Verbal drawing techniques at literary reading lessons. Reception of verbal drawing

Synopsis of the Russian language lesson in grade 2

MOAU SOSH s. Tomichi, Belogorsk district

teacher: Fedik Svetlana Borisovna

Lesson options

Parameter content

Program, textbook,

peculiarities

Education system"Harmony"

The program “Russian language. To the secrets of our language "authors M.S. Soloveichik, N.S. Kuzmenko

Textbook “Russian language. To the secrets of our language "for

2 grade of elementary school in two parts by M.S. Soloveichik, N.S. Kuzmenko

Focused on the fusion of teaching, development and upbringing of junior schoolchildren into a single organic process; on the formation of the ability to understand language as an object of observation; to develop the ability to perform operations of analysis, synthesis, comparison, classification, generalization with linguistic material, as well as to improve the sense of the word, linguistic intuition of children.

Lesson topic

Place of the lesson in the lesson system

4 lesson in the topic "Composing, retelling, telling"

Lesson form and type

Lesson in the complex application of knowledge and skills

Educational purpose and tasks

Target:

Tasks:

Lesson resources

A computer

Presentation

Pictures of footprints and hand gestures

Subject results

They will master the initial ideas about the varieties of speech, about the system of means of the Russian language, about the features of communication in oral and written form, about the norms literary language and the rules of writing;

Gain experience with exploratory reading, as well as creating their own statements

Metasubject results

Regulatory UUD:

Accept and save the learning task

To act according to the planned plan, as well as according to the instructions contained in the sources of information: teacher's speech, textbook, etc.

In collaboration with the teacher, set new learning objectives and take actions to implement the plan

Cognitive UUD:

Find in the text the necessary information, facts and other information presented in an explicit form

Analyze, synthesize, compare, classify linguistic material according to specified criteria;

Possess general methods of solving specific linguistic problems

Build simple reasoning, establish causal relationships, draw conclusions, formulate them

Communicative UUD:

- – understand the dependence of the nature of speech (constructing an utterance, the choice of linguistic means) on the tasks and situation of communication (inform, explain something, or draw what he saw in words, show actions or signs)

Evaluate other people's thoughts, advice, suggestions

take them into account and try to take them into account in your activities

Enter into educational cooperation with classmates, participate in joint activities

Personal results

The idea of ​​the rich possibilities of the native language, the awareness of oneself as a native speaker of this language

The desire to skillfully use the Russian language and the elements of a conscious attitude to one's speech, control over it

Understanding language as a means of communication

Lesson structure for the complex application of knowledge and skills

1) Organizational stage.

2) Playback and correction basic knowledge students. Knowledge update.

3) Statement of the goal and objectives of the lesson. Motivation learning activities students.

4) Primary anchoring

5) Creative application and acquisition of knowledge in a new situation (problem tasks)

6) Information about homework, instructions on how to complete it

7) Reflection (summing up the results of the lesson)

Abstract open lesson Russian in 2nd grade

Theme: Writing verbal pictures "Here is spring!", Description texts and telegram messages about the signs of spring.

Target: learn to create your own verbal pictures based on observations

Tasks:

To develop the skills of coherent speech on texts of spring themes

To teach how to write description and business text, telegram messages

To foster a reverent attitude towards nature, to form the skills of tolerant communication with others.

During the classes

I Org. moment. Motivation.

We have an unusual day. Is everyone sitting correctly?

And the class is full of guests. Is everyone looking attentively?

What do we need to tell the guests? Tune in to a working mood,

We are very glad to see you! And try not to yawn.

Is everything in place? Make yourself comfortable

Everything is all right, Let's reveal the secrets!

Books, pens and notebooks?

II Call

What is the day of spring today? Has spring fully come into its own?

(no signs of spring are just emerging) So where did spring go? Today we must investigate this complex case and answer the question posed. Who usually helps with complex cases? (detectives) Let's call the most talented of them. (video clip of their m / f “ The Bremen Town Musicians", The song" I am a genius detective ... ")

III minute beautiful letter

The detective provided us with these incomprehensible records. Let's examine them and repeat them in our notebook in beautiful handwriting.

IV Comprehension

Vocabulary work

By examining the evidence, we will draw up a report on the signs of the coming of spring and write a verbal picture. We will put the evidence in this briefcase, which belongs to the detective. In it we will collect words and expressions about spring. We will also look at the photographs. We went on an excursion in our beautiful grove. We tried to find signs of spring. Let's see what came of it. Also, open your notes that you made that day. Then we will collect them in a portfolio.

(viewing the presentation - choosing words and expressions about spring)

Work on creating a verbal picture. Exercise 493.

Like any brilliant detective, we need to draw up a progress report. Read the activity assignment. Solve spelling problems in this sentence. Read on for the assignment. When drawing your word picture, use words and phrases from our portfolio.

There are two sentences written on the board. Read them. Solve spelling problems in them. Do you think they can complete our verbal picture? You can use them if you want.

V . sleep ass . laughed . smut, but admit . To . it is visible in everything.

Z . ma doesn't want uh . drink, but in . sleep is already close . NS!

Start the assignment. I will collect the "reports" and in the next lesson we will discuss them.

Physiotherapy for the eyes(slide in presentation - follow moving objects)

The ingenious detective provided us with a composite sketch of this spring. Let's take a close look at it and study it.

Do you think it was a picture early spring? Why?

Work on the compilation of business texts - telegrams. Exercise 494

Now we have to send a message to our detective. This is very urgent. What kind of message is right for this? (telegram).

(Completing the exercise assignments.)

Homework Exercise 495

V Reflection

What did you do in class today? What did you study? So where did spring go?

1 - learned something new, was active, moved one step forward;

2 - tried to do something, but the steps were still timid, as if he was marking time;

3 - I didn't take anything new for myself, I didn't manage to step forward yet

1 2 3

I liked it I didn’t like it

Place the pictures in an envelope.

V Lesson summary

Verbal drawing (oral and written) is a description of images or pictures that have arisen in the mind of the reader while reading a literary work. The verbal picture is otherwise called verbal illustration.

This technique is aimed primarily at on the development of the ability to concretize verbal images(imagination). In addition, the child's speech and logical thinking... In verbal drawing, the reader should, relying on the verbal images created by the writer, detail your own vision in the visual picture, which he reproduces, describes orally or in writing.

At the same time, two dangers: you can get lost on direct re-tale the author's text, and with too active involuntary imagination "Forget" about the author's picture and start describing your own.

it reception requires a number of operations: read, present, concretize, choose the exact words and expressions for the description, logically build your statement. In addition, the technique involves the description in a static picture of the complex relationships of the heroes.

This technique directs children's attention to the text: they reread some of its fragments, since only semantic and pictorial stylistic details will help them to clarify the verbal images, clarify them, and present what the author describes in detail. The student gradually "enters" the world of work and begins see it through the eyes of the author or one of the characters(depending on from whose point of view the picture is recreated), i.e. joins the action, which means that he will be able to supplement the author's picture with his own details. Then the result of the work, which is based on the analysis of the text, will not be a retelling and not a description divorced from the author's intention, but creative picture, adequate to the author's intention, but more detailed and necessarily emotional and evaluative.

Admission training proceeds in a few stages .

1. Examining graphic illustrations... First, the teacher organizes observation of how the illustrator conveys the author's intention, which helps the artist to create a mood, to express his attitude towards the characters. In the process of this work, children become familiar with the concept of "picture composition", with the meaning of colors, coloring, lines. This work can be carried out in the classroom. visual arts, and in the lessons of extracurricular reading.

2... Choice of several illustrations the most suitable for the episode under consideration is the work with the motivation of its decision.

3. Collective illustration with ready-made figurines consists in the arrangement of characters (composition of the picture), the choice of their poses, facial expressions.

4. Self-illustration the episode you liked and an oral description of what he himself painted. This technique can be complicated by asking the children to describe the illustrations made by their classmates.

5. Analysis of illustrations made with a clear deviation from the text of the work... Children are offered illustrations in which the arrangement of characters or other images of the work is disturbed, some author's details are missing or they are replaced by others, the coloring is broken, the poses and facial expressions of the characters are distorted, etc. After viewing, the children compare their perception of the text with perception of illustration.

6. Collective oral drawing illustrations- genre scenes. At this stage, children choose color range illustrations.

7. Independent graphic drawing landscape and his oral description or description of the artist's landscape.

8. Verbal oral landscape painting by detail text.

9. Collective oral detailed description hero in a specific episode(how do you see the hero: what is happening or happened, the mood of the hero, his feelings, posture, hair, facial expression (eyes, lips), clothes, if it is important, etc.) A question teacher helps children create a description.

10. Collective and independent verbal oral drawing of the hero, first in one specific situation, and later - in different ones.

11. Independent verbal oral illustration and comparison of the created oral illustration with graphic.

It is natural that to master the technique verbal drawing it is possible only after the basic skills have been mastered to analyze the illustrations for the work. However, as a prophet, even at the very first stages of the study of literary works, it is advisable to ask children such questions as: “ How do you imagine a hero ?», « How do you see the setting of the action? "," What do you see when you read this text? " Etc.

Examples of organizing oral verbal drawing in the classroom:

Fragment of a lesson in the 1st grade on a fairy tale « Ax porridge »

The stage of re-reading the text and its analysis

- Let's read the tale to the end and watch how the soldier acted. Let's draw up a plan of his actions.

Children re-read the story in parts, numbering events with a pencil. Then the results of the work are discussed, the previously recorded on the board are opened. soldier actions: spotted an ax; offered to cook porridge from an ax; asked to bring a cauldron; then he washed it, put it into the cauldron, poured water and put it on the fire; stirred and tried; lamented that there was no salt; I salted, tasted, complained that it would be nice to add cereals; added cereals, stirred up, tasted, praised and complained that it would be good to add oil; added oil; began to eat porridge. We combine small actions into larger ones: planned to deceive the old woman; prepares an ax for cooking and begins to cook it; stirring and tasting, one after the other, ask for salt, cereals and oils; eating porridge.

Now let's watch how did the old woman behave at every moment we have allocated.

- Did her mood and behavior change? What are the reasons for these changes?

We invite children to imagine what illustrations can be made for this fairy tale and describe the soldier and the old woman at each moment of the action (oral verbal drawing).

We help with questions:

— What background is the action? (Hut, furnishings in the hut, stove, utensils, etc.)

— Where the soldier stands, how he stands, where he looks(to the old woman, to the boiler, to the side, etc. .), what is it doing at this moment? What's his mood? What is he thinking about? What is his facial expression?

We propose to describe the old woman from the fairy tale "Porridge from the ax" at different moments of the action. We help with similar leading questions.

Then discussing the illustration in the reader(Fig. 13 VO Anikin. "Porridge from an ax").

- Is it possible to determine what moment of the tale was portrayed by the artist V.O. Anikin? What helps (or, conversely, prevents) from doing this?

Reception comparing a literary work with illustrations to it

The essence of the reception is in comparing the verbal image with its interpretations by the artist in the form of an illustration to the text of a literary work. With such a complex analytical activity junior schoolchildren get an idea of ​​the point of view of another person on the situation described by the writer and its participants. Thus, in the mind of the child, his own vision of the episode collides with the vision of the artist. This collision is the impetus for creation problem situation in class and encourages children to analyze the text to clarify their own impressions and ideas.

Examining illustrations is one of the leading techniques at the stage of learning to read.... This is where you need to prepare children to communicate with illustration as a work of art. Viewing pictures in books from by itself interesting lesson turns into a critical activity: children begin to correlate the illustration with the author's description and narration. At the stage of studying literary works, this reception of va-wives and as an independent, and as preparatory to more complex types of work.

Purpose of illustrations:

- arouse the viewer's interest in the situation and / or characters;

- evoke an emotional response from the viewer;

- draw attention to important details of this situation;

- to convey the point of view of what is happening either the author or the narrator, or one of the characters - the participants in the episode.

Illustration requirements:

1. Illustration should answer aesthetic principle , i.e. be a complete work of fine art. Not all illustrations in textbooks on literature for primary school meet this principle, therefore, until children learn to distinguish good works from the bad, it is not worth stopping their attention on these "masterpieces", even if they are placed in the anthology. The teacher can choose a reproduction himself or bring a book in which there is a pictorial series necessary for the lesson, or use modern information technology and work with works of fine art using a computer and a multimedia projector.

2. The illustration should provide implementation of the principle of goal-oriented analysis , i.e. really give the reader an opportunity to reflect on the feelings, experiences of the heroes, on the conflict between the heroes, on the hero's point of view on the situation.

3. The illustration must be done to an episode or situation which cause bright reader emotions, i.e. When choosing an illustration, the teacher needs to take into account the emotional reactions of the reader.

4. All students should be able to carefully examine the illustration , in the process of analysis, the picture should always be in front of the student.

Illustration analysis algorithm:

1. The teacher proposes to the children view illustration , putting specific question :

- What feelings did the illustration evoke in you? Why?

- For which episode was the illustration made? Substantiate your opinion.

- Who is shown in the illustration? Why did you decide so?

- Does the illustration correspond to the content of the episode, the mood that it evokes? Why do you think so?

- What did the artist manage to convey, and what did he fail? Why do you think so?

2. Pupils Examining the Illustration and prepare to answer the teacher's questions.

3. The teacher listens to the answers , all the time drawing the children's attention to certain details of the illustration with the help of leading questions.

4. Poll goes into conversation , during which:

a) the general impression is revealed, and then clarifies what feelings the content of the episode evokes in the readers and what feelings the content of the illustration evokes in the audience; what is the emotional atmosphere of the episode and illustrations;

b) it turns out how the emotional atmosphere is created in the text and how is it transmitted on the painting that helps the artist to express feelings and experiences;

c) is compared composition of the picture with the arrangement of characters and the background of the action in the work, poses and facial expressions are analyzed characters or details of the landscape and their role in creating an emotional atmosphere (It is important for children to see how accurate the artist is in conveying the mood of the episode and the characters, what details will help him in this and what role the chosen pictorial techniques play .)

G) the feasibility of deviations from the author's text is analyzed admitted by the artist: what the artist missed (did not draw) or brought into the picture, which the author of the literary work does not mention; Is this done in general accordance with the author's intention, his attitude to characters and events, or does it contradict them?

Reception of juxtaposing episode and illustration aimed at enhancing the attention of students to the text, contributes to the development of the reader's imagination and the formation of the following skills:

- see pictorial means language and be aware of their role in the text;

- analyze composition of the episode, images of characters;

- compare your point of view with the point of view of another reader(in this case - the artist) and the point of view of the author;

- understand the specifics of languages different types arts and be able to communicate with works of art.

Activities: in the lesson, you can analyze book covers; compare illustrations different artists to the same episode; choose from numerous illustrations those made by one artist; motivate the choice of the most successful, from the point of view of the child, illusion; analyze works of fine art (not illustrations) and decide whether they can be used to design a book with the text of a given literary work.

Bibliography:

1. Kubasova O.V. Developing a recreational imagination in reading lessons. - Primary School... -1991.-№1.-С.30

2. Lvov M.R. Methods of speech development. - In the book: M.R. Lvov, V.G. Goretskiy, O.V. Sosnovskaya. Methods of teaching the Russian language in primary school. - M. - 2000. - P.401

3.Korepina L.F. - Working with illustrations in reading lessons. - Primary School. - 1990. - No. 2. - P.27

4. Sidorenkova V.V. Some creative techniques reading. - In the book. Questions of methods of reading in elementary school. - Comp. Goretsky V.G., Omorokova M.I. - M. 1964. - P.101

5.Mosunova L.A. Learning word drawing in the classroom literary reading.- Literature at school. - 1994.- No. 2.- P.77

Using pictures in speech development classes

Compiled by: Ksenia Igorevna Karamysheva

Educator MBDOU "DSKV №68"

2015

1.The value of pictures in familiarizing children with the environment and development

vocabulary in teaching children storytelling …………………………………… 3

2. Selection of paintings for each group, requirements for selection ……………… 6

3. Types of activities with paintings ………………………………………………. nine

4.Structure of classes and methodology of conducting ………………………………… 6

5. Requirements for stories based on pictures ………………………………………. .nine

PRACTICAL TASKS ………………………………………………… 20

Summary of a lesson on composing stories from a painting

List of used literature ……………………………………… .... 23

1. The value of pictures in familiarizing children with the environment and developing vocabulary, in teaching children storytelling.

The famous teacher K.D. Ushinsky said: "Give the child a picture and he will speak."The upbringing of highly educated people includes mastering all the riches of the native language. Therefore, one of the main tasks of the kindergarten is the formation of the correct oral speech children on the basis of their mastery of the literary language of their people.

In the methodology for the development of speech of preschoolers, according to researchers O.I. Solovyova, F.A. Sokhina, E.I. Tikheeva and others, the use of paintings plays a leading role. Painting in its various forms (subject, plot, photography, illustration, reproduction, filmstrip, drawing), and plot in particular, with skillful use, allows you to stimulate all aspects of the child's speech activity. It is known with what enthusiasm even the smallest children look at illustrations in books, magazines and ask countless questions to adults.

The types of painting work are numerous. The same picture canserve as material for a number of diverse types of activities. The objects presented in the picture are united by a certain logical situation, a certain relationship that speaks for itself. The linguistic task is to clarify and enrich the vocabulary of children, to exercise them in constructing an utterance, to lead them to the practical assimilation of certain concepts.

The problem of developing coherent speech and especially teaching storytelling based on pictures (illustrations) has been and remains the focus of attention of psychologists, linguists, teachers and methodologists (L.S.Vygotsky, A.V. Zaporozhets, A.A. Elkonin and others). Indeed, the significance of the stories is enormous. In stories they live folk customs, rituals, proverbs and sayings are preserved in them. From stories, children memorize expressions and new words that they use in everyday life, master new phrases, phrases, type of sentences.

The special role of the picture in the development of the child and in the development of the speech of preschool children was assigned by E.I. Tikheeva. She described that paintings as a factor in the mental development of a child should bea place of honor was assigned from the first years of his life. The painting evokes the active work of thinking, memory and speech. Considering the picture, the child names what he sees, asks about what he does not understand, recalls a similar event and object from his personal experience and talks about it.

With the help of the picture, the teacher brings up different feelings in children; depending on the content of the picture, it can be interest and respect for work, love for native nature, compassion for comrades, a sense of humor, love of beauty and always a joyful perception of life.

The use of the picture, according to KD Ushinsky, is that children learn to closely associate a word with the idea of ​​an object, learn to express their thoughts logically and consistently, that is, a picture, simultaneously develops mind and speech. V.P. Glukhov noted: "Try to tell about the same incident to two children, equally capable, one from drawings, the second - without drawings - and then you will appreciate the full significance of the drawings for children."

Thus, “preschool age is the period in which the greatest feeling for linguistic phenomena is observed - this is a firmly established fact”, - concludes in one of his studies D.B. Elkonin. Stories enrich children with knowledge about the history, culture of their people, develop speech. And since teaching storytelling in kindergarten is based on visual material, and above all on pictures, illustrations through which the horizons of children are enriched, their creative thinking and coherent speech, then they are the most valuable material in working with preschoolers for the development of speech.

Pictures, drawings, illustrations for literary and folklore works used in educational process as a means of mental (familiarization with the environment, development of imagination, perception, attention, thinking, speech, formation intellectual abilities, sensory development), aesthetic (the development of artistic and aesthetic perception, the formation of emotional sensitivity, the enrichment of the emotional and sensory sphere) and speech education (the development of artistic and communicative abilities, stimulating the initiative of expression, mastering various types of coherent speech).

2. Selection of paintings for each group, requirements for selection

The kindergarten must make sure that he has a selection of paintings that can satisfy all the needs of the current job.

Painting requirements

• Interesting, understandable content that fosters a positive attitude towards the environment.
• Realistic image.
• The painting must be highly artistic.
• Content and image availability (lack of many

details, strong reduction and obscuration of objects, excessive shading, incomplete drawing).

Pictures can be b: demonstration, handouts (a set of postcards on different topics, children's stories based on pictures).

Object paintings- they depict one or more objects without any plot interaction between them (furniture, clothes, dishes, animals; "Horse with a foal", "Cow with a calf" from the series "Domestic animals" - by S. A. Veretennikova, artist A. Komarov).

Subject pictureswhere objects and characters are in plot interaction with each other. And pushes the child into a story related to the interpretation of the action. A series or set of pictures connected by a single plot content, for example, (story in pictures) "Stories in pictures" by N. Radlov

Reproductions of paintings by masters of art are also used:

· Landscape paintings: A. Savrasov "The Rooks Have Arrived"; I. Levitan " Golden autumn", "Spring. Big water", "March"; K. Yuon " March sun"; A. Kuindzhi "Birch Grove"; I. Shishkin "Morning in pine forest», « Pine forest»,« Woodcutting »; V. Vasnetsov "Alyonushka"; V. Polenov "Autumn in Abramtsevo", "Golden Autumn", etc .;

· Still life: K. Petrov-Vodkin "Bird cherry in a glass", "A glass and an apple branch"; I. Mashkov "Ryabinka", "Still Life with Watermelon"; P. Konchalovsky "Poppies", "Lilac at the Window".

When choosing a painting for a lesson, the teacher must take into account that children know:

• About the characters of the picture (girl, boy, bun);
• Their actions (walking, playing, eating);
• About the place of action (Where? In the forest, at home);
• About the time of action (When?).

Children love to consider paintings individually, guided by their own interests and choices, and therefore there should be paintings for the free use of children. Their content should be as diverse as possible and accessible to the understanding of children. Pictures for the free use of children are laid out in a shift order for a certain period of time in places from where children take them at their discretion. For the sake of ease of use of paintings, it is necessary to thoroughly think over the technique of their storage. Each topic should have its own place: an envelope, a drawer, a place in a closet, etc. Only in this case the teacher will be able to find the desired picture at any time.

The main requirements put forward by the technique for the picture and work with it.

The picture is selected in advance, taking into account the interest of children, taking into account educational work, taking into account the time of year, local conditions (first, its own area, then another).

The painting should hang at children's eye level.

A pointer or other attributes are selected in advance.

Think over the placement of children: not always in a semicircle; staggered; taking into account hearing, vision, growth of children; in a circle.

The teacher and children who go to the painting should stand to the right of the painting.

After the lesson, the paintings remain in the group room for several days, the teacher encourages the children to look at them.

Requirements for the selection of paintings younger age(3-5 years old).

The composition of the painting should be simple i.e. one painting is planned.

The number of characters is from 1 to 4.

Older age (5-7 years old).

The composition is complex, that is, multidimensional.

The number of characters can be quite large.

The construction of the lesson and the methodology for its conduct.

In order to correctly and effectively consider the picture, the educator must come up with what knowledge he will consolidate, what knowledge he will give to children.

3.Types of activities with paintings

In accordance with the "Kindergarten Education Program" classes on viewing pictures are held in all age groups. But if children of younger and middle age learn to describe pictures, relying on the teacher's questions, then in the senior and preparatory groups for school, the main attention is paid to independent storytelling.

Types of painting lessons:

1. examining the picture;
2. storytelling on it.

For a coherent sequential story about the picture, it is necessary to understand the picture when looking at the picture. entity, establish links:

1. recognition;
2. establishing cause-and-effect relationships between characters, understanding facial expressions, actions.
3. temporary connections: taking into account the place of action, time, situation.

For a coherent story you need:

1. take care of the content side;
2. clear selection or logicization of images;
3. mastering forms monologue speech.

Types of paintings.

1. Object paintings (one or several objects without contact links).
2. Subject and multi-episode pictures. On plot pictures objects are depicted in certain plot connections.
3. A series of paintings related to one subject.
4. Landscape paintings.
5. Still lifes.
6. Pictures with humorous content.

The following are highlighted types of occupation on teaching storytelling by painting.

1. Drawing up a descriptive story based on a subject picture.
2. Drawing up a descriptive story based on a plot picture.
3. Coming up with a narrative story based on a plot picture.
4. Drawing up a story based on a sequential series of pictures.
5. Drawing up a descriptive story based on a landscape painting and still life.
6. Collective storytelling.

Complication from group to group.

Middle group	Senior group	Preparatory group
1. A descriptive story based on a subject picture. 2. A descriptive story based on a plot picture. 3. A descriptive story based on a plot series of pictures.	1. Drawing up a narrative story based on a plot picture. 2. Narrative stories based on a series of pictures on humorous themes. 3. Collective storytelling.	1. A descriptive story based on a landscape painting and still life.

Requirements for children's stories:

• accurate transfer of the plot; independence; imagery;
• expediency of using language means (exact
• designation of actions); the presence of links between proposals and parts
• story; expressiveness; the ability to intonate;
• emphasizing the most meaningful words; fluency of speech;
• phonetic clarity of each phrase

4. The structure of the classes and the methodology of conducting: by examining pictures; on drawing up stories from pictures;

The task of the teacher is to teach children to perceive the picture, to lead from random to sequential examination, to highlight the essential; expand the vocabulary of children; to educate the feelings of children, that is, to cause correct attitude to what is drawn

The structure of the lesson on familiarization with paintings

They consist of three parts, or better combined: lesson + fine arts, lesson + music, lesson + native language.

Part I - introductory (1-5 min.): To tune children to perception (conversation, riddles), the teacher still reveals the content of this picture to younger children in order to interest them.

Part II - the main one (from 10-20 minutes, depending on the age of the children): questions to the children. This part ends with a teacher's exemplary story, confirming the essence of the picture or reading fiction(description). For children 5-7 years old, a child's story can be a model. If the picture is for the first time in a group, then only the teacher's story can be a model.

Part III - the result of the lesson: surprise moments, word play(mobile), lesson in fine art after viewing.

The main vocabulary technique during the lesson is questions for children:

The main vocabulary technique in this lesson is a question. Different forms of questions are used:

1. To find out general meaning paintings: what is the painting about? What shall we call it? Did the children meet the newcomer correctly?

2. To describe objects: what? Which? Where? What is he doing? What does it look like?

3. To establish connections between parts of the picture: why? What for? For what? Whose? How are they similar?

4. To go beyond what is depicted: what do you think will happen next? What happened before that? How did you guess this?

5. Questions about the personal experience of children, close to the content of the picture: do you have such toys? Who recently came to our group? How did we meet the newcomer?

6. To activate the vocabulary, older children are asked a question to select synonyms: how else can you say about this? (Shy, timid, frightened, etc.) Questions in form can be not only direct and suggestive, but also prompting, especially in younger groups: is this a kitten? Is it a ball?

In older groups, you can use the techniques developed by E. I. Tikheeva. Exercises like the game "Who will see more?" Children name the details of the depicted object without repeating themselves. This is important for the development of observation, attention and vocabulary activation. A good method of comparing pictures (How are they similar and how are they not?).

The purpose of examining the picture, the purpose of the questions asked is to find out its main content; in this case, it is not necessary to activate the dictionary in general, but a certain group of words. Therefore, you should ask about the main thing.

Younger group.

Preparatory stage for teaching storytelling.

Features of children:

Children are limited to enumerating objects, individual systems and actions.

Tasks:

1. Teaching children to look at the picture and the formation of the ability to notice the equal in it.
2. A gradual transition from activities of a nomenclature nature to activities that train children in coherent speech (answering questions and composing short stories).

The structure of classes to familiarize children with the picture:

1. Introducing a picture and examining it by children on their own.
2. Examining the picture for questions.
3. The final story is a sample educator.

Classes can begin with a short introductory conversation aimed at clarifying the children's ideas and creating an emotional state.

Methodological techniques:

1. Questions.
2. Artistic word.
3. Game techniques.
4. Choosing an object and telling about it.
5. Linking a drawn object in a painting to a toy display.

Paintings:

1. depicting individual objects;
2. pets;
3. scenes from children's life.

Middle group.

There are separate classes on teaching storytelling.

On teaching storytelling, classes are held once a month, but if you think that a lot of work is required, then their number increases.

Paintings:

1. Baturin "We are playing."
2. Solovieva's series "Our Tanya".
3. Veretennikov "Domestic animals".

The structure of the classes.

1. The actual content of the picture (the content of the picture is studied, the children learn the most important connections, ask a few questions).
2. Learning to compose a story.
3. Children's stories, assessment of stories.

Methodical work.

1. Questions - 3-4 minutes.
2. Samples of the educator's story.

1. The educator's story should cover the entire content of the picture.
2. Must be built according to the rules literary story, the sequence, time, tie is observed.
3. The story should contain figurative expressions, direct speech, punctuation marks.
4. They should be presented vividly, clearly, expressively. For this, it must be thought out in advance.

Complication - in Art. groups can use a literary image.

The educator's story should consist of 7-8 sentences and the beginning of the image is given for full copying. The place of the sample gradually decreases - it moves to the middle and to the end of the lesson. After the sample, a plan is given.

1. Requirements for this part.

1. The teacher should know who he will ask: 1-2 good storytellers, then children who find it difficult and end up with good storytelling. In total, ask 5 to 9 children.

Be sure to monitor the attention of children and diversify techniques by introducing toys, additions for children, taking into account the wishes of children.

Requirements for the assessment of children's stories.

The first independent stories about the picture can consist of 2-3 sentences. Some children reproduce the most important thing, while others reproduce what they are interested in, the stories of third children do not characterize the essence of the pictures.

By the middle of the year, the stories become longer (6-8 sentences), acquire a sequence, approach the pattern, and at the end of the year, children pass the pattern almost verbatim.

At the end of the year, you can listen to 7-9 stories.

Senior and preparatory group.

In the senior and preparatory groups, the requirements for children's stories are increasing.

1. The content of the story should be enriched with details, the story grows.
2. The kindergarten child must comply with all 3 parts. The beginning and the end are clearly marked.
3. Pay attention to the choice of clear and precise words.

When evaluating, one should distinguish the merit of the story, the details that make it different from another. In Art. the group involves the children themselves in the assessment.

Complication in the technique of viewing the picture.

In older preschool age, they consider the picture in advance or in the first part of the lesson.

New tasks for viewing the picture.

Help children understand the essence of the picture, establish all connections and dependencies.

Direction to the accumulation of verbal material, work is underway to find the exact words for characterization actors, action.

Organizing storytelling material.

Structure.

1. Introducing a picture and viewing by children (perception as a whole).
2. Examination of the picture under the guidance of a teacher.
3. The final story is an educator's model.

Methodical techniques.

1. A series of questions to identify the content, to establish connections, to examine the picture in detail and find the exact words. The technique of closing a part of the picture is used.
2. Reception of inventing the name of the picture and generalization of the educator.

Tasks teaching storytelling in older groups become more diverse and depend on the content of the picture.

1. Learn to understand the content of the picture.
2. Nurture feelings.
3. Learn to compose a coherent story based on the picture.
4. Activate and expand vocabulary.

In Art. groups 10 lessons on teaching storytelling.

Paintings "Jerzy", "Our Tanya", "Pets". The same picture can be used repeatedly and complicate tasks.

Types of activities in Art. storytelling groups.

1. A descriptive story based on subject and plot pictures.
2. Stories based on a series of pictures on humorous themes.
3. Narrative story.

V preparatory group is added:

1. A descriptive story based on a landscape painting.
2. drawing up a collective story.
3. A story based on a series of pictures.

Requirements for the structure of the lesson.

The model should serve as a means of transferring children to a higher level of development of their storytelling skills.

1. Actualization of the story.
2. Storytelling training.
3. Children's stories and assessment.

Methodical techniques.

1. Questions and the establishment of content or connections in the picture.
2. A sample is the complication of moving it to the end of the lesson.

In Art. To a group, if the children are good at telling stories, then instead of a sample, the children use the plan on their own.

Complication of methodological techniques.

Middle group	Senior group	Preparatory group
1. questions 2. sample familiarization sample moving sample. 3. plan after pattern and as mastery instead of pattern. 4. children's stories - reproduction of a sample, from 2-3 sentences to 6-8. 5. the assessment is given by the educator.	1. questions 3. the plan is made by children. 4. the number of details in the story increases. 5. children are involved.	1. questions 2. a sample of a means of transferring to a higher level and the use of a literary image. 3. the plan is made by children. 4. the sequence of the story, the time, the place of action, the presence of 3 parts of the story, the clarity of words are respected. 5. children and educators.

Collective compilation of a story based on the painting "Teaching children to describe the landscape.

1. Fail gradually.
2. Before these classes, accumulate experience related to the perception of natural phenomena - observing the beauty of nature.

Receptions.

1. Questions aimed at identifying the main
2. Comparison and juxtaposition of objects or phenomena,
3. Didactic games - who will see more.
4. Fiction, poetry, riddles, fairy tales, stories.
5. Examining illustrations, drawing the landscape seen on the street.

When experience is accumulated - learning to tell.

1. Examination of the picture.
2. Storytelling training.
3. Children's stories.

Receptions.

1. A conversation is introduced - aimed at the perception of a work of art.
2. The use of Tchaikovsky's music.
3. Relying on the experience of children in order to understand the mood of the picture.
4. Using poetry to understand the picture.
5. Welcome to the introduction to the painting (let's take a walk in this grove).

1. In the second part literary sample, plan.
2. Grade.

5.Requirements for storytelling by pictures

General requirements for the organization of work with a painting:

It is recommended to carry out work on teaching children creative storytelling based on a picture starting from the 2nd junior group kindergarten.

When choosing a plot, it is necessary to take into account the number of objects drawn: the younger the children, the fewer objects should be depicted in the picture.

After the first game, the picture is left in the group for the entire time of classes with it (two to three weeks) and is constantly in the field of view of the children.

Games can be played with a subgroup or individually. It is not necessary that all children go through every play with a given painting.

Each stage of work (a series of games) should be considered as intermediate. The result of the stage: the child's story using a specific mental device.

In kindergarten, two types of such activities are carried out: examining pictures with a conversation about them and composing stories by children based on the material of the pictures.

At first, preschoolers master mainly dialogical speech: they learn to listen to the teacher's questions, answer them, ask; the latter contribute to the development of monologue speech: children acquire the skills of composing a story in which all parts are contextually related to each other, logically and syntactically combined.

Consideration of pictures, according to E. I. Tikheeva, pursues a threefold goal: an exercise in observation, the development of thinking, imagination, logical judgment and the development of the child's speech.

Thus, viewing the picture encourages the child to be verbal, determines the theme and content of the stories, their moral orientation.

But the child can tell about the content of the picture only if he understood it. The degree of coherence, accuracy, completeness of stories largely depends on how correctly the child perceived, comprehended and experienced the depicted, how clear and emotionally significant the plot and images of the picture became for him.

In order for the children to better understand the content of the pictures, the teacher conducts a preliminary conversation with them, in which he uses personal experience guys, memories of events similar to those shown in the picture. In the process of examination, the vocabulary is activated and refined, dialogical speech develops: the ability to answer questions, substantiate your answers, and ask questions yourself.

Therefore, the purpose of the conversation on the pictures e - to lead children to the correct perception and understanding of the main content of the picture and at the same time the development of dialogical speech.

Children do not know how to look at pictures, they cannot always establish relationships between characters, sometimes they do not understand the ways of depicting objects. Therefore, it is necessary to teach them to look and see an object or plot in the picture, to develop observation skills. Children are taught to notice details in the picture: background, landscape, weather conditions, include a description of nature in their story + artistic word(poem, excerpt from prose, riddle, tongue twister).

Transfer from opening conversation to the examination of the picture itself should be logically consistent and smooth. By asking "Whom do you see in the picture?", "What is the girl carrying in her hand?" the educator switches the attention of children to the picture, immediately highlighting the central image in it.Examination of the pictures prepares children for composing descriptions and storytelling.

Transferring in the story what is depicted in the picture, the child, with the help of the educator, learns to correlate the word with the visually perceived material. He begins to focus on the selection of words, in practice he learns how important the exact word designation, etc., is.

The great Russian teacher Ushinsky substantiated the value of the picture by the fact that the image of an object arouses the child's thought and evokes the expression of this thought in an "independent word."

PRACTICAL TASKS

Topic "Composing stories based on the painting" Cat with kittens "

Target: Exercise in guessing riddles. To form the ability to carefully consider the picture, to reason about its content (with the help of the educator's questions). To form the ability to compose a detailed story according to the picture, based on the plan. Exercise in the selection of words that are close in meaning; select words for the actions of objects. Develop a sense of teamwork, healthy competition.

Material: sheets, pencils, ball, two easels, two Whatman paper, felt-tip pens.

Stroke: Today we will learn to compose a story from a picture of a pet. What kind of animal you are going to talk about, you will find out when each of you will guess his own riddle and quickly sketch the answer. I will make riddles in my ear.

· Sharp claws, soft pillows;

Fluffy fur, long mustache;

· Purrs, lapping milk;

· Washes with tongue, hides nose when cold;

· He sees well in the dark, sings songs;

· She has good hearing, walks inaudibly;

· Knows how to bend the back, scratches.

What answer did you get? This means that today we will compose a story about a cat, or rather about a cat with kittens.

Look at the cat. Describe her appearance... What is she like? (big, fluffy). Look at the kittens. What can you say about them? What are they? (small, also fluffy). How do kittens differ from each other? What are they different? (one kitten is red, the second is black, the third is motley). That's right, they differ in coat color. And how are they different? See what each kitten does (one is playing with a ball, the second is sleeping, the third is lapping milk). How are all kittens alike? (all small). Kittens are very different. Let's give nicknames to the cat and kittens so that you can guess from them what kind of kitten is in character.

Kitten: (calls the nickname) plays. How else can you say about him? (frolics, jumps, rolls a ball). Kitten: (calls the nickname) is sleeping. How else can you say? (asleep, closed his eyes, resting). And a kitten named: lapping milk. How else can you say? (drinks, licks, eats).

I invite you to stand in a circle. I will take turns to throw you a ball, and you will select answers to the question: "What can cats do?"

Let's go back to the picture. Listen to an outline to help you write your story.

· Who is depicted in the picture? Where does the action take place?

· Who could leave a basket of tangles? And what happened here?

· What can happen when the hostess returns?

Try to use the words and phrases that you used when viewing the picture in the story.

Children take turns composing 4-6 stories. Others choose whose story is better and give reasons for their choice.

At the end of the lesson, the teacher proposes to split into two teams. Each team has its own easel. Each team will need certain time draw as many kittens or cats as possible. At the signal, the team members take turns running to their easels.

The result of the lesson.

Synopsis of the lesson on looking at the picture in the younger group.

"Dog with puppies"

Purpose: - to form the ability of children to answer the teacher's questions when looking at the picture;

To form in children an idea of ​​the animal world;

Bring up good relations to animals

Material: Toy dog, painting "Dog with puppies"

Course of the lesson

Children sit on high chairs.

Educator: Guys, someone came to visit us. Do you want to know who it is?

Children: Yes, we do (children's choral answers).

Educator: Then guess the riddle: "He barks loudly, but does not let him through the door"

Children: Dog (children's choral answers)

Educator: Right. Well done. The teacher brings a toy dog ​​into the group. The dog has a large bundle in its paws.

Dog: Hello guys (children greet the dog).

Dog: Woof, woof. My name is "Bug" Woof, woof. What is your name? (asks individually)

Dog: Ah, I came not alone, but with my girlfriend. Would you like to see? (takes out a small dog from the package). Here's my girlfriend. Her name is Clever. This is because, she is very obedient, very well behaved.

The teacher sits on a chair and creates a confidential atmosphere, facilitating the conversation. Consider the picture.

Educator: I'm now going to tell you about a dog named Clever. She lives in a booth. The dog is big. She has a head, torso, tail, four legs. The dog has a nose and ears on the head. The dog's body is covered with hair. She has two puppies, these are her children. They are small. Dog Clever takes care of puppies. A dog is a pet, it lives next to a person. The man takes care of the dog. He brings her food. Now you tell me about the dog. I will ask you questions and you will answer.

Educator: Look guys, is the dog big or small?

Children: Big

Educator: What is this? (shows the head of a dog in the picture) Children: Head

Educator: What is this? (shows the torso in the picture) Children: Torso.

Educator: What is on the dog's head? (ask 3 - 4 children individually) Children: Ears, eyes, nose.

Educator: Show (ask 3 - 4 children individually).

Educator: What kind of puppies does the dog have: large or small?

Children: Small

Educator: What is the name of this house? Children: Booth

Children who do not speak show the answers in the picture.

Dog: Oh, what good fellows!

Educator: "Bug", and the guys know a poem about you. Do you want to listen?

Dog: Yes, I do.

The teacher asks 3 - 4 children. Poem: "Here is a dog Bug"

Dog: Well done, well done! I don't want to leave, I want to play with you.

Educator: Children, let's play a game with the "Bug".

The game "Shaggy Dog" is held

Dog: Guys, can you talk like a dog?

Children: Woof-woof-woof

Educator: A. How do puppies bark?

Children: (gently) Woof-woof-woof

Dog: Well done, guys. I had so much fun playing with you, I will definitely come to you again.

Educator: Guys, let's say goodbye to the dog "Goodbye!"

Bibliography

1.Arushanova, A.G. Speech and verbal communication of children: A book for kindergarten teachers. - M .: Mosaika-Sintez, 2009.-187 p.

2.Gusarova, N.N. Conversations on the picture: The Seasons. - SPb .: CHILDHOOD-PRESS, 2001.-132 p.

3.Korotkova, E.P. Teaching preschool children to tell storytelling: A guide for the teacher of children. garden. - M .: Education, 2nd ed., 2002.-291 p.

4.Korotkova, E.P. Teaching storytelling in kindergarten. - M., 2008.-371 s

5. Development of speech in preschool children: A guide for the teacher of children. garden. / Ed. F. Sokhina. - 2nd ed., - M .: Education, 2009.-261 p.

6. Savo, IL Teaching preschoolers to tell from a picture as one of the areas of work on the formation of coherent speech / Preschool pedagogy - №6, 2009. - p. 14 - 16.

7.Tkachenko, T.A. Teaching children creative storytelling from pictures: A manual for a speech therapist. - M .: Vlados, 2006 .-- 121 p.

8.Tyshkevich, I.S. Development of speech and creativity of older preschoolers // Innovations and education. Collection of conference materials. Series "Symposium", issue 29. St. Petersburg: St. Petersburg Philosophical Society, 2003. -184 p.

9. Development of speech in preschool children // Ed. F. A. Sokhina. - 2nd ed., - M .: Education, 2006.-281 p.

Verbal illustration at the lessons of literary reading.

Illustrating- the technique of students' creative work, used in reading lessons, as well as when writing essays and presentations. Illustrations are taken ready-made, pre-selected, or created by the children themselves. The techniques of oral (verbal) drawing are used. Verbal illustration (drawing) Is the ability of a person to express his thoughts and feelings on the basis of a read fairy tale, fable, story, poem. In no case should verbal drawing turn into a retelling of a work. I start teaching verbal drawing by creating genre (plot) pictures. It should be remembered that the verbal picture is static, the characters on it do not move, do not speak, they seem to "freeze", as if in a photograph, and do not act as on the screen. At the first stage of teaching verbal drawing, it is advisable to use the so-called "dynamic" picture that gradually appears before the eyes of children.

At the first stage of teaching verbal drawing, visual support is required, as which you can use the so-called "dynamic" picture that gradually appears in front of children. At the same time, after the students' verbal descriptions of every detail of the drawing, of any interior, of the character, pictures are gradually attached to the demo sheet of paper, corresponding to those that have just been "drawn" orally. The arrangement of the elements of the picture is discussed with the children. So in the course of work, a complete picture for the episode is created, which serves as a visual support for the ideas that have arisen in the students' imaginations. In addition, you can also use a demonstration guide of three sheets, which are attached one on top of the other to the board sequentially, and as the oral picture appears, they open up to the children.

At the next stage, you can use the following techniques:

An episode for illustration is selected, discussed in general outline the plot of the future picture, the location of its main elements, the color. A pencil sketch is made, followed by a verbal description of the illustration.

Children “draw” a picture with words, and then check it against the corresponding illustration in a children's book or in a textbook on literary reading.

At the next stages of teaching oral illustration, the following techniques are used:

1) an episode for verbal drawing is selected;

2) the place where the event takes place is "drawn";

3) the characters are depicted;

4) the necessary details are added;

5) the contour drawing is "painted". Complication of the work is possible due to the fact that "coloring" will be carried out along the way with "drawing", and secondly, during the transition from a collective form of work to an individual one.

Only at the final stage of teaching oral illustration can children be invited to independently, without visual support, make verbal drawing to the text. ("There is no illustration in the textbook. Let's try to create it ourselves.") Verbal drawing (illustration) increases the emotional level of perception artistic text... Typically, verbal pictures are drawn to those episodes that are especially important for understanding. ideological concept story. If the description is illustrated, then the most beautiful and at the same time accessible to children pictures are selected.

The verbal drawing of landscape illustrations is usually done by poetic texts... When working on a lyric work, the technique of verbal drawing should be applied with extreme caution, since when reading the lyrics, there should be no clear visual representations, everything should not be expressed in detail, it is impossible to concretize poetic images by dividing them.

Bibliography:

Goretsky V.G. and other Lessons of literary reading from the textbooks "Rodnaya Rech": Book. 1, 2, 3; Book for the teacher. - M., 1995.

Nikiforova O.I. Psychology of perception of fiction. - M., 1972.

http://www.pedagogyflow.ru/flowens-641-1.html

http://fullref.ru/job_cf28d84de3278e2be75ee32f39c7a012.html

Fragment of the lesson "Discovery of new knowledge" on the topic "Balmont Konstantin Dmitrievich Poem" Autumn ""

Target: create conditions for the development of expressive reading skills, assimilation by students literary reception"Impersonation" and teaching verbal drawing.

Personal results

Develop communication skills when collectively discussing the performances of the children

To form the ability to assess their own knowledge and skills in literary reading

Build the ability to orally evaluate the work of their classmates in the form of judgment and explanation

Metasubject results

Regulatory Universal Learning Activities:

Assess the result of your own learning activity using self-assessment sheets

Formulate the goal, tasks of educational activities with the help of the teacher's leading dialogue

Be aware of and accept the learning task

Cognitive Universal Learning Activities:

Learn to formulate a learning problem by answering problematic issue

Gain new knowledge: extract information presented in different forms (text, table, diagram, figure, etc.)

Communicative Universal Learning Activities:

Communicate your position to other people

Engage in educational collaboration with teacher and classmates

Build a conscious oral expression

Subject results

To teach to identify the main idea of ​​the work and its mood

Teach the use of impersonation.

Task "Verbal drawing".

Verbal drawing

Let's imagine that we are artists. What colors will you choose for the drawing? (burgundy, blue, yellow) Find your clue words in the text. Describe your painting. Who will be the main character of our picture (Autumn) How can you depict autumn? (In the form of a man) What makes a girl - autumn? What is the expression on your face? Sad or Joyful? Why? What makes the girl cry - autumn? What natural phenomenon did the poet want to depict under the tears of a girl? What colors will you choose for the drawing? Find clue words in the text. Divide into teams of 4 and discuss your colors. Lingonberry ripens - burgundy, The blue sea is blue The sun laughs less often - yellow, In a multi-colored headdress - yellow, red, brown. Who main character on the image? What will you draw around the Autumn girl? How does the poet feel about Autumn, which will soon cry?

Communicative UUD (skills of cooperation between teacher and students) Regulatory UUD (highlighting and awareness by students of what has already been mastered)

An effective means of stimulating development creative imagination enriching with internal visions is the oral description of pictures that arise or should arise in the imagination of the reader, perceiving work of fiction... Unfortunately, this technique is rarely used when teaching expressive reading.

The work should begin not with the creation of their own verbal drawings by children, but with the analysis book illustrations, pictures. Part of the teacher organizes the juxtaposition of illustrations and text. In this case, O. Kubasova offers the following tasks:

· · Select a drawing (picture) to the text;

· Find in the text the captions for each of the fragments picture plan;

· · Compare the picture (picture) and a fragment of the text;

· · Compare illustrations of different artists to one literary work.

It is better to start teaching verbal drawing by creating genre (plot) pictures. At the same time, one must remember that the verbal picture is static, on it the characters do not move, do not speak, they seem to be frozen, as if in a photograph.

At any of the stages of teaching verbal drawing, the order of work will be the same.

1. An episode for verbal drawing is highlighted.

2. “The place where the event takes place is drawn.

3. The characters are depicted.

4. The necessary details are added.

5. The contour drawing is "painted".

The complication of the work is possible, firstly, due to the fact that the "painting" will be carried out along the way with the "drawing", and secondly, in the transition from collective works to individual ones, when the student offers one element of the illustration, the rest are corrected if necessary.

Verbal painting of landscape illustrations is usually done to poetic texts. When working on lyric works this technique should be used with extreme caution, since when reading the lyrics, distinct visual representations should not arise, everything should not be expressed to the detail, it is impossible to concretize poetic images.

Usually, after highlighting the figurative picture created by the writer from the context, verbal drawing proceeds approximately on the following questions: “What will we draw in the foreground? Why? How does the author say both of this? What do you need to portray nearby? What words help us see this? What haven't we drawn yet? " Then the children choose a color scheme, paying special attention to the general color of the picture, which expresses the aesthetic experiences of the writer. Very important, according to O.V. Kubasov, is constant attention to the author's language, especially to epithets. (7)

Using this technique, the teacher himself must be ready to vividly outline the picture, which is sometimes only hinted at in the text.

With verbal drawing, another type of work also has some similarities - making up a film strip.

A filmstrip is a series of verbal or graphic drawings, the content and order of which correspond to the sequence of events in the work, and each drawing is provided with titles (signatures).

O.V. Kubasova proposes the following procedure for drawing up a filmstrip. ()

2. Divide the text into parts (pictures, frames).

3. Highlight the "main" sentences in the first part (for titles).

4. Imagine mentally a picture for the first part of the text.

5. Verbally "draw" a picture for the first frame.

6. Graphically depict the frame (performed at will, not in the lesson).

7. Based on the proposals highlighted in the text, make captions for the frame (orally or in writing).

8. Check the conformity of the picture and titles.

9. Do the same work with each part of the drawing.

If there are dialogues in the text, then you can use the method of scoring frames.

Suggestive questions.

Whatever technique the teacher resorts to in the lesson, he applies the method of conversation, remembering that it should be lively and relaxed. In such a conversation, not only the teacher asks, but also the students, and not only the students, but also the teacher answer. The teacher reacts with his questions to children's mistakes in reading, for example: “Is there a need for a pause here? Which? What word in this phrase should be highlighted logical stress? How does this phrase make you feel? Why?".

Of course, the teacher does not only use conversation when students make mistakes in reading. The teacher can proceed to a conversation related to teaching expressive reading immediately after an exemplary reading of the text. In this case, Methodist B.A. Buyalsky proposes to think over and prepare a system of questions, which are arranged approximately in this order.

Questions to help you understand the meaning readable text

Questions encouraging to present the picture drawn by the author;

Questions that help to determine the author's attitude to what he portrays, his feelings, mood;

Questions, the purpose of which is to find out the attitude of students to the work;

Questions that push children to search for the best intonation options for reflecting the feelings, thoughts, intentions of the author, as well as their personal experiences caused by the work.

Choral reading.

Choral reading has become a practice of the school for a long time. Even KD Ushinsky recommended it as a technique to help revive a tired and absent-minded class. Choral reading does not allow any student to remain passive.

Sometimes choral reading is confused with collective recitation. But these are not identical concepts. Unlike choral reading, which sounds in unison, collective recitation involves performing different parts text by different performers and groups of performers. Choral reading has its merits and demerits. According to B.A. Buyalsky, the shortcomings of choral reading are that "it gives off" from the voice "and not always justified monotone." (8) To avoid this, B.S. Naydenov, T.F. Zavadskaya, “it is necessary to observe the correctness and expressiveness of the choral reading”. (12) In the opinion of these Methodists, “there should be no inexpressive choral reading in school. Expressive choral reading will have a significant positive impact on the expressiveness of individual reading and the culture of speech among students. " (eleven)

M.A. Rybnikova highly appreciated this technique. “Get an individual student to read a poem — before and after polyphonic reading. The second performance, under the influence of the sound of the text in the classroom, will become more expressive for an individual student. " (24)

One more disadvantage of choral reading should be noted, which T.F. Zavadskaya, - choral reading deprives the reader of his individuality, subordinating to the general choral sound, makes him imitate.

B.A. Buyalsky, on the other hand, sees in this some merit of choral reading. “It is well known that schoolchildren admit that they feel how to read, but cannot read properly. Modest, shy students find it especially difficult to read “in full view of everyone”. But in the choir they feel freer and read more confidently ... the choir infects with a general uplift, a general mood, a tone that the teacher sets with his show. " (eighteen)

As you can see, the opinions of the Methodists are quite contradictory, but nevertheless, most of them are inclined towards the benefits of this technique.

How should the work be organized using choral reading in the lesson? B.A. Buyalsky suggests organizing it in the following order: (18)

1. Exemplary teacher reading of the passage.

2. Reading by a student of average ability.

3. Marking (if necessary) with score signs of the most difficult links, texts.

4. Repeated reading of marked bars and links.

5. Repeated reading of the entire passage by one of these students, the reading of which (in the opinion of the teacher) will not need additional clarifications or alterations.

6. Repeated reading of the teacher, especially necessary if the student's reading was unsuccessful.

7. Reminder the teacher before the choir reading not to shout out so as not to disturb others.

In the lesson, you can practice reading "small choirs", consisting of 5-8 best students. In order for participation in collective reading to be of the greatest benefit, it must be completely conscious for each student. Each choir member must understand what he is expressing and how he achieves it. Therefore, the choral reading should be preceded by a detailed analysis of the work.

Reading in faces.

This technique M.A. Rybnikova gave essential... She rightly noted that he sharpens attention to the hero's speech, to its specifics.

Reading in faces is practiced at the final stage of work on the text (most often fables), when the students figured out the characters of the characters, whose lines they will utter, and imagine in what situations these words are pronounced.

Preparation for reading in the person of B.A. Buyalsky, for example, proposes to conduct it in the following sequence. (eighteen)

1. A short conversation that helps children to fulfill or clarify the features of the character and speech of the characters.

2. Additions of the teacher to the statements of schoolchildren about the characters of the heroes and a reminder that the performer of the role transforms into an image-character and, in the process of performance, no longer addresses the listeners, but the partners.

3. Selective reading by students of some of the most difficult phrases (if necessary).

4. Amendments by the teacher to this reading (if necessary).

5. Independent preparation of students for reading in faces (reading the text with eyes or in an undertone).

6. Answers of the teacher to questions that children may have in the process of preparation.

7. Selection of performers, which can be organized either according to the principle of taking into account the inclinations of students (to whom which role is more suitable), or according to the principle: each row or variant is prepared for the performance of a certain role.

On initial stage teaching expressive reading, the teacher, of course, should give a sample of intonation analysis, using the memo:

Reading accuracy in terms of grammar and spelling. diction.

Correct placement of stress.

Fidelity to compliance with the duration of the pauses.

Selecting the exact pace of reading.

Compliance with the melody of reading, that is, the movement of tone for sounds of different heights (raising and lowering the voice).

The emotionality of reading.

Expression of the reader's attitude to the read.

At the same time, the teacher can facilitate the tasks by inviting one part of the class to make comments on pronunciation, the other in semantic shades, the third in reflecting feelings, and exchange these tasks in order to avoid monotony in the work of the class.

It is necessary to create an environment in which each student closely monitors the students' reading. The teacher himself should constantly monitor the students' reading, with a pencil in hand, correct, direct and encourage them; talk first about the advantages, even if they are insignificant, and therefore about the disadvantages; explain why he likes or dislikes the student's reading. The teacher and students, when correcting others, should make sure that the comments are specific, well-founded and kind.

Readable by roles, both single and form dramatization (staging), gives great importance O.V. Kubasov. “There are forms of dramatization of varying complexity, which should be introduced gradually, more and more complicating, taking into account the age capabilities of children and the goals of the lesson. " (10) let us name the main forms of dramatization in order of increasing complexity:

Analysis of illustrations from the point of view of expressiveness of facial expressions and pantomimics of the characters depicted on them;

Staging of individual (one person is involved) and group (several people are involved) "live pictures";

Preparation and utterance of a separate replica of the hero of the work with the installation to use not only intonation, but also plastic expressiveness (facial expressions, gestures, movements);

Reading by roles;

Dramatization of the expanded form.

Among the existing techniques and methods of teaching expressive reading, you can also highlight artistic (expressive) reading of prose and artistic storytelling.

Artistic storytelling is the free transfer of a work in the performance of which the art of folk artists - storytellers - is an example. If the students master this technique, then it will be easy for them to go to artistic reading prose, that is, to the verbatim transmission of a prose work.

An important place in the school should be occupied by the teacher's work on the development of students' speech technique: correct breathing, clear pronunciation and good sound vote. The teacher, whose speech should be a model for the students, should himself have good technique speech, constantly improve it and carry out purposeful systematic work with students in this direction. In most cases, it is necessary to use such exercises that allow you to simultaneously train breathing, diction and voice.

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