Expressive reading, teaching, workshop. Secret Technique: Percussive Words at Changing Points Percussion Words at Changing Points Examples

SPEECH TECHNIQUE

INTRODUCTION

GENERAL COURSE STUDY REMARKS

SECTION I ... ORTHOEPY.

PRONUNCIATION OF AGREED

SPEECH TECHNIQUE. DICTION.

Short description the position of the articulatory apparatus when pronouncing vowels.

VOICE SOUNDS

YOTED SOUNDS E, I, Yo, Yu .

Self-test questions

WORKING ON TEXT

RULES FOR DETERMINING LOGICAL HITS

Methodological guidelines for understanding expressive, logically correct speech

SECTION II ... DREAM SIGNS, GRAMMATIC PAUSES

SEMICOLON

COLON

EXCLAMATION MARK

QUESTION MARK

DOT

LOGICAL PAUSES

LOGICAL IMPACT

SOME LAWS OF ORAL SPEECH

ANALYSIS OF ARTISTIC TEXT OF DRAMATIC WORKS AND SPEECH BEHAVIOR OF CHARACTERS

ANALYSIS OF THE ARTISTIC TEXT OF A DRAMATIC WORK FROM THE POSITION OF SPEECH BEHAVIOR OF THE TEACHER

PLACE OF GISTICULATION AND MIMICS IN THE SPEECH BEHAVIOR OF THE TEACHER

LIST OF KEY REFERENCES

The logical analysis of the text will help senior students to perceive the language as a living organism, constantly changing and improving. The development of these skills is facilitated by the special exercises proposed in this work.

The logical analysis of the text, the purpose of which is to work with literary works, is partly included in the discipline "Culture of speech" and in the discipline "Expressive reading". Successful study will allow, I think, to solve the speech problems of the adolescent's communication with people around him, and also increase the degree of expressiveness of his speech.

Leo Tolstoy said that the art of a writer is to find "the only necessary placement of the only necessary words." The task of the teacher, following the author's idea, is to penetrate the secret of this only necessary placement of the necessary words and "show" it to the students, combining in this demonstration the educational and educational functions.

While developing the skills of logical analysis of the text among high school students, the teacher will rely primarily on the ability of students to think and act logically, on knowledge native language and its features - its vocabulary, the specific construction of the phrase, the meaning of punctuation marks, the semantics of the epithets used.

The expressive features of verbal lively colloquial speech are inexhaustible and have not yet been fully investigated by scientists, therefore, in working with schoolchildren, the teacher will note only a number of basic patterns of Russian speech - when placing pauses and accents in melodic (voice movement up or down during the development of thought, at its completion ).

The intonations can be infinitely varied when pronouncing the same phrase. There should be only one prerequisite - intonation should accurately convey the meaning that the author wanted to express. And for this, not intonation moves by themselves are needed, but one must go along that circle of thoughts, visions, implications that are necessary to reveal the author's intentions.

This is what helps to successfully find the necessary intonations for the only necessary words. Therefore, in order to remember the found expression of thought, you need to remember not the intonation, but its logical course, which led to the correct, effective word, to a logical perspective.

That is why, along with the development of the skills of logical analysis of the text, students become more familiar with the laws of oral speech. The use of the expressive properties of the latter when reading a literary and artistic work and when working on it relies, of course, on knowledge of the laws of the language, the understanding of which will help high school students to consciously place punctuation marks, focusing on the semantics of the text.

The problem of professional training of a teacher is currently acquiring special significance and relevance.

The level of modern requirements for professionals in any field, including the creative activity of a teacher, is very high.

A teacher who goes out to children must be a master of his craft. If a teacher claims to be an authority, morally and intellectually developed, then he must not only have the necessary knowledge and be able to methodically correctly present them to children, but also be a creative person, have an individual style. teaching activities, try to reach the heights of pedagogical excellence.

At the same time, in the teacher's activities there is a lot of typical, repetitive, stable, reflected in the already identified laws, principles and rules. But there is also a lot of changeable, variable, individual.

Each time, the general provision must be applied taking into account the specific circumstances, the originality of the given situation. The teacher must "rediscover" what has been discovered by science, make his own. And the instrument of influence of the teacher on the students is the word.

VA Sukhomlinsky noted: “The word is the subtlest touch to the heart, the word can kill or revive, hurt, ... sow confusion and hopelessness. Dispell doubt and discouragement, create a smile and plant disbelief. Inspire to work and numb the strength of the soul. "

Children are impressionable, so there is a problem of activating the impact of emotional speech on them, which contributes to the development of imagination, creativity, aesthetic sense.

By ensuring in this way the language development of children, the teacher creates conditions for their intellectual, emotional, moral development and prepares them for active, active participation in the life of society.

The starting point in the formation of the speech culture of children is the speech of the teacher himself. M.A. Rybnikova emphasizes: "The teacher himself, his manner of speech, his expressive word, his story, his poetry reading - all this is a constant example for students."

Consequently, attention to exemplary speech, which should be the speech of a teacher, will help to form students' linguistic taste, a critical attitude to their own oral speech, the need to improve it, and will help them to understand the basic rules of speech behavior.

So, taking into account the urgent need to improve the speech skills of teachers, we propose to form the process of teaching university students in the course "Culture of speech", based on the following provisions:

1. Mastering the skills of a culture of speech is an integral part of mastering a specialty and therefore should be carried out in creative and methodological unity with the teaching of disciplines of a humanitarian nature.

2. The most important factor in mastering the course is the activation of students' independent work, assistance in which will be provided by the proposed methodological developments in some sections of the subject.

In the process of working in practical classes, it is necessary to establish the general state of the speech-voice apparatus of each student, his ability to carry the logical perspective of thought in the text, to identify and eliminate the presence of diction, vocal, orthoepic deficiencies, to determine their nature (if necessary, refer to a phoniatrist).

The culture of the teacher's speech has a number of qualities that distinguish it from everyday life. It should sound phonetically clear, literary correct, be effective.

Pronunciation in pedagogical speech is not only its external form, but also an important means of expression. Therefore, the most important task of the course is to develop students' professional word skills.

The Culture of Speech course consists of the following sections:

1. The culture of the teacher's speech and professional skills.

2. Norms of pronunciation of the Russian language.

4. The communicative qualities of the teacher's speech.

5. Types of speech works (genres) used in various educational situations.

The proposed manual includes guidelines for such sections as "Orthoepy" and "Speech Technique". Their task is to master the rules of the literary pronunciation of the Russian language and correct all kinds of speech deficiencies of students.

According to the curriculum, classes end with a test, the main requirement of which is proficiency in the language of the subject, knowledge of the basic theoretical provisions of the course, qualified analysis of the sound of another person's speech and one's own, skillful work on the logical analysis of a literary text.

Orthoepy Is a set of rules that establish a single, inherent literary language pronunciation that is recognized as exemplary. The teacher's speech should be exemplary in pronunciation. To do this, you need to learn the norms of generally accepted literary pronunciation.

These norms, formed back in the 19th century as a result of careful study and selection, have absorbed all the best and most characteristic of the Russian language.

Modern Russian orthoepy (the name comes from the Greek ώρφος - correct and έπος - speech) evolved along with the development of literature and dramatic art. There are a lot of regional dialects and dialects, which sometimes can only be used as speech characteristics of the image .

Students need to learn basic pronunciation norms and know how to use them.

In Russian speech, the question of correct stress , since the stress can be on any syllable, for example:

d'omik, got'ovit, brought etc.

Different stressed syllables change the meaning:

torment - torment, castle - castle .

Each word of the Russian language has one stressed syllable (with a stressed vowel), without which the word in pronunciation does not have a complete form. The specificity of speech is manifested in wide chanting vowels .

For the correct pronunciation of unstressed vowel sounds of a word, attention should be focused on stressed syllable.

there is a number of rules for the pronunciation of unstressed vowels:

1 .Non-impact sound [ ABOUT ] at the beginning of a word and in pre-stressed syllable pronounced like [ Λ ]:

take away – [Λ] take away , ax - t [Λ] since .

2 .« ABOUT »Unstressed, occupying the second or third place before the stressed syllable or located immediately after the stressed syllable, sounds like an intermediate ( reduced) sound between [ AND ] and [ S ].

It is indicated by the sign B :

gateway - n [B] dv [Λ] company ;

rime - change [B] r [B] h ;

hair - ox [B] from).

3 .Non-impact sound [ AND ] at the beginning of a word and in an unstressed syllable immediately before the stressed one is pronounced as a short " AND »:

artist - [AND] rtist, gardens - with [AND] dy .

4 .Non-impact sound [ AND ] after F, W pronounced like AND :

heat – f [AND] ra , steps - w [AND] hi , balls - w [AND] ry .

5 . Unstressed vowel sounds [ Have ], [S ] in pronunciation are not replaced by other sounds, but lose their longitude.

6 .Vowel [ AND ] at the beginning of a word goes to [ S ], if the previous word ends in a solid consonant:

with interest - with [S] interest

so know – so [S] know .

But if, according to the meaning, there should be a pause between the words, then the pronunciation of the sound [ AND ] remains unchanged:

i listen with / interest frost and sun .

7 . Unstressed vowels " E », « I »In pronunciation sound like the middle sound between AND and E , which is indicated by the sign AND :

rowan - p [AND] bina, spring – in [AND] sleep .

8. Sound [ E ] under stress can sound differently, depending on the consonants after it: before hard consonants [ E ] sounds wide, open, before soft - closed, narrow:

E - wide: m [E] l , p [E] l , sv [E] t ;

E -closed: p [E] whether , sv [E] tit).

9. Combinations AO, OA, AA, OO pronounced the same as [ AA ]:

on the window - n [AA] kne

in the army – p [AA] rmeyski

on the arch - n [AA] pke

monotonous - one [AA] brave .

10.A and ABOUT in combination with U (OU, OU) far ahead of the stress are pronounced with reduced sound [ AND ], but never transition to sound [ Have ]:

at random - n [B] guess in the corners - n [B] corners .

11 .Combinations YE, IE in adjective endings plural pronounced like NI, AI:

old – old [NII], white - white [Si]

summer - summer [AI], blue - syn [AI].

12 Endings of adjectives - GIY, -KY, -KHIY pronounced like –G [B] Th , -TO [B] Th , -X [B] Th :

long - debt [B] th , wide – broad [B] th

quiet – quiet [B] th .

Pronunciation of words is different from spelling :

Andreevna - Andrevna, Nikolaevna - Nikolavna;

Ivanovna - Ivanna, Alexandrovna - Aleksanna;

Lukinichna - Lukinishna etc.

Some female and male names in combination with middle names are pronounced differently than it is written:

Maria Ivanovna - Mary Ivanna

Pavel Pavlovich - Pal Palych .

1. Voiced consonants at the end of a word and before voiceless consonants are pronounced as voiceless:

carrot - carrot, carrot - carrot;

cart - vos, eyes - voices, move - hot;

tub - skating, friend - druk .

2 Voiceless consonants before voiced consonants are pronounced loudly:

collection - collection, deal - food, rest - oddy .

Before the voiced R, L, M, H, V there is no assimilation of voiceless consonants with voiced ones:

with young, with role, with lemon

with you, with Nina.

3 .Sounds SSh, ZSh standing next to each other are pronounced as double ШШ :

he made a noise - he made noise, from a fur coat - and a fur coat.

4 .Combinations in the roots of words Zzh and LJ pronounced double soft LIVE :

later - come on, newcomer - come on

yeast - yeast, squeal - see

to grumble - to grumble.

5 . Combined with vowel sounds F, W, C always sound solid:

Fat - fat, breadth - shyr, zinc - zinc.

6 .Combination MF and AF pronounced as double U :

account - Shchet, happiness - Shchastye

carter - WOSHCHIK, without tea - I will be.

7 .Combinations DCh and PM pronounced double H :

the adjuster is the adjuster, despair is the despair.

8 .Combinations DC, TC pronounced as double C :

thirty - threeTsTsat, father - oTsTs.

9 .Sounds Щ, Ч always pronounced softly:

pike - pike, tea - chiai.

10 .Combinations DS and TS pronounced in adjectives like C :

urban - Gorotsky, Soviet - Sovetsky.

11 .Combination CHN has a double pronunciation as SHN and CHN , because SHN remains in words alive spoken language :

boring - boring, deliberately - overwhelming

bakery - bunny, trivial - trivial

scrambled eggs.

In textbooks, students need to familiarize themselves with a more detailed presentation of the rules for the pronunciation of vowels and consonants and their combinations in the modern Russian literary language.

They must learn the norms of pronunciation not only in the course of classes, but also in practice. everyday speech that needs to be controlled.

We must learn to listen to the speech of the people around, compare the pronunciation, follow the speech of the stage masters, listen to the recordings of the speeches of the readers, artists, listen to the announcers of radio and television.

It is good to train the rules of pronunciation in loud readings, to rewrite passages in their orthoepic writing - all this makes it possible to consolidate the rules.

Good diction means clear and clear pronunciation of each vowel and consonant separately, as well as words and phrases.

Speech technique - one of the sections of the culture of speech, it is the base speech culture ... Poor diction makes it difficult to understand the essence of what is being said.

“A word with a crumpled beginning is like a person with a flattened head. A word with an unspoken ending resembles a man with amputated legs. The loss of individual sounds and syllables is the same as a knocked-out eye or tooth "(KS Stanislavsky).

A clear and distinct pronunciation is possible with a normal speech apparatus and with its correct operation. TO speech apparatus include: lips, tongue, jaws, teeth, hard and soft palate, small uvula, larynx, posterior pharyngeal wall (pharynx), vocal cords.

There may be defects in the structure of the speech apparatus that cause lisp, lisp, burr, then medical intervention is required. But the reason for the fuzzy pronunciation is bad habitwhich you can get rid of by systematic training.

Students need to be mindful of the regularity of the exercises. Speech technique - a practical subject, only constant training is an indispensable condition for developing clear diction. Even if speech is clear, it still needs technical improvement.

You need to know your shortcomings, understand and master the position of the parts of the vocal apparatus at the time of pronouncing a particular sound. You need to be engaged in speech technique so that speech is easy, free.

K.S. Stanislavsky attached great importance to training the speech apparatus ... Often there are people with lethargic speech, laziness of the tongue and poor work of the lower jaw ( jaw tightness).

For the development of the organs of speech, it is necessary to engage articulatory gymnastics , with its help, flexibility and compliance of the speech apparatus and individual muscles are developed. An important role is played by muscles that require systematic training. Strengthening the muscles of the mouth and tongue is preparation for working on speech sounds.

Exercises for training the lower jaw, labial muscles, muscles of the tongue are set out in textbooks and will be given in the process practical work... All exercises of articulatory gymnastics must be done, observing the sequence, until complete and correct assimilation.

When you master your speech apparatus and understand the functions of its individual parts, then you can proceed to work on correcting individual vowels and consonants.

· AND - The lower jaw is slightly lowered. The upper lip is raised. The edges of the lower and upper incisors are exposed. The distance between the teeth is small (2 - 3 mm). The tip of the tongue rests against the lower incisors.

· E - The lower jaw is slightly lower than when pronouncing I. The upper incisors are exposed. The distance between the teeth is the thumb, the tip of the tongue is at the lower incisors.

· AND - The mouth is open. The lower jaw drops more than when pronouncing E. The edges of the upper incisors are exposed. The distance between the teeth is two fingers placed on top of each other. The tongue lies flat.

· ABOUT - The lips are rounded and pushed forward. The tongue is pulled back a little.

· Have - The lips are pushed forward in the form of a funnel. The tongue is pulled back strongly.

· S - The articulation of Y is the same as when pronouncing AND; only the position of the tongue changes. The tip of the tongue is pulled back (as in O).

Jotated sounds E, I, Yo, Yu consist of a consonant sound [ Th ] and vowel sounds [ E ], [AND ], [ABOUT ], [Have ].

Vowel exercises can be good articulatory exercises.

Pronunciation of vowel sounds in various combinations contributes to the development and strengthening of the upper lip, tongue, and lower jaw.

Vowel sounds form the melody of speech, its sonority. Vowel sounds 6 :

[I], [E], [A], [O], [Y], [S].

From these sounds, make a table that will be taken as a basis for training:

I - E, I - E, I - E;

E - A, E - A, E - A;

A - O, A - O, A - O.

U - S, U - S, U - S;

O - U, O - U, O - U;

This exercise can be combined in different ways, changing the order and sequence of vowels and then consonants.

I - E - A - O - U - S

The first sound is stressed, the rest are pronounced evenly;

I - E - A - O - U - S

Under stress, the second sound, etc.

These sounds are formed from a combination of two sounds for each consonant: E \u003d Y + E, Y \u003d Y + A, Y \u003d Y + O, Y \u003d Y + Y.

For exercise, you need to alternate vowel sounds with iotated ones.

For instance:

I – YI, E – E, A – Z, O – Y, U – Yu.

Consonant sounds more difficult to pronounce. They give speech clarity, expressiveness help shape words.

When pronouncing vowels, the tension of any one part of the vocal apparatus is required.

When training consonants, attention should be paid to the elasticity and strength of the speech organs with their bows and explosive sounds.

Consonant sounds are voiced, a voice participates in their pronunciation:

[B], [C], [D], [D], [F], [Z],

[L], [M], [N], [R] .

Sounds [M], [N], [L], [R] they are also called sonorous, since they do not have paired deafs.

When pronouncing voiceless consonants, the voice does not participate:

[P], [F], [K], [T],

[W], [U], [H], [C].

Sounds [C], [H], [U] - complex, they are called affricates (fused).

For instance:

sound [ H ] is articulated from " Th "And" SH »;

sound [ U ] is articulated from " SH "And" SH ».

Sounds [ S] and [Z] - whistling ;

the sounds [F], [W], [H], [U] - hissing.

An example of consonant exercises.

Sound [ P ] - clunk [ B ] - voiced.

1. Alternate: P, B (repeatedly).

2. PI - PE - PA - PO - PU - PY.

3. BI - BE - BA - BO - BU - W

4. PE - PYA - PE - PO.

5. BY - BY - BY - BO.

6. PIBB - PBB - PABB - POBB - PUBB - PYBB.

7. BIPP - BEPP - BOPP - BOPP - BUPP - BYPP.

8. PIBBY - PEBBE - PABBA - POBBO - PUBBU - PUBBY.

9. BIPPY - BEPPE - BUPPA - BOPPO - BUPPO - BUPPY.

You can make up various versions of the exercises, alternating between a voiceless and a voiced sound with all vowels.

While practicing the pronunciation of individual sounds, you should check the correct position of the parts of the speech apparatus.

Softened sounds are more difficult to pronounce [ T ] and [ D ] (Th and Db).

You need to train these sounds with iotated vowel sounds.

For instance:

TI, TY, TYA, TYO, TYU, TI;

DY, DE, DY, DY, DY, DI .

The structure of an articulation exercise can be as follows:

1. TIDDY - TEDDE - TYADDYA -

TEDDYU - TUDDYU - TIDDY.

2. TI - CI - CI - TTI,

TE - DE - DE - TTE,

TY - DY - DY - TTY.

3. TE - DE - DE - TTE,

TYU - DYU - DYU - TTYU.

To consolidate the pronunciation of each sound, come up with words in which this sound would be at the beginning and at the end of a word, use proverbs and sayings.

For instance:

· AND - They knew who they beat, that's why they won;

· E - He who sows and blows will not become poor;

· ABOUT - The field is red with millet, and speech is with the mind;

· Uyu - You won't be smart with someone else's mind,

He destroys himself who does not love people;

· AND I - The head is crazy that the lantern is without fire,

Make a mistake, but confess;

· AND – P - Ipat went to buy shovels,

ipat bought five shovels,

walked across the pond - clung to a cane,

ipat fell - five shovels were missing.

· S - What is Martyn, such is his altyn.

To achieve expressiveness of speech, it is necessary to speak clearly and clearly with equal speed. This is facilitated by work on tongue twisters.

The teacher also has to deal with questions pace speech. In the classroom, sometimes fast, easy speech is required, the clarity of which should be extreme.

Therefore, working on a tongue twister is a means to achieving clarity of speech at any pace. Mechanical, monotonous memorization of tongue twisters will never be of practical use.

Based on the meaning of the phrase, varying it on the go, and accordingly changing the intonation, the speaker will easily use different tempos of speech.

No need to strive to immediately pronounce tongue twisters quickly. At first, pronounce it slowly, pronouncing each individual sound, stopping after each word.

When pronouncing tongue twisters, follow the completeness of all spoken sounds, avoiding indistinctness and blurring.

Try, pronouncing tongue twisters, to set different performance tasks (internal speech settings).

For instance:

When verbalizing this text, I want to play a joke, I want to complain, I want to gossip, I want to brag, etc.

Examples:

1. "Mow, scythe, while the dew is, the dew is gone - and we are home."

2. "The protocol about the protocol was recorded by the protocol."

3. “Tell us about your purchases!

About what purchases?

About purchases, about purchases,

about my purchases. "

In the educational literature you will find text material for self-study of diction, a number of tongue twisters, texts, exercises that need to be practiced systematically, gradually complicating them.

Correctly organized breathing plays a primary role in speech. The lack of the necessary supply of exhaled air leads to breakdowns of the voice, unjustified pauses, distorting the phrase.

It should be remembered that unevenly consumed air often makes it impossible to finish the phrase to the end, makes you "squeeze" the words out of yourself.

Correct, clear, expressive and beautiful pronunciation of sounds, words and phrases depends on the work of the vocal apparatus and correct breathing.

When starting classes on the development of breathing, it is necessary to become familiar with the anatomy, physiology and hygiene of the respiratory-vocal apparatus, with the existing types of breathing.

It should be remembered that the mixed diaphragmatic type of breathing is the most expedient and practically useful.

In individual lessons with a teacher, it is advisable for students to perform a set of breathing exercises.

There is an inextricable connection between breath and voice. A correctly placed voice is a very important quality of speaking, especially of a teacher.

Resonators are sound amplifiers. Resonators include:

palate, nasal cavity, teeth,

facial bone, frontal sinus .

It may be that the person speaks "lower" than is appropriate for the nature of his voice. Then the voice turns out to be stifled, devoid of sonority.

In order to learn how to check the work of the resonators, it is necessary to do various exercises.

For instance:

Exhale the air, inhale (not too much) and, exhaling, recite with a drawl on one note:

MMMI - MMME - MMMA - MMMO - MMMU - MMM.

Pronounce this combination of sounds on different notes, gradually moving from low to high (within the limits) and, conversely, from high to low notes.

An exercise:

Choose a poem with a medium-sized line, for example, "A lonely sail is whitening" or "I love a thunderstorm in early May."

Pronounce the first line on one exhalation, draw in the air and pronounce the next two lines on one exhale, draw in the air again and say three lines at once, etc.

You need to draw air imperceptibly with your nose and mouth. Thus, performing breathing exercises, we involve breathing in voice formation.

2. Do not shout in normal speech.

3. Do not cough up if the throat has a tickle.

4. Do not drink very hot or very cold drinks.

5. At the slightest discomfort, consult a doctor.

The skills of correct breathing and voice formation obtained during the classes should be used by students at all times in work on the text.

1. Tell us about the norms of literary pronunciation.

2. What do you know about dialects and accents?

3. What is the meaning of stress in a word?

4. Tell us about the pronunciation of stressed vowels.

5. How are unstressed vowel sounds pronounced?

6. Why do you need to study the technique of speech?

7. What is diction?

8. What should be done to correct this or that diction deficiency?

9. What is articulatory gymnastics for?

10. What vowel sounds do you know? What is their role in speech?

11. What do you know about iotated vowel sounds?

12. Name the consonants and determine their meaning in speech. Tell us about the classification of consonants.

13. How does the speech apparatus work?

14. What is the role of breathing in stage speech?

Practical assignments.

1. Repeat diction exercises on the passed vowels and consonants, proverbs, tongue twisters.

Logical text parsing is the main means of achieving maximum reading expressiveness.

Work on a literary text is the basis on which all classes in speech technique are based.

All preparatory work from the first reading to the performance in front of the audience comes down to the fact that the performer seeks to make the author's text his own, the reader seeks to take the place of the author.

Having carefully analyzed the literary material, the student must create his own performing plan.

Where to start working on the text?

First of all, after reading a literary work, you need to express (formulate) your opinion, impression - this will lead you to a conclusion about the main idea of \u200b\u200bthe passage.

For the concrete expression of an idea by artistic means, i.e. in images, paintings author chooses theme (what he writes about).

Idea - as if the soul of a work, topic - his body.

The key stage in oral reading is logical read , conveying the meaning of the text in a competent, understandable form.

Logical parsing based on the laws of grammar: the words that make up the sentence are related by meaning to each other.

Words that are not related in meaning to each other are separated by pauses, which are called logical, since they help to correctly convey the thought of the phrase.

Prisoners between logical pauses individual words and phrases are called speech beats.

For instance:

Soon (the moon and stars) will drown in a thick fog.

1 bar 2 bar 3 bar

Speech, correctly divided into groups of words, accurately defines the underlying thought. “Work on speech and word should begin with dividing into speech beats, or, in other words, with the arrangement of logical pauses” (KS Stanislavsky, collected works, vol. III).

The logical grouping of words affects the correct interpretation of the work and the clear and convincing transmission of it.

Logical pauses oblige the speaker to pronounce the words enclosed between them, without dividing, smoothly, like one word.

Depending on where you pause, the phrase takes on a different meaning.

For instance:

1. "She / she is a child" or:

"She / child";

2. "You cannot forgive / send to Siberia" or:

“Forgiven / cannot be exiled to Siberia”;

3. "Cannot be executed / pardoned" or:

"Execute / cannot be pardoned."

It is especially difficult to convey the meaning of a sentence when it consists of long periods. When reading such sentences, their magnitude distracts students from the words that define the main idea.

For instance:

“Kaluga village /, on the contrary, / is mostly surrounded by forest, / the huts are free and straight, / covered with boards; / the gates are tightly locked, / the fence in the backyard is not scattered and does not fall out, / does not invite every passing pig ... "

(IS Turgenev "Khor and Kalinych").

Large periods of speech are often found in the works of I.S. Turgenev (for example, in "Notes of a Hunter"), Leo Tolstoy (in "Sevastopol Tales"), Charles Dickens (in "Notes of the Pickwick Club"), etc.

Excerpts from these works can serve as good material for work on the analysis of the logical basis of the text.

Pauses are conventionally divided into three groups:

1. A pause that ends a statement, ends a thought, is indicated by three vertical bars (///);

2. A pause, indicating, on the one hand, the completion of a part of the utterance, and on the other hand, a possible continuation of the utterance, is indicated by two lines (//);

3. A pause indicating that the statement will still be continued is indicated by a single dash (/).

In addition to logical pauses indicated by dashes, there are subtle, so-called backlash pauses denoted apostrophe.

K.S. Stanislavsky defines three types of pauses: logical, psychological and backlash pause needed to catch your breath.

Logical pause helps to clarify the idea of \u200b\u200bthe text, psychological - gives life to thoughts, helps to find out subtext.

A logical pause is put in complex common sentences mainly when we need to separate some segments of speech from others for clarity of the phrase.

Most often, when reading, a pause is placed between a group of words related to the subject and a group of words related to the predicate.

For instance:

“Climbing the stairs / leading to Petrovich, / which, to be fair, was doused with water / slops / and permeated through with that alcoholic smell / that eats the eyes / and, as you know, is always present on all the black staircases of St. Petersburg houses , / - climbing the stairs, / Akaky Akakievich / was already thinking about / how much Petrovich would ask for, / and mentally decided not to give more than two rubles. "

(N.V. Gogol "The Overcoat").

Special attention should be paid to the observance of punctuation marks and their correct selection (toning) in the pronunciation of the text.

If you do not observe punctuation marks while reading, this will lead to "blabbing" the text, haste. "The fight against haste is the study of intonations dictated by punctuation marks," said K.S. Stanislavsky.

All punctuation marks require mandatory voice intonations for themselves: full stop, comma, question and exclamation marks have their own, only inherent in them, voice intonations.

These intonations have an impact on the listeners, which obliges them to a certain reaction: interrogative intonation - to answer, exclamation - to sympathy and approval, admiration, protest, colon - to attentive perception of further speech - this is a sign of a half-finished thought that makes you wait for enumeration, clarification.

"Love the comma," KS said. Stanislavsky - it is in it that you can force yourself to listen. "

Dot - this is also a stop sign in speech, but the last syllable of the last word before the point should sound intonationally lower than the previous ones, and not higher, as with a comma.

The shading (intonation) of the points is different. The listeners after the period do not wait for the phrase to continue, since it is over.

For example, the shading of a dot in the phrase that ends the text of the passage will be different from that in the original lines, when the development of events and thoughts continues.

Dash - a sign that does not have its own melody. The dash can sound, depending on its meaning, as a period, comma, colon, ellipsis, or drops out altogether.

For instance:

"Thomas listened to her and - / ... / like drinking honey."

“I am peaceful” (I am peaceful).

"And we get caught - /, / we'll hit."

Ellipsis - a sign denoting the incompleteness of thought.

Semicolon - a sign that does not have its own constant melody. It sounds either a period, depending on the meaning, or a semicolon, when phrases are separated.

Sometimes the comma can sound like a period.

For instance:

"The reality of our program is living people, (.) We are with you."

The period sounds like a comma, when two sentences can be connected by meaning into one phrase.

Along with this, a comma can sound like an exclamation point when listing a quick change of phenomena or events.

For instance:

“And that's it: pots, glasses, benches, tables -

March! March!

everything jumped into the stove. "

(A.S. Pushkin "Hussar")

We see that one punctuation mark can go into another. Students need to train, checking by ear the correctness of toning of a particular punctuation mark; you need to read aloud, and select examples for the different sounding of punctuation marks.

Punctuation marks are not only stop signals, but also intonation cues: semantic and emotional .

Each group of words should have an accent, moreover, one. Stress gives expressiveness to a group of words.

Stress words require special underlining compared to the pronunciation of other words.

There are several ways to emphasize this: raising the voice, pause, slowing down, and sometimes lowering the voice.

1. Subject and predicate.

In a simple, uncommon sentence, one of them is logically stressed. Usually, the stress is taken on the word that occupies the second ordinal place.

For instance:

“The fields are empty; the forests were exposed. "

2.Rule about a new concept:

AND) if the subject and predicate is a word that means a concept that is new for a given text, then stress is put on it. If both concepts are mentioned for the first time, they both stand out.

B) if this concept has already been mentioned in the text, then it is no longer highlighted

For instance:

“Here house ,

who built Jack ,

and this wheat ,

which is in the dark closet kept

in home,

that Jack built. "

We see that new concepts: "House", "jack", "wheat", "closet" - stand out. When repeating words "Home", "jack" the stress is removed from them.

IN) predicates, the meaning of which in the text is in the sense of the subject, are not highlighted in the text.

For instance:

"Flashed lightning "," Thundered thunder ».

3. The rule of opposition.

If one concept is affirmed to deny the other, then both opposed terms are highlighted.

For instance:

“I will not have a vacation this year, and in the future »- this year is opposed to the future;

“In our veins blood , but not water » – « blood "Opposed to" vodice »;

“Nice country Bulgaria , and Russia the best".

If there is a hidden opposition in a phrase, then a member of the sentence that is hiddenly opposed will necessarily be stressed.

For instance:

"They were real flowers" (assuming they are not paper).

4.When several homogeneous members are combined in a proposal, all of them should be highlighted .

For instance:

AND) “The man with the beard had clever , young , fresh face";

B) “Here ate , slept , loved , fought , started endless bargaining , waited for a bright future , were ill and were dying ».

This sentence has eight homogeneous members, and such word groups as "They started endless bargaining", "waited for a bright future" are common homogeneous members, as they express concepts related to what these people did here.

5.If the definition is expressed by a noun in genitive, then it takes on the stress .

For instance:

"Meaning of the phrase", "power of sound", "idea of \u200b\u200bthe work".

6.In comparison, the most striking will be what is being compared, not what is being compared .

For instance:

"The old woman's face was wrinkled like a dried apple," - a wrinkled face is compared to a dried apple, therefore, words will be stressed "Dried apple".

7. A pronoun can never be a stressed word.

For instance:

AND) “I will never forget this”;

B) "I won't tell you anything."

In an interrogative sentence, the stressed word is the word in which the essence of the question is expressed.

For instance:

"Did you take the apple?" If we want to know who took an apple, we highlight the word " you ».

If there are oppositions, then the pronoun will be stressed.

For instance:

“If you do not go to visit, then me will not be there".

One of the stressed words is the main stressed word of the entire phrase, the rest of the stressed words are less prominent.

Some words in the speech stream stand out most strongly, others are weaker, others are weaker, and the fourth may not stand out at all.

For instance:

“Getting ready to leave / and shaking hands with Tsiolkovsky, / Nikita said: //“ if I come for you tomorrow, / go to the station, / give a lecture /// ”.

In the first measure we will highlight the word “ leave ", Firstly, because it stands at the end of the measure, and secondly, because it absorbs the meaning of everything that is said in the measure -" leaving ».

In the second measure, the word “ hand "- because it stands at the end of the bar and, in addition, the words" shaking hand "Mean" parting ».

Let us emphasize in our example the most emphasized word: the most emphasized with three lines, less emphasized - with two, even less emphasized - with one line.

It turns out the following:

"Going leave and shaking Tsiolkovsky hand , / Nikita said : // "if I am tomorrow come for you, / go to railway station / read a lecture ".//

So, we got a whole complex of stresses - strong, medium and weak. “Just as in painting there are tones, semitones, chiaroscuro, so in the art of speech there are whole gamuts of different degrees of stress, which must be coordinated so that small stresses do not weaken, but, on the contrary, emphasize the word more so that they do not compete with it , but did one common thing to structure and convey a difficult phrase. " (Words by KS Stanislavsky, quoted from the book by M. Knebel "The Word in the Work of the Actor").

We observe the same thing when the sound is stressed in a word.

For instance:

In a word " cabinet "Third syllable" not "- percussion, second" bi "- pre-shock, first" ka "- weak.

We can say that the degree of stress in the word is different: the highest on the stressed syllable, the middle on the pre-stressed, less on the weak.

Sometimes the stress is so insignificant that the vowel sound drops out altogether, is not pronounced (in the word " fern »The sound [o] in the third syllable drops out).

To find out which words are the main ones in a speech tact, you can also try to discard words that you can do without, and leave a kind of skeleton of phrases. This technique is called " skeletonization »Text.

Shock word is the main center of thought.

To find the logical center of thought, it is not enough to divide a phrase into speech bars alone - the semantic stress in each individual phrase is determined only when a connection is found between all phrases that are united by one main theme.

Depending on it, logical centers are determined in each phrase, i.e. words that reveal this topic.

“Punching words are only roadside milestones, along which a logical thought finds its right path to the ear and heart of the viewer. Without knowing the thought that you want to say, you will not find the “main” word in the phrase ”(N. Gorchakov“ Director's lessons of KS Stanislavsky ”).

Therefore, you should never start working on a text with finding subjects or predicates that require stress according to the rules of grammar.

Let's take the simple phrase “ Give me an apple ". According to the rules of grammar, the logical stress should be on the owl " apple ", However, there may be different circumstances that change the meaning of the phrase, and then the center will change, for example:" give me an apple », « give me apple ».

An exercise :

Break the text into speech bars, place pauses, accents.

« The Road to Calvary? No, it would be wrong to say that. There was, there was torment. And doubts were cold, prickly. And, sometimes, despair seized the throat.

Everything was there, but then there were also moments of delight, extraordinary, full of happiness, when suddenly somewhere on the road, in the darkness, you meet an unfamiliar but dear person, and he will open before you all the riches of his soul, an unconquered, beautiful Russian soul and ask: "How to be, comrade ?»

(B. Gorbatov, "The Unconquered").

Each text selected by the student must be subjected to logical analysis.

Basic principles of logical text analysis.

1. Phrases should be divided into speech bars by grammatical and logical pauses (words in them are combined by meaning).

2. In each phrase, the performer must clearly highlight the main words in terms of meaning.

3. In long phrases, in large periods, the group of the main words should be separated from the group of secondary words to correlate the individual parts of the phrase.

4. More important phrases in meaning should be highlighted (ie there should be a logical relationship between phrases as a whole).

5. Based on the understanding of the main idea of \u200b\u200bthe analyzed work, it is necessary to find out and highlight the key points of the entire line of effective development of the content.

The student needs to be able to carry the main idea through all the phrases of the text. This is the main condition for mastering the perspective of a literary work.

The reader must stretch the thread of the developing author's thought through a chain of individual phrases, trace the so-called logical perspective of each part of the work and the entire work as a whole from the logical word.

To master a logical perspective means to see a developing thought through separate phrases and express it in sound.

To trace the development of thought, it is necessary, by analyzing individual sentences, to establish an internal connection between them.

“Between all these highlighted and non-highlighted words it is necessary to find a correlation, a gradation of strength, a quality of stress, and create from them sound plans and perspective that give movement and meaning to the phrase.” (KS Stanislavsky, collected works, vol. 3, p. 125).

If we are dealing not with individual sentences, but with a coherent text, then the stress will be located in each sentence, depending on its connection with the rest.

The degree of "emphasis" of the word and the length of the pauses depend on the context.

Delivering a logical perspective makes it possible to correctly convey the idea of \u200b\u200bthe work.

Questions for self-examination.

1. What is included in the logical analysis of the text?

2. What is the purpose of dividing the text into speech bars?

3. What types of pauses do you know?

4. How are punctuation marks read?

5. What are the basic rules of logical stress.

6. What are the logical centers of thought?

7. What is the logical perspective of the text?

A dot usually marks the end of a sentence, but tone down on a point can be different, depending on where this point stands: at the end of a sentence, paragraph or story.

The duration of the pause at the point can be different. So, short phrases ending with a dot help to create an energetic rhythm of speech.

The task:

Please read the following examples carefully. Pay attention to the variety of intonations and pauses at the points, and at the same time to those general qualities that are inherent in this punctuation mark. Remember the content of the entire work from which the passage is taken, clarify what happens in it:

Example I .

An excerpt from A.S. Pushkin's poem "Poltava":

Hats are dazzling. The spears sparkle.

They beat the tambourines. Serdyukis are galloping.

In the ranks, the shelves are equal.

The crowds are boiling. Hearts flutter.

The road is like a snake's tail

Full of people, stirring.

Fatal platform in the middle of the field.

Now read the passage replacing the periods with commas. Think about what changes in the description of the picture of Kochubei's execution.

Example 2 .

Bessemenov's monologue from the play by M. Gorky "Bourgeois":

“I say - sawn sugar is heavy and not sweet, therefore it is not profitable.

You should always buy sugar with your head and chop it yourself. From this there will be crumbs, and crumbs will go into the food. And sugar is the lightest, the sweetest ... "

Example 3 .

Excerpt from the epic novel "War and Peace" by Leo Tolstoy. This is a story about how the attitude of others towards Prince Andrew changed after an audience with Emperor Franz:

“The emperor said he was grateful and bent down. Prince Andrew went out and was immediately surrounded by courtiers from all sides. Affectionate eyes looked at him from all sides, and gentle words were heard.

Yesterday's adjutant wing reproached him for not staying in the palace, and offered him his house.

The Minister of War came up, congratulating him on the Order of Maria Theresa, 8th degree, which the emperor had bestowed on him. The Empress's chamberlain invited him to her Majesty. The Archduchess also wanted to see him. He didn’t know who to answer, and for a few seconds collected his thoughts.

The Russian envoy took him by the shoulder, took him to the window and began to talk to him. "

Note that all points are inside the paragraph. Each short phrase - a separate picture that reveals the characters of the people around Prince Andrew, and reflects his attitude to what is happening. The verbal expression of the dot is extremely diverse here.

The comma is only used inside sentences. In a simple sentence, She separates homogeneous members offers apart, clarifying adverbial the words from the general circumstance of place, time, etc., introductory words, address etc.

In a complex sentence, she can separate simple sentences within it, positioned in front of a union or union word.

In a non-union complex sentence, a comma is placed mainly when the simple sentences that make up it are united by a compositional connection and this connection between them is very close.

In cases of opposition or clarification of the meaning of the first part of a complex sentence in the second, etc. the comma in a non-union sentence is replaced by a dash or colon.

When the parts of a complex sentence are relatively independent, the comma is replaced by a semicolon.

The comma is very polysemantic and therefore requires different intonation in different cases. So, when enumerating, it requires a consistent increase in voice. This is especially important to remember when passing complex syntactic construction - period.

Example 1.

Read the phrase from Leo Tolstoy's "Two Hussars":

“In the 1800s, at a time when there were no railways, no highways, no gas or stearin light, no spring low sofas, no white lacquer furniture, no disillusioned youths with glass, no liberal philosophers-women , nor the lovely ladies-camellias, of which there are so many divorced in our time - in those naive times, when from Moscow, leaving for Petersburg in a cart or carriage, they took with them a whole home-made kitchen, drove for eight days on a soft, dusty and dirty the road and believed in fire cutlets, in Valdai bells and bagels - when tallow candles burned on long autumn evenings, lighting up family circles of twenty and thirty people, wax and spermaceti candles were inserted into candelabra at balls, when furniture was placed symmetrically, when our fathers were still young, not only by the absence of wrinkles and gray hair, but they were shooting for women and from another corner of the room they rushed to pick up handkerchiefs that had been accidentally and not accidentally dropped when our mothers wore short ones. lias and huge sleeves and decided family affairs by taking out tickets, when the lovely camellia ladies were hiding from the daylight - in the naive times of Masonic lodges, Martinists, Tugenbund, in the days of the Miloradovichs, Davydovs, Pushkins, - in the governor's city of K. there was a congress of landowners and the noble elections were over ”.

Example 2 .

What is the difference between commas and commas in example # 1?

"Yesterday at midnight I pass through the dining room, and there, a candle is burning." (A.P. Chekhov "Three Sisters").

Example 3.

"But there is a lot of happiness, so much, boy, that it would be enough for the whole neighborhood, but not a single soul sees it!" (A.P. Chekhov "Happiness").

IN last example there is a case of non-observance of a comma (a comma that does not require a pause is enclosed in brackets).

We are talking:

“But there is a lot of happiness, so much (,) guy that ...”.

But if the address is at the beginning of the phrase, the comma is respected.

We would say:

"Boy, there is a lot of happiness ..."

There are many cases of non-observance of the comma in oral speech. The comma is usually "removed" before a single gerunds, since it creates with the verb it clarifies, as it were, one concept, a single image:

"Mikhaila sat (,) frowning."

(AN Tolstoy "Peter the First").

But in the case when the adverbial participle stands before the verb, it acquires greater independence and requires a pause after itself:

"Mikhaila sat frowning."

Without pauses, introductory words such as of course, probably, perhaps, it seems, may be, however, what good, in my opinion, unfortunately, finally etc.

For example, we say:

"I (,) it seems (,) understand, you (,) what good (,) offended."

A prominent researcher and language expert A.N. Ostrovsky V.A. Filippov often talked about the performances of the plays of the great playwright. According to him, the luminaries of the Maly Theater believed that commas in Ostrovsky's plays contribute to the cohesion, smoothness of speech, pauses on them should be almost removed, intonation - melodious, soft, unsharp. This is especially true for the speech of female characters.

From the examples given, the polysemy of the comma is already visible: it can also separate two parts of one thought (with comparisons and contrasts), and concentrate, collect attention (when transfers).

She often disappears before appeal , with introductory words, before gerunds and in many other positions.

We propose to be attentive to this sign, which has so many meanings and is so often used.

The task:

Select excerpts from the plays by A.N. Ostrovsky, in which there are many transfers.

Carefully reading, for example, the works of I.S. Turgenev, we see how often he resorts to a semicolon when he draws a wide canvas, in which every detail is inseparable from the whole picture.

Highlighting some detail inside a large piece of text, Turgenev pauses our attention on it, and then leads further and further, making up a single whole from separate pictures.

Tasks:

Example 1 .

Read aloud the following excerpt from I.S. Turgenev "Singers":

I felt tears boil in my heart and rise to my eyes; deaf, restrained sobs suddenly struck me ... I looked around - the kissing man's wife was crying, leaning her chest against the window.

Yakov cast a quick glance at her and blushed even louder, even sweeter than before, Nikolai Ivanovich looked down; The morgue turned away; Stunned, all soft, stood, stupidly gaping his mouth; the gray peasant sobbed softly in a corner, shaking his head with a bitter whisper; and a heavy tear slowly rolled down the Dikogo-Master's iron face, from under his completely raised eyebrows; the rower raised a clenched fist to his forehead and did not move ... "

When describing the singing of the rower, the writer rarely uses a semicolon. But then Jacob begins to sing.

The rhythm of the story changes, the placement of punctuation marks also changes, each phrase is replete with semicolons. They seem to direct attention to one listener, then to another.

In all cases, the semicolon preserves drop intonation , but at the same time each time it is different and as the thought develops, it requires an ever brighter and richer intonation.

Example 2.

Analyze the following example from the novel by A.S. Pushkin's "Eugene Onegin":

Tatiana into the forest; the bear is behind her;

Snow is loose up to her knees;

That long bough by her neck

Will suddenly catch, then from the ears

Gold earrings will vomit by force;

A wet shoe gets stuck;

Then she drops the handkerchief;

She has no time to lift; fears,

The bear hears behind him

And even with a tremulous hand

He is ashamed of the edge of the garment;

She runs, he follows,

And she already has no strength to run.

The task :

Using the example of any work of Russian classical literature, demonstrate the role of a semicolon in an artistic context (description, reflection, lyrical digression, etc.)

The colon often competes with the dash. Both signs are for explanation.

The task:

Read carefully and analyze:

Example 1 .

“Jacob was evidently overwhelmed by rapture: he was no longer shy, he devoted himself entirely to his happiness; his voice did not tremble any more - he trembled, but with that barely noticeable inner tremor of passion that pierces the listener's soul like an arrow ... "

(I.S.Turgenev "Singers")

Very often, the colon is used as a sign that separates the author's text from direct speech. The pause in this case is less than the colon inside the sentence.

Example 2.

The hero of A.P. Chekhov's story "My Life" tells:

"The manager said to me:" I am holding you only out of respect for your venerable father, otherwise you would have flown with me a long time ago. "

I answered him: "You flatter me too much, Your Excellency, believing that I can fly."

And then I heard him say: "Take this gentleman away, he spoils my nerves."

Getting acquainted with the history of Russian punctuation, we learn that a student of MV Lomonosov, AA Barsov, first pointed to a new punctuation mark - "silence"; this sign was later called "dash".

“This silencer,” Barsov wrote, “interrupts the speech begun either completely, or for a short time to express cruel passion, or to prepare the reader for some extraordinary and unexpected word or action later.”

Over time, the emotional fullness of the dash somewhat smoothed out, “cruel passion” was more often indicated with the help of other signs, but “preparation for some unexpected word or action” remained. Pauses on a dash are usually significant, with great psychological stress, intonations are bright and expressive.

The dash refers to the signs that are usually inside a sentence. The dash often serves to separate opposed phenomena.

Two dashes are signs emitting ; they mark direct speech, and sometimes an introductory word or sentence.

The task:

Read aloud an episode from Alexander Pushkin's The Stone Guest - Don Juan's meeting with Don Carlos at Laura's:

Don Juan

Here is an accidental meeting!

I'm all at your service tomorrow.

Don Carlos

Now - now.

Laura

Don Carlos, stop it!

You are not on the street - I have you -

Please go out.

The frequent use of dashes is characteristic of M. Gorky's style. This is where the dash property is widely used to prepare the listener for an unexpected word or action.

For instance:

“When - so, go about your business. Do you have a business? "

This Bulychov sends from himself "others" who flock to him like crows to carrion, - writes A. Dikiy in his memoirs about this performance, - read the second half of the phrase without a dash, and it will turn out to be an ordinary, concrete, everyday question related to this time , to date.

Read it, taking into account the dash, and it will immediately sound generalized, make you think: do people have any real business at all?

This is exactly what Bulychov asks, speaking with the play in relation to the “others” as a prosecutor and accuser ... "(Dikiy A. Language and character in Gorky's dramaturgy. - Sat" Word in Gorky's performances ". - M., 1954, p. 23).

The task:

Find 5 examples of a similar arrangement of dashes in M. Gorky's plays.

The exclamation point is used to indicate emotionality of speech ... At the same time, along with the period, the exclamation mark serves as a sentence delimiter.

Just like a period, an exclamation mark usually ends a sentence. It can be expressed in oral speech in a very diverse way, depending on the content and effective tasks.

An agitated person usually uses the entire range of the voice widely, but even at the highest notes, when exclaiming, one can hear final intonation ... The voice does not "hang", as it happens with ellipsis - it sounds definite, concrete, affirmative.

And yet, intonation depends primarily on the context. Feeling is always the result of evaluating certain events.

The task:

Read aloud:

“How do you read this! - he spoke in a whisper. - To different voices ... How alive they are ...

Aproska! Saw ... What fools! It was funny for me to listen ... And then what? Where will they go?

Lord God! It's all true.

After all, this is how real people are ... Real men ... And just like living voices and faces ...

(M. Gorky "Konovalov").

Exclamation marks are widely used in drama and indicate the speaker's emotion. The reasons for excitement are very diverse, and the ways of expressing feelings must also be different.

A question mark is most often placed at the end of a sentence containing a direct question, i.e. a question designed to receive an immediate answer.

The question mark has many shades, depending on what is asked, by whom, from whom, for what purpose.

Regardless of this, the words in which the question is concluded are marked in speech with a raise of the voice:

- Where are you from, comrade?

- I'm from here, from the town.

It should be remembered that a correctly posed question actively requires an answer, achieves it. How exactly the hero of a literary work asks a question, we usually learn from author's remarks.

The interrogative form does not always include a direct question. It is often used as a special technique of emotional speech - a rhetorical question.

The task:

Read aloud, identify which words emphasize the question:

Where is righteousness when a sacred gift,

When the immortal genius

- not a reward

Burning love, selflessness,

Labor, diligence, prayers sent -

And illuminates the head of a madman

Revelers of the idle? ...

Oh Mozart, Mozart!

(A.S. Pushkin "Mozart and Salieri")

The task:

Using the example of any literary text, comment on the composition interrogative constructions , define their meaning in the structure of the work.

The ellipsis is characterized by the intonation of incompleteness. This sign requires the performer of great skill, the ability to switch sounding speech into mental speech and again continue to speak aloud. The ellipsis usually requires a long pause.

There are many reasons for the break in speech, and depending on the reason, the vocal expression of the ellipsis changes. The break in speech can be explained by excitement, and maybe by the paucity of thought.

In the first case, a stop may be required at the moment of climax, and in the second, intonations can be very poor, monotonous, monotonous.

The task:

Example 1 .

Read aloud and analyze Akulina's monologue from M. Gorky's "Bourgeoisie":

“And it started to rain again in the yard. It's cold with us for something. They drowned, but it's cold.

The old house is ... blowing ... oho-ho! And the father, the kids, is angry again ... His lower back, he says, is aching.

Also old ... And all the failures and disorder ... The costs are big ... Care. "

Example 2.

Old man Krasilnikov's story from the novel by P.I. Melnikov-Pechersky "Krasilnikovs":

“On the twenty-ninth, Mitka has gone: it is high time to make his own children ...

And I began to advise Mitka: It's time for you to make the law too ... Just choose, I say, your wife, not with your eyes, but with your ears, listen to the speech, is it reasonable, find out what the farm is like ...

I say that to Mitka, and he turns pale, and then his face is all spots ... What is the reason for this? ...

Tortured, tortured, tortured for a week - he is silent, not a word ... I’ve become completely ill, walks with my head hanging, leaned back from food, emaciated, exactly a match ... "

TASKS ON USE OF PREPARATION SIGNS

Exercise 1.

Read the examples out loud. Pay attention to how the semantic shades, and sometimes the meaning completely, change when the punctuation marks change.

Examples of

1. It's hot, the sun is overhead.

It's hot: the sun is overhead.

2 . Winter is harsh, summer is sultry.

Winter is harsh - summer is sultry.

3 . Larks are ringing! Goat pigeons coo; swallows are flying; horses snort and chew; the dogs wag their tails meekly.

Larks ring, goiter pigeons coo, swallows soar, horses snort and chew, dogs quietly wag their tails.

4. He is back.

He is back?

He is back!

5 . Come home, eat, fall asleep

You come home - eat, fall asleep.

6 . I have not seen a comrade's brother and his sister.

I have not seen my brother, comrade and his sister.

7. The article can be printed.

The article may have been printed.

Task 2.

Read the following three passages carefully and compare them. What do they have in common and what is different?

Pay attention to the placement of punctuation marks and, as you read the texts aloud, follow the instructions outlined above. Pay special attention to the various functions of commas.

Note the cases where no pause is needed on commas. Tell us how you explain the dots put by the author.

Example 1.

“There were still ten versts to the nearest village, and a large dark purple cloud, coming from God knows where, without the slightest wind, but quickly, was moving towards us.

The sun, not yet hidden by clouds, brightly illuminates her gloomy figure and gray stripes that extend from her to the very horizon.

Occasionally, lightning flashes in the distance and a faint rumble is heard, gradually increasing, approaching and turning into intermittent rumblings that embrace the entire sky.

{!LANG-d859e7292365e8ecb160180691b34afd!}

{!LANG-a1394a77e675f165c941e5b445e732fb!}

{!LANG-c34eaf71abaa451b53c268fbd45349c9!}

{!LANG-2fd8ee75e6fd35a1e87a3fcfc689fc9a!}

Example 2.

{!LANG-b702bcf1f7f6b3e8be1d066b8968c983!}

{!LANG-19aa99e008451eb2a0f24a9c3daa8ce3!}

{!LANG-282d51c2a308b8b8bab626c17ec1c223!}

{!LANG-09598d61e216befabd752d924f052666!}

{!LANG-e340ca46038980d44caaaee1cc8b8f03!}

{!LANG-2bdcc7f3f12e6a58ed6c1bb24fda20ef!}

Example 3.

{!LANG-6787a0a6200684e8f51dde9d00446cb9!}

{!LANG-3b9a578467fe4c5e9eb2dbe2fbaaaed5!}

{!LANG-9fe796359a5c2533370d11e476edd1ca!}

{!LANG-fce80fa2d3de4547f19198d2a5d743da!}

{!LANG-240bd3fff088aaa885acd76c9f050258!}

{!LANG-804a2713054f789315d22caacd9c7cc5!}

{!LANG-23590fcfa1b28af7b6a48589f7041401!}

{!LANG-1254b9f36cf19a08f218eadd673b13ef!}

{!LANG-7e36fb022224265d925ba1c98a399f81!}

{!LANG-4f19cc2f92e90202fc7b586f5aed6e44!}

{!LANG-5d7c36c750bca609707f40e53a4b6675!}

{!LANG-36a75caaaed89912012fb4389348d5d0!}

{!LANG-703e70de70a046684ae2f6edaf130e2a!}

{!LANG-9b14c2a55298b870fd463abdb83d85d5!} {!LANG-db2c67f83e817dbecaa83c99621bdab6!}{!LANG-3d59c578afc662636362e470217822a8!} logical pauses{!LANG-a73bcfb25406fb4f14206bb4fb0935f2!} {!LANG-a5f3e7988fc246cc0bd61ebae548dc79!} ».

{!LANG-8b62dd8f13d7419e717a4bc37d3ad533!}

{!LANG-ab47069f5fd046c7334fef0baeb5a785!}

{!LANG-ff8559d32f7c23e8dc683f0702cd4f2c!}

{!LANG-12d2b0c0170db76594a797fc4f3d121c!}

{!LANG-39357c881db1c1e20cbd9c1f6337f6de!}

{!LANG-040826d14f7d34dc032d1dac7fbf4ef9!}

{!LANG-0e5cf0856174d14f9c06bfe58a40407b!} {!LANG-fe41fffb31961e2c18177a19b344874e!}{!LANG-c398765d64bae725f698b3329886bf73!}

{!LANG-92af9cfc8d6951c7e25c9c89215fd96d!}

{!LANG-d0c08138f40ef4cf3b42132ab5aa75c4!}

The task:

{!LANG-ea3028da63a1d4cd68286340197cbd58!}

1. {!LANG-65ff2f1a79a687732a5ac64000b79358!}

{!LANG-2989cbda5b2e50191af3f8a1cba3c8c9!}

{!LANG-afce6fd484b01549b3360408eb82c922!}

2. {!LANG-b66c4c83b3bf66b02adc7919ff08eeed!}

{!LANG-e9ac3ad92e4bbf8e6a8fd5c43beaee16!}

{!LANG-12d2b0c0170db76594a797fc4f3d121c!}

The task:

{!LANG-9818f36d24012f348ee8840ea9bea6c8!}

1. {!LANG-a340fe64de3988597b043d6c33050728!}

{!LANG-7060819c17e5758104a692401cd70db8!}

2. {!LANG-285aa2d8253b1e44194cbe22c16457ea!}

{!LANG-61d381089e7a7393747b873ed54d46c7!}

{!LANG-ea97f81ffdee768da346ff2557b751ca!}

{!LANG-646d574a720512d4af2f33b30b8d1321!}

{!LANG-b88398e7b8084e8690ca4fd94672fcbe!}

{!LANG-823ea19da167e5a64be472d006675a4e!}

{!LANG-646d574a720512d4af2f33b30b8d1321!}

{!LANG-1161628fbf107b8cdd85b39d948cb717!}

{!LANG-9d8b1515b5832d90cfbaa3945f7bd4e9!}

{!LANG-de6c56d0128b7996dd6d93f5bd2fca28!}

{!LANG-5cb57d4936ca4d269f3feeb53e194d67!}

{!LANG-1f7e4cb598fb3d52faa21084069b9083!}

{!LANG-504254741defa5057b6e0a2b8b74d592!}

{!LANG-498b719d875973f35c1b5c5c7617e7b7!}

{!LANG-f2c457b61dff6773aead39eb29ec0c9b!}

{!LANG-1841e4441e39d6de90a5d48f34462a3f!}

{!LANG-6b93f715d0b07b85f9ff96b5f47f4b47!}

{!LANG-9e53e38ca5445ae0a5e93fce83c50245!} AND{!LANG-a22630ed0dc910f85eb735828f3ebd83!}

{!LANG-4380b55985e3b42451ba9cbd46a1a75e!} {!LANG-5dc91153f977eeb10d0309ffce5a7166!} AND{!LANG-915376ceb65fb5bf485c317476b4f572!}

AND{!LANG-f90aacddf09f5a599cb8113ca1ad0e10!}

B{!LANG-83690cbdef32ff92b19fa812c85ddde4!}

{!LANG-36c9317bce001283a1b9bb96d2dfd6c2!}

Examples:

{!LANG-020eb33596a81384a4e4f449f345700a!}

{!LANG-67f366a0342b5076517cdbaaa546ee32!}

{!LANG-6cf5323e19643565c5439f2167508139!}

{!LANG-5e79fcbbf086a23e4fa4ed90e9caa216!}

{!LANG-2ec5d14b4cf9bb5a6037bd745ae9c0ba!}

{!LANG-1b40d55a25772d2d208d1ea2697dd707!}

{!LANG-40ed7b3e44675be848b4b70ed41f5c19!} AND {!LANG-c2f7f5cac9100313fc9fdb3b4073e6a4!} {!LANG-e46eb2ae4fadf9630b6000bf07c94e3a!}{!LANG-4c4c848b5b5c19eb0773badd63ef0902!}

{!LANG-91d3844d048c2bbe615e53bc3931b218!}{!LANG-c084125f76265d3ada841c37d8193c2e!}

The task:

{!LANG-8ecf52cc47b1fc86df1d0ab79baaa7b0!}

Example 1.

{!LANG-f6dfe266f8b06467ef7d53beb0d75930!}

{!LANG-78facfd6867a9c45c2a706baabacd506!}

Example 2.

{!LANG-c2939574e3eae2699b5af403aae2af49!}

{!LANG-efd5af9454b22f8da995381756a99f77!}

{!LANG-f8997c18a3547a8570df8b0cbcd54870!}

Example 3.

{!LANG-9f213382421a475ca7921bf0104407c3!}

{!LANG-8d0452d07dae2f2f643cb38b21eb00ea!}

{!LANG-a3ab1500c43fab3c3ae41fc5b7922df0!} {!LANG-d4394952f846d19113554bdf741009ad!}{!LANG-6cf2cd8e3bb91b39ceb5fe6b106f651f!}

{!LANG-2f85ab1a54865cf5f08b66b96e84973f!}{!LANG-c2ace0152be89afcb33ac92b0b55d0ea!}

{!LANG-e3e9b8e8e9841902e6ee9b33b562089b!}

{!LANG-a4b5f8acccda7f152883947e7ee2e3b1!}

{!LANG-afe1afd1d17b749c7e0debd3f1bb347e!} {!LANG-aecdfa6afdbcb6c963ee5d00026df510!}{!LANG-45b891abb781544c560a197cbfba5711!}

{!LANG-af88d2bd0935058b2830c9575250900e!}

{!LANG-c92ee3603e6f9bde8d401d76bb262f31!}{!LANG-aa420a6d508fa76b52c0641f40e0d953!}

{!LANG-18d295667e0c87dc10d5bff2dfbb1149!}

{!LANG-48c3f6fbcb0fcf3a1dadf25c14491d3c!}

{!LANG-514572029f230e6dcbbe5297fb9f2f7b!}

{!LANG-df88c728846585ceb407ccc9c12e3954!} {!LANG-60a2f6360e9d7cae74e61b55a33359e9!}{!LANG-68d9f1fca5c0f97a9671e3e049e7f19e!}

{!LANG-b3bab3db7ed580202817e36f53aab8c1!}

{!LANG-3499b900713b4c2ca9b8cf9e86319220!}

{!LANG-3ee3ea76c87845bde7cc6c286505eb1f!} etc.

{!LANG-502662c60da937af191df6f58eef07fc!}

{!LANG-9daabbcf4711a85cb509c33e82abf3c1!}

{!LANG-a5e4273387f44fc8fa5a894e6b843f98!}

{!LANG-f272554cbae0dd88b543ff250f081e5c!}

{!LANG-26c1c141a1e54c1a21f400976809e573!}

{!LANG-eb485ead44082dc2f8993c600ec62dfb!}

{!LANG-b7b240ad4ac10f98a6d5b5bf83a865ae!}

{!LANG-5ca5977007c848006946455b14299773!}

{!LANG-04c2797b1a0a5600ac4db81757f194dd!}

The task:

{!LANG-6f40fd50d29a0aaf562018aa0e89181c!}

Example 1.

Laura

{!LANG-3a4cbfc4d9d5b262ad53bed112c2b194!}

{!LANG-aad168db2b38a8f23e785375413dfbe8!}

{!LANG-56f4e175626b8a98b18b2045adc2d0f8!}

{!LANG-28dd56da8c883a540c925147703afb26!}

{!LANG-4d6c5e132c8519aab154c0cb8aaadb0b!}

{!LANG-491ace0e260ba3ab103d5d02d3ab950c!}

{!LANG-a2985d0b9cd7a21444cfdb522b64bec8!}

{!LANG-a5ad164dcd149ee37eb26ac42d56c3d0!}

{!LANG-c67d588cb11b18af546f2c63a9691edf!}

{!LANG-9fb94d1a54295d467a6e3d78c95343b6!}

{!LANG-5997214cc922839bb7a301e300878b34!}

{!LANG-84c57a3ed3285301a05c62e8e76082de!}

{!LANG-43f0eb5b2f026b6e3f46eef41ebe532e!}

{!LANG-1b8be13d733261ecb7b994c6e580f574!}

{!LANG-676ef18736f8f1d9353044d89eefb091!}

{!LANG-6a4eada112acf612b277f1946df38c08!}

{!LANG-cc8ed8f790ecb42358114562b4c035e4!}

{!LANG-6737a7759ee96f404191f6c95673be75!}

{!LANG-96f7fa764d05a5172aff4750b0f49084!}

{!LANG-3c1d9b758fff1910e6a12994f1e66a0a!}

{!LANG-a1d09d9199d1cf706b279f4a12639f2d!}

{!LANG-0adf5affa22d2df8db5ea6ea0ae04008!}

{!LANG-d8d1c803a17fc841dfd263c3d4aa3e9d!}

{!LANG-de7c5270de65dd5e8a738c76f3a047b0!}

{!LANG-02a8bc45a7d9775666469d1f5a536fae!}

{!LANG-789b55aaad2aba4d906fac28f07f5813!}

{!LANG-1c02ca56f829d64d9640d55308815d52!}

{!LANG-f56dd1afb73a56ec5f246d9c7cf6bf46!} {!LANG-d7ce3ac77a7be1b34acb562eb435dcad!}{!LANG-3ba32fb3156fb66fd9c9985e8fdfcf47!}

{!LANG-3dc29f6fd0a3b885f39e50d4df9f85cc!}

{!LANG-0ae8583850b1b5a1483f534624e51db6!}

{!LANG-a305e59cdbe390c56decdc465aa9fd8a!}

{!LANG-059afe45f04b4b5b27dede339762115d!}

{!LANG-a6b84cd9cb36b02be8ebdffd35f9beca!}

{!LANG-1cab09bb88b90e881f1e86e6a44d8608!}

{!LANG-86e4ff922bb5a54f922118752cb10ee9!}

{!LANG-3e3bc98b3e85e9e298c373734d9e3065!}

{!LANG-1de02faac60cf3e81d5180ea1604a796!}

{!LANG-6767a028bb707422d01e476eb8ba2fed!}

{!LANG-27023153e2db89e9911ccaf409974cd4!}

{!LANG-9866e7faa5d11132d809b01a8657850b!}

The task:

{!LANG-b5b2970996998d1f37815f6d6aa0b7a6!}

Example 1.

{!LANG-3864428423d09763e77e6eadca9b83de!}

{!LANG-9a8042cf9522089ddedfe3b7693237fb!}

{!LANG-b98fdca32f7c9272c966f503747a21a1!}

{!LANG-e6a902ab281878d582ab8eca01020930!}

{!LANG-b99e287ebf2d8f15eddc0471116b98dc!}

{!LANG-caf465e5d56c184411b3bf8abd7cc607!}

{!LANG-5996f902f1d985be752071472d7ad38f!}

{!LANG-45d4b52814f8eb13053a58a287689552!}

{!LANG-c969470d7b1d250e96923080cd27a80c!}

{!LANG-72710abfa4810222c69ea55599ac036f!}

Example 2.

{!LANG-2c161c61523f8a55bd1d7371269cd1a0!}

{!LANG-a7cc50695a7141f6c372fb9929eefc96!}

{!LANG-cb38fcb3070362b61efe8da680472b47!}

{!LANG-8489d0162cf812df5d5050d3d5aaff86!}

{!LANG-6561ccbb26a6228f62b00baf03ad3b25!}

{!LANG-b5961026246b243c9b7321282c03994d!}

{!LANG-1bfbdfdec24f3abeb0156b6b0713d867!}

{!LANG-72710abfa4810222c69ea55599ac036f!}

{!LANG-5b3089c666f816a6d1eb872d4b6b95eb!}

{!LANG-5fdf8e7561576dcff5036f8b5cd6c159!}

{!LANG-d4102e14456d813113eacb1cb573ff7f!}

{!LANG-92a2b0035b5ea6864f5e8f1442633783!}

{!LANG-79ead5d0341cc7c5ac86e1613947899d!}

{!LANG-f46e2391f0d45bc39d2818318234e00a!}

{!LANG-ac791ed177b560222406c2b64c095cdb!}

{!LANG-f500818958a7ee2440562142a18e083a!}

{!LANG-df86333870ab02dcf9282ae9aa2a73b9!}

{!LANG-6887ae076d3705127f3de7eaff030868!}

{!LANG-7d8202febd65114c9b815d54e75b5d76!}

{!LANG-572cebf4e4cb4ade8e61301d20124e23!}

{!LANG-8ce341cbddc8a82901d280f3f096e80f!} {!LANG-36d721e42ebbbefa2cb011d9ce26a82f!}{!LANG-6a3372e3fa9f6b266f4674f47b927587!}

{!LANG-3b2e463b1ba5e20878b354622774eacb!}

{!LANG-3a6cf790613071c57dfd648cbd1d7043!}

{!LANG-45ddce8852bb98b9290d38beffce1e52!}

{!LANG-b86c077ebc76439324251284cb0876aa!}

{!LANG-5544a6f00cca1b1dc6ffc7dd7ea87f45!}

{!LANG-e2cb35ce86e9ba321099b5b092694204!}

{!LANG-73906ec32d1f2742a7472b7cf4e3b69a!}

{!LANG-155e292c69f5698355dda413349bfac2!}

{!LANG-288362339c094f7c3c78c0837695600b!}

{!LANG-ed301ea35cdf7561045a224972a92dda!}

{!LANG-6833f60bda56260211c7cae03b6dd842!}

{!LANG-43a72bbcf05befd78fdaf58093abce58!}

{!LANG-d650cbb1a7663c430e1fdd44a320976c!}

{!LANG-56d32b766410c7eaf081396cba9e5325!}

{!LANG-d54dba392f7d22a5da2c4a96d6892058!}

{!LANG-8baeb6690269e9973fcae618e22e6563!}

Tasks:

1). {!LANG-9abe8403706da0d94020c49edcb19fe2!}

{!LANG-ada2f9308039cd9a97997cc919e96cf5!}

2). {!LANG-be9783dc5843fa2baebd46a95bb8ce0a!}

{!LANG-89fdb8ada7ed74bf08756350609243da!}{!LANG-49682b9b650883e28e85e6b8ae6f98ba!}

{!LANG-86286ecabba7bf42af1a74c6068ff9b3!}

{!LANG-9141e16da39dbbd5ef7ee0c21012f070!}

{!LANG-70978b00091d65029265a9c191e2a8f1!}	{!LANG-fe4e01729da19dc2bb298bcefb262915!} {!LANG-9246394246c72bec3b84c6f99195daf0!} {!LANG-757551b02910102b6efa175f87fee036!}{!LANG-39a0e50a611b34fa1141c669520ea034!}
{!LANG-d8430e3dfe23434d3c7d01faa05e4da4!} {!LANG-6bafdf1b5a183b00d4b4e7210da0aa2e!}	{!LANG-fffdb775adf62f3d898ac23415d143cb!} {!LANG-473bc910ee48c879cf124b9f01f82710!}{!LANG-bef5fe4bf60174bef2d5109b2052b54c!}
{!LANG-486fd450981c8581ab72ac02050c1217!} {!LANG-5524ddb875b5dc5110aad6d040d67f95!}	{!LANG-c017f2af0405aae681a1176b98bc2a57!}
{!LANG-4fa5dcd1ab230ca4af5869b08994b058!} {!LANG-5e84d3a380bf2c15486efab448d3385f!}	{!LANG-56bba0e6aced7dead7caf36613950a80!} /P{!LANG-3cb2e84fb1850cd2e9cebc7ce5152509!} {!LANG-2fb1e240636ef62a6c6e9d25759204ed!} /{!LANG-0407f93d642c4349aaf560037338096f!}{!LANG-529109c56ca18c294da8020126b55b6c!} {!LANG-a1df67f3119658086de81daf99ce9e6f!} /{!LANG-36a63330f1df9e8debeb7203e0598abe!}{!LANG-2e310775b4186285b7918792c6c3225a!}
{!LANG-48dc0c0e7424b73be99b1c7ac7f9a58c!} {!LANG-1e54c1643893cc0af57524ae061ffb04!}	{!LANG-9cfbb306c0d346898211a819c31117b2!} {!LANG-020413ab03cc4d626781c11d8cf97cba!}{!LANG-95fb596dad190b6ed73587ec950710e4!} P{!LANG-baf670fd587951990e5b3dbc963ead29!}
{!LANG-3af468d8c487f1162fb468b7e5ac1e34!} {!LANG-9c8e8b54b3d1b86e3f9c51b29e7ebea7!}{!LANG-7f8c017a8908ebcfc60acab0d2711013!} {!LANG-52eacca9d53e26a6021d2f82995cc946!}	{!LANG-290a7ff6f6e604cbedfc3f3baf729ff6!} {!LANG-50c44f3e09603e2c524f2950dc78eae0!}
{!LANG-9d28b67b745bb4b1a5db5ec362bda8e3!} {!LANG-97646858272bcf4b8a6c4e46af2c4363!}	{!LANG-0407f93d642c4349aaf560037338096f!}{!LANG-b83b01bc3e10e41a154ec42f44354d42!} {!LANG-114f940dcfe52a7ae43d86b94aad18c9!} and {!LANG-f1ea4faee020391b0286e97cfd9c7b32!}{!LANG-e9451c34c521629253e9754a3c5fba72!} {!LANG-36a63330f1df9e8debeb7203e0598abe!}{!LANG-5726b860cf970850f41685c6fccb69a5!}
{!LANG-07f000220e92825799c16a8a3e11d965!} {!LANG-1dbf9d4046fb66c48d5fe8c693041b90!}	{!LANG-0407f93d642c4349aaf560037338096f!}{!LANG-9e0edc1feae3f5bd686f182519f4d62a!} {!LANG-36a63330f1df9e8debeb7203e0598abe!}{!LANG-e07f3af8f6c6707b3fe11474c7ae614d!}
{!LANG-91639e86e31eaeeb6b3f1286ad28e26e!} {!LANG-fea27c1e01d1fb08ea157e9e94ed7b6d!} {!LANG-7c650ab264ca73ca3759a0c0524d205e!} ‹…› {!LANG-aa85881e89f5fe8ba0f8fa6359984559!}	P{!LANG-c4d88c5f9a56bd73b1a26effb35a5161!} {!LANG-0407f93d642c4349aaf560037338096f!}{!LANG-745127f852a6f5b4ff02429a3c9122de!} {!LANG-36a63330f1df9e8debeb7203e0598abe!}{!LANG-c00004b5eaeacb69e31aacb9587ee06f!}
{!LANG-48dc0c0e7424b73be99b1c7ac7f9a58c!} {!LANG-1a0b9871d4a79566c2ea8c563f474cd9!} {!LANG-9253c38f69286f92b4df81b3703359ed!}	P{!LANG-ed35e3854c68a7991a85ee0d36d4565d!} {!LANG-146048d2118024b4d7f20fc1af1d599f!}{!LANG-fee2c8b4556419acc88dbb6b513238e8!}
{!LANG-07f000220e92825799c16a8a3e11d965!} {!LANG-48ca9f5bb948a66175f6a8e040ca6525!}	{!LANG-a35ab3472d1b0d395eab785bf8148b07!} {!LANG-114f940dcfe52a7ae43d86b94aad18c9!} and P{!LANG-f611b5853c79f82030c58a934b868a49!}

{!LANG-1cc80d768e6583cab79c83b2c41a0403!}

The task:

{!LANG-75566ff5914fcd5bead4716ea78a526a!}

{!LANG-8e220a559980b94657612f080d96055f!}

{!LANG-bd85d0d567af95c162dfe3e95e41d6f3!}

{!LANG-5bf735b6dfa7ac8f84ea1abcd0602b1d!} .

{!LANG-6981fae269a60fff6807627730fea96a!}

{!LANG-8a2a8eafa9f33f23ef88f60848a336e6!}	{!LANG-39306efb36b05dcdce01b6f7d06506f3!}
{!LANG-24e0e08562232f44727613cd0453f93e!} {!LANG-e2edb15199ab27c14afc0f71b303138b!} {!LANG-f6fc0d966563ca1e61bc4fe5dfb04e91!}	{!LANG-c653e7847fb597d8f5e3dfa5d77827fe!} {!LANG-00b2a7ee699db65132a670714edc147c!} {!LANG-1a84cada0d8badc522c9b0385202f43c!} ? {!LANG-23a0a96d804b028fcd07b00557783b0e!}
{!LANG-baef132b81a280a180a92e514f56c7ec!}	{!LANG-ad8039988fc67424cac432e067f9e560!} {!LANG-d7aa0ad9a1c2f3db5c7865635367187c!}{!LANG-ac50864c841aba02ce15ce2b6f26fc99!} {!LANG-090c543cf16d0331f1aa5f0cce4edc03!} {!LANG-d8a44a649fff6662ab771ea26a03f821!}{!LANG-44828a9f15321c8b04e59fc6acd1bfd4!}
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{!LANG-d74af25554d54374c74addfc72d87664!} {!LANG-a608a979a3b8850df315b274f2751617!}{!LANG-e93908ee62ad46a38e231be99570a020!} {!LANG-60fb75010e79675f9a404e0ec32e3764!}{!LANG-25c66d95f9801281a4b34f11af4628a0!} {!LANG-1ea74ae9653c5181056aced480837eb7!}{!LANG-7ceaa265a657a563bb28cc4e3da77701!}

/ {!LANG-bfc4885a085f45bea7825cce6d88d0f8!} {!LANG-fdea5d77c267f819d20bea9570aedebd!}{!LANG-62b2990807420955f0d609df6058433a!}

{!LANG-87f57abcc0e2aef352d604cbcd2709f2!}

// - {!LANG-cfcaf2e5dd1ca171c4a47e9ff9a9f5db!} {!LANG-c6ba1cba2dd8fc8474382540d8b8a820!}{!LANG-61a0f2aa059ad4ea50e30098d0f7185b!}

{!LANG-42c82d1c26d85b87649fea6e1bb307a1!}

/// {!LANG-53641457def70fd27dedaf9f711f6ab7!}

{!LANG-b089045affac58ab50442bc63df9267f!}

‘ – {!LANG-8cffdae09401eac4c30fb58fd7b72325!}{!LANG-872dc491a6c85b59fe9f04e0a9c47809!}

{!LANG-88e08a1e6bd2081cc51f3c973c6686a5!}:

{!LANG-1ada3974fc1f3bd56bbeed5d1ba7b6ef!}

{!LANG-c1746be40aaa015b231878a58b59e5bc!}

{!LANG-c72099659ba532ce3a021db423064514!}

{!LANG-9585e20def76d14f3e2a48d376a9f891!}

{!LANG-3be025dd294137942485a0f97a62ffc2!}

{!LANG-d833edd9b5dcfb401eb762a703a3b8cb!}

{!LANG-6ee03698ddaa5717e152f9599e2d53db!}

{!LANG-48e62b5c521aa00787e2a2e86c1a2bda!}

{!LANG-52f199b838629c2f1a860e05de3c226c!}

{!LANG-098b2e8844f259d276214501931b6312!}{!LANG-27e5fc0feb3b449ac12d8a03bc059581!} {!LANG-dd54d8be29afe527c9acf7c31966b755!}{!LANG-125a93ee76e8f47fad215668059545ae!} {!LANG-c35f07e6f11878fa0fb0370f4d4b76ca!}.

{!LANG-1f3a4c912e510f993fe4d0c0387d59a1!}

{!LANG-25607fd1fbbefe1d82ed44f6882acc40!}

1 2 3 4 5

{!LANG-259e1037bd09123d31d8b0df365f26d8!}

1 2 3 4 5

{!LANG-628c4fe116ca139a0328ff568b6f2efb!}

{!LANG-acf2a0b27e939872700f29df5e1cc1a2!}

{!LANG-7a19c2bc63d6d0283b361d630c6bf30f!}

4 5 3 1 2

{!LANG-9ffe1fcae2fbf69d96633b8cf3a62f79!}

4 5 3 1 2

{!LANG-96924fe6389b4247a9610fba9c1d02c2!}

{!LANG-2a55cb05a507ef78a2e667ddd5955629!}

{!LANG-ebfd84e271eb42390626674f5eb8026a!}:

1 2 3 4 5 6

{!LANG-324fee9c0bf6ee1b8abdac55882ec79a!}

{!LANG-be5e5be22a28a2ab59c4efbc2ee03bbe!}:

6 1 2 3 4 5

{!LANG-bf6ff6910399feffad0c41c24a0eaa78!}

{!LANG-45257093dba4e6b8f9beb5de0d9c4ce2!}

{!LANG-8043616759bb8e591e2594128b03d2de!}

{!LANG-d42fc7016eb01936c45e797c564d6e88!}

{!LANG-264334b56f0849c755e030698344f70c!}

{!LANG-23701c82f68f95e459d25bcbf62e1989!}

{!LANG-f53ca969859cdccf5b2bfa14107e3636!}

{!LANG-055cc868e9f3ef8a5a7b001fe1c0be7c!}

{!LANG-18a93ce5d9599ad0f9e1d2d706b71c74!}

{!LANG-825364eedebd52fcdabd7069dcc6d6fa!}

{!LANG-6f47070a46bfadf6f6e50e0ed3a1f60a!}

{!LANG-a22d2fcf38c5fc5fa8ea57eece8fae73!}

{!LANG-8f9a23b2d469b80599ac1460ca6bdd2e!}

{!LANG-924dffad05dc8c85c1175406015522f7!} {!LANG-936ee66d2677ba6a1860147601494aec!}{!LANG-c377d6762c40027392941c363911abe2!}

{!LANG-53e4ee3bc4514a715612960a88c9ade9!}

{!LANG-18c2c1c5c8f72b2ed0cf395748357245!}

{!LANG-f9642aa328ade578c1423a7db5a3b8c2!}

{!LANG-31bd998dc1c9767dcdb450860a311f24!}

{!LANG-ad296114d5e8f0fc1da7a881790cf608!}

{!LANG-3b40e41c7248cc9b0122aa8e12de6dc4!}{!LANG-3b9cc33f84124399cf6b1ac5f6ec3f56!}{!LANG-3500f9785d4efde1dff17f7960484d5c!}

{!LANG-112cffb619221e253cc981ef993f47c3!}{!LANG-261c05217d05b28a2abc19277931912c!}{!LANG-2e24c7074c94457afabf0b56d2b3a700!}

{!LANG-bcc4e35c2ed7bb7a20a6729972041e72!}{!LANG-bba1f43ea0950ab0d16e2cd533fee706!}{!LANG-93f44f6c30a41eb1b6f53602639a9e9d!}

{!LANG-c687368dca081ecabb11c5191a17905f!}

{!LANG-b693cf9eb8463903a867ae966a7e4a6a!}

{!LANG-f4a216bc7638792b9c552ac1a8b5824d!}{!LANG-f43a0cb26aaeb04018e6646e6a94c81c!} {!LANG-8c691b7110ddbaed061f3aabf990b538!}{!LANG-43448b85421054ed9702d7dd3322b1e5!} {!LANG-9791cfd42a11c335d76cb92ab706c1aa!} ».

If there are oppositions, then the pronoun will be stressed.

{!LANG-b693cf9eb8463903a867ae966a7e4a6a!}

{!LANG-f4940993124cb658c29be02aebc2b02f!}

One of the stressed words is the main stressed word of the entire phrase, the rest of the stressed words are less prominent.

{!LANG-2978755b67a68c142371a41bce47a54c!}

{!LANG-b693cf9eb8463903a867ae966a7e4a6a!}

{!LANG-a3403d7e465c925a8c8003fd18079ef0!}

{!LANG-955a95dc0f76bae4c263ad7bf224e6c1!} {!LANG-da507fbb0977439ff7beb60d793306dd!}{!LANG-b773e294bedd80224ad00904348a5a3e!} {!LANG-077ead310333db8207aad1ac500b773c!} ».

{!LANG-2997309abed6e266de7703ba5a6ec93c!} {!LANG-bec1e337e8d3247ac378f4a6c8bef3d5!}{!LANG-3df91b325bea5864b77bac622d47ede0!} {!LANG-935a9c23a3b1a8ec520315f108127fdc!}{!LANG-bec1e337e8d3247ac378f4a6c8bef3d5!}{!LANG-db8b15314a5aba2d46aa199db7414b60!} {!LANG-516345e84c05cbcb33bd0d45b56a5f59!} ».

{!LANG-76bd2f8afaadc45a4f204a72801eea93!}

It turns out the following:

{!LANG-00bda5a6234f62924de8dc9279174721!}

{!LANG-157fae37298e2c8e7e70ef844d9f2393!}

We observe the same thing when the sound is stressed in a word.

{!LANG-b693cf9eb8463903a867ae966a7e4a6a!}

{!LANG-becc7e402f9ed729c3289d6331d1a3f1!} {!LANG-ad066277b744d8669bf348e254955ba2!}{!LANG-5ac9d67b895c85cedcd02acb83459d84!} {!LANG-fe126dbada3fdadf12abaae81e0ca3b2!}{!LANG-43c38fcbe92179ae71421c12b246d678!} {!LANG-d4e517cc4f7caf516754e81033cc3a01!}{!LANG-590d052750d12ae15bea433547c21ddc!} {!LANG-623c5226de430dde9604463bbc17261a!}{!LANG-53a5c562a249c8888abdb9584b717206!}

{!LANG-a2ec2681162e3e87fc49a3e55472a0f5!}

{!LANG-ca197629e6962897510d66b19271977d!} {!LANG-46004f75b1229fa7ad6f871dbd778c68!}{!LANG-22ef8bc70a8fe0dd40b7e8e067e7246c!}

{!LANG-e5f3950ad6623512f089085565a1be7b!} {!LANG-0f597a3cb4c354deff18fa6078fcc3aa!}{!LANG-ceb79f4d7153ef86c8728ce1e1217c78!}

{!LANG-c603cc0de0967b29cb757c0dd0957e88!}{!LANG-8589e76c6c36507bbc678e7c19dd9673!}

{!LANG-af4e03964161575410cecb488fefd1b2!}

Depending on it, logical centers are determined in each phrase, i.e. words that reveal this topic.

“Punching words are only roadside milestones, along which a logical thought finds its right path to the ear and heart of the viewer. Without knowing the thought that you want to say, you will not find the “main” word in the phrase ”(N. Gorchakov“ Director's lessons of KS Stanislavsky ”).

Therefore, you should never start working on a text with finding subjects or predicates that require stress according to the rules of grammar.

{!LANG-d889163e658acb2d45b4ee6810918aa8!} {!LANG-da335d1140a17668c0405ddf9851343b!}{!LANG-32968c7d03c7d07bed3fe419e6112473!} {!LANG-3585ecf9563f40dc7e35d8a3844203c5!}{!LANG-9a4e3adefb02aa34eae98ef5d2698299!} {!LANG-a6c1dd1dac14a0247d92f117dc2da482!} », « {!LANG-efbcbe59f65f68035e8a356771e7c96b!} ».

{!LANG-814f1f3af1a0618ecd3b665543ba5997!}

Break the text into speech bars, place pauses, accents.

« {!LANG-f45fc1e146160f67686d49694ff022d2!}

{!LANG-4626ddd1b7863791e4b89c07bc61dff9!} ?»

(B. Gorbatov, "The Unconquered").

{!LANG-e84dd4680ae5b86e220090ff8e1d80f6!}

Each text selected by the student must be subjected to logical analysis.

{!LANG-42bfb54f8cb0c09f9f6587a4613b16ee!}

1. Phrases should be divided into speech bars by grammatical and logical pauses (words in them are combined by meaning).

2. In each phrase, the performer must clearly highlight the main words in terms of meaning.

3. In long phrases, in large periods, the group of the main words should be separated from the group of secondary words to correlate the individual parts of the phrase.

4. More important phrases in meaning should be highlighted (ie there should be a logical relationship between phrases as a whole).

5. Based on the understanding of the main idea of \u200b\u200bthe analyzed work, it is necessary to find out and highlight the key points of the entire line of effective development of the content.

The student needs to be able to carry the main idea through all the phrases of the text. This is the main condition for mastering the perspective of a literary work.

The reader must stretch the thread of the developing author's thought through a chain of individual phrases, trace the so-called logical perspective of each part of the work and the entire work as a whole from the logical word.

{!LANG-126f1ac5b034ddbebdb34cf3f3862470!}

To trace the development of thought, it is necessary, by analyzing individual sentences, to establish an internal connection between them.

“Between all these highlighted and non-highlighted words it is necessary to find a correlation, a gradation of strength, a quality of stress, and create from them sound plans and perspective that give movement and meaning to the phrase.” (KS Stanislavsky, collected works, vol. 3, p. 125).

If we are dealing not with individual sentences, but with a coherent text, then the stress will be located in each sentence, depending on its connection with the rest.

The degree of "emphasis" of the word and the length of the pauses depend on the context.

Delivering a logical perspective makes it possible to correctly convey the idea of \u200b\u200bthe work.

{!LANG-c84afdee2673a8ede76e24896cdc6419!}

{!LANG-6ccf8e822d0e4d54abb323b57a355e05!}

{!LANG-3dab4990d458f5f0ef6c230c89383301!}

{!LANG-c7e691885158fdae98827b346e6e0bb6!}

{!LANG-e7d56f493405058ed4a11e36bc09e19a!}

{!LANG-94ca571bca65a5160effb9ecd7f9595b!}

{!LANG-ce953727c67ec2b49277914b73aceb48!}

{!LANG-2cd5f78ef72a8231d17768ad31b1ddc5!}

{!LANG-3d52bea3fc979d79e5bf0f97807f7656!}

{!LANG-9c69ca8935f92a4757407e4a926adbff!}

{!LANG-156e6084741e792b1e94dd203ed529b6!}

{!LANG-8afba622106573f83b6cee115e2642c1!}

{!LANG-6d59615420d12a1f73d8a4276818e50c!}

{!LANG-3f12fc8905e4a6ab5dba575d6a4c1336!}

{!LANG-c73eaa05104498b8a263ce9d0a5d103a!}

{!LANG-25ff64010341932b8822dd9164a4076f!}

{!LANG-a569a03cecd45fd7b0b0a7ff69eb29c2!}

{!LANG-b9b540f524377c7efa3b551cc4af0e57!} {!LANG-525e770456d249d26613016a8262b60e!}{!LANG-f63c9060b663b650c0f3b7e4683768ae!}

{!LANG-14fd739a26fa3aebcfa60db4ce4de468!}

{!LANG-16e6147dac4bc44cd0a9a17a4292f1aa!}

{!LANG-280baf99c6a06b84d74b9b40f826e3df!}

{!LANG-6e23ea1dba6e91373528f42921a70d01!}

{!LANG-7a7d1af93611fcc625a7add6af8e8fcd!}

{!LANG-cfbd7731103367a4f02adb5e28e52ef4!}

{!LANG-2eae1e742a30db7bc6fe7d8f3035ec25!}

{!LANG-950276d46940de4619484ab42356703f!}

{!LANG-e36929ca315d020a634f4ddcd776566e!}

{!LANG-69fcc1b2af610507e1274390633f8463!}

{!LANG-e5c961bf7b316cbbff2196bdfc7d7687!}

{!LANG-f94dffa4f578685fd575f7684130896d!}

{!LANG-f9d02f294f2e672a19dfde2ca5b6cf2e!}

{!LANG-a9014dc988ea1e43df74ebef4c436fb4!}

{!LANG-5c353d7abb1addd5654dbf583e3f4143!}

{!LANG-ba03f2945f63b5a86c21d040bb03111b!}

{!LANG-2c9588575ff3ec2593514e2ddeb62e92!}

{!LANG-6c62652827683cdfc99c6012d3cdf074!}

{!LANG-757ebee1167765c6428440d1cfd3f17e!}

{!LANG-1215ca9045556f7f9213cf29d2c7c564!}

{!LANG-1fba32ad8a4fb64075d7e85fbda2ca37!}

{!LANG-be5aba99b3c73ba94cdbe0158d46bca8!}

{!LANG-028bc68b8d5248692841ab893b5eead1!}

{!LANG-1630f54da5465f94cc5539671f434cc6!}

{!LANG-86d030d0a25e5e1353f0823d73d54567!}

{!LANG-9cf2846ad951714d45fd5c27b7048dcf!}

{!LANG-905e88f59c92c488d384d3001b8406d3!}

{!LANG-9899f3c8603264289575e5f6e5e97cb9!}

{!LANG-6766ca73df6bc53dc8d2da09acf50d45!}

{!LANG-fa65513ad01e31b2d67db23f113d1fcf!}

{!LANG-47c0bf27dee26ecb7e84bdf94a51f9b4!}

{!LANG-74b345b501cd4c1e5b8433ce43fcbbae!}

{!LANG-2d93624b5ab422d8ad04e72177f37311!}

{!LANG-b93274a9a096c8490e8bac7b87b595b1!}

{!LANG-e19e482244c18e8ac270b0130e024a2e!}

{!LANG-ba6689e5ee9334a923745463495c8dbb!}

{!LANG-6f33772cdc5fa27bc497cb18a636c71c!}{!LANG-49a1b5ccddcde147c6f51e28c0bfc63c!}

{!LANG-1798cc75c464cec2a11eb850f79221a6!}

1. {!LANG-a68596c4318ecea50ad4be7b6591f48d!}


2. {!LANG-80eebda3200238446cd8e372fbdd0606!}

{!LANG-979cdd10d170e03cb29cab0336a94a14!}

{!LANG-fcbd62f1f55361444f1a626a0d11ff14!}

{!LANG-76e20162a1224f6c37ad42d98c343136!}

{!LANG-258a6558e1d5a359228e761e3d25290f!}

1. {!LANG-cb7bcd6f4e58e93a05b9327a585777e8!}


2. {!LANG-ff440e3ade3b038b85be28bf8cf81c92!}


3. {!LANG-e50a3e59582d460964414a23b6860819!}

{!LANG-f9dd88ec5b38999c90f425980c7ace68!}

{!LANG-91310098f70e96591054950300d778bf!}

{!LANG-b93c888c096aafc2785c36bbe18f951a!}

{!LANG-cd0d3ccc80a9ef6ad8a65125d714e5cc!}

{!LANG-e56caa04d7f96d3e5d2d9e373ec6e443!}

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{!LANG-c3d382a21415bc4fccab7efd582b7f5a!}

{!LANG-8f4703167387bdade4609517a45e25c4!}

{!LANG-735a56d5bc893de1409fb4c8de724c37!}