirling of hands with the transfer of letters in a circle, red glasses and white envelopes - having narrowed the space to the limit, the director created a performance of amazing beauty and atmosphere, setting a high bar for directors of subsequent generations. But the presence of an ideal performance should not frighten, but challenge contemporaries, because the theme of loneliness in Serso does not become outdated and resonates with any time in its own way.

I. Feta are completely unusual for our era. Among the natural sciences, in addition to mathematics and physics, biology was especially close to him. He had deep knowledge in the humanities, including not only history and philosophy, sociology and psychology, but also literature and art.

Abram Ilyich was fluent in seven European languages. The circle of his reading was huge, and he unmistakably determined the true meaning of each book. Those that he considered especially important, he translated for Samizdat, which was especially important under the totalitarian system of power and strict censorship.

It was he who first introduced the Russian reader to the main works of Konrad Lorenz, Eric Bern, Eric Fromm and many others. Performed by: Alexander Bordukov Publication producer: Vladimir Vorobyov © Copyright EricBerne «Games People Play» © translated by A.

The manual contains 32 texts with control questions, a certain number of words and standards for assessing reading technique for weekly and tests in grade 2. Reading speed is the number of words read in 1 minute. The student must read expressively, without changing the pace of reading, observing punctuation marks, clearly pronouncing the words.

Reading speed standards for grade 2: at the end of the first half of the year 35–40 words per minute; at the end of the second half of the year 45–50 words per minute. In order to develop the skill of reading, it is necessary to conduct a reading speed test every week. With a methodically correct learning process, the student is able to achieve these results and even surpass them.

Decrees of fate

Valentin Tumaikin Modern Russian literature Is absent

The intriguing storylines of the novel, bizarrely intertwined, tell about life in a distant Don farm in the critical 80-90s of the XX century. Difficult ways are the main characters to their happiness. They prove their right to love in every possible way. But they fail to find peace and tranquility.

The end of the novel is tragic. The peculiar manner of narration with many bright lyrical digressions makes reading exciting. Subtle humor and sad sarcasm paint an expressive and realistic picture of events. A large volume of work is read in one breath.

After each text, control questions are given that allow you to check how consciously the student perceives what is read, as well as standards that the teacher can use to objectively assess students' reading skills. The number of words in the texts is given in brackets.

Reading speed standards for grade 4: at the end of the first half of the year 95–100 words per minute; at the end of the second half of the year 110-120 words per minute. In order to develop the skill of reading, it is necessary to conduct a reading speed test every week. With a methodically correct learning process, the student is able to achieve these results and even surpass them.

The guide is for teachers and parents.

The manual contains the program of the workshop on expressive reading, theoretical material, texts of works of art for classroom, self-study and practical tasks for the formation of the expressiveness of students' speech. This publication is designed to help students of the Faculty of Preschool Pedagogy and Psychology to master the basics of expressive reading and storytelling, necessary for their future professional activities. The manual is intended for students studying in the specialties 031100 "Pedagogy and methods of preschool education" and 030900 "Pedagogy and psychology preschool".

* * *

The following excerpt from the book Expressive reading. Textbook (I. I. Andryushina, 2012) provided by our book partner - the company LitRes.

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

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

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

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

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

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

He confirmed the most important principle - everyone can become a speaker if he spares no time and effort.

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

The besieged met such help with distrust and ridicule. But when Tyrtaeus spoke, the power of his eloquence, the fieryness of his words were so strong and contagious that the besieged perked up, with fury rushed to the superior forces of the enemy and won.

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

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

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

At the end of the 18th century, classical recitation became widespread in Russia - a grandiloquent, pompous, elevated-singing manner of pronouncing the text, common at that time in France. This manner, far from natural, lively speech, corresponded to the tastes of high society. Here is what L. N. Tolstoy wrote about this: “The art of reading was considered to be loud, melodious, between a desperate howl and an inanimate rumble, pour words, completely regardless of their meaning ...”

In the XVIII century. principles and methods were determined by the requirements of the aesthetics of classicism. The peculiarity of dramaturgy was that its static images-schemes were a kind of "mouthpieces" of the author's ideas. The central place was occupied by monologues, they revealed the meaning of the work. The task of the actor was to utter high-sounding and pompous monologues in a bright, spectacular, solemn manner, which set out the author's point of view on the problems of love, honor, good and evil. There was a single canonized manner of performance. The words were spoken very loudly, almost every one was accompanied by gestures. The words "love", "passion", "treason" were shouted out as loudly as they could.

If we trace the direction of the development of speech art, then we can say that interest in the issues of stage speech and its technology developed from external to internal, from questions of form to questions of content.

To fix the external signs of human experience, to learn how to use them and portray feelings with them - such was the beginning of the actor's work on the word in the theater of classicism. Late 18th and early 19th centuries – the life of the theater passed under the sign of the power of the WORD. The words of a formal, canonized, brilliant, incorporating the richest experience of classical theater.

The word determined the skill level of the actor. Possession of the word, canons of intonation, rhythm and melody of verse, fluency in declamatory laws, a fundamental role external technology in acting were the aesthetic criterion of acting.

To convey every feeling, every thought, the theory and practice of classicism established one, once and for all, given way of expressing them. Phrases and syllables were heavy, pompous, unnatural, melodious.

Example."Complaint" has a slow pace, individual words are pronounced for a long time, the tone is muffled, and its force is moderate. By the strength of the voice, the emphasis is especially placed on vowels, turning almost into singing.

The declamatory art of the actor consisted in a brilliant mastery of external speech technique, which was considered a means of creating a role and was required from the actor in the first place. It should not be forgotten that at that time the theater was mainly a performance theater and in recitation, students were given purely technical tasks of training voice, pronunciation and breathing.

At the same time, another tradition of performing epics, historical dramas, legends, and fairy tales existed and developed in Russia - folk. At first, folk poetry was also inextricably linked with musical melody and melody. There was also a “Homer” in Russia - a native of the village of Kartashova, Kizhi region (Kizhi is an island on Lake Onega, in Karelia, where the world-famous Museum of Wooden Architecture is now located), the blind storyteller Mikhail. His name was Mikhailo the Blind. “Such a singer with a harp,” the old people said about him several decades after his death, “has not happened and will not be for another hundred years, and Mikhaila’s memory will not be forgotten.” The distinction between classical recitation and the unpretentious colloquial style of folk narrators has been carved out over many centuries. There were also many female storytellers in Russia. Nanny Pushkin is far from the only Russian storyteller. There were many other equally famous Russian "Homers". One of the most famous is Nastasya Stepanovna Bogdanova, who learned her skills from her grandmother Gavrilovna, whom her fellow villagers called Shapsha for her lisp.

Gradually, the natural manner of performance, without musical accompaniment, replaces the epic song.

The official, far from natural manner of performance irritated the best representatives of society in the 19th century. The assembly halls of political and literary societies, university auditoriums, secular and literary salons were in the first decades of the 19th century. the main arena for the development of the art of artistic reading.

A. S. Pushkin writes to his brother Lev from Chisinau, obviously punning: “I hear from here the dramatic-solemn roar of Glukhorev.” It is indicative that Alexander Sergeevich loved and highly appreciated folk performing arts. So, in one of the versions of the drama “Boris Godunov”, through the mouth of his ancestor Gavriil Pushkin, he explains the poet’s occupation: “Pit ... How should I say? In Russian - virshepisets. Ile buffoon." A. S. Pushkin would like from the performers "a deep understanding of the role." The poet himself, being a wonderful reader, in his own performance sought to convey to the listener all the passion of poetic thought. The main thing for him was a deep penetration into the semantic side of the work, its ideological content. According to contemporaries (Krylov, Gogol), the reading of A. S. Pushkin was distinguished by simplicity, musicality and emotional richness. Another prominent representative of the literary community of the XIX century. and I. A. Krylov was a wonderful storyteller.

Ivan Andreevich Krylov(1768–1844), a Russian writer, fabulist, playwright, journalist, publisher, argued that a good performance technique must be combined with the depth and sincerity of conveying the meaning of the work in a recitation. Krylov knew how to conduct a conversation brightly and simply, where with light humor, and where caustically and evilly ridiculing human delusions and vices. He did not read his fables, but retold them, as if continuing the conversation with the interlocutor; was able to give a figurative idea of the subjects of reading by means of speech. He founded a whole trend, the followers of which were M. S. Shchepkin, I. F. Gorbunov, P. M. Sadovsky. This direction is literary storytelling.

In the early 1860s, author's readings became widespread in Moscow and St. Petersburg. The speeches of N. G. Chernyshevsky, M. E. Saltykov-Shchedrin, T. G. Shevchenko, N. A. Nekrasov before the broad strata of the advanced intelligentsia, before the students acquired the character of such a large social phenomenon that the government of Alexander II considered it necessary in 1862 Publish "Rules for Literary Readings".

“The Sovereign Emperor, with the highest command, deigned to decide the following rules for literary readings in St. Petersburg ...” Further, in 5 paragraphs, strict censorship was established for persons wishing to arrange literary readings in public places.

The question of the need for broad and versatile professional training of performers arose more and more acutely. N. V. Gogol, V. G. Belinsky, A. N. Ostrovsky, M. S. Shchepkin spoke about the upbringing of naturalness and organicity in an actor. The main thing, in their opinion, is to be able to convey the idea of the work, understand the word, deeply perceive it and convey its meaning to the listener in a simple, clear and intelligible form.

Mikhail Semenovich Shchepkin(1788-1863) - the first and greatest Russian realist actor, reformer and progressive figure of the Russian stage, founder of the art of artistic reading. Shchepkin was a lover of short oral stories, the source of which was either literary works revised by him, or personal observations. It is known that Gogol and Herzen drew material for themselves from the artist's oral stories. For example, "The Thieving Magpie" was recorded by Herzen from the words of Shchepkin. M. S. Shchepkin especially liked to speak impromptu among acquaintances and at meetings of literary circles, where he read couplets from vaudevilles, monologues from plays. Then the artist performed his stories from the stage.

“An actor of powerful capabilities, he exhaustively fulfilled the tasks that were put forward by the general course of Russian theatrical history, and the immutability of his discoveries expressed the patterns that determined the main lines of the further development of the Russian theater,” the researcher of his work O. M. Feldman. Struggling for the realism of artistic reading, M. S. Shchepkin, first of all, strove for simplicity and naturalness, while at the same time achieving passionate imagery. It was he who approved the form of public public speaking, all varieties of modern literary stage originate in his work.

The democratic traditions of the author's performance of short stories continued and developed in the work of Prov Mikhailovich Sadovsky(real name Ermilov; 1818–1872). Like Shchepkin, Sadovsky liked to talk in the company of friends and acquaintances. He often improvised and was perhaps the first to begin to tell various everyday scenes “in faces”.

The names of M. S. Shchepkin and P. M. Sadovsky are most directly connected with the Maly Theater. The Maly Theater arose during the rise of national consciousness caused by the Patriotic War of 1812. Closely associated with the Pushkin and Gogol traditions of Russian literature, it developed at the time of the Decembrist liberation movement.

Ivan Fyodorovich Gorbunov(1831-1895) - the largest Russian storyteller, playwright, historian of the Russian theater and theatrical collector, who initiated the collection of funds for the future remarkable repository of the Leningrad Theater Museum. The topics of his stories were all the social strata of the then Russia, mainly the peasantry, merchants, urban philistinism. The activities of I. F. Gorbunov in its first period (until the 1860s) seem to close the early stage in the development and formation of the Russian literary stage. Thus, the development of the art of artistic reading was influenced primarily by writers and poets, the traditions of performing oral folk art.

In the nineteenth century The Maly Theater becomes the citadel of realism in Russian stage art. The works of A. S. Pushkin, A. N. Griboyedov, N. V. Gogol, and later A. N. Ostrovsky are the main repertoire of the theater. The significance of the Maly Theater for the development of theatrical art can be compared with the "Mighty Handful" in music and the Wanderers in painting. The theater troupe represented a rare combination of first-class acting talents, perfectly understanding the social nature of the realism of the Maly Theater.

The directorate of the imperial theaters, an organ that performed the functions of gendarmerie supervision in relation to the Russian stage, oppressed the actors in every possible way. The morals of this public, which tried to dictate its tastes to the Maly Theater, were angrily branded by A. N. Ostrovsky: “There is nothing more fruitless for the progressive movement of art than this European-dressed public, which does not understand either the dignity of the performance or the dignity of the play.”

Only the second half of the XIX century. brings victory to the realistic trend in the performing arts. A great merit in this belongs to the great Russian artist, champion and founder of realism on the Russian stage - MS Shchepkin.

Already in 1909, Alexander Ivanovich Yuzhin (real name - Sumbatov, Sumbatashvili(1857-1927) - Russian and Soviet actor, playwright, theater figure) wrote: “Our theater is a Russian theater<…>Russian life is the main, if not the only subject of his artistic reproduction in her past, in her present, even in her future.

The Maly Theater introduced a deeply popular, democratic trend into the performing arts.

Highly ideological, advanced for their era, literary works were excellent material for performers. After all, without A. S. Pushkin, N. V. Gogol, I. A. Krylov, there would be no Shchepkin, Sadovsky, I. F. Gorbunov. Without N. Nekrasov, the fruitful activities of Nikitin and M. N. Ermolova would have been unthinkable. Russian writers not only gave the literary stage a full-fledged repertoire, but also outstanding readers: A. S. Pushkin, N. V. Gogol, A. N. Ostrovsky helped to form the performing style of actors-readers and occupied a prominent place in the general process of developing the art of artistic reading . “I am glad that we have begun public readings of writers' works. Only skillful reading can establish a clear idea about poets. Skillful readers should be created in our country. I think that public readings will eventually replace performances with us ... ”N.V. Gogol wrote.

And yet it was not yet an independent art form, but a kind of theatrical art. Only in the 1920s, with the assistance of A. V. Lunacharsky, did this art form begin to develop as an independent one. In the first decades of the XX century. attempts were made to develop new directions in the theory of eloquence. These searches are most clearly reflected in the materials of the Living Word Institute, which was opened in 1918 in Petrograd and existed until 1924. Its originators were the largest scientific and public figures of the country: A. V. Lunacharsky, S. M. Bondi, L V. Shcherba, A. F. Koni and others. The Institute proclaimed its goal the training of masters of the living word in the pedagogical, socio-political and artistic fields, as well as the dissemination and popularization of knowledge and skills in the field of the living word. Detailed programs were published by N. A. Engelgardt “The program of lectures on the theory of eloquence (rhetoric)”, F. F. Zelinsky “Psychological foundations of ancient rhetoric”, A. F. Koni “Living word and methods of handling it in various fields ". These programs reflect the last rise of scientific thought in the theory of eloquence, followed by its deep fall. Already in the 20s of the XX century, rhetoric was excluded from the practice of teaching at school and university.

“I am absolutely convinced that a whole abyss of artistic pleasures, psychological depths, innermost beauties will emerge before the culture that will be the culture of resonant literature, when poets, like ancient troubadours, will sing their works ...” This is how A. V. Lunacharsky put the question, speaking on November 15, 1918 at the opening of the State Institute of the Living Word. The speaker emphasized: “In my opinion, a person who, having taken a book, reads it to himself and who does not know what artistic reading is, because he has not heard it or is not interested in it, but cannot reproduce it himself, is a person , in fact, illiterate in the matter of artistic speech.

And he cannot know Pushkin, because he cannot really read Pushkin. With regard to each poem, we can say that it has a thousand nuances, and therefore each poem can be performed in a hundred different modes and at the same time be a work of art a hundred times. And only with such a study, with such an attitude, do you really master the poet, otherwise you have some kind of cold, frozen remnant of that feast that literature really should be.

Unfortunately, these institutions did not last long. A tense ideological struggle unfolded around the problems of the "living word". Methods and techniques of working on a living word, solving questions of speech technique, intonation, etc., in essence, were taken entirely from the arsenal of the theory of recitation of the 19th century, although they were covered with slogans about the need for revision. The teaching of the art of the sounding word took place in these institutes under the sign of idealistic and formalistic concepts. The most prominent teachers and theorists were V. Serezhnikov and V. Vsevolodsky-Gerigross. By the mid-1920s, the institutes were closed.

The basis of the modern theory of the art of artistic reading is the theory of K. S. Stanislavsky. At the heart of everything is the WORD; questions of the word, methods of mastering it are the subject of a careful study of the theory of the skill of the actor.

“Nature arranged it so that when we verbally communicate with other people, we first see with our inner eye what is being discussed, and then we talk about what we saw. If we listen to others, we first perceive with the ear what they say to us, and then we see with the eye what we hear. Listening in our language means seeing what they are talking about, and speaking means drawing visual images ”(K. S. Stanislavsky).

A. Ya. Zakushnyak, V. Yakhontov, young V. V. Mayakovsky are the first Soviet readers who laid the foundation for the development of the art of artistic reading as an independent art form. Their successors were D. N. Zhuravlev, S. Kocharyan, N. Efros, I. V. Ilyinsky, I. L. Andronikov and others. Currently, the art of artistic reading is being developed and improved by the efforts of such remarkable artists as Mikhail Kozakov, Oleg Tabakov, Sergei Yursky, Veniamin Smekhov, Alla Demidova and many others.

The art of the artistic word, like other types of art, is of exceptional importance in the social life of a person, it helps us to understand the world around us and at the same time delivers incomparable pleasure. Psychologists say that computers, modern virtual reality have pushed aside the living word, book culture and, as a result, the culture of communication has noticeably fallen, literacy is falling. In direct connection with this, the problem of finding effective methods of pedagogical work that can help restore the high mission of literature, activate the moral and aesthetic role of reading, introducing a growing person to high art, increase the level of personally valuable reading activity, - "reading as work and creativity" of children at home, in kindergarten, at school and cultural and educational institutions.

Work on speech technique

Expressive reading is an independent area of the performing arts, developing on a literary basis.

There are significant differences between the art of artistic reading and dramatic art:

1. Communication with the viewer, not with a partner.

2. The story of the events of the past, and not the action in these events.

3. The story is told as if "from oneself", from one's "I" with a certain attitude to the events described, with an assessment of the images, and not through reincarnation into the image. The performer replaces the author, narrates on his behalf and at the same time remains himself.

4. Lack of physical action.

However, the analysis of the text and its preparation for execution are carried out according to uniform laws formulated by K. S. Stanislavsky.

The preparation process should take place in the following sequence: first, the work of the narrator is carried out in contact with the author, that is, the desire to fully understand the author, to accept the world of his ideas, thoughts, feelings; then continue to work on the transmission of the story, focusing on the feelings of the audience. A story can be considered complete when the narrator has freed himself from feeling like a person from the outside, and from technical suffering.

At the next stage, the technical development of the story in its sound takes place: tone, intonation, tempo, rhythm, etc. Then a speech score of the text is compiled. It is important for the narrator to find the main tone that expresses the idea and style of the work as a whole, to correctly convey its main character.

In addition to the main tone, it is necessary to follow the lively expressive intonation. Expressiveness is created not only by intonation, but also by accentuation, semantic stresses, and a slight underlining of some words.

Pause plays an important role in the performance of the piece. It is necessary to distinguish one thought from another, to complete the image, action and move on to another. There are several types of pauses: pauses confirming punctuation marks; pauses that contradict punctuation marks (designed for psychological effects and are given in places of high emotional stress); pauses accompanying the end of the line, etc.

The facial expressions and gestures of the reader, the narrator should be simple, natural and, most importantly, should be used in moderation so as not to distract the listener.

An important issue in the preparation of a reader is the attitude to the language of the author. Therefore, to understand a work does not mean to tell it in your own words, but it means to understand the language of the author, to convey his thought.

The beauty, strength and lightness of the voice, the richness of dynamic effects, the musicality and melodiousness of speech depend on breathing. Proper breathing contributes to the physical development of the vocal apparatus, relieves general and vocal fatigue; enriches the speech voice, has a beneficial effect on the health of the student; protects the speech voice from overwork, premature wear.

Breathing during gas exchange:

1) is done automatically;

2) inhalation is equal in duration to exhalation;

3) the order of the elements of the respiratory process: inhale, exhale, pause.

Breathing during speech:

1) the respiratory movement is more subject to the will;

2) the inhalation is shorter, faster, and the exhalation is slow;

3) the order of the elements of the respiratory process: inhalation, exhalation, interrupted in connection with the pronunciation of words, phrases.

There are several types of breathing: chest, abdominal, mixed-diaphragmatic.

During chest breathing, movements are made in the upper and middle parts of the chest. The inhalation is tense, the shoulders rise, the participation of the diaphragm in the process of breathing is weak, the load during breathing leads to air overflow, and when exhaling, to insufficient activation of the abdominal muscles and rapid fatigue of the voice.

During abdominal breathing - respiratory movements are performed in the lower part of the chest with the active lowering of the diaphragm during inspiration. The positive side is that during inhalation, the lower, more extensive part of the lungs is filled. The negative side is the limitation of exhalation, its lack of dynamism and difficulty in using it during movement. The passivity of the middle and upper parts of the chest affects the quality of the sound in the sense of its deterioration.

With full, mixed-diaphragmatic breathing, the chest expands in the longitudinal, transverse and anteroposterior directions. Thus, the chest, diaphragm and abdominal muscles take part in the process of breathing.

Violation of posture almost always leads to a violation of the correct breathing process!

Respiratory muscles, muscles of the larynx, pharynx and oral cavity work in close relationship and interdependence. Too much inhalation creates excessive tension under the vocal cords - the voice loses its inherent timbre, sounds stifled, unpleasant. Excessive breathing deprives the voice of strength, smoothness, sonority. Too much air can lead to an attack of suffocation and shortness of breath, despite an adequate supply of oxygen in the lungs.

It is advisable to alternate sound breathing exercises with breathing exercises during mental reading. Breathing exercises with mental reading during the exhalation phase is one of the most effective forms of training work on mastering proper breathing.

It is necessary to combine breathing with movement, since breathing, trained for a long time in a static position and without sound, is upset during movement and speech, its correctness and rhythm are disturbed, chest and abdominal breathing is discoordinated, nasal inspiration is turned on, which in practice leads to a deterioration in speech sound and breathlessness.

Development of nasal breathing

Scientists have proven the advantage of nasal breathing over oral breathing: constant breathing through the mouth disrupts gas exchange in the lungs, the ventilation of the middle ear, which communicates with the nasopharynx, is disturbed, which can impair hearing, lead to congestion in the nasal cavity and cranial cavity, which may increase intracranial pressure, runny nose, sinusitis, headaches may occur.

At the first acquaintance with exercises for the development of nasal breathing, exhalation should be done silently; then, as you exhale, pronounce the consonants M or N for a long time.

EXERCISES:

1. Press the right nostril with your finger, inhale through the left nostril; pinching the left nostril, exhale through the right. Then vice versa. Repeat alternately 4-6 times.

2. Stroking the nose (lateral parts of the ridge of the nose) from the tip to the bridge of the nose with the middle or index fingers of both hands, inhale. As you exhale, tap the index and middle fingers of both hands on the nostrils. Repeat 4-6 times.

3. Stroke the nose while inhaling with the same movement. Then, while inhaling, rest the ends of the index fingers against the wings of the nose and, as the air stream passes through the nose, make rotational movements, as if screwing in the fingers. Repeat 4-6 times.

4. On exhalation, with a short, quick movement, run your index finger along the lower part of the nasal septum from the groove under the nose to the tip of the nose, slightly lifting it up. During exhalation, then cover the nostrils for a short time with the thumb and forefinger of the right hand, interrupting the breath, then open the passage for the air stream. Repeat 4-6 times.

5. Inhale - stroke the nose, as in exercise 2. As you exhale, in a circular motion, pat the sides of the nose, forehead, cheeks with the fingertips of both hands. Repeat 4-6 times.

6. Mouth open. Breathe in and out through your nose. Repeat 10-12 times.

7. Expand the nostrils - inhale. On exhalation, the nostrils assume a resting position. Repeat 4-6 times.

8. Inhale through the nose, slowly exhaling through the nose, with a calm, gentle movement, turn your head to the right, to the left; return to the starting position (hereinafter - i.p.). Inhale through the nose, as you exhale, raise your head, lower it, take SP. Repeat 4-6 times.

9. I.p. - standing, hands down, mouth open. Inhale through your nose, and at the same time spread your arms to the sides. On a slow exhale through the nose, lower your hands. Repeat 4-6 times.

10. I.p. - standing, hands down, mouth open. Inhale and exhale through your nose. As you exhale, raise your arms up, put one foot back on the toe. Returning to the SP, exhale. Repeat 4-6 times.

11. I.p. - standing, legs together. With a quick, light, smooth movement, raise your hands up, interlace your fingers and turn your palms up. As you inhale, rise on your toes and stretch well up. As you exhale, slowly lower your arms to the sides. Return to I.P. Repeat 4-6 times.

12. I.p. - sitting, hands on the belt. As you inhale, take your elbows back. As you exhale, bend low, put your hands on your knees. Inhale and exhale through your nose. Repeat 4-6 times.

13. I.p. - sitting, hands on the belt. As you inhale, spread your arms to the sides, while exhaling, raise your shoulders with your hands. Inhale and exhale through your nose. Repeat 4-6 times.

14. I.p. - standing. On a short breath with your nose, spread your arms to the sides. Exhalation through the mouth, short, with the simultaneous pronunciation of the sound X; while exhaling, hug your shoulders with your hands. Repeat 3-4 times.

Mastering mixed-diaphragmatic breathing

Particular attention during training should be given to the work of the abdominal muscles. They are antagonists of the powerful inspiratory muscle - the diaphragm - and together with it create the support necessary for the voice.

All movements during training should be smooth, even if they are done at a fast pace. A tightened lower abdomen involuntarily makes you straighten up, creates conditions for correct posture and prevents breath overload that is harmful to the voice.

EXERCISES:

1. Stand straight, feet shoulder width apart. Tighten the lower abdomen, firmly squeeze the muscles of the buttocks, then quickly and easily inhale through the nose. Fixing attention on the lips, slowly exhale air through a narrow hole between the compressed lips, mentally counting to 10, 12, 15, etc. One hand lies on the abdominal cavity, the other on the ribs. When inhaling, hands note the expansion of the lower and middle parts of the chest and a slight protrusion of the abdomen. This is maintained almost until the end of the exhalation, since the abdominal press, gradually and gently pressing on the dome of the diaphragm that descended during inhalation, pushes it up - the breath flows out in an even stream through the hole in the lips. The belly and tight cage fall off very slowly. The lower abdominal muscles serve as a regulator. Consequently, the conscious process of breathing occurs as follows: the lower abdomen is pulled up, the muscles of the buttocks are compressed - a short breath is taken through the nose - the air is slowly exhaled with a mental count; then there is a short pause of rest, during which the muscles relax.

ATTENTION: the tension of the lower abdominal muscles and the muscles of the buttocks involuntarily makes a person straighten up, freely and easily throw back his shoulders, keep his head straight.

Muscle tension during work on phonation breathing should be farther from the working organ - the larynx, which is why it is so important to constantly monitor the freedom of the muscles of the neck and shoulders.

2. Sitting on a chair, firmly squeeze the muscles of the buttocks; take a breath in through your nose and gradually exhale air through a narrow hole between your pursed lips, mentally counting up to 10, 12, 15, etc. After each given count, relax your muscles. Attention is fixed on a thin stream of exhaled air. The longer the exhalation, the thinner and sharper the stream of air.

After 2-4 repetitions of this exercise, when the breath freely fits within the set time, you can begin to count aloud. Count smoothly, do not shout. It is important to strive to ensure that after the end of the given text there is a small amount of air left.

Drawing in air "through a straw" - shoulders do not rise. Inhalation during training is always done through the nose, even when the mouth is open.

Breathing exercises can be divided into the following groups:

1) Breathing exercises in the prone, sitting, standing position, the task of which is to master the technique of mixed-diaphragmatic breathing with the activation of the abdominal muscles, conscious regulation of its rhythm, the correct ratio of inhalation and exhalation.

2) Breathing exercises with specially selected physical exercises that facilitate the correct inhalation and exhalation and help to consolidate the skills of full, mixed-diaphragmatic breathing with the activation of the abdominal muscles during inhalation and exhalation.

3) Breathing training when walking, climbing stairs, performing some labor processes, which should help to consolidate and use in life the skills acquired in special breathing classes.

4) Breathing training while reading texts using the skills acquired in the previous exercises. The goal is to learn how to distribute the exhalation into certain parts, dictated by the content, logic, syntax of the author.

End of introductory segment.

The modern school is faced with the issue of the development of the personality of students. In this regard, the issue of increasing the educational significance of reading lessons in elementary school is of great relevance, 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 reading, be expressive. Productive reading - communication of children with a book is impossible without teaching them expressive reading, tk. expressive reading helps to better understand and realize the experience contained in each work.

Teaching expressive reading is a school for educating students in the 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 being read, 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 a mass school and the teacher's lack of understanding of the need for purposeful formation of reading activity in younger students.

We have developed a questionnaire and offered to ten primary school teachers of our school to answer questions related to the expressive reading of younger students. ( Appendix 1)

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

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

The importance of expressive reading for elementary school students was discussed by N.A. Korf is a teacher and organizer of public schools. He highly appreciated expressive reading in the aspect of public education. The expressive reading of this teacher was interested as a means and result of the level of understanding by students of folk schools of someone else's written speech.

General provisions put forward by N.A. Korf, in relation to primary education back in the 19th century, retain their significance to this day.

The second important figure in developing the issues of teaching expressive reading to junior schoolchildren is D.I. Tikhomirov. He is called the “teacher of teachers”, because. he gave the elementary school teacher not general (pedagogical), but particular (methodological) recommendations. He wrote down every recommendation in detail. It was Tikhomirov D.I. For the first time, he drew the attention of a teacher of a folk school to where to raise and lower your voice when reading, how to correctly put a logical stress. “In order to let the student feel the importance of logical stress, it is necessary at first to exercise the student for this purpose on separate phrases, transferring the stress to each word in turn, and paying attention to the change in tone in the sense of the phrase, due to a change in the place of stress” As a material for exercises in expressive reading, D.I. Tikhomirov suggests using proverbs. In his opinion, "... it is the teacher who shows the children the model for the correct pronunciation of proverbs."

To work out 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 the fable for the first time. The main exercise that develops the expressiveness of the child's transmission of "alien thoughts" and feelings is role-playing. "These exercises lead to the child's awareness of what is depicted in the book through the art of the word."

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

Ostrogorsky V.P. noted the great educational value of expressive reading. It, teaching to control the voice and breath, not only develops the voice, but also strengthens the lungs; it corrects deficiencies in pronunciation; by forcing 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 “dumbing and meaningless cramming of lessons ... accumulates, at the same time developing taste, feeling and imagination.” Expressive reading Ostrogorsky V.P. defined as sensible and pleasant pronunciation by heart and reading from a book of poetry and prose. Expressive reading is an art "which, like music and drawing, can be largely learned."

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

“The richer the language system, the more opportunities to vary speech structures, providing the best conditions for communicative speech impact. The more extensive the speech skills of a person, the better the speech communicative qualities - accuracy, correctness, expressiveness. The culture of speech is, first of all, the possession of language norms in the field of pronunciation, stress, word usage.

So, for example, F.I. Buslaev wrote that “... the first and most important thing is to develop a practical ability, which consists in understanding what is expressed in the forms of speech, and using them in the right way, that is, as educated people speak, oral speech about objects of reality, attentive reading. Oral and written exercises form in the student the ability to correctly understand the forms of speech in conversation and 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 words” among 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 this work of art in the mouth of the performer becomes a new phenomenon of art, remaining at the same time the author's, the writer's. 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 affects the listener, his imagination, emotions and will.

L.A. Gorbushina reveals this concept in the following way: “Expressive reading is intonation-correct reading. To read a work expressively means to find the means of oral transmission of ideas, feelings embedded in the work. This means finding means of emotional impact on listeners and conveying the correct attitude to 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 the following way: “Reading is usually called expressive, in which the performer, using special language 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, which helps the student to understand the content of what he read and express his attitude to this content, thereby approaching the inner world of the hero, perceiving the mood and feelings that excite him as his personal .

The ability to expressively read is an integral part of the reading skill of younger students. 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 the technical expressiveness of reading:

- the ability to correctly distribute one's breathing when pronouncing the text aloud (short breath, long exhalation during speech, subject to the natural, rhythmic flow of this process);
- the ability to clearly, clearly, “flying” to pronounce sounds, to find the degree of volume naturally and organically;
- the ability to spell-epic correctly read the text.

2. Skills related to the logical expressiveness of reading:

- the ability to use different types of pauses: logical and psychological;
- the ability to correctly highlight logical stresses when pronouncing the text aloud;
- the ability to realize in reading the most diverse shades of logical melody;

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

- the ability to recreate complex mobile visions in your imagination;
- the ability to express one's attitude to what is being read;
- the ability to influence their reading on listeners;

Teaching expressive reading is considered by us from the perspective of developing and learning activities, therefore, at the beginning of the work, we determine the methods of action together with the students. They are guidelines for how to work. Then the students work independently, without the help of a teacher.

The mastery of breath control during reading lies in the fact that it does not in any way interfere with the reader to read, and the listener to listen. However, more than one breath is important for the expressiveness of speech.

Exercise 1.

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

Exercise 2.

to consonant sounds m, l, n add vowels one by one and, uh, a, o, u, s and pronounce smoothly and lingeringly: mmi, mme, mma, mmo, mmu, mmy.

Good reading is important diction.

In the system of work on expressive reading, it is necessary to allocate time for special classes in pronunciation techniques. You need to start with the simplest - with sounds. Work on speech should set as its task the development of phonetic clarity.

For articulation gymnastics, you must use the following exercises:

1. Clearly pronounce vowel sounds, opening your mouth wide.
2. Reading direct syllables.
3. A consonant is attached to each vowel, for example:

be-ba-ba-bo-bo-bo-be.

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

“Patter,” taught K.S. Stanislavsky, - it is necessary to develop through very slow, exaggeratedly clear speech. From the long and repeated repetition of the same words, the speech apparatus is adjusted so much that it learns to perform the same work at the fastest pace.

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

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

1. Say a word.

Would be a friend
There will be ... (leisure).

When performing this exercise, children cannot pronounce the agreed word with the wrong stress. Such passages of poetry can be learned by heart.

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

“When he saw his best friend, he started laughing happily.”

From the technical side of oral speech, let's move on to the consideration of issues related to intonation means of expression.

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

It is the intonation, from the point of view of Kubasova O.V., 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, 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 defines his performing task, then his intonation during reading will be natural and expressive.

According to O. V. Kubasova, logical stress is the allocation of the main words in terms of semantic load by the voice.

“Stress,” wrote K.S. Stanislavsky - the index finger, marking "the most important word in a phrase or in a text!". “A stress that has fallen into the wrong place,” wrote K.S. Stanislavsky, “distorts the meaning, cripples the phrase, while, on the contrary, it should help to 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.

The meaningful pronunciation of a sentence requires its correct division into links, measures. The segmentation of speech is indicated by pauses.

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

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

Line breaks 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, its nature. However, often teachers, struggling with the mechanical arrangement of line-by-line pauses, require the arrangement of pauses only in accordance with punctuation marks. This is mistake; such reading will turn poetry into prose.

For example: Fog fell on the field,
Noisy geese caravan
Pulled south. (A.S. Pushkin)

Here, after the word “caravan”, a pause is needed. Firstly, short, and secondly, filled with content, suggesting a 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 Kubasova O.V., “is always rich in internal content, eloquent, since it reflects the attitude of the reader to what he says”

Stanislavsky wrote: “Eloquent silence is a psychological pause. She is an extremely important instrument of communication” He noticed that she “is by all means always active, rich in inner content”. A pause can take place: a) at the beginning of a phrase or before some word; b) within a phrase, between words - then it emphasizes the relationship between the previous and subsequent thoughts; c) at the beginning of the phrase, after the words read - then it detains attention on the words that have not sounded.

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 a few seconds.

Given all of the above, the teacher should teach students that before stopping while reading, they should think carefully about whether this pause is needed, what meaning this phrase acquires if any pauses are removed in it, what will happen to the text if in it to designate new pauses. Gradually, students get used to checking the correctness of the 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 a strong inner excitement, the intensity of the events of the story. The author proposes to take for practical work with students the simplest cases of determining the place of a psychological pause, which children can comprehend without difficulty.

pace and rhythm- mandatory components involved in the creation of a certain intonation. These expressive means are interconnected. Stanislavsky united them into a single concept tempo - rhythm.

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

Rhythm is in any, including prose speech. However, it is most clearly manifested in the reading of poetry. “Rhythm,” said V.V. Mayakovsky, is the basis of any poetic thing. Rhythm is the main force, the main energy of the verse”

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

The sleepers bend, the sleepers groan,
Rails in the bright sea are sinking...

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

M.I. Omorokova offers special exercises that develop the flexibility of the voice, the ability to raise and lower it at the right time, to speak softly or loudly. Students, reading the text, should explain why it is necessary to read it this way.

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

Timbre is the natural coloring of the voice, which remains constant to one degree or another, whether the speaker expresses joy or sadness, calmness or anxiety. This is due to the peculiarity of the device of the speech apparatus. Despite the sufficient stability of this intonational means, the timbre can be changed to a certain extent. It is possible to organize observation of the change in the timbre of the voice on the material of the Russian folk tale “The Wolf and the Seven Kids”.

A teacher who has a good command of the technical side of speech and intonation should be aware that a simple instruction - how to pronounce - often does little to help the case. Students need an example. Children are great imitators. But showing a teacher with students imitating him can by no means be the only means of teaching intonation. Whether a dialogue, a fable, a poem is being read, it is always necessary to exhaust the possibilities for students to independently find a suitable intonation. To do this, a leading conversation is conducted about who is speaking, and, therefore, in what voice he should speak, what the speaker is experiencing and how it should be conveyed by 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. The game “Whose intonation is richer?” Participants take turns saying a phrase like “come here”, trying not to repeat the previously sounded intonation. A participant who fails to say a phrase with a new intonation is eliminated from the game. Children together with the teacher sum up the results.

3. The use of a speech situation is the most important technique in working on emotional intonation. It is she who provides the emotional confidence of the student, because. his speech behavior in this case is regulated not by general, but by situational attitudes of the personality, arising under the influence of specific conditions

4. Great opportunities for organizing work on the formation of emotional intonation, in our opinion, are inherent 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 on drawings with: 1) questions that form the ability to determine the emotional state of the character by facial expressions, gestures, posture; and 2) the motivation to speak on behalf of the character. For these purposes, we used handout visual material 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 develop the expressive side of reading effectively. It seems to us indisputable that the methodological apparatus of textbooks on reading should be supplemented with speech training exercises, various questions and tasks that require students to pay attention to the intonational side of speech, comprehend those intonational elements that help achieve expressiveness of speech, exercises for intonationally expressive production of speech.

As our observations have shown, students' speech has become more purposeful and organized, i.e. students began to correct each other when they pronounce a word incorrectly or place a word stress. This indicates that the speech technique is well developed due to training exercises in order to warm up the speech apparatus. In the classroom, they try to speak loudly, clearly and intonation expressively. The assimilation of intonational expressiveness proceeds in a practical way and has a pronounced dynamics of development from the formation of intonational hearing to the correct independent use of various intonations in various speech situations. The active vocabulary of schoolchildren has significantly expanded due to the use of elementary linguistic terms and, especially, due to adjectives and adverbs denoting the emotional states of a person.

Expressive reading: what it is, skills, rules. Expressive reading, learning, workshop

2.2. Formative experiment

Lesson topic

Learning objectives

V. V. Nabokov "Butterflies"

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