SPEECH TECHNIQUE
INTRODUCTION
GENERAL NOTES ON STUDYING THE COURSE
CHAPTER I . ORTHOEPY.
PRONUNCIATION OF CONSONANTS
SPEECH TECHNIQUE. DICTION.
A brief description of the position of the articulatory apparatus when pronouncing vowel sounds.
vowel sounds
IOTED SOUNDS E, I, Yo, Yu .
Questions for self-examination
WORK ON THE TEXT
RULES FOR SELECTING LOGICAL ACCENTS
Guidelines for understanding expressive, logically correct speech
CHAPTER II . PUNCTATION, GRAMMATIC PAUSES
SEMICOLON
COLON
EXCLAMATION MARK
QUESTION MARK
DOTS
LOGICAL PAUSES
LOGICAL ACCENT
SOME LAWS OF ORAL SPEECH
ANALYSIS OF THE ARTISTIC TEXT OF A DRAMA WORK AND THE SPEECH BEHAVIOR OF THE CHARACTERS
ANALYSIS OF THE ARTISTIC TEXT OF A DRAMA WORK FROM THE POSITION OF THE SPEECH BEHAVIOR OF THE TEACHER
THE PLACE OF GESTURES AND MIMICS IN THE SPEECH BEHAVIOR OF THE TEACHER
BASIC LITERATURE LIST
To perceive the language as a living organism, constantly changing and improving, the logical analysis of the text will help high school students. The development of these skills is facilitated by special exercises proposed in this work.
The logical analysis of the 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 will, I think, make it possible to solve the speech problems of a teenager's communication with people around him, and also increase the degree of expressiveness of his speech.
LN Tolstoy said that the art of the writer is to find "the only necessary placement of the only necessary words." The task of the teacher, following the author's intention, 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.
Developing the skills of logical text analysis in high school students, the teacher will rely primarily on the ability of students to think and act logically, on knowledge of the native language and its features - its vocabulary, the specific construction of a phrase, the meaning of punctuation marks, the semantics of the epithets used.
The expressive features of oral live colloquial speech are inexhaustible and have not yet been fully explored by scientists, therefore, in working with schoolchildren, the teacher will only note a number of basic patterns of Russian speech - when arranging pauses and stresses in melody (moving the voice up or down during the development of thought, at its completion ).
Infinitely diverse can be intonations when pronouncing the same phrase. There should be only one obligatory condition - the intonation should accurately convey the meaning that the author wanted to express. And for this we need not intonation moves by themselves, but we need to go through the circle of thoughts, visions, subtexts that are necessary to reveal the author's intentions.
This is what helps the successful search for the necessary intonations for the only necessary words. Therefore, in order to remember the found expression of thought, it is necessary to remember not the intonation, but its logical course, which led to the correct, effective word, to the logical perspective.
That is why, along with the development of the skills of logical text analysis, there is an in-depth acquaintance of students with the laws of oral speech. The use of the expressive properties of the latter when reading a literary and artistic work and when working on it is, of course, based on the knowledge of the laws of the 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 training is currently acquiring special significance and relevance.
The level of modern requirements for professionals in any field, including the creative activity of a teacher, is very high.
The teacher who goes out to the children must be a master of his craft. If a teacher claims to be an authority, morally and intellectually developed, then he must not only have the necessary knowledge and be able to methodically correctly present them to children, but also be a creative person, have an individual style of pedagogical activity, try to reach the heights of pedagogical skill.
At the same time, there are many typical, repetitive, stable, reflected in already identified laws, principles and rules in the activities of the teacher. But there is also a lot of changeable, variable, individual.
Each time the general provision must be applied taking into account the specific circumstances, the uniqueness of this situation. The teacher must “rediscover” what science has discovered, make it his own. And the instrument of influence of the teacher on the students is the word.
V.A. Sukhomlinsky noted: “The word is the thinnest touch to the heart, the word can kill or revive, injure, ... sow confusion and hopelessness. Dispel doubts and plunge into despondency, create a smile and instill disbelief. Inspire to work and numb the strength of the soul.
Children are impressionable, so there is a problem of activating the impact of emotional speech on them, which contributes to the development of imagination, creativity, aesthetic sense.
Ensuring in this way the language development of children, the teacher creates conditions for their intellectual, emotional, moral development and prepares them for active, active participation in society.
The starting point in the formation of the speech culture of children 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 is a constant example for students."
Therefore, attention to exemplary speech, which should be a teacher's speech, will help to form a language taste in schoolchildren, a critical attitude to their own oral speech, a need to improve it, and help them to realize the basic rules of speech behavior.
So, given the urgent need to improve the speech skills of teachers, we propose to form the process of teaching university students in the course "Culture of Speech", based on the following provisions:
1. Mastering the skills of a culture of speech is an integral part of mastering a specialty and therefore should be carried out in creative and methodological unity with the teaching of humanitarian disciplines.
2. The most important factor in mastering the course is the activation of students' independent work, which will be assisted by the proposed methodological developments in some sections of the subject.
In the process of working in practical classes, it is necessary to establish the general condition of the vocal apparatus of each student, his ability to carry a logical perspective of thought in the text, to identify and eliminate the presence of diction, voice, orthoepic shortcomings, to determine their nature (if necessary, send them to a phoniatrist).
The culture of the teacher's speech has a number of qualities that distinguish it from everyday life. 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 task of the course is to develop students' professional skills in the word.
The course "Culture of Speech" consists of the following sections:
1. The culture of the teacher's speech 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 manual includes guidelines for sections such as "Orthoepy" and "Speech Technique". Their task is to master the rules of the literary pronunciation of the Russian language and correct all kinds of speech shortcomings of students.
According to the curriculum, classes end with a test, the main requirement of which is knowledge of the language of the subject, knowledge of the main theoretical provisions of the course, qualified analysis of the sound of another person’s speech and one’s own, skillful work on the logical analysis of a literary text.
Orthoepy is a set of rules that establish a single, inherent literary language pronunciation, which is recognized as exemplary. The teacher's speech should be exemplary in pronunciation. For this you need to learn standards of common literary pronunciation.
These norms, which were formed back in the 19th century as a result of careful study and selection, absorbed all the best and most characteristic of the Russian language.
Modern Russian orthoepy (the name comes from the Greek ώρφος - correct and έπος - speech) took shape along with the development of literature and dramatic art. There are many in our country regional dialects and dialects, which can sometimes be used only as speech characteristic of the image .
Students need to learn basic pronunciation norms and know how to use them.
In Russian speech, the question of correct stress, since the stress can be on any syllable, for example:
d'omik, get'ovit, brought etc.
Different stressed syllables change meaning:
flour - m'uka, lock - lock .
Every word in the Russian language has one stressed syllable(with a stressed vowel), without which the word in pronunciation does not have a finished form. The characteristic of speech is manifested in wide singsong vowels .
For the correct pronunciation of unstressed vowel sounds of a word, attention should be focused on percussion syllable.
There is a number of rules for pronunciation of unstressed vowels:
1 .Unimpacted sound [ ABOUT] at the beginning of a word and in prestressed syllable pronounced like [ Λ ]:
take away – [Λ] take away , ax - t [Λ] since .
2 .« ABOUT» unstressed, taking the second or third place before the stressed syllable or located immediately after the stressed one, sounds like an intermediate ( reduced) sound intermediate between [ BUT] And [ S ].
It is marked with the sign Kommersant :
gateway - p[b]dv[Λ] company ;
frost - ism[b] R[b] sz ;
hair - ox[b] from).
3 .Unimpacted sound [ BUT] at the beginning of a word and in an unstressed syllable immediately before the stressed syllable is pronounced as a short " BUT »:
artist- [BUT] rtist, gardens - with[BUT] dy .
4 .Unimpacted sound [ BUT] after F, W pronounced like BUT :
heat – well[BUT] ra , steps - sh[BUT] gi , balls - w[BUT] ry .
5 .Unstressed vowels [ At ], [S] in pronunciation are not replaced by other sounds, but lose their longitude.
6 .Vowel [ AND] at the beginning of a word becomes [ S], if the previous word ends in a hard consonant:
with interest -[S] interest
so know – So[S] know .
But if, according to the meaning, there should be a pause between words, then the pronunciation of the sound [ AND] remains unchanged:
I listen with / interest frost and sun .
7 .Unstressed vowels " E », « I» in pronunciation sound like a middle sound between AND And E, which is denoted by AND :
rowan - r[AND] bina, spring – in[AND] sleep .
8. Sound [ E] under stress can sound differently, depending on the consonants after it: before hard consonants [ E] sounds wide, open, before soft - closed, narrow:
E - wide: m[E] l , P[E] l , St.[E] T ;
E -closed: P[E] whether , St.[E] titus).
9. Combinations AO, OA, AA, OO pronounced the same as [ AA ]:
on the window[AA] kne
army style – P[AA] rmejsky
on the arch - n[AA] rke
monotonous - one[AA] brazny .
10.A And ABOUT in conjunction with U (AU, OU) standing far before the stress are pronounced with reduced sound [ BUT], but never turn into sound [ At ]:
at random - n[b] guess in the corners - p[b] corners .
11 .Combinations IE, IE in the endings of plural adjectives are pronounced as YI, II:
old – old[YI], white - white[YI]
summer - summer[AI], blue - blue[AI].
12 .The endings of adjectives - GII, -KIY, -HIY pronounced like -G[b] Y , -TO[b] Y , -X[b] Y :
long - duty[b] th , wide – wide[b] th
quiet – quiet[b] th .
Pronunciation of words is different from spelling :
Andreevna - Andreevna, Nikolaevna - Nikolaevna;
Ivanovna - Ivanna, Alexandrovna - Aleksanna;
Lukinichna - Lukinishna etc.
Some female and male names in combination with patronymics are pronounced differently than it is 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:
carrot - carrot, carrot - carrot;
who - res, eyes - voices, move - hot;
tub - rink, friend - friend .
2 .Deaf consonants before voiced ones are pronounced loudly:
collection - collection, deal - deal, rest - rest .
Before voiced R, L, M, N, V there is no likening of voiceless consonants to voiced ones:
with a young, with a role, with a lemon
with you, with Nina.
3 .Sounds SSH, ZSh standing side by side are pronounced as doubled SHSH :
made a noise - raSHNoisy, from a fur coat - ishShuba.
4 .Combinations in word roots ZZh And Learn pronounced like double soft LIVE :
later - wait, visitor - visitor
yeast - shiver, squeal - see
grumble - grumble.
5 .In combination with vowels W, W, C always sound solid:
Fat - fat, breadth - width, zinc - zinc.
6 .Combination MF and AF pronounced like double SCH :
score - Shchet, happiness - Happiness
the carter - a waxer, without tea - I'm bean.
7 .Combinations DC And PM pronounced as a double H :
the adjuster - nalaCHChik, despair - oChChayane.
8 .Combinations DC, shopping center pronounced like double C :
thirty - thirteen, father - oTsTsa.
9 .Sounds W, H always pronounced softly:
pike - pike, tea - chai.
10 .Combinations DC And TS adjectives are pronounced like C :
urban - GoroTsky, Soviet - Soviet.
11 .Combination CHN has two pronunciations SHN And CHN, because SHN stays in words living spoken language :
boring - boring, on purpose - on purpose
bakery - BULOSHNAYA, piddling - pissant
scrambled eggs - fried eggs.
In textbooks, students need to familiarize themselves with a more detailed presentation of the rules for pronouncing vowels and consonants and their combinations in the modern Russian literary language.
They must learn the norms of pronunciation not only in the process of classes, but also in practice. everyday speech that needs to be controlled.
We must learn to listen to the speech of the people around us, compare pronunciation, follow the speech of stage masters, listen to recordings of the speeches of readers, artists, listen to radio and television announcers.
It is good to train the rules of pronunciation in loud readings, rewrite passages in their orthoepic spelling - all this makes it possible to consolidate the rules.
Good diction means a clear and precise pronunciation of each vowel and consonant separately, as well as words and phrases.
Speech technique- one of the sections of the culture of speech, 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 end resembles a man with amputated legs. The loss of individual sounds and syllables is the same as a broken eye or tooth ”(K.S. Stanislavsky).
Clear and precise pronunciation is possible with a normal speech apparatus and with its proper functioning. TO speech apparatus include: lips, tongue, jaws, teeth, hard and soft palate, small tongue, larynx, posterior pharyngeal wall (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 fuzzy pronunciation is a bad habit, which can be eliminated by systematic training.
Students need to remember about the systematic exercises. Speech technique- a practical subject, only constant training is an indispensable condition for the development of clear diction. Even if the speech is pure, it still needs technical improvement.
It is necessary to know your shortcomings, to understand and master the position of the parts of the speech apparatus at the moment of pronouncing a particular sound. It is necessary to engage in the technique of speech in order for speech to be easy, free.
K.S. Stanislavsky attached great importance speech training. Often there are people with sluggish speech, laziness of the tongue and poor work of the lower jaw ( jaw tightness).
For the development of the organs of speech, it is necessary to practice articulatory gymnastics, with its help, the flexibility and suppleness of the speech apparatus and individual muscles are developed. Muscles play an important role, which 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 set out in textbooks and will be given in the course of practical work. All exercises of articulatory gymnastics 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 proceed to work 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.
· BUT- 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 laid on top of each other. The tongue lies flat.
· ABOUT- The lips are rounded and pushed forward. The tongue is somewhat pulled back.
· At- Lips pushed forward in the form of a funnel. The tongue is strongly drawn back.
· S- The articulation of Y is the same as when pronouncing Y; only the position of the tongue changes. The tip of the tongue is pulled back (as in O).
Yotized sounds E, I, Yo, Yu consist of a consonant sound [ Y] and vowels [ E ], [BUT ], [ABOUT ], [At ].
Vowel exercises can serve as good articulatory gymnastics.
The pronunciation of vowels 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], [S].
From these sounds, make a table that will be taken as the basis for training:
I - E, I - E, I - E;
E - A, E - A, E - A;
A - O, A - O, A - O.
U - S, U - S, U - S;
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 - S
The first sound is stressed, the rest are pronounced evenly;
I - E - A - O-U - S
Under the stress of the second sound, etc.
These sounds are formed from a combination of two sounds for each consonant: E=Y+E, I=Y+A, E=Y+O, Yu=Y+U.
For exercises, you need to alternate vowel sounds with iotated ones.
For example:
I-YI, E-E, A-Z, O-Yo, U-Yu.
Consonants more difficult to pronounce. They give speech clarity, expressiveness help form words.
When pronouncing vowel sounds, the tension of any one part of the speech apparatus is required.
When training consonant sounds, attention should be paid to the elasticity and strength of the organs of speech with their bows and explosive sounds.
Consonants are voiced, the voice is involved in their pronunciation:
[B], [C], [D], [E], [G], [G],
[L], [M], [N], [R] .
Sounds [M], [N], [L], [R] They are also called sonorants, since they do not have paired deaf people.
When pronouncing deaf consonants, the voice does not participate:
[P], [F], [K], [T],
[W], [Sh], [H], [C].
Sounds [C], [H], [Sch]- 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 [ С] and [З] - whistling ;
sounds [W], [W], [H], [W] - hissing.
An example of exercises for consonants.
Sound [ P] - clunk [ B] - voiced.
1. Alternate: P, B(repeatedly).
2. PI - PE - PA - PO - PU - PY.
3. BI - BE - BA - BO - BU - BY.
4. PE - PYA - PE - PO.
5. BE - BYA - BE - BO.
6. PIBB - PEBB - PABB - POBB - PUBB - PUBB.
7. BIPP - BEPP - BUPP - BOPP - BUPP - BYPP.
8. PIBBY - PEBBE - PABBA - POBBO - PUBBO - PUBBY.
9. BIPPI - BEPPE - BAPPA - BOPPO - BUPPU - BYPPY.
You can make various exercises, alternating voiceless and voiced sounds with all vowels.
When practicing the pronunciation of individual sounds, you should check the correct position of the parts of the speech apparatus.
Softer sounds are more difficult to pronounce [ T] And [ D ] (TH And db).
You need to train these sounds with iotized vowel sounds.
For example:
TI, TE, TYA, TYO, TYU, TI;
DI, DE, DI, DE, DE, DI .
The structure of the articulation exercise can be as follows:
1. TIDDI - TEDDE - TYADDYA -
TYODDYO - TYUDDYU - TIDDI.
2. TI - DI - DI - TTI,
TE - DE - DE - TTE,
TYA - DYA - DYA - TTYA.
3. TE - DE - DE - TTE,
TYU - DU - DU - TTYU.
To consolidate the pronunciation of each sound, think of words in which this sound would be at the beginning and 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 blows, he will not become poor;
· ABOUT- The field is red with millet, and speech is with the mind;
· UYu- You won’t be smart with someone else’s mind,
He destroys himself who does not love people;
· AND I- A head without a mind is like a lantern without fire,
Make a mistake, but confess;
· AND – P- Ipat went to buy shovels,
Ipat bought five shovels,
walked through the pond - clung to the rod,
Ipat fell - five shovels disappeared.
· S- What is Martin, such is his altyn.
To achieve expressiveness of speech, it is necessary to speak clearly and clearly with equal speed. This is facilitated by work on tongue twisters.
The teacher also has to deal with pace speech. The lessons sometimes require quick, easy speech, the clarity of which should be extreme.
Therefore, working on a tongue twister is a means to achieve clarity of speech at any pace. Mechanical, monotonous memorization of tongue twisters will never be of practical use.
Based on the meaning of the phrase, varying it on the go, changing intonation accordingly, it will be easy for the speaker to use different rates of speech.
No need to strive to immediately quickly pronounce tongue twisters. Speak it slowly at first, pronouncing each individual sound, stopping after each word.
When pronouncing a tongue twister, follow the completeness of all spoken sounds, avoiding fuzziness and blurring.
Try, pronouncing tongue twisters, to set different performing tasks (internal speech settings).
For example:
In the speech performance of this text, I want to play a joke, I want to complain, I want to gossip, I want to brag, etc.
Examples:
1. "Mow, spit, while dew, dew down - and we're home."
2. "The protocol about the protocol was recorded by the protocol."
3. “Tell me about shopping!
About what about purchases?
About shopping, about shopping
about my shopping.
In the educational literature you will find textual material for self-studying diction, a number of tongue twisters, texts, exercises that need to be dealt with systematically, gradually complicating them.
Properly organized breathing plays a paramount role in speech. The lack of the necessary supply of exhaled air leads to voice breakdowns, unjustified pauses that distort the phrase.
It should be remembered that unevenly consumed air often does not make it possible to complete the sentence to the end, it 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.
Starting classes on the development of breathing, it is necessary to familiarize yourself with the anatomy, physiology and hygiene of the respiratory-voice 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 exercises in respiratory gymnastics.
There is an inextricable link between breath and voice. Correctly delivered voice is a very important quality of oral speech, especially for teachers.
Resonators are sound amplifiers. The resonators are:
palate, nasal cavity, teeth,
facial skeleton, frontal sinus .
It may be that the person is speaking "lower" than is consistent with the nature of their voice data. Then the voice turns out to be compressed, devoid of sonority.
In order to learn how to check the operation of resonators, it is necessary to do various exercises.
For example:
Exhale the air, inhale (not too much) and as you exhale, drawl out 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 possibilities) and, conversely, from high to low notes.
The exercise:
Choose a poem with a medium-sized line, for example, “A lonely sail turns white” or “I love a thunderstorm in early May.”
Say the first line on one exhale, take in air and say the next two lines on one exhale, take air again and say three lines at once, etc.
You need to get air imperceptibly through your nose and mouth. Thus, performing breathing exercises, we involve breathing in voice formation.
2. Do not shout in ordinary speech.
3. Do not cough if it tickles in the throat.
4. Avoid very hot and very cold drinks.
5. At the slightest indisposition, consult a doctor.
The skills of correct breathing and voice formation acquired during classes should be used by students all the time in 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 vowels.
5. How are unstressed vowels pronounced?
6. Why do you need to study the technique of speech?
7. What is diction?
8. What should be done to correct this or that diction defect?
9. What is articulation gymnastics for?
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 consonants and determine their meaning in speech. Describe the classification of consonants.
13. How is the speech apparatus arranged?
14. What is the role of breathing in stage speech?
Practical tasks.
1. Repeat diction exercises for passed vowels and consonants, proverbs, tongue twisters.
Logical text parsing is the main means of achieving maximum expressiveness of reading.
Work on a literary text is the basis on which all classes in the technique of speech are based.
All preparatory work from the first reading to performance before the audience comes down to the fact that the performer seeks to make the author's text his own, the reader seeks to take the place of the author.
After carefully analyzing the literary material, the student must create his own performing plan.
Where to start working on the text?
First of all, having familiarized yourself with 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 a specific expression of an idea by artistic means, i.e. in images, pictures author chooses topic(what he writes about).
Idea- as if the soul of the work, topic- his body.
The key stage of oral reading is logical reading, conveying the meaning of the text in a competent, understandable form.
Logical parsing is 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 measure 3 measure
Speech, correctly divided into groups of words, accurately determines the underlying thought. “Work on speech and the word must begin with the division into speech measures, or, in other words, with the arrangement of logical pauses” (K.S. Stanislavsky, collected works, vol. III).
The logical grouping of words affects the correct interpretation of the work and its clear and convincing transmission.
Logical pauses oblige the speaker to pronounce the words enclosed between them, without dividing, smoothly, as one word.
Depending on where the pause is made, the phrase takes on a different meaning.
For example:
1. "She/same child" or:
"She/the child";
2. “You can’t forgive / exile to Siberia” or:
“Forgive / cannot be exiled to Siberia”;
3.“You can’t execute / pardon” or:
"Execute / cannot be pardoned."
It is 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 free and straight, / are covered with boards; / the gates are tightly locked, / the wattle fence in the backyard is not swept out and does not fall out, / does not call for a visit / any passing pig ... »
(I.S. Turgenev "Khor and Kalinich").
Large periods of speech are often found in the works of I.S. Turgenev (for example, in the "Notes of a Hunter"), L.N. Tolstoy (in the "Sevastopol Tales"), C. Dickens (in the "Notes of the Pickwick Club"), etc.
Excerpts from these works can serve as good material for work on the analysis of the logical basis of the text.
Pauses are conditionally divided into three groups:
1. The pause that ends the statement, the final thought, is indicated by three vertical lines (///);
2. A pause indicating, on the one hand, the completion of a 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 still be continued, is indicated by a single dash (/).
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 necessary to take a breath.
Logic pause helps to clarify the meaning of the text, psychological- gives life to thought, helps to find out subtext.
A logical pause is placed in complex common sentences mainly when, for the sake of clarity of the phrase, we need to separate one segment of speech from another.
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 / slop / and permeated through and through with that alcoholic smell / that eats the eyes / and, as you know, is constantly 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 should be paid to the observance of punctuation marks and their correct selection (toning) in the pronunciation of the text.
If you do not follow punctuation marks when reading, this will lead to "blurring" of the text, haste. “The fight against haste is the study of intonations dictated by punctuation marks,” said K.S. Stanislavsky.
All punctuation marks require mandatory voice intonations for themselves: dot, 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 - to an answer, exclamatory - to sympathy and approval, admiration, protest, a colon - to attentive perception of further speech - this is a sign of a half-finished thought that makes you 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 dot should sound intonationally lower than the previous ones, and not higher, as with a comma.
The toning (intoning) 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 dot in a phrase that ends the text of a passage will be different than in the original lines, when the development of events and thoughts continues.
Dash- a sign that does not have its own melody. A dash can sound, depending on the meaning, a dot, a comma, a colon, an ellipsis, or it completely drops out.
For example:
"Foma listened to her and - /.../ as if drinking honey."
"I am peaceful" (I am peaceful).
“And if it gets caught - /, / we’ll knock.”
ellipsis- a sign denoting the incompleteness of a thought.
Semicolon- a sign that does not have its own permanent melody. It sounds either a dot, depending on the meaning, or a semicolon when separated phrases.
Sometimes a comma can sound like a dot.
For example:
"The reality of our program is living people, (.) it'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 quick change of phenomena or events.
For example:
And that's all: pots, glasses, benches, tables -
March! March!
everything jumped into the oven.
(A.S. Pushkin "Hussar")
We see that one punctuation mark can go into another. Students need to practice by checking by ear the correctness of the toning of one or another punctuation mark; you need to read aloud, and select examples for different sounds of punctuation marks.
Punctuation marks are not only stop signals, but also hints of intonation: semantic And emotional .
Each group of words should have an accent, moreover, 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 highlight this: voice up, pause, slow down, and sometimes lowering the voice.
1. Subject and predicate.
In a simple uncommon sentence, one of them falls under the logical stress. Usually the stress takes on the word that occupies the second ordinal place.
For example:
“The fields are empty; forests were exposed.
2. Rule about the new concept:
BUT) if the subject and predicate is a word that means a new concept for a given text, then it is stressed. If both concepts are mentioned for the first time, then 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 ,
who is in the dark closet stored
in the House,
that Jack built.
We see that the 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 is in the sense of the subject, are not distinguished in the text.
For example:
"Sparkled lightning"," thundered thunder ».
3. Rule of opposition.
If one concept is affirmed in order to negate another, then both opposed terms are singled out.
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 Voditsa » – « blood» contrasted « Vodice »;
"Good country Bulgaria, but Russia the best".
If there is a hidden opposition in the phrase, then the member of the sentence, which is hiddenly opposed, will necessarily be under stress.
For example:
"They were real flowers"(it is understood that they are not paper).
4. When combining several homogeneous members in a sentence, all of them must be highlighted .
For example:
BUT) "The man with the beard had smart , young , fresh face";
B) "Here ate , slept , loved , fought , engaged in endless bargaining , waiting for a bright future , sick And were dying ».
This sentence has eight homogeneous members, and such groups of words as "started an endless bargain", "waited for a brighter future" are common homogeneous members, 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 it is compared with, and not what is compared .
For example:
"The old woman's face was wrinkled like a withered apple,"- a wrinkled face is compared to a dried apple, therefore, the words will be stressed "dried apple"
7. A pronoun can never be a stressed word.
For example:
BUT) "I will never forget this";
B) "I won't tell you anything."
In an interrogative sentence, the stress is the word in which the essence of the question is expressed.
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 go to visit, then me will not be there".
One of the stressed words is the main stressed word of the entire phrase, the rest of the stressed words stand out to a lesser extent.
Some words in the speech flow stand out most strongly, others are weaker, thirds are weaker, fourths may not stand out at all.
For example:
“Getting ready to leave / and shaking hands with Tsiolkovsky, / Nikita said: // “if I come for you tomorrow, / go to the station, / give a lecture ///”.
In the first measure, we will highlight the word " leave", firstly, because it stands at the end of the measure, and secondly, because it absorbs the meaning of everything expressed in the measure -" leaving ».
In the second measure, the word " hand" - because it stands at the end of the bar and, in addition, the words " shaking hand" means " parting ».
Let us emphasize in our example the most highlighted word: the most stressed with three lines, less highlighted with two, even less highlighted with one line.
It turns out the following:
"Going to leave and shaking Tsiolkovsky hand, / Nikita said: // "if I tomorrow I will come follow you, / go to railway station/ give a lecture.//
So, we got a whole complex of stresses - strong, medium and weak. “Just as in painting there are tones, halftones, chiaroscuro, so exactly in the art of speech there are whole scales of different degrees of stress that 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 they did one common thing in the structure and transmission of a difficult phrase. (The words of K.S. Stanislavsky, quoted from the book by M. Knebel "The word in the work of the actor").
We observe the same thing when a sound is stressed in a word.
For example:
In the word " cabinet»third syllable« No"- shock, second " bi"- pre-impact, first " ka" - weak.
It can be said that the degree of stress in a word is different: the greatest on the stressed syllable, the average - on the pre-stressed, less - on the weak.
Sometimes the stress is so slight that the vowel sound falls out altogether, is not pronounced (in the word " fern"Sound [o] in the third syllable drops out).
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 approach is called " skeletonization» text.
stress word is the main center of thought.
To find the logical center of thought, it is not enough to divide the phrase into speech beats - the semantic stresses in each individual phrase are determined only when a connection is found between all the 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.
“Shocking words are only roadside milestones, along which logical thought finds its right way to the ear and heart of the viewer. Without knowing the thought that you want to say, you will not find the “main” word in the phrase” (N. Gorchakov “Director's lessons of 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 " an Apple", however, there may be different circumstances that change the meaning of the phrase, and then the center will change, for example:" give me an apple », « give me an Apple ».
The exercise :
Break the text into speech beats, place pauses, stresses.
« The Road to Calvary? No, that would be wrong to say. There were, there were pains. And there were doubts, cold, prickly. And, sometimes, despair seized by the throat.
Everything was there, but there were 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 about, comrade? ?»
(B. Gorbatov, "Unconquered").
Each text chosen by the student must be subjected to logical analysis.
Basic principles of logical text analysis.
1. Phrases should be divided into speech measures by grammatical and logical pauses (the words in them are combined in meaning).
2. In each phrase, the performer must clearly identify the main words in meaning.
3. In long phrases, in long periods, the group of main words should be separated from the group of secondary words in order to correlate individual parts of the phrase.
4. More important phrases should be highlighted (i.e. there should be a logical correlation of phrases as a whole).
5. Based on the understanding of the main idea of the analyzed work, one should find out and single out the key points of the entire line of effective development of the 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 the perspective of a literary work.
The reader must stretch the thread of the developing author's thought through a chain of separate 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 highlighted and non-selected words, it is necessary to find a correlation, a gradation of strength, a quality of stress, and create from them sound plans and perspective that give movement and meaning to the phrase.” (K.S. Stanislavsky, collected works, vol. 3, p. 125).
If we are not dealing with individual sentences, but with a coherent text, then the stresses will be located in each sentence, depending on its connection with the rest.
The degree of "singling out" of the word and the duration of pauses depend on the context.
The presentation of a logical perspective makes it possible to correctly convey the idea of the work.
Questions for self-examination.
1. What is included in the logical analysis of the text?
2. Why is it necessary to divide the text into speech measures?
3. What types of pauses do you know?
4. How are punctuation marks read?
5. What are the basic rules of logical stress.
6. What are the logical centers of thought?
7. What is the logical perspective of the text?
A dot usually marks the end of a sentence, but pitch down 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 the point can be different. So, short phrases ending with a dot help to create an energetic rhythm of speech.
The task:
Read the following examples carefully. Pay attention to the variety of intonations and pauses on points and at the same time to those general qualities that are inherent in this punctuation mark. Remember the content of the entire work from which the passage is taken, specify what happens in it:
Example I .
An excerpt from A.S. Pushkin's poem "Poltava":
Hats pop. The spears are shining.
They beat drums. Serdyuki are jumping.
The shelves are equal in the buildings.
The crowds are seething. Hearts flutter.
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 dots with commas. Think about what is changing in the description of the painting of Kochubey's execution.
Example 2 .
Bessemenov's monologue from M. Gorky's play "The Philistines":
“I say - sawn sugar is heavy and not sweet, therefore it is unprofitable.
You should always buy sugar with your head and inject yourself. From this there will be crumbs, and crumbs go to 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 others towards Prince Andrei changed after an audience with Emperor Franz:
“The Emperor said he was grateful and leaned over. Prince Andrei went out and was immediately surrounded on all sides by courtiers. Affectionate eyes looked at him from all sides and affectionate words were heard.
Yesterday's adjutant wing reproached him for not stopping at the palace, and offered him his house.
The Minister of War approached him, congratulating him on the Order of Maria Theresa of the 8th degree, which the emperor granted him. The chamberlain of the empress invited him to her majesty. The Archduchess also wanted to see him. He didn't know who to answer, and for a few seconds he collected his thoughts.
The Russian envoy took him by the shoulder, took him to the window and began to talk to him.
Notice that all the dots 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 verbal expression of the point here is extremely diverse.
A comma is placed only inside sentences. In a simple sentence, she separates homogeneous members suggestions from each other clarifying circumstantial words from the general circumstance of place, time, etc., introductory words, introduction etc.
In a complex sentence, she can separate simple sentences within it, located before the union or allied word.
In a non-union complex sentence, a comma is placed mainly when the simple sentences that make up it are united by a coordinating connection and this connection between them is very close.
In cases of opposition or clarification of the meaning of the first part of a complex sentence in the second, etc. a comma in a non-union sentence is replaced by a dash or a colon.
With the relative independence of the parts of a complex sentence, the comma is replaced by a semicolon.
The comma is very ambiguous and therefore requires different intonation in different cases. So, when listing, she requires a consistent increase in 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 or highways, no gas or stearin light, no spring sofas, no white lacquer furniture, no frustrated young men with glass, no liberal female philosophers , nor the lovely camellia ladies, of whom there are so many divorced in our time - in those naive times, when leaving Moscow, leaving for St. on the road and believed in fire cutlets, in Valdai bells and bagels - when tallow candles burned on long autumn evenings, illuminating family mugs of twenty and thirty people, wax and spermaceti candles were inserted into candelabra at balls, 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 for women and from the other corner of the room rushed to pick up accidentally and not accidentally dropped handkerchiefs when our mothers wore short ones lees and huge sleeves and solved family affairs by taking out tickets when the lovely camellia ladies hid from the 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 nobility elections ended.
Example 2 .
What is the difference between commas and commas in example #1?
“Yesterday at midnight I walk through the dining room, and there, a candle is burning.”(A.P. Chekhov "Three Sisters").
Example 3
“But there is a lot of happiness, so much, lad, that it would be enough for the whole district, but not a single soul sees it!”(A.P. Chekhov "Happiness").
In the last example, there is a case of non-observance of a comma (a comma that does not require a pause is put in brackets).
We talk:
"But there is a lot of happiness, so much (,) guy that ...".
But if the appeal is at the beginning of a phrase, the comma is respected.
We would say:
“Boy, there is a lot of happiness…”
There are quite a few cases of non-observance of a comma in oral speech. The comma is usually “removed” before a single gerund, since it creates with the verb specified by it, as it were, one concept, a single image:
"Mikhail 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:
"Frowning, Mikhaila sat."
Without pauses, such introductory words as of course, probably, perhaps, perhaps, maybe be, however, what good, in my opinion, unfortunately, finally etc.
For example, we say:
“I (,) seem to (,) understand that you (,) are offended by something good (,).
A prominent researcher and expert on the language A.N. Ostrovsky V.A. Filippov often spoke 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 the continuity, fluency of speech, pauses on them should be almost removed, intonations - melodious, soft, unsharp. This is especially true for the speech of female characters.
From the examples given, the ambiguity of the comma is already visible: it can also separate two parts of one thought (with 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 pay attention to this sign, which has so many meanings and is so often used.
The task:
Select excerpts from the plays of A.N. Ostrovsky, in which there are many enumerations.
Carefully reading, for example, the works of I.S. Turgenev, we see how often he resorts to a semicolon when he paints a wide canvas in which every detail is inseparable from the whole picture.
Highlighting some detail inside a large piece of text, Turgenev suspends our attention on it, and then leads on and on, from individual pictures making up a single whole.
Tasks:
Example 1 .
Read aloud the following passage from J.S. Turgenev "Singers":
I felt tears boil in my heart and rise 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 threw a quick glance at her and roared even louder, even sweeter than before. Nikolai Ivanovich looked down; The blinker turned away; The stunner, all pampered, stood with his mouth gaping stupidly; a gray peasant sobbed softly in a 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 drawn-down eyebrows; the hawker raised his clenched fist to his forehead and did not move…”
When describing the hawker's singing, the writer rarely uses a semicolon. But here Jacob begins to sing.
The rhythm of the story changes, the punctuation marks change, each phrase is replete with semicolons. They seem to direct attention first to one listener, then to another.
In all cases, the semicolon saves falling intonation, but at the same time, it is different every time and, as the thought develops, it requires an ever brighter and richer intonation.
Example 2
Analyze the following example from A.S. Pushkin "Eugene Onegin"
Tatyana in the forest; bear after her;
The snow is loose up to her knees;
Then a long bough around her neck
Hooks suddenly, then out of the ears
Golden earrings will vomit by force;
A wet shoe will get stuck;
Then she drops her handkerchief;
She has no time to raise; fears,
Bear hears behind him,
And even with a trembling hand
He is ashamed to lift the edge of his clothes;
She runs, he follows everything,
And she has no strength to run.
The task :
On 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 are illustrative.
The task:
Read carefully and analyze:
Example 1 .
“Yakov, apparently, was seized with rapture: he was no longer shy, he devoted himself entirely to his happiness; his voice no longer trembled - he trembled, but with that barely noticeable inner tremor of passion that pierces the soul of the listener like an arrow ... "
(I.S. Turgenev "Singers")
Very often, the colon is used as a sign that separates the author's text from direct speech. The pause in this case is less than on a colon inside a sentence.
Example 2
The hero of A.P. Chekhov's story "My Life" says:
“The manager told me: “I am keeping you only out of respect for your venerable father, otherwise you would have flown from me long ago.”
I answered him: "You flatter me too much, Your Excellency, believing that I can fly."
And then I heard him say: "Remove this gentleman, he spoils my nerves."
Getting acquainted with the history of Russian punctuation, we learn that the student of M.V. Lomonosov A.A. Barsov first pointed out a new punctuation mark - “silence”; this sign was later called "dash".
“This silent woman,” wrote Barsov, “interrupts the speech she 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 fullness of the dash somewhat smoothed out, “cruel passion” more often began to be denoted with the help of other signs, but “preparation for some unexpected word or action” remained. Pauses on dashes are usually significant, with a great psychological load, intonations are bright and expressive.
A dash refers to the characters that usually appear inside a sentence. The dash often serves to separate opposing phenomena.
Two dashes are characters highlighting; they mark direct speech, and sometimes an introductory word or sentence.
The task:
Read aloud an episode from Pushkin's "Stone Guest" - the meeting of Don Juan with Don Carlos at Laura's:
Don Guan
Here is an unexpected meeting!
I am at your service tomorrow.
Don Carlos
Now - now.
Laura
Don Carlos, stop!
You are not on the street - you are with me -
Let me get out.
The frequent use of dashes is characteristic of M. Gorky's style. This is where the property of the dash is widely used to prepare the listener for an unexpected word or action.
For example:
“When you do, go about your business. Do you have a business?"
It is Bulychov who sends away “others” from himself who flock to him like a crow on carrion, - A. Dikiy writes in his memoirs about this performance, - read the second half of the phrase without a dash, and it will turn out to be an ordinary, specific, everyday question related to this time , to date.
Read it, taking into account the dash, and it will immediately sound generalized, make you think: do people have any real business at all?
This is exactly what Bulychov asks, speaking with the play in relation to the “others” as a prosecutor and accuser ... ”(Wild A. Language and character in Gorky’s dramaturgy. - Sat.“ Word in Gorky’s performances .-M., 1954, p. 23).
The task:
Find 5 examples of such a dash arrangement in M. Gorky's plays.
The exclamation mark is used to indicate emotionality of speech. However, along with the dot, the exclamation mark serves as a sentence delimiter.
Like a period, an exclamation mark 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 the voice, but even at the highest notes, exclamation is heard final intonation. The voice does not "hang", as it happens with ellipsis - it sounds definitely, specifically, in the affirmative.
Still, intonation depends primarily on the context. Feeling is always the result of evaluating certain events.
The task:
Read aloud:
“How are you reading this! he whispered. - To different voices ... How alive they all ...
Aproska! Saw ... What fools! It was funny for me to listen ... And then what? Where will they go?
Lord God! After all, it's all true.
After all, it’s like there are real people ... Real men ... And just like living voices and faces ...
(M. Gorky "Konovalov").
Exclamation marks are widely used in drama and indicate the speaker's excitement. Reasons for excitement are very diverse, and the ways of expressing feelings should also be different.
The question mark is most often placed at the end of a sentence containing a direct question, i.e. a question designed to receive a direct answer.
The question mark has many shades, depending on what is asked, by whom, from whom, for what purpose.
Regardless of this, the words in which the question is concluded are marked in speech by raising the voice:
- Where are you from, comrade?
- I'm from the town.
It should be remembered that a correctly posed question actively requires an answer, achieves it. About how exactly the hero of a literary work asks a question, we usually learn from author's remarks.
The interrogative form does not always contain a direct question. Often it is used as a special technique of emotional speech - rhetorical question.
The task:
Read aloud, determine which words especially emphasize the question:
Where is the truth, when the sacred gift,
When the immortal genius
- not a reward
Burning love, selflessness,
Works, zeal, prayers sent -
And illuminates the head of a madman,
Revelers of the idle?…
Oh Mozart, Mozart!
(A.S. Pushkin "Mozart and Salieri")
The task:
On the example of any artistic text, comment on the composition interrogative structures, determine their meaning in the structure of the product.
The ellipsis is characterized by the intonation of incompleteness. This sign requires a performer of great skill, the ability to switch sounding speech into mental speech and again continue to speak aloud. Usually, the ellipsis requires a long pause.
There are many reasons for a break in speech, and depending on the reason, the voice expression of the ellipsis changes. A break in speech may be due to excitement, or perhaps to a paucity of thought.
In the first case, a stop may be required at the moment of climax, and in the second case, intonations can be very poor, monotonous, monotonous.
The task:
Example 1 .
Read aloud and analyze Akulina's monologue from M. Gorky's Petty Bourgeois:
“And it started to rain again outside. It's cold with us. Hot, but cold.
The old house is ... blowing ... hoo-ho! And the father, the children, is angry again ... The lower back, he says, hurts him.
It’s also old ... And all the failures and disorder ... The expenses are high ... Care.
Example 2
The story of the old man Krasilnikov from the story of P.I. Melnikov-Pechersky "Krasilnikovs":
“The twenty-ninth Mitka went: it’s high time to make your own children ...
And I began to advise Mitka: It’s time for you to make the law too ... Just choose, I say, your wife not with your eyes, but with your ears, listen to the speech, is it reasonable, find out what kind of household ...
I say that to Mitka, and he turns pale, and then his face is covered with spots ... What kind of reason is this? ...
He tortured, tortured, tortured for a week - he is silent, not a word ... Indo became half-hearted, hangs his head, leaned back from food, emaciated, like a match ... "
ACTIVITIES FOR THE USE OF PUNCIATION SIGNS
Exercise 1.
Read the examples aloud. Pay attention to how the semantic shades change, and sometimes the meaning completely when the punctuation marks change.
Examples
1. It's hot, the sun is overhead.
Hot: the sun is overhead.
2 . Winter is harsh, summer is hot.
Winter is harsh - summer is hot.
3 . The larks are calling! Goiter doves coo; swallows fly; horses snort and chew; dogs wag their tails.
Larks chime, goiter doves coo, swallows soar, horses snort and chew, dogs wag their tails meekly.
4. He is back.
He is back?
He is back!
5 . Come home, eat, sleep
Come home, eat, sleep.
6 . I didn't see my comrade's brother and his sister.
I did not see my brother, comrade and his sister.
7. The article may be printed.
The article may have been 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 punctuation marks and, while reading the texts aloud, follow the instructions given above. Pay special attention to the various functions of commas.
Note the cases where the commas do not need a pause. Tell us how you explain the dots put by the author.
Example 1
“There were still ten versts 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 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, embracing the entire sky.
Vasily rises from the goat and lifts the top of the chaise; the coachmen put on their coats and at every clap of thunder take off their hats and cross themselves; the horses prick up their ears, flare their nostrils, as if sniffing the fresh air, which smells of an approaching cloud, and the britzka rolls faster along the dusty road.
I get scared, and I feel the blood circulate faster in my veins. But now 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 "Boyhood").
Example 2
“How strongly the wormwood smells on the borders! I looked at the blue bulk ... And it was vague in my soul.
Well, hurry, hurry! - I thought, - sparkle, golden snake, tremble, thunder! Move, roll, spill the evil cloud, stop the dreary languor!
But the cloud didn't 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 screeches, rushes about like a mad one, red, low clouds torn to shreds rush, everything spun, mixed up, overwhelmed, a zealous downpour swayed in sheer pillars, lightning blinds with fiery greenery, jerky thunder shoots like a cannon, it smells of sulfur ... "
(I.S. Turgenev "Doves").
Example 3
“But one day a thunderstorm struck over the forest, the trees whispered muffledly, menacingly. And then it became so dark in the forest, as if all the nights had gathered in it at once, how many there had been in the world since the time he was born.
Little people walked among the big trees and in the terrible noise of lightning, they walked, and, swaying, the giant trees creaked and hummed angry songs, and the lightning, flying over the tops of the forest, illuminated it for a minute with a blue, cold fire and disappeared just as quickly, as they appeared, frightening people.
(M. Gorky "Old Woman Izergil").
Task 3.
How many paragraphs are in this passage? As you read aloud, notice the different sounding of dots in the middle of a paragraph and at the end.
“They carefully descended from the shore into a thicket of cacti. A shadow darted from under his feet. A shaggy ball ran through the reflections of two moons.
It gnashed. It squeaked - piercingly, intolerably, thinly.
Glittering castings of cacti stirred. A cobweb stuck to his face, elastic as a net.
Suddenly, the night resounded with an insinuating, tearing howl.
It broke off. Everything is quiet.
Gusev and Los, trembling with disgust and horror, ran across the field in great leaps, jumping high over the revived plants.
Finally, in the light of the ascending sickle, the steel plating of the apparatus flashed.
We ran. Sit down, panting."
except grammatical pauses, in oral colloquial speech 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 the thought enclosed between two such pauses is called " speech link ».
In the speech link, words are grouped according to their meaning around one, the most important, significant word. So, in a simple sentence, there are usually two speech links: in one of them, the words are grouped around the subject, in the other - around the predicate.
Take, for example, this phrase:
"In every work of theatrical art | there are, as it were, several semantic layers"
(G. Boyadzhiev "The Soul of the Theatre").
In this phrase, there are two speech links, clearly separated in oral speech by a logical pause (in writing, we designate it with a vertical line).
In a more common simple sentence, and even more so in a complex sentence, there are more speech links and it is more difficult to single them out: additional shades of thought must be taken into account, the presence of speech links of various content, which can consist only of secondary members of the sentence.
A logical pause is one of the important expressive means of speech. The place and duration of logical pauses can be different, depending on the most important task, context, communication conditions.
At the same time, a certain regularity is observed in the arrangement of logical pauses. So, 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.
The task:
Read aloud. Arrange pauses (logical) that you consider necessary to clarify the thought.
1. “On Staritsa, along the banks, there are sand dunes overgrown with Chernobyl and succession. Grass grows on the dunes, it is called tenacious. These are dense gray-green balls, similar to a tightly twisted rose.
If you tear such a ball out of the sand and put it with its roots up, it slowly starts tossing and turning, like a beetle turned on its back, straightens the petals on one side, rests on them and turns over again with its roots to the ground.
(K. Paustovsky "Meshcherskaya side")
2. “But, having given such loud praise to these Don Quixotes of the theater, the author does not at all see them as ideal spectators. Praise is given to them for a different reason - for excitement.
For the fact that in the sweat of his face he gets "an extra ticket", this theater lover is the exact opposite of an indifferent spectator.
(G. Boyadzhiev "The Soul of the Theatre").
The task:
Read the examples paying attention to the pauses; outline the main part in each sentence and determine the logical sequence of the development of the topic.
1. “The ringing of anchor chains, the rumble of the clutches of wagons carrying cargo, the metallic shriek of iron leaves falling from somewhere on the pavement stone, the dull thud of wood, the rattling of cab carts, the whistles of steamboats, now piercingly sharp, now deafly roaring, the cries of sailors and customs soldiers, - all these sounds merge into the deafening music of the working day and, rebelliously swaying, stand low above the harbor, - more and more new waves of sounds rise from the earth to them - sometimes deaf, rumbling, they severely shake everything around, then sharp, thundering - tear dusty, sultry air
(M. Gorky "Chelkash").
2. “Nine obstacles were arranged on this circle: a river, a large one, two arshins deep, a blind 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 that 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 arbor.
(L.N. Tolstoy "Anna Karenina")
3. The wind makes a merry noise,
The ship runs merrily
Past the island of Buyana,
To the kingdom of the glorious Saltan,
The ship runs merrily
And the desired country
It's visible from a distance.
Here the guests came ashore;
And follow them to the palace
Our darling has flown.
(A.S. Pushkin "The Tale of Tsar Saltan")
Checking yourself, think again what you want to convey to the audience, what picture to draw, for what purpose.
Combine words into speech links 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 for a more vivid transmission of a concept (especially when it is expressed in a sufficiently large number of words) pauses are required between its constituent words, then these pauses should be of a 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 of logical pauses, one should specifically dwell on the connecting union AND. A comma is usually not placed before it.
A logical pause of greater or lesser duration before a coordinating conjunction AND almost always happens:
BUT) minimal when this union is between individual words;
B) is large when it connects common members of a sentence, and even larger when it connects parts of a complex sentence.
In the first place for us should be the meaning, because grammar, syntax only help us in this. We are looking for speech links in the 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 to the window.
I very easily jump beautifully onto the window, throw one leg over the window sill, and then I only notice the mocking surprise of my friend and Lily's confusion.
I immediately guess (,) that I did some kind of awkwardness, and I freeze astride the window: one foot on the street, the other in the room. I sit and look at Lily.
(Y. Kazakov "Blue and Green")
After the union AND standing before the adverbial turnover, the pause is not observed:
"He turned away and (,) bypassing the puddles, wandered to the luggage compartment."(Yu. Kazakov "At the station").
The task:
Read the examples, rewrite them, place signs of logical pauses.
Example 1
“Would you like a room? the merchant asked in a young voice, and grimacing, he began to tear off his beard. "Wait a little, I'll walk you through."
(Yu. Kazakov "House under the steep").
Example 2
“And here we are again driving around Moscow. A very strange, crazy evening.
It starts to rain, we hide in a noisy entrance and, breathless from a fast run, look at the street.
(Yu. Kazakov "Blue and Green").
Example 3
“She immediately recognizes him, hides behind the corner of the house and, sobbing, watches him. She no longer believes in anything, and when the skier disappears into the forest, she goes, wiping her tears, to see if there are traces left after him.
(Yu. Kazakov "Deer Horns").
In each speech (logical) link, words are grouped around the main word. This word is called shock", since it is usually pronounced with some amplification of the voice.
Phrase may consist of one or more speech links. These links are heterogeneous in their significance; consequently, the stressed words of different speech units are not the same.
Words that carry the main idea of the phrase stand out more strongly; words that are the centers of "additional" speech links are less accentuated.
The greatest amplification falls on the main words of the whole semantic piece. In addition, there is another pattern of Russian speech: a stronger logical stress in the speech link falls on its last word.
This general trend is also preserved, if necessary, in a special semantic allocation of a word within a speech link ( syntagmas), - then the last word of the syntagma will still be highlighted, but with less force.
If you carefully listen to colloquial speech, you will notice that the emphasis on the main words in thought occurs not so much by simply amplifying the voice, but by raising or lowering it.
power accent- the most primitive and least expressive. Connecting it with a rise or fall in tone makes the speech more melodic, rich, smooth. Logical stress should be made up of amplifying the voice and changing the tone.
Even in a long phrase, there is most often one most important word (rarely two or three); all other words complement, explain it and, therefore, stand out with less force.
The selection of the main words in thought depends primarily on the context, on those effective tasks that follow from the content.
In Russian, there are a number of syntactic features that help to find the main words of speech links. Let's consider some of them.
Strong expressive means of language - opposition. Opposite words have the ability to pull stress onto themselves. Each of the rules for setting logical stress has a clause: "if there is no opposition here."
Many proverbs are built on opposition:
"Learning is light - ignorance is darkness";
"What goes around comes around" etc.
As you can see, both opposing words bear the logical stress.
Here are two examples illustrating the idea of dragging the logical stress from other main words to the opposition:
“He realized that between the arrogant, standing in front of him in a crested brocade skullcap, in a golden Chinese robe, belted with a Turkish shawl, and him, a poor wandering artist, in a worn tie and worn tailcoat, there was nothing in common.”
(A.S. Pushkin "Egyptian Nights").
They agreed. 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. A detailed judgment may contain phenomena that are opposed in meaning.
The task:
Read the examples, highlight the opposing phenomena in them and pass it on in reading aloud.
Example 1
Laura
Come open the balcony.
How quiet the sky is;
Immovable warm air, lemon night
And smells like laurel, bright moon
Shines on the blue thick and dark,
And the watchman shouts drawlingly: “Clearly!…”
And far to the north
- in Paris -
Perhaps the sky is covered with clouds,
Cold rain is falling and the wind is blowing.
(A.S. Pushkin "The Stone Guest")
Boris
... We are crazy when people splash
Or an ardent cry disturbs our heart!
God sent gladness to our land,
The people howled
dying in agony;
I opened granaries for them, I am gold
I scattered them, I found work for them -
They are me
furious, cursed!
The fire fire destroyed their houses,
I built new homes for them.
They reproached me with fire!
Here is the black court:
look for her love.
(A.S. Pushkin "Boris Godunov")
As a rule, it is distinguished by logical stress and comparison(what the phenomenon is compared with), since it allows you to very accurately reveal the essence of the phenomenon, draw an image:
... He, burning with revenge,
Reached the abode of the villain.
Already the knight stands under the mountain,
The calling horn howls like a storm,
The impatient horse boils
And the snow digs with a powerful hoof.
Prince Karla 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")
The task:
Read the examples carefully, find comparisons in them and highlight them while reading aloud.
Example 1
Always humble, always obedient,
Always cheerful like the morning
Like the life of a poet, simple-hearted,
Like a kiss of love, honey;
Eyes like the sky, blue;
Smile, linen curls,
Everything in Olga ... But any novel
Take it and find it, right
Her portrait...
(A.S. Pushkin "Eugene Onegin")
Example 2
"The mass tossed and turned, buzzed, worried, like a huge woolly beast - a thousand-legged, thousand-eyed, pliable, like a bear-mokhnach."
(D. Furmanov "Chapaev").
When a new concept appears in a story, it is also highlighted with logical emphasis. So, the logical stress falls on the name that first appeared in the work:
Onegin, my good friend,
Born on the banks of the Neva
Where might you have been born?
Or shone, my reader.
(A.S. Pushkin "Eugene Onegin")
When the heroes in front have already been named, with further mention there is no need to specifically highlight them:
The king rode through the village from the war.
Rides - black malice sharpens the heart.
Hears - behind the elderberry bushes
The girl laughs.
Menacingly red eyebrows frowning,
The king spurred his horse
Hit the girl like a storm
And screams, ringing with armor ...
(M. Gorky "Girl and Death")
In the presence of 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", "handsome person".
When used in a sentence inversion(reverse word order), the definition stands out:
"A nice person, but little knowledge."
If the concept is a noun with a definition expressed by the same noun in the genitive case (i.e. we have the so-called "inconsistent definition"), then the logical stress falls on the definition:
"wife's brother", "neighbor's house", "sister's book".
The pronoun is usually not allocated with logical stress. Only in the case of opposition or with a special semantic load is an exception made:
in our wagons
On our way
Our
we ship
firewood.
(V.V. Mayakovsky "Good")
When a verb is combined with an adverb, the stress falls on the adverb:
"It became quiet"; "The blizzard raged incessantly."
However, given these general patterns of speech, they cannot be observed mechanically. When determining words that are important in meaning, one must first find out their significance in relation to the entire text.
You should not overload the phrase with a large number of stresses of the same strength, as this makes the speech monotonous, monotonous.
Transmitting each phrase in a logical connection with the previous text, thinking over 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 it is necessary 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 thought. This work is necessary for the future teacher in the same way as spelling exercises at school.
Tasks:
1). Referring to the dictionaries, clarify the meaning of the following concepts:
replica, remark, text and subtext, speech behavior, verbal action, intention.
2). Prepare an expressive reading of the phenomena of VII - VII of the 2nd act of N.V. Gogol's comedy "The Inspector General", focusing on their place in the plot.
Objective: consideration of the text as a "dynamic unit" of the speech-creative process.
Sample analysis plan
speech activity
| Khlestakov, Gorodnichiy and Dobchinsky. The mayor, entered, stops. Both in fright look at each other for several minutes, bulging eyes. |
The active beginning of non-verbal communication: everyone saw a dangerous enemy in the face. They look carefully. Pause dragged on. Both are confused and scared. |
| The mayor / recovering a little and stretching his arms at the seams / I wish you well! |
Comes in first. Posture and gesture seasoned campaigners emphasize the official nature of the visit. |
| Khlestakov / bows / My regards… |
The gesture of a civilian. Uncertainty of the remark-reaction to the greeting /ellipsis/ Gesture of a civilian. Uncertainty of the remark-reaction to the greeting /ellipsis/ |
| Mayor It is my duty, as the mayor of the city here, to see to it that there are no harassment to those passing by and to all noble people... |
subtext /P/: I disturbed you, but I have a good reason. Intention /H/: establish contact, introduce yourself, convince of the nobility of your intentions. Intonation /Ying/: internally tense. |
| Mayor /aside/ Oh my God, you're so angry! I found out everything, the damned merchants told me everything! |
Heard exactly intonation, not words. The expectation comes true: the auditor already knows everything, is already angry. P: what to do? |
| Khlestakov / brave / Yes, here you are even here with your whole team - I won’t go! I'm going straight to the minister!/Bangs his fist on the table/. What do you? What do you? |
The confusion of the enemy gives strength: the aggressiveness of threats increases, although the main means of influence remain intonation and gestures. |
| Mayor /stretched out and trembling all over/. Have mercy, do not lose! Wife, small children... don't make a person unhappy. |
H: to justify oneself in any way, to arouse pity. Text And P. match. Ying.: 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 fine! |
H: consolidate the initiative, increase pressure on the enemy. Ying.: sure, maybe even a little bit of irony. |
| Mayor /trembling/ Out of inexperience, by God, out of inexperience. Insufficiency of the state ... if you please judge for yourself: the state salary is not enough even for tea and sugar. If there were any bribes, then just a little: something and a couple of dresses on the table. As for the non-commissioned officer's widow ‹…› This was invented by my villains; These are such people that they are ready to encroach on my life. |
P: do not lose! I am ready to admit “sins”, downplaying them / what, interestingly, did the auditor manage to find out? /. H: pity, justify, switch attention to the "villains". Ying.: a game of repentance and sincerity, the voice trembles. |
| Mayor /aside/ Oh, subtle thing! Ek threw where ‹…› Well, yes, it didn’t matter where to try! What will be, will be, try at random. If you definitely have a need for money or something else, then I am ready to serve this minute. My duty is to help passers-by. |
P: So I believed you. What if this is a hint? Here and below, almost every replica of Gorodnichiy is preceded by a side note. There is a struggle of motives: do not miscalculate! / Convincing example inner intention/. Decision is made. |
| Khlestakov Give, lend me! I'll pay off the innkeeper right now. I would only like two hundred rubles, or at least even less. |
The reaction is immediate and expected. Finally, contact has been made. Text And P. match. The partners understood each other - from their point of view. |
A fragment from G. Polonsky's play "We'll Live Until Monday, or Chaadaev's Candlestick".
The task:
Analyze the following aspects of teacher Melnikov's speech behavior:
A) forms of emotional-speech communication;
B) the manner of setting the learning task;
C) correction and evaluation of the answer .
WORKING PROCESS
|
TEXT |
The question and the main direction of the answer |
| Melnikov Sit down. Well, be quiet... / He took off his watch, 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. 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 gingerbread... About how it was soon replaced with a frank whip... |
What is the point of listing questions? External intention: "Let's repeat it", internal: "listen, I determine the direction, the contours of your answer" Answer Requirements: conciseness and capacity. |
| Melnikov About the beginning of the first Russian revolution. Let's repeat this and move on. Syromyatnikov! |
Is such a statement of the task familiar to the class? Named surname. Is the implication clear to students? Go answer... |
| Syromyatnikov /Very surprised/ What? |
Subtext? Plays in misunderstanding, plays 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 still “carries over”? |
| Melnikov And hurry up . |
Subtext? Don't waste time Is such brief remarks sufficient information content? Justify your argument. |
| Doing a costly favor to the teacher, Syromyatnikov went to the blackboard. Melnikov We are listening. |
The nature of the installation (we)? By remark to determine the speech action S., dictating emotional character further communication : student - teacher - class. |
| Syromyatnikov So that's it... The tsar's policy was cowardly and cycling. |
What does a pause of uncertainty in the answer mean? Determine the tone of the answer. |
| Melnikov Ve… What? |
Subtext? Pay attention to the last word. Something is wrong. Repeat. |
| Syromyatnikov Ve… veloromny! |
Does /pause/ feel the mistake, but can't fix it himself? |
| Melnikov Vero-break. That is, breaking faith, treacherous. Farther. |
Way to fix the error? Intonation division of the word, its semantics, synonym. And immediately - an incentive to answer. |
| Syromyatnikov Out of fear for his royal position, the tsar, of course, issued a manifesto. He promised the people a heavenly life there ... |
Saying style ? Does not correspond to the situation / emphatically colloquial /, then the discrepancy intensifies. |
| Melnikov More precisely? |
Subtext? Again, the maneuver is understood. |
| Syromyatnikov Well, all sorts of freedoms ... words, meetings ... All the same, he did nothing that he promised - why retell nonsense? This buffoon is a success. Even Natalya Sergeevna chokes with laughter. Syromyatnikov Then the king showed his vile essence and began to rule in the old way. He drank working blood... and no one could tell him anything. |
Subtext? facial expressions ? To resort to a familiar technique - to amuse the class. Got the right response. The reaction of the teacher? Doesn't stop. What is it based on contact FROM. with listeners ? The position of the teacher: when and how to put an end to this protracted "performance"? Class reaction? |
| Melnikov |
Request and impulse . 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 replay, you need to finish ... but the end will be put "beautifully". |
Gesture and facial expressions are natural, necessary in the oral communication of people, they largely create the originality of sounding speech, which distinguishes it from written speech. The leading role of non-verbal means of communication is acquired by the contact of the teacher with the class. After all, the children's audience very subtly feels the correspondence or inconsistency of the content of speech and the body movements accompanying it.
Therefore, the goal of the 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, gesticulation.
Let us agree to call gestures such information-bearing movements that a person makes with his hands and head in the process of speech.
The freer the speaker feels, the more emotional his speech, the more frequent and distinct are his gestures. The gesture most often appears at such moments of speech when the speaker emphasizes a word or phrase emotionally.
The gesture either accompanies the word, supplementing or emphasizing its meaning, or replaces some element of the statement. It serves as an expression of bewilderment, assertion, question, hint, grief, joy, ridicule and other human feelings.
But the gesture is not always connected with the word, acts in close interaction with it. Even in those cases when a gesture replaces a whole expression (word), it is focused on a certain meaning, on the message of something that is relevant to the interlocutor.
This speech gestures are different from gestures actions: extended his hand to an apple lying on the table; threw up his elbow, defending himself from a blow - these and similar gestures do not contain any message, that is, they do not express either meaning or emotions that could be conveyed verbally.
For the most common, typical speech gestures in the language, there are stable designations:
spread his hands as a sign of surprise;
SHRUGGED("Do not know")
SHAKED HEAD(negative sign)
GOVERNING EYES(in 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 in the back of the head" as a symbol of bewilderment, the search for a solution, a riddle, etc., which is acceptable in the communication of friends, is perceived as a sign of bad manners or eccentricity in the teacher's behavior.
All gestures in speech communication play a different role. Some serve to depict an object, with the help of others, speakers point to an object, the third is indispensable when expressing feelings, the fourth are stable designations of ritual or etiquette actions in general.
ARTISTIC GESTURES convey an idea of the shape, size, location of the object:
- A tiny bubble, - gesture with index and thumb at face level: the distance between them indicates the height of the bubble.
I bought such a watermelon yesterday, 10 kilograms!- at the same time, the speaker, as it were, hugs something round and large with his hands.
There's a flow! That's how it all turns!- a circular movement with a hand bent at the elbow of the arm (usually in a horizontal plane.
Pictorial gestures not only serve to communicate the shape of an object, its movement, etc., but can also convey relationships between people, mutual feelings, intellectual actions:
They are like this with each other(in hostility), - pronouncing this phrase, the speaker hits tightly clenched fists against each other.
Researchers of modern Russian colloquial speech distinguish the following types of gestures, combined with abstract meanings:
gesture of extremeness or categoricalness: saber wave with the hand in combination with words NOBODY, NEVER, NOTHING and etc.:
NOT I WILL I DO IT! - the gesture falls just on the "negative" part of the statement, it is highlighted by logical stress;
Unification gesture: smooth horizontal movement of the arm away from you:
ALL-ALL DISTRIBUTE THIS LEAF TO READERS;
Gesture of alienation, rejection of something: the arm moves sharply from the chest to the side:
NO NEED ME MEDICATIONS!
Uncertainty gesture: reciprocating rotational movement of the hand with spread fingers:
SO, SOMETHING SCRATCHED…
These are more or less common pictorial gestures. But in the process of speech, such hand movements may occur that are due only to this statement, are associated with a specific situation. Such gestures either clarify what was said or reinforce the image created by verbal means.
POINTING GESTURES- indicate an object and thereby often replace the name of an 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 demonstratives. HERE, THIS, THAT, THERE and etc.
Pointing gestures are made with the head. For example, a single movement of the head from the bottom up (option: from the bottom up to the side) and returning to the usual position means an indication of what is next to the speakers, in front of them: - This is the table that needs to be removed.
EMOTIONAL GESTURES very varied. In surprise, they shrug their hands; in case of anticipation of something pleasant, they rub their palms against each other. Amazement or doubt is expressed by raising the shoulders. When addressing an interlocutor with a persistent question, the insistence of the question is often emphasized with a gesture: the palm of the arm half-bent at the elbow is turned upwards 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 for greetings, farewells, addresses and other communicative acts due to etiquette.
The gesture is most often superimposed on the word, emphasizing, reinforcing the meaning conveyed by it, or it replaces the word, acts 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 gesturing, although it will be necessary to overcome a certain feeling of unnaturalness that arises in his speech. Nevertheless, a gesture is an important component of a speech act: it imparts dynamism to speech, reinforcing the main thing and cutting off the self-evident, gives 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. Pupils can always guess by their faces how much the teacher himself is interested in his speech. And if he has a "dumb look" and a "stone face", such indifference to what is happening will surely "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 owns his speech, accompanies it with appropriate gestures and facial expressions, if he "owns his body", he is guaranteed a speech and psychological victory over the audience, success for working on himself, recognition for hard work.
Example internal 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 storytelling: you say that "Somewhere God sent a piece of cheese to a crow."
The second line - you depict a fox, give the tone of the fox. The first thing to start with is learning to tell. So, you took the fable "The Crow and the Fox".
When did you start talking: “How many times have they told the world that flattery is vile, harmful; but all 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. Perched on the spruce Crow ... "- so you began to tell, and this is your first task.
The second is to portray a fox. This task is more of an acting one. First, let's find the real inner content of the fox.
Imagine that you need to fool 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 disrupt something. How would you behave?
I.A. Krylov "The Cat and the Cook".
And here we must look for the well-being of the narrator of some anecdote. This will give you a deliberately funny mood: “Now I will amuse you with a story. I don’t know whether you will laugh or not, but here is such an incident, listen ... ”.
When speaking, you must emphasize : “Some cook, literate(remember that he was literate!) ... from the kitchen he ran to his tavern ... ".
And then, when you start to portray the cook, do not forget that he came from a tavern, therefore, probably wheezing.
In addition, it is necessary to find the answer to the question: how does a literate cook read a moral teaching ... 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.
We got to the words: "And Vaska listens and eats," - there is definitely a need for a semitone. From the continuous full tone of the story, move to a semitone.
Can this phrase "And Vaska listens and eats" play a narrator who himself 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 grief 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, to feel how you would speak if you were strongly captured 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 the internal technique of speech, to reflect internal experiences.
I.S. Turgenev "Sparrow".
There are some phrases in this work that give the main tone, flavor of this thing, the direction of temperament.
Basic tone - what is it? Dramatic, heroic, love? There is a juxtaposition: a huge dog and a sparrow that shows such great strength ... and then suddenly the phrase: "I felt awe."
I need to find my attitude to this, from this my main tone will come out. The whole point here is that such a small sparrow shows great self-control and courage. This is where, from what attitude I will have the right tone.
There must be some great good nature here, surprise, perhaps, before a fact that seems so funny (so small, disheveled, smaller than a chicken, but climbs on a dog).
There is an element of fun, and that element of fun comes into your attitude. If you get used to this, you get a real basic tone.
M. Sholokhov "Virgin Soil Upturned" (excerpt).
(An excerpt when frenzied village women rushed at Davydov).
If you were a witness to this picture, how would you tell? You come to class with artistic reading, that is, you must give something that the children themselves could not get from reading, lying at home on the couch, which would not have occurred to them.
And you can give it, you can, if you bring to the story your artistic, strong, deep individuality, saturated with excellent expressive colors - purely diction, declamatory, "verbal drawing"!
The story will go as if from the face of a witness, who is an epic figure, all-understanding, omniscient, who looked at everything through the eyes of an era and ideas
This is a lively and full-fledged story of a participant in the events, who saw in living characteristic clashes both a great thought, and great humor, and great touching. With all this, a witness of 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 in themselves, in addition to words, have the power of emotional impact on listeners” (Stanislavsky K.S. The work of an actor 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 his vital influencing force.
1. Germanov "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 work of the actor. All-Russian Theater Society. M., 1964.
4. Rosenthal D.E. A culture of speech. Publishing House of Moscow State University, 1964.
5. Sarycheva E. Stage speech. - M., "Art", 1955.
6. Artobolevsky G.V. Essays on artistic reading. A guide for a teacher.–M.: Gosuchpedgiz MP RSFSR, 1959.
7. Vasilenko Yu.S. About the naked teacher. - Soviet Pedagogy, 1972, No. 7.
8. Vasilenko Yu.S., comp. Statement of speech voice. Guidelines. - M., 1973.
9. Gvozdev A.N. Stanislavsky about the phonetic means of the language. Lectures for teachers. – M.: APN RSFSR, 1957.
10. Gangstrem M.P., Kozhevnikov V.A. Breath and speech. - In the book: Physiology of respiration. - L .: Nauka, 1973.
11. Ivanova S.F. Speech hearing and culture of speech. A guide for teachers. - M .: Education, 1970.
12. Knebel M.O. A word about the work of an actor. - 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.: VTO, 1959.
15. Leonardi E.I. Diction and orthoepy. - M., 1967.
16. Matusevich M.I. Modern Russian language. Phonetics. – M.: Enlightenment, 1976.
18. Nikolskaya S.T. Speech technique. – M.: Knowledge, 1978.
19. Panov M.V. Modern Russian: Phonetics. - M .: Higher. school, 1979.
20. Promtova I.Yu. Education of speech culture of the director. - M., 1978.
21. Speech: articulation and perception. – M.: Nauka, 1965.
23. Savkova Z.V. The technique of the sounding word. - M., 1988.
24. Stanislavsky K.S. Sobr. op. v. 3. - M .: Art, 1955.
25. Stage speech. Tutorial. Ed. I.P. Kozlyaninova. – M.: Enlightenment, 1976.
26. Hearing and speech in norm and pathology / Sat. articles, Vol. I, L., 1974.
27. Skvortsov L.I. Theoretical Foundations of the Culture of Speech. - M., 1980.
28. Titova A.A. Diction and orthoepy. Methodological development for the course "Stage speech". - M., 1981.
29. Fomicheva M.F. Teaching children the 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.
FURTHER READING LIST
1. Aksenov V.I. Art of the artistic word. - M., 1954.
2. Annushkin V.I. Rhetorical Art in Ancient Russia // Russian speech. - 1992. - No. 2.
3. Atvater I. I am listening to you. - M., 1988.
4. Batrakova S.N. Pedagogical methods of 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 of Russian sounding speech. – M.: Publishing House of Moscow State University, 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 artistic speech. - Kyiv, 1986.
10. Gak V.G., Teliya V.N. Metaphor in language and text. – M.: Knowledge, 1988.
11. Gvozdev A.N. K.S. Stanislavsky about the phonetic means of the 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. Non-verbal components of communication. - M., 1980.
16. Grigoriev V.P. To disputes about the word in artistic speech // Word in Russian Soviet poetry. - M., 1975.
17. Gesture in colloquial speech. - M., 1973.
18. Ivanova S.F. The specifics of public speech. - M., 1978.
19. Kanter A.A. System 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. Leontiev A.A. Statement as a subject of linguistics, psycholinguistics and communication theory // Text syntax. – M.: Nauka, 1979.
23. Maksimov V.I. Accuracy and expressiveness of the word. - L .: Education, 1968.
24. Mastery of oral speech / Ed. Golubkova/. - M .: Education, 1965.
25. Morgunov B.G. Laws of sound speech. - M.: Soviet Russia, 1986.
26. Naidenov V.S. Expressiveness of speech and reading. - M., 1969.
27. Nikitina E.I. Russian speech: Textbook for 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 impact. Problems of Applied Psycholinguistics / Sat. Art./. – M.: Nauka, 1972.
32. Means of speech expressiveness. - L., 1982.
33. Savkova Z.V. Expressive means of speech interaction in mass representation. - L., 1981.
34. Savkova Z.V. Means of speech expressiveness. - 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: Publishing House of VSU, 1991.
40. Khrapchenko M.B. The nature of the aesthetic word /semiotics/. – M.: Nauka, 1975.
41. The human word is mighty: 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 orthoepy. Collection of exercises on stage speech. - M., Enlightenment, 1967.
46. Saricheva E.F. Stage word. - M., Soviet Russia, 1963.
47. Stanislavsky K.S. The work of an actor on himself, coll. cit., vol. III, part II.
48. Russian literary pronunciation and stress, reference dictionary, ed. G.A. Avanesov and S.I. Ozhegov.
Bells or bells were hung on an arc for horses. It was believed that on a long journey, full of dangers, the bell drives away evil forces.
- Listen to the ringing of the bell, write down what it is.
Advertising. (Cheerful, joyful, perky, melodic, mischievous).
The hero of the poem also listened to the ringing of the bell. What did he hear? Read.
(Tiringly rattles).
- Explain the meaning of this word.
- Why do you think there is such a contradiction: the merry greyhound troika has a tiresome bell? (Anxiety in the traveler's heart, even a cheerful bell does not please him).
Read verses 1 and 2 expressively. (Rhythm, tempo, volume, logical stress, pauses).
8. Individual work.
- Read verse 3.
What else did the traveler hear? (Songs of the coachman)
- Who is a coachman?
Work with explanatory dictionary.
("Coachman" - a driver on horseback).
- Why is he singing? (To brighten up the monotony of a long journey).
What is the rhythm of these lines? (Slowed down, many vowels in the words (“daring”, “native”), this conveys the drawn-out melodiousness of Russian songs).
- What are his songs about? Why are there sad ones? (Songs reflect life's hardships).
- How do you understand the word "Remote"?
Work with explanatory dictionary.
("Remote" - dashing, bold, cheerful, joyful, perky).
- What do these songs seem to the traveler? ("Something is heard native"). Why?
- In the drafts of A.S. Pushkin there were such lines:
"The Russian feeling is simple
Heard in the songs of the coachman.
Group work.
- Choose related words for the adjective "native".
Advertising. (Motherland, spring, relatives, people, nature)
- The lyrics of A. S. Pushkin make man related to nature. When we read his poems, we understand more deeply that a person is a piece of nature.
9. Individual work
- Read verse 4.
What are the words and sentences in this stanza? (Short words, jerky phrases. They convey the movement of a cart along a winter road.)
- Find words showing the emptiness, deserted area. ("No fire, no black hut").
- What does a traveler feel on such a road? Write it down.
Advertising. (Loneliness, fear, anxiety, loss, defenselessness, helplessness, longing).
Assignment to groups.
- Do you think the road is lost, or do travelers have hope that their trip will end safely? Prove with lines of text.
Socialization. Group presentations.
- What is "Verst"?
Work with explanatory dictionary.
"Mile" - 1) an ancient unit of length. Travel verst -1.06 km.
2) striped posts, which were installed along the road at a certain distance.
What color are the bars?
Assignment to groups. Before you are words denoting objects in black and white. Choose a word that matches the poem.
Socialization. (Zebra, traffic controller's rod, life). Students justify their choice.
The milestones resemble the color of human life, which also has black and white stripes. In the poem, sadness and joy, longing and hope also coexist.
I. LOGICAL PAUSE
AND LOGICAL ACCENT.
Theater masters have always been very concerned not only about diction, but also about clearly conveying the meaning of the phrase and the entire text of the role. V.G. Sakhnovsky, recalling the classes of K.S. Stanislavsky with the studio students, wrote: “Sometimes - and this was especially “dangerous” for the course of the rehearsal - Konstantin Sergeevich leaned forward, put his hand to his ear and quite kindly said:
How? I do not understand.
The performer repeated.
How? - Konstantin Sergeevich asked again. - I don't understand...
After that, he usually proceeded to skeletonize the phrase, achieving the correct stress and conveying the idea, or he began to work on the actor's diction" 17 .
N.V. Gogol in a letter to M.S. Shchepkin, speaking about reading The Inspector General to the actors, was primarily concerned that they remember “the meaning of any phrase, which ... can suddenly change from one stress, moved to another place or to another word ... One must not imagine, and to convey - to convey thoughts before ... Paints are not difficult to put; you can give the color of the role later ... " eighteen
The laws that help the actor understand the author's thought and correctly convey it in sounding speech are called the laws of the logic of speech. They are based on the laws of grammar: the words that make up a sentence are related in meaning to each other. Due to semantic connections, words are combined into groups or phrases. Let's analyze the sentence: "Soon the moon and stars will drown in thick fog."
The semantic connections of the words of this sentence (phrase) will be as follows:
1. The moon and stars will sink - this is the connection of two subjects with the predicate.
All other words are grouped in meaning around the predicate "sink".
2. Soon they will sink.
3. Drown in the fog.
4. Drown in dense fog.
In order to correctly convey the meaning of this phrase, we cannot combine the words “soon” and “moon” standing side by side, but not related in meaning. “Soon” is connected with the word “drown”, therefore, in order to connect them, we must disconnect the words that are not related in meaning - “soon” from the word “moon” and “drown” from the word “stars”. Words that are not related in meaning to each other are separated by pauses, which are called logical, since they contribute to the correct transmission of the thought of the phrase. Separate words or phrases enclosed between logical pauses are usually called speech beats. Graphically, logical pauses will be denoted by a slash /.
In our proposal, logical pauses are distributed as follows:
Soon / the moon and stars / will be drowned in a thick fog.
1st measure 2nd measure 3rd measure
There are three speech measures in this sentence. As you can see, the number of words in each measure can be different depending on how the logical pauses are distributed.
In order to more accurately determine the place of logical pauses, one must remember that in Russian the words of one phrase in a sentence do not always stand side by side. So, in our example, the phrase “will soon sink” is separated by the subject “moon and stars”. The meaning of the sentence becomes clear when both whole phrases and their parts are clearly defined in our minds.
When an actor or reader does not work thoughtfully enough on the text and separate words that are closely related in meaning or combine words related to different speech measures, nonsense appears in the speech. For example, obeying the rhythm of a line of poetry and not thinking about the meaning of a phrase, students often make the following mistake in a phrase from Eugene Onegin:
Like a true Frenchman, in your pocket
Triquet brought a couplet to Tatyana.
Ignoring the pause suggested by the comma, they combine the word "in the pocket" with the phrase "true Frenchman", thus destroying the connection of the words "brought in the pocket"; instead of pausing after the word "verse", they pronounce the incomprehensible "couplettatyane". The whole sentence sounds ridiculous.
The exact division into speech beats that unite some words and separate others, clarify the accuracy of vision and meaning:
Like a true Frenchman / in your pocket
Triquet brought a verse / Tatiana.
Now the listener understands not only the birthday surprise, but also the character of the one who gives it.
Complex sentences require even more serious analytical work, especially when the semantic connection of words is broken by a long subordinate clause. For example:
Watchtower grave mounds, which rose here and there above the horizon and the boundless steppe, looked sternly o i m e r t in o.
The main meaning is contained in the highlighted parts of the main sentence, so it is very important to be able to highlight the logical relationships between the individual elements of the phrase.
The actor, like every artist, thinks in images. Therefore, if on the screen of his inner vision, thanks to analytic-synthetic work, first of all severe watchmen-mounds appear, he will not be able not to see them in a certain space - a boundless steppe, a closed horizon line - this is what the subordinate clause draws, from which in the process of analysis he digressed, connecting parts of the main sentence.
However, in a sentence there may be words that, in terms of meaning, are easily connected with both one and another phrase of this sentence. Then the same sentence with the same words, but with differently formed phrases and, consequently, with different logical pauses, can sound in several semantic variants. For example: "The father covered him with his brother's cloak."
In this sentence, the pronoun “his” can equally complement the predicate - covered (whom?) Him, and be a definition for the word “cloak” - (whose?) Him.
Logical pauses that determine the meaning of these options can be located after the word "his" (1st option) and after the word "cloak" (2nd option).
Different pauses give birth to different options in And Deny. In the first case, the cloak belonging to the brother is used by the father to cover someone. In the second case, with a cloak belonging to someone, the father covers his brother. One or the other is chosen depending on the main idea of the passage and the purpose of the statement.
The father covered him / with his brother's cloak.
The father covered him with a cloak / his brother.
Thus, a logical pause, combining words into speech measures and separating the latter from each other, organizes the understanding of the thought being uttered. That's why K.S. Stanislavsky wrote: "Work on speech must always begin with division into speech measures, or, in other words, with the placement of logical pauses" 19 .
Punctuation marks help to identify logical pauses in the analyzed text. In a sentence without punctuation, this is more difficult to do, especially if it is very common. Therefore, when analyzing a sentence, one should first of all determine the subject group and the predicate group, then it is easier to place logical pauses within these groups. It should be remembered that in a common sentence, if the subject is not expressed by a pronoun, the group of words related to the subject will always be separated by a pause from the group of words explaining the predicate.
Compare:
They walked side by side / along the edge of the Field of Mars / drowned in snowdrifts.
Beloved / city / stood out through the blizzard / dark lines of its roofs / and swirling spots of lanterns.
In the first sentence, the subject is not separated by a pause, since the entire semantic load is contained in the predicate group. In the second sentence, the subject group is a whole image, the detailing of which is given by the entire predicate group.
It is especially important to be able to separate the group of subject and predicate in sentences with an unusual word order, most often found in poetic speech. The Russian language has a free word order. One and the same sentence can be said using different words, for example:
The student takes the exam.
The student takes the exam.
The student takes the exam.
In all examples, the main syntactic relationships between words are not violated: student - subject, passes - predicate, exam - addition. But the first example is a sentence with the most accepted, ordinary word order, and the other two are organized unusually, they have a different word order, it is called inversion, which in exact translation means “reversal”, rearrangement. To understand the logical pauses of the inverted text, one should restore the usual word order, this will facilitate the identification of semantic relationships between words. In the direct order of words in a sentence, the subject comes before the predicate, the definition - before the word being defined, the addition - after the word that it complements, the circumstances are located freely. Consider an example of an inverse sentence:
And over the fatherland of enlightened freedom
Will the beautiful dawn finally rise?
Restore normal word order:
The beautiful dawn of enlightened freedom will finally rise over the fatherland.
Now it is clearly seen that the word "over the fatherland" cannot be combined with the words "enlightened freedom", since it belongs to the group of the predicate and is included in the combination: "whether it rises above the fatherland." This word must be separated by a logical pause from the words "enlightened freedom".
And over the fatherland / enlightened freedom /
Will the beautiful dawn finally rise?
You should be careful about punctuation marks. They are guidelines for dividing the text into speech measures; a punctuation mark means, with some exceptions, a mandatory logical pause.
An inattentive attitude to punctuation marks often leads to a distortion of the meaning of the text. Let's take an example:
Fully shy, close with a glove,
You are no longer small. Russian hair,
You see, he is exhausted with a fever,
Tall sick Belarusian.
Often they read this text without making a logical pause at the dot in the second line, after the word “not small”, and thus the words “hair Rus” become the second definition in the first sentence and sound like an absurd proof of Vanya’s sufficient maturity in assessing life phenomena . The preservation of the point refers this definition to the portrait of a Belarusian.
Second example:
Unharnessed the people of the horses - and the merchant
With a shout of cheers! sped along the road...
Inattention to the dash sign after the word "horses" makes the word "merchant" the second addition to the verb "straightened out", which is why the whole phrase turns into absurdity: "Harness the people of the horses and the merchants."
However, as we noted above, punctuation marks are not always logical stops. Let's remember these exceptions:
1. A comma is not a stop stop if it separates the introductory word. Example:
I. Turgenev
In two sentences of this text, the commas highlighting the watery words “it seemed” and “I confess” will not be marked with pauses, because these pauses would make the pronunciation of the phrase very difficult and, therefore, would make it difficult to convey the meaning.
2. The commas separating the appeal in the middle and at the end of the phrase are not marked with pauses.
Thank you, _Rodina, _for happiness
Be with you on your journey.
Listen, world! Radio "Vostok-2".
Transferring these calls to the beginning of phrases will require a pause after the characters:
Motherland, / thanks for the happiness / to be with you on your way. Peace! /listen/: Vostok-2 radios.
3. The comma between the union and the adverbial turnover is not marked with a pause.
In the distance /the mill/ knocks, /half-closed with willows,/ and, motley in the clear air, /pigeons/ quickly circle over it.
I. Turgenev
4. A comma is not marked with a pause in complex sentences, when the connection between the main clause and the subordinate clause is carried out by complex unions: in order to; in order to; because or ratios: that - that; everything, that.
I invited you, gentlemen, / with those m, h to inform you / unpleasant news.
Is t oh h that belongs to me, / does not belong to you as much?
A giant cliff / sun e, h then Stepan thought, / he will tell everything to that daredevil.
So, correctly logically parsed text is the beginning of work. Logical analysis requires certain knowledge in the field of Russian syntax, a special skill, and, consequently, preparatory training. The transfer of the meaning of the parsed text in the sounding speech also requires a lot of training.
Logical intonation depends on the nature of logical pauses. The latter can be connecting and disconnecting. A connecting pause in the transmission of meaning occurs when the thought continues in its development, the voice during the pronunciation of the phrase in these pauses remains at a certain height, as if warning about the incompleteness of the statement. Separating pauses serve to convey the completeness of thought, the voice at these pauses goes down and makes it clear that the thought is over. It is no coincidence that K.S. Stanislavsky, in teaching the actor the art of speech, insisted on training logical intonations.
The melody of Russian speech is characterized by flowing smoothness, and a logical pause is not always characterized by a break in speech, it is carried out not only by stops of a greater or lesser duration, but very often only by a change in the pitch of the voice. Frequent stops in speech make it heavier, cause an accentuation of words, and this deprives speech of expressiveness and beauty.
Thus the pauses in the sentence which we discussed at the beginning of this chapter (soon the moon and stars will be drowned in thick fog) can be brought about by changing the vocal melody.
In a logical intonation, the voice on the word “soon” (the first measure) will go up, on the first word of the second measure - “moon” there will be a decrease in voice tone, and, only merging with the second word of the measure - “stars”, the voice will rise slightly again, and then drops on the word "drown", which begins the third bar, to end the thought of the phrase with a drop down; as K.S. Stanislavsky, "the voice will fall to the bottom." The melody of a developing thought requires the skill not to lower the voice tone, to keep the voice at a certain height until the completion of the thought, which is always marked by a decrease in the voice tone. Therefore, in the sound of a developing thought, the beginning of each subsequent measure will be higher than the beginning, but lower than the end of the previous measure. The last speech measure is pronounced with a greater decrease to the last word.
In sentences with punctuation marks, intonational moves are directed by these signs. K.S. Stanislavsky persistently reminded the actors of this, demanding that they accurately reproduce with their voice the intonation corresponding to the nature of this or that sign: periods, commas, colons, etc. “Without these intonations,” said Stanislavsky, “they will not fulfill their purpose ... Subtract from the point its final, final voice decrease, and the listener will not understand that the phrase is over and there will be no continuation. Subtract from the question mark its characteristic sound “croaking”, and the listener will not understand that he is being asked a question to which they are waiting for an answer ... These intonations have some effect on the listeners, obliging them to something: an interrogative phonetic figure - to the answer; exclamatory - to sympathy and approval or to protest, two dots - to attentive perception of further speech, etc. ” twenty . Considering the nature of the comma, Stanislavsky noted its "miraculous property": on the last syllable of the word before the comma, bend the sound up. “Its curve, like a raised hand in warning, makes the listeners patiently wait for the continuation of the unfinished phrase” 21 . For a semicolon in sounding speech, the intonation of a certain decrease is characteristic, less than with a period, but much more than with a comma, since a semicolon usually delimits parts of a sentence that already have commas. For example:
He did not fall in love, did not think about marriage, and loved only his mother, sister, the gardener Vasilyich; he liked to eat well, to sleep after dinner, to talk about politics, about lofty matters.
At first, from the lake, which shimmered dimly at the foot of the flaming pines, the mighty trumpet cries of swans were heard; they floated majestically and unsteadily over the steppe, like the first chords of a solemn symphony, and slowly, slowly died away.
M. Bubennov
Ekaterina Dmitrievna told the news of the summer: a rabid dog came running from Tushin and bit two chickens at the Kishkins; today the Zhilkins moved to the Simovskaya dacha, and immediately a samovar was stolen from them; Matrena, the cook, whipped her son again.
A. Tolstoy
The intonation of the dash sign is characterized not only by an increase, but also by all means a pause much larger than a pause at a comma. Since this sign is especially common in expressive speech, its functions can always be clarified only in context.
The inability to master the art of voice leading a logical melody makes it difficult to understand the thought being uttered, and, conversely, the art of expressively, vividly conveying the semantic development of the phrase with the voice frees the speaker and the listener from the tension that makes the first one hurry, and the second one prevents him from perceiving speech in all its not only semantic, but also emotional and expressive fullness.
A necessary condition for the implementation of the correct, vivid communication of thoughts to the listener is also the ability to pronounce the words included in the speech tact together, to pronounce them as one big word. And just as in a word one of the syllables is more prominent, so in a measure there is always a word that should stand out brighter than others, and in one of the measures there will be a word that is most important for the whole thought of the phrase. It will be called the main logical stress of the phrase. All other words highlighted in bars will be called minor logical stresses.
When we talk about a phrase taken out of connection with others, out of context, then the logical stress in reading is determined by the rhythmic organization of this phrase: usually the rhythm of a Russian narrative phrase requires stress on the last significant word of each speech measure, if the sentence consists of several speech measures, or but simply on the last word of the sentence, if it consists of one speech measure.
Let us agree to denote the logical stress by a horizontal line under the stressed word.
Don,/disheveled wind,/ threw on shores/ combed frequent waves.
was going to thunderstorm.
It is possible to determine the main stressed word in the first phrase only on the basis of the goal, the task of the utterance. If the main thing is to pay attention to the cause of the waves on the Don, then the main stress word will be the word "wind", but if we mean the picture of the storm, then the main word will be the word "waves".
If, however, this phrase is included in a semantic segment of speech, that is, taken in context, then the stress (main) in this phrase will be determined by the general task of the entire text. This phrase is taken from Sholokhov's The Quiet Flows the Don. It is one of the phrases of the text, which describes the thunderstorm.
Above the farm / became brown cloud./Don,/ disheveled wind,/thrown at shores/ combed frequent waves./For lavades/ scorched the sky/ dry lightning,/ crushed the ground / with rare peals / thunder./ Under a cloud, / sprawled, / traveled around a Korsha not he was chased with a cry crows./ Cloud / breathing cold, / walked along the Don, / from the west. / For a loan / menacingly blackened,/ steppe/ expectantly was silent./In the farm/ clapped/ closable shutters; from Vespers, / being baptized, / the old women hurried; / on the parade ground / swayed / gray column dust, and the land burdened with spring dawn / already sown / the first grains rain.
Each phrase of this passage is part of the description of a thunderstorm, and the words: cloud, waves, lightning, thunder, birds flying in the air - kite and crows; the formidable sky and the silence of the steppe, slamming shutters, hurrying old women, a column of dust, rain - are, as it were, the main signs of a thunderstorm. These words will be the main stresses in the passage. All other stresses in the bars of phrases are colors of details. Their accentuation is carried out by logical pauses.
Therefore, it is possible to understand the gradation of stresses (main and secondary) only on the basis of the main idea of the work or the semantic meaning of the passage.
The path of logical analysis is always the path from the whole to the part and from the part back to the whole. This is the only way to establish stress words, the main words of thought and to determine the relative weight of others in the general course of development of the main idea of a work or part of it (excerpt).
Thus, when defining the main stress, we must remember that it highlights the word that is evaluated as the most important for conveying the thought and recreating the picture of the narrative.
In a phrase taken out of context, we are free to convey any variants of thought, depending on our desire to approve one thing and not another. For example: "I study at a theater university." In this phrase, the main stress word can be anything: the word “I”, and the word “study”, and the word “in the theater”, and the word “in the university”. If we assert that it is I, and not anyone else, who is studying at a theater university, then the main stress word will be “I”; if it is necessary to emphasize that I am studying, and not just listed as a student, then the emphasis will be on the word “study”; wishing to note that it is in the theater, and not in any other university, that we will certainly single out the word "in the theater"; if, in terms of meaning, it becomes necessary to emphasize that this is not a circle, not a studio, but a university, then the last word “in a university” will stand out. But the same phrase, taken out of context, can convey the statement of the fact itself: “I am a student of a theater university,” without opposing one to the other, as was the case in the cases analyzed. Then the phrase will sound in the narrative rhythm characteristic of Russian speech, with a somewhat greater semantic burden of the last word, without a particular preference for stress in relation to other words, since any sharp preference for the stress of one word in comparison with others inevitably causes in the listener's perception of c a n c e
I am studying theater university.
Observations of live sounding speech and the practice of working on its expressiveness by theater masters allow us to speak of a number of laws that warn against incorrect logical stresses.
Let's look at these laws.
Highlighting with logical stress
Synopsis of an open lesson in reading and speech development
5th grade
Place of work: Novoropskaya special (correctional) educational
boarding school of the VIII type
Lesson topic: A.S. Pushkin "Winter Road"
Lesson Objectives: recreate in the imagination of students a picture of a winter, boring
roads; reveal the feelings that the poet experiences.
Lesson objectives:-Improve reading and speaking skills
verbal drawing; activate and expand
students' vocabulary;
Correct and develop the idea, imagination on
the basis of exercises in verbal drawing;
Raise interest in the poems of A.S. Pushkin.
Lesson equipment: portrait of A.S. Pushkin,
illustration for the poem.
During the classes
I organizational moment.
Sit up straight. Put your hands on the desk.
II Psychological mood.
What is your mood today?
(Good).
Smile at each other. Give me your smiles too. Thanks.
If the lesson begins with a smile, then you can hope that it will be successful.
III Checking homework.
What poem did you learn from the previous lesson?
(We got acquainted with the poem "Birch")
(Sergey Yesenin).
What was given to you for self-training?
(Learn the poem by heart.)
Students take turns reading the poem by heart. The teacher evaluates their reading.
IV Introductory speech.
Today we will take a trip to the distant, distant past, when the great Russian poet Alexander Sergeevich Pushkin lived. Here is his portrait.
(The portrait is attached on the board).
At that time there were no railways, no cars, no buses.
What do you think people were driving back then?
(On horseback).
Right. People rode horses in wagons. The coachman drove the horses.
A.S. Pushkin had to move many times and against his will from one place to another.
On a boring winter road, the poet went into exile from St. Petersburg to his estate Mikhailovskoye. This road brought melancholy and loneliness to him.
In one of his poems, Pushkin painted a picture of a winter road.
V Lesson topic message
So, the topic of our lesson is “A.S. Pushkin "Winter Road".
VI Preparing students for the perception of the poem.
Clarification of some words and explanation of an incomprehensible expression.
In the poem that we will read today, there is a word fogs. You all know what fog is. Say sentences with this word. (There was heavy fog in the morning. You can't see anything because of the fog).
More than two hundred years ago, the word "fog" was used in the meaning of "cloud" ("fogs-clouds").
Also in the poem is the word glades. Where did you see the fields? (In the woods).
Glades are also called wide flat space - plains.
And there will also be an expression "striped versts". Striped versts are pillars painted in white and black, standing along the road through each verst.
(The teacher shows them in the illustration).
A verst is a measure of length a little over a kilometer. Previously, distance was measured not in kilometers, but in versts.
VII Reading a poem by A.S. Pushkin "Winter Road" by the teacher and students.
And now I will read this poem to you. Listen carefully as I read.
The teacher reads a poem.
What picture did you see when you listened to this poem?
(Students talk).
Now you read this poem to yourself. As you read, mark the words you do not understand.
What words do you not understand?
- I don't understand the word "silly"?
- backwoods- a remote place away from people.
- I don't understand the word "borzoi"?
- Greyhound(troika) - fast.
VIII Conversation on the content of the poem with selective reading and accompanying vocabulary work.
Questions and tasks.
1) Why is the poem called "Winter Road"?
(Because it is described in winter time).
2) What time of day is the winter road described?
(At night).
3) How does Pushkin describe the sky, the moon? Read.
4) How is the area that the road runs through described? Read. How do you understand the expression black house?
In the old days, a chicken hut, which was heated in a black way, i.e. without pipe. When heated, smoke filled the entire hut and the walls were sooty, black, hence the name "black hut".
5) - Look at the illustration. Describe the area depicted on it.
(A monotonous snowy plain, deserted, deserted, deaf, not a single hut is visible, only one striped miles).
Pushkin painted a picture in a few words: wide, snow-covered plains. Among them runs a high road. The moon peeks out from behind the clouds, and its sad light streams onto the road. You can't see a house or a light. Silent, deserted, deserted.
And now the silence is broken.
Who do you see in this illustration?
(Three white harnessed horses).
How can you name them differently?
(Troika).
Look how beautiful they are. A bell is attached to the arch of the middle horse.
What are they doing?
(They run down the road.)
Who manages the horses?
(Coachman).
Who do you think is riding in the wagon?
(Pushkin rides in a wagon).
6) - What does the poem say about the troika?
("On the road of winter, boring
Troika greyhound runs").
7) - What sounds do you hear?
(The creak of runners, the bell, the song of the coachman).
How does the bell ring? Read.
The teacher explains the words:
monotonous- publishing the same, monotonous sound;
tiresome- causes fatigue, fatigue.
Pushkin emphasizes with these words the tedium and monotony of the road.
What kind of songs does the coachman sing? Read.
How do you understand the expression "revelry remote"?
(Violent fun).
What songs does the coachman sing?
(Happy and sad).
The Russian people have created many sad songs that talk about their sad life. But the Russian people also love merry songs, they sometimes wanted to forget about their hard life. Therefore, in some songs one hears "reckless revelry", in others - "heart longing".
How does Pushkin talk about these songs? Read.
(“Something is heard native
In the long songs of the coachman.
Why do they sound something "native"?
native- it's Russian.
Pushkin loved the Russian people, their songs and fairy tales.
8) - How does the poet see this whole picture of the road?
(dull, boring, sad, sad).
9) - What words and expressions help you imagine the monotony and boredom of the winter road? Find them in the text of the poem, read.
(The moon pours a sad light, sad meadows, a monotonous bell rattles tiringly, wilderness and snow).
The winter and boring road brought melancholy to the poet. This melancholy was intensified by the sad voice of the coachman singing sad songs.
10) - What feelings does the poet have?
(Feelings of sadness, sadness, fatigue, loneliness).
11) What mood does this poem evoke in you?
(Sad, sad).
You see how wonderfully Pushkin chose words and expressions: the picture of a winter, boring road rises before our eyes when we read a poem, and the mood of the poet, his feelings are transmitted to us.
IX Training of students in expressive reading of the poem.
Students are invited to think about how to read a poem so that they can better imagine the dull deserted area, the sad light of the moon, the coachman's song, the feelings of the poet.
Work on reading each stanza is given, intonation, logical stresses, pauses, themes, tone of voice are substantiated.
X Assignment for self-study.
Learn the poem by heart.
XI Summary of the lesson.
With what poem A.S. Pushkin, did you meet today?
Did you like this poem?
The teacher evaluates the reading and work of students in the lesson.
The lesson is over.
Not only logical pauses help us accurately and clearly convey the author's thoughts to the audience. This is also facilitated by the correct placement and observance logical stresses.
Logical stress is the allocation by means of sound means of a word or a group of words among other words in a sentence or speech tact. In each speech measure there is a word that is distinguished by meaning in the sounding speech by raising, lowering or amplifying the sound of the voice. This intonation of the word is called - clocked logical emphasis.
"Now is the endSEPTEMBER , / and willows / elsedid not turn yellow ".
A separate speech measure rarely contains a complete thought, therefore the stresses of each speech measure must be subordinated to the main stress of the whole sentence. Logical stress can be placed on any significant word, wherever it is located - at the beginning, middle or end of a speech measure. But, often logically, the stressed word is at the end of the speech tact, which is typical of Russian intonation.
There can be several logical stresses in a phrase (according to the number of speech measures), but one of them is the main stress of the phrase- phrasal stress. The main logical stress subordinates to itself all other stressed words of the phrase, in the same way as an ordinary stressed word subordinates to itself all unstressed words of its speech tact.
" Daughter , / EkaterinaIvanovna , / youngyoung woman , / played the piano " .
There are different ways to highlight stressed words: they are distinguished by raising, lowering, slowing down or intensifying the voice, as well as using pauses. All methods of highlighting a stressed word are usually used in combination with each other.
The allocation of stressed words depends on the context and actionable tasks. However, there are laws and rules for setting logical stresses. Laws are universal, and always observed, the rules prescribe.
Law of the new concept
Words that denote new, unfamiliar concepts from the previous text (names of persons, objects, properties; actions, etc.) are emphasized. Familiar concepts, such as those previously mentioned, are usually not stressed. They can be singled out only in those cases when the meaning or the special construction of the phrase requires it.
« Onegin, my good friend,
Born on the banks of the Neva ... "
When inverted on definitions expressed by the adjective
"Snow, /acicular and loose , / fell in clusters.
Oppositions
Opposite words are accentuated intonation. The opposition usually has two parts. In one, something is denied, for the sake of affirming something in the other. Sometimes one of the parts of the opposition is only implied (hidden opposition). Regardless of the order in which the parts of the opposition are arranged, what is asserted stands out more strongly and necessarily lowering the voice as the main stress.
"I wouldn't smokeshag ,
and I would get"Kazbek" » .
"Do not executescary , - / yours is terribledisfavor » .
"Notgenus , / butmind I will put in governors.
The approved concepts are “Kazbek”, “disgrace”, “mind”, therefore they require a lowering of the voice and its significant amplification. The words "shag", "execution" and "kind" are denied concepts and require raising the voice (without amplifying it).
"You would, you know,to the fleet
With your appetite."
The word "to the fleet" is a hidden opposition (to the fleet, not to the infantry).
Comparisons.
When compared, it usually stands out only what is it compared to object, property, etc. Unions, with the help of which a comparative turnover is formed, cannot be shock.
"Always modest, always obedient,
Always likemorning , cheerful,
Howpoet's life , simple-hearted,
Howkiss of love , honey.
An unpopular offer.
In uncommon sentences, which usually consist of a subject and a predicate, as a rule, the stress is placed on the last word. Therefore, in direct word order in such sentences, the predicate becomes stressed, and in inverted sentences, the subject. When the subject and predicate are new concepts, they both stand out. The predicate, the meaning of which is, as it were, contained in the subject, does not stand out, no matter where in the non-common sentence it stands.
"Severewinter . But: wintersevere I".
Explanatory words with the verb.
If the offer contains additions or circumstances explaining the verb, then it is they who receive the stress, and not the verb. The verbs themselves stand out only in uncommon sentences when they are in second place, as well as in opposition and enumeration. Adverbs with a verb they require stress if they almost replace the verb in meaning. But qualitative adverbs do not require stress.
"One dayautumn / I was returning fromBakhchisaray / in Yalta / acrossAi-Petri » .
Here the emphasis is on the circumstance of time ( autumn) and the circumstances of the place (from Bakhchisaray, in Yalta, across Ai-Petri) that explain the verbs.
"I'm all the way /running fled. But: I'm all the way /fled ».
Here is the adverb running, and verb fled. The word "running" in meaning can replace the verb "run".
Enumeration. Homogeneous members of a sentence.
Enumeration is characterized by a special “voice move” - a rise and a logical perspective. On the enumerated words, the voice rises all the time, showing that the thought is not yet finished and will be continued, and only on the last of them, if it ends the phrase, the voice goes down. The power of highlighting enumerated words is increasing. Homogeneous members of a sentence (expressed in one word or phrase), sometimes whole sentences require enumeration intonation.
"That's itknocking , / Andcry , / Andbells not hear."
"Flash by /booths ,/ women ,/
Boys ,/ shops , / lanterns /,
palaces ,/ gardens ,/ monasteries …»
Definitions expressed by a noun in the genitive case.
"From the windowsneighbor / there was music."
"From here I see /flows birth, /
And the first / formidablecollapses / movement."
Appeal.
An address at the beginning of a phrase is highlighted by a logical stress and a pause. In the middle and at the end of the phrase, the appeal does not require stress and is part of the speech tact.
« Victor , / give me ball ».
« ask you (,) daughter, / don't go ».
« Do not scream (,) Lena.
Isolation of recurring concepts.
« I'm going, I'm going in an open field;/
Bellding-ding-ding …/
Scary, scary involuntarily /
Among the unknown plains.
Generalizing words take logical stress.
“Now there are no mountains, / no sky, / no earth - / /nothing was not visible."
