What is verbal art. Pedagogical conditions for the use of methods and techniques for introducing children of senior preschool age to verbal art
Literary art exists in two forms: oral - this is when the work is transmitted from singer (or storyteller) to singer, without being recorded in writing, and in writing, genetically later, but only genetically. In fact, since the invention of writing, both of these forms have coexisted and exchanged with each other. Oral creativity is often recorded in writing, and written creativity again goes into oral existence (the simplest example is a song composed by an author and which over time has become popular and nameless). Oral memory, with all its power, does not retain what has emerged from poetic usage...
Many examples of oral creativity, which now form the basis of the world word culture, would have been irretrievably lost (if they had not been written down). These are, for example, "Shijing" - a collection of Chinese folk songs, preserved thanks to the works of Confucius, epic poems Homer, written down by order of the Athenian tyrant Peisistratus, Irish sagas, recorded by caring monks who saved one of the greatest human cultures from oblivion.
The relationship between oral and written literature can be traced in the most ancient Russian monuments: “The Tale of Igor’s Campaign” unknown author and “The Sermon on Law and Grace” by Metropolitan Hilarion.
Ancients written monuments usually did not have an author (more precisely, he did not sign), like the chroniclers or the author of “The Tale of Igor’s Campaign.” In the case of historical narration, the historian and the writer were one and the same person. The speaker and the poet, the speaker and the preacher were not separated from each other for just as long. “The Tale of Igor’s Host” is precisely a “word,” a political appeal and an instructive work, just as “The Tale of Law and Grace” was both a “word,” an oratorical work, and a sermon.
Works of literature, separated from history, appear already on the threshold of modern times, when secular literature, created on the basis of folklore forms.
Written fiction constantly turns to oral folk tradition, borrowing and processing very, very much from this bottomless well. Such creations of old literature as “Grief-misfortune” or “The Tale of Ruff, Shchetinnikov’s son” are generated by folklore. Lermontov's wonderful poem "Song about the merchant Kalashnikov" is entirely based on metrics and figurative system ancient Russian ballads. Pushkin's "Fairy Tales" were written in the same vein. And in Tvardovsky’s works, a “chatty” metric is observed. Yes, and all of Yesenin is out folklore tradition, in fact, would be impossible, like Klyuev, like Rubtsov, and many others.
Cases of “reverse” movement are not uncommon: the Christian literary tradition has given rise to both in Rus' and the West a whole genre of “spiritual poems,” ballads and songs with religious content. Folk ballads of the West, in particular English ones, processed by poets and translated into Russian by our poets, “descended to the people” a second time, giving rise to the genre of later Russian ballads (“Khazbulat the Daring,” etc.) and the so-called “philistine romances” of the 19th century. And here’s what’s interesting: before the advent of the romance, Russian folk poetry did not know the solo lyrical song, all lyrical songs were choral, and the manner of their performance, defined as “organic polyphony,” was generally an exceptional phenomenon in world vocal culture. Romance responded to the need for solo, individual singing (with a guitar).
With all these mutual influences oral creativity(folklore) retains its fundamental difference from written (author) creativity - folklore is impersonal. His works not only “do not have an author” (more precisely, he is always unknown), but also do not have such a stylistic difference as the author’s style. Just like folklore characters - good fellows, red girls, etc. - do not have individual psychological portrait. Heroes of folklore are always “types” and never “characters”. Written literature, on the contrary, is always characterized by a desire to describe the individual, unique, to describe characters, and, at the same time, to express a special, author's manner of narration, the author's style.
Classic peasant folklore is dying these days, because the very life that gave birth to it is being destroyed. But this does not mean that the spoken word of art will die out completely. It, like the Russian language itself, will constantly inspire authors. Moreover, “returns” are also possible. traditional forms oral poetry. So, nowadays, in connection with the rise of the Cossacks, the Cossack choral song comes to life, gaining a second wind.
Unfortunately, people began to record works of oral literature (folklore) quite late, mainly already in the 19th century, having lost a lot of our former riches: the ancient Russian epic, for example, came to us in scanty fragments, and pre-Christian mythology never I've arrived.
Written literature was luckier, although in the fires of Russian cities, in the timelessness of the XVIII - early XIX centuries, when all interest in Russian antiquity was lost, many written monuments perished, and therefore we should consider the existing composition of ancient Russian (pre-Petrine) literature to be only a modest excerpt great literature our ancestors.
Not many people are given the happiness of close communication with artists of words.
So look for opportunities to hear them.
I.V. Ilyinsky
introduction
“The written word and the spoken word are not equivalent. Because it’s not only important What said, but also How said. And in this sense, the word sounds richer than what is reproduced on paper” 1. These words of an outstanding master sounding word Irakli Andronikov, the connections he said with the publication of a unique book about writers’ voices, are heard today as if from another era.
For about two decades, literary reading in school has been completely forgotten. If some attention is paid to it, it is only within the framework of memorizing the obligatory minimum of program works. In some places, attempts are being made to revive reading competitions, but here too, as a rule, they are timed to coincide with significant historical dates. Expressive reading as an educational and educational task withdrawn from the high school curriculum. True, the priority in this matter does not belong to the school.
There are at least two reasons for the decline in interest in the spoken word. The first is a sharp decline in the general level of performing arts, the disappearance of the entire genre of artistic expression from the stage, and the replacement of word culture with a surrogate. At the heart of this sad phenomenon is the destruction of the reading school. From whom, if not from the masters of artistic expression, does this specific culture come? In the last two decades, their reproduction has practically stopped. It cannot be said that society has lost interest in literary reading. Society has simply been deprived of this art. The second reason must be sought in the teaching leadership. Parallel to the disappearance of an entire genre from the stage pedagogical structures responsible for software and methodological support for the educational process, have stopped research and development in this area. Materials devoted to the art of the spoken word have disappeared from the pages of pedagogical magazines. All this happened unnoticed, so the older generation of teachers paid attention to this loss when those who practically did not know the culture of reading came to school.
It doesn’t take long to convince that artistic reading is a necessary component of a person’s general culture. This idea was expressed forty years ago by the classic reader of the genre I.V. Ilyinsky: “Classes and work on the artistic word develop a person’s culture, enrich and sharpen his language, fill his soul” 2. Now we can add to these golden words that the art of the sounding word can serve as an effective antidote to electronic hobbies and diseases of modern man, unknown to Ilyinsky’s generation.
It is very difficult to raise this layer of culture and return it to school. The efforts of the teaching community alone are not enough. The work should begin with an analysis of the state of reading culture in the recent past.
Previously, we had an established mechanism for introducing people to the culture and aesthetics of the artistic word. Education began in kindergarten and was a single structure, including school, radio, television and the theater community. Let’s just remember Nikolai Litvinov’s wonderful programs, which attracted a huge children’s audience. There was coordination between masters of artistic expression and the teaching community in creating joint educational programs.
Literary reading as an educational task has two sides: the actual reading and listening to examples of artistic words. The second side is no less important than the first, since “the ability to listen to readers, like the ability to listen to music, watch pictures and performances, enriches a person’s inner world” 3. It is possible to educate a cultured listener, as well as a reader, only through high examples of the spoken word.
Domestic verbal culture has a wealth of material representing reading school. Proposed elective course is structured as listening to classics of the genre and analyzing their skills and performance features. In terms of material coverage, the course is one of the integrated ones. It combines language, literature and theater arts.
From the history of the art of the sounding word
Reading literary works in front of an audience of listeners began to develop into independent genre in the 1840s. Interest in him initially came from the word artists themselves. Some of them were inimitable storytellers and readers. One of them, N.V. Gogol, dedicated an article (letter) to the young genre, “Readings of Russian poets before the public”: “I am glad,” wrote the author of “The Inspector General,” “that we have finally begun public readings of the works of our writers<...>I think we need public reading<...>Skilled readers must be created among us<...>Reading a literary work properly is not a trifle at all.”
The entire second half of the 19th century became a preparatory stage for the formation of the reading genre. They played a significant role in this matter school teachers. With their reading in literary classics classes, they laid the foundation for the art of the spoken word and instilled interest in it. “Peculiarities of V. Ostrogorsky’s activities<учителя словесности
петербургской гимназии>, recalls the famous dramatic actress Elizaveta Thieme, – consisted of widespread propaganda “ expressive reading”. <...>Ostrogorsky back in the seventies
Some readers came from an acting background, but already during the period of self-determination of the genre, both performers and listeners understood that “the art of reading is completely independent, having all the rights to exist next to the theater, art in the full sense of the word is high and beautiful” 5 .
The genre gains recognition with the appearance of professional readers on the stage. The primacy in this, undoubtedly, belongs to Alexander Yakovlevich Zakushnyak, who organized the famous “story evenings” in 1924. And in 1937, the first All-Union competition of professional readers took place. At that time Vladimir Nikolaevich Yakhontov creates the Theater of One Actor - the Reader's Theater. The names of the masters of artistic reading become known throughout the country - V. Aksenov, D. Orlov, D. Zhuravlev, I. Shvarts, E. Kaminka, etc. Such different people periodically perform reading programs theater actors, like V. Kachalov, A. Ostuzhev. I. Ilyinsky, A. Koonen, A. Ktorov, N. Mordvinov, V. Maretskaya. Their efforts create theoretical foundations young art, the specifics of the genre, its technique and varieties are determined.
The first generation of professional readers formed an audience of listeners, which, with the advent of radio in every home, became truly multimillion-dollar. Chamber at first, genre after short term became one of the most widespread. Secondary schools and national cultural universities played a major role in its popularization.
Back in 1918, the Institute of the Living Word was founded, at which the Study Office worked for many years artistic speech, whose constant owner was the famous linguist Professor S.I. Bernstein. The unique sound fund of the Cabinet served to popularize and publish literary classics of the 20th century in the author's performance.
Long years In Moscow, on Armenian Lane, the Correspondence People's University of Arts was located, which included a department of artistic reading in the theater department. In the All-Union Theater Society, under the section of artist-readers, a methodological commission worked for many years, providing assistance to teachers and amateur groups in working on artistic expression.
Since 1965, the annual “The Art of the Sounding Word” began to be published, intended for school teachers. It published articles by recognized masters of the reading genre, revealed the principles of the art of reading, techniques for working on text, etc. The collection was published over 25 years (38 issues) and made a huge contribution to the cultivation of the culture of artistic expression.
By that time, the All-Union Recording Studio had accumulated a rich fund of examples of reading art, and the Melodiya company began producing gramophone records with their recordings. The voices of V. Yakhontov and Y. Smolensky, A. Pokrovsky and A. Slobodsky, R. Plyatt and S. Balashov were heard throughout the country.
By that time, reading competitions had become regular and multi-stage: city (village) - district - region - republic - Union. They were educational in nature and identified many talented youth. To a large extent, they provided the unsurpassed level of announcer art that we had until the 1990s. They set a high aesthetic criterion for the spoken word and raised the scale of demands.
In the mid-1970s, each school acquired a music library, in which recordings of domestic readers occupied a worthy place. Literature lessons were already unthinkable without listening to recordings of the poems of Pushkin, Lermontov, Nekrasov, Yesenin, Mayakovsky, and the prose of Gogol and Chekhov. But then these notes did not replace printed texts, but supplemented them, enriching the verbal culture of schoolchildren. Unfortunately, then, at the turn of the 1960s and 1970s, in the era of enthusiasm for electives, it was not possible to create a similar course in verbal arts. Most likely, this fact can be explained by the extraordinary wealth and accessibility of examples of artistic expression that the school and society had at their disposal. Then, unfortunately, it was not possible to assess the danger of those trends in the field of speech culture, which were fully revealed later, already at the end of the 1980s.
In the 1990s, the literary genre did not die, but underwent a complex transformation. Like many areas of culture, it has not escaped commercialization. Along with the classic recordings, which were periodically reissued by various recording companies, new ones were also made. All of them, as a rule, are of a low level, since they mainly pursue non-pedagogical and non-educational goals. Actors who had never previously worked in the spoken word genre were often involved in such work. For example, in the 1990s great amount works of Russian classics were voiced by popular theater and film actor Vladimir Samoilov. But there is not a single one of them worthy of being placed next to the classics of the reading genre. A number of young actors in Moscow theaters did the same work with the same result. Not a single recording of the 1990s became an event in the art world.
In addition to actors, professional speakers began to record literary works. Well-known announcers E. Ternovsky and I. Prudovsky in the recent past recorded the entire “Anna Karenina” and the entire “War and Peace”. Obviously, non-artistic goals were pursued. Such notes are intended to save those schoolchildren from reading who were too lazy to open the book, that is, they were performing an anti-pedagogical task that brought commercial benefit. This shifted the boundaries of genres and damaged the aesthetics of the artistic word. The prominent master of the reading genre, V.N., once warned against such a danger. Aksenov: “Often the literary material itself can captivate listeners, regardless of the skill of the performer,” he wrote in the mid-1950s. – We know readers who take an interesting book and, without making almost any effort to elevate their reading to an art, reveal it to the audience plot. Such readers are “transmitters” of other people’s thoughts and words and have very little in common with art” 6.
In recent years, the Melodiya company has offered a whole program of publishing old classical recordings with the voices of the masters. In addition to solo numbers, it included classical radio plays. These posts will help revive interest in high art. And in order to fit this material into the educational program, an elective course is needed that will help high school students become familiar with this art.
The originality of the artistic and verbal genre.
Originality is determined by the position of the genre between books and theater. The discrepancy between acting and reading art runs along the line of “appropriation of the text.” For the actor, he becomes absolutely his own, while the reciter’s word, in comparison with the actor’s, leaves room for understatement.
Another feature of the genre is that the actor's word is associated with the action. The reader strives for the “liberated word.” The reader, both on the stage and in sound recording, cannot limit himself to creating the image of one character, as in a play. He must recreate in the story pictures of nature, the sounds of music, and the sound of rain, as well as portraits of the heroes, their characters, the subtlest feelings and moods. The most expressive description of the reading genre was given by V.N. Yakhontov: “The art of literary expression is built on the conviction that the word is visible.”
Reading intended for the stage places specific demands on the performer: “dynamics, conciseness, temperament, concentration of all performing capabilities and expressive means in a concise and clear form” 7 . The genre of oral storytelling presupposes a form that is capable of resolving the style of a particular author through a combination of intonation and composition of the text.
Another outstanding master artistic expression and genre theorist, A.I. Schwartz formulated the categories that make up the aesthetic nature of the art of artistic reading: “1) Positive ideal; 2) Main idea; 3) The image of the narrator; 4) The attitude of the narrator to individual elements of the plot” 8. Ya.M. Smolensky believed that the most important element The art of reading is the “logic of speech”. He considered mastering it pedagogical task, because the unfavorable state of elementary reading logic “is a consequence of the one-sidedness in teaching the laws of logic at school.” Reading poetry will help solve this problem, since poetry disciplines thinking and “aggravates “rigidity” verbal form" 9 . And finally, the most important condition for the art of reading is language. “A master of artistic expression must have an excellent knowledge of his native language, take into account and feel all its nuances, the subtlest shades of thought and feeling” 10.
Since the emergence of the genre, two types of reading have been distinguished: story and theatricalization. Founders and largest representatives they were Zakushnyak and Yakhontov. Zakushnyak was an unsurpassed storyteller. Yakhontov created the genre of one-man theater. He loved to use sparse props, interiors, and historical costumes, which introduced elements of acting into the reading. The tradition of the story was brilliantly developed by I. Andronikov, who united both the author and the performer in one person. Alisa Koonen worked successfully in the genre of theatrical solo performance in the 1950s–1970s, after leaving the main stage. The synthesis of the arts - reading and music - is achieved in the genre of literary and musical montage, which received wide recognition in the 1960s and 1970s in the brilliant compositions of Alexei Pokrovsky.
Author's performance occupies a special place in the art of literary expression. The technique made it possible to preserve the voices of many classics of the 20th century, and even L. Tolstoy. Back in the 1920s, V. Mayakovsky insisted on releasing gramophone records with poems performed by the poets themselves. The systematic publication of such records began in 1956.
Author's reading, which is to a certain extent a means of self-expression, helps to understand more deeply art world writer, to comprehend textbook works in a new way. The voice of each author has a unique aesthetic, and its sound is often valuable in itself. He is able to influence the imagination with extraordinary power.
Take, for example, the well-known monologue of Khlopushi from S. Yesenin’s dramatic poem “Pugachev”. The poet invested such energy into this reading that it captivates the listener and shakes him to the core. Yesenin’s voice sounds in contrast to the idea of the poet that usually develops in the process of reading his poems in books. Yesenin here rises to high tragedy, and no artist can compete with him in this monologue.
Methodology for organizing classes
Initial and the most important stage When working on a course, it is important to select the material correctly. It has already been said above that the modern recording market is filled with products that are far from High Quality. Plus, not all classic recordings are reissued. Therefore, a teacher, if he has the equipment, can successfully use old gramophone records. They have been preserved in the collections of many youth libraries. For example, the Russian State Youth Library in Moscow provides re-recording of reading programs from vinyl discs to new media as a service.
The 38 issues of the collection “The Art of the Sounding Word” will be a great help in the teacher’s work. Its constant editor and author of a number of articles O.M. Itina provided many issues with methodological recommendations. For several years, she made diary entries in which she consistently analyzed the reading art of many masters of the sounding word. The methodologist periodically shared her observations with readers. “Learning with records is very important and useful<...>. First, you need to let students enjoy the work as a whole, without trying to immediately intrude on the resulting impression. And then start a conversation about what you heard, repeat the points that interested you... Then try together to understand what paths the performer followed in his work, how exactly he achieved the necessary impression” 11 - this is how the author of the work “On Readers and Listeners” draws a diagram of a lesson on studying the art of reading .
The program has been compiled taking into account the availability of sound recordings for modern school. It includes examples of classics of the reading genre. Among them are both the readers themselves and the actors. The combination of acting and reading talents is a rather rare phenomenon in art. Not many people combined both gifts (V.I. Kachalov, V.N. Aksenov, I.V. Ilyinsky, E.I. Time). Others either completely devoted themselves to the stage, or the latter served as an addition to their main acting role (A.G. Koonen, N.D. Mordvinov, M.F. Astangov, B.A. Babochkin).
The proposed course is recommended for philological classes at the final stage of training, when high school students have accumulated the necessary minimum knowledge of Russian literature. The goal of the course is to educate a cultured listener who can appreciate Russian speech and enjoy the art of the spoken word.
In 1919, in one of the conversations at Creative Mondays, K.S. Stanislavsky dropped the catchphrase: “...We now have a turn word. We must look for ways to reach it” 12. Our turning point cultural era should put these classic words as a motto.
The article was published with the support of the National Educational Institution of Secondary Professional Education "Capital Professional Business College". NOU SPO "SPBK" offers to sign up for acting training in Moscow. Experienced SPBC teachers will help unleash the student’s creative potential, develop and hone his vocal and stage skills, and fully master all the subtleties and professional techniques acting art. You can learn more about the offer of the department of theatrical and pop art of the NOU SPO "SPBK" on the website www.SPBK-OTEI.com
PROGRAM
1. Introduction. 2 hours. From the history of the genre. AND I. Zakushnyak and V.N. Yakhontov are the founders of the “literary concert”. Evenings of Zakushnyak's story and Yakhontov's one-man theater. The essence of reading art, its difference from acting. Features of the reciter's word. Speech technique. Word and music. Two types of reading on stage - theatricalization and storytelling. Genres: oral history, performance cycle, literary program, plot cycle. Reader-storyteller and literary material. Two types of embodiment of the reader’s plan are stage and sound recording.
2. A. Pokrovsky – V.A. Zhukovsky. A tale about Tsar Berendey, about his son Ivan Tsarevich, about the tricks of Koshchei the Immortal and about the wisdom of Princess Marya, Koshchey’s daughter. 2 hours. Melodiousness of speech, close to melodic declamation. Gravity towards the musical construction of a phrase. Intonation closeness to the performance of folk storytellers (epic style).
3.
V.N. Yakhontov – A.S. Griboyedov. Woe from Wit (fragments: scenes from Act IV).
2 hours.“The unknown power of the voice”, “Music of thought and feeling”. Yakhontov is a “poet with someone else’s words.” The uniqueness of a one-man theater. A wealth of poetic voices. Melody, sense of phrase, sense of rhythm of the entire piece. “Speech should sound like poetry” is Yakhontov’s creative credo. Musical comprehension of the word. Richness and originality of intonations. Laconism of expressive means.
4. IN AND. Kachalov – A.S. Pushkin. The captain's daughter (fragment); Ruslan and Lyudmila (fragment). 2 hours."Kachalov is an entire era in the history of verbal art, its symbol, its secret, its celebration" (P.P. Kogan). Velvety timbre, harmony of music of speech and deep thought. “The undoubted exponent of the melodious Russian language” (V.N. Aksenov). Full and euphonious speech, precise articulation, charm of a low, chesty voice. The finest balance between reading and playing. Intonation richness. Narrative “characteristics” in prose. Poetic melodiousness in the lyrical-epic genre. Intonation-strophic division of a phrase. Declamation as the basis of style.
5. A.A. Ostuzhev – A.S. Pushkin. Stingy Knight(Baron's monologue). 1 hour. Originality creative destiny actor and her reflection in reading. Emotional richness of the voice, melodiousness (Chaliapin school). Passionate pathos and temperament combined with deep sincerity. Romantic spirituality of performance.
6. D.N. Zhuravlev – A.S. Pushkin. Queen of Spades. 2 hours. Accuracy of figurative vision, authenticity of the story. Psychological depth in revealing character. Poetry and truthfulness of performance, sensitive sense of phrase. The ability to moderately “move away” from the work, not to get bogged down in details, but to embrace everything in its entirety. Intonation accuracy of scenes.
7. N.D. Mordvinov – M.Yu. Lermontov. A song about the merchant Kalashnikov. 2 hours. Heroic-romantic (Mochalovsky) manner of performance. Differentiation of phrasing depending on the semantic content of the line (appealing, songlike, narrative, dramatic pathos). Epic epicness in intonation. Richness of the sound range - from a whisper to a scream.
Psychological transformation when depicting characters. The melodic richness of speech - from melodic recitation to singing.
8. A.K. Slobodskaya – N.V. Gogol. Overcoat (or I.V. Ilyinsky. Old world landowners). 2 hours. Stylistic richness, a combination of irony, humor, realistic “objectivity” of the story. Theatrical performance: playing with intonations when conveying the characters’ speech. Use of improperly direct speech in the function of direct speech. Consistency in the development of the end-to-end action of the work. Weakening of Gogol's fiction for the sake of unity of the executive concept.
9. A.I. Schwartz – N.V. Gogol. Dead Souls (excerpts from the poem: chapters 8–11, abbreviated). 3 hours.
“A master of deep, voluminous disclosure of the semantic, ideological and philosophical essence of a work” (D.N. Zhuravlev). Simplicity, restraint, parsimony of means combined with immeasurable depth. Temperament of thought and high intelligence. The image of the narrator, “depicting a character.” Intonations of indirect speech in the function of direct speech as a favorite reading technique.
10. E.A. Polevitskaya, A.G. Koonen – I.S. Turgenev. Poems in prose. 2 hours. Polevitskaya's emotional spontaneity combined with psychological precision. Conveying subtle shades of experiences. The pathetic performance of Koonen. Richness of intonation colors.
11. I.V. Ilyinsky – M.E. Saltykov-Shchedrin. Fairy tales (“Crucian idealist”, “Horse”).
2 hours. Ilyinsky is a reader-storyteller. “To help goodness and truth from the stage with laughter and tears” is the creative credo of Ilyinsky the reader. Storyteller mask combined with image characters. "Direct improvisation" A masterful adaptation of the throaty voice to storytelling and acting.
12. Ya.M. Smolensky – L.N. Tolstoy. Two hussars. 2 hours. Smolensky is an artist who is alien to emphasized emotionality. Restraint of colors. Excellent mastery of emotion. "Spiritualized rationalism." Freeing the word from excessive emotion. Focus on the deep plasticity of the word. Flexible and sonorous regularity of speech. The capacity of the word, “within which there is thought, movement, mise-en-scène and image.”
13. D.N. Zhuravlev – A.P. Chekhov. About love. House with mezzanine. Lady with a dog. 2 hours. Restraint in conveying deep feelings. “Wave” style of performance: raising and lowering the tone depending on the semantic load of the fragment. Transmitting someone else's speech by raising or lowering the voice. Three types of intonation: calm, sustained tone in descriptions; dynamic speech in narration; logical clarity of phrasing in reasoning. Emotional tension in the transmission of strong experiences. Classic expressiveness of Old Moscow pronunciation.
14.
N.S. Plotnikov, V.A. Sperantova – M. Gorky. Grandfather Arkhip and Lenka (composition).
2 hours. The expressiveness of the external drawing, the art of Plotnikov’s transformation. Sperantova is a “miracle of the air”, a master of “childish” intonations. Psychologically accurate disclosure of the child’s inner world. Heartfelt lyricism.
15. M.F. Astangov – I.A. Bunin. Mister from San Francisco. 2 hours. Intellectual reader. Brilliant mastery of the art of psychological grotesquery. Philosophical comprehension of images.
16. Poems by Russian poets performed by the author. 2 hours. A.A. Block (poems chosen by the teacher). Creative credo: “economy of means of expression is a general principle of art.” Masterly mastery of the form of poetry pronunciation. The predominance of the ethical moment in reading over the aesthetic one (not so much admires as shocks). "Fearless Sincerity" (M. Gorky). Reading “full of either sadness or doom” (B. Agapov). S.A. Yesenin. "Internal musical power» (I. Evdokimov). “The combination of grace and strength of the “barbaric temperament” and artistry” (Frans Elens). Infectious sincerity, masculinity, high tragedy. V.V. Mayakovsky. Closeness to the intonations of natural, conversational speech. The dynamic construction of sounding phrases, reflecting and concretizing the semantic structure of a poetic text. “Demonstration of yourself, your thoughts, your passion, your spiritual experience” (P. Antokolsky). “I demand louder than the violinists the rights to the gramophone record.” A contrasting transition from melodious reading to everyday intonation of direct address to listeners.
17. M.A. Sholokhov reads excerpts from the novel “Virgin Soil Upturned” (story by grandfather Shchukar, excerpt from chapter 29). 1 hour. Two faces of Sholokhov the reader: actor and narrator. Virtuoso acting. Masterful likening of the hero's intonation (Shchukar). Restraint, conveying inner experiences and drama of events.
18. Reserve activity. 2 hours.
19. Final lesson. 2 hours. Independent analysis of a passage or completed work. An essay about a master you like. An abstract about the reader’s creativity (optional by the teacher and students).
1 I.L. Andronikov. Sound word. Shilov L.A. The voices began again. M., 1977.
2 Sat. "The art of the sounding word." Vol. 4. M., 1968. P. 27.
3 Sat. "The art of the sounding word." Vol. 1. M., 1965. P. 144.
4 Time E. Roads of art. M., 1967. P. 94.
5 Zhuravlev D.N. About the art of the reader. Sat. "The art of the sounding word." Vol. 1. P. 9.
6 Aksenov V
7 Zakushnyak A.Ya. Story evenings. Sat. "The art of the sounding word." Vol. 2. M., 1966. P. 17.
8 A.I. Schwartz. Notes from a reader. Sat. "The art of the sounding word." Vol. 2. M., 1966. P. 52.
9 Sat. "The art of the sounding word." Vol. 3. M., 1967. P. 23.
10 Aksenov V. The art of artistic words. M., 1962. P. 50.
11 Sat. "The art of the sounding word." Vol. 24. M., 1981.
12 Stanislavsky K. S. Collection op. in 9 volumes. T. 6, part 1. M., 1994. P. 489.
O.G. EGOROV,
Doctor of Philology,
Lyceum of Zheleznodorozhny,
Moscow region
Main articles:Russian folklore , Russian literature
Ancient layers of Russian verbal art are represented by folklore: epics, fairy tales, spells, songs, proverbs. Epics reflect the ideas about the world around us that have developed among residents Kievan Rus. The enemies of Rus' in epics are often represented by representatives of nomadic tribes, sometimes taking on the appearance of a snake (Tugarin, whose prototype was the Polovtsian khan Tugorkan of the 11th century). They are often designated general term“filthy”, which at that time meant “pagans”. They are opposed by heroes: Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich and others. In fairy tales, the main character is often Ivan Tsarevich or Ivan the Fool. He is opposed by fairy-tale characters: Baba Yaga, Koschey the Immortal, Zmey Gorynych, and magical animals act as his assistants.
Russian literature, especially Russian prose XIX century, had a significant influence on the development of world culture. The works of Russian writers have been translated into many languages of the world and published in multi-million copies. She owns the names of such famous writers and poets like Pushkin, Lermontov, Gogol, Nekrasov, Krylov, Griboyedov, Fonvizin, Derzhavin, Tolstoy, Dostoevsky, Chekhov, Turgenev, Yesenin, Mandelstam, Sholokhov and many others. Five Russian writers- Bunin, Sholokhov, Pasternak, Solzhenitsyn and Brodsky became Nobel Prize laureates in literature.
Music
Russian musical heritage includes both Russian folk music and the work of Russian composers of the 16th-20th centuries, Russian musical folklore, Russian romance, popular music of the Soviet and post-Soviet period, Russian rock, the work of bards, Russian hip-hop.
Russian folk music performed on Russian musical instruments.
Such Russian composers as Glinka, Tchaikovsky, Mussorgsky, Rimsky-Korsakov, Stravinsky, Rachmaninov, Borodin and others received global recognition and had a significant impact on world culture.
Russian classical music contains creative heritage such great composers as: Mikhail Ivanovich Glinka, Modest Petrovich Mussorgsky, Alexander Porfirievich Borodin, Nikolai Andreevich Rimsky-Korsakov, Pyotr Ilyich Tchaikovsky, Sergei Vasilyevich Rachmaninov, Alexander Nikolaevich Scriabin, Igor Fedorovich Stravinsky. Among Soviet composers, some of the most significant are: Sergei Sergeevich Prokofiev, Dmitry Dmitrievich Shostakovich, Alfred Garrievich Schnittke, Nikolai Yakovlevich Myaskovsky, Georgy Vasilyevich Sviridov.
Dance
Main articles:Russian dance , Russian ballet
An integral part of Russian national culture there was a dance, which was also called dance. Women's round dances and men's squat dances are known. They danced during the holidays, often accompanied by a balalaika or accordion.
In the 20th century, under the influence of European culture, Diaghilev’s Russian Ballet, or Ballets russes, is a ballet company founded in 1911 by Russian theatrical figure and art critic Sergei Diaghilev. Growing out of the Russian Seasons of 1908, it ran for 20 seasons until Diaghilev's death in 1929 and enjoyed great success abroad, especially in France and Great Britain. Diaghilev's enterprise had a great influence on the development of not only Russian ballet, but also the world one. choreographic art generally. Diaghilev's seasons - especially the first, the program of which included the ballets "The Firebird", "Petrushka" and "The Rite of Spring" - played a significant role in the popularization of Russian culture in Europe and contributed to the establishment of fashion for everything Russian.
- ▲ art eloquence rhetoric theory of oratory. rhetorician. rhetoric. rhetorical. rhetorical. apostrophe. eloquence. rhetorical appeal. rhetorical exclamation. homiletics. see verbal art...
- ▲ art literature literature. fine literature. subtext. stylistics. stylist. reading matter. song of songs. | calliope. imagism. see image, behavior... Ideographic Dictionary of the Russian Language
- ▲ verbal art consists of what, absence, unnecessary, word... Ideographic Dictionary of the Russian Language
DIALECTICS- DIALECTICS (ἡ διαλεκτικὴ sc. τέχνη, from the verb διαλέγομαι to talk, converse, reason), the art of having a conversation, arguing; in various contexts the term dialectic has been used as a synonym for 1) rhetoric, 2) logic, 3) philosophy. Sophists... Ancient philosophy
Literature- Content and scope of the concept. Criticism of pre-Marxist and anti-Marxist views on L. The problem of the personal principle in L. Dependence of L. on the social “environment”. Criticism of the comparative historical approach to L. Criticism of the formalistic interpretation of L.... ... Literary encyclopedia
Rome- I Ancient (lat. Roma), a city that arose (according to ancient legend, in 754/753 BC) from a group of settlements, by the middle of the 3rd century. BC e. subjugated the entire Apennine Peninsula; later a Mediterranean power, which included... ...
Rome Ancient- (lat. Roma), a city that arose (according to ancient legend, in 754/753 BC) from a group of settlements, by the middle of the 3rd century. BC e. subjugated the entire Apennine Peninsula; later - a Mediterranean power, including western and south... ... Great Soviet Encyclopedia
Ancient Greece- History of Greece Prehistoric Greece (before the XXX century BC) ... Wikipedia
Roman literature- I. The Age of the Republic 1. Ancient period. 2. Literature III II centuries. BC e. 3. Literature of the period of civil wars. II. The era of transition to empire (“Augustan Age”). III. Age of Empire. Bibliography. I. THE AGE OF THE REPUBLIC. 1. ANCIENT PERIOD.… … Literary encyclopedia
Song- 1. Definition. 2. Poetics and language of song. 3. The sound side of the song. 4. Social functions of the song. 5. Various songs social groups. 6. The existence of the song. 7. Life of a song. “Folk” and “art” songs. 8. Key points in learning a song.… … Literary encyclopedia
Books
- Arabic literature in the Middle Ages. Literary art of the Arabs in antiquity and the early Middle Ages, I. M. Filshtinsky. The book contains a systematic presentation of the history of the verbal art of the Arabs from the moment of the appearance of its first monuments until the middle of the 8th century. Against a broad historical and cultural background... Buy for 650 rubles
- Verbal judo. The Martial Art of Mind and Speech, Thompson George J., Jenkins Jerry B. Verbal Judo is a gentle martial art of mind and speech that will help you get along with anyone from the cleaning lady to the president. Listen, talk, attract others, avoid...
The material carrier of the imagery of literary works is the word that has received written embodiment. A word (including an artistic one) always means something and has an objective character. Literature, in other words, belongs to the fine arts, in in a broad sense substantive, where individual phenomena are recreated (persons, events, things, moods caused by something and impulses of people directed towards something). In this respect, it is similar to painting and sculpture (in their dominant, “figurative” variety) and differs from the non-figurative, non-objective arts. The latter are usually called expressive; they are imprinted general character experiences outside of its direct connections with any objects, facts, events. These are music, dance (if it does not turn into pantomime - into the depiction of action through body movements), ornament, the so-called abstract painting, architecture.
Verbal paintings (images), unlike paintings, sculptures, stage paintings, and screen paintings, are immaterial. That is, in literature there is figurativeness (subjectivity), but there is no direct visibility of images. Turning to visible reality, writers are able to give only its indirect, mediated reproduction. Literature masters the intelligible integrity of objects and phenomena, but not their sensually perceived appearance. Writers appeal to our imagination, and not directly to visual perception.
The immateriality of verbal fabric predetermines the visual richness and diversity of literary works. Here, according to Lessing, images “can be located next to each other in extreme quantity and variety, without covering each other and without harming each other, which cannot be the case with real things or even with their material reproductions.” Literature has infinitely wide visual (informative, cognitive) possibilities, because through words one can designate everything that is in a person’s horizons. The universality of literature has been spoken about more than once. Thus, Hegel called literature “ universal art capable of developing and expressing any content in any form.” According to him, literature extends to everything that “in one way or another interests and occupies the spirit.”
Being insubstantial and lacking clarity, verbal and artistic images at the same time depict a fictional reality and appeal to the reader’s vision. This side of literary works is called verbal plasticity. Paintings through words are organized more according to the laws of recollection of what is seen, rather than as a direct, instantaneous transformation of visual perception. In this regard, literature is a kind of mirror of the “second life” of visible reality, namely, its presence in human consciousness. Verbal works are imprinted in to a greater extent subjective reactions to objective world, rather than the objects themselves as directly visible.
Fiction is a multifaceted phenomenon. There are two main sides in its composition. The first is fictitious objectivity, images of “non-verbal” reality. The second is speech constructions themselves, verbal structures. The actual verbal aspect of literature, in turn, is two-dimensional. Speech here appears, firstly, as a means of representation (a material carrier of imagery), as a way of evaluative illumination of non-verbal reality; and, secondly, as the subject of the image - statements belonging to someone and characterizing someone. Literature, in other words, is capable of recreating speech activity people, and this especially sharply distinguishes it from all other forms of art. Only in literature does a person appear as a speaker.
Literature has two forms of existence: it exists both as a single-component art (in the form of readable works), and as an invaluable component synthetic arts. This applies to the greatest extent to dramatic works, which are inherently intended for the theater. But other types of literature are also involved in syntheses of the arts: lyrics come into contact with music (song, romance), going beyond the boundaries of book existence. Lyrical works readily interpreted by actors-readers and directors (when creating stage compositions). Narrative prose also finds its way onto stage and screen. And the books themselves often appear as synthetic works of art: in their composition, the writing of letters is also significant (especially in old handwritten texts, and ornaments, and illustrations. By participating in artistic syntheses, literature gives other types of art (primarily theater and cinema) rich food, being the most generous of them and acting as arts conductor
Literature is usually considered from two sides:
How to activity
As a work (product of activity)
As an occupation: the semiotic nature of art, aesthetic nature art, the communicative nature of art.
Semiotic nature of art is associated with the nature of the sign in general: signifier, signified and meaning (or conventionality, referentiality and conceptuality). Literature is a secondary sign system (primary is language).
Aesthetic nature of art: attitude and activity. Aesthetic attitude is emotional reflection, experiencing an experience. “Art is always the author’s externality in relation to what is depicted” (Bakhtin). An example with Chekhov. Value activity is introduced. “The author must take such a non-life position that will allow him to see the phenomenon as integrity - an objective prerequisite for an aesthetic attitude” (Bakhtin).
The communicative nature of art took shape spontaneously. L.N. Tolstoy kept constant diaries (“Childhood”, “War Stories”). Art is a mechanism of communication, of finding others like yourself. Reader empathy and participation in the creation of an image: the unification of creative (author) and receptive (reader) consciousness.
Literature as the art of words is the dynamic nature of the verbal image. The first theorist to pose the problem of the nature of the verbal image, and, consequently, the place of literature among the arts, was Lessing, who stated that sculpture is a static spatial art. Each type of art has its own ultimate task. Static arts have a focus on bodily beauty (capturing eternally beautiful physicality), and literature has aesthetic and ethical values (Helen in Homer). If we put only the dynamic principle at the forefront, then we can also include music here. Signs in painting are natural, they are similar to what they depict; signs in poetry are arbitrary, have nothing to do with the subject. In music, a sequence of sounds affects, and in poetry, a sequence of meanings, it is marked by orderliness and a rapid change of ideas. Poetry is the music of the soul.
A special language or a special use of it? Does verbal material, once part of a work, remain the same means of social communication, while receiving additional functions, or is this material included in the work only on the condition that it is organized by the author as a special language?
Poetic language is initially special (Potebnya). The theory of allegorical language as a source for art. Poetry is created from polysemantic words that have both an internal meaning and an idea that can be detached from it.
Formalists believed that language has a natural poetic function; it is the main factor explaining the phenomenon of literariness.
Jacobson spoke of the self-directedness of the message, the “tangibility of the artistic form.” Opacity poetic language, speech with a focus on expression. Aesthetic effect of a difficult shape. One of the 6 functions of language according to Jacobson is poetic.
Philosophical-linguistic approach (L. Wilgenstein, M. Bakhtin). According to Bakhtin, the linguistic whole and the archetypal whole. The process of transforming a linguistic whole into an archetypal one. An aesthetic object does not include the aesthetic form, but its value. The author's aesthetic assessment is a reaction to a reaction, an attitude towards the positions of the characters, an expression in how these positions are compared.
Type of speech: poetry and prose. Poetry is rhythmically ordered speech. There is white (without rhyme) and free (not rhythmically ordered) verse. Poetic? poetic.
The relationship between structure and semantics is called verbally. The largest group is poetic verbal images: ready-made - figures (tropes), topoi, emblems and unready ones, which are a product of the author's world - images-symbols.
Literarycentrism
IN different eras preference was given to various types of art. In antiquity, sculpture was most influential; as part of the aesthetics of the Renaissance and the 17th century. the experience of painting dominated. Subsequently (in the 18th century, even more so in the 19th century), literature moved to the forefront of art, and accordingly there was a shift in theory. In his Laocoon, Lessing, in contrast to the traditional point of view, emphasized the advantages of poetry over painting and sculpture. According to Kant, “of all the arts, poetry holds first place.” With even greater energy, V.G. elevated verbal art above all others. Belinsky, who claims that poetry is the “highest kind of art”, that it “contains all the elements of other arts” and therefore “represents the entire integrity of art.” In the era of romanticism, music shared the role of leader in the world of art with poetry. Such judgments (both “literary-centric” and “music-centric”), reflecting shifts in artistic XIX culture- the beginning of the 20th century, at the same time one-sided and vulnerable. In contrast to the hierarchical elevation of one type of art above all others, theorists of our century emphasize equality artistic activity. It is no coincidence that the phrase “family of muses” is widely used. The 20th century (especially in its second half) was marked by serious shifts in the relationships between types of art. Arose, strengthened and gained influence art forms, based on new media of mass communication: written and in printed words began to compete successfully oral speech, sounding on the radio and, most importantly, the visual imagery of cinema and television. In this regard, concepts emerged that, in relation to the first half of the century, can be rightfully called “film-centric”, and in the second half – “telecentric”. In contrast to the extremes of traditional literary centrism and modern telecentrism, it is right to say that artistic literature in our time it is the first among equal arts. The peculiar leadership of literature in the family of arts, clearly felt in the 19th-20th centuries, is associated not so much with its own aesthetic properties, but with its cognitive and communicative capabilities. After all, the word is a universal form human consciousness and communication. AND literary works are able to actively influence readers even in cases where they do not have the brightness and scale of quality aesthetic values. Thinkers of the 20th century argue that poetry is related to other arts as metaphysics is to science, that it, being the focus of interpersonal understanding, is close to philosophy. At the same time, literature is characterized as “the materialization of self-consciousness” and “the memory of the spirit about itself.” The performance of non-artistic functions by literature turns out to be especially significant in moments and periods when social conditions And political system unfavorable for society. “A people deprived of public freedom,” wrote A.I. Herzen, “literature is the only platform from the height of which he makes the cry of his indignation and his conscience heard.”
