Artistic means of painting. IV. Methods of depicting reality
VLASOVA Irina Lvovna, literature teacher
Theater Art and Technical College of Moscow
About some ways of depicting reality in the works of N.V. Gogol
His article about N.V. Gogol V. Nabokov begins like this: “Nikolai Gogol is the most unusual poet and prose writer that Russia has ever produced.”
Gogol often walked on the wrong side of the street that everyone else walked on, sometimes he put his right shoe on his left foot, and he arranged the furniture in his room in disarray. This “most unusual poet and prose writer” entered Russian literature “In the evenings on a farm near Dikanka,” and then decided to “show at least one side of the whole of Russia.”
He showed Russia not “from one side,” but absolutely. From Uncle Miny and Uncle Mitya to the bird-troika, from the village house where Afanasy Ivanovich and Pulcheria Ivanovna lived, to the most mystical city of Russia, once founded on a swamp and human bones by those who “raised Russia on its hind legs with an iron bridle.”
“I just read Evenings near Dikanka,” wrote A.S. Pushkin to a friend. “They amazed me.” This is real gaiety, sincere, relaxed, without affectation, without stiffness.” When, shortly before Pushkin’s death, Gogol read him a draft of the first chapter of “Dead Souls,” he exclaimed: “God, how sad our Russia is!”
Portraying our sad Russia, the writer never ceases to amaze us. He burst into literature with the gaiety of “Evenings...”, where everything is so unusual: the devil is a vehicle, the witch is a charming woman. There they steal a month, the capricious lady demands the shoe from the royal foot. Dumplings and dumplings themselves are dipped in sour cream and jump into your mouth. I was truly surprised, so surprised! There will also be a story “Taras Bulba”. In it, he fiercely executes his hero: Taras will not only die painfully, he will also see terrible death Ostap. The writer will never have anything like this again. Then he will pay attention to the conflict that his brilliant fellow writers explored before him - the conflict of the hero with the environment. The same one that is known precisely for the fact that it always eats up someone (how many times will we hear: “Wednesday has eaten up”!) But if Pushkin, Griboyedov, Lermontov were more interested in the hero, and Wednesday was represented by a series of guests at Famusov’s ball or at Tatyana Larina’s name day, in Pechorin’s murderous descriptions (“a drunken captain with a red face,” “a lady in a low neckline and with a wart on her neck,” “a countess, usually sweating in her bathroom at this hour”), then Gogol has all his interest is directed precisely to this environment. That environment where a bride is chosen based on the number of movable and immovable property, knowledge of the French language, weight (well, just like a goose at the market!), where you can buy dead souls. To describe this very environment, the writer uses unique artistic means. Most often, his hero rides along the road (the principle of “the long, long road” so beloved by Gogol!) He rides and observes the life of the old-world village in which Afanasy Ivanovich and Pulcheria Ivanovna lived; in the glorious city of Mirgorod, in the central square of which the famous puddle never dries up, along the banks of which several generations of Mirgorod residents grew up; in the provincial townNN, where one scoundrel decided to buy dead souls, and five scoundrels sold them (one even gave them as a gift!); in the city of St. Petersburg, where Pushkin had already noticed the devilry, in the city where “the demon himself lights the lights.”
In my opinion, in the writer’s work (except for “Evenings...” and “Taras Bulba”) two themes that are most important to him can be distinguished: provincial Russia and St. Petersburg. He paints a portrait of the city and its character so powerfully that his Petersburg no longer becomes so much a place of action as a hero of the story. A hero who interferes with the fate of a character, invades his life, changing it. The writer introduces his heroes to the reader, starting with a portrait. And he describes the city, starting from the main street. She is the face of the city, its business card(like a nose, which, according to the writer, is the calling card of a face) And the reader probably wants to know what kind of city this is, where (as in the cityNN) you can buy dead souls. Or what kind of city is this, where sideburns and mustaches walk independently along the main street, where Major Kovalev’s nose “disappears for no reason, for no reason” and lives independently.
Pushkin noticed some strangeness in this, perhaps, the most mystical city of Russia in his time (it was this strangeness that drove poor Eugene, who challenged the Bronze Horseman himself, crazy). Then F.M. will tell you a lot of interesting things about this oddity. Dostoevsky. He will show us this city as a city without people (“White Nights”). Here the hero lives among bridges, streets, pavements, houses, stone walls and communicates with them as with friends, with acquaintances. This strange world– his world, his and the City. For Dostoevsky, this city is a two-faced Janus, one side of which is beautiful (balls, beautiful women, the shine of diamonds), and the other is ugly. On this side they drink, steal, here the stairs are filled with slop, here children get sick and die, here crazy ideas are born. The most terrible tragedies occur on the streets of this side of the city. This strangeness will later be seen by A.A. Blok, whose hero finds himself in a vicious circle: “Night, street, lantern, pharmacy.” You can’t break out of this circle: “If you die, you’ll start over again, // And everything will repeat itself as before: // Night, the icy ripples of the canal, // Pharmacy, street, lantern.”
Charming and frightening, this City is approaching us: “And beyond the bridge it flies towards me // A horseman’s hand in an iron glove // And two hooves of his horse” (N.S. Gumilyov)
A.N. Tolstoy, in his novel “Sisters,” recalled a drunken sexton who, two centuries before the events he described, driving past, shouted: “Petersburg be empty!” That's how things have gone since then: then along the pavements Bronze Horseman galloped, then the nose of the unfortunate major went on a spree, then the deceased official raged in the vacant lot like a ghost, tearing the greatcoats from the shoulders of passing influential persons. If Pushkin and Dostoevsky, Blok and Bely noted the amazing strangeness of this City, then Gogol understood everything to the end and told about it in such a way that everyone who wrote after him “... only more fully reveals the city of Gogol, and does not create some new image of it. It is no wonder that Petersburg revealed all its quirkiness when the most bizarre person in all of Russia began to walk along its streets, for that is what it is, Petersburg: a blurry reflection in a mirror...; pale gray nights instead of the usual black ones and black days - for example, the “black day” of a shabby official” (V. Nabokov)
In his article “St. Petersburg Notes of 1836” N.V. Gogol wrote: “It is difficult to grasp the general expression of St. Petersburg, because disunity reigns in this city: as if a huge stagecoach arrived at the tavern, in which each passenger sat closed the whole way and entered the common room only because there was no other place.” . On Nevsky Prospekt - the “universal communication of St. Petersburg” - there is a different picture. Here everyone has their own movement at their own time. Only the location of the action does not change - Nevsky Prospekt. Gogol had previously begun his description of any city with a description of its main street. And there was always some kind of catch in this description. Well, for example, the famous Mirgorod puddle. The writer dedicates a poem to this puddle and sings a hymn! All in superlatives, all exclamation marks! It's big, like a lake. It does not dry out in summer and does not freeze in winter. All the townspeople love her and are very proud of her. A few more touches (a pig lying in the center of a puddle, chickens pecking grain on the porch of a public place) - and here it is, a portrait of the city! Wow, a city whose main and, by the way, only attraction is an unforgettable puddle!
So Gogol begins his description of the “beauty of our capital” Nevsky Prospect with an obvious catch: “There is nothing better than Nevsky Prospect.” After such an enthusiastic exclamation there is a whole series of proofs: he is good because everyone loves him; they love it because everyone walks along it; they walk on it because it is good. “How clean its sidewalks are swept, and, God, how many feet have left their traces on it! And the clumsy dirty boot of a retired soldier, under the weight of which the very granite seems to crack, and the miniature, light as smoke, shoe of a young lady..., and the rattling saber of a hopeful ensign, making a sharp scratch on it - everything takes out the power of force on him and the power of weakness." Is it possible now, after reading the description of all kinds of traces and even scratches, to believe in the unimaginable purity of the “universal communication of St. Petersburg,” its “main beauty”? And what is the writer’s statement, which was subsequently unconfirmed by anything, that “a person met on Nevsky Prospect is less selfish than in Morskaya, Gorokhovaya, Liteinaya, Meshchanskaya and other streets.” N.V. Gogol paints Nevsky at different times of the day. The character of the city, its mood, its smell changes every minute, it fascinates with this elusiveness, this changeability. Early in the morning “... all of St. Petersburg smells of hot, freshly baked bread and is filled with old women... making their raids on churches and compassionate passers-by.” Well, isn’t at least this phrase about old women worth a lot! Next, the writer comes to a conclusion (presumably based on close observation): he trudges along Nevsky Prospekt to work until 12 o’clock. the right people"or "a sleepy official will sneak into the department." “At 12 o’clock Nevsky Prospekt is pedagogical,” because it is “raided by tutors ... with their pets.” The old women who raid churches and the tutors who raid Nevsky Prospect will then be replaced by mustaches and sideburns. It turns out that sideburns “velvet, satin, black, like sable or coal” are the privilege of only one foreign board. Those serving in other departments, “to their greatest trouble (and why trouble, and even the greatest?) are destined to wear red hair.” This procession of mustaches and sideburns of all styles and colors is accompanied by the smells of “delicious perfumes and aromas.” And then, completely independently, “thousands of varieties of hats, dresses, scarves”, narrow waists, ladies’ sleeves march. And the inhabitants and smells here will change endlessly, the nature of the “universal communication of St. Petersburg” will change. But then comes that magical time when “... lamps give everything some kind of tempting, wonderful light.” Now Nevsky Prospekt consists of two parallel straight lines: Nevsky daytime and Nevsky night. The story is based on a comparison of two storylines. When describing the daytime Nevsky, Gogol turns to the principle of detail in the description: endless external signs (sideburns, mustaches, ranks, hats, boots, etc.) In the evening, when the lanterns are lit, the City fascinates, captures and sends you into different sides a seeker of beauty (artist Piskarev) and an adventurer (Lieutenant Pirogov). Both of them are in for a complete fiasco. Only now the beauty seeker will die, and the adventure seeker will get off with a slight fright and will forget himself in the pastry shop, eating pies. And the evening mazurka will completely calm him down. There is a complete discrepancy between the tragic meaning and the ironic intonation in the description of these events. This is fully confirmed by the writer himself at the end of the story: “Oh, don’t believe this Nevsky Prospect!” “Everything is a deception, everything is a dream, everything is not what it seems!.. He lies at all times, this Nevsky Prospekt, but most of all when the night falls on him in a condensed mass... and when the demon himself lights the lamps just so that show everything not in its real form.” So why be surprised in a city where “the demon himself lights the lights”? It is clear that this is where the strangest things should happen: the artist will give in to temptation and, for the sake of fame and wealth, will pledge his soul to the devil. What seems only at first glance to be “perfect nonsense”, but in fact an “extraordinarily strange incident” will happen: Major Kovalev’s nose turned out to be (how?) baked in dough, thrown into the Neva (under what circumstances?). Then, with the rank of state councilor, he traveled around St. Petersburg and was spotted in church. By the way, he flatly refused to have a close relationship with Major Kovalev! "I am on my own. Moreover, there cannot be any close relations between us. Judging by the buttons on your uniform, you should serve in the Senate, or at least in the Justice Department. I'm a scientist." Then, finally, the runaway nose returned to its rightful place, “between Major Kovalev’s two cheeks.” Nikolai Vasilyevich states quite authoritatively that such incidents are “rare, but they do happen.” And as evidence he writes: “But here the incident is completely obscured by fog, and absolutely nothing is known what happened next.” So here you go! Gogol is always like this. As soon as we get to the solution, he will definitely promise to tell you later or, even better, suddenly declare that it doesn’t matter now.
Topic bad dream major, assumed in the original version, Gogol later excludes. Everything would be simple: the strange incident turned out to be just a strange dream. IN final version poor Kovalev pinched himself twice to make sure whether this was a dream or a terrible reality. Alas! Instead of “... a rather good and moderate nose, a very stupid, even and smooth place.” There is no life without a nose: you have to cover yourself with a scarf in public, you can’t get married, you can’t sniff tobacco, you can’t make a solid career! The nose is the “peak” of external dignity, and not “some little toe.” Nobody will see it (in the sense of a finger) in a boot. And this is the nose! “And why did he run out into the middle of his face?” – the writer once joked. Major Kovalev without a nose finds himself “outside the citizenship of the capital.” He is now completely outside of people. This makes him similar to the hero of the story “Notes of a Madman,” poor fellow Poprishchin, who “has no place in the world,” who speaks “in himself.” Life will drive him crazy. At the end of the story “Notes of a Madman,” we see Gogol’s beloved images of the troika, the road, and we hear the sound of a bell: “Give me a troika of horses as fast as a whirlwind! ... ring my bell, soar, horses, and carry me from this world!”
“There is no place in the world” for the unfortunate Bashmachkin. He died, and “Petersburg was left without Akaki Akakievich, as if he had never been there.” Gogol explained to the reader why his hero was so unattractive (“short, somewhat pockmarked, somewhat blind, with a small bald spot on his forehead, with wrinkles on both sides of his cheeks...”): “What can we do! The St. Petersburg climate is to blame.” The beginning of the story is replete with an incredible amount of details: where was the bed of the woman in labor, who stood on right hand, who on the left, which of the relatives (up to the brother-in-law) wore boots, etc. Then only the main event is described - the choice of name. In the case of our hero, read “fate”. Choosing a name begins with total bad luck. According to the calendar, “all the names were like this”: Mokiy, Sossiy and Khozdazat, then Trifiliy, Dula and Varakhasiy. “Well, I see that apparently this is his fate. If so, it would be better for him to be called like his father. The father was Akaki, so let the son be Akaki.” The child was baptized and he began to cry. Let us note that he cried, not notifying the world, saying, I was born, love me, but “as if he had a presentiment that there would be a titular councilor.” This is simply a sentence: to be in this life, like his father, Akaki, and to be a titular adviser. There will be no other fate. You'll pay here! Then about fifty years falls out of the description. There is probably nothing to talk about - just rewriting of papers. They put papers on him, he took them, “looking only at the paper, without looking who gave it to him,” and copied them. So he lived among papers, letters, and rewriting. In some kind of little world of his own, outside of which nothing existed for him. In this little world, however, he lives quite happily: so, having peed to his heart’s content, he went to bed, “smiling at the thought of tomorrow: “Will God send you something to rewrite tomorrow?” In “The Overcoat,” Gogol describes three main events in the hero’s life: the choice of a name, the construction of a new overcoat, and death. The apotheosis of Akaki Akakievich’s entire life will be the overcoat. With this fateful decision - to sew a new overcoat - everything changed in his life. This period of Bashmachkin’s life is his spiritual rise. Before this, Akakiy Akakievich explained: for the most part prepositions, adverbs, and, finally, such particles that absolutely do not have any meaning... he even had the habit of not finishing the phrase at all,... thinking that he had already said everything.” For Gogol, the speech characteristics of the hero are very important. Let's compare Bashmachkin's speech before and after the decision to sew an overcoat. “And here I come to you, Petrovich, that...” After making a decision, he completely changes. He “somehow became more alive, ... the doubt disappeared from his face.” Communication with letters is not enough for him; he is drawn to people. He became talkative: “He visited Petrovich to talk about the overcoat.” Why, he became a dreamer, he became daring and courageous: “Should I put a marten on my collar?” Well what! For him, the future overcoat is a friend of life, in general LIFE! Another. New overcoat- new life. This new life he is destined to live only one day. This whole day for him is “definitely the biggest solemn holiday.” On this day, he experienced everything that a person can experience in life: the joy of meetings, care, warmth, affection. He was in a team, among friends. He was in an apartment on the second floor, where the stairs were lit. He drank champagne. He was happy and happy people lose their vigilance. Drunk, either from two glasses of wine or from happiness, he finds himself in a vacant lot, where he is unceremoniously thrown out of his overcoat. “But the overcoat is mine,” only he heard. Thrown out of his overcoat - thrown out of life. He was shown to his place. Born a titular councilor, live as one. And he swung at his overcoat, even a general’s one. “And Petersburg was left without Akaki Akakievich, as if he had never been there.” At the end of the story, Bashmachkin will return as a ghost and take revenge significant persons, tearing off their greatcoats from their shoulders. He will calm down only after tearing off the overcoat from the boss who yelled at him: “apparently, the general’s overcoat was completely beyond his capabilities.”
The main work of the writer’s life will be “ Dead Souls" On June 28, 1836 he writes to V.A. Zhukovsky: “I swear, I’ll do something that he doesn’t do.” ordinary person... This is a great turning point, great era of my life... If I complete this creation the way it needs to be done, then... what a huge, what an original plot! What a varied bunch! All Rus' will appear in it! This will be my first decent thing that will carry my name.” On May 21, 1842, “Dead Souls” was published.
The plot of the poem is three-layered: a biography of Chichikov, “landowner” chapters and a description of city officials.
The composition of the poem is interesting. The first chapter is an exposition. In it we get to know the cityNN, where Pavel Ivanovich Chichikov will buy dead souls. Here, in this city, useful contacts are made, a plot begins, and the actual movement of the plot will begin with the next chapter. From the second to the sixth chapter, Chichikov’s trips to the landowners are described. Then the action develops more and more rapidly. And at the most seemingly inopportune moment, when after the word “millionaire”, which was so intoxicating for Pavel Ivanovich, the terrible word “swindler” was uttered next to his name, and the company hid, trying to figure out what would happen next, what would suddenly be told “ The Tale of Captain Kopeikin. But maybe Chichikov is that same captain? But the captain is “without an arm or a leg, and Chichikov ...”) In the last, eleventh chapter of the first volume, Gogol will tell the biography of the hero.
In the poem, the writer is faithful to his creative style. Getting to know the cityNNwill begin with a description of the main street. Meet the characters from a portrait. The most important role in revealing characters is played by speech and gastronomic characteristics. But more on that later.
Of the five visits, Chichikov planned two (to Manilov and Sobakevich). Later I learned about Plyushkin from Sobakevich and decided to go to him. I came to Korobochka by accident. Nozdryov dragged him to him almost by force. Then it was Korobochka (for fear of selling himself short) and Nozdryov (from his own) who would blurt out about dead souls. Great love spoil your neighbor). Vladimir Nabokov, by the way, reproaches Chichikov, and not them: “It was stupid to demand dead souls from an old woman who was afraid of ghosts, it was unforgivable recklessness to offer such a dubious deal to the braggart and boor Nozdryov.”
Gogol in the “landowner” chapters uses a downright cinematic technique: he comes from close-up to the details. This image of the “material” world, the objective environment of the heroes is one of characteristic features writer's style. Things that surround a person help to better understand his character, his world. Therefore, probably, all the things surrounding Sobakevich seemed to say: “And I, too, Sobakevich!” or “And I also look very much like Sobakevich!” Gastronomic characteristics are also of great importance. Vladimir Nabokov believes that Sobakevich’s attitude to food “is colored by some kind of primitive poetry, and if a certain gastronomic rhythm can be found in his dinner, then the measure was set by Homer.” In the blink of an eye, he gnaws and gnaws half of a lamb side to the last bone, a huge piece of nanny (“mutton stomach stuffed with buckwheat porridge, brain and legs”) disappears in a matter of minutes, and then comes such a “trifle” as “a turkey as tall as a calf stuffed with all sorts of good things: eggs, rice, livers”; cheesecakes, “each of which was larger than a plate.” If Sobakevich serves mainly meat, then Korobochka serves more and more flour. “On the table there were already mushrooms, pies, skorodumki, shanishkas, spindles, pancakes, flatbreads with all sorts of toppings: topping with poppy seeds, topping with cottage cheese...” At Manilov’s they serve cabbage soup, and we also see Themistoclus gnawing a lamb bone. But for Nozdryov, “dinner, apparently, was not the main thing in life; ...some of it burned, some of it wasn’t cooked at all.” Added to Madeira aqua regia, the mountain ash gives off “fuel in all its strength.” And from a special bottle (“burgagnon and champagne together”) Nozdryov for some reason “added it a little.” At Plyushkin’s, Chichikov will be offered a cracker from the Easter cake and a liqueur from “a decanter that was covered in dust, like a sweatshirt.”
returning to speech characteristics heroes, let us pay attention to how Manilov’s emptiness is revealed in his florid phrases. Korobochka's club-headed nature does not allow her to immediately understand the essence of the deal. “Do you really want to dig them out of the ground?” In Nozdryov’s speech the words scoundrel, scoundrel, and fetyuk are constantly heard. Two minutes later he already says “you” to Chichikov. Sobakevich is cool at first, but, an experienced swindler himself (he wrote in Chichikov’s woman!), he changes dramatically as soon as the conversation concerns the deal. He even becomes graceful, eloquent, “apparently, he was carried away; There were such streams of speeches that you just had to listen.” As for Plyushkin, well, what is worth just the phrase: “The people are painfully gluttonous, from idleness they have acquired the habit of cracking ...” In conversations with landowners, Chichikov also reveals himself. He simply disappears into his interlocutor. Either he just melts away like Manilov, or he desperately bargains with Sobakevich. He does not stand on ceremony with Korobochka - driven almost to despair by her stupidity, he slammed a chair on the floor and promised her the devil for the night. He is artistic, an excellent psychologist, smart, charming. It would be, as they say, atomic energy for peaceful purposes! But no. Gogol himself calls him “scoundrel -acquirer."
We can talk endlessly about Gogol’s ways of depicting characters and reality. This is truly our most unusual writer!
Concluding my rather superficial study, I will again turn to the thoughts of V. Nabokov: “It is difficult to say what fascinates me most in this famous explosion of eloquence that concludes the first part - whether the magic of his poetry or magic of a completely different kind, for Gogol faced a double task: to allow Chichikov to avoid fair punishment by escaping and at the same time distract the reader’s attention from a much more unpleasant conclusion - no punishment within human law cannot overtake the messenger of Satan, hurrying home to hell..."
Literature used in the work:
V. Nabokov "Lectures on Russian literature." Translation from English. M., Nezavisimaya Gazeta, 1996
N.V. Gogol "Petersburg Tales". “Soviet Russia”, M., 1978
N.V. Gogol "Dead Souls". “Soviet Russia”, M., 1978
Depending from fullness The display method of the image is distinguished:
show full And partial.
depending on the image method: general(generalized image methods) and variable
by the nature of the actions: show gesture and show image reception.
Group And individual the demonstration can take place in the form of a joint action between a teacher and a group of children or a teacher and a child.
Distinguish teacher demonstration And showing how a child portrays (actions).
In all cases, the demonstration is accompanied by verbal explanations.
Method of application
Demonstration of technical techniques can be included in the structure as information-receptive, so reproductive method. To the structure heuristic method - if you organize a search activity and children can demonstrate the image options they have found, since all children are placed in a search situation, and the display is, as it were, a public demonstration of one of the image options.
Demonstration of technical techniques in the first lesson - when an object of a given form is depicted for the first time - the demonstration is carried out by the teacher, after an appropriate examination. An indispensable condition is an explanation of the relationship between the image method and the movement of the hand along the contour during the examination.
In subsequent lessons, where objects of the same shape are depicted, children are involved in demonstrating the method of depiction.
In younger groups the display takes up more space, and in older groups it takes up less space.
The gesture explains the location of the object on the sheet. The movement of a hand or a pencil stick on a sheet of paper is often enough for children even 3-4 years old to understand the tasks of the image. A gesture can restore in the child’s memory the basic shape of an object, if it is simple, or its individual parts.
It is effective to repeat the movement with which the teacher accompanied his explanation during perception. Such repetition facilitates the reproduction of connections formed in consciousness. A gesture that reproduces the shape of an object helps memory and allows you to show the movement of the hand of the drawer during the image. How smaller child, those higher value in his training has a display of hand movements. The preschooler does not yet fully control his movements and therefore does not know what movement will be required to depict this or that form.
For example, when observing children during the construction of a house, the teacher gestures to show the contours of the buildings under construction, emphasizing their upward direction. He repeats the same movement at the beginning of the lesson, in which the children draw a high-rise building. There is also a well-known technique when the teacher younger group makes an image together with the child, leading his hand. This technique should be used when the child’s movements are not developed and he does not know how to control them. We must give the opportunity to feel this movement.
With a gesture, you can outline the entire object if its shape is simple (ball, book, apple), or details of the shape (the arrangement of branches in a spruce tree, the bend of the neck in birds). More small parts The teacher demonstrates in drawing or modeling.
Character of the show depends on the tasks that the teacher sets in this lesson.
Showing an image of the entire object is given if the task is to teach how to correctly depict the basic shape of the object. Typically this technique is used in the younger group. For example To teach children to draw round shapes, the teacher draws a ball or an apple, explaining his actions.
If, when depicting an object, it is necessary to accurately convey the sequence of drawing a particular detail, then a holistic display of the entire object can also be given. With such a display, it is desirable that the teacher involve the children in analyzing the subject with the question: “What should we draw now?”
In teaching older children, partial display is more often used - an image of a detail or an individual element that preschoolers do not yet know how to depict. For example, children 4-5 years old draw a tree trunk in the form of a triangle with a wide base. This mistake is sometimes caused by the teacher’s explanation: “The tree trunk is narrow at the top and wide at the bottom,” and the children literally follow this instruction. The teacher, along with verbal instructions, needs to show a picture of a tree trunk.
In the older group, when drawing on the theme “Beautiful House,” the teacher shows on the board how different the shapes of windows and doors can be. Such a variable display does not limit the child’s ability to create the entire drawing.
During repeated exercises to consolidate skills and then use them independently, demonstrations are given only on an individual basis to children who have not mastered a particular skill.
Passion for constant display methods of completing a task will teach children to wait for instructions and help from the teacher in all cases, which leads to passivity and inhibition of thought processes.
14. List verbal methods and techniques used in the process of teaching preschoolers visual arts. Reveal the conditions for the effective use of verbal methods and techniques in visual arts classes. Justify the need for use artistic word in the process of teaching preschoolers visual arts.
Solve a pedagogical problem:
Having finished sticking the truck for Mishutka, Yulia shows the work to the teacher: “Did I stick it well?” - "Let's watch! - Lidia Fedorovna responds. “There is a cabin, the body also holds tightly, but as soon as the car starts moving, the wheels will immediately fall off!” The teacher shows the girl the loosely glued wheels. Yulia takes work and goes to glue the wheels. Having finished the job, she meets the teacher’s approving glance and, pleased, shows the work to Mishutka, who “agrees” to take a ride in this car.
Interpret the proposed situation. Design your activities as a teacher in a similar situation.
Verbal methods and techniques: conversation, teacher's story, pedagogical assessment and analysis of children's work
questions, encouragement, advice, directions, artistic expression.
Conversation – one of the leading verbal methods of teaching visual arts . A conversation in art classes is a conversation organized by the teacher, during which the teacher, using questions, clarifications, clarifications, contributes to the formation in children of ideas about the depicted object or phenomenon and ways of recreating it in drawing, modeling, and appliqué. The specifics of the conversation method provide for maximum stimulation of the child's activity. That is why conversation has found widespread use as a method of developmental teaching in visual arts.
The conversation is used in the first part of the lesson - when the task is to form a visual representation, and at the end of the lesson - when it is important to help children see their work, feel their expressiveness and advantages, and understand their weaknesses.
The conversation method depends on the content, type of lesson, and specific didactic tasks.
IN subject drawing when children are taught to convey a plot, during the conversation it is necessary to help the children introduce image content, composition, features of motion transmission, color characteristics of the image, i.e. think over visual arts to convey the story. The teacher clarifies with the children some technical techniques of work and the sequence of creating an image.
Depending on the content of the image (based on a literary work, on topics from the surrounding reality, on free topic) the methodology of conversations has its own specifics. So, when drawing (sculpting) on the theme of a literary work it is important to remember its main thought, idea; emotionally revive the image(read lines from a poem, fairy tale). Describe the external appearance of the characters, recall their relationships, clarify the composition, techniques and sequence of work.
Drawing (sculpting) on topics of the surrounding reality requires revitalization of the life situation, reproduction of the content of events, conditions, clarification expressive means: compositions, details, methods of transmitting movement, etc., clarifying techniques and sequence of images.
When drawing (sculpting) on a free topic necessary preliminary work with children. In conversation, the teacher revives impressions. Then he invites some children to explain the idea: what they will draw (blind), how they will draw, so that it is clear to others where they will place this or that part of the image. The teacher clarifies some technical techniques of work. Using the example of children's stories, the teacher once again teaches preschoolers how to conceive an image.
In classes where the content of the image is a separate subject, conversation often accompanies the process examination (examination). In this case, during the conversation, it is necessary to evoke an active, meaningful perception of the object by children, to help them understand the features of its shape, structure, determine the uniqueness of color, proportional relationships, etc. The nature and content of the teacher’s questions should aim the children to establish dependencies between appearance subject and its functional purpose or features of living conditions (food, movement, protection). Completing these tasks is not an end in itself, but a means of forming generalized ideas necessary for the development of independence, activity, and initiative of children when creating an image. The richer the children’s experience, the higher the degree of mental and speech activity of preschoolers in conversations of this kind.
In design and appliqué classes, where the subject of examination and conversation is often sample, also provide for a greater degree of mental, speech, emotional and, if possible, motor activity of children.
At the end of the lesson in the process of viewing and analyzing children's works we need to help children feel the expressiveness of the images they created. Teaching the ability to see and feel the expressiveness of drawings and sculpting is one of the important tasks facing the teacher. At the same time, the nature of the adult’s questions and comments should ensure a certain emotional response from the children.
In older groups, during the conversation, the teacher leads children to independently establish the dependence of the expressiveness of the image on the methods of action.
Age characteristics influence the content of the conversation and the degree of activity of children. Depending on specific didactic tasks nature of the issues is changing. In some cases, questions are aimed at describing the external signs of a perceived object, in others - at recall and reproduction, at inference. With the help of questions, the teacher clarifies children’s ideas about an object, phenomenon, and ways of depicting it. Questions are used in general conversation and individual work with children during the lesson. The requirements for questions are of a general pedagogical nature: accessibility, clarity and clarity of formulation, brevity, emotionality.
Explanation- a verbal way of influencing the consciousness of children, helping them understand and assimilate what and how they should do during classes and what they should get as a result. The explanation is given in a simple, accessible form simultaneously to the entire group of children or to individual children. Explanation is often combined with observation, showing ways and techniques of performing work.
Advice used in cases where the child finds it difficult to create an image, but do not rush to give advice. Children who work at a slow pace and are able to to the question asked find a solution, often do not need advice. In these cases, the advice does not contribute to the growth of independence and activity of children.
There is a widespread opinion that there are no fundamental differences between the ways of depicting reality in folklore and in fiction. Both here and here reality is portrayed equally faithfully and truthfully. So, for example, M. M. Plisetsky, in his book devoted to the historicism of Russian epics, does not agree with those who claim that the epic depicts not the events of a particular era, but its aspirations.
Why, he asks, historical events are depicted, for example, in songs about the capture of Kazan, about Stepan Razin, why “The Tale of Igor’s Campaign” can correctly depict the Polovtsian campaign against the Russians, why L. N. Tolstoy in the novel “War and Peace” or A. N. Tolstoy in the novel “Peter the Great” could depict many historical figures and events, but the epic cannot do this? “Why is this not allowed for epics?” - exclaims the author. So, there is no fundamental difference in the depiction of reality between epics, historical songs, “The Tale of Igor’s Campaign” and historical novels XIX-XX centuries.
This is an opinion in which the author does not take into account either the artistic means of the genres of folklore and literature, or social environment creating art, nor with centuries historical development people, despite its obvious and somewhat primitive ahistorical nature, is quite typical for a number of modern works. The same truthful depiction of reality as for epics is allowed even for fairy tales.
In fairy tales, for example, they look for reflections of those forms of class struggle that took place in the 19th century. Thus, E. A. Tudorovskaya writes the following about the fairy tale: “The primordial class enmity between the oppressor-serf owners and the oppressed people is truthfully shown.” But when it comes to examples, it turns out the following: “Baba Yaga, the “mistress” of the forest and animals, is portrayed as a real exploiter who oppresses her animal servants...”. According to E. A. Tudorovskaya, the class struggle in a fairy tale takes on “the appearance of fiction.” “This somewhat limits the realism of the fairy tale.”
Thus, a fairy tale is realistic, but it has one drawback: it is fiction, and this reduces and limits its realism. The logical consequence of such an opinion would be the statement that if there were no fiction in the fairy tale, it would be better.
Such curious opinions would not be worth mentioning if E. A. Tudorovskaya’s point of view were isolated. But others share it. Thus, V.P. Anikin writes: “Direct life socio-historical experience is the source of a truthful depiction of reality in oral creativity people." Anikin sees class struggle in fairy tales about animals.
He declares them allegories. “Social allegorism is the most important property of folk tales about animals, and without this allegorical meaning the fairy tale would not be needed by the people.” Thus, the people do not need a fairy tale as such.
All that is needed is an allegorical social meaning. The author is trying to prove that the wolf is a “people's oppressor.” The bear also belongs to the same oppressors. In the realm of fairy tales, Koschey and other antagonists of the hero are classified as oppressors of the social order.
Fairness requires noting that V.P. Anikin’s book contains many correct observations. But in the years when this book was written, such concepts were considered to some extent mandatory and progressive.
We will not go into further polemics, but we will try to approach the question of how reality is depicted in folklore, what means it has for this, and what are the specific differences between folklore and realist literature, not through abstract speculation, but by studying the material itself.
We will see that folklore has specific laws of its poetics, different from the methods of professional artistic creativity. The question should be posed historically; However, before doing this, it is necessary to understand the picture of what is available today.
We will consider folklore monuments based on the records of the 18th-20th centuries, pushing the historical study of the process of composition and development to the future. We will only consider Russian folklore. Such a descriptive study must be done before starting a historical-comparative study.
There are patterns that are common to all or many genres of folklore, and there are patterns that are specific only to individual genres. We will consider the issue of genres, not at all striving for an exhaustive description of them, but limiting ourselves to the framework of the problem of the relationship of folklore to reality.
We will begin our study with a fairy tale as a genre in which the question of attitude to reality is relatively simple. At the same time, it is the fairy tale that allows us to reveal some general laws narrative genres in general.
Speaking about a fairy tale, it is necessary to remember the statement of V.I. Lenin: “In every fairy tale there are elements of reality...”. The most cursory glance at the fairy tale is enough to verify the correctness of this statement. In fairy tales there are fewer of these elements, in other types there are more of them.
Animals such as fox, wolf, bear, hare, rooster, goat and others are precisely those animals with which the peasant deals; Men and women, old men and old women, stepmothers and stepdaughters, soldiers, gypsies, farm laborers, priests and landowners passed from life into fairy tales.
The fairy tale reflects both prehistoric reality and medieval customs and morals and social relations feudal times and capitalist times. All these elements of reality are carefully studied by Soviet and foreign science, and very significant literature already exists about them.
However, taking a closer look at Lenin's words, we see that Lenin does not at all claim that a fairy tale consists entirely of elements of reality. He only says that they “are” in her. As soon as we turn to the question of what these realistic men, women, soldiers or other characters are doing in a fairy tale, that is, we turn to the plots, we will immediately plunge into the world of the impossible and fictional.
It is enough to take Aarne-Andreev’s index of fairy-tale plots and open at least the “Novelistic Fairy Tales” section there to immediately be convinced that this is so. Where in life are these jesters who deceive everyone in the world and are never defeated? Are there such cunning thieves in life who steal eggs from under a duck or a sheet from under a landowner and his wife? Are obstinate wives tamed in real life as in fairy tales, and are there such fools in the world who look down the barrel of a gun to see how the bullet will fly out? There is not a single plausible plot in a Russian fairy tale.
We will not go into detail, but will focus on just one typical example as a sample. This is a tale about an ill-fated dead man. IN general outline it goes like this. The fool accidentally kills his mother: she falls into a trap or falls into a hole that the fool dug in front of the house.
Sometimes, however, he kills her deliberately; She hides in the chest to find out what the fool is talking about with his family, and he knows it and fills the chest with boiling water. He puts the mother’s corpse in the sleigh, gives her the hoop or bottom, comb and spindle, and rides off. The noble troika rushes towards us. He doesn't turn off the road and gets knocked over.
The fool shouts that they killed his mother, the royal goldsmith. They give him one hundred rubles as compensation. He moves on and now puts the corpse in the cellar with the priest; He gives his dead mother a jug of sour cream and a spoon. Popadya thinks she is a thief and hits her on the head with a stick. The fool again receives a hundred rubles in compensation. After this, he puts her in a boat and lowers it down the river. The boat runs into the fishermen's nets.
The fishermen hit the corpse with an oar, it falls into the water and drowns. The fool shouts that his mother has drowned. He also receives a hundred rubles from the fishermen. He comes home with the money and tells his brothers that he sold his mother in the city at the bazaar. The brothers kill their wives and take them to be sold. The gendarmes take them to prison, and the brothers' property goes to the fool. With this property and the money he brought, he begins to live happily ever after.
There is another version of this tale, which, however, can be considered a different tale. Here things happen a little differently. A man's wife treats her lover. My husband is watching.
While she goes to the cellar for butter, her husband kills her lover and puts a pancake in his mouth so that they think he has choked. Then tricks begin with the corpse, which may partly coincide with the previous version, partly have a different form.
In this case, you need to get rid of the corpse in order to clear yourself of suspicion of murder. The man leans the corpse against the house where the wedding feast is taking place and begins to swear. The guests jump out, think that the man leaning against the wall was swearing, and hit him on the head. Seeing him dead, they get scared and, in order to get rid of the dead man, tie him to a horse and let him go.
The horse runs into the forest and spoils the hunter's traps. The hunter beats the dead man and thinks he has killed him. He puts the corpse in the boat, and the action ends, as in the previous version: the ill-fated dead man falls into the water from the blow of the fisherman, and the corpse disappears.
If modern Soviet writer decided to write a story about how his mother was killed and how the killer then used the corpse to extort money, then no publishing house would have published such a story, and if it had been published, it would have caused justified indignation among readers.
Meanwhile, the fairy tale does not cause any indignation among the people, despite the fact that the peasants treat the dead with some special reverence. This tale is popular not only among Russians, but among many European peoples. It even reached the Indians of North America.
Why could such an outrageous story become popular? This became possible only because this fairy tale is a cheerful farce. Neither the narrator nor the listener relates the story to reality. A researcher can and should relate it to reality and determine which aspects of everyday life brought this plot to life, but this no longer belongs to the realm of artistic perception, but scientific one. This is not reduced, limited or fairy-tale realism, it is not an allegory or a fable, it is a fairy tale.
We dwelled on this example in such detail because it is indicative and typical for the question of the relationship of a fairy tale to reality.
A fairy tale is a deliberate and poetic fiction. It is never presented as reality. “A fairy tale is a twist, a song is a story,” says the proverb. “The tale is beautiful, the song is beautiful.” Having finished the story, they say: “That’s the whole story, you can’t lie anymore.” In modern language, the word “fairy tale” is a synonym for the word “lie.”
But what then attracts a fairy tale if the depiction of reality is not its goal? First of all, it attracts with the unusualness of its narrative. The discrepancy with reality, fiction as such, gives special pleasure.
In fairy tales, reality is deliberately turned inside out, and this is their whole charm for the people. True, the extraordinary also occurs in fiction.
In romantic prose it is stronger (the novels of Walter Scott, Hugo), in realistic prose it is weaker (Chekhov). In literature, the extraordinary is depicted as possible, evoking emotions of horror, or admiration, or surprise, and we believe in the possibility of what is depicted.
In folk prose, the extraordinaryness is such that in fact it would be impossible in life. True, in everyday fairy tales in most cases there is no violation of the laws of nature. Everything that is being told, in fact, could have happened. But still, the events described are so extraordinary that they could never have happened in reality, and this is why they arouse interest.
V.Ya. Propp. Poetics of folklore - M., 1998
Origin of art.
The most ancient of works of art familiar to us date back to the late Paleolithic era (twenty thousand years ago BC). The desire to understand one’s place in the world around us is revered in the images that were brought to us by engraved and painted images on stone. These stones were located mainly in Burdel, El Parnallo, and Isturitz. Also widely known are the Paleolithic paintings and petroglyphs (images carved, scratched or carved on stone) of the caves of Lascaux, Altamira, Nio, rock art North Africa and Sahara. Before the nobleman Marcelino de Southwalla discovered paintings in the Spanish cave of Altamira in 1879, there was an opinion among ethnographers and archaeologists that primitive man was completely devoid of spirituality and was only engaged in searching for food. Some scientists to this day take a rather simplistic approach to assessing the images of primitive artistic creation. However, already at the beginning of the century, in England, a researcher primitive art Henri Breuil spoke of a true "Stone Age civilization". He was able to trace the evolution of primitive art from the simplest spirals and handprints on clay through engraved images of animals on bones, stone and horn to multi-colored paintings in caves across vast areas of Europe and Asia. Henri Breuil is an adherent of the magical theory, according to which all frescoes, figurines and engravings should be perceived as objects of worship, directly combining them with the need to lure animals to hunting grounds.
About 4 thousand years ago, another turning point occurred in the evolutionary development of man - the discovery of metals by people and the beginning of their processing. Copper became the first metal used by humans to make tools because it was easier to mine. Later, man began to mine and extract other metals from ore, including tin and lead. By fusing copper with tin, man created the first metal that does not exist in nature - bronze. The Celtic cultures that dominated Europe before the Roman conquest made extensive use of bronze and other metals, using them to create their own decorative traditions.
The emergence of art is directly related to the development of society and human living conditions. Society developed, culture developed, more and more new types of art emerged, inextricably linked with the way of life of a person.
Ways to reflect reality in art.
Art itself is a way of reflecting reality. There are two main ways of reflecting reality in art - realistic and conventional. In art, these ways of representing reality are always present. They can exist either in parallel, or one of them will be considered the leader. Realistic art is not just an ordinary copy of reality. Artistic images of the realistic method present life as if in a concentrated form, focusing significant characters, events, feelings, ideas, and problems for a given cultural era. Conventional art gives more possibilities to expand and interpret the content of artistic images. Such art can be symbolic.
IN European culture The art of the Middle Ages was largely conventional, symbolic: pictorial and sculptural images, far from plausible, served religious ideas, the triumph of the spirit over the physical. Thanks to this sculpture Gothic cathedrals so conventional, the figures are usually hidden behind the folds of clothing.
Realistic art reads well in rock art primitive man, it seems to convey the reality of the modern world in which man exists. Reveals his present, without embellishing, and without overthinking.
Art masters and expresses reality in artistic and figurative form, this is what allows it to be distinguished from all other types human activity. An artistic image is not just an external resemblance to reality, but a manifestation of a creative attitude towards reality, a way to add certain colors to real life.
