How to read with expression? Instructions from actress Yana Poplavskaya

He spoke about this at the open master class “How to read aloud beautifully?”

of the project “Parent University: PRO-Parents”, professional speaker, teacher of speech techniques and oratory skills
Maxim Levchenko.
The event was held in face-to-face and remote formats, which allowed viewers to practice reading poetry and prose with the mentoring support of an expert. The master class is available in the recording at the link, and in this material we have collected the main exercises and practical tips from the speaker, with the help of which you can change your speech and make it expressive and understandable to listeners.

Speed ​​of thoughts and speed of speech

Speech is, first of all, practice. You can listen to hundreds of lectures on how to ride a bike, but this will not allow you to get on and ride.

Our thoughts work at great speed, and when we read to ourselves, we do it very quickly. Sometimes we skip huge paragraphs, not just sentences, descriptions of nature, the author’s reasoning and lyrical digressions.

But expressing thoughts out loud requires a certain skill, because we speak and read out loud for someone. This someone - an adult or a child - must clearly understand what idea you want to convey.

Painting by Ilya Repin “Pushkin at the Lyceum Exam”, 1911

Key words in the text when teaching expressive reading to schoolchildren

Identifying key words to focus on during literary reading can be challenging for younger students.

• To help them with this, the work needs to be analyzed sentence by sentence, highlighting the main words in each phrase.
• After reading the first sentence of the text, ask the child: “What word is the most important in meaning here?” and offer to read the phrase, placing emphasis on the key word.

The ability to highlight key words and concepts in a text will also be useful when studying rhetoric and the art of public speaking, because this skill helps to hold the audience’s attention and clearly convey your thoughts without being distracted by unnecessary details.

The body and our speech

Our speech is inextricably linked with our body: how our body behaves is how we speak.

Experimental exercise “Counting to five”

• Raise your hand up
• Say the numbers out loud and bend your fingers
• Count to five loudly and expressively

You may not have noticed, but each finger curled the moment the number was announced.
You spoke energetically and your fingers flexed energetically. Now count loudly and slowly, also slowly bending your fingers.

The third part of the experiment: say the words loudly and quickly, but bend your fingers slowly.

As a result: nothing works! The reason is that our speech is synchronized with the body, and when we throw the system out of balance, we feel discomfort, it is inconvenient for us to either speak or bend our fingers.

What happens when we read a poem? Thoughts, beautiful and bright, on the one hand rush us forward, and a pinched body with arms crossed behind us pulls us back. At this point, the speech may not be interesting. Whether you are standing or sitting, try to keep your arms hanging, let them help you.

Workbooks for self-learning speed reading

We, at Read Fast, stand firmly in the position of independent learning to read fluently. Including beautiful, but quick reading aloud. Based on the analyzed reading speed test results of almost 30 thousand of our visitors, we have made two workbooks for children and adults. Here they are in front of you:

Using the methodological material presented in these notebooks, each of you can independently increase your own reading speed or the reading speed of your child. No special knowledge, no complicated programs or teachers. Simple exercises and a little self-discipline. Try how it works.

Logical speech and correct breathing

The first thing that is important to remember is the logic of speech, something that reflects the relationship between language and thinking. If you want to express a bright thought, the speech should sound bright and loud, if you want to express a sad thought, it should be quieter, but still clear. In any case, breathing will help.

Without logical stress it is impossible to express thoughts, since one word in a sentence must still be the main one.

A classic example is the question “Is this your grandmother?”

. Try to rearrange the emphasis on different words, and the meaning of the question will change depending on the emphasis.

The second, even more classic example, is Krylov’s famous fable.

Sweated, sweated;
but, finally, he got tired, fell behind the Chest , and couldn’t figure out how to open it. And the Chest simply opened to I.A.
Krylov

Illustration for the fable “Larchik”. Source

Where should I put the emphasis on the last line?

When we put emphasis on the word "simply"

, then the question arises:
“simple” - how is it?
After all, the end of the fable is before us.
There is a feeling of incompleteness. The whole point is that the logical emphasis falls on the word “opened”
. The author does not mean the simplicity of the method, but the need to simply open the chest.

Techniques for developing fluent, expressive, conscious reading article

Techniques for developing fluent, expressive, conscious reading

Teaching children to read correctly, fluently, consciously, and expressively is one of the tasks of primary education. And this task is extremely relevant, since reading plays a huge role in the education, upbringing and development of a person. Reading is a window through which children see and learn about the world and themselves. Reading is also something that is taught to younger schoolchildren, through which they are educated and developed. Reading abilities and skills are formed not only as the most important type of speech and mental activity, but also as a complex set of abilities and skills that have an educational character, used by students in studying all academic subjects, in all cases of extracurricular and extracurricular life.

Life shows that if a student has learned to read during the period of literacy training, then he occupies a prominent place in the class team and believes in his own strength, and, conversely, if a child has not mastered reading, he feels some kind of inferiority, loses faith in his own strength, in the ability to study successfully and in the class team is in the shadow. Morally, he will experience his shortcomings and will not be able to realize his abilities at school, the positive things that are inherent in him. According to psychologists, more than 200 factors influence academic performance, but it is impossible to take them all into account. They selected more than 40 factors that strongly influence academic performance. After testing and questioning students, it turned out that there is factor No. 1 – reading speed. Reading speed is the most important factor affecting academic performance. Therefore, systematic, purposeful work on developing and improving reading skills from class to class is necessary.

The reading process is not a process that can be formed quickly. Unfortunately, over the past 50 years, the time spent learning to read and write has decreased very sharply, almost halving. And if we take a primer from the 1950s and modern textbooks that a child should be reading in 2 months, then we will understand that the information richness, the pace that we give the child, has grown incredibly. But the child’s capabilities remained the same. Whatever specific functionality it had, that is how it remained. If in the 50s children of almost eight years old came to school, then in the last 20 years children of six years old came to school.

In the complex process of reading, three main points can be distinguished:

1. Perception of these words. To be able to read means, first of all, to be able to guess from letters the words that they denote. Reading begins only from the moment when a person, looking at the letters, is able to pronounce, or remember, a specific word corresponding to the combination of these letters.

It is not difficult to show that in this process of perceiving letters as symbols of a certain word, not only vision, but also memory, imagination and the human mind take a large part. When we read words, we not only add letter by letter, but, having grabbed one or several letters, we immediately guess the whole word.

1. Understanding the content associated with the words read. Each word we read can cause some changes in our consciousness that determine our understanding of this word. In one case, a certain, more or less vivid image appears in our consciousness, in another - some feeling, desire or abstract logical process, in the third - both of them together, in the fourth - no image or feeling, but only a simple a repetition of the perceived word, or perhaps another word associated with it.
2. Reading assessment. The ability not only to read a book, but also to think critically about its contents is, as we know, not always observed.

The motive for reading is need. A primary school student mastering reading first has a need to learn to read, that is, to master the sound system and the process of reading itself—the emergence of words from letters. This piques his interest. Having mastered the initial reading (literacy), the student changes the motive for reading: he is interested in understanding what thought lies behind the words. As reading develops, the motives become more complex and the student reads with the goal of learning some specific fact or phenomenon; even more complex needs appear, for example, to know the motive of the hero’s action in order to evaluate it; find the main idea in a popular science text, etc.

Reading is directly related to oral speech. With the help of oral speech, the expressiveness of reading is practiced; When reading, means of verbal expressiveness are used, as well as coherent oral speech to convey the content of the text and communication between readers.

The perception of texts by younger schoolchildren does not correspond to the perception of a mature reader and has a number of features. It is characterized by:

• fragmentation, lack of integrity in the perception of the text;
• weakness of abstracting and generalizing perception;
• dependence on life experience;
• connection with the child’s practical activities;
• pronounced emotionality and spontaneity, sincerity of empathy;
• the prevalence of interest in the content of speech, rather than in the speech form;
• insufficiently complete and correct understanding of figurative and expressive means of speech;
• the predominance of the reproductive (reproducing) level of perception.

To form reading as an academic skill, it is necessary to keep this circumstance in mind. It is also important to take into account the characteristics of children’s cognitive activity. Children aged 6-7 years have not yet developed logical thinking; it is visual and effective in nature and requires reliance on practical actions with various objects and their substitutes - models. Then, gradually, thinking acquires a visual-figurative character, and, finally, logical abstract thinking arises. These stages of development of the cognitive activity of a primary school student leave an imprint on the nature of learning.

In the methodology, it is customary to characterize reading skill by naming its four qualities: accuracy, fluency, consciousness and expressiveness.

Accuracy is defined as reading smoothly without distortion affecting the meaning of what is being read.

Fluency is the reading speed that determines reading comprehension. This speed is measured by the number of printed characters read per unit of time (usually the number of words per minute).

Consciousness of reading in recent methodological literature is interpreted as an understanding of the author’s intention, awareness of the artistic means that help to realize this idea, and comprehension of one’s own attitude to what has been read.

Expressiveness is the ability, through oral speech, to convey to listeners the main idea of ​​a work and one’s own attitude towards it.

In the first stages of learning to read and write, when sound-letter analysis is very important, pronunciation is very important for us. We have no right to teach a child to read silently. But from about 3rd grade, perhaps individually, perhaps at a very slow pace, the child should be taught to switch to reading silently. And this is a different reading mechanism. This is information supplied to the visual analyzer, it happens completely differently. We should understand this, but, unfortunately, we don’t, why? None of the methodologists can answer this.

Working on Reading Consciousness

Comprehension can be generally defined as reading comprehension. However, in the methodology this term is used in two meanings:

1) in relation to mastering the reading process itself (reading technique);

2) in relation to reading in a broader sense (T.G. Ramzaeva).

When they talk about consciousness in the first meaning, they mean how consciously the child performs the necessary operations that make up the voicing of printed signs: finds vowels, correlates them with merger syllables, sees consonants outside the mergers and realizes which merger syllable they belong to. lament.

The term conscious reading in the second meaning functions in the methodology at different levels of the reading process itself.

The first level, which often coincides with the analytical stage of developing reading skills, involves understanding most of the words used in a literal or figurative meaning; understanding individual sentences and their relationships with each other; understanding the meaning of individual parts of the text, their internal connection and interdependence and, finally, understanding the general meaning of the entire text.

The second level of conscious perception of the text is based on the first and involves understanding the subtext of the work, i.e. understanding its ideological orientation, figurative system, artistic means, as well as the position of the author and his own attitude to what he is reading.

We can also talk about the third level of conscious reading, when an individual is aware of his reading interests and has the skills that can satisfy them, in other words, he consciously determines his reading range, focusing on his capabilities. Thus, in modern methodology, the point of view has been established that reading consciousness presupposes:

• understanding the meaning of each linguistic unit of the text;
• understanding the ideological orientation of the work, its figurative system, visual and expressive means, i.e. the author’s position and his own attitude to what he read;
• awareness of oneself as a reader.

The ability to understand what is read develops in children gradually, in the process of all educational and cognitive work, simultaneously with the accumulation of knowledge, life experience and the development of logical thinking.

Reading awareness increases with the development of the child, with the expansion of his knowledge. But in the arsenal of methodological tools there are many, the use of which in the skillful hands of a teacher serves to develop reading consciousness. These include purposeful, well-thought-out preparation of children for a reading lesson, a conversation on what they read, causing children to become active, working on a plan for the work they read, various types of vocabulary work and creative retelling, etc.

So, for example, when conducting vocabulary work in a lesson, the following techniques can be used to find out the meaning of a word:

1. Demonstration of an object or its image in a painting.
2. Excursion to observe this object.
3. The teacher's story about the subject, phenomenon.
4. Complete logical definition of the concept.
5. Description of the item.
6. Subsuming a particular concept under a general one. (Antelope is an animal of the deer breed.)
7. Division of a general concept into specific ones (Agricultural implements - seeders, harrows.)
8. Appeal to the composition of the word.
9. Appeal to context. Among the words unknown to children, there are those that, taken separately, are incomprehensible to children, but their meaning in context becomes clear.

If the word is the name of an important concept that will be worked on in class (for example, a scientific term), it is necessary to introduce it into the students' active dictionary. In this case, you can use, in addition to the mentioned techniques, another one - this is the display of small cards - posters. At the moment of explanation, the teacher hangs up a card with this word. The card can be attached to a picture with corresponding content.

To develop conscious reading, it is also useful to use deformed texts and unfinished stories in the classroom.

A system of training exercises for improving expressive reading skills.

Proper training in expressive reading is of great importance. Reading expressively yourself and teaching children to read expressively are not the same thing. The method of teaching expressive reading is based on the principle: to read means to penetrate into the meaning of a work, into the image of a word.

The means of speech expression are the following components of spoken speech:

• voice strength (loud - quiet);
• reading pace;
• reading timbre;
• pauses;
• logical stress;
• raising or lowering intonation.

These skills are developed using the following techniques:

1. Breathing exercises.
2. Diverse reading. (“Read the poem as a snake, a crow, a magpie would read it”).
3. Exercises to develop the vocal apparatus. (We say it loudly, quietly, in a whisper).
4. Practicing reading tempo. (We pronounce quickly, moderately, slowly).
5. Diction exercises. (Tongue twisters, pure tongue twisters).
6. Technique of imitation of the teacher.

Breathing exercises and voice training

"Blow out the candle." Take a deep breath and exhale all the air at once. Blow out one large candle. Now imagine that there are three candles on your hand. Take a deep breath and exhale in three breaths, blowing out each candle. Imagine that you have a birthday cake in front of you. There are many small candles on it. Take a deep breath and try to blow out as many small candles as possible, making the maximum number of short exhalations.

“Spray the laundry with water” (in one step, three, five). Take a deep breath and simulate splashing water on your laundry.

"At the flower shop." Imagine that you came to a flower shop and smelled the delightful aroma of flowering plants. Take a noisy breath in through your nose and exhale (2 – 3 times).

Exhale with a count. Take a deep breath and count loudly as you exhale until the air runs out.

Using tongue twisters (in unison):

Like on a hill on a hill

Cost 33 Egorki (deep breath)

One Egorka, two Egorkas......(until full exhalation).

It should be noted that after just a few classes there is enough air for more Yegoras.

To warm up the vocal cords, they offer so-called chanting exercises (in the 3rd quarter, during the lessons of studying the peculiarities of the construction of Russian folk tales, these exercises were replaced with a Russian folk choral song, for example: “There was a birch tree in the field”).

"Bear cubs." Imagine that you are little cubs and ask your mother bear to eat. Words must be pronounced drawlingly, in a bass voice, clearly pronouncing the sound [m].

Mom, I wish we could

Mom, could we have some milk?

"In the elevator". Imagine that we are riding in an elevator and announcing the floors. The higher the floor, the higher the voice, and vice versa. We go first from first to ninth, and then down.

"Handle in teeth." Write your name silently in the air. Say your name while holding the pen between your teeth and lips.

Speech apparatus training.

It is advisable to begin each literacy lesson with speech exercises (2-3 minutes). This type of exercise promotes the development of the speech apparatus, helps teach children to consciously observe the pronunciation of each sound, teaches the correct pronunciation of sounds, and promotes the development of clarity and correctness of speech.

Speech exercises may include the following exercises:

"Score a goal." The mouth is closed, the lips do not move, the tip of the tongue touches the cheeks.

“Brush your teeth.” Use the tip of your tongue to brush your teeth with your mouth closed.

"Horse". Clattering.

"Swing". Move the lower jaw from side to side, then forward and backward.

Make O and immediately into a wide smile And

Each lesson contains 1-2 exercises; the same exercise can be practiced throughout the week; this exercise can be repeated as needed (when becoming familiar with a sound that requires training of the speech apparatus).

Intonation warm-up.

Often, when demanding expressive reading from children, the teacher does not name what specific criteria this concept is determined by. There is no doubt that the concept of “expressive reading” is multifaceted, and the ability to read expressively largely depends on the life experience of children, the formation of emotional education, and the depth of feelings. And, of course, in elementary school, work on developing the ability to read expressively is just beginning. I think it’s right to start this work by developing three skills:

• Develop and give your voice intonations: joyful and sad, affectionate and angry, humorous and serious, mocking and approving, as well as intonations of enumeration, completion, confrontation.
• Choose the desired reading pace (fast, rhythmic or smooth, metered or a combination of these).
• Place logical stress in a sentence.

Practicing diction and reading pace.

In a literary reading lesson, it is useful to work on tongue twisters. This exercise helps develop the articulatory apparatus, improves diction and voice timbre. The method of working with tongue twisters is quite well known: from slow, distinct pronunciation to the most clear, fast pronunciation.

I only recommend highlighting with colored chalk in the recording of tongue twisters the letters indicating the sounds to be worked on, for example:

Senka and Sanka carried Sonya on a sled.

Sasha walked along the highway and sucked on a dryer.

I find it useful to start work with one line of tongue twister and add a new one at each lesson. To practice clear pronunciation, only one new line is offered, but the volume of reading material increases (2, 3, 4 lines). Since during 3-4 lessons reading a tongue twister begins with a text familiar to the children. And the guys, “taking a running start” (reading the familiar part of the tongue twister), prepared to read the new line at a good pace and without errors.

Examples of tongue twisters used in lessons:

Speak, speak, but don’t talk.

Geese are cackling on the mountain, and a fire is burning under the mountain.

There is grass in the yard, there is firewood on the grass, don’t cut wood on the grass in the yard.

Three little birds are flying through three empty huts.

Did they water the lily, did they see Lydia?

The fellow ate thirty-three pie pies and all with cottage cheese.

Forty mice walked, carrying forty pennies; two smaller mice carried two pennies each.

Senka is carrying Sanka and Sonya on a sled. Sledge - gallop, Senka off his feet, Sanka in the side, Sonya in the forehead, all in a snowdrift.

Prokop came - the dill was boiling, Prokop left - the dill was boiling, just as under Prokop the dill was boiling, so without Prokop the dill was boiling.

Tongs and pliers are our things.

Ways and techniques that contribute to the formation of correct reading fluency.

Correct reading is reading without distortion, i.e. without errors that affect the meaning of what is being read. Long-term observations of the development of reading skills in children allow us to identify several groups of typical mistakes made by students learning to read.

1. Distortion of sound-letter composition:

• omissions of letters, syllables, words and even lines;
• rearrangement of reading units (letters, syllables, words);
• insertion of arbitrary elements into reading units; – replacement of some reading units with others.

The reasons for such errors are imperfection of visual perception or underdevelopment of the articulatory apparatus. However, the so-called “reading by guess” can also cause distortions. This phenomenon is based on such a human property as anticipation - the ability to predict the meaning of a text that has not yet been read based on the meaning and style that is already known from the previous passage read. A guess appears in the reader with the acquisition of reading experience and is, thus, a sign of his progress in mastering the skill of reading. At the same time, the teacher must remember that the textual guess of an experienced reader rarely leads to errors that distort the meaning of what is being read, and the subjective guess of an inexperienced child often entails errors that prevent him from understanding what is being read.

2. The presence of repetitions.

Such errors involve repeating reading units: letters, syllables, words, sentences. The less perfect the reading skill, the smaller the reading unit is repeated. These errors are very close to the previous type, however, their causes are different. Repetitions, as a rule, are associated with the child’s desire to retain the component he has just read in his working memory. This is necessary for the little reader to comprehend what he read. Therefore, at the analytical stage of developing a skill, repetitions are inevitable and should be perceived by the teacher as a natural and even positive phenomenon. Excessive haste by the teacher and early suppression of “repetitions” in students’ reading can prevent the child from moving freely and naturally to the synthetic stage of reading.

3. Violation of the norms of literary pronunciation.

Among errors of this type, several groups can be distinguished:

1) errors are actually spelling errors; Among them, incorrect stress is the most common type. Such errors are associated with ignorance of pronunciation norms or ignorance of the lexical meaning of the words that are being read;

2) errors associated with the so-called “spelling reading”:

reading units are sounded in strict accordance with spelling, and not with pronunciation. The teacher must keep in mind that “spelling reading” is a mandatory period for developing a skill. The sooner a student learns to synthesize all the actions of the reading process (perception, pronunciation, comprehension), the sooner he will abandon “orthographic reading.” Therefore, work that helps the child comprehend what he reads will also help eliminate “orthographic reading”;

3) intonation errors, which are incorrect logical stresses, semantically inappropriate pauses. It is easy to see that such mistakes are made by the reader if he does not understand what he is reading. However, for a small child, the reading process requires not only intellectual, but also physical effort, so the cause of intonation errors in a small reader may be untrained breathing and speech apparatus.

A teacher can work correctly on correcting and preventing errors in reading only if he understands the reasons for erroneous reading and knows the methodology for working on errors. So, factors such as:

1) small field of view when reading;

2) underdevelopment (insufficient flexibility) of the articulatory apparatus;

H) shortness of breath;

4) ignorance of spelling norms;

5) ignorance of the lexical meaning of the word;

6) “guess” caused by the subjective type of reading.

In order for the development of reading accuracy to be effective, the teacher must determine a special reading mode:

1) daily exercises (special texts, tongue twisters, memorizing poetry and prose).

2) Read error prevention:

• preparation for reading,
• introductory conversation,
• work with split alphabet (grade 1),
• analysis of a difficult word by composition,
• choral reading aloud of difficult words (by syllables, parts, whole).

Also, the correctness of reading is influenced by: posture when reading, normal distance between the eyes and the text, preliminary reading “to oneself”, exemplary reading by the teacher.

The most important factor influencing the academic performance of schoolchildren is the reading pace: the higher it is, the better the progress.

Fluency is a reading speed that presupposes and ensures conscious perception of what is being read. Fluency standards are indicated in the reading program by year of study, but the main guideline for the teacher should be the individual's oral speech. An objective guide to fluency is the speech speed of a TV or radio announcer reading the news, which is approximately 120-130 words per minute.

Fluency depends on the so-called reading field and the duration of stops that the reader allows during the reading process. The reading field (or reading angle) is a segment of text that the reader’s gaze grasps in one go, followed by a stop (fixation). During this stop, awareness of what is captured by the gaze occurs, i.e. the perception is consolidated and comprehended. An experienced reader makes 3 to 5 stops on a line of unfamiliar text, and the sections of text that his gaze grasps at one time are uniform. The reading field of an inexperienced reader is very small, sometimes equal to one letter, so he makes many stops on the line and the segments of the perceived text are not the same. They depend on whether the words and phrases being read are familiar. Repetitions in the reading of an inexperienced reader are also associated with the comprehension of what has been grasped at one time: if he has not been able to retain the perceived segment in his memory, he has to return once again to the already spoken text in order to comprehend what he has read. Now it becomes clear that by training visual perception, the teacher works not only on accuracy, but also on reading fluency.

Reading fluency affects the quality of memorization of material: the faster a child reads, the easier it is to perceive what he read. To move on to such reading, it is necessary that the child begins to see the text in the form of words, and not individual letters. Constant work in class with numerous exercises leads to the fact that the child stops reading syllables and begins to perceive what he read figuratively. But before monitoring the level of development of reading skills, it is important to organize all previous work so that each student can cope with the proposed text. After all, with methodically correctly structured work, a student can not only achieve the required speed indicators, but also exceed them.

To achieve fluent reading skills, you need to solve the following tasks:

• development of working memory;
• development of peripheral vision (angle of vision);
• development of memory anticipation skills;
• formation of sustainable attention;
• prevention of repetitions when reading;
• replenishment of the student’s vocabulary;
• development of the articulatory apparatus.

Undoubtedly, students should spend 30–35 minutes on direct reading in class. We must not forget about this. Otherwise, what kind of reading fluency can we talk about?

Experiments conducted in recent years have shown that rapid reading activates thinking processes and is one of the means of improving the educational process for a wide variety of learning levels.

When children began to read with interest, reading fluency and comprehension appeared, and their performance in both the Russian language and mathematics increased noticeably.

In the course of a study on the development of fluent, conscious, expressive reading skills, the assumptions were confirmed that the development of reading skills will be effective if you select the text and understand what you read, i.e. create a “success situation”, conduct exercises for expressive reading in the system, starting with the simplest ones and gradually complicate them.

The use of various methods and techniques contributes to the formation of competent fluent reading, makes reading lessons interesting, lively and emotional. The variety of tasks attracts and holds the attention of children, develops an interest in reading, which then does not fade away in subsequent grades.

“Without reading there is no real education, there is no, and there can be no taste, no style, no multifaceted breadth of understanding,” wrote A. Herzen, and V.A. Sukhomlinsky said that “you cannot be happy without knowing how to read. Anyone who does not have access to the art of reading is an ill-mannered person, a moral ignoramus.”

Psychologists say that more than 200 factors influence a student’s performance. But if you carefully examine them, the number one factor in influencing a student’s performance is still the ability to read fluently!

Line length and logical accents

Different poets use different line lengths, for Vladimir Mayakovsky it is a one-word ladder, for Alexander Pushkin it is 6-7 words.

As a rule, we subconsciously strive to read as many words as possible in one go. But it's not right. Each author puts not only mood and thought into a poem, he sets the rhythm.

Use the rule: read each line on one exhalation and highlight the last word, before the next, pause and inhale.

As soon as we begin to pause between lines, rhythm appears - and it is created not through intonation or emotion, but through breathing.

When reading poetry, children often do not give themselves the opportunity to exhale and get confused in fast-flying thoughts. With such a measured pace, as in the rule, you will be able to read the entire work to the end.

Try practicing with the passages below. All examples should be perceived not as literary works, but as a simulator. And you will see how emotions appear precisely thanks to breathing.

Once upon a time there was a priest
with a thick forehead. The priest went to the bazaar to look at some goods. Balda goes towards him , not knowing where. “Why, dad, did you get up so early? What are you asking for?” The priest answered him: “I need a worker: a cook, a groom and a carpenter.
A.S. Pushkin

Illustration “The Tale of the Pope and his worker Balda.” Source

- Tell me, uncle, it’s not for nothing that
Moscow, burned by fire, was given to the Frenchman? After all, there were fighting fights, Yes, they say, some more! No wonder all of Russia remembers Borodin Day! - Yes, there were people in our time, Not like the current tribe: The heroes are not you! They had a bad lot: Few returned from the field... If it weren’t for God’s will, They wouldn’t have given up Moscow!
M.Yu. Lermontov

Follow the rhythm that is laid out in the poem.

In the case of “Borodino” it is solemn, in the case of Alexander Sergeevich’s fairy tale it is measured and narrative. It is important for children to be encouraged to learn and read poetry in this format, line by line, so that they have time to pause.

In verse studies, we teach not only how to recite the poems themselves, but also how to present them.

By this time, speakers should have mastered the Basic techniques of public speaking. How to recite poetry without gestures? Without pauses? Without intonation?

Today it is difficult to find a modern poet-speaker. Poems are art, and you need to be able to present this art correctly.

So if you like poetry, you like to read poems or write your own and want to recite them beautifully, you will find our course on verses useful.

In addition, you will learn to beautifully recite not only poetry, but also prose.

Emotions, voice acting, penetration, power of delivery, of course, are useful for any other speech.

Prose

And just imagine, having gathered at a party or at a special event, your friend wants to say something or show himself in some way. And you may begin to read the poem. And not just like that, but beautifully. And now the evening will cease to be languid...

It’s not for nothing that they say that poetry is the best words in the best order.

• Online poetry training
• Public speaking training at the training

Sincerely, the team of trainers of the School of Oratory Skills.

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Speech speed and volume

A trait that you should get rid of is the desire to speak quickly.

Keep your speech slow and loud. Only in this case is it possible to convey the meaning.

Poetry is the art of squares.

Go to the board and talk so that you can be heard. Loudness does not appear due to tension in the throat, but due to exhalation.

Of course, it is impossible to evaluate speech without a psychological aspect. When you speak quietly, people may not pay attention to you. It can even be comfortable - no one is watching, everything is quiet, calm and unnoticeable. But is this your goal?

When you become noticeable, you will feel eyes turning to you. You need to get used to the fact that you are a good speaker - they listen to you attentively. Get out of your comfort zone. Let's look at another exercise:

Being famous is not nice.
This is not what lifts you up. There is no need to start an archive, to tremble over manuscripts. The goal of creativity is dedication, not hype, not success. It’s shameful, meaning nothing, to be a byword on everyone’s lips.
B.L. Parsnip

Try to highlight both the first and last word on one exhale.

There is a rhythm here - the one in which Pasternak wrote the poem. The moment you understand the rhythm, you speak in the words of the author, you understand the work.

At this stage, you should not invest sensations; highlight the words in one exhalation. We all want to express something, but we usually do it by changing our tone of voice. It is much better to try to achieve the same goal with the help of breathing.

The little son
came to his father and the little one asked: “What is good and what is bad?” “ I have no secrets,” listen, kids, “ I’m putting this dad’s answer in the book.” V.V.
Mayakovsky

Try to apply the rule of exhalation, stress and pause to a poem by Vladimir Mayakovsky. You will understand that the poet deliberately chose a rhythm similar to communicating with children: you speak slowly, emphasizing each word so that the child can understand.

All works are different. There are complex and long ones with intricate sentences. There can be several stressed words

, but the pause for inhalation after them remains.

The rose is beautiful in shape and has a pleasant scent.
Hemlock is ugly and smells terrible. Byron, and Schiller, and Scott are perfect in spirit and body, but Burenin is ugly, and his spirit is not good
S. Cherny

Sasha Cherny wants to offend and even make the reader laugh, he started a game, so follow his logic of speech. Forget that breathing is needed to pronounce the longest possible number of words in a row.

Don't be shy to speak loudly

. Reflexes are born in the process, and the body will remember how you read poetry, helping yourself with your hands and movements.

Remember the expression “to read aloud, you need to understand what you are reading.” Listen to the most professional readers and their rhythm, radio announcers: they all read very slowly, it only seems to us that they speak quickly.

Parsing the text for its meaning

1. Choose a reading passage that is close and understandable to your child.
2. Read it out loud with the correct expression.
3. Ask what the text or poem is about, and in what mood it should be read. It is advisable to choose a work in which the intonation changes once or twice, so that the child can experience the art of expressive reading from this example.
4. Ask him about the characters in the work: does he understand their feelings and concerns? Expressive reading presupposes both an understanding of the text being read and an emotional interest in the text and how the reader “presents” it.

The first lessons in expressive reading are best based on interesting children's poems, for example, stories from the lives of schoolchildren. Then it will be easier for children to understand with what expression they need to read the text.

How to read tongue twisters correctly?

Even when we read aloud a text that does not rhyme, the logical emphasis is preserved. It is still necessary to read two or three words in one exhalation and do it clearly.

White snow. White chalk. The white hare is also white. But the squirrel is not white. It wasn't even white.

Do not immediately try to pronounce the tongue twister quickly, since they were created, contrary to the popular approach, not to test speed. Highlight the stressed vowel in a word and have time to inhale after every two or three words. Our task is to understand the logic, convey the idea of ​​the tongue twister, and at the same time practice the sounds clearly and clearly. All this will not work if you try to do it in 5 seconds.

Watch your speed

The beginning and end of any work, be it poetry or prose, must be read slowly. At the beginning of reading, the listener must tune in, understand that his attention now belongs to you. If you start jabbering right away, the attention of your listeners will quickly disappear, and the picture you are supposed to paint with your words will no longer be interesting. Another recommendation for children is not to neglect reading aloud for a while. As a practice, you can try reading 120 words per minute without stopping. Some children aged 9-10 years often read aloud as if syllable by syllable. But if you read text at speed for at least 15 minutes every day, you will soon be able to overcome the “120 words per minute” barrier.

Reading prose

Reading books like your favorite announcers is a special dream for teachers, mothers and fathers. I would like to give children a fairy tale, to convey an emotion, but it doesn’t always work out.

The fact is that we usually read several lines at once in one breath, and then we start to get lost. Return to the main rule: convey the logic of speech, make accents and pauses, because breathing here is designed for two or three words. The brain itself calculates the rhythm of the work and on the fifth or sixth line the text will go as it should.

How much effort was invested when we or our children read aloud the text of Gogol, Pushkin, the description of the oak tree from the novel “War and Peace” by L.N. Tolstoy. But as soon as you start breathing and don’t run, the impact words will begin to appear on their own. Speech is intended to convey not only a set of words, but a thought.

Try tossing each word in the passage upward. Trust your breathing and it will build a rhythm. Don't be afraid that "tossing" will look like "grimacing." From the outside, everything looks much calmer, and, most importantly, clearer:

It was a huge oak tree, twice the girth, with branches that had apparently been broken off for a long time and with broken bark overgrown with old sores. With his huge, clumsily, asymmetrically splayed, gnarled arms and fingers, he stood like an old, angry and contemptuous freak between the smiling birch trees.

L.N. Tolstoy

Painting by Jules Dupre "Old Oak", 1870

But what to do if the author’s text has ended and dialogues begin? How to dub the voices of different characters?

There is no need to change your voice or speak unnaturally. The main rule is the same pauses. Remember how you speak in everyday life. If the hero whispers, whisper. If a mischievous boy speaks, be naughty! In addition, the author always leaves hints by adding descriptions to the dialogues.

Parting words

Don't doubt yourself, the ability to read expressively can be learned. The main thing that is needed is practice. It will take effort to get used to the new you: breathing, rhythm, tone. But such a person will always attract the attention of both young and adult listeners.

The master class was organized by the “Parent University: PRO-Parents” project of the Prosveshcheniye Group of Companies and the HEROES project with the support of the Yana Poplavskaya Foundation.

The next in-person and online lesson with Maxim Levchenko will be devoted to the topic “Punctuation Marks in Speech” and will take place in May 2021. You can register for this and other events on the official website.

What should I do if I get tired quickly when reading aloud?

First, let's quickly point out that like any physical process that you try to perform correctly for an extended period of time without proper preparation, reading out loud can and should make you feel uncomfortable. This is fine. At first more, over time much less.

Each of you, especially with the advent of a child, starting to read fairy tales out loud, noticed that very soon your throat begins to feel sore, unpleasant sensations appear in part of the larynx, you want to clear your throat or at least drink water.

Strange as it may seem, in order to read aloud for a long time and not get tired, you need to train not your throat or vocal cords, but your diaphragm. The diaphragm is responsible for how and with what force you breathe, and breathing, in turn, forms the sound range. By training your diaphragm you will get rid of the problem of rapid fatigue when reading aloud.

How to do it yourself? In addition to developing the diaphragmatic muscles, in order not to get tired quickly and to remain morally strong throughout the entire reading aloud, simple secrets of stage speech will help you. After all, as we remember, beautiful reading aloud is the basis of performing arts.