Intuitive painting Intuitive painting develops color perception, creative thinking And creative imagination, so it is very useful activity for any person. For classes intuitive painting you need to have the following: a simple pencil, paper,

Chapter Thirty-Four Painting The Moscow Arbat became one of the visible signs of change that came with the advent of Gorbachev. Renovated and made pedestrian, it turned into a showcase of restructuring. It was always crowded, professional

Word images that have grown together with the soul and acquired value beyond their narrower meaning, however, have, if I may say so, physical beauty when they are considered as a sound, as a melody. Understood even from the side of their most material essence, they are again not deprived of the ability to generate some kind of latent vibration of the auditory nerves, to evoke some more general, little conscious emotional states, to which tonal art gives a fuller expression. The words of a language live both for the poet and for the reader always as acoustic perceptions that exert a certain artistic influence. And no matter how the theory of poetry as the art of visual images underestimates this significance of the sensual, auditory, tonal, yet the poets instinctively grasp that it is a very important moment of poetic influence, so that if some care at least to avoid visible disharmony between sound expression and content, others may by innate inclination or consciously lay the burden on just such harmony at the expense of everything pictorial or intellectual that affects the imagination and mind.

Characteristic in this regard is the reaction against Lessing's principle, which came very early in the circles of German and English Romantics and was picked up later by the French Neo-Romantics or Symbolists. We have already pointed out, speaking of a creative mood, what kind of representation Novalis or Tick associate with lyrical excitement, that they consider the musical element more important than the thought itself that is expressed. Poets such as Keats and Tennyson in England, perhaps proceeding from a sense of musical mood that precedes a formalized idea and a single word in the process of creation, want to completely consciously ignore certain meanings and pictures in order to inspire the experienced through a simple sound, through sound impressions "maximum sound” (“maximum of sound”) and “minimum of sense” (“minimum of sense”), is the most obvious feature of this whole trend in English literature after 1830. Many of Tennyson's poems are striking in their emptiness, their "minimum meaning", while a large place in them is occupied by sound painting - "maximum melodies". Musical-sound combinations, a rich development of everything outwardly formal, whether it be a combination of vowels and consonants or a rhythmic-strophic structure, goes not only to help inner movements that are more elusive to the mind, but also as a means of conveying an objectively visual, accessible to perception. The rhythm and music of the verse want to enchant the ear, reminiscent of horse hooves and the rumble of shells (in the poem "Light Cavalry"), or reminiscent of a visual picture with brilliant assonances and alliterations (in the poem "Stream"), or drawing with sounds the ringing of a Christmas bell: "Peace and kindness, kindness and peace, peace and kindness for all mankind.

Later, thanks to Dante Gabriel Rossetti, this trend in musical poetry turns into modern symbolism, which found expression in the works of Yeats and Wilde, which can be placed next to such French poets as Verlaine, Samin and Greg, and with German poets Stefan George and Hoffmannsthal.

In France, it was precisely as a reaction against the plastic and pictorial poetry of the Parnassian school, which provided exemplary works in the person of Heredia and François Cope and brought verse to a possible technical perfection after Hugo, that a tendency arose towards alogical poetry, where the image and idea are nothing, and sound is everything. Verlaine, Malarmé and others discovered in language a new tool, through which, in addition to imagination, they directly affected the soul. Equally disgusted by the academic coldness of the Parnassians and by the prosaic and formless naturalists who saw only visible reality or gross passions and instincts, the Symbolists turned to the most subtle moods, to the mysteries of the soul, striving to create musical poetry. By means of skillfully chosen sounds and by means of freely divided verse, vers libre, which does not recognize the former monotonous architectonics and allows at every step the so-called enjambement, the poets, followers of Verlaine, turned the word almost into an end in itself, got lost in a dark play on words and reached extremes. , a new formalism that bordered on tasteless mannerisms. Their main goal was to impose the principle "Ut musica ut poesis", to convince readers that in poetry, as the first verse of Verlaine's new "Poetics" states:

Baudelaire also had a significant influence on this direction in lyrics, to whom the Symbolists returned with enthusiasm as to their true teacher. Malarme adjusts his aesthetic to Baudelaire's sonnet Correspondences ("Smells, flowers and sounds answer each other"); Verlaine professes real fanaticism in relation to the one from whom he borrows, by spiritual kinship, the titles of his Saturn Poems and Accursed Poets; Arthur Rimbaud extracts his lyrical stanza and elements of The Alchemy of Verse from The Flowers of Evil. Baudelaire's verse showed extraordinary musical and rhythmic qualities and fully corresponded to its author's theory of "mysterious prosody", "taking deeper roots in the soul than classical poetry suspected" and allowing a poetic phrase to imitate this or that line (straight, curve, sheer, zigzag, spiral, parabola), thus approaching the music again. This poetic school was also influenced by the works of Wagner, which combined music with poetry and were met with enthusiasm by all gifted writers. One immediately felt how poor language is for expressing affective and inner life in general, and how music almost directly affects the central nervous system, creating all the desired illusions, all phantasmagoria. “For poets, the need inevitably arose,” notes Valerie, a student of symbolism, “to oppose something to a dangerous rival, the owner of such deceptive and strong excitements for the human soul.” Wasn't even painting in 1885 looking for some kind of relationship with music in order to increase its power of suggestion through it? Hence the consciousness of the Symbolists that something of the mysteries of tone must be put into poetry in order to obtain from language effects similar to those produced by purely sonorous factors.

It turns out that one must not think, but listen attentively to the verse, since the words themselves, beyond their abstract meaning, can speak to the feeling. Moreover, some fans of musical verse have come to believe that it is even possible to create ideas with the help of sound painting, and Banville, for example, tries to awaken the idea of ​​the comic "through consonances, through the action of words, through the almighty magic of rhyme" . Banville himself is not a symbolist, but this is undoubtedly the path of symbolism that he would follow if the rational elements in his poetry, logical and plastic, did not occupy as much space as the musical-rhythmic ones. In this regard, Verlaine, the forerunner of the Symbolists, shows incomparably more common sense in understanding the possibilities of poetry than such a German lyricist as Rilke, for example, who builds landscape descriptions and even dramatic scenes using purely acoustic elements. The difficulties here, when linking sensations from different areas, due to the main emotional tone, are as great as in music, which causes the most definite pictorial effects. The Chinese philosopher Le Tzu tells the story of a musician who, playing the zither and imagining climbing high mountains or the sound of a stream, evoked similar impressions in his listeners. In a gloomy mood when traveling in rainy times, this musician again conveyed the corresponding feelings and ideas. And in the end he said to his companion: “You perfectly hear what is in my soul. The pictures you evoke are the same as my mood. It is impossible for me to hide with my tones. In poetry, this evocative power of tones and sounds should be understood very conditionally. Through the special coloring of vowels or consonants, through their brilliance or their dark color and weak articulation, it is truly possible to significantly clarify ideas about things directly depicted; but to think that this is enough to disregard all imagination is to completely shift the center of gravity in the art of poetry.

The Russian symbolic school also came out in defense of the new principle, since in it, of course, we have serious poets, and not mediocre followers of everything fashionable. Andrei Bely argues as follows:

“To refuse verbal art to play with words as sounds, or to belittle the significance of this game, means to look at a living language as a dead, unnecessary whole that has completed the circle of its development: there is a whole class of people whose hearing has been castrated by bad education and false views of language and who consider the sophistication of verbal instrumentation an idle occupation: unfortunately, among art critics, most of the castrato of hearing ... Meanwhile, the ability to aesthetically enjoy not only the figurative image, but also the very sound of the word, regardless of its content, develops extremely among the artists of the word ".

And, emphasizing how little observation is still made in the nature of verbal instrumentation, and in particular about alliteration and assonance, which are only the surface of deeper melodic phenomena, Bely adds: selection of sounds and that there is still an elusive parallel between the content of experience and the sound material of words that shape it.

In passing, we must note that not only the artistic word, but also ordinary speech, knows this relationship between sounds and symbolic meaning, so that certain words already have one or another tendency due to some sound combination and in addition to any basic meaning. But systematic observations in this direction have not yet been made.

Quoting a poem by Baratynsky:

Take a look: youthful freshness.

And in the autumn of years she captivates,

And she has a gray-haired flyer.

Does not steal latin roses:

Self conquered by beauty.

Looks - and the path does not continue,

White remarks:

“... carefully analyzing line by line, we begin to understand that the whole poem is built on “e” and “a”, first comes “e”, then “a”: the decisiveness and cheerfulness of the final words seem to be connected with the open sound “a” ... Alliteration and assonances are hidden here ... And what about a series of alliterations, we will see if we emphasize the alliterative sounds ... Here (in the first three lines) there are three groups of alliterations:

1) on “l”, 2) on nasal sounds (m, n), 3) on dental sounds (d, t), i.e. for 12 not clearly alliterative letters there are 23 clearly alliterative ones (twice as many) ".

And, quoting another poem by the same Baratynsky, beginning with the lines:

The lure of affectionate speeches.

You can't make me lose my mind...

Bely explains: “As the poem develops, the melancholic tone of the poem turns into a tone of gloomy determination and anger, and accordingly the melancholic instrumentation ( mnl) changes: like pipes, enter the teeth and through h move on to whistling in a line that is caustic in meaning:

We have cited these opinions and observations as well as reproaches addressed to critics who are looking only for public moods and ideas in poetry and who have “a fear of falling in love with the very flesh of the expression of an artist’s thought: words, a combination of words”, since only in this way is the new extreme, to which supporters of musical painting reach, who do not recognize the plot, ideas and pictures in poetry and reduce verbal art to a risky play of sounds and indefinite images, to a set of words that mean nothing, but claim to be a reflection of internal rhythms or symbols of innermost moods. One or two typical symbolist poems will convince us of what great violence they sometimes allow themselves to do with the word, making it say things that it cannot say, and feel how premeditation and mannerism are trying in vain to take on the role of artistic instinct. The strange “Twilight of a Mystical Evening” by Verlaine says: where there is a lot of onomatopoeia and sonorous words, but little sense. The author completely deviates from the normal poetic way of speaking, as well as from the generally accepted spelling, throwing out, following the example of Malarme, both the main letters and the system of punctuation marks. These are examples of poetic music reduced to a dangerous play on words, a program of verbal art that ignores everything logical and clearly stated in favor of acoustic effects, and the latter do not have that universality and regularity that is inherent in rhythms and sounds instinctively found in a creative mood. Therefore, the understanding of this kind of symbolism is limited to a very narrow circle of amateurs, and never will the art of such poets as George and his followers, with its one-sided formalism and its esoteric inspirations, acquire the influence and significance of older literary movements. Achieving a strict stylization of what is contemplated and a noble remoteness from everything temporary and worldly, everything that is morality and worldview, the inspirer of the poets grouped around the journal Blätter für die Kunst (1892-1919), the enemy of the naturalists and romantics of the Heine school, supports the principle: “ Poems should be inexplicable, their purpose is to awaken feelings and make the inexpressible sound. But a certain coldness and some kind of sought-after and dark impressionism leave us indifferent to this music of the inexpressible in the soul. Hofmannsthal, likewise, cannot cover up the ideological emptiness of his lyrics with his tonal verbal play. Much more natural and naively mystical in comparison with him and George is their contemporary R. M. Rilke, in the same way, is a fan of the music of words, exquisite rhyme and assonances, who professes: "Ich bin eine Saite, über breite Resonanzen gespannt." (“I am a stretched string with a wide resonance.”) George’s merit lies only in what he gives with his “hieratic art” - this poetic shorthand, where we can hardly catch the original image of writing - a rebuff to modern lyrical routine, using long-unusable means.

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Kartius, created with the help of sounds

musical creative student perception

Teach students to listen and analyze musical works

・Communicate in a variety of ways musical activity

· Develop musical thinking and creative perception of students

During the classes

The children enter the classroom to the music. Say hello (musical greeting "Hello guys").

Guys, let's remember what we learned in the last lesson?

1. What are the sounds? (noise and music)

2. Whatever your name might sound like, clap it for me.

It turns out that with the help of music we can depict many different objects and events. And in today's lesson we will learn how to draw with the help of music. Guests came to our lesson, guess who they are (showing Stuffed Toys: cat and bear). About one of them I want to tell one interesting story(I am reading “The Tale of the Cat”, p. 21)

1. Tell me, who is this fairy tale about?

2. How did the cat behave?

4. What kind of music can you come up with for this fairy tale? (loud, quiet, funny, sad)

5. Is the music for our fairy tale the same or different? (various)

And now let's get acquainted with one more of our guests (showing a bear). What is the bear's voice, please? (rough, low). The bear can growl. Let's imagine that our bear is walking somewhere far away in the forest. How he will growl (quietly). I will show you with my hand how a bear growls (I draw a small circle in the air with my hand). Let's repeat with me (children draw a small circle with their hand). And now the bear is approaching our school and its voice is getting louder and louder (I draw bigger circles. Children repeat). And finally. He came to our class (Children growl very loudly, draw the largest circle with their hands).

Well done. And now we will hear how, with the help of musical sounds you can draw any picture. We listen to the “Flight of the Bumblebee” by N.I. Rimsky-Korsakov. Shown is a picture of a bumblebee.

What sounds does the composer use to paint a picture of flight for us?

What mood does this music evoke in us?

What picture can you draw while listening to this passage?

Guys, you must be tired, let's dance a little

"Duck Ducks"

4. Chanting: "Cockerels" Repetition: "Merry musician." Work on diction.

Learning new material. “Rain” (p. 105) Show the movement of the melody with your hand.

5. The result of the lesson.

What new did you learn at the lesson?

What is your mood at the end of the lesson?

What song did we learn?

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In other art forms and its techniques

Implementation Method literary works

W a detailed analysis of a literary work is built on the laws of not only scientific, but also artistic creativity. Here we will talk about creative methods of translating a literary text into other types of art. These techniques allow you to express the position of the reader, form and develop the ability to figurative concretization and figurative generalization, and therefore they are relevant for elementary school.

Verbal drawing (oral and written) is a description of images or pictures that arose in the mind of the reader when reading a literary work. The word picture is also called verbal illustration.

This approach is aimed primarily on the development of the ability to concretize verbal images(imagination). In addition, the child's speech develops and logical thinking. In verbal drawing, the reader must, relying on the verbal images created by the writer, detail your own vision in the visual picture, which he reproduces, describes orally or in writing.

At the same time, there appear two dangers: you can stray on direct paraphrase the author's text, and if the involuntary imagination is too active "forget" about the author's picture and start describing your own.

This reception requires a number of steps: read, present, concretize, choose the exact words and expressions for description, logically build your statement. In addition, the technique involves a description in a static picture complex relationships heroes.

This approach directs children's attention to the text: they reread its individual fragments, since only semantic and pictorial stylistic details will help them clarify verbal images, clarify them, present what the author describes in detail. The student gradually "enters" the world of the work and begins see it through the eyes of the author or one of the characters(depending on from whose point of view the picture is being recreated), i.e. joins the action, which means that he will be able to supplement the author's picture with his own details. Then the result of the work, which is based on text analysis, will not be a retelling and not a description torn off from the author's intention, but a creative picture that is adequate to the author's intention, but more detailed and necessarily emotionally evaluative.

Reception training leaks several stages .

1. Examination of graphic illustrations. First, the teacher organizes observation of how the illustrator conveys the author's intention, which helps the artist create a mood, express his attitude towards the characters. In the process of this work, children get acquainted with the concept of "composition of a picture", with the meaning of colors, color, line. This work can also be done in the classroom. visual arts, and in the classroom extracurricular reading.

2. Choice of multiple illustration options the most appropriate to the episode under consideration of the work with the motivation of his decision.

3. Collective illustration using ready-made figures consists in the arrangement of characters (the composition of the picture), the choice of their poses, facial expressions.

4. Self illustration favorite episode and oral description what he drew. This technique can be made more difficult by asking the children to describe the illustrations made by their classmates.

5. Analysis of illustrations made with a clear deviation from the text of the work. Children are offered illustrations in which the arrangement of characters or other images of the work is violated, some of the author's details are missing or they are replaced by others, the color is broken, the postures and facial expressions of the characters are distorted, etc. After examining the children, they compare their perception of the text with the perception of the illustration.

6. Collective oral drawing illustrations- genre scenes. At this stage, children choose color scheme illustrations.

7. Independent graphic drawing of a landscape and his oral description or the description of the landscape by the artist.

8. Verbal Oral drawing of a landscape from detail text.

9. Collective oral detailed description hero in a particular episode(how you see the hero: what is happening or happened, the mood of the hero, his feelings, posture, hair, facial expression (eyes, lips), clothes, if it is important, etc.) The teacher helps the children create a description with questions.

10. Collective and independent verbal verbal drawing of the hero first in one specific situation, and later - in different.

11. Independent verbal oral illustration and comparison of the created oral illustration with graphic.

Naturally, to master the reception word drawing possible only after mastering elementary skills analyze illustrations for the work. However, as propaedeutics, already at the very first stages of studying literary works, it is advisable to offer children such questions as: How do you imagine a hero ?», « How do you see the setting of the action?”, “What do you see when you read this text? " And so on.

Examples of organizing oral verbal drawing in the classroom:

A fragment of a lesson in the 1st grade on a fairy tale « Ax porridge »

The stage of rereading the text and its analysis

- Let's read the story to the end and observe how the soldier acted. Let's make a plan of action.

Children reread the tale in parts, numbering the events with a pencil. Then the results of the work are discussed, pre-recorded on the board are opened soldier's actions: noticed an ax; offered to cook porridge from an ax; asked to bring a cauldron; he washed the ax, lowered it into the cauldron, poured water and put it on the fire; stirred and tasted; complained that there was no salt; salted, tasted, complained that it would be nice to add cereals; added cereals, stirred, tasted, praised and complained that it would be nice to add oil; added oils; began to eat porridge. Combining small actions into larger ones: he planned to deceive the old woman; prepares the ax for cooking and begins to cook it; stirring and tasting, one by one asks for salt, cereals and butter; eats porridge.

Now let's watch it How did the old woman behave? at every given moment.

Has her mood and behavior changed? What are these changes?

We encourage children to imagine what illustrations can be made for this tale and describe the soldier and the old woman at every moment of the action (oral word drawing).

Help with questions:

- What is the background of the action?? (hut, furnishings in the hut, stove, utensils, etc.)

- Where does the soldier stand, how does he stand, where does he look(to the old woman, to the cauldron, to the side, etc. .), what does it do at this moment? What is his mood? What is he thinking about? What is his facial expression?

We propose to describe the old woman from the fairy tale "Porridge from an ax" at different moments of the action. We help with similar leading questions.

Then discussing an illustration in an anthology(Fig. 13 V.O. Anikin. “Porridge from an ax”).

- Is it possible to determine what moment of the fairy tale was depicted by the artist V.O. Anikin? What helps (or, conversely, hinders) to do this?