Logical stress. Logical stress in speech In nursery rhymes where logical stress should be placed
You, of course, know that everything in the world consists of something: a forest is made of trees, clouds are made of water drops, all objects and substances are made of tiny invisible particles - atoms, and today in the lesson we will talk about what consists of them words - about the proposal. In this lesson we will learn what a sentence is and learn to distinguish a sentence from a set of words. Let's find out what sentences there are in terms of intonation and purpose of the statement, what punctuation marks are written at the end of the sentence in writing. We will also discover what logical stress is and how to determine its place.
Answer the questions. What is an offer? Can any words form a sentence?
Compare the two strings.
Cat, square, writes well.
The cat, red, sleeps soundly.
What words can you construct a sentence from, connecting them in meaning? Can you say “square cat”? “The cat writes well”? No you can not.
Let's try to make a sentence from the words of the second line.
Test yourself.
The red cat is fast asleep.
We learned that the cat is red and that he is sleeping.
Will this thought change if the words are swapped?
The red cat is sleeping soundly.
The red cat is sleeping soundly.
The thought remains the same. It can be figuratively imagined or drawn (Fig. 1).
Rice. 1. The red cat is fast asleep ()
Let us conclude: a sentence is a unit of our speech that serves to express a thought. A sentence consists of words that are related in meaning.
Complete the task. Find offers.
Spring, guys, holidays, sun.
Spring has already arrived. A warm breeze is blowing.
Test yourself.
The first line contains just words, the second line contains two sentences.
1st: Spring has already come.
2nd: A warm breeze is blowing.
Each sentence expressed its thought. The words in the sentences are connected in such a way that it is clear what needs to be said.
Say the sentence calmly again and watch your voice: Spring has already arrived.
The voice was calm, and towards the end of the sentence it lowered. Scientists have called the work of the voice, its strengthening and enhancement, the scientific word intonation. When we pronounce a message sentence, we lower the tone towards the end of the sentence. This is how we show that the thought is complete. At the end of such sentences you need to put a period. These sentences are called narrative sentences. They talk about something, narrate. This is their goal.
Suggestions can motivate someone to take action. The intonation in such sentences will have different shades: requests, orders, demands. Such offers are called incentive offers.
Sasha, please bring me the textbook.
Tanya, don't cry!
You can ask about something in a sentence. With interrogative intonation, the tone rises sharply on an important word in the question. You can read the same question sentence in different ways, highlighting a new word with your voice each time.
GuysDid you go to the cinema on Saturday?
Guyswentto the cinema on Saturday?
The guys walkedon Saturdayto the cinema?
The guys went on Saturdayto the cinema?
The intonation changes depending on what exactly needs to be asked. Such sentences are called interrogative. At the end of interrogative sentences there is a question mark.
There are sentences that express their thoughts cheerfully, with delight, amazement or anger. Such sentences are pronounced with increased intonation, with an exclamation. That's what they're called - exclamatory sentences.
At the end of such sentences there is an exclamation point.
Mom has arrived!
This is a very interesting book!
Sentences in which feelings are not expressed are called non-exclamatory.
Practice.
1. Read the declarative sentence, lowering your voice towards the end.
The guys went to the cinema on Saturday.
2. Read the exclamatory sentence, raising your voice towards the end.
The guys went to the cinema on Saturday!
3. Read the incentive sentence.
Guys, go to the cinema on Saturday!
4. Read the interrogative sentence.
Did the guys go to the cinema on Saturday?
Let's draw a conclusion. Any offer happens
So, it is important to understand what sentence you are reading in order to get an expressive reading. You need to pay attention to the signs at the end of sentences and intonate them correctly.
Read G. Chistyakova’s poem expressively and think about what feelings should be conveyed when reading and with what intonation it should be read.
How many of you guys know
Why does the dog bark?
Why the dog is unhappy:
Maybe someone hit me hard
Maybe the paw was crushed,
Maybe the cats were teasing
Maybe she wanted some affection,
Maybe I haven't eaten for a long time,
Maybe her blizzard is terrible,
Maybe she lost a friend?
Why does the dog bark?
Maybe he wants to tell us:
- Look, I beg you,
How beautifully I bark!
Rice. 2. Dog
In this poem you saw another sign - a comma, it says: read with pauses, the intonation of a listing.
Each sentence has its own speech task. How to determine it?
Read the sentence
A kitten is lying on the sofa.
The purpose of this sentence was to communicate that it was a kitten, and not a puppy or an adult cat, that was lying on the sofa. When reading, you need to highlight the word kitten in your voice. Isolating a word that is important in its meaning in a voice is called logical stress. Let's agree to show it graphically with an arrow above the word.
A kitten is lying on the sofa.
Read it.
A kitten is lying on the sofa.
Let’s change the place of the logical stress: move it to the word “on the couch.” The purpose of this sentence is to communicate that the kitten is not lying on a chair, not on the floor, but on the sofa.
Read it.
A kitten is lying on the sofa.
You can notice that the sentences are written the same way, but they differ in reading, and this depends on the logical stress. In oral speech, logical stress can be placed on any word in a sentence, depending on what the purpose of the message is, that is, the task of speech. This means that in order to read expressively, you need to correctly place logical emphasis on the right words and pronounce sentences with the correct intonation.
Are there rules for writing proposals? Yes. A sentence is always written with a capital letter. At the end of the sentence they put a sign: a period, question or exclamation marks, sometimes an ellipsis. They are called punctuation marks.
Today in class we learned what a sentence is and learned to distinguish a sentence from a set of words. We found out what kinds of sentences there are in terms of intonation and purpose of the statement and what punctuation marks are written at the end of sentences in written speech. Also during the lesson we discovered what a logical stress is and how to determine its place.
2. Continue the sentences:
At the end of the sentence there is ..., or ... sign, or ... sign. At the end of sentences that express strong feelings, put ... .... At the end of sentences that contain a question, ... ... is put.
3. Come up with a proposal based on the given condition.
Who? What is he doing? How? What? Where?
4. Read the sentences, changing the place of logical stress.
A boy writes a sentence in a notebook with a pencil.
Mom waters flowers in the garden with water.
5. Name the line in which the incentive sentence is written:
a) Ira, let’s go for a walk in the garden.
b) Ira and Sveta were walking in the garden.
c) Was Sveta walking in the garden?
6. Collect the scattered sentence:
Together, it’s better to sing in chorus, but separately, to talk.
6. Come up with continuation sentences:
My friend is doing...
Is your friend doing...?
7. Read G. Sapgir’s poem with the correct intonation so that it becomes clear who and how relates to football.
Football
Aunt said:
- Fi, football!
Mom said:
-Ugh, football!
Sister said:
- Well, football...
And I answered:
]How stress appears in the speech stream depends largely on the language. In some languages, stressed syllables have a higher or lower tone than unstressed ones - this is the so-called tone, or musical stress. In other languages, they may be pitched higher or lower than surrounding syllables (tone deviation), depending on the type of sentence. There is also dynamic (noisy, forceful) stress, qualitative (qualitative) stress (lack of vowel reduction) and quantitative stress (quantitative - an increase in the length of the sound, known in music theory as agogics). An accent can have several of these characteristics at the same time. In addition, stress can be implemented to varying degrees on different words in the same sentence; in some cases, the difference between the acoustic signals of stressed and unstressed syllables may be minimal.
Stress levels [ | ]
Some languages distinguish between primary and secondary stress. English is traditionally thought to have two stress levels, as in the words cóunterfòil [ˈkaʊntɚˌfɔɪl] and còunterintélligence [ˌkaʊntɚ.ɪnˈtɛlɪdʒəns], and some work has even suggested that it has four stress levels, but these studies are often contradicted each other.
The evolution of stress rules in Russian[ | ]
- Each morpheme (prefix, root, suffix, ending) can be self-accented (or like a), right-impact (or type b) and unstressed (or type c).
- The unit of stress is a word with prepositions, conjunctions, particles. At the same time, auxiliary words standing before a word are always unstressed, and after a word they are always self-stressed.
- Old Russian also had reduced vowels (they are usually denoted by the letters ъ And b). They were strong and weak; the latter is always weak. If there is another reduced one before a weak reduced one, that one will be strong. The weak reduced ones have now disappeared, the strong ones have turned into O And e (end → end, the end → end).
- We find the first stressed morpheme. If it is self-accented, the emphasis is on it, if it is right-accented, the emphasis is on the syllable to the right.
- But if the emphasis falls on a weak reduced one, we shift it to the left.
- If all morphemes are unstressed, the stress is on the first non-weak syllable.
For example, root hand- unstressed, ending -A self-impact, ending -y and preposition on unstressed, and it comes out hand, hand, in your hand, on the hand.
Modern emphasis shifts to other, more complex rules, while some words work according to the old rules, others according to the new ones. Phrases on hand And on hand mean completely different things. Unconditional stressed morphemes appeared - for example, the suffix -iv-(y) (happy). The accent took on the function of distinguishing cases - wives broke up into wives(r.p. unit) and wives(i.p. plural). In words on -er/-er the emphasis makes it clear whether it is a mechanism or a person: rope starter, starter with flag.
see also [ | ]
Notes [ | ]
- Modern Russian language: Theory. Analysis of linguistic units: Textbook for higher education students educational institutions: In 2 hours - Part 1: Phonetics and spelling. Graphics and spelling. Lexicolony. Phraseology. Lexicography. Morphemics. Word formation / E. I. Dibrova, L. L. Kasatkin, N. A. Nikolina, I. I. Shcheboleva; edited by E.I. Dibrova. - M.: Publishing center "Academy", 2002. - p.68.
Logical stress in a poetic text, as a rule, falls at the end of the line. This is due to the rhythm-forming factors of the verse. In prose the situation is different.
Stress is the process of distinguishing a word or group of words from other words in a sentence or group of sentences using sound means.
The purpose of emphasis is to highlight the most important words for conveying a thought, expressing the essence of what is being said in a sentence or in a whole passage.
A word (or group of words) can be emphasized by strengthening or weakening the sound, raising or lowering the tone of the stressed word, or slowing down the rate of speech when pronouncing a word or group of words.
A stressed word can be highlighted if the stress is removed or almost removed from the remaining words of the sentence, if the pace of speech is deliberately slowed down when pronouncing a word (or sentence) that is important for conveying a thought, if the voice is especially raised (or lowered) on the word that is important for the meaning of the utterance. In some cases, an emphatic accent may be placed on the stressed word, i.e. such stress that sharply highlights the stressed word, causing the listener to feel that there is a contrast outside the given sentence. In this case, the rise (or fall) of the voice on a stressed word is sharper and stronger than with normal stress.
Stanislavsky spoke about stress: “Stress is the index finger, marking the most important word in a phrase or measure!” A sentence may have one main stress and several secondary and tertiary stresses. In other words, one strong and one or several medium and weak stresses.
The same sentence, depending on the movement of logical stresses in it, can be filled with new meaning each time. It will depend on what the speaker wants to say.
There are three types of accents:
- 1) tact - on a word within a speech tact;
- 2) phrasal I - highlighting the main meaning of the speech tact in a sentence;
- 3) phrasal II - when a whole phrase in a passage is highlighted with the help of phrasal stress.
For example: The crooked lanes of Arbat / were covered with snow.
This sentence has two speech beats. Each of them has its own bar stress: in the first bar - “Arbata” (subject group, definition), in the second - “snow” (predicate group, complement). “Arbat” here is highlighted with a secondary emphasis, and the word “snow” is emphasized with the main, meaning-bearing emphasis. The author with this phrase tells us about the time of year: it was winter. That is why “snow” is the main emphasis in this sentence.
Not every sentence contains phrasal stress I. The presence or absence of phrasal stress I depends entirely on the context, on the main idea of a given literary text. Phrase stress I carries a significant semantic load and often represents the semantic center of a small piece.
Phrase stress II plays an even more active role in a particular plot piece and serves as an “index finger”, marking for the performer and listener main idea of a given piece of literary passage.
Monotone - speech at the same (or almost the same) pitch. The power of speech is not in volume, but in sound contrasts. Those words that do not carry the main ideas should be blurred out and highlighted minimally. To do this, on most beat accents you need to raise your voice very little, this will help emphasize the most important thing to convey the meaning.
The Russian language is characterized by certain rules placement of stress in a sentence, they should be known to everyone who wants to learn how to convey a thought in sound.
How to determine stressed words in each specific case? First of all, you need to use the context to understand what thought needs to be expressed, what to communicate to the listener. At the same time, there are a number of mandatory stresses inherent in our language, and there are rules for their placement. You cannot rely only on your taste - this will slow down your speech with random stresses and completely obscure the meaning.
The rule, not related to the syntax of the Russian language, but entirely related to the rules of speech logic, requires placing emphasis on a new concept - the first mention in the text of any character, object or phenomenon.
A new concept almost always receives the main emphasis, because it seems to introduce us to a new hero or a new phenomenon. With further repetition of a new concept in the text, the emphasis shifts from it to the words that characterize it.
Logical stress
Logical stress
LOGICAL Stress . More emphasis on one word in a sentence than on others. L-im U-em denotes the psychological predicate (see) of a judgment expressed in a sentence, as the main thing in thought. For example, in the sentence: “I wrote a letter to a friend,” each word can have a L.U. on it, changing accordingly the meaning of the judgment expressed by this sentence and indicating that the main subject of thought (the predicate of the judgment) is “I”, and not someone else, or “wrote” (and not “I’ll write”, “didn’t write”), or “a letter” (and not something that doesn’t deserve this name), or “to a comrade” (and not to someone . to another).
N.D. Literary encyclopedia: Dictionary of literary terms: In 2 volumes / Edited by N. Brodsky, A. Lavretsky, E. Lunin, V. Lvov-Rogachevsky, M. Rozanov, V. Cheshikhin-Vetrinsky. - M.; L.: Publishing house L. D. Frenkel, 1925
See what “Logical stress” is in other dictionaries:
Logical stress- LOGICAL Stress. More emphasis on one word in a sentence than on others. L im U em denotes the psychological predicate (see) of a judgment expressed in a sentence as the main thing in thought. For example, in the sentence: “I wrote a letter... ... Dictionary of literary terms
LOGICAL Stress- LOGICAL Stress. Same as semantic accent. An element of the intonation design of a sentence, consisting in highlighting the word (phrase) that seems especially important to the speaker in terms of meaning... New dictionary of methodological terms and concepts (theory and practice of language teaching)
Stress characterizing the semantic load of the components of a judgment. In some teachings about judgment in traditional logic, belonging to the psychological direction, the main semantic load in simple attributive judgments related to... ... Dictionary of Logic Terms
A means of semantically highlighting any significant unit of utterance. Superimposed on the obligatory verbal stress, L. at. usually enhances the phonetic characteristics of a word, emphasizing information that is new or controversial for one of... ... Great Soviet Encyclopedia
logical stress- Stronger emphasis on one word of a sentence than on others. L im U em denotes the psychological predicate (see) of a judgment expressed in a sentence as the main thing in thought. For example, in the sentence: “I wrote a letter to a friend,” each word ... Grammar Dictionary: Grammar and linguistic terms
Highlighting one of the words of a sentence in the pronunciation to enhance its semantic load. Wed: Today I will go to college (not anyone else, but me). I will go to college today (not another day, but today). Today I will go to... ... Dictionary of linguistic terms
logical stress- , I. Isolating which l. using intonation means. words in a statement that seem most important to the speaker in order to draw the listener’s attention to it. Often in this sense they talk about the place of the intonation center... ... Educational dictionary of stylistic terms
Modern encyclopedia
- (accent) ..1) highlighting a unit of speech (syllable, word, phrase) using phonetic means. Implemented different ways: by the force of exhalation (force, or expiratory, stress in Russian, English, French, Polish, Hungarian, ... ... Big Encyclopedic Dictionary
Accent- (accent), 1) highlighting a unit of speech (syllable, word, phrase) using phonetic means. It is carried out in various ways: by the force of exhalation (force, or expiratory, emphasis in Russian, English, French and other languages);... ... Illustrated Encyclopedic Dictionary
Books
- Russian language. 8th grade (CDpc), . Educational complex (hereinafter OK) 'Russian language, 8th grade' - textbook for 8th grade students secondary schools and schools with in-depth study of the Russian language. Educational,…
SPEECH TECHNIQUE
INTRODUCTION
GENERAL NOTES ABOUT STUDYING THE COURSE
CHAPTER I . ORTHOEPY.
PRONUNCIATION OF CONSONANTS
SPEECH TECHNIQUES. DICTION.
Short description the position of the articulatory apparatus when pronouncing vowel sounds.
VOWEL SOUNDS
JOTED SOUNDS E, I, Yo, Yu .
Self-test questions
WORK ON THE TEXT
RULES FOR ALLOCATING LOGICAL STRESSES
Guidelines for understanding expressive, logically correct speech
CHAPTER II . PUNCTION MARKS, GRAMMAR PAUSES
SEMICOLON
COLON
EXCLAMATION MARK
QUESTION MARK
ellipses
LOGICAL PAUSES
LOGICAL Stress
SOME LAWS OF ORAL SPEECH
ANALYSIS OF LITERARY TEXT OF DRAMATIC WORK AND SPEECH BEHAVIOR OF CHARACTERS
ANALYSIS OF THE LITERARY TEXT OF A DRAMATIC WORK FROM THE POSITION OF THE TEACHER'S SPEECH BEHAVIOR
THE PLACE OF GESTICULATION AND FAMILY IN THE TEACHER’S SPEECH BEHAVIOR
REFERENCES
Logical analysis of the text will help high school students perceive language as a living organism, constantly changing and improving. The development of these skills is facilitated by special exercises proposed in this work.
Logical analysis of text, the purpose of which is to work with literary works, is partly included in the discipline "Culture of Speech" and in the discipline " Expressive reading". Successful Study It will allow, I think, to solve the speech problems of a teenager’s communication with people around him, and will also increase the degree of expressiveness of his speech.
L.N. Tolstoy said that the art of a writer lies in finding “the only necessary placement of the only the right words". The teacher's task, following the author's plan, is to penetrate the secret of this only necessary placement of the necessary words and “show” it to students, combining educational and educational functions in this display.
When developing the skills of logical analysis of text in high school students, the teacher will rely primarily on the students’ ability to think and act logically, on knowledge native language and its features - its vocabulary, the specific construction of the phrase, the meaning of punctuation marks, the semantics of the epithets used.
The expressive features of oral live conversational speech are inexhaustible and have not yet been fully studied by scientists, therefore, when working with schoolchildren, the teacher will note only a number of basic patterns of Russian speech - when arranging pauses and stress in the melody (the movement of the voice up or down during the development of a thought, at its completion ).
Intonations can be infinitely different when pronouncing the same phrase. There should be only one obligatory condition - the intonation must accurately convey the meaning that the author wanted to express. And for this you do not need intonation moves in themselves, but you need to follow the circle of thoughts, visions, subtexts that are necessary to reveal the author’s intentions.
This is what helps to successfully find the necessary intonations for the only necessary words. Therefore, in order to remember the found expression of a thought, you need to remember not the intonation, but its logical course, which led to the correct, effective word, to a logical perspective.
That is why, along with the development of skills in logical analysis of text, students become more familiar with the laws of oral speech. The use of the expressive properties of the latter when reading a literary work and when working on it is, of course, based on knowledge of the laws of language, the understanding of which will help high school students consciously place punctuation marks, focusing on the semantics of the text.
The problem of teacher professional training is currently acquiring particular significance and relevance.
The level of modern requirements for professionals in any field, including the creative activity of a teacher, is very high.
A teacher who comes out to children must be a master of his craft. If a teacher claims to be an authority, morally and intellectually developed, then he must have not only necessary knowledge and be able to methodically correctly present them to children, but also be creative person, possess individual style pedagogical activity, try to reach the heights of pedagogical excellence.
At the same time, in the teacher’s activities there is a lot that is typical, repetitive, stable, reflected in the already identified laws, principles and rules. But there is also a lot that is changeable, variable, individual.
Each time, the general provision must be applied taking into account the specific circumstances and uniqueness of the given situation. Discovered by Science the teacher must “rediscover” it, make it his own. And the teacher’s instrument of influence on students is the word.
V.A. Sukhomlinsky noted: “The word is the subtlest touch to the heart; with a word you can kill or revive, wound,... sow confusion and hopelessness. Dispel doubts and cast into despondency, create a smile and instill disbelief. Inspire to work and numb the strength of the soul.”
Children are impressionable, so the problem arises of activating the impact of emotional speech on them, which contributes to the development of imagination, creativity, and aesthetic sense.
By thus ensuring the linguistic development of children, the teacher creates conditions for their intellectual, emotional, moral development and prepares them for active, active participation in the life of society.
The starting point in the formation of children’s speech culture is the speech of the teacher himself. M.A. Rybnikova emphasizes: “The teacher himself, his manner of speech, his expressive word, his story, his reading of poetry - all this constant example for students."
Consequently, attention to exemplary speech, which is what a teacher’s speech should be, will help to develop in schoolchildren a language taste, a critical attitude towards their own oral speech, the need to improve it, and will help them understand the basic rules of speech behavior.
So, taking into account the urgent need to improve the speech skills of teachers, we propose to form the learning process for university students in the course “Culture of Speech”, based on the following provisions:
1. Mastering speech culture skills is integral part mastery of a specialty and therefore should be carried out in creative and methodological unity with the teaching of disciplines of a humanitarian nature.
2. The most important factor in mastering the course is activation independent work students, assistance in which will be provided by the proposed methodological developments in some sections of the subject.
During practical training, it is necessary to establish general state speech-voice apparatus of each student, his ability to convey a logical perspective of thought in the text, identify and eliminate the presence of diction, voice, orthoepic deficiencies, determine their nature (if necessary, refer to a phoniatrist).
The teacher’s speech culture has a number of qualities that distinguish it from everyday culture. It should sound phonetically pure, literary correct, and be effective.
Pronunciation in pedagogical speech is not only its external form, but also an important means of expression. Therefore, the most important objective of the course is to develop students’ professional language skills.
The course “Culture of Speech” consists of the following sections:
1. Teacher’s speech culture and professional skills.
2. Norms of pronunciation of the Russian language.
4. Communicative qualities of the teacher’s speech.
5. Types of speech works (genres) used in various educational situations.
The proposed benefit includes guidelines in such sections as “Orthoepy” and “Speech Technique”. Their task is to master the rules of literary pronunciation of the Russian language and correct all kinds of speech deficiencies of students.
According to the curriculum, classes end with a test, the main requirement of which is mastery of the language of the subject, knowledge of the basic theoretical principles of the course, qualified analysis of the sound of another person’s speech and one’s own, skillful work on logical analysis literary text.
Orthoepy- this is a set of rules that establish a single, characteristic literary language pronunciation that is considered exemplary. The teacher's speech should be exemplary in pronunciation. To do this you need to learn norms of generally accepted literary pronunciation.
These norms, which developed back in the 19th century as a result of careful study and selection, have absorbed all the best and characteristic of the Russian language.
Modern Russian orthoepy (the name comes from the Greek ώρφος - correct and έπος - speech) developed along with the development of literature and dramatic art. In our country there are a lot regional dialects and dialects, which sometimes can only be used as speech characteristic image .
Students need to learn basic pronunciation rules and know how to use them.
In Russian speech the question of correct accent, since the stress can be on any syllable, for example:
house, prepares, brought etc.
Different stressed syllables change the meaning:
mu`a - muka, castle - castle .
Every word in the Russian language has one stressed syllable(with a stressed vowel), without which the word in pronunciation does not have a complete form. The character of speech is manifested in wide sing-song vowel sounds .
For correct pronunciation unstressed vowel sounds of the word, attention should be focused on stressed syllable.
Eat a number of rules for the pronunciation of unstressed vowels:
1 .Unstressed sound [ ABOUT] at the beginning of a word and at pre-stressed syllable pronounced like [ Λ ]:
take away – [Λ] hide , ax – t [Λ] since then .
2 .« ABOUT» unstressed, occupying second or third place before a stressed syllable or located immediately after a stressed syllable, sounds like an intermediate ( reduced) sound, average between [ A] And [ Y ].
It is indicated by the sign Kommersant :
gateway - p[Ъ]dv[Λ] company ;
frost - izm[Ъ] R[Ъ] s ;
hair - ox[Ъ] With).
3 .Unstressed sound [ A] at the beginning of a word and in an unstressed syllable immediately before the stressed one, pronounced as a short " A »:
artist- [A] rtist, gardens - with[A] yes .
4 .Unstressed sound [ A] after F, W pronounced like A :
heat – and[A] ra , steps - w[A] gi , balls - w[A] ry .
5 .Unstressed vowel sounds [ U ], [Y] in pronunciation are not replaced by other sounds, but lose their length.
6 .Vowel [ AND] at the beginning of a word becomes [ Y], if the previous word ends with a hard consonant:
with interest - with[s] interest
just know that – So[s] know .
But if, according to the meaning, there should be a pause between the words, then the pronunciation of the sound [ AND] remains unchanged:
I listen with / interest to the frost and the sun .
7 .Unstressed vowels " E », « I" in pronunciation they sound like a middle sound between AND And E, which is denoted by the sign AND :
rowan - p[AND] Bina, spring – V[AND] sleep .
8. Sound [ E] under stress can sound differently, depending on the consonants that come after it: before hard consonants [ E] sounds wide, open, before soft sounds – closed, narrow:
E -wide: m[E] l , P[E] l , St.[E] T ;
E -closed: P[E] whether , St.[E] tit).
9. Combinations AO, OA, AA, OO pronounced the same way as [ AA ]:
on the window - n[AA] kne
army style – P[AA] army
on the arch - n[AA] rke
monotonous - one[AA] fancy .
10.A And ABOUT in combination with U (AU, OU), standing far before the accent, are pronounced with reduced sound [ A], but never turn into sound [ U ]:
at random - n[Ъ] guess at the corners - p[Ъ] corners .
11 .Combinations YE, IE at the end of adjectives plural pronounced like YI, II:
old – old[YI], white – white[YI]
summer - letn[AI], blue – blue[AI].
12 .Adjective endings – GIY, -KIY, -HIY pronounced like -G[Ъ] Y , -TO[Ъ] Y , -X[Ъ] Y :
long – duty[Ъ] th , wide – wide[Ъ] th
quiet – quiet[Ъ] th .
Pronunciation of words is different from spelling :
Andreevna - Andrevna, Nikolaevna - Nikolaevna;
Ivanovna - Ivanna, Alexandrovna - Aleksanna;
Lukinichna – Lukinishna and so on.
Some are women's and male names in combination with patronymics are pronounced differently than written:
Maria Ivanovna – Mary Ivanna
Pavel Pavlovich – Pal Palych .
1. Voiced consonants at the end of a word and before voiceless consonants are pronounced as voiceless:
carrots - carrots, carrots - carrots;
cart - vos, eyes - glaski, move - hot;
tub - skating rink, friend - friend .
2 Voiceless consonants before voiced ones are pronounced loudly:
collection - collection, transaction - transaction, rest - rest .
Before voiced ones R, L, M, N, V There is no assimilation of voiceless consonants to voiced ones:
with a young woman, with a role, with lemon
with you, with Nina.
3 .Sounds SSH, ZSH, standing next to each other, are pronounced as double Shh :
got noisy - made noise, out of the fur coat - andSHFurs.
4 .Combinations in word roots ZZH And LJ pronounced as double soft LIE :
later - POZHZHE, visitor - POZHZHY
yeast - shiver, squeal - squeal
to grumble - to grumble.
5 .In combination with vowel sounds F, W, C always sound firm:
Fat - fat, width - shyr, zinc - zinc.
6 .Combination MF and AF pronounced as double SCH :
score – Shchet, happiness – Shchastye
the carter is a wax worker, without tea - I'm beating.
7 .Combinations DC And PM pronounced as double H :
fixer - fixer, despair - desperation.
8 .Combinations DC, shopping center pronounced as double C :
thirty - threeTsTsat, father - oTsTsa.
9 .Sounds Shch, Ch always pronounced softly:
pike - pike, tea - tea.
10 .Combinations DS And TS in adjectives they are pronounced as C :
urban – Gorotskoy, Soviet – Sovetskiy.
11 .Combination CHN has a double pronunciation as ShN And CHN, because ShN remains in words living spoken language :
boring - boring, deliberately - popular
bakery - bakery, trifling - trifling
scrambled eggs
In textbooks, students need to familiarize themselves with a more detailed description of the rules for pronunciation of vowels and consonants and their combinations in the modern Russian literary language.
They must learn pronunciation standards not only during classes, but also in practice. everyday speech which needs to be controlled.
We must learn to listen to the speech of people around us, compare pronunciation, follow the speech of stage masters, listen to recordings of speeches by readers and artists, listen to radio and television announcers.
It is good to practice the rules of pronunciation in loud readings, rewrite passages in their spelling - all this makes it possible to consolidate the rules.
Good diction means clear and precise pronunciation of each vowel and consonant separately, as well as words and phrases.
Speech technique- one of the sections of speech culture, it is the basis speech culture. Poor diction makes it difficult to understand the essence of what is being said.
“A word with a crumpled beginning is like a man with a flattened head. A word with an unfinished ending resembles a man with amputated legs. The loss of individual sounds and syllables is the same as a knocked out eye or tooth” (K.S. Stanislavsky).
Clear and precise pronunciation is possible with a normal speech apparatus and with proper operation his. TO speech apparatus include: lips, tongue, jaws, teeth, hard and soft palate, small tongue, larynx, posterior wall of the pharynx (pharynx), vocal cords.
There may be defects in the structure of the speech apparatus that cause lisp, lisp, burr, then medical intervention is required. But the cause of unclear pronunciation is a bad habit, which you can get rid of through systematic training.
Students need to remember that the exercises are systematic. Speech technique- a practical subject, only constant training is an indispensable condition for developing clear diction. Even if the speech is pure, it still needs technical improvement.
You need to know your shortcomings, understand and master the position of the parts of the speech apparatus at the moment of pronouncing a particular sound. You need to practice speech technique so that your speech is easy and free.
K.S. Stanislavsky gave great importance speech apparatus training. Often there are people with sluggish speech, laziness of the tongue and poor functioning of the lower jaw ( jaw tightness).
To develop the speech organs, it is necessary to engage articulatory gymnastics, with its help, flexibility and pliability of the speech apparatus and individual muscles are developed. The muscles that require systematic training. Strengthening the muscles of the mouth and tongue is a preparation for working on speech sounds.
Exercises for training the lower jaw, labial muscles, and tongue muscles are presented in textbooks and will be given during practical work. All articulatory gymnastics exercises must be done in sequence until complete and correct assimilation.
When you master your speech apparatus and understand the functions of its individual parts, then you can move on to working on correcting individual vowels and consonants.
· AND- The lower jaw is slightly lowered. The upper lip is raised. The edges of the lower and upper incisors are exposed. The distance between the teeth is small (2 – 3 mm). The tip of the tongue rests on the lower incisors.
· E- The lower jaw is lowered somewhat more than when pronouncing I. The upper incisors are exposed. The distance between the teeth is the thumb, the tip of the tongue at the lower incisors.
· A- The mouth is open. The lower jaw drops more than when pronouncing E. The edges of the upper incisors are exposed. The distance between the teeth is two fingers placed on top of each other. The tongue lies flat.
· ABOUT- The lips are rounded and pushed forward. The tongue is pulled back somewhat.
· U- The lips are pushed forward in the form of a funnel. The tongue is pulled back strongly.
· Y- The articulation of Y is the same as when pronouncing I; only the position of the tongue changes. The tip of the tongue is pulled back (as in O).
Yotated sounds E, I, Yo, Yu consist of a consonant sound [ Y] and vowel sounds [ E ], [A ], [ABOUT ], [U ].
Exercises on vowel sounds can serve as good articulatory gymnastics.
Pronouncing vowel sounds in various combinations contributes to the development and strengthening of the upper lip, tongue, and lower jaw.
Vowel sounds form the melody of speech, its sonority. Vowel sounds 6 :
[I], [E], [A], [O], [U], [Y].
From these sounds, make a table that will be used as the basis for the training:
I – E, I – E, I – E;
E – A, E – A, E – A;
A - O, A - O, A - O.
U – Y, U – Y, U – Y;
O - U, O - U, O - U;
This exercise can be combined in different ways, changing the order and sequence of vowels and then consonants.
I – E – A – O – U – Y
The first sound is stressed, the rest are pronounced evenly;
I – E – A – O- U – S
The second sound is stressed, etc.
These sounds are formed from a combination of two sounds for each consonant: E=Y+E, I=Y+A, E=Y+O, Y=Y+U.
For exercises, you need to alternate vowel sounds with iotated ones.
For example:
I-YI, E-E, A-Z, O-Y, U-Y.
Consonants more difficult to pronounce. They give speech clarity, expressiveness, help form words.
When pronouncing vowel sounds, tension in any one part of the speech apparatus is required.
When training consonant sounds, you should pay attention to the elasticity and strength of the speech organs with their stops and plosive sounds.
Consonant sounds are voiced and the voice is involved in their pronunciation:
[B], [V], [D], [D], [F], [H],
[L], [M], [N], [R] .
Sounds [M], [N], [L], [R] They are also called sonorant, since they do not have paired voiceless sounds.
When pronouncing voiceless consonant sounds, the voice is not involved:
[P], [F], [K], [T],
[W], [Sh], [H], [C].
Sounds [C], [H], [Sh]- complex, they are called affricates(fused).
For example:
sound [ H] is articulated from " TH" And " SH »;
sound [ SCH] is articulated from " SH" And " SH ».
Sounds [ S] and [Z] – whistling ;
sounds [F], [Sh], [H], [Sh] – hissing.
Example of exercises for consonant sounds.
Sound [ P] - clunk [ B] - sonorous.
1. Alternate: P, B(repeatedly).
2. PI – PE – PA – PO – PU – PY.
3. BI - BE - BA - BO - BU - BE.
4. PE – PE – PE – PO.
5. BE - BYA - BE - BO.
6. PIBB – PEBB – PUBB – POBB – PUBB – PIBB.
7. BEEP - BEPP - BAPP - BOPP - BUPP - BUPP.
8. PIBBY – PEBBE – PABBA – POBBO – PUBBU – PYBBY.
9. BIPPY - BEPPE - BAPPA - BOPPO - BUPPU - BUPPY.
You can create different versions of exercises, alternating between deaf and ringing sound with all vowels.
When practicing the pronunciation of individual sounds, you should check the correct position of the parts of the speech apparatus.
Softened sounds are more difficult to pronounce [ T] And [ D ] (TH And YES).
These sounds need to be trained with iotated vowel sounds.
For example:
TI, TE, TY, TY, TY, TI;
DI, DE, DI, DI, DU, DI .
The structure of an articulation exercise can be as follows:
1. TIDDY – TEDDE – TYADYA –
TYDDYO - TYUDDYU - TIDDY.
2. TI – DI – DI – TTI,
TE – DE – DE – TTE,
TYA – DA – DA – TTYA.
3. TE – DE – DE – TTE,
TYU - DU - DU - TYU.
To consolidate the pronunciation of each sound, come up with words in which this sound would be at the beginning and at the end of the word, use proverbs and sayings.
For example:
· AND“They knew who they were beating, that’s why they won;
· E- He who sows and wins will not become poor;
· ABOUT- The field is red with millet, and speech is with the mind;
· YUYU- You won’t be smart with someone else’s mind,
He who does not love people destroys himself;
· AND I- The head is crazy, like a lantern without fire,
Make a mistake, but admit it;
· AND – P- Ipat went to buy shovels,
Ipat bought five shovels,
walked across the pond - grabbed a rod,
Ipat fell - five shovels were missing.
· Y“Like Martyn, so is his altyn.”
To achieve expressive speech, it is necessary to speak clearly and clearly with equal speed. This is facilitated by working on tongue twisters.
The teacher also has to deal with questions tempo speech. In lessons, quick, easy speech is sometimes required, the clarity of which must be extremely clear.
Therefore, working on your tongue twister is a means to achieve clarity of speech at any pace. Mechanical, monotonous memorization of tongue twisters will never give practical benefit.
Based on the meaning of the phrase, varying it on the go, changing the intonation accordingly, the speaker will easily use different speech rates.
There is no need to strive to quickly pronounce tongue twisters right away. At first, say it slowly, pronouncing each individual sound, stopping after each word.
When pronouncing a tongue twister, make sure that all spoken sounds are complete, avoiding vagueness and blurriness.
When pronouncing tongue twisters, try to set different performance tasks (internal speech settings).
For example:
When performing this text verbally, I want to joke, I want to complain, I want to gossip, I want to brag, etc.
Examples:
1. “Mow, mow, while there’s dew, away with the dew – and we’ll go home.”
2. “The protocol about the protocol was recorded as a protocol.”
3. “Tell me about your shopping!
What about purchases?
About shopping, about shopping,
about my purchases."
IN educational literature You will find text material for self-study of diction, a number of tongue twisters, texts, exercises that need to be practiced systematically, gradually complicating them.
Properly organized breathing plays a primary role in speech. The lack of the necessary supply of exhaled air leads to voice breakdowns, unjustified pauses, distorting the phrase.
It should be remembered that unevenly consumed air often makes it impossible to finish a sentence and forces you to “squeeze” the words out of yourself.
Correct, clear, expressive and beautiful pronunciation of sounds, words and phrases depends on the functioning of the speech apparatus and proper breathing.
When starting classes on breathing development, it is necessary to familiarize yourself with the anatomy, physiology and hygiene of the respiratory-vocal apparatus, with the existing types of breathing.
It should be remembered that the mixed-diaphragmatic type of breathing is the most appropriate and practically useful.
In individual lessons with a teacher, it is advisable for students to perform a set of breathing exercises.
There is an inextricable connection between breath and voice. A correctly set voice is a very important quality in oral speech, especially for a teacher.
Resonators are sound amplifiers. Resonators include:
palate, nasal cavity, teeth,
facial bone, frontal sinus .
It may be that a person speaks “lower” than is consistent with the nature of his vocal data. Then the voice turns out to be compressed, lacking sonority.
In order to learn how to check the operation of resonators, you need to do various exercises.
For example:
Exhale the air, inhale (not too much) and, as you exhale, say slowly on one note:
MMMI – MMME – MMMA – MMMO – MMMU – MMMY.
Pronounce this combination of sounds on different notes, gradually moving from low to high (within the limits of possibilities) and, conversely, from high to low notes.
Exercise:
Choose a poem with a medium-sized line, for example, “A lonely sail is white” or “I love a thunderstorm in early May.”
Say the first line on one exhalation, take in air and say the next two lines on one exhalation, take in air again and say three lines at once, etc.
You need to get air invisibly through your nose and mouth. Thus, when performing breathing exercises, we involve breathing in voice formation.
2. Do not shout in normal speech.
3. Do not cough if your throat is sore.
4. Do not drink very hot or very cold drinks.
5. If you feel unwell, consult a doctor.
The skills of proper breathing and voice formation acquired during classes should be used by students at all times when working on the text.
1. Tell us about the norms of literary pronunciation.
2. What do you know about dialects and accents?
3. What is the meaning of stress in a word?
4. Tell us about the pronunciation of stressed vowel sounds.
5. How are unstressed vowel sounds pronounced?
6. Why do you need to practice speech technique?
7. What is diction?
8. What needs to be done to correct this or that diction defect?
9. Why is articulation gymnastics needed?
10. What vowel sounds do you know? What is their role in speech?
11. What do you know about iotated vowel sounds?
12. Name the consonant sounds and determine their meaning in speech. Tell us about the classification of consonant sounds.
13. How does the speech apparatus work?
14. What is the role of breathing in stage speech?
Practical tasks.
1. Repeat diction exercises on the studied vowels and consonants, proverbs, tongue twisters.
Logical text parsing is the main means of achieving maximum expressiveness in reading.
Work on a literary text is the basis on which all speech technique classes are based.
All preparatory work from the first reading to performance before the audience comes down to the fact that the performer strives to make the author’s text his own, the reader strives to take the place of the author.
Having carefully analyzed the literary material, the student must create his own performance plan.
Where to start working on the text?
First of all, after reading a literary work, you need to express (formulate) your opinion, impression - this will lead to a conclusion about the main idea of the passage.
For concrete expression of an idea artistic means, i.e. V images, paintings the author chooses topic(what he writes about).
Idea- like the soul of the work, subject- his body.
The key stage of oral reading is logical reading, conveying the meaning of the text in a competent, understandable form.
Logical parsing based on the laws of grammar: the words that make up a sentence are related in meaning to each other.
Words that are not related in meaning to each other are separated by pauses, which are called logical, since they help to correctly convey the idea of the phrase.
Prisoners between logical pauses individual words and phrases are called speech beats.
For example:
Soon (the moon and stars) will be drowned in thick fog.
1 measure 2 measures 3 measures
Speech, correctly distributed among groups of words, accurately identifies the underlying thought. “Work on speech and words must begin by dividing into speech beats, or, in other words, by arranging logical pauses” (K.S. Stanislavsky, collected works, vol. III).
The logical grouping of words influences the correct interpretation of the work and its clear and convincing communication.
Logical pauses oblige the speaker to pronounce the words contained between them, without separating them, smoothly, as one word.
Depending on where the pause is made, the phrase takes on a different meaning.
For example:
1. “She/is a child” or:
“She is / a child”;
2. “You can’t forgive / exile to Siberia” or:
“Forgive / cannot be exiled to Siberia”;
3.“You cannot execute / have mercy” or:
“Execute / cannot be pardoned.”
It can be especially difficult to convey the meaning of a sentence in cases where it consists of long periods. When reading such sentences, their size distracts students from the words that define the main idea.
For example:
“The Kaluga village /, on the contrary, / is mostly surrounded by forest, / the huts stand freer and straighter, / covered with planks; / the gates are tightly locked, / the fence in the backyard is not swept away and does not fall out, / does not invite / every passing pig to visit... »
(I.S. Turgenev “Khor and Kalinich”).
Long periods of speech are often found in the works of I.S. Turgenev (for example, in “Notes of a Hunter”), L.N. Tolstoy (in “ Sevastopol stories"), Charles Dickens (in "The Pickwick Papers"), etc.
Excerpts from these works can serve as good material for work on analyzing the logical basis of the text.
Pauses are divided into three groups:
1. A pause that ends a statement, a final thought, is indicated by three vertical bars (///);
2. A pause, indicating, on the one hand, the completion of part of the utterance, and on the other hand, a possible continuation of the utterance, is indicated by two lines (//);
3. A pause, indicating that the utterance will continue, is indicated by a single line (/).
In addition to logical pauses, indicated by dashes, there are barely noticeable, so-called backlash pauses, denoted apostrophe.
K.S. Stanislavsky defines three types of pauses: logical, psychological and backlash pause needed to catch your breath.
Logical pause helps to clarify the idea of the text, psychological– gives life to thoughts, helps to clarify subtext.
A logical pause is placed in complex common sentences mainly when, for the clarity of the phrase, we need to separate some segments of speech from others.
Most often, when reading, a pause is placed between a group of words related to the subject and a group of words related to the predicate.
For example:
“Climbing the stairs / leading to Petrovich, / which, to be fair, was paved with water, / slops / and permeated through and through with that alcoholic smell / which eats the eyes, / and, as you know, is inseparably present on all the back stairs of St. Petersburg houses , / - climbing the stairs, / Akaki Akakievich / was already thinking about / how much Petrovich would ask, / and mentally decided not to give more than two rubles.”
(N.V. Gogol “The Overcoat”).
Particular attention is required to adhere to punctuation marks and their correct highlighting (toning) in the pronunciation of the text.
If you do not observe punctuation marks when reading, this will lead to “babble” of the text and haste. “The fight against haste is to study intonations dictated by punctuation marks,” said K.S. Stanislavsky.
All punctuation marks require mandatory voice intonations: period, comma, question and exclamation marks have their own, unique to them, voice intonations.
These intonations have an impact on the listeners, which obliges them to a certain reaction: interrogative intonation - for an answer, exclamation - for sympathy and approval, admiration, protest, a colon - for attentive perception of further speech - this is a sign of a half-finished thought, forcing one to wait for enumeration, clarification.
“Love the comma,” said K.S. Stanislavsky, “it is in it that you can force yourself to listen.”
Dot- this is also a stop sign in speech, but the last syllable of the last word before the period should sound intonationally lower than the previous ones, and not higher, as with a comma.
The toning (intonation) of the dots is different. Listeners after the period do not wait for the continuation of the phrase, since it is finished.
For example, the toning of a period in a phrase that completes the text of a passage will be different than in the initial lines, when the development of events and thoughts continues.
Dash- a sign that does not have its own melody. Depending on the meaning, a dash can sound like a dot, comma, colon, ellipsis, or disappears completely.
For example:
“Foma listened to her and - /…/ seemed to drink honey.”
“I am peaceful” (I am peaceful).
“If we get caught, /,/ we’ll knock.”
Ellipsis- a sign indicating the incompleteness of a thought.
Semicolon- a sign that does not have its own constant melody. It sounds either like a period, depending on the meaning, or a semicolon when phrases are separated.
Sometimes a comma can sound like a period.
For example:
“The reality of our program is living people, (.) that’s you and me.”
A period sounds like a comma when two sentences can be connected in meaning into one phrase.
Along with this, a comma can sound exclamatory when listing a rapid change of phenomena or events.
For example:
“And everything: pots, glasses, benches, tables -
March! March!
everything went into the stove.”
(A.S. Pushkin “Hussar”)
We see that one punctuation mark can transform into another. Students need to practice by listening to the correct toning of a particular punctuation mark; you need to read aloud, and select examples of the different sounds of punctuation marks.
Punctuation marks are not only stop signals, but also intonation cues: semantic And emotional .
Each group of words must have an accent, and only one. Stress gives emphasis to a group of words.
Stressed words require special emphasis compared to the pronunciation of other words.
There are several ways to emphasize this: raising voice, pausing, slowing down, and sometimes lowering the voice.
1. Subject and predicate.
In a simple unextended sentence, the logical emphasis falls on one of them. Usually the word that occupies the second place takes on the stress.
For example:
“The fields are empty; the forests were exposed."
2. Rule about a new concept:
A) if the subject and predicate is a word that means a new concept for a given text, then the emphasis is placed on it. If both concepts are mentioned for the first time, they both stand out.
B) if this concept has already been mentioned in the text, then it is no longer highlighted
For example:
"Here house ,
who built Jack ,
and this wheat ,
which is in the dark closet stored
in the house,
that Jack built."
We see that new concepts: "house", "jack", "wheat", "closet"– stand out. When repeating words "house", "Jack" the emphasis is removed from them.
IN) predicates, the meaning of which in the text lies in the meaning of the subject, are not highlighted in the text.
For example:
"It sparkled lightning"," thundered thunder ».
3. Rule of opposition.
If one concept is affirmed to deny another, then both opposed terms are highlighted.
For example:
“I will have a vacation not in this year, and in future“- this year is opposed to the future;
"In our veins blood, but not water » – « blood"opposed" water »;
"It's a good country Bulgaria, A Russia the best".
If there is a hidden opposition in a phrase, then the member of the sentence that is the hidden opposition will necessarily be stressed.
For example:
"They were real flowers"(assuming they are not paper).
4. When combining several homogeneous members in a sentence, all of them must be highlighted .
For example:
A) "The man with the beard had smart , young , fresh face";
B) "Here ate , slept , loved , fought , started an endless bargaining , were waiting for a bright future , were sick And were dying ».
This sentence has eight homogeneous members, and such groups of words as “we started endless bargaining”, “were waiting for a bright future” are common homogeneous terms, since they express concepts related to what these people did here.
5.If the definition is expressed by a noun in the genitive case, then it takes on the stress .
For example:
“the meaning of the phrase”, “the power of sound”, “the idea of the work”.
6. In comparison, the most striking will be what is being compared to, not what is being compared .
For example:
“The old woman’s face was wrinkled like a dried apple,”- a wrinkled face is compared to a dried up apple, therefore the words will be stressed "dried apple"
7. A pronoun can never be a stressed word.
For example:
A) “I will never forget this”;
B) "I won't tell you anything."
IN interrogative sentence The accent word is the word that expresses the essence of the question.
For example:
“Did you take the apple?” If we want to know Who took an apple, we highlight the word “ You ».
If there are oppositions, then the pronoun will be stressed.
For example:
“If you don’t come to visit, then me will not be there".
One of the stressed words is the main stressed word of the entire phrase, the other stressed words are emphasized to a lesser extent.
Some words in the speech stream stand out most strongly, others - weaker, others - weaker, and others may not stand out at all.
For example:
“Getting ready to leave / and shaking Tsiolkovsky’s hand, / Nikita said: // “if I come for you tomorrow, / you will go to the station / to give a lecture ///.”
In the first measure we highlight the word “ leave", firstly, because it stands at the end of the bar, and secondly, because it absorbs the meaning of everything expressed in the bar - " leaving ».
In the second measure the word “ hand" - because it comes at the end of the measure and, in addition, the words " shaking hand"mean" parting ».
In our example, let us emphasize the most prominent word: the most stressed with three features, the least emphasized with two, and even less emphasized with one feature.
It turns out the following:
"Getting ready leave and shaking Tsiolkovsky hand, / Nikita said: // "if I tomorrow I'll come follow you / you will go to railway station/ read a lecture.”//
So, we got a whole complex of stresses - strong, medium and weak. “Just as in painting there are tones, halftones, chiaroscuro, so in the art of speech there are whole scales of different degrees of stress, which must be coordinated so that small stresses do not weaken, but, on the contrary, highlight the word more strongly, so that they do not compete with it , but did one thing in common: the structure and transmission of a difficult phrase.” (Words by K.S. Stanislavsky, quoted from the book by M. Knebel “The Word in the Actor’s Work”).
We observe the same thing when a sound is stressed in a word.
For example:
In a word " cabinet"third syllable" No" - drum, second " bi" - pre-shock, first " ka" - weak.
We can say that the degree of stress in a word is different: the greatest on the stressed syllable, the average on the pre-stressed syllable, the least on the weak.
Sometimes the stress is so insignificant that the vowel sound is dropped out altogether and is not pronounced (in the word “ fern"the sound [o] in the third syllable is dropped).
To find out which words are the main ones in a speech tact, you can also try to discard words that you can do without and leave, as it were, a skeleton of phrases. This technique is called " skeletonization» text.
Stressed word is the main center of thought.
To find the logical center of thought, it is not enough to simply divide a phrase into speech beats - semantic stresses in each individual phrase are determined only when a connection is found between all phrases that are united by one main theme.
Depending on it, logical centers are determined in each phrase, i.e. words that reveal this topic.
“Impressive words are only roadside milestones along which logical thought finds its right path to the ear and heart of the viewer. Without knowing the thought you want to say, you won’t find the “main” word in the phrase” (N. Gorchakov “Directing Lessons by K.S. Stanislavsky”).
Therefore, you should never start working on a text by finding subjects or predicates that require stress according to the rules of grammar.
Let's take a simple phrase « Give me an apple" According to the rules of grammar, the logical stress should be on the owl " apple", however, there may be different circumstances that change the meaning of the phrase, and then the center will change, for example: " give I need an apple », « give me apple ».
Exercise :
Break the text into speech bars, place pauses and emphasis.
« The Road to Calvary? No, it would be wrong to say that. There was, there was torment. And there were doubts, cold, prickly. And sometimes despair would grab you by the throat.
Everything was there, but also moments of delight, extraordinary, complete happiness, when suddenly somewhere on the road, in the darkness, you meet an unfamiliar but dear person, and he will open before you all the riches of his soul, the unconquered, beautiful Russian soul and ask: “What to do, comrade ?»
(B. Gorbatov, “Unconquered”).
Each text chosen by the student must be subject to logical analysis.
Basic principles of logical text analysis.
1. Phrases must be divided into speech beats by grammatical and logical pauses (the words in them are combined according to meaning).
2. In each phrase, the performer must clearly highlight the main words.
3. In long phrases, in long periods, the group of main words should be separated from the group of secondary words to correlate the individual parts of the phrase.
4. More important phrases should be highlighted (i.e. there should be a logical relationship between the phrases as a whole).
5. Based on an understanding of the main idea of the analyzed work, it is necessary to find out and highlight the key points of the entire line of effective development of content.
The student needs to be able to carry the main idea through all the phrases of the text. This is the main condition for mastering perspective literary work.
The reader must stretch the thread of the author's developing thought through a chain of individual phrases, trace the so-called logical perspective of each part of the work and the entire work as a whole from the logical word.
Mastering a logical perspective means seeing a developing thought through individual phrases and expressing it in sound.
To trace the development of thought, it is necessary, by analyzing individual sentences, to establish an internal connection between them.
“Between all these emphasized and unselected words, one must find the relationship, gradation of force, quality of stress, and create from them sound planes and perspective that give movement and meaning to the phrase.” (K.S. Stanislavsky, collected works, vol. 3, p. 125).
If we are dealing not with individual sentences, but with a connected text, then the emphasis will be placed in each sentence depending on its connection with the rest.
The degree of prominence of a word and the length of pauses depend on the context.
Conveying a logical perspective makes it possible to correctly convey the idea of a work.
Self-test questions.
1. What is included in the logical analysis of a text?
2. Why is it necessary to divide the text into speech beats?
3. What types of pauses do you know?
4. How are punctuation marks read?
5. Name the basic rules of logical stress.
6. What are logical centers of thought?
7. What is the logical perspective of a text?
A period usually marks the end of a sentence, but lowering the tone on a point can be different, depending on where this point is: at the end of a sentence, paragraph or story.
The duration of the pause at a point may vary. Thus, short phrases ending with a period help create an energetic rhythm of speech.
Exercise:
Read the following examples carefully. Pay attention to the variety of intonations and pauses on periods and at the same time to the general qualities that are inherent in this punctuation mark. Remember the content of the entire work from which the excerpt is taken, clarify what happens in it:
Example I .
Excerpt from A.S. Pushkin’s poem “Poltava”:
The hats are colorful. The spears shine.
They beat the tambourines. Serdyuks are galloping.
In formations the regiments are equal.
The crowds are seething. Hearts are fluttering.
The road is like a snake's tail
Full of people, moving.
In the middle of the field is a fatal platform.
Now read the passage, replacing the periods with commas. Think about what changes in the description of the picture of Kochubey’s execution.
Example 2 .
Bessemenov’s monologue from M. Gorky’s play “The Bourgeois”:
“I say – sawn sugar is heavy and not sweet, therefore it is unprofitable.
You always need to buy sugar with your head and inject it yourself. This will create crumbs, and crumbs go into food. And sugar is the lightest, sweetest..."
Example 3 .
An excerpt from the epic novel “War and Peace” by Leo Tolstoy. This is a story about how the attitude of those around him towards Prince Andrei changed after an audience with Emperor Franz:
“The Emperor said he was grateful and bent down. Prince Andrei came out and was immediately surrounded on all sides by courtiers. Kind eyes looked at him from all sides and gentle words were heard.
Yesterday's aide-de-camp reproached him for why he didn't stay at the palace, and offered him his home.
The Minister of War approached, congratulating him on the Order of Maria Theresa, 8th class, which the Emperor had bestowed upon him. The Empress's chamberlain invited him to see Her Majesty. The Archduchess also wanted to see him. He didn't know who to answer, and took a few seconds to collect his thoughts.
The Russian envoy took him by the shoulder, took him to the window and began to talk to him.”
Please note that all points are inside the paragraph. Each short phrase is a separate picture, revealing the characters of the people surrounding Prince Andrei and reflecting his attitude to what is happening. The oral expression of the point here is extremely varied.
Commas are only used within sentences. IN simple sentence She separates homogeneous members offers from each other clarifying circumstances words from the general circumstance of place, time, etc., introductory words, appeal etc.
In a complex sentence, it can separate simple sentences within it, located before a conjunction or a conjunction word.
In a non-union complex sentence, a comma is placed mainly when the simple sentences included in its composition are combined coordinating connection and this connection between them is very close.
In cases of contrasting or clarifying the meaning of the first part complex sentence in the second, etc. a comma in a non-union sentence is replaced by a dash or colon.
When the parts of a complex sentence are relatively independent, the comma is replaced by a semicolon.
The comma is very ambiguous and therefore requires different intonation in different cases. So, when enumerating, she requires a consistent raising of her voice. This is especially important to remember when conveying complex syntactic construction – period.
Example 1.
Read the phrase from “Two Hussars” by L.N. Tolstoy:
“In the 1800s, at a time when there were no railroads, no highways, no gas lights, no stearin lights, no springy low sofas, no white lacquer furniture, no disillusioned young men with glasses, no liberal female philosophers , nor the lovely lady camellias, of which there are so many in our time - in those naive times when, leaving Moscow for St. Petersburg in a cart or carriage, they took with them a whole home-cooked kitchen, drove for eight days through soft, dusty and dirty road and believed in Pozharsky cutlets, in Valdai bells and bagels - when tallow candles burned on long autumn evenings, illuminating family circles of twenty and thirty people, at balls wax and spermaceti candles were inserted into candelabra, when furniture was placed symmetrically, when our fathers were still young not only because of the absence of wrinkles and gray hair, but they shot at women and from the other corner of the room rushed to pick up accidentally and not accidentally dropped handkerchiefs, when our mothers wore short waists and huge sleeves and solved family matters by taking out tickets, when the lovely camellia ladies hid from daylight - in the naive times of the Masonic lodges, Martinists, Tugenbund, in the times of the Miloradovichs, Davydovs, Pushkins - in the governor’s city of K. there was a congress of landowners and the noble elections ended.”
Example 2 .
How are commas different from the commas in example #1?
“Yesterday at midnight I walked through the dining room, and there, a candle was burning.”(A.P. Chekhov “Three Sisters”).
Example 3.
“But there is a lot of happiness, so much, boy, that there would be enough of it for the whole district, but not a single soul sees it!”(A.P. Chekhov “Happiness”).
In the last example, there is a case of comma neglect (a comma that does not require a pause is placed in parentheses).
We are speaking:
“But there is a lot of happiness, so much (,) guy that...”
But if the address is at the beginning of the phrase, the comma is respected.
We would say:
“Boy, there’s a lot of happiness...”
There are quite a lot of cases of non-compliance with commas in oral speech. The comma is usually “removed” before a single gerund, since it creates, with the verb it specifies, one concept, a single image:
“Mikhaila sat (,) frowning.”
(A.N. Tolstoy “Peter the First”).
But in the case when the gerund comes before the verb, it acquires greater independence and requires a pause after itself:
“Mikhaila sat frowning.”
Without pauses, such introductory words as of course, probably, perhaps, it seems, maybe be, however, what good, in my opinion, unfortunately, finally etc.
For example, we say:
“I (,) seem (,) to understand that you (,) are offended.”
A major researcher and language expert A.N. Ostrovsky V.A. Filippov often talked about the productions of the plays of the great playwright. According to him, the luminaries of the Maly Theater believed that commas in Ostrovsky’s plays contribute to unity, smoothness of speech, pauses on them should be almost removed, intonations should be melodious, soft, unsharp. This especially applies to the speech of female characters.
From the above examples, the ambiguity of the comma is already visible: it can also separate two parts of one thought (if comparisons and contrasts), and concentrate, collect attention (with transfers).
She often disappears before appeal, with introductory words, before gerunds and in many other positions.
We suggest that you be attentive to this sign, which has so many meanings and is used so often.
Exercise:
Select excerpts from A.N. Ostrovsky’s plays that contain many enumerations.
Carefully reading, for example, the works of I.S. Turgenev, we see how often he resorts to the semicolon when he paints a wide canvas in which every detail is inseparable from the whole picture.
Highlighting some detail within a large piece of text, Turgenev pauses our attention on it, and then leads us further and further, making up a single whole from individual pictures.
Tasks:
Example 1 .
Read aloud the following excerpt from the story of I.S. Turgenev "Singers":
I felt tears boiling in my heart and rising to my eyes; muffled, restrained sobs suddenly struck me... I looked around - the kisser’s wife was crying, leaning her chest against the window.
Yakov cast a quick glance at her and burst out even louder, even sweeter than before, Nikolai Ivanovich looked down; The blinker turned away; Stunned, all pampered, stood with his mouth open stupidly; the gray little man sobbed quietly in the corner, shaking his head in a bitter whisper; and a heavy tear slowly rolled down the iron face of the Wild Master, from under his completely furrowed eyebrows; The rower brought his clenched fist to his forehead and did not move...”
When describing a rower's singing, a writer rarely resorts to a semicolon. But then Yakov begins to sing.
The rhythm of the story changes, so does the placement of punctuation marks, each phrase is replete with semicolons. They seem to direct attention first to one listener, then to another.
In all cases, the semicolon preserves falling intonation, but at the same time it is different every time and, as the thought develops, it requires more and more vivid and rich intonation.
Example 2.
Analyze the following example from the novel by A.S. Pushkin “Eugene Onegin”:
Tatiana in the forest; the bear is behind her;
The snow is loose up to her knees;
Then a long branch around her neck
Suddenly it gets hooked, then from the ears
The golden earrings will be torn out by force;
A wet shoe will get stuck;
Then she drops the handkerchief;
She has no time to rise; fears,
He hears the bear behind him,
And even with a trembling hand
He is ashamed to raise the edge of his clothes;
She runs, he follows,
And she no longer has the strength to run.
Exercise :
Using the example of any work of Russian classical literature, demonstrate the role of the semicolon in an artistic context (description, reflection, lyrical digression, etc.)
The colon often competes with the dash. Both signs serve to clarify.
Exercise:
Read carefully and analyze:
Example 1 .
“Yakov, apparently, was overcome by rapture: he was no longer timid, he gave himself entirely to his happiness; his voice no longer trembled - it trembled, but with that barely noticeable inner trembling of passion that pierces like an arrow into the soul of the listener ... "
(I.S. Turgenev “Singers”)
Very often, the colon is used as a sign separating the author's text from direct speech. The pause in this case is shorter than at a colon within a sentence.
Example 2.
The hero of A.P. Chekhov’s story “My Life” says:
“The manager told me: “I’m keeping you only out of respect for your venerable father, otherwise you would have left me long ago.”
I answered him: “You flatter me too much, Your Excellency, by believing that I can fly.”
And then I heard him say: “Take this gentleman away, he’s getting on my nerves.”
Getting acquainted with the history of Russian punctuation, we learn that M.V. Lomonosov’s student A.A. Barsov first pointed out a new punctuation mark - “silent”; this sign was later called the "dash".
“This silence,” Barsov wrote, “interrupts the speech that has begun either completely, or for a short time to express cruel passion, or to prepare the reader for some extraordinary and unexpected word or action later.”
Over time, the emotional content of the dash smoothed out somewhat, “cruel passion” more often began to be indicated with the help of other signs, but “preparation for some unexpected word or action” remained. Pauses on a shooting range are usually significant, with great psychological stress, and the intonations are bright and expressive.
A dash refers to signs that usually appear within a sentence. A dash often serves to separate opposed phenomena.
Two dashes are signs highlighting; they mark direct speech, and sometimes introductory word or proposal.
Exercise:
Read aloud an episode from “The Stone Guest” by A.S. Pushkin - the meeting of Don Guan with Don Carlos at Laura’s:
Don Guan
What an unexpected meeting!
I'll be at your service tomorrow.
Don Carlos
Now - now.
Laura
Don Carlos, stop it!
You are not on the street - you are with me -
Please step out.
Frequent use of dashes is characteristic of M. Gorky's style. This is where the property of a dash to prepare the listener for an unexpected word or action is widely used.
For example:
“When so, go about your business. Do you have any business?”
It is Bulychov who sends away “others” who flock to him like crows to carrion, writes A. Dikiy in his memoirs about this performance, read the second half of the phrase without a dash, and it turns out to be an ordinary, specific, everyday question relating to a given time , to date.
Read it with the dashes in mind, and it will immediately sound general and make you think: do people have any real business at all?
This is exactly what Bulychov asks, speaking with the play in relation to “others” as a prosecutor and an accuser...” (Dikiy A. Language and character in Gorky’s dramaturgy. – Collection “The Word in Gorky’s Performances.” – M., 1954, p. 23).
Exercise:
Find 5 examples of such placement of dashes in M. Gorky’s plays.
The exclamation mark is used to indicate emotionality of speech. At the same time, along with the period, the exclamation mark serves as a sentence delimiter.
Just like a period, an exclamation point usually ends a sentence. It can be expressed in oral speech in a very diverse way, depending on the content and effective tasks.
An excited person usually makes wide use of the entire range of his voice, but even at the highest notes when exclamating, one can hear final intonation. The voice does not “hang”, as happens with an ellipsis - it sounds definite, concrete, affirmative.
And yet, intonation depends primarily on the context. A feeling is always the result of an assessment of certain events.
Exercise:
Read aloud:
“How are you reading this! – he spoke in a whisper. - In different voices... As if they were all alive...
Aproska! Saw... What fools! It was funny for me to listen... And then what? Where will they go?
Lord God! After all, this is all true.
After all, this is how there are real people... Real men... And just like living people, both voices and faces...
(M. Gorky “Konovalov”).
Exclamation marks are widely used in drama and indicate the speaker's emotion. The reasons for excitement are very diverse, and the ways of expressing feelings should also be different.
A question mark is most often placed at the end of a sentence containing a direct question, i.e. a question designed to elicit an immediate answer.
The question mark has many shades, depending on what is being asked, by whom, from whom, for what purpose.
Regardless of this, words containing a question are marked in speech by raising the voice:
- Where are you from, comrade?
- I'm from here, from the town.
It should be remembered that a correctly posed question actively demands an answer and seeks it. We usually learn how exactly the hero of a literary work asks a question from author's remarks.
The interrogative form does not always contain a direct question. It is often used as a special technique of emotional speech - a rhetorical question.
Exercise:
Read aloud, determine which words especially emphasize the question:
Where is rightness, when a sacred gift,
When an immortal genius
- not as a reward
Burning love, selflessness,
Works, zeal, prayers sent -
And it illuminates the head of a madman,
Idle revelers?...
O Mozart, Mozart!
(A.S. Pushkin “Mozart and Salieri”)
Exercise:
Using the example of any literary text, comment on the composition interrogative constructions, determine their meaning in the structure of the work.
The ellipsis is characterized by the intonation of incompleteness. This sign requires a performer of great skill, the ability to switch sound speech into mental speech and again continue to speak out loud. Usually an ellipsis also requires a long pause.
There are many reasons that cause a break in speech, and depending on the reason, the vocal expression of the ellipsis changes. A break in speech can be explained by excitement, or maybe by poverty of thought.
In the first case, a stop may be required at the moment of climax, and in the second, the intonation may be very poor, monotonous, monotonous.
Exercise:
Example 1 .
Read aloud and analyze Akulina’s monologue from “The Bourgeois” by M. Gorky:
“And outside it started to rain again. It's kind of cold here. It was heated, but it was cold.
The old house is... blowing... oh-ho! And father, kids, is angry again... His lower back, he says, is aching.
He’s also old... And all the failures and messes... The expenses are high... Care.”
Example 2.
The story of old man Krasilnikov from the story by P.I. Melnikov-Pechersky “Krasilnikovs”:
“Mitka is twenty-nine: it’s high time he started raising his own children...
And I began to advise Mitka: It’s time for you to commit the law too... Just choose, I say, a wife not with your eyes, but with your ears, listen to the speech, whether she is reasonable, find out what she’s like in the household...
I say this to Mitka, and he turns pale, and then his face is all stained... What kind of reason is this?...
He tortured, he tortured, he tortured for a week - he was silent, not a word... He became completely horny, he walks with his head hanging, he leaned back from eating, he became thin, just like a match..."
PUNCTUATION ACTIVITIES
Exercise 1.
Read the examples out loud. Pay attention to how the shades of meaning change, and sometimes the meaning completely, when punctuation marks are changed.
Examples
1. It's hot, the sun is overhead.
It's hot: the sun is overhead.
2 . Winter is harsh, summer is hot.
Winter is harsh - summer is sultry.
3 . The larks are ringing! Thick pigeons coo; swallows fly; horses snort and chew; The dogs wag their tails quietly.
Larks are ringing, pigeons are cooing, swallows are soaring, horses are snorting and chewing, dogs are quietly wagging their tails.
4. He is back.
He is back?
He is back!
5 . You come home, eat, go to sleep
When you come home, eat and fall asleep.
6 . I did not see my friend's brother and his sister.
I did not see my brother, comrade and his sister.
7. The article may be published.
The article may be published.
Task 2.
Read the following three passages carefully and compare them. What do they have in common and what is different?
Pay attention to the placement of punctuation marks and, when reading texts aloud, follow the instructions outlined above. Pay special attention to the various functions of commas.
Mark cases where a pause is not needed at commas. Tell us how you explain the ellipses put by the author.
Example 1.
“There were still ten miles left to the nearest village, and a large dark purple cloud, which had come from God knows where, without the slightest wind, but quickly, was moving towards us.
The sun, not yet hidden by the clouds, brightly illuminates her gloomy figure and the gray stripes that go from her to the very horizon.
Occasionally, lightning flashes in the distance and a faint rumble is heard, gradually intensifying, approaching and turning into intermittent peals that embrace the entire sky.
Vasily rises from the box and raises the top of the chaise; the coachmen put on their overcoats and at every clap of thunder they take off their hats and cross themselves; the horses prick up their ears, flare their nostrils, as if sniffing the fresh air that smells from the approaching cloud, and the chaise quickly rolls along the dusty road.
I feel terrified and I feel the blood circulating faster in my veins. But the advanced clouds are already beginning to cover the sun; Here it looked out for the last time, illuminated the terribly gloomy side of the horizon and disappeared.
The whole neighborhood suddenly changes and takes on a gloomy character.”
(L.N. Tolstoy “Adolescence”).
Example 2.
“How strongly the wormwood smells on the borders! I looked at the blue mass... And my soul was confused.
Well, hurry up, hurry up! - I thought, - sparkle, golden snake, tremble, thunder! Move, roll, pour out the evil cloud, stop the melancholy languor!
But the cloud did not move. She still crushed the silent earth... and only seemed to swell and darken...
And finally the storm broke - the fun began!
I barely made it home. The wind is screeching, rushing like mad, red, low clouds are rushing, as if torn to shreds, everything is spinning, mixed up, a zealous downpour is swaying in sheer columns, lightning is blinding with fiery green, abrupt thunder is shooting like from a cannon, there is a smell of sulfur ... "
(I.S. Turgenev “Pigeons”).
Example 3.
“But one day a thunderstorm burst over the forest, the trees whispered dully, menacingly. And then it became so dark in the forest, as if all the nights had gathered in it at once, as many as there had been in the world since he was born.
Little people walked between large trees and in the menacing noise of lightning, they walked, and, swaying, the giant trees creaked and hummed angry songs, and lightning, flying over the tops of the forest, illuminated it for a minute with blue, cold fire and disappeared just as quickly, how they appeared, scaring people.”
(M. Gorky “Old Woman Izergil”).
Task 3.
How many paragraphs are there in this passage? When reading aloud, pay attention to the varied sound of periods in the middle of the paragraph and at the end.
“They carefully descended from the shore into the thickets of cacti. Someone's shadow darted from under his feet. The shaggy ball ran along the reflections of two moons.
It started grinding. It squeaked - piercingly, intolerantly, subtly.
The glittering casts of cacti moved. A cobweb stuck to my face, as elastic as a net.
Suddenly the night resounded with an insinuating, tearing howl.
It was cut off. Everything was quiet.
Gusev and Los ran across the field in big leaps, shuddering with disgust and horror, jumping high over the revived plants.
Finally, in the light of the rising crescent, the steel casing of the apparatus flashed.
We made it. Sit down, puffing away.”
Except grammatical pauses, in oral conversation there are a number of additional pauses that contribute to a more accurate transmission of thought. They're called " logical pauses"; and the part of thought contained between two such pauses is called “ speech link ».
In the speech link, words are grouped according to their meaning around one, most important, significant word. So, in a simple sentence there are usually two speech units: in one of them the words are grouped around the subject, in the other - around the predicate.
Let's take, for example, this phrase:
“In every work of stage art | there are, as it were, several layers of meaning”
(G. Boyadzhiev “The Soul of the Theater”).
This phrase contains two speech units, clearly separated in oral speech by a logical pause (in writing we denote it with a vertical line).
In a more common simple sentence and, even more so, in a complex sentence, there are more speech units and it is more difficult to isolate them: it is necessary to take into account additional shades of thought, the presence of speech units of varied content, which can consist only of minor members of the sentence.
A logical pause is one of the important expressive means of speech. The location and duration of logical pauses may vary, depending on the primary task, context, conditions of communication.
At the same time, a certain pattern is observed in the arrangement of logical pauses. Thus, logical pauses always separate parts of a complex sentence from each other, although the pause does not necessarily appear exactly at the junction between them.
Sometimes a logical pause coincides with a grammatical pause, sometimes it does not coincide.
Exercise:
Read it out loud. Place pauses (logical) that you consider necessary to clarify your thoughts.
1. “On the Staritsa there are sand dunes along the banks, overgrown with Chernobyl grass and string. Grass grows on the dunes; it is called grass. These are dense gray-green balls, similar to a tightly twisted rose.
If you take such a ball out of the sand and place it with its roots up, it begins to slowly turn over, like a beetle turned over on its back, straightens its petals on one side, rests on them and turns over again with its roots towards the ground.”
(K. Paustovsky “Meshcherskaya side”)
2. “But, having given such loud praise to these quixotic theater, the author does not at all see them as ideal spectators. They are praised for another reason - for their excitement.
Because he earns an “extra ticket” by the sweat of his brow, this theater lover is the complete opposite of the indifferent spectator.”
(G. Boyadzhiev “The Soul of the Theater”).
Exercise:
Read the examples, paying attention to the pauses; outline the main part of each sentence and determine the logical sequence of topic development.
1. “The ringing of anchor chains, the roar of clutches of cars delivering cargo, the metallic scream of iron leaves falling from somewhere on the stone pavement, the dull knock of wood, the rattling of cab drivers’ carts, the whistles of steamships, sometimes piercingly sharp, sometimes muffled roars, the cries of sailors and customs soldiers, - all these sounds merge into the deafening music of a working day and, rebelliously swaying, stand low over the harbor - more and more new waves of sounds rise up to them from the ground - sometimes dull, rumbling, they sternly shake everything around, then sharp, thundering - they tear dusty, sultry air"
(M. Gorky “Chelkash”).
2. “Nine obstacles were set up on this circle: a river, a large one, two arshins in size, a blank barrier in front of the gazebo itself, a dry ditch, a ditch with water, a slope, an Irish banquette, consisting (one of the most difficult obstacles) of a shaft studded with brushwood, behind which , invisible to the horse, there was also a ditch, so the horse had to jump over both obstacles or be killed; then two more ditches with water and one dry, and the end of the race was opposite the gazebo.”
(L.N. Tolstoy “Anna Karenina”)
3. The wind makes a cheerful noise,
The ship is running merrily
Past Buyan Island,
To the kingdom of the glorious Saltan,
The ship is running merrily
And the desired country
It's visible from afar.
The guests came ashore;
And follow them to the palace
Our daredevil has flown.
(A.S. Pushkin “The Tale of Tsar Saltan”)
When checking yourself, think again about what you want to convey to your listeners, what picture to paint, for what purpose.
Combine words into speech units according to this principle: one concept, expressed in several words, has one main word on which the thought is based, and is pronounced as smoothly as possible, almost without pauses.
If pauses between its constituent words are required to more clearly convey a concept (especially when it is expressed in a sufficiently large number of words), then these pauses should be of shorter duration than those highlighting the concept as a whole.
In poetic examples, do not forget about the pause at the end of each verse (line).
Speaking about logical pauses, we should specifically focus on the connecting conjunction AND. There is usually no comma in front of it.
A logical pause of greater or lesser duration before a coordinating conjunction AND happens almost always:
A) minimal when this union stands between individual words;
B) is large when it connects common parts of a sentence, and even larger when it connects parts of a complex sentence.
Meaning should come first for us, because grammar and syntax only help us in this. We look for speech units in a sentence, focusing on the content.
Examples:
“She began to understand her own heart and admitted (,) with involuntary annoyance that it was not indifferent to the merits of the young Frenchman.”
(A.S. Pushkin “Dubrovsky”).
- I’ll get in through the window! - I say decisively and jump onto the window.
I very easily beautifully jump onto the window, throw one leg over the sill and then I only notice my friend’s mocking surprise and Lily’s confusion.
I immediately realize (,)that I have done something awkward, and freeze astride the window: one leg is on the street, the other is in the room. I sit and look at Lilya."
(Yu. Kazakov “Blue and Green”)
After the union AND standing in front participial phrase, the pause is not respected:
“I turned away and (,) avoiding the puddles, wandered towards the luggage compartment.”(Yu. Kazakov “At the stop station”).
Exercise:
Read the examples, rewrite them, place logical pauses.
Example 1.
“Do you need a room? - asked the merchant in a young voice and, wincing, began to tear off his beard. “Just wait a little, I’ll take you out now.”
(Yu. Kazakov “House under the steep slope”).
Example 2.
“And here we are again driving around Moscow. A very strange, crazy evening.
It starts to rain, we hide in the echoing entrance and, out of breath from running fast, look at the street.”
(Yu. Kazakov “Blue and Green”).
Example 3.
“She recognizes him immediately, hides around the corner of the house and, sobbing, watches him. She no longer believes anything and, when the skier disappears into the forest, she goes, wiping her tears, to see if there are any traces left after him.”
(Yu. Kazakov “Deer Antlers”).
In each speech (logical) link, words are grouped around the main word. This word is called " percussion”, since it is usually pronounced with some amplification of the voice.
Phrase may consist of one or more speech units. These links are heterogeneous in their importance; consequently, the stressed words of different speech units are not the same.
Words that carry the main idea of the phrase stand out more; words that are the centers of “additional” speech units are highlighted with less emphasis.
The greatest gain occurs in the main words of the whole semantic piece. In addition, there is another regularity of Russian speech: a stronger logical stress in a speech unit falls on its last word.
This general trend continues and, if necessary, special semantic highlighting some word inside a speech unit ( syntagmas), - then the last word of the syntagma will still be highlighted, but with less force.
If you listen carefully to colloquial speech, you will notice that the emphasis on the main words occurs not so much by simply strengthening the voice, but by raising or lowering it.
Power stress– the most primitive and least expressive. Combining it with raising or lowering the tone makes speech more melodic, rich, and smooth. Logical stress should consist of increasing voice and changing tone.
Even in a long phrase, there is often one most important word (rarely two or three); all other words complement, clarify it and, therefore, stand out with less force.
Isolation of the main words depends primarily on the context, on those effective tasks that arise from the content.
In the Russian language there are a number of syntactic features that help to find the main words of speech units. Let's look at some of them.
Strong expressive means of language - opposition. Opposite words have the ability to draw emphasis onto themselves. Each of the rules for setting logical stress has a clause: “if there is no opposition here.”
Many proverbs are based on opposition:
“Learning is light – ignorance is darkness”;
"What goes around comes around" etc.
As you can see, the logical stress is carried by both contrasted words.
Here are two examples illustrating the idea of pulling logical stress from other main words to opposition:
“He realized that there was nothing in common between the arrogant man standing in front of him in a tufted brocade scufa, in a golden Chinese robe, belted with a Turkish shawl, and him, a poor nomadic artist, in a worn tie and a worn tailcoat.”
(A.S. Pushkin “Egyptian Nights”).
They got along. Wave and stone
Poetry and prose, ice and fire
Not so different from each other.
(A.S. Pushkin “Eugene Onegin”).
The opposition is not always clearly expressed grammatically - in the form of paired words that are opposite in meaning. An expanded judgment may contain phenomena that are contrasted in meaning.
Exercise:
Read the examples, highlight the contrasted phenomena in them and convey this in reading aloud.
Example 1.
Laura
Come and open the balcony.
How quiet the sky is;
Immovable warm air, lemon night
And it smells like laurel, the bright moon
Glistens in the thick and dark blue,
And the guards shout protractedly: “It’s clear!...”
And far in the north
- in Paris -
Perhaps the sky is covered with clouds,
The cold rain is falling and the wind is blowing.
(A.S. Pushkin “The Stone Guest”)
Boris
... We are crazy when the people splash
Or an ardent cry disturbs our heart!
God sent famine to our land,
The people howled
dying in agony;
I opened the granaries for them, I am gold
I scattered it for them, I found them jobs -
They're me
raging, they cursed!
The fire destroyed their houses,
I built new homes for them.
They reproached me with fire!
Here is the mob court:
look for her love.
(A.S. Pushkin “Boris Godunov”)
As a rule, it is highlighted by logical stress and comparison(that with which the phenomenon is compared), since it allows you to very accurately reveal the essence of the phenomenon, to draw an image:
...He, burning with revenge,
Reached the abode of the villain.
Already the knight is under stands like a mountain,
The calling horn howls like a storm,
The impatient horse is seething
And the snow digs with a powerful hoof.
Prince Karl is waiting.
Suddenly he
On a strong steel helmet
Struck by an invisible hand;
The blow fell like thunder...
(A.S. Pushkin “Ruslan and Lyudmila”)
Exercise:
Read the examples carefully, look for comparisons in them, and highlight them when reading aloud.
Example 1.
Always modest, always obedient,
Always, like the morning, cheerful,
Like the life of a poet, simple-minded,
Like a kiss of love, honey;
Eyes, like the sky, blue;
Smile, flaxen curls,
Everything in Olga... But any novel
Take it and you will find it, right,
Her portrait...
(A.S. Pushkin “Eugene Onegin”)
Example 2.
“The mass tossed and turned, hummed, and worried, like a huge woolly beast - with a thousand legs, a thousand eyes, pliable, like a furry bear.”
(D. Furmanov “Chapaev”).
When a new concept appears in a story, it is also highlighted with logical emphasis. Thus, the logical emphasis falls on the name that first appears in the work:
Onegin, my good friend,
Born on the banks of the Neva,
Where might you have been born?
Or they shone, my reader.
(A.S. Pushkin “Eugene Onegin”)
When the heroes ahead have already been named, there is no need to specifically highlight them during further mention:
The king was driving through the village after the war.
He rides - his heart is sharpened by black anger.
He hears - behind the elderberry bushes
The girl laughs.
Menacing red eyebrows frown,
The king hit his horse with his spurs,
Hit the girl like a storm
And he screams, his armor ringing...
(M. Gorky “The Girl and Death”)
If there is a defined word (noun) and a definition (adjective) and the usual word order (adjective before the noun), the usually defined word is highlighted:
“winter blizzard”, “dark night”, “nice man”.
When used in a sentence inversion(reverse word order), the definition is highlighted:
“He’s a nice person, but he doesn’t know much.”
If the concept is a noun with a definition, also expressed by a noun in the genitive case (i.e. we have the so-called “inconsistent definition”), then the logical emphasis falls on the definition:
“wife’s brother”, “neighbor’s house”, “sister’s book”.
The pronoun is usually not emphasized with logical stress. Only in case of opposition or with a special semantic load is an exception made:
To our carriages
On our way
Our
loading
firewood.
(V.V. Mayakovsky “Good”)
When combining a verb with an adverb, the emphasis falls on the adverb:
“It became quiet”; “The blizzard raged continuously.”
However, given these general patterns speeches, they cannot be observed mechanically. When determining words that are important in meaning, you must first find out their significance in relation to the entire text.
You should not overload a phrase with a large number of stresses of equal strength, as this makes the speech monotonous and monotonous.
By conveying each phrase in a logical connection with the previous text, thinking through the perspective of the development of thought, we calculate the strength of the voice in advance and outline the intonation pattern of the text: we see where we need to leave a “reserve” to strengthen the voice, and where to strengthen it as much as possible.
Constant exercises develop the skills of competent transmission of the author's text, conveying to students the essence of the author's thoughts. The future teacher needs this work just like spelling exercises at school.
Tasks:
1). Turning to dictionaries, clarify the content of the following concepts:
replica, remark, text and subtext, speech behavior, verbal action, intention.
2). Prepare an expressive reading of phenomena VII - VII of the 2nd act of N.V. Gogol’s comedy “The Inspector General”, focusing on their place in the plot.
Goal of the work: consideration of the text as a “dynamic unit” of the speech-creative process.
Sample analysis plan
| Khlestakov, Gorodnichy and Dobchinsky. The mayor entered and stopped. Both look at each other in fear for several minutes, their eyes bulging. |
Active beginning of non-verbal communication: everyone saw a dangerous enemy in the face. They look around carefully. Pause dragged on. Both are confused and scared. |
| The mayor / having recovered a little and stretching his hands along the seams / I wish you good health! |
He comes to his senses first. Posture and gesture seasoned servants emphasize the official nature of the visit. |
| Khlestakov /bows/ My regards… |
Gesture of a civilian. Uncertainty of the response to the greeting / ellipsis / Gesture of a civilian. Uncertainty of the response to the greeting /ellipsis/ |
| Mayor My duty, as the mayor of this city, is to ensure that there is no harassment to those passing by and all noble people... |
Subtext /P/: I disturbed you, but the reason is valid. Intention /N/: establish contact, introduce yourself, convince of the nobility of your intentions. Intonation /In/: internally tense. |
| Mayor /to the side/ Oh my God, so angry! I found out everything, the damned merchants told everything! |
I heard exactly intonation, not words. The expectation comes true: the auditor already knows everything and is already angry. P: what to do? |
| Khlestakov / bravely / Even if you’re here with your whole team, I won’t go! I'm going straight to the minister!/Pounds his fist on the table/. What do you? What do you? |
The enemy’s confusion gives strength: the aggressiveness of threats increases, although the main means of influence remain intonation and gestures. |
| The mayor /stretched out and trembling with his whole body/. Have mercy, don't destroy! Wife, small children... don’t make a person unhappy. |
N: to justify oneself in any way, to arouse pity. Text And P. match up. In.: pleading. |
| Khlestakov No I do not want! Here's another! What do I care? Because you have a wife and children, I have to go to prison, that’s great! |
N: consolidate the initiative, increase pressure on the enemy. In.: I’m sure, maybe even a little irony. |
| Mayor /trembling/ Due to inexperience, by God, due to inexperience. Insufficient wealth... judge for yourself: the government salary is not enough even for tea and sugar. If there were any bribes, it was very small: something and a couple of dresses for the table. As for the non-commissioned officer's widow ‹…› My villains invented this; These are the kind of people who are ready to make an attempt on my life. |
P: don't ruin it! I am ready to admit my “sins”, downplaying them /what, interestingly, did the auditor manage to find out?/. N: to pity, justify, switch attention to the “villains”. In.: game of repentance and sincerity, voice trembles. |
| Mayor /to the side/ Oh, subtle thing! Eck, where did he throw ‹…› Well, there’s no point in trying! What will happen will happen, try it at random. If you definitely need money or anything else, then I am ready to serve right now. My duty is to help those passing by. |
P: So I believed you. What if this is a hint? Here and further, almost every remark of the Governor is preceded by a remark “to the side.” There is a struggle of motives: you can't go wrong! /Convincing example inner intention/. Decision is made. |
| Khlestakov Give me, lend me! I'll pay the innkeeper right now. I would only like two hundred rubles or even less. |
The reaction is immediate and expected. Finally, contact has been made. Text And P. match up. The partners understood each other - from their point of view. |
Fragment from G. Polonsky’s play “We’ll Live Until Monday, or Chaadaev’s Candlestick.”
Exercise:
Analyze the following aspects of teacher Melnikov’s speech behavior:
A) forms of emotional and verbal communication;
B) manner of production educational task;
B) correction and assessment of the answer .
PROGRESS
|
TEXT |
Question and main direction of answer |
| Melnikov Sit down. Well, be quiet... / He took the watch off his hand and put it in front of him. And next to it is a copper candlestick. |
How does such a beginning reveal the relationship with the class? A meeting of people who have known each other for a long time and understand each other. Subtext of the gesture ? Let's not waste time. |
| Last time we talked about the manifesto of October 17... We talked about the deceptive sweetness of this state carrot... About how it was soon replaced with an outright stick... |
What's the point of listing the questions? External intention: “Let’s repeat this”, internal: “listen, I determine the direction, the contours of your answer” Response requirements: laconicism and capacity. |
| Melnikov About the beginning of the first Russian revolution. Let's repeat this and move on. Syromyatnikov! |
Is this kind of assignment customary for the class? Last name given. Is the subtext clear to students? Go answer... |
| Syromyatnikov /Very surprised/ What? |
Subtext? Plays at misunderstanding, stalls for time. |
| Melnikov Ready? |
Subtext? I understand the maneuver, I want to clarify the reason. |
| Syromyatnikov More or less... Go? |
The answer is evasive: what if it does “carry away”? |
| Melnikov And quickly . |
Subtext? Don't waste time Is such brief remarks sufficiently informative? Justify your judgment. |
| Doing the teacher an expensive favor, Syromyatnikov went to the blackboard. Melnikov We are listening. |
Nature of installation (we)? By remark define speech action S., dictating emotional character further communication : student - teacher - class. |
| Syromyatnikov So... The tsar’s policy was cowardly and bicycle-friendly. |
What does a pause of uncertainty in an answer mean? Determine the intonation of the answer. |
| Melnikov Ve... Which one? |
Subtext? Attention to the last word. Is there something wrong. Repeat. |
| Syromyatnikov Ve... bicycle romper! |
Does /pause/ feel the error, but can’t fix it himself? |
| Melnikov Faithful. That is, it breaks faith, treacherous. Further. |
How to fix the error? Intonation division of the word, its semantics, synonym. And immediately - an incentive to respond. |
| Syromyatnikov Out of fear for his royal position, the king, of course, issued a manifesto. He promised the people a heavenly life there... |
Expression style ? Does not correspond to the situation /emphatically colloquial/, then the inconsistency intensifies. |
| Melnikov Or more precisely? |
Subtext? Again the maneuver is understood. |
| Syromyatnikov Well, all sorts of freedoms... speech, meetings... Still, he didn’t do anything that he promised, so why retell nonsense? This buffoon is a success. Even Natalya Sergeevna is choking with laughter. Syromyatnikov Then the king showed his vile nature and began to rule in the old way. He drank worker's blood... and no one could tell him anything. |
Subtext? Facial expressions ? Use a familiar technique to amuse the class. I achieved the desired reaction. Teacher's reaction? Doesn't stop. What does it stand on? contact WITH. with listeners ? The teacher’s position: when and how to put an end to this protracted “speech”? Class reaction? |
| Melnikov |
Request and motivation . Subtext: it's time to finish. |
| Syromyatnikov Can add. After Peter the Great, Russia had no luck with tsars at all - this is my personal opinion! |
Subtext? No matter how you overplay, you need to finish... but the point will be put “beautifully”. |
Gesture and facial expressions are natural and necessary in oral communication between people; they largely create the uniqueness of spoken speech that distinguishes it from written speech. Nonverbal means of communication acquire a leading role when the teacher comes into contact with the class. After all, the children's audience very subtly senses the correspondence or inconsistency of the content of speech and the body movements that accompany it.
Therefore, the goal of a teacher’s speech behavior can be defined as follows: to demonstrate goodwill, calmness and friendliness not only at the verbal level (i.e., the content of speech), but also at the level of facial expression and manner of gestures.
Let’s agree to call gestures such information-carrying movements that a person makes with his hands and head during speech.
The freer the speaker feels, the more emotional his speech, the more frequent and distinct his gestures. A gesture most often appears at such moments of speech when the speaker emotionally emphasizes a word or phrase.
A gesture either accompanies a word, complementing or emphasizing its meaning, or replaces some element of the utterance. He serves as an exponent of bewilderment, affirmation, question, hint, grief, joy, ridicule and other human feelings.
But the gesture is not always connected with the word and acts in close interaction with it. Even in cases where a gesture replaces an entire expression (word), it is focused on a certain meaning, on communicating something that is relevant to the interlocutor.
This speech gestures are different from gestures actions: extended his hand to the apple lying on the table; raised his elbow, protecting himself from the blow - these and similar gestures do not contain any message, that is, they do not express any meaning or emotions that could be conveyed verbally.
For the most common, typical speech gestures in the language, there are stable designations:
SPREADING YOUR HANDS as a sign of surprise;
SHRUGGED("Don't know")
SHAWD HIS HEAD(negation sign)
GOGGLED EYES(from amazement), etc.
A gesture that is appropriate in one communication situation is not used in others: in its ease, the gesture contrasts with the atmosphere of more or less formality that characterizes the teacher-class situation.
The gesture of “scratching the head” as a symbol of bewilderment, searching for a solution, a riddle, etc., acceptable in communication between friends, is perceived as a sign of bad manners or eccentricity in the behavior of the teacher.
All gestures play different roles in speech communication. Some serve to depict an object, with the help of others speakers indicate an object, others cannot be avoided when expressing feelings, and others are stable designations of ritual or generally etiquette actions.
IMPORTANT GESTURES convey an idea of the shape, size, location of an object:
- Such a tiny bubble, - gesture with the index finger and thumb at face level: the distance between them indicates the height of the bubble.
I bought this watermelon yesterday, about 10 kilograms!- at the same time, the speaker seems to be hugging something round and large with his hands.
There's a current! This is how everything turns!- a circular movement of the hand, bent at the elbow (usually in a horizontal plane.
Fine gestures not only serve to communicate the shape of an object, its movement, etc., but can also convey relationships between people, mutual feelings, and intellectual actions:
They are like this with each other(in enmity) - pronouncing this phrase, the speaker hits each other with tightly clenched fists.
Researchers of modern Russian colloquial speech identify the following types of gestures combined with abstract meanings:
gesture of extremeness or categoricalness: saber swing with the hand combined with words NOBODY, NEVER, NOTHING, NOTHING and etc.:
NOT WILL I WILL DO THIS! – the gesture falls precisely on the “negative” part of the utterance, it is highlighted by logical emphasis;
Gesture of unification: smooth horizontal movement of the hand away from you:
EVERYONE HANDOUT THIS SHEET TO YOUR READERS;
Gesture of alienation, rejection of something: the hand moves sharply from the chest to the side:
NO NEED GET ME MEDICINE!
Gesture of uncertainty: reciprocating rotational movement of the hand with fingers spread:
SO, SOMETHING SCRATCHED...
These are more or less generally accepted pictorial gestures. But in the process of speech, hand movements may occur that are determined only by a given statement and are associated with a specific situation. Such gestures either clarify what was said or reinforce the image created by verbal means.
INDEX GESTURES- indicate an object and thereby often replace the name of the object, a description of its properties, position in space, etc.
Pointing gestures are widely used in oral speech. They are usually accompanied by pronouns and demonstrative words HERE, THIS, THAT, THERE and etc.
Pointing gestures are also made with the head. For example, a single movement of the head from bottom to top (option: from bottom to top to the side) and returning to its normal position means indicating what is next to the speakers, in their sight: - This table will have to be removed.
EMOTIONAL GESTURES very diverse. They shrug their hands in surprise; in anticipation of something pleasant, they rub their palms against each other. Surprise or doubt is expressed by raising the shoulders. When addressing an interlocutor with a persistent question, the persistence of the question is often emphasized with a gesture: the palm of the arm half bent at the elbow is facing upward and towards the interlocutor (at chest level).
A special and very important role in the system of means of communication is played by gestures expressing agreement and disagreement, and gestures adopted as symbols in greeting, farewell, addressing and other communicative acts determined by etiquette.
A gesture is most often superimposed on a word, emphasizing, strengthening the meaning conveyed by it, or it replaces the word, acting instead of it and in its function. But in both cases, the gesture is an additional, and not the main means of communication.
It is possible to understand a person who speaks without gesticulating, although it will be necessary to overcome some feeling of unnaturalness that arises in his speech. Nevertheless, a gesture is an important component of a speech act: it imparts dynamism to speech, enhancing the main thing and cutting off what is taken for granted, giving it naturalness from the point of view of the traditions of human communication accepted in a given society.
If the teacher, as a speaker, is interested in the success of his speech, then his facial expressions cannot be inexpressive. Students can always guess by their face how interested the teacher is in his performance. And if he has a “dull look” and a “stony face,” such indifference to what is happening will certainly “infect” the class.
Facial expressions should be in close relationship with gestures, and therefore “alive”, changing in the process of speech, in interaction with the audience. Only if the teacher controls his speech, accompanies it with appropriate gestures and facial expressions, if he “controls his body,” is he guaranteed verbal and psychological victory over the audience, success for working on himself, recognition for hard work.
Example inner monologue performer of a poetic or prose work, in style and structure as close as possible to inner speech .
I.A. Krylov “The Crow and the Fox.”
There are two lines here. The first is the story: you say that “Somewhere God sent a piece of cheese to a crow.”
The second line - you depict a fox, give the tone of a fox. The first thing you need to start with is learning to tell. So, you took the fable “The Crow and the Fox”.
When did you start saying: “How many times have they told the world that flattery is vile and harmful; but everything is not for the future..."– you should have the following in your plan: and on this topic I will now tell an anecdote.
“Somewhere God sent a piece of cheese to a crow. Raven perched on the spruce..."- so you started telling, and this is your first task.
The second is to portray a fox. This task is more of an actor’s task. First, let's find the real inner content of the fox.
Imagine that you need to faint someone to such an extent that he forgets, “opens his mouth” and drops what you need.
Or you are talking to an elderly lady on whom something depends, with whom you want to rip something off. How would you behave?
I.A. Krylov “The Cat and the Cook”.
And here we need to look for the well-being of the teller of some joke. This will give you a deliberately funny mood: “I’m going to amuse you with a story. I don’t know whether you’ll laugh or not, but this is the incident, listen…”
When telling, you must emphasize : “Some kind of cook, literate(remember that he was literate!)... I ran from the kitchen to the tavern...”
And then, when you start pretending to be a cook, don’t forget that he came from a tavern, and therefore is probably wheezing.
In addition, we need to find an answer to the question: how does a literate cook read a moral lesson... to a cat?
You understand for yourself what it is to be literate, what it is to be a little tipsy, what it is to read a moral lesson.
We reached the words: “And Vaska listens and eats,” - Some kind of semitone is definitely needed here. Go from a continuous full tone of the story to a semitone.
It is possible in this phrase “And Vaska listens and eats” play a narrator who laughs at this phrase. Only the narrator and the cook must be different in tone - do not miss this.
M.Yu. Lermontov “On the Death of a Poet.”
To heal with all the terrible sorrow of the poet Lermontov from the death of the poet Pushkin is a very big task. You cannot be Lermontov - give Lermontov's voice and Lermontov's temperament.
You need to find in yourself, feel how you would speak if you were strongly overwhelmed by a similar feeling, but closer to you.
Let's say you have a friend - how would you respond if he was hunted down and killed?
This is what is important to feel in order to develop internal speech technique and reflect internal experiences.
I.S. Turgenev “Sparrow”.
There are some phrases in this work that give the main tone, the aroma of this thing, the direction of temperament.
Basic tone - what is it? Dramatic, heroic, love? There is a comparison: a huge dog and a sparrow that shows such enormous strength... and then suddenly the phrase: “I felt awe.”
I need to find my attitude to this, this will give me my main tone. The whole point here is that such a small sparrow shows enormous self-control and courage. This is where, from what attitude, I will have the right tone.
There must be some kind of great good nature here, surprise or something, in front of a fact that seems so funny (so small, disheveled, smaller than a chicken, but climbs on a dog).
There is an element of fun here, and that element of fun comes into your attitude. If you get used to this, you will get a real fundamental tone.
M. Sholokhov “Virgin Soil Upturned” (excerpt).
(Excerpt when frenzied village women rushed at Davydov).
If you were a witness to this picture, how would you tell it? You come to class with literary reading, that is, you must give something that the children themselves could not get from reading, lying on the sofa at home, that would not have occurred to them.
And you can give it, you can, if you bring into the story your artistic, strong, deep individuality, saturated with excellent expressive colors - purely dictionary, declamatory, “verbal drawing”!
The story will be told as if from the perspective of a witness, representing an epic figure, all-understanding, all-knowing, who looked at everything through the eyes of the era and ideas
This is a lively and full-fledged story of a participant in the events, who saw in the living characteristic clashes both great thought, great humor, and great touchingness. With all this, a witness to the incident came here and tells us about this event.
You must tell it as if you were there, you must “get used to” this picture to such an extent that the listeners even have the impression that you really saw it all.
It should be remembered that “intonation and pauses themselves, in addition to words, have the power of emotional impact on listeners” (Stanislavsky K.S. An actor’s work on a role // Collected works: In 8 vols. – Vol. 4. – p. .286).
The ability to skillfully use pauses, logical and psychological, is an indicator of the expressiveness of the sound of the teacher’s word, evidence of the fullness of its vital influencing force.
1. Germanov “A Book for the Reader.” Profizdat, 1964.
2. Verbovskaya N.L., Golovina O.L., Urnova V.V. The art of speech. "Soviet Russia", 1961.
3. Knebel M.O. The word in the actor's work. All-Russian Theater Society. M., 1964.
4. Rosenthal D.E. A culture of speech. Moscow State University Publishing House, 1964.
5. Sarycheva E. Stage speech. – M., “Art”, 1955.
6. Artobolevsky G.V. Essays on artistic reading. A manual for teachers. – M.: Gosuchpedgiz MP RSFSR, 1959.
7. Vasilenko Yu.S. About the naked teacher. – Soviet pedagogy, 1972, No. 7.
8. Vasilenko Yu.S., comp. Speech voice production. Guidelines. – M., 1973.
9. Gvozdev A.N. Stanislavsky about the phonetic means of language. Lectures for teachers. – M.: APN RSFSR, 1957.
10. Gangstrem M.P., Kozhevnikov V.A. Breathing and speech. – In the book: Physiology of respiration. – L.: Nauka, 1973.
11. Ivanova S.F. Speech hearing and speech culture. Manual for teachers. – M.: Education, 1970.
12. Knebel M.O. A word about the actor's work. – M., 1970.
13. Kozlyaninova I.P. Pronunciation and diction. – M., 1977.
14. Kurakina K.V. Fundamentals of speech technique in the works of K.S. Stanislavsky. – M.:WTO, 1959.
15. Leonardi E.I. Diction and spelling. – M., 1967.
16. Matusevich M.I. Modern Russian language. Phonetics. – M.: Education, 1976.
18. Nikolskaya S.T. Speech technique. – M.: Knowledge, 1978.
19. Panov M.V. Modern Russian language: Phonetics. – M.: Higher. school, 1979.
20. Promtova I.Yu. Nurturing the director's speech culture. – M., 1978.
21. Speech: articulation and perception. – M.: Nauka, 1965.
23. Savkova Z.V. Sounding word technique. – M., 1988.
24. Stanislavsky K.S. Collection Op. vol. 3. – M.: Art, 1955.
25. Stage speech. Tutorial. Ed. I.P. Kozlyaninova. – M.: Education, 1976.
26. Hearing and speech in normal and pathological conditions / collection. articles, Vol. I, L., 1974.
27. Skvortsov L.I. Theoretical basis speech culture. – M., 1980.
28. Titova A.A. Diction and spelling. Methodological development in the course “Stage Speech”. – M., 1981.
29. Fomicheva M.F. Teaching children correct pronunciation. – M., 1989.
30. Khvattsev M.E. How to get rid of burr yourself. – M., 1964.
32. Schweitzer A. Reverence for life. – M., 1992.
33. Shchurtanov S.I. How our word will respond. – M., 1980.
LIST OF ADDITIONAL REFERENCES
1. Aksenov V.I. The art of artistic words. – M., 1954.
2. Annushkin V.I. Rhetorical art in Ancient Rus'// Russian speech. – 1992. - No. 2.
3. Atwater I. I’m listening to you. – M., 1988.
4. Batrakova S.N. Pedagogical techniques emotional impact on students. – Yaroslavl, 1982.
5. Bakhtin M.M. Aesthetics of verbal creativity. – M.: Art, 1986.
6. Bryzgunova E.A. Emotional and aesthetic differences in Russian sounding speech. – M.: Moscow State University Publishing House, 1984.
7. Budagov S.N. Metaphor and comparison in the context of the artistic whole // Russian speech. – 1973.- No. 1.
8. Verbovaya N.P., Golovina O.M., Urnova V.V. The art of speech. – M.: Art, 1977.
9. Vovk V.N. Linguistic metaphor in literary speech. – Kyiv, 1986.
10. Gak V.G., Telia V.N. Metaphor in language and text. – M.: Knowledge, 1988.
11. Gvozdev A.N. K.S. Stanislavsky about the phonetic means of language. – M., 1957.
12. Ginzburg L.Ya. Poetics of Mandelstam. – M.: Soviet writer, 1985.
13. Golub M.B., Rosenthal D.E. Secrets of good speech. – M., 1993.
14. Gorbushina L.A. Expressive reading and storytelling. – M., 1975.
15. Gorelov I.N. Nonverbal components of communication. – M., 1980.
16. Grigoriev V.P. On the debate about the word in artistic speech // The word in Russian Soviet poetry. – M., 1975.
17. Gesture in colloquial speech. – M., 1973.
18. Ivanova S.F. Specifics of public speech. – M., 1978.
19. Kanter A.A. Systematic analysis of speech intonation. – M.: VSh, 1988.
20. Kovalev V.P. Expressive means of artistic speech. – Kyiv: Glad. school, 1985.
21. Ladyzhenskaya T.A. Literary norm in vocabulary and phraseology. – M., 1983.
22. Leontyev A.A. Statement as a subject of linguistics, psycholinguistics and communication theory // Text syntax. – M.: Nauka, 1979.
23. Maksimov V.I. Precision and expressiveness of the word. – L.: Education, 1968.
24. Mastery of oral speech / Ed. Golubkova/. – M.: Education, 1965.
25. Morgunov B.G. Laws of sounding speech. – M.: Soviet Russia, 1986.
26. Naydenov V.S. Expressiveness of speech and reading. – M., 1969.
27. Nikitina E.I. Russian speech: A textbook on the development of coherent speech. – M., 1993.
28. Odintsov V.V. Speech forms of popularization. – M., 1982.
29. Pukovsky K.N. For a living figurative word. – M.: Knowledge, 1967.
30. Speech influence. Problems of applied psycholinguistics / Coll. Art./. – M.: Nauka, 1972.
32. Means of speech expression. – L., 1982.
33. Savkova Z.V. Expressive means of speech interaction in mass presentation. – L., 1981.
34. Savkova Z.V. Means of speech expression. – L., 1982.
35. Sukhomlinsky V.A. 100 tips for teachers. – M., 1986.
36. Uspensky L.V. A culture of speech. – M., 1978.
37. Fedorov A.I. Figurative speech. – Novosibirsk, 1985.
38. Frank V.S. Pasternak’s poetic worldview // Literary Review. – 1990. - No. 2.
39. Kharchenko V.K. Functions of metaphor. – Voronezh: VSU Publishing House, 1991.
40. Khrapchenko M.B. The nature of the aesthetic word /semiotics/. – M.: Nauka, 1975.
41. The human word is powerful: Book. For extracurricular reading. – M., 1984.
42. Cherdantseva T.Z Language and its images. – M., 1977.
43. Cheremisina N.V. Questions of aesthetics of Russian artistic speech. – Kyiv: Vishcha School, 1981.
44. Chukovsky K.N. For a living figurative word. – M.: Knowledge, 1967.
45. Leonardi E.I. Diction and spelling. Collection of exercises on stage speech. – M., Education, 1967.
46. Saricheva E.F. Stage word. – M., Soviet Russia, 1963.
47. Stanislavsky K.S. The actor's work on himself, collection. op., vol. III, part II.
48. Russian literary pronunciation and stress, dictionary-reference book, ed. G.A. Avanesov and S.I. Ozhegova.
Loading...