Topic: Pictorial and expressive possibilities of morphological forms
Grade 10
Lesson objectives:
To organize the activities of students to study the figurative and expressive possibilities of morphological forms, to repeat the figurative and expressive means of the language.
To create conditions for the formation of the ability to analyze the means of expressiveness of speech (B8 KIMa Unified State Exam), for creative self-expression of students, for the development of critical thinking in students.
Promote students' ability to see and find in texts fiction morphological forms and determine their role in the text.
To improve the educational - language and communication skills of students.
Help students understand the value of working together.
Prepare students psychologically for the test form of the final certification.
Targets diagnosed:
Students know the pictorial and expressive possibilities of morphological forms.
Students are able to find morphological forms in texts that create imagery and expressiveness of speech, play a text-forming role.
Design: handouts for students: texts for group work, blank slates for clusters, tests, verification keys, epigraph on the board.
Epigraph:
Three paths lead to knowledge: the path of reflection is the most noble path; the path of imitation is the easiest path; and the path of experience is the most bitter path.
Confucius.
I. Organizational moment.
II. Introductory speech of the teacher.
The lesson I would like to start with the very wise, in my opinion, words of the Chinese philosopher Confucius: Three paths lead to knowledge: the path of reflection is the most noble path; the path of imitation is the easiest path; and the path of experience is the most bitter path.
To come to knowledge today on the topic "The visual and expressive possibilities of morphological forms", you can choose any of three ways. But, I think, the most important will be the most noble path - the path of reflection. Record numbers and topics.
Take the first step down this path: reflect on the topic of the lesson,
What will we have a conversation about?
How do you understand the topic?
What do you know on this topic?
What would you like to learn?
III. "Call"
Fill out the labeling table (each individually in a notebook).
I know
I want to know
Learned
IV. "Comprehension"
Draw up the structural - logical diagram of the cluster. Each group is on a white sheet. If there is a willing person, he can immediately form a cluster at the board. Discussion (What to add? Remove?)
Sample cluster
Phonetic means of expressiveness (phonics, alliteration, assonance, intonation)
Lexical means Syntactic means
expressiveness (tropes) expressiveness ("stylistic
comparisons, figure epithets).
metaphor, metonymy inversion, parallelism, gradation
irony, hyperbole repetition, rhetorical question,
litota, oxymoron rhetorical exclamation
periphresis
Enhance imagery, expressiveness.
When we studied phonetics, vocabulary, it was clear why we were talking about the phonics of the language, about the paths. There are many pictorial and expressive means at the phonetic and lexical levels.
Is there a pictorial - expressive means at the morphological level?
V. Reflection with notes.
a) Working with notes
Refer to your notes (notes), knowledge and reflect on what parts of speech and their grammatical forms organize trails? (a noun in a figurative sense, verbs are metaphors; a noun in TP is comparisons, an epithet is adjectives, nouns).
Let's work with one of the tropes
b) Working with card number 1
Before you card 1. Read the sentences.
What path are we talking about?
Write down the comparisons and determine how they are expressed?
K1.
Snow dust stands in a column in the air.
You are the loveliest, dearest of all, Russian land.
The moon has risen very crimson and gloomy, as if sick.
Her love for her son was like madness.
Pyramidal poplars are like mourning cypresses.
The maple leaf reminds us of amber.
(1. - noun T. p.; 2 - comparative art. Adj., 3 - comparative union, 4 - words like + n. In D. p., 5 - cr. Adj. Similar, 6 - ch. resembles + noun bp).
Reflection: each group has 1 sentence.
Write down in column 3 of the labeling table what you have learned about the forms of comparison (compare, art. Adj., Adverbs, the words "similar", "similar", "remind").
Add: negative comparison (psychological parallelism): It is not the cold winds that make noise, it is not the quicksands that run, but this ... What do you think, but the parts of speech can perform a text-forming function? Build text.
c) Analysis of the pictorial and expressive possibilities of morphological forms and their role in the construction of the text.
Each group has its own text. Analyze:
- What part of speech or morphological form is involved in the creation of the figurativeness of the text?
group. Text. Fet A.A. "Whispers, timid breathing ..." (Appendix 1) (The text is saturated with nouns, they convey a quick change of pictures, dynamics, rhythm of life. Nouns play a text-forming function).
group. A.S. Pushkin "Eugene Onegin".
Exercise 153. (Texts are saturated with cr. Adjectives, concretize speech, reveal the distinctive properties of the object, give folk poetic flavor, clarify the image, add qualities. -homogeneous members), (Appendix 2)
Group 3. Poems by A. Bely "In the fields", "On the street"
Exercise 160. (The text is full of adjectives, participles, convey quality, imagery, have pictorial power. Adjectives are homogeneous members), (Appendix 3), reveal the distinctive properties of an object, convey a mood.
group. B. Pasternak "Definition of poetry", A. Fet "This morning ..." Exercise. 168. (The text is saturated demonstrative pronouns... There is a repetition, syntactic parallelism. They draw a figurative picture of spring, the image of poetry, have a text-forming function) (Appendix 4).
group. R. Southey "Lodor Falls"
Exercise 187 (The text is replete with gerunds, which convey both actions and quality. They have the energy of the verb and the pictorial power of the adverb. Text-forming function (the content dictates the form) (Appendix 5).
6 group. R. Borovikova "While I live", "Do not be silent" (Text (1) is based on the verb of the 1st person, (2) used. imperative mood... Has the power of verb action, uses oppositions
(2) builds advice, commands, vocative intonation. The verb shows life in development, the transmission of the dynamics of a person's spiritual life. Each group performs, the rest write down the morphological forms that create the expressiveness of the text.
- What parts of speech can act as pictorial - expressive means (any).
VIII. Creative work:
Mini - composition "How beautiful this world is ..."
Reading, discussion, finding IHD.
D / z. Choice:
Exercise 179 (analyze from the point of view of the pictorial expressive possibilities of parts of speech)
Compose a text (prose, poetry, using similar examples).
Adjust the cluster based on new knowledge.
Comparison (noun to etc.)
Metaphor (verb)
Antithesis (nouns-antonyms)
Oxymoron (adj. + N.)
Epithet (adj.)
Metaphor (verb)
Epithet (adj.) Inversion
Epithet (adj.)
Negative comparison (psychological parallelism) (negative particle NOT)
Students independently check the key on the desk.
The lexical system of the language is complex and multifaceted. The possibilities of constant renewal in speech of the principles, methods, signs of combining words taken from various groups within the whole text, hide in themselves the possibility of renewing speech expressiveness, its types.
The expressive possibilities of the word are supported and strengthened by the associativity of the reader's figurative thinking, which largely depends on his previous life experience and psychological characteristics work of thought and consciousness in general.
Expressiveness of speech are such features of its structure that support the attention and interest of the listener (reader). The complete typology of expressiveness has not been developed by linguistics, since it would have to reflect the entire diverse range of human feelings and their shades. But we can quite definitely talk about the conditions under which the speech will be expressive:
- The first is the independence of the thinking, consciousness and activity of the author of the speech.
- The second is his interest in what he says or writes about.
- The third is a good knowledge of the expressive capabilities of the language.
- The fourth is the systematic deliberate training of speech skills.
The main source of increasing expressiveness is vocabulary that gives whole line special means: epithets, metaphors, comparisons, metonymy, synecdoches, hyperbole, litoty, personification, paraphrase, allegory, irony. Great opportunities to enhance the expressiveness of speech, the syntax has, the so-called stylistic figures of speech: anaphora, antithesis, non-union, gradation, inversion (reverse word order), polyunion, oxymoron, parallelism, rhetorical question, rhetorical appeal, silence, ellipsis, epiphora.
The lexical means of a language that enhance its expressiveness are called in linguistics trails (from the Greek tropos - a word or expression used in a figurative sense). Most often, the paths are used by authors of works of art when describing nature, the appearance of heroes.
These pictorial and expressive means are of the author's nature and determine the originality of the writer or poet, help him to find the individuality of style. However, there are also common language paths that arose as the author's, but over time became habitual, entrenched in the language: "time heals", "battle for the harvest", "war thunderstorm", "conscience spoke", "curl up", "like two drops water ".
In them direct meaning words are erased, and sometimes completely lost. Their use in speech does not give rise to in our imagination artistic image... The trail can grow into speech stamp if used too often. Compare expressions that determine the value of resources using figurative meaning the words "gold", - "white gold" (cotton), "black gold" (oil), "soft gold" (furs), etc.
Epithets (from the Greek. Epitheton - application - blind love, foggy moon) artistically define an object or action and can be expressed by a full and short adjective, noun and adverb: "Do I wander along noisy streets, enter a crowded temple ..." (A.S. Pushkin)
"She is alarming, like leaves, she, like a gusli, is multi-stringed ..." (A.K. Tolstoy) "Frost-voivode patrols his possessions ..." (N. Nekrasov) "Irresistibly, uniquely everything flew far and past ... "(S. Yesenin). Epithets are classified as follows:
1) constant (typical for oral folk art) - "good fellow", "red maiden", "green grass", "blue sea", "dense forest" "mother of cheese earth";
2) pictorial (visually draw objects and actions, give
the opportunity to see them as the author sees them) - “a crowd of a variegated fast cat” (V. Mayakovsky), “the grass is full of transparent tears” (A. Blok);
3) emotional (convey feelings, the mood of the author) - "The evening has raised black eyebrows ..." - "A blue fire swept around ...", "Uncomfortable, liquid moonliness ..." (S. Yesenin), "... and the young city ascended magnificently, proudly ”(A. Pushkin).
Comparison is a juxtaposition (parallelism) or opposition (negative parallelism) of two objects according to one or several common features: “Your mind is deep, like the sea. Your spirit is high, like mountains "(V. Bryusov) -" It is not the wind that rages over the forest, the streams did not run from the mountains - the frost of the voivode is patrolling his possessions "(N. Nekrasov). Comparison gives the description a special clarity, pictoriality. This trope, unlike others, is always two-term - it names both compared or opposed objects. In comparison, three necessary existing elements are distinguished - the object of comparison, the image of comparison and the sign of similarity. For example, in M. Lermontov's line "Whiter than snow mountains, clouds go to the west ..."
1) a comparative turnover with the conjunctions "like", "like", "like", "like", "exactly", "what ... that": "Crazy years, extinct fun is hard for me, like a vague hangover," But, like wine - the sorrow of bygone days In my soul, the older, the stronger ”(A. Pushkin);
2) comparative degree adjective or adverb: "there is no beast worse than a cat";
3) a noun in the instrumental case: "A white drift rushing along the ground like a snake ..." (S. Marshak);
“My dear hands - a pair of swans - dive in the gold of my hair ...” (S. Yesenin);
"I was looking at her with might and main, as children are looking ..." (V. Vysotsky);
“I will never forget this battle, the air is saturated with death.
And stars fell from the firmament like a noiseless rain ”(V. Vysotsky).
“These stars in the sky are like fish in ponds ...” (V. Vysotsky).
"Like an eternal flame, the peak sparkles in the daytime emerald ice... "(V. Vysotsky).
Metaphor (from the Greek metaphora) means the transfer of the name of an object (action, quality) based on similarity, this is a phrase that has the semantics of hidden comparison. If the epithet ~ is not a word in a dictionary, but a word in speech, then the more true is the statement: a metaphor ~ is not a word in a dictionary, but a combination of words in speech. You can drive a nail into the wall. You can hammer thoughts into your head ~ a metaphor appears, crude but expressive.
The verbal actualization of the semantics of the metaphor is explained by the need for such guessing. And the more effort the metaphor requires in order for consciousness to transform implicit comparison into the open, the more expressive, obviously, is the metaphor itself. Unlike a two-term comparison, which lists both what is being compared and what is being compared to, metaphor contains only the second component. This gives imagery and compactness to the path. Metaphor is one of the most common tropes, since the similarity between objects and phenomena can be based on a wide variety of traits: color, shape, size, purpose.
The metaphor may be simple, expanded and lexical (dead, erased, petrified). A simple metaphor is built on the convergence of objects and phenomena one by one. common feature- “the dawn is burning”, “the talk of the waves”, “the sunset of life”.
A detailed metaphor is built on various associations of similarity: “Here the wind embraces a flock of waves with a strong embrace and throws them from a sweep in wild rage on the cliffs, breaking emerald masses into dust and splashes” (M. Gorky).
Lexical metaphor - a word in which the initial transfer is no longer perceived - "steel pen", "clock hand", " doorhandle", "paper". Close to metaphor is metonymy (from the Greek metonymia - renaming) - the use of the name of one object instead of the name of another based on external or intercom between them. Communication can be
1) between the object and the material from which the object was made: “Amber was smoking in his mouth” (A. Pushkin);
3) between the action and the instrument of this action: "Pen by his revenge
breathes ”(A. Tolstoy);
5) between the place and the people who are on this place: “The theater is already full, the boxes are shining” (A. Pushkin).
A kind of metonymy is synecdoche (from the Greek synekdoche - co-understanding) - the transfer of meaning from one to another based on the quantitative relationship between them:
1) a part instead of a whole: "All flags will visit us" (A. Pushkin); 2) a generic name instead of a specific one: "Well, why, sit down, shine!" (V. Mayakovsky);
3) a specific name instead of a generic one: “Take care of a penny more than anything else” (N. Gogol);
4) the singular instead of the plural: "And it was heard before dawn how the Frenchman was jubilant" (M. Lermontov);
5) the plural instead of the only one: "To him neither the bird flies, nor the beast" (A. Pushkin).
The essence of personification consists in attributing the qualities of living beings to inanimate objects and abstract concepts - “I will whistle, and bloody villainy will obediently, timidly creep in to me, and will lick my hand, and look into my eyes, in them my sign, reading my will” (A. Pushkin); "And the heart is ready to run from the chest to the top ..." (V. Vysotsky).
Hyperbole (from the Greek.hyperbole - exaggeration) - stylistic
a figure consisting of a figurative exaggeration - “they swept a stack above the clouds”, “wine flowed like a river” (I. Krylov), “At one hundred and forty suns, the sunset blazed” (V. Mayakovsky), “The whole world in the palm of your hand ...” (In Vysotsky). Like other tropes, hyperboles can be copyright and general language. In everyday speech, we often use such general linguistic hyperboles - I saw (heard) a hundred times, "scared to death", "strangle in my arms", "dance until you drop," "repeat twenty times," etc. The stylistic device opposite to hyperbole is litota (from the Greek litotes - simplicity, thinness) is a stylistic figure, consisting in understated understatement, humiliation, reticence: "a boy with a finger", "... A little bit of grass should be bowed down ..." (N. Nekrasov).
Litota is a type of meiosis (from the Greek meiosis - decrease, decrease).
Meiosis is a trope of understating
intensity of properties (signs) of objects, phenomena, processes: "wow", "okay", "decent", "tolerant" (about good), "unimportant", "hardly suitable", "leaving much to be desired" (about bad ). In these cases, meiosis is a mitigating variant of the ethically unacceptable direct name: cf. "Old woman" - "a woman of Balzac's age", "not of her first youth"; "Ugly man" - "it is difficult to call a handsome man." Hyperbole and litota characterize the deviation in one direction or another of the quantitative assessment of the subject and can be combined in speech, giving it additional expressiveness. In the comic Russian song "Dunya the thin-weaver" it is sung that "Dunya spun a kudelyushka for three hours, strained three threads", and these threads are "thinner than a knee, thicker than a log." In addition to the copyright, there are also common language litoty - "the cat cried", "at hand", "not to see beyond your own nose."
Periphrase (from Greek periphrasis - from around and I say) is called
a descriptive expression used instead of a word ("writing these lines" instead of "I"), or a trope consisting in replacing the name of a person, object or phenomenon with a description of their essential features or an indication of them specific traits("The king of beasts is a lion", "foggy Albion" - England, "Venice of the North" - St. Petersburg, "the sun of Russian poetry" - A. Pushkin).
Allegory (from the Greek. Allegoria - allegory) consists in an allegorical depiction of an abstract concept with the help of a concrete, life image. In literature, allegories appear in the Middle Ages and owe their origin to ancient customs, cultural traditions and folklore. The main source of allegories is tales of animals, in which the fox is an allegory of cunning, the wolf is anger and greed, the ram is stupidity, the lion is power, the snake is wisdom, etc. From ancient times to our time, allegories are most often used in fables, parables, and other humorous and satirical works. In Russian classical literature allegories were used by M.E. Saltykov-Shchedrin, A.S. Griboyedov, N.V. Gogol, I. A. Krylov, V. V. Mayakovsky.
Irony (from the Greek eironeia - pretense) is a trope consisting in the use of a name or a whole statement in an indirect sense, directly opposite to the direct one, it is a transfer by contrast, by polarity. Most often, irony is used in statements containing a positive assessment, which the speaker (writer) rejects. "Split, smart, are you delirious, head?" - asks the hero of one of the fables I.A. Krylov at the Donkey. Praise in the form of censure can also be ironic (see the story of AP Chekhov "The Chameleon", characterization of the dog).
Anaphora (from the Greek anaphora -ana again + phoros bearing) -unonony, repetition of sounds, morphemes, words, phrases, rhythmic and speech structures at the beginning of parallel syntactic periods or lines of poetry.
Bridges demolished by a thunderstorm, A coffin from a washed-out cemetery (A.S. Pushkin) (repetition of sounds) ... Black-eyed girl, Black-maned horse! (M.Yu. Lermontov) (repetition of morphemes).
It was not in vain that the winds blew, It was not in vain that there was a thunderstorm. (S.A. Yesenin) (repetition of words)
I swear by the odd and the couple, I swear by the sword and the right battle. (A.S. Pushkin).
THEATER MUSIC
When starting the musical arrangement, the director, the musician must understand and feel not only what and how it should sound, but also by what means it is possible to achieve the required sound.
The music involved in the production * will only be able to emotionally and with full force affect the viewer when the expressive and pictorial sides of all its elements: melody, rhythm, dynamics, timbre are fully revealed in a harmonious whole.
The expressive possibilities of music are inexhaustible. The music can reflect the images of life and death, heroic struggle, dreams, dreams, alarming presentiments, scenes of folk fun, processions, battles, prayers, joys, complaints, jokes, anger, affection, grace, etc., etc. etc.
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Music has no means to convey appearance subject. However, the musical image affects not only the feelings and thinking of the viewer, but also his considerations, that is, it can, as it were, figuratively concretize those phenomena of reality that gave rise to these feelings and thoughts.
The role of musical figurativeness is different in different genres of music. This role is especially significant in theater and film music.
It is impossible, for example, to "draw" a train with the help of sounds, but through music it is possible to convey an accelerating movement, the sound of wheels, the sound of a whistle. Sounds alternate at different rates, with different volumes. And if at first they follow each other calmly, and then the pace will accelerate and, in addition, one instrument will depict the sound of wheels, the other will depict the increasing or receding sound of a whistle, then, even without seeing the object, the viewer will understand that the movement of the train is conveyed by music and sounds. ... But, in addition to movement, the music usually conveys the feeling that the heroes of the play experience at the same time, that is, the music of the train will be in tune with the mood of the scene.
Melody is an essential element musical art. When attracting music to a play, judgment about it should begin with an assessment of its melody.
Melody, like music in general, has an intonation nature, that is, through intonation, the ability of a melody to artistically embody the feelings and thoughts of a person, his state of mind... Melody is the richest source of the most diverse musical expression. The wealth of melodies is inexhaustible. They can be of a very different nature: be gentle, passionate, playful, energetic, courageous, etc., etc.
Individual melodies are able to recreate the finest shades various emotional states: joy, grief, volitional impulses and aspirations. In the play, these factors are very important for conveying the thoughts, feelings of the hero, his experiences.
The melody consists of sounds that differ both in pitch and in their meaning (stable and unstable). The ratio, the relationship between stable and unstable sounds is called fret- in a word, order, system, equivalent concepts. Frets are different
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sing from each other with character, expressive capabilities,
In the modern scale system, the most common are major and minor.
There are opinions that the major in itself bears a cheerful, energetic, bright character, and the minor is associated with sadness, suffering, shading, dullness.
Often the director asks the musician to choose major music for one of the scenes, and minor music for the other. And this is usually the only thing that he can definitely say about the future music for his performance. But it is impossible to assign a certain figurative semantic meaning to the frets, since the work acquires the greatest expressiveness when a major and a minor are combined.
Traits of the national originality of the melody are often associated with the modal side. The musician working on the musical design of the performance, in order to reflect the national flavor in the music, must take into account the modal side of the metshi, the characteristic modal turns.For example, for Russian folk melody (songs, dances), comparisons of major and minor are used.
Each fret can sound higher or lower, and its sound composition changes depending on this. The altitude of the major and minor scale forms a tonality. Depending on their tonality, some works can have a bright, light, even brilliant color, while others - gloomy, muted, sometimes gloomy and ominous.
When choosing music for a performance, one should find that tonality of its sound that corresponds to the nature of the stage action.
Rhythm in music is the organization of sound piece of music in time.
The expressive importance of rhythm in music can hardly be overestimated. Rhythm, no less than a melody, closely links the content of music with the surrounding reality. The rhythms convey the spiritual life of a person, the intensity of his emotional world, the feelings with which he lives.
Rhythm is perceived by the listener much more easily than some other elements of musical expression.
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According to Stanislavsky, music with its rhythm and melody is capable of influencing the feelings of the viewer in the most direct way and directly evoke and consolidate on the stage the well-being necessary for the actor.
Sometimes rhythm is identified with uniformity, periodicity. This meaning is given to the expression "rhythmic pulse", "rhythmic breathing." Music associated with dance, motor movement, external action, obeys the same laws of rhythmic organization, and melodious music requires a different range of rhythmic pulse.
The concept of musical rhythm includes meter- the order of alternation of equal lengths in music.
In other words, the meter is a musical measure of time in which the process of musical development takes place. The meter serves as the basis of the rhythm and gives it a qualitative definiteness. Without a meter, there is no distinct sensation, perception. It is thanks to the meter that the music acquires harmony and regularity.
The stage embodiment of the meter is quite common: the actor can act, emphasizing the metric beginning of the music, or the director may demand that objects and decorations be slowly rearranged to the music, the arrival and departure of actors from the stage was accurate, etc.
Closely related to rhythm pace, the degree of speed of performance and the nature of the movement of a piece of music. The expressiveness of the rhythmic pattern of any musical thought in terms of duration always manifests itself at a certain tempo.
There are three main types of pace: fast, moderate, and slow; each of them has many varieties. With an incorrectly chosen tempo of a piece of music (excessively fast or unreasonably slowed down), the nature of the stage action can significantly change and even distort.
Sometimes a logical, precisely expressed gradation of tempo in music becomes the main one of all the elements of musical expressiveness in understanding and disclosing the drama of a performance, in disclosing the image of a character.
The musical and rhythmic aspect of the performance requires special understanding. The task of the director and musician is
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to find for the musical arrangement of the performance that rhythm, the "correct tempo" of each scene, which follows from the basic life situation and the basic idea of the play.
Of great importance for the expressiveness of any musical sound is timbre, that is, the coloration of sound that every singing voice and musical instrument possesses.
At musical arrangement of the performance, a variety of expressive possibilities of the timbre are widely used. This is one of the most powerful and at the same time subtle means of identifying and conveying images, thoughts and feelings in music. Each feeling requires a corresponding coloration of the sound for its expression.
In order to express musical thought deeply and correctly in the performance, it is necessary to choose the timbres most characteristic of the character of the given scene: lighter or darker, “warm” or “cold”, juicy or more transparent.
Timbre can also serve as a psychologically truthful language to convey the subtext of a musical image. A correctly found timbre allows one to freely distinguish the inner meaning of the role embodied by the actor, often independent of the meaning of the spoken phrase. Then the coloration of the sound becomes timbre-thought or timbre-feeling, conveying the inner life of the image more fully and subtly.
Timbre as additional element characteristics of the image and assigned to it are called leittembrom.
Characteristic tones musical instruments very widely used in music for pictorial purposes. Reproducing in music the individual timbre of any real sound, one can evoke in the viewer an association, an idea of the phenomenon that is characterized by this sound in life itself.
To correctly feel a musical thought means to correctly feel the sounding colors that express its essence.
Dynamics a musical work is usually called the process of changing the loudness that occurs in time and is associated with musical development. This process includes both a gradual increase in volume (crescendo) and a decrease in volume (diminuendo), as well as contrasting, sudden comparisons of different degrees of loudness,
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Dynamics, like all other elements of the musical language, serves the purpose of creating artistic images in a piece of music. Performed without dynamic nuance, a piece of music loses much of its expressive power.
Dynamic changes are widely used in the musical design of a dramatic performance, both pictorial (if it is necessary to depict the approach of a procession or the growth of a storm, the sonority gradually increases) and expressive. For example, an increase in emotional excitement - a gradual increase in volume - a crescendo.
Loud sounds, etc. equal conditions have a stronger effect on nervous system, excite, irritate more than quiet ones.
However, quiet sounds, mysterious rustles are alarming, and the perception of barely audible sounds requires intense attention.
Rise, rise, as a rule, are able to more capture the viewer's attention, keep him in a state of tension than recession, calm.
The climax of a performance is often associated with music. Sometimes, according to the director's intention, the culmination of the performance is distinguished by the dynamics of the musical excerpt not through the forte, but, on the contrary, through the piano, which gives the scene a special character.
Since dynamics plays a huge role in the direct impact on the viewer, its effects should be taken into account by the director and the musician so that the increase in sound and, in general, the change in dynamics corresponds to the development of the image and its interpretation.
The dynamics must be taken into account when playing a musical soundtrack in a stage action. Music can be played softly or loudly, gradually changing or decreasing the strength of the sound.
Ability to use dynamic shades, subtly and flexibly transmit sound of varying strength when playing music in a performance, it allows you to truly, more expressively emphasize the nature of the stage action.
All the basic musical elements can be compared with the elements of stage expressiveness. Comparing the characteristics of a piece of music with the characteristics of a stage action, one and the same language can be used.
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So, speaking about the play, we are talking about the drama of the plot or about its lyricism, cheerfulness, and with the same definitions we characterize a piece of music. Parallels can also be drawn between the constituent parts of a dramatic performance and a piece of music. Any role, any stage action can be viewed from the musical and rhythmic side, since they contain movement, rhythm.
Stanislavsky said that not only the tempo-rhythm of music, but all of it constituent elements can suggest the nature of the stage action.
Listening to music, Stanislavsky gave birth to concrete effective images ... "Does music paint feelings, images of nature, its content always affects the emotional sphere of the viewer and evokes vague sensations in one, and more prominent sensations in another?"
Stanislavsky's performances, in which there was little or no music, can also be called musical. Ensemble sound, precise rhythm, dynamic shades, pauses were established in them.
In his work as a director, Stanislavsky borrowed many concepts from the field of music: "musical speech", "musical movement", "music of feeling", "cantilena of voice".
If you systematically listen to music carefully, you can learn to distinguish between the expressive means discussed above. Then the ability to evaluate the shades of the application of all elements, their meaning and character will gradually develop. This will lead to a deeper comprehension of the content of the music and a more accurate inclusion of it in the performance.
Grammatical means of expressiveness are less significant and less noticeable in comparison with lexical and phraseological ones. Grammatical forms, phrases and sentences correlate with words and, to one degree or another, depend on them. Therefore, the expressiveness of vocabulary and phraseology is brought to the fore, while the expressive possibilities of grammar are relegated to the background.
The main sources of speech expressiveness in the field of morphology are the forms of a certain stylistic coloring, synonymy and cases of figurative use of grammatical forms.
Various expressive shades can be conveyed, for example, by using one form of the number of nouns instead of another. So, the forms of the singular number of personal nouns in the collective sense vividly convey the generalized plurality. This use of singular forms is accompanied by the appearance of additional shades, most often negative ones: “Moscow, burnt by fire, Frenchman given away ”(M. Lermontov). Expressiveness is inherent in forms plural, collective names used metaphorically to denote not a specific person, but a typified phenomenon: “We all look into napoleons"(A. Pushkin); " Molchalins bliss in the world ”(A. Griboyedov).
Pronouns are characterized by the richness and variety of emotional and expressive shades. For example, the pronouns “some”, “someone”, “some”, used when naming a person, add a connotation to speech (some doctor, some poet, some Ivanov).
Uncertainty of the meaning of pronouns serves as a means of creating a joke, a comic. Here is an example from V. Pikul's novel "I Have the Honor": “With his wife there was an Astrakhan herring. I think - why would a lady with our stinking herring drag around Europe? He cut her belly (not a lady, of course, but a herring), so from there, dear mother, diamond after diamond - and fell like cockroaches. "
Special expressive shades are created by contrasting the pronouns we - you, our - yours while emphasizing two camps, two opinions, views, etc.: “Millions of you. Us - darkness and darkness and darkness. Try it, fight with us! " (A. Blok); “We stand against the society, whose interests you are ordered to defend, as irreconcilable enemies of it and yours, and reconciliation between us is impossible until we win ... You cannot refuse the oppression of prejudices and habits - oppression that has spiritually killed you, - nothing prevents us from being internally free, - the poisons with which you poison us are weaker than the antidotes that you - unwillingly - pour into our consciousness ”(M. Gorky).
Verb categories and forms with their rich synonymy, expression and emotionality, the ability to use figuratively have great expressive capabilities. The possibility of using one verb form instead of another makes it possible to widely use synonymous replacements of some forms of tense, type, mood or personal forms of the verb with others in speech. The additional semantic shades that appear at the same time increase the expression of expression. So, to indicate the action of the interlocutor, the third person singular forms can be used, which gives the statement a dismissive connotation (He is still arguing!), first person plural (“Well, how are we resting?” - meaning ‘resting, resting”) with a touch of sympathy or special interest, an infinitive with a particle with a touch of desirability (You should have a little rest; you should visit him).
The past tense of the perfect form, when used in the meaning of the future, expresses a particular categorical judgment or the need to convince the interlocutor of the inevitability of an action: “- Listen, let me go! Drop off somewhere! I disappeared completely ”(M. Gorky).
There are many expressive forms of moods ("May there always be sunshine!"; "Long live world peace!"). Additional semantic and emotionally expressive shades appear when some forms of mood are used in the meaning of others. For example, the subjunctive mood in the meaning of the imperative has a tinge of courteous, careful wish (You would go to your brother), the indicative mood in the meaning of the imperative expresses an order that does not allow objection, refusal (You will call tomorrow!); the infinitive in the meaning of the imperative mood expresses categoricalness (Stop the arms race!; Prohibit testing of atomic weapons!). Strengthening the expression of the verb in the imperative mood is facilitated by particles yes, let, well, -ka and others: “- Come on, is my friend sweet. // Reason in simplicity ”(A. Tvardovsky); Shut up !; So, say!
The expressive possibilities of syntax are primarily associated with the use of stylistic figures (turns of speech, syntactic constructions): anaphores, epiphores, antitheses, gradations, inversions, parallelism, ellipsis, silence, non-union, multi-union, etc.
The expressive possibilities of syntactic constructions, as a rule, are closely related to the elephants that fill them, with their semantics and stylistic coloring. Thus, the stylistic figure of an antithesis is often created by the use of words-antonyms; the lexical basis of the antithesis is antonymy, and the syntactic basis is the parallelism of the construction. Anaphora and epiphora are based on lexical repetitions:
In the silence and, in the forest sutemi I think about life under a pine tree. That pine tree is clumsy and old, That pine tree is harsh and wise, That pine tree is sad and calm, Quieter than the streams in the big, big river, Like a mother, It gently strokes my cheek with a coniferous palm.
(V. Fedorov)
Stringing synonymous words can lead to gradation, when each subsequent synonym strengthens (sometimes weakens) the meaning of the previous one: “She was there, in a hostile world that he did not recognize, despised, hated "(Yu. Bondarev).
The expressiveness of speech depends not only on the semantic volume and stylistic coloring of the word, but also on the methods and principles of their combination. Here, for example, how and what words V. Vysotsky connects in phrases:
Gullible Death was wrapped around his finger,
She hesitated, forgetting to wave the scythe. The bullets were no longer catching up with us and were lagging behind. Will we be able to wash ourselves not with blood, but with dew ?!
Death is gullible; death was “wrapped around the finger” (that is, deceived); the bullets did not catch up, but lagged behind; wash with dew and wash with blood.
The search for fresh, well-aimed combinations, expansion, renewal of lexical compatibility are characteristic primarily of artistic and journalistic speech.
Ever since the times Ancient Greece a special semantic type of phrases is known - oxymoron (Greek oxy moron - witty-stupid), i.e. "a stylistic figure consisting in the combination of two concepts, contradicting each other, logically excluding one another" (hot snow, ugly beauty, truth of lies, sonorous silence). Oxymoron allows you to reveal the essence of objects or phenomena, to emphasize their complexity and inconsistency. For example:
Encompassed
Sweet despair
The pain of delight
In your eyes
Open wide
Like goodbye
I saw myself
(V. Fedorov)
An oxymoron is widely used in fiction and in journalism as a bright, catchy headline, the meaning of which is usually revealed by the content of the whole text. So, in the newspaper "Soviet Sport" a report from the World Team Chess Championship is entitled "The Original Template". An original template is the attempt by Grandmaster Polugaevsky to use more extensively the typical positions that have arisen on the board, which have been analyzed in detail in the textbooks on chess theory, and the knowledge of which makes it easier for an athlete to find a way out.
According to the apt definition of A.S. Pushkin, "language is inexhaustible in the combination of words", therefore, its expressive possibilities are also inexhaustible. Renewal of connections between words leads to renewal of verbal meanings. In some cases, this manifests itself in the creation of new, unexpected metaphors, in others - in an almost imperceptible shift in verbal meanings. Such a shift can be created not by near, but by distant word connections, individual parts of the text, or the entire text as a whole. This is how, for example, the poem by A.S. Pushkin "I loved you", which is a model of expressiveness of speech, although it mainly uses words that do not have a vivid expressive coloring and semantic connotations, and just one periphery (« Love is still, perhaps, // In my soul it has not completely died out ”). The poet achieves extraordinary expressiveness due to the methods of combining words within the entire poem, organizing its speech structure as a whole and individual words as elements of this structure.
The syntax of the Russian language, in addition, has a lot of emotionally and expressively colored constructions. Thus, infinitive sentences with coloration of colloquiality are characterized by various modal-expressive meanings: “You will not see such battles” (M. Lermontov); "Do not hide, // Do not hide amazement // Neither the furnaces, nor the craftsmen" (V. Fedorov).
An emotional and evaluative attitude to the content of a statement can be expressed with the help of exclamation sentences: "How beautiful life seems to me when I meet in it restless, caring, enthusiastic, seeking, generous people!" (V. Chivilikhin); sentences with inversion: "Fate has come true!" (M. Lermontov), segmented and parcelled structures: "Winter is so long, so endless"; "Tal, where we will live, a real forest, not like our grove ... With mushrooms, with berries" (V. Panova) and others.
It revives the story, allows you to convey the emotional and expressive features of the author's speech, to show more clearly his inner state, direct and improperly direct speech attitude to the subject of the message. It is more emotional, expressive and convincing than indirect.
They give liveliness to the statement, emphasize the dynamism of the presentation of definite personal sentences; the nominative are distinguished by a large semantic capacity and expressiveness; various emotions are expressed by vocal and other sentences: “The people of the whole earth // Let the alarm sound: // Let us protect the world! // Let's stand as one, - // Let's say: we won't let // reignite the war ”(A. Zharov); “Eh, roads! // Dust and fog, // Cold, alarm // Yes, steppe weeds ”(L. Oshanin); “Vera, tell Aksinya to open the gate for us! (Pause.) Vera! Don't be lazy, get up, dear! " (A. Chekhov).
The expressive possibilities of syntactic (as well as other) means of the language are actualized due to various stylistic methods of using them in speech. Interrogative sentences, for example, are a means of expressiveness, if they not only contain an urge to obtain information, but also express various emotional and expressive shades ("Is it this morning?"; "So you won't come?"; "This nasty rain again?" ); arouse the addressee's interest in the message, make him think about the question posed, emphasize its importance: “How far will you sail on the wave of the crisis?”; “Was the postman's bag heavy?”; “Does warmth shine on us?”; "Will the CIS Strengthen its Position?" (these are some of the headings of the articles). Rhetorical questions, widely used in public speaking: “Don't we have overflowing creativity? Don't we have a smart, rich, flexible, luxurious language, richer and more flexible than any of the European languages?
Why should we squeak boringly with feathers when our ideas, thoughts, images should thunder like the golden trumpet of the new world? " (A.N. Tolstoy).
In the practice of public speaking, special welcome the use of interrogative sentences is a question-and-answer course (the speaker asks questions and answers them himself): “How did these ordinary girls become extraordinary soldiers? They were ready for a feat, but they were not ready for the army. And the army, in turn, was not ready for them, because most of the girls went voluntarily ”(S. Aleksievich).
A question-and-answer course dialogizes a monologue speech, makes the addressee the speaker's interlocutor, activates his attention. Dialogueization enlivens the narrative, gives it expressiveness.
Thus, the expressiveness of speech can be created by the most common, stylistically unmarked linguistic units due to their skillful, most expedient use in the context in accordance with the content of the utterance, its functional and stylistic coloring, general expressive direction and purpose.
As a means of speech expression in a certain situation deviations from the norms of the literary language are deliberately used: the use of units of different stylistic colors in the same context, the collision of semantically incompatible units, abnormal formations of grammatical forms, abnormal structure of sentences, etc. This use is based on a conscious choice of linguistic means based on a deep knowledge of the language.
Speech expressiveness can be achieved only with the correct ratio of the main aspects of speech - logical, psychological (emotional) and linguistic, which is determined by the content of the statement and the author's goal setting.
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“We can imagine any line - both a curve and a straight line - as stopped and as moving ...”.
(Vladimir Favorsky)
Lesson type: The lesson of acquaintance with new material (presentation for the lesson).
Goals:
- to acquaint students with the expressive properties of the line, their types and character;
- to show the conventionality and imagery of a linear image, the role of rhythm in creating an artistic image;
- to form the skills of conveying mood in a drawing using lines of a different nature.
Tasks:
Personal:
- create conditions for the disclosure of the intellectual and spiritual capabilities of children;
- to intensify cognitive activity and develop the creative potential of students;
- continue to form the ability for artistic and imaginative knowledge of the world, the ability to apply the knowledge gained in their own artistic and creative activities.
Subject:
- to develop the ability to distinguish between the main types and genres of plastic arts, to characterize their specificity;
- develop the ability to use various materials and means of artistic expression to convey ideas in their own artistic activities;
- to form the concept of a line as the main means of expressiveness in graphics.
Metasubject:
- develop the skills of independent artistic and creative activities;
- improve the ability to analyze, compare, plan, control and evaluate the results of their artistic, creative and educational activities.
Equipment: computer, projector, screen, computer slides “Line and its expressive possibilities”, equipping students' workplaces.
DURING THE CLASSES
I. Organizational moment.
Checking the readiness of students for the lesson.
To formulate the topic of our lesson more precisely, let us pay attention to the epigraph (Slide 2): “The path to the final goal goes not through a pile of details, but through their selection. In drawing, for example, the artist must choose the most expressive, the most intense life out of all possible lines ”. (Henri Matisse)
Who guessed what will be discussed in our lesson?
Right. It's about the line and its expressive capabilities.
II. Lesson topic message. Conversation.
Many of you think that a pencil is of little interest. art material... It has a small number of shades, and I really want to draw ripe strawberries under the bright sun, and so that dew drops sparkle on the leaves. But how can all this be conveyed with a simple pencil?
Let's take a look at the work of graphic artists and find out if the work can be interesting if it is done with just one simple pencil? (Slide 3)
Any drawing starts with a line. It is the line that is the beginning of all beginnings in the drawing.
What can be the lines in outline?
Right. Lines can be long, short, straight, curved, wavy, abrupt, thin, thick, and so on.
In nature, lines are practically not found. We used to call a line the contour of an object, its edge. The line for us is just a sign and convention. It is used as a designation method. When writing letters, we try to draw lines more expressively.
Many artists treated the line as if it were alive, with its own character. Artist V.A. Favorsky said about the line: “We can imagine any line - both a curve and a straight line - as stopped and as moving ...”. The character of the line expresses the emotions, feelings of the artist! Let's look at a few graphically pictures and try to determine the emotions and feelings that the artist is trying to convey to us (Slide 4).
Like any visual medium, a line has its own properties. Which vary depending on the tool used. You can draw lines with a well-sharpened hard pencil - in this case, the line turns out to be thin, poorly visible. A soft pencil will leave behind a softer, looser, wavy line. Often, for drawing lines, pens are used - ink with a feather, ballpoint. The best materials sanguine, pastel, charcoal are used to depict lines. Let's take a look at how a graphic drawing made with various tools looks like (Slide 5).
The line is actively used in sketches, sketches, drawings, cartoons, cartoons, posters, painting, architecture and design projects.
The great Dutch artist Rembrandt laid the foundation for modern living art drawing. His works are characterized by a special musicality of the lines, with the help of which he reproduced a variety of images.
Rembrandt did not create his works in black ink. He created them in brown ink on pinkish-gray paper. Rembrandt's line seems to flow, live, breathe. In his drawings, there is always a unity and harmony of form and content. One of his masterpieces linear works the drawing “The old beggar” is considered (Slide 6).
This drawing masterfully depicts the head and figure of a beggar. This work is unusually deep and at the same time laconic. The shapes in the figure are distinct, which is achieved using linear techniques.
In another of his drawing "Woman in a chair" Rembrandt Harmenszoon van Rijn achieved a strict outline with a reed pen. In this case, you should pay attention to the different thickness of the lines. The details of the picture are made with different pressure (Slide 6).
Rembrandt was the great artist of his age. His mastery cannot leave indifferent true connoisseurs of art.
Another artist for whom the linear image became the basis of creative work was Henri Matisse, who made linear drawing a form of easel drawing. He worked through each element in detail, achieved extraordinary realism in his drawings, and then made drawings out of them more generalized and conventional. Matisse achieved extreme precision by using lines of equal thickness and tension. The work of Henri Matisse is characterized by lightness and liveliness of movement, as well as the clear outline and movement of all lines strictly along the outline of the form. This artist is the brightest representative of linear drawing. Let's take a look at some of Henri Matisse's famous works (Slide 7).
III. Practical work.
Today you are going to play the role of a master of linear drawing. First, complete the training task. Using different lines on a white sheet of paper, depict two moods - cheerful and sad. The composition should consist exclusively of lines. When drawing, remember the nature of the lines.
Now that you have worked with lines, I suggest that you act as a master of line drawing. Create your line drawing with a simple pencil. The base of the drawing should be a line. The drawing must be complete. The depicted object can be anything.
IV. Consolidation of the passed material.
So, today we met with the main shaping tool in the drawing - the line. Let's remember what types of lines are and what role they play in the drawing.
And I would like to finish our lesson with the words of the wonderful poet Vsevolod Rozhdestvensky, which were written by him for the work of Picasso "Dove of Peace":
“Singing slow oval
Captivatingly circled
Rises an unprecedented vision
Whiter than a lily - she.
Doves with a gentle flutter
Her face is bordered
And all of her is the radiance of love,
Dawn entered the window ... "
V. Summing up.
Viewing and exhibition of finished sketches, discussion and evaluation.