Phorum what genres of folk art. Folklore

Oral folk art - is a traditional verbal creativity of the people. It can be both ancient and new - created in our days. Its main feature is that this art of the word is passed down from generation to generation by word of mouth.

There are a lot of genres in verbal folk art. These are myths and legends, epics, epics, proverbs and sayings, riddles, ditties, fairy tales, songs ... You can list them endlessly. The Creator is not an individual, but a nation. That is why not a single work has its own specific, single author.

For centuries, the creations of people have evolved into whole verbal forms, subsequently forming rhymes (“poems”). Thanks to this technique, the work was easier to transmit and remember. Thus, ritual, round dance, dance, lullaby songs appeared.

The theme of folklore creativity completely depended and continues to depend on culture, beliefs, history and the region where the people live. But the main feature of such creations was and remains the combination of a direct reflection of life with a conditional one. Simply put, in folklore there is not, and there was no mandatory reflection of life in the form of life itself, convention is always allowed in it.

Genres of folklore

In order to better understand what oral folk art is, it is necessary to get to know its genres better, and there are a great many of them in this form of verbal art.

Proverbs and sayings

Let's start with those that we know well and sometimes use in everyday life - with proverbs and sayings. These types of oral art are among the most interesting genres that have survived to this day.

No one knows for sure when these genres appeared. oral art. The undoubted fact remains how accurately and concisely, figurative, logically complete saying, expresses the people's mind and experience accumulated over many centuries.

Meanwhile, many of us have long been accustomed to thinking that proverbs and sayings are one and the same. Actually it is not. A proverb is a complete sentence containing folk wisdom. It is written in simple, often rhyming language.

An example of Russian proverbs:

"God saves man, who save himself"

"Small spool but precious"

"A penny saves a ruble"

Then, as a saying is an established phrase or phrase. It is meant for decoration.

An example of Russian sayings:

"Stay with the nose" (to be deceived)

"Disservice" (help turning to harm)

"When cancer on the mountain whistles" (never)

Signs

Signs are another folklore genre that has undergone quite a few changes, but still has not lost its wisdom and has reached modern man.

It appeared in ancient times, when our ancestors were very close to nature, when people watched it, the phenomena taking place around, and found connections between events. Over time, the people put their observations into words. So signs appeared that through the centuries carry the knowledge of ancestors collected in themselves.

Some examples of weather signs:

Larks fly - to heat, chaffinch - to cold.

A lot of juice flows from a birch - by a rainy summer.

Sparrows bathe in the sand - to rain.

Also, many old signs related to home and life have come down to our days. The most common is: "Spill salt - shed tears." It is believed that this sign appeared in the middle of the 17th century, during the times of riots and uprisings in Rus'. Back then, salt was literally worth its weight in gold. From here such a meaning appeared - spilling such an expensive "seasoning" as salt will inevitably lead to a quarrel in the house.

A few more examples of household signs that are undoubtedly familiar to us:

“You whistle at home - you will overlook the money”

"Clothes inside out - to a hassle"

“You sew on yourself - you sew up a memory”

Fairy tales

Separate elements have been preserved from antiquity children's folklore- fairy tales. Later, this genre of oral art changed greatly. this happened under the influence of aesthetic and pedagogical functions, but still it continues to exist.

However, some genres of verbal art eventually "die off", and humanity gradually forgets about them. This process is a natural phenomenon, it does not indicate the decline folk art. On the contrary, the process of “withering away” is a sign that, due to changes in the conditions of human existence, the artistic collective creativity of the people is developing, as a result of which new genres appear and old ones disappear.

epics

These genres include epics (or as they were also called - antiquities - Russian heroic-patriotic songs-tales, the main plot of which was important historical events or heroic deeds heroes and warrior maidens). This genre arose in Ancient Rus', existed until the Middle Ages and gradually began to be forgotten by the 19th century.

In addition, almost forgotten genres can also be attributed to ritual folklore. Let's take a closer look at its components.

Calendar folklore and annual song cycle

These small genres appeared in connection with the need to follow the agricultural cycle, as well as the changes taking place in nature and religious holidays.

Many proverbs, signs, advice and prohibitions have developed in calendar folklore. Here are some of which have survived to this day:

"It will melt early - it will not melt for a long time"

"March sows snow and warms the sun"

Not a few songs were composed by the people for the annual song cycle. So it was customary to bake pancakes on Shrove Tuesday, perform the rites of seeing off winter and sing ritual songs. This and some of the old traditions have survived to this day.

family folklore

It included such small genres as: family stories, lullabies, pestles, nursery rhymes, wedding songs, funeral lamentations.

The name "Family Stories" speaks for itself, and this genre of verbal art has existed since time immemorial - perhaps as long as a person lives in this world. It is noteworthy that it is formed quite apart, as a rule, within the framework of the family and close circle.

In addition, this genre has its own peculiarity, it can form "certain expressions" that are understandable only to family members or people present at the time of the event that led to the appearance of this phrase. So, for example, in the Tolstoy family there was such an expression as "the architect is to blame."

The birth of this expression was preceded by an event: when Ilya Tolstoy was five years old, on New Year's Eve he was presented with the promised cup. The happy child ran to show everyone his gift. Running across the threshold, he stumbled and fell. The cup broke. Little Ilya, justifying himself, said that he was not to blame, but the architect who made this threshold was to blame. Since then, in the family of Leo Nikolayevich Tolstoy, an expression equivalent to the winged one appeared - "the switchman is to blame."

Lullabies

Lullabies were another no less interesting genre in family folklore. In the old days, the ability to sing lullabies was considered a special art. During the game, mothers taught their daughters how to “cradle” correctly. This ability was necessary so that older girls at the age of six or seven could look after the younger ones. That is why special attention was paid to this skill.

The purpose of lullabies was not only to soothe, but also to protect the child. Many of the songs were "conspiracies". They were designed to protect a small child from the dangers that could lie in wait for him in the future. Often the lullabies were addressed to the spirits and mythological creatures, the bearers of sleep - the Dream, the Dream. They were called to lull the baby. At present, this genre of folk art is almost forgotten.

Pestushki and nursery rhymes

Pestushki and nursery rhymes - were short tunes. They helped the child in the development and in the knowledge of the world around. Perhaps someone remembers from childhood - "Magpie-Crow ...". Such small songs-sentences encouraged the baby to act, instilled hygiene skills, developed fine motor skills, reflexes, helped to explore the world.

wedding songs

Wedding songs were strikingly different from all other small genres of family folklore. It was noteworthy that these songs did not sound outside the wedding ceremony. In addition, from a functional point of view, they were extremely important, as they played a kind of "legal role" in this event. Along with wedding songs, lamentations played an important role in the ceremony. They were an integral part of the holiday, they were lyrical stories that described the experiences of the bride, parents and friends.

Magnifications also played a significant role. With them, in the songs, the guests praised the bride and groom, wished the young well-being and happiness. In addition, not a single wedding could do without reproachful songs. This small component of the wedding ceremony was a comic song. As a rule, they were addressed to matchmakers, because of which the bride "left" her family, girlfriends and lost her maiden will.

Funeral lamentations or lamentations are another ancient folklore genre, about the time, the appearance of which, no one knows for sure. It has survived only in fragments to this day, but from the name you can easily understand what it is about and what this genre served for.

The main feature of this oral art was that it had its own “formula”, or rather a strict sequence, which each mourner “decorated” with his own creative element - a story about the life, love or death of the deceased. Now, for example, part of the ceremony, as well as cries can be seen and heard in the film "Viy" (1967).

Occasional folklore

Folklore inconsistent with common usage. It had an individual character, due to a specific situation, an occasion. It included such small genres as: incantations, counting rhymes, conspiracies.

invocations

Russian folklore is incredibly rich. They were small songs, often not devoid of humor and accompanied by playful actions. The plots of this small genre were very different: they could be chants about the weather and weather events, about nature and seasons, about animals and fabulous creatures ...

Rain, lei! Rain, lei!

For me and people!

Spoonful for me.

On the people on the bowl.

And on the goblin in the forest -

Lei for a whole bucket!

Rhymes

Rhyming rhymes is another small genre of verbal folk art. It originated a very long time ago, but now it has almost disappeared from modern folklore. Meanwhile, no matter how surprising it may sound, in ancient times, counting rhymes were widely used by adults. Their main function was the distribution of work.

Yes Yes. After all, then many types of work were not only very difficult, but sometimes life-threatening. Therefore, few people of their own free will wanted to take on such a case. And the counting rhymes made it possible to distribute the work between the participants so that no one was “offended”. Nowadays, this "important role" of counting rhymes has been lost, but they still exist and still fulfill their function in children's games.

CONSPIRACY

And finally, the most amazing, but far from the last, rather complex in its structure ancient genre oral folk art, which, oddly enough, continues to live in our time - a conspiracy. Function, since its inception this genre, has not changed. He still continues to play the role of a "magic tool" designed to fulfill the desire of the speaker. As mentioned above, this genre is quite original in its execution and often complex in its design - this is its peculiarity.

You can talk about the genres of oral folk art for an infinitely long time, because all directions are interesting and unique in their own way. This article is intended only to acquaint the reader with the immense, multifaceted wealth human culture and wisdom, vividly reflecting the experience of previous generations.

Cultural studies and art history

The main feature of a fairy tale is a fantastic elt that is obvious to the narrator and the listener in equal measure. All fairy tales are divided into types of group categories or genres: A magical b cumulative c about animal plants. Fairy tales are called so conditionally and stand out in a separate row according to compositional structural features. Tales about animal plants and objects also constitute a special group.

Types and genres of folk art culture.

Folk art culture is conditionally divided into types and genres. There are many classifications. It is conditionally possible to divide NHC into

1. oral folk art

3. musical creativity

4. dance creativity

1. oral folk art, in turn, is divided into Prose genres of folklore and Poetic genres folklore. Prose types of folklore.

In folklore, prose poetry is called folk prose. It's not yet a genre. This is the area of ​​folk art. It includes several genera, among which it is possible to single out, for example. fairy tale The main feature of a fairy tale is a fantastic element, which is obvious to the narrator and the listener in equal measure. The tale is based on deliberate fiction, which determines all its poetics. All fairy tales are divided into types, groups, categories or genres:

A) magical, b) cumulative, c) about animals, plants.

Fairy tales are called so conditionally, and stand out in a separate row according to compositional, structural features. They are required, eg. the sending of the hero by someone for fantasy. subject diva or girl; the meeting of the hero with Baba Yaga, the backyard grandmother, the old man, etc.

Cumulative also have structural and compositional unity. Eg. "Turnip", "Gingerbread Man" "Terem flies", "Cockerel choked." They are built on the repeated repetition of one link, so that either a chain, or a heap, or a sequential series of meetings, or a list of references is created. There are few such fairy tales, they have a special composition, rhythm and style.

Tales about animals, plants, objects also constitute a special group.

These three main genres are adjoined by fairy tales about people, which are usually called everyday or short stories. The characters of this genre are not fantastic princes, but men, women, laborers, soldiers, thieves, robbers, smart guessers, and so on.

From the field of non-fairy folk prose stand out:

Stories of an etiological nature: why fish live, crows are black, a hare short tail etc.

Tales of beings endowed with supernatural powers that go back to pagan myth: about goblin, mermaids, brownies, etc. they are called "there were", "bylichki", "bylichki".

Legends-stories that arose in the Christian period. Their heroes are Adam and Eve, Christ and his apostles, saints. Sometimes stories about historical figures are called legends (the legend of Stepan Razin). The word and legend is of Church-Latin origin. In monastic usage, this word meant texts of pious content, which were read during monastic meals or divine services.

It would be more correct to call stories about historical figures legends (about Razin, about Pugachev).

Tales are stories about significant events that, living in the oral tradition, were overgrown with non-existent details, details but still retained the accuracy of the fact itself.

Poetic epic poetry

The difference between the areas of folk art is not only external, the main feature of verse poetry is that it is always sung. The melodiousness expresses the lyrical attitude to the depicted. Although each epic does not have its own melody, the style of epic musical performance is within certain limits of integrity and is not applicable to other types of epic creativity.

Genres of epic poetry:

Bylina. Empirically, it is not difficult to imagine an epic. Their content is varied and colorful. But the epics include several genres (according to plot groups)

Classical epics the content of which is the exploits of national heroes in other words heroic epics. Plots of heroic epics:

1) military, 2) martial, 3) snake fighting, 4) rebellious.

The main sign of heroic epics is that the hero acts in the interests of the state.

Fairy tales. The main antagonist of the hero here is a woman. Unlike a fairy tale, where a woman is helpless and needs the protection of a hero, she is an insidious, idealistic creature, embodies some kind of evil and is destroyed by the hero. Despite the presence of a fairy tale element, this is still not a fairy tale. fairy tale character they are given the presence of witchcraft, werewolf and miracles. (epic about Sadko).

Novelistic epics this is a lyrically colored narrative (about matchmaking with obstacles and a successful ending). This is an intermediate option between fairy tales and ballads.

Genre of epic spiritual verse.

These are songs about saints and their deeds. Spiritual verse has both religious ideas and historical content.

Skomoroshina is a song about funny incidents or about serious things humorously interpreted

A song about an unfaithful wife who pretended to be sick sent her husband to the city, but was exposed and punished with the help of buffoons (Guest Terentiev).

About how merry robbers robbed a rich man (Mustache).

How an incredibly large bull was slaughtered and divided and what came of it (Old about a big bull)

Buffoons-fiction.

Buffoons-parodies.

Ballad. Her sphere is the world of human passions interpreted tragically. The ballad depicts the individual private and family life of a person. The main character is a suffering woman. Love and jealousy, internal hatred leads to tragic conflicts that are resolved by bloody crimes. One of the main plots is the murder of an innocent woman. Usually the killer is a member of his own family. (Husband to an innocent wife). In a ballad, there is usually a conflict of generations, but it also happens that a girl becomes a victim of a deceiver, a seducer. Less commonly, the victim is a man, a traitor wife torments her husband for the sake of another, she gives him exquisite destruction (burns, poisons). Thus, cycle 1 of ballads is family conflicts, cycle 2 is tragic misrecognition.

historical songs.

The nature of historical songs depends a) on the era and time of creation, b) on the environment that creates them.

Lyric song. Huge field of folk art. They can be divided according to the form of performance into round dance, game, dance. According to domestic use, it can be divided into labor, Christmas, wedding, etc. It can be divided by content: about love, about soldier's life, about robbers. Can section. in relation to the world: satirical, laudatory, mourning. By the nature of the execution, they are lingering, frequent, intermediate. By the nature of the social environment of existence: peasant, soldier, worker, petty-bourgeois. Peasant songs can be divided into ritual and non-ritual. Ritual calendar, family. Calendar songs are songs of great folk holidays of an agricultural nature. They are divided by holidays. Family ritual songs funeral, wedding. Later, worker, student and prison folklore appears.

Decorative and applied art is divided into

1. Artistic textiles (weaving, embroidery)

2. Artistic processing wood (carving, birch bark processing)

3. Ceramics (clayware, toys)

4. Stone processing

5. Artistic forging metal

6. Art painting

Each of these types is divided in turn into varieties according to the manufacturing technique, according to regional color. There are so-called crafts in manufacturing (Gzhel, Khokhloma, Filimonovo, etc.)

Folk dances are divided into circle dances (ornamental, linear), dances (paired, single, dances), quadrilles.

Musical creativity is represented by playing various musical instruments (dudka, zhaleyka, kugikly, tambourines, pipes ...)

Folk art was the historical basis of the entire world artistic culture. Its original principles, the most traditional forms, types, and partly images originated in ancient times in a pre-class society, when all art was the creation and property of the people (see Primitive Art). With the social development of mankind, the formation of a class society, the division of labor, a professionalized "high", "scientific" art is gradually emerging. Folk art also forms a special layer of world artistic culture. It distinguishes layers of different social content associated with the class differentiation of society, but by the beginning of the capitalist period, Folk art is universally defined as the collective traditional art of the working masses of the countryside, and then the city. The organic connection with the fundamental principles of the people's worldview, the poetic integrity of the attitude to the world, the constant polishing determine the high artistic level of folk art. In addition, folk art has developed special forms specialization, succession of skill and training in it.

Folk poetic creativity - mass verbal artistic creativity of this or that people; the totality of its types and forms, denoted in modern science This term has other names - folk literature, oral literature, folk poetry, folklore. Verbal artistic creativity arose in the process of the formation of human speech. In a pre-class society, it is closely connected with other types of human activity, reflecting the beginnings of his knowledge and religious and mythological ideas. In the process of social differentiation of society, various types and forms of oral verbal creativity arose, expressing the interests of different social groups and strata. The most important role in its development was played by the creativity of the working masses. With the advent of writing, literature arose, historically associated with oral folk art.

The collective nature of oral folk art (meaning not only the expression of the thoughts and feelings of the collective, but above all the process of collective creation and distribution) determines the variability, i.e., the variability of texts in the process of their existence. At the same time, the changes could be very different - from minor stylistic variations to a significant revision of the idea. In memorization, as well as in varying texts, a significant role is played by peculiar stereotyped formulas - the so-called common places associated with certain plot situations, passing from text to text (for example, in epics - the formula for saddling a horse, etc.).

In the process of existence, the genres of verbal folk art experience "productive" and "unproductive" periods ("ages") of their history (emergence, distribution, entry into the mass repertoire, aging, extinction), and this is ultimately connected with social and cultural and everyday life. changes in society. The stability of the existence of folklore texts in folk life is explained not only by their artistic value, but also by the slowness of changes in the way of life, worldview, tastes of their main creators and keepers - the peasants. The texts of folklore works of various genres are changeable (albeit to varying degrees). However, in general, traditionalism has an immeasurably greater power in folk art than in professional literary work.

The collectivity of verbal folk art does not mean its impersonality: talented masters actively influenced not only the creation, but also the distribution, improvement or adaptation of texts to the needs of the collective. Under the conditions of the division of labor, peculiar professions of performers of production arose. Folk art (ancient Greek Rhapsodes and Aeds, Russian Skomorokhs, Ukrainian kobzars (See Kobzar), Kazakh and Kirghiz Akyns, etc.). In some countries of the Middle East and Central Asia, in the Caucasus, transitional forms of verbal folk art developed: works created by certain individuals were distributed orally, but the text changed relatively little, the author's name was usually known and often entered into the text (for example, Toktogul Satylganov in Kyrgyzstan, Sayat-Nova in Armenia).

The richness of genres, themes, images, poetics of verbal folk art is due to the variety of its social and everyday functions, as well as the methods of performance (solo, choir, choir and soloist), the combination of text with melody, intonation, movements (singing, singing and dancing, storytelling, acting out, dialogue, etc.). In the course of history, some genres have undergone significant changes disappeared, new ones appeared. In the most ancient period, most peoples had tribal traditions, labor and ritual songs, and incantations. Later, magic, everyday tales, tales about animals, pre-state (archaic) forms of the Epos appear. During the formation of statehood, a classic heroic epic, then there were historical songs (See Song), ballads (See Ballad). Even later, an extra-ceremonial lyric song, Romance, Chastushka, and other small lyrical genres were formed, and, finally, working folklore (revolutionary songs, oral stories etc.).

Despite the bright national coloring of the works of verbal folk art of different peoples, many motives, images and even plots are similar in them. For example, about two-thirds of the plots of fairy tales European nations have parallels in the tales of other peoples, which is caused either by development from a single source, or by cultural interaction, or by the emergence of similar phenomena on the basis of general patterns of social development.

Until the late feudal era and the period of capitalism, verbal folk art developed relatively independently of written literature. Later, literary works more actively than before penetrate into the people's environment (for example, "Prisoner" and "Black Shawl" by A. S. Pushkin, "Pedlars" by N. A. Nekrasov; see also about this in the article. Free Russian poetry, Lubok literature). On the other hand, the work of folk storytellers acquires some features of literature (individualization of characters, psychologism, etc.). In a socialist society, the availability of education provides an equal opportunity for the development of talents and creative professionalization of the most gifted people. Various forms of mass verbal and artistic culture (the creation of songwriters, ditties, the composition of interludes and satirical skits, etc.) develop in close contact with professional socialist art; among them, the traditional forms of verbal Folk art continue to play a certain role. artistic tastes, life. This is also the reason for the profound influence of verbal folk art on the development of literature. M. Gorky said: "... The beginning of the art of the word is in folklore" ("On Literature", 1961, p. 452). On the recording of folk art, its study and methodological principles of study, see Folkloristics.

Folk music (musical folklore) - vocal (mainly song), instrumental and vocal-instrumental collective creativity of the people; exists, as a rule, in non-written form and is transmitted through performing traditions. Being the property of the whole people, the musical folk art exists mainly thanks to the performing arts of talented nuggets. These are among different peoples Kobzar, guslar (see Gusli), buffoon (See Buffoons), Ashug, Akyn, kuyshi (see Kuy), Bakhshi, gusan (See Gusans), Hafiz, olonkhosut (see Olonkho), aed (See Aeds), Juggler, Minstrel, Shpilman and others. Origins folk music, like other arts, go back to the prehistoric past. The musical traditions of various social formations are exceptionally stable and tenacious. In each historical era more or less ancient and transformed works coexist, as well as newly created on their basis. Together they form the so-called traditional musical folklore. It is based on the music of the peasantry, which long time retains the features of relative independence and generally differs from the music associated with younger, written traditions. The main types of musical folk art are songs (See Song), epic tales (for example, Russian Bylinas, Yakut olonkho), dance melodies, dance choruses (for example, Russian ditties (See Chastushka)), instrumental pieces and tunes (signals, dancing). Each work of musical folklore is represented by a whole system of stylistically and semantically related variants that characterize the changes in folk music in the process of its performance.

The genre richness of folk music is the result of the diversity of its vital functions. Music accompanied the entire working and family life of the peasant: calendar holidays of the annual agricultural circle (carols (See Carol), Vesnyanka, Shrovetide, Kupala songs), field work (mowing, reaping songs), birth, wedding (lullabies and wedding songs), death (funeral lamentations). Among pastoral peoples, songs were associated with taming a horse, driving cattle, etc. Later, the most developed in the folklore of all peoples were lyrical genres, where simple, short tunes of labor, ritual, dance and epic songs or instrumental tunes are replaced by detailed and sometimes complex musical improvisations - vocal (for example, Russian drawling song, Romanian and Moldavian Doina) and instrumental (for example, program pieces by Transcarpathian violinists, Bulgarian cavaliers, Kazakh dombra players, Kyrgyz komuz players, Turkmen dutar players, Uzbek, Tajik, Indonesian, Japanese and other instrumental ensembles and orchestras).

In various genres of folk music, various types of Melos have developed - from recitative (Karelian, Runes, Russian epics, South Slavic epic) to richly ornamental (lyrical songs of Near and Middle Eastern musical cultures), polyphony (See Polyphony) (polyrhythmic a combination of voles in ensembles of African peoples, German choral chords, Georgian quart-second and Middle Russian subvoiced polyphony, Lithuanian canonical Sutartines), rhythms (See Rhythmics) (in particular, rhythmic formulas that generalized the rhythms of typical labor and dance movements), fret- scale systems (from primitive narrow-voluminous frets to the developed diatonic "free melodic system"). The forms of the stanzas, the couplet (paired, symmetrical, asymmetric, etc.), and the works as a whole are also varied. Musical folk art exists in monophonic (solo), antiphonal (see Antiphon), ensemble, choral and orchestral forms. The types of choral and instrumental polyphony are diverse - from heterophony (see heterophony) and bourdon (continuously sounding bass background) to complex polyphonic and chord formations. Each national folk musical culture, which includes a system of musical and folklore dialects, forms a musical and stylistic whole and at the same time combines with other cultures into larger folklore and ethnographic communities (for example, in Europe - Scandinavian, Baltic, Carpathian, Balkan, Mediterranean and etc.).

The recording of folk music (in the 20th century with the help of sound recording equipment) is the responsibility of a special scientific discipline, musical ethnography, and its study is ethnomusicology (musical folkloristics).

On the basis of folk music, almost all national professional schools arose, each of which contains examples of various uses of folklore heritage - from the simplest arrangements of folk melodies to individual creativity, freely implementing folklore musical thinking, laws specific to one or another folk musical tradition. In modern musical practice, folk art is a fertilizing force for both professional and various forms of amateur art.

Folk Musical instruments created by the people and widespread in their musical practice can either belong to only one people (for example, Ukrainian bandura, Georgian chonguri), or be used by different peoples, connected by an ethnic community or long-term historical and cultural contacts (for example, gusli, zhaleika are common among Russians and Belarusians; in Uzbekistan and Tajikistan, almost all instruments are the same). IN folk prototypes almost all professional musical instruments have their origins.

The folk theater, which exists in forms organically connected with oral folk art, originated in ancient times: the games that accompanied the hunting and agricultural holidays contained elements of reincarnation. Theatricalization of the action was present in calendar and family ceremonies (Christmas costumes, weddings, etc.). In the process of historical development, the creative, playful beginning intensifies in dramatic actions: games and performances arise that parody the wedding ceremony (for example, the Russian comedy game "Pakhomushka"), the funeral ceremony (the mortuary game "Mavrukh"). Such actions served as the basis for the further development of folk theater and drama among all peoples. The world folk theater distinguishes between the theater of live actors and the Puppet Theatre, often named after the hero of the performance (Petrushka in Russia, Punch in England, Pulcinella in Italy, Kashparek in the Czech Republic, etc.). The Russian theater of Petrushka was close to the Ukrainian Nativity scene, the Belarusian Batleyka. The variety of forms of folk puppet theater was determined by the difference in the types of puppets, their control systems (cane puppets, puppets (See Marionette) - puppets on strings - and others). Folk puppet theaters performed plays retelling fairy tales and legends, staged "wandering plots" - plays about Don Juan, Doctor Faust. The folk theater also includes farcical performances and the so-called paradise (showing moving pictures accompanied by a dramatized text).

Folk theater in a broad sense is unprofessional, however, all peoples had their own theatrical specialists: ancient Roman Mimes, Western European Shpilmans, Jugglers, Russian Skomorokhs, as well as puppeteers from different countries. Uniting in groups (in Russia they were called "troops"), they wandered around the cities and villages. The repertoire consisted of plays folklore origin, later and revisions of professional plays, etc. literary works. Performances of the folk theater, which usually had a sharp socio-political orientation, were persecuted by the church and the state. Folk actors often introduced secular realistic elements into the performances of religious dramas (medieval Mystery). The critical attitude of the people towards the representatives of the feudal nobility and the urban bourgeoisie manifested itself in Fars. The traditions of farce and carnival prepared the appearance of the commedia dell'arte (See Commedia dell'arte).

In Russia, the dramas "Tsar Maximilian and his recalcitrant son Adolf", "Boat" (options - "Boat", "Gang of Robbers", "Stepan Razin", "Black Raven" received the greatest distribution in the peasant, soldier, factory environment); the dramas "King Herod", "How the Frenchman took Moscow" were also played out. According to their type, they belong to the tyrannical, heroic or so-called robber dramas known among many peoples. "Tsar Maximilian" has a literary source - school drama"The Crown of Demetrius" (1704), which is based on the "Life of St. Demetrius"; "The Boat" (end of the 18th century) is a performance of the folk song "Down the Matushka along the Volga". The final formation of these plays is associated with the inclusion in their text of fragments from the works of poets of the late 18th - 1st half of the 19th centuries. -- G. R. Derzhavin, K. N. Batyushkov, A. S. Pushkin, M. Yu. Lermontov, motifs and images of popular print novels. In Rus', there were also satirical plays "Barin", "Naked Master", "Petrushka".

The most characteristic feature of the folk theater (as well as folklore art in general) is the open conventionality of costumes and props, movements and gestures; during the performances, the actors communicated directly with the audience, which could give lines, intervene in the action, direct it, and sometimes take part in it (sing along with the choir of performers, portray minor characters in crowd scenes). The folk theater, as a rule, had neither a stage nor scenery. The main interest in it is focused not on the depth of disclosure of the characters of the characters, but on the tragic or comical nature of situations and situations. Of great importance are the exit monologues of the heroes, the performance by the characters of songs (folk or specially composed for the performance), arias from operas. IN folk drama There are two types of characters - dramatic (heroic or romantic) and comic. The first are distinguished by a high solemn style of addresses, monologues and dialogues, the second - by comic, parodic techniques, a play on words. The traditional nature of performance in the folk theater subsequently determined the emergence of a special type of theatrical performance, which received a stable form. These performances in many countries are called traditional theater. Folk-dance pantomimic performances have been widespread in Asian countries since ancient times. On their basis, the traditional theater of the peoples of Asia was formed: the wayang-topeng theaters in Indonesia, kolam on about. Sri Lanka (Ceylon), kathakali in India, etc.

The originality of the artistic and performing techniques of the folk theater attracted figures professional theater and was used by them (W. Shakespeare, Moliere, K. Goldoni, A. N. Ostrovsky, E. De Philippe and others).

Folk dance - one of the oldest types of folk art Dance was part of folk performances at holidays and fairs. The appearance of round dances and other ritual dances is associated with folk rituals (the Ceylon fire dance, the Norwegian torch dance, and Slavic round dances associated with the rites of curling birch trees, weaving wreaths, and lighting fires). Gradually moving away from ritual actions, round dances were filled with new content, expressing new features of life. The peoples engaged in hunting, animal husbandry, reflected in the dance their observations of the animal world. The nature and habits of animals, birds, domestic animals were conveyed figuratively and expressively: the dance of the bison at North American Indians, Indonesian penchak (tiger), Yakut bear dance, Pamir - eagle, Chinese, Indian - peacock, Finnish - bull, Russian crane, gander, Norwegian cockfight, etc. Dances arise on the themes of rural labor: the Latvian dance of reapers, Hutsul - woodcutters, Estonian - shoemakers, Belarusian lanok, Moldavian poame (grapes), Uzbek silkworm, buttermilk (cotton). With the advent of handicraft and factory labor, new folk dances arise: the Ukrainian cooper, the German dance of glassblowers, the Karelian "How cloth is woven", etc. The military spirit, valor, heroism are often reflected in the folk dance, battle scenes are reproduced ("pyrrhic" dances of the ancient Greeks, combining dance art with fencing techniques, Georgian horumi, berikaoba, Scottish sword dance, Cossack dances and etc.). great place the theme of love occupies in dance folk art; originally these dances were overtly erotic; later there were dances expressing the nobility of feelings, a respectful attitude towards a woman (Georgian Kartuli, Russian Baynian Quadrille, Polish Mazur).

Each nation has developed its own dance traditions, plastic language, special coordination of movements, methods of correlation of movement with music; for some, the construction of the dance phrase is synchronous with the musical one, for others (among the Bulgarians) it is not synchronous. The dances of the peoples of Western Europe are based on the movement of the legs (the arms and the body, as it were, accompany them), while in the dances of the peoples of Central Asia and other countries of the East, the main attention is paid to the movement of the hands and the body. In folk dance, the rhythmic principle always dominates, which is emphasized by the dancer (stomping, clapping, ringing of rings, bells). Many dances are performed to the accompaniment folk instruments which dancers often hold in their hands (castanets, tambourine, drum, doira, harmonica, balalaika). Some dances are performed with everyday accessories (shawl, hat, dish, bowl, bowl). The costume has a great influence on the character of the performance: for example, the smoothness of the movement of Russian and Georgian dancers is helped by a long dress that covers the feet; a characteristic movement in Russian and Hungarian male dance is a beating on the shaft of hard boots.

The flourishing and popularity of folk dance in the USSR contributed to the emergence of a new stage form - folk dance ensembles. In 1937, the Folk Dance Ensemble of the USSR was created, which established stage folk dance as a professional choreography. Elements of folk dance are also used in classical ballet. In all republics Soviet Union professional folk dance ensembles and song and dance ensembles have been created. Professional and amateur folk stage dance groups are common in countries around the world (see Dance).

Folk architecture, fine and decorative arts include tools, buildings (see Wooden architecture, Dwelling), household utensils and household furnishings (see Wood in art, Iron, Ceramics, Art varnishes, Furniture, Copper, Art vessels, Glass ), clothes and fabrics (see Embroidery, Kilim, Carpet, Lace, Printed, Clothing, Artistic Fabrics), toys (see Toy), Lubok, etc. Among the most important artistic and technical processes common in folk art are pottery, weaving, artistic carving, decorative painting, forging, artistic casting, engraving, embossing, etc. Folk architecture and arts and crafts belong to material production and are directly creative in nature; hence the fusion in them of aesthetic and utilitarian functions, figurative thinking and technical ingenuity.

Creating and designing subject environment and giving a subject-aesthetic expression to labor processes, everyday life, calendar and family rituals, Folk art has always been an integral part of the slowly changing structure of folk life. In certain features of folk art, labor and life norms, cults and beliefs can be traced, dating back to the Neolithic and Bronze Age. The most common element of folk art is the ornament, which was born in antiquity, which helps to achieve the organic unity of the composition and is deeply interconnected with the technique of execution, a sense of the subject, plastic form, and the natural beauty of the material. Individual ornamental motifs, most of which originally had a mythological meaning ("world tree", "great goddess" with upcoming ones, solar symbols), imprinted the features of primitive consciousness, mythological and magical ways of communicating with nature. These ancient roots show through, for example, in a folk toy, in which the features of primitive cult plasticity are traced. The works of folk art often have a specific connection with a particular custom, which persists even when the memory of the cult nature or the mythological conditionality of this custom is lost. This also explains the fragility and ephemeral nature of many items of folk art (sand drawings, painted eggs), designed for periodic reproduction in a regularly repeated rite.

Unlike the "high" art of the social elites, folk art does not know contrasting changes. artistic styles. In the course of its evolution, separate new motifs appear, but the degree of stylization and the nature of comprehension of old motifs change more; images, once associated with the fundamental ideas about the world, gradually acquired a narrowly utilitarian meaning (for example, in various signs-amulets and signs-spells that adorned everyday objects) or began to play a purely decorative role, while the shape of the object often underwent only minor structural and functional changes. . The idea of ​​a thing in folk art is usually not fixed in a preparatory model or drawing, but lives in the mind and hand of the master; at the same time, the results of his individual ingenuity, leading to the development of the most rational methods of work, must be accepted folk group. Because of this, the tradition, fixed by centuries of selection, undergoes constant, but only partial, specific changes. The most ancient objects (for example, wooden ladles in the form of a duck) can be extremely close to nature; the later comprehension of these forms in folk art, preserving the original typology and figurative basis, combines them with the techniques of generalization, decorative stylization developed over the centuries, with rational use technical means and materials.

With the class differentiation of society, the preconditions for the emergence of folk art, serving the needs of the lower strata of society and initially reduced to home artistic work for himself and for the rustic craft. The presence of a special folk branch is already found in ancient art (for example, in votive objects (See Votive objects) of the Italo-Etruscan circle, reminiscent of Neolithic plastic). The initial monuments of palace and even cult architecture are clearly associated with the simplest ancient examples of folk wooden and stone architecture (Aegean Megaron, German halle), portable nomad dwellings, etc., but then the paths of urban and estate construction and folk architecture serving in mostly peasant life (residential house, threshing floor, barn, barn, barn, etc.).

IN medieval Europe feudal-church culture was opposed by the desire to preserve the cultural tradition of the tribal system, economic and political isolation, the cult of local gods; an expression of this is the popular stream in medieval art, usually saturated with images of the animal style (See Animal style). The popular worldview, expressed with particular purity in pagan jewelry-amulets, also appears in monuments that are examples of the influence of folk culture on court and church culture (such are the reliefs of the Vladimir-Suzdal school (See. Vladimir-Suzdal school), the grotesque plasticity of Romanesque and Gothic churches, ornamentation of manuscripts). However, the underdevelopment of commodity-money relations, the weak differentiation of forms of life, as well as the fundamental anonymity of medieval art and the proximity of its masters to the people's environment did not contribute to the complete isolation of folk art. In countries that later entered the early capitalist stage of development, in particular in medieval Rus', a similar situation persists. up to the end of the 17th - beginning of the 18th centuries. In the countries of the East, which preserved the medieval way of life especially for a long time (up to the 19th-20th centuries), all arts and crafts are deeply imbued with folk handicraft skills and highly developed folk art does not differ radically from the craft of the privileged strata; in the visual arts of a number of countries, the folk stream is strong (Chinese, Japanese, Indian popular prints). Finally, in post-colonization countries, folk art was usually based on ancient indigenous culture, although it absorbed many features of the cultures brought.

With the disintegration of feudalism and the guild system, a folk art craft that works for the market develops; Thanks to this, folk art, while still maintaining a close connection with folk life, masters new types of products, new forms and themes. On the other hand, the identification of artistic individuality and the cult of ancient art, which were established in the Renaissance, lead to the fact that folk art is becoming more and more clear as something local, isolated, tied to native antiquity. Folk art culture - works of religious art (votive painting, icons, painted on glass, painted sculpture), rapidly developing from the 16th - 17th centuries. (especially in the countries of the Catholic cult), the design of festivities, lubok, with their naive archaism of forms, already has a completely different figurative system than refined, sometimes innovatively unusual works of "high" art; a similar discrepancy arises in the style of household items. This gap is less noticeable where folklore elements penetrate deeply into the culture of the privileged strata and the church. In Russia, this manifested itself, for example, in the architecture of the palace in the village. Kolomenskoye (17th century), with its abundance of forms of folk wooden architecture, and in the countries of Latin America - in the decor of baroque churches, which absorbed the features of the art of pre-Columbian civilizations. In the 17-18 centuries. In folk art, the ideographic principle noticeably weakens. In plant motifs, now everywhere replacing symbolic-geometric patterns, the decorative structure becomes freer and more diverse. More and more fresh observations, everyday plots penetrate into folk art, there is a growing desire for a fabulous-folklore understanding of the life of the upper strata of society, for borrowing the forms of dominant styles, imitation of the texture of expensive and labor-intensive materials. However, new motifs and forms (Renaissance, Baroque, Empire), penetrating folk art, retain only a very remote resemblance to the model, simplifying and freezing in a rhythmically clear decorative scheme. In general, in the 17th - early 19th centuries. This is the era of the heyday of folk art, which gave an extraordinary variety of its types and forms. This was facilitated by the equipping of folk art with materials and tools previously inaccessible to it, the emergence of new technical capabilities, and the expansion of horizons. folk artists, the development of folk lyrics and satire.

In the 19th century the intensively developing artistic handicraft production is being drawn more and more into the system of the capitalist economy; commodity craft in most countries is finally separated from the conservative home. In Russia, after 1861, folk art crafts acquire the character of private workshops that work for the all-Russian market. The narrow specialization of crafts, the growing division of labor and the standardization of motifs give rise to patterns and forms that are extremely merged with virtuoso techniques of technical execution (sometimes reaching almost machine speed); at the same time, handicraft, mechanically impeccable craftsmanship is increasingly replacing creativity. By imitating samples of urban mass production, often random and anti-artistic, the craftsmen destroy the unity of technical and aesthetic principles typical of folklore. Compositions that were previously strictly organized, saturated with semantic associations, become freer, but less logical. In painting, tempera paints are replaced by oil, and later by aniline; the folk icon and lubok are replaced by oleographs; in plastic, the volumetric-objective form loses its architectonicity. The image and ornament, previously merged with the thing, now become, as it were, a picture pasted onto the surface. Separate industries, unable to compete with cheap factory products, decline or die out, but others arise and expand, using mostly technique, style, and even examples of professional easel art and the commercial art industry. In a number of countries that previously had the richest folk art (England, Denmark, the Netherlands), it almost completely disappears, but intensively develops in industrially backward areas that have retained powerful layers medieval culture(northern province in Russia, Brittany in France, Tyrol in Austria, Slovakia, Balkan countries, Spain, Sicily in Italy).

From the middle of the 19th century, following the recognition of the value verbal folklore, in a number of countries there is an interest in folk decorative art. Since that time, the aesthetics of folk art (both national and exotic), its colorfulness and rhythm, have increasingly influenced professional architecture, fine and decorative arts. The collection of collections of folk art begins, public organizations and philanthropic circles revive a number of dying crafts and organize new ones. This activity acquires a special scope at the turn of the 19th-20th centuries. with the spread of the "Modern" style and the national-romantic trends associated with it. However, by imposing easel-type solutions on folk craftsmen, artists and theorists of "modern" often showed a lack of understanding of the specifics of folk art. Similar mistakes were made later (including in Soviet practice in the 1930s-50s); in a number of capitalist countries, on the contrary, attempts were made to bring folk sculpture and ornament closer to abstract art.

The works of modern folk art are mainly in the nature of decorative items and souvenirs, figuratively testifying to the originality of the folk culture of a particular area; due to their clearly hand-made appearance, they endow with features national tradition and the sheer humanity of an environment created largely by standardized industrial means. Folk arts and crafts play an important role in the economies of developing countries. In many countries (primarily in the USSR and other socialist states), means are being sought for the protection of folk crafts and their artistic originality, the activity folk craftsmen encouraged through competitions and exhibitions, vocational schools and colleges train artists and performers. With the participation of research institutes and museums, traditions are carefully studied and samples of folk art are collected, in particular, in order to highlight products and decorative techniques that are in tune with the modern way of life. Folk art has an unrelenting influence on the art industry, helping to find the most expressive forms and decor of everyday things; certain features of folk art live in the works of amateur craftsmen, as well as professional artists using the experience of folk art. In the USSR, a number of stalled folk crafts have been revived, many have received new development and are associated with Soviet life orientation (thus, the former centers of icon painting have become world-famous centers of lacquer miniatures). In the diverse types and genres of Soviet folk art, the careful preservation of folk traditions is combined with a breadth of interests and an active perception of Soviet reality.

(Poiché quanto sotto riportato è parte della mia tesi di laurea magistrale, se desiderate copyare il testo vi prego di citare sempre la fonte e l'autore (Margherita Sanguineti). Grazie.)

Folklore genres also differ in the way they are performed and in various combinations of text with melody, intonation, and movements (singing, singing and dancing, storytelling, acting out, etc.).

With changes in social life society in Russian folklore, new genres also arose: soldier's, coachman's, burlak's songs. The growth of industry and cities brought to life romances, anecdotes, worker, school and student folklore.

There are genres in folklore productive, in the bowels of which new works may appear. Now these are ditties, sayings, city songs, anecdotes, many types of children's folklore. There are genres unproductive but continuing to exist. So, new folk tales do not appear, but the old ones are still told. Many old songs are also sung. But the epics and historical songs in live performance almost do not sound.

Depending on the stage of development, folklore is usually divided into early traditional folklore, classical folklore and late traditional folklore. Each group belongs to specific genres typical of a given stage in the development of folk art.

Early traditional folklore

1. labor songs.

These songs are known among all peoples that were performed during labor processes(when lifting weights, plowing a field, manually grinding grain, etc.).

Such songs could be performed when working alone, but they were especially important when working together, since they contained commands for simultaneous action.

Their main element was the rhythm that organized the labor process.

2. Divination and conspiracies.

Divination is a means of recognizing the future. To recognize the future, one had to turn to evil spirits Therefore, fortune-telling was perceived as a sinful and dangerous occupation.

For divination, places were chosen where, according to the idea of ​​the people, it was possible to make contact with the inhabitants of the "other world", as well as the time of day at which this contact was most likely.

Divination was based on the method of interpreting “signs”: accidentally heard words, reflections in water, animal behavior, etc. To obtain these “signs”, actions were taken in which objects, animals, and plants were used. Sometimes actions were accompanied by verbal formulas.

classical folklore

1. Rites and ritual folklore

Ritual folklore consisted of verbal-musical, dramatic, game and choreographic genres.

The rituals had a ritual and magical significance, they contained the rules of human behavior in everyday life and work. They are usually divided into work and family.

1.1 Labor rites: calendar rites

The observations of the ancient Slavs over the solstice and the changes in nature associated with it developed into a system of mythological beliefs and practical labor skills, enshrined in rituals, signs, and proverbs.

Gradually, the rites formed an annual cycle, and the most important holidays were timed to coincide with the winter and summer solstices.

There are winter, spring, summer and autumn rituals.

1.2. family rituals

Unlike calendar rites, the hero of family rituals is a real person. Rites accompanied many events of his life, among which the most important were birth, marriage and death.

The wedding ceremony was the most developed, it had its own characteristics and laws, its own mythology and its own poetry.

1.3. Lamentations

This is an ancient genre of folklore, genetically related to the funeral rite. The object of the image of lamentations is the tragic in life, therefore, the lyrical beginning is strongly expressed in them, the melody is poorly expressed, and many exclamatory-interrogative constructions, synonymous repetitions, single words, etc. could be found in the content of the text.

2. Small genres of folklore. Paremias.

Small folklore genres include works that differ in genre, but have a common external feature - a small volume.

Small genres of folklore prose, or proverbs, are very diverse: proverbs, sayings, signs, riddles, jokes, proverbs, tongue twisters, puns, good wishes, curses, and so on.

3. Fairy tales(See § 2.)

3.1. Animal Tales

3.2. Fairy tales

3.3. Household fairy tales

3.3.1. Anecdotal tales

3.3.2. Novelistic tales

4. Fairy tale prose

Non-fairytale prose has a different modality than fairy tales: its works are confined to real time, real terrain, real people. Non-fairytale prose is characterized by non-separation from the flow of everyday speech, the absence of special genre and style canons. In the most general sense, it can be said that her works are characterized by the stylistic form of an epic narrative about authenticity.

The most stable component is the character, around which all the rest of the material is united.

An important feature of non-fairytale prose is the plot. Usually plots have an embryonic form (one-motif), but can be transmitted both concisely and in detail.

Non-fairytale prose works are capable of contamination.

The following genres belong to non-fairytale prose: legends, legends and demonological stories.

5. epics

Epics are epic songs in which heroic events or individual episodes of ancient Russian history are sung.

As in fairy tales, appear in epics mythological images enemies, the reincarnation of characters takes place, the heroes are helped by animals.

Epics have a heroic or novelistic character: the idea of ​​heroic epics is the glorification of the unity and independence of the Russian land, in novelistic epics marital fidelity, true friendship were glorified, personal vices (boastfulness, arrogance) were condemned.

6. historical songs

Historical songs are folklore epic, lyrical and lyrical songs, the content of which is dedicated to specific events and real persons of Russian history and expresses the national interests and ideals of the people.

7. ballads

Folk ballads are lyrical epic songs about a tragic event. Ballads are characterized by personal, family and household themes. In the center of the ballads are moral problems: love and hate, loyalty and betrayal, crime and remorse.

8. spiritual verses

Spiritual poems are songs of religious content.

The main feature of spiritual poetry is the opposition of everything Christian to worldly things.

Spiritual verses are heterogeneous. In oral existence, they interacted with epics, historical songs, ballads, lyrical songs, lamentations.

9. Lyrical non-ritual songs

In folk lyrics, word and melody are inseparable. The main purpose of the songs is to reveal the attitude of the people through the direct expression of their feelings, thoughts and moods.

These songs expressed the characteristic experiences of a Russian person in different life situations.

10. Folk theater.

Folklore theater is the traditional dramatic art of the people.

The specific features of the folklore theater are the absence of a stage, the separation of performers and the audience, the action as a form of reflection of reality, the transformation of the performer into a different objectified image, the aesthetic orientation of the performance.

Plays were often distributed in written form, pre-rehearsed, which did not exclude improvisation.

The folklore theater includes: booths, the theater of traveling pictures (rayok), folk puppet show and folk dramas.

11. Children's folklore.

Children's folklore is a specific area of ​​oral art, which, unlike the folklore of adults, has its own poetics, its own forms of existence and its carriers.

General, generic trait children's folklore - the correlation of the artistic text with the game.

Works of children's folklore are performed by adults for children (mother's folklore) and children themselves (actually children's folklore)

Late traditional folklore

Late traditional folklore is a collection of works of different genres and different directions, created in a peasant, urban, soldier, working and other environment since the beginning of the development of industry, the growth of cities, the collapse of the feudal village.

Late traditional folklore is characterized by a smaller number of works and, in general, a lower artistic level compared to classical folklore.

1. Chastushki

Chastushka is a short rhymed folk song that is performed at a fast pace to a specific melody.

The subject matter is varied. Most of them are dedicated to love and family topics. But often they reflect the modern life of the people, the changes that are taking place in the country, contain sharp political hints. The ditty is characterized by a playful attitude towards its heroes, irony, and sometimes sharp satire.

2. Folklore of workers

The folklore of workers is oral folk works that were created in the working environment or assimilated by it and processed so much that they began to reflect the spiritual needs of this particular environment.

Unlike the ditty, the folklore of the workers did not turn into a national, all-Russian phenomenon. His salient feature- locality, isolation within a particular industrial area. For example, the workers of factories, plants and mines in Petrozavodsk, Donbass, the Urals, Altai and Siberia hardly knew each other's oral works.

Workers' folklore was dominated by song genres. The songs depicted the difficult working and living conditions of a simple worker, which was contrasted with the idle life of the oppressors - business owners, overseers.

In the form of a song, these are monologues-complaints.

3. Folklore of the period of the Great Patriotic War.

Folklore of the period of the Great Patriotic War is the works of various genres: song, prose, aphoristic. They were created by the participants in the events and battles themselves, the workers of factories and plants, collective farm fields, partisans, etc.

These works reflect the life and struggle of the peoples of the USSR, the heroism of the defenders of the country, faith in victory, the joy of victory, fidelity in love and love betrayals.

In our work, we will dwell in more detail on the folklore classical genre of a fairy tale.

Epochs, people, their cultures are unique. Each of them has its own character, its own unique features.
The remoteness of ancient civilizations in time does not allow to accurately recreate their appearance. But folk culture, folk traditions, expressed in material and spiritual monuments, help us to feel the breath of life of our ancestors.
“... Ancient civilizations are not extinct worlds, the light from them still comes to us. Their achievements are part of modern culture.
We turn to them not only for the sake of aesthetic enjoyment of masterpieces of literature and art. The lessons of the past are called upon to serve the noble goals of our time - mutual understanding and mutual enrichment of peoples and the awareness of oneself as the heirs of the common wealth accumulated by previous generations..
(L.N. Bogolyubov)
5.1 Folk art definition

Folk art - artistic folk art, folklore, artistic creative activity people; poetry, music, theater, dance, architecture, fine and decorative arts created by the people and existing among the masses.
In collective artistic creativity, the people reflect their labor activity, social and everyday way of life, knowledge of life and nature, culture and beliefs.
In folk art, which has developed in the course of social labor practice, the views, ideals and aspirations of the people, their poetic fantasy, the richest world of thoughts, feelings, experiences, dreams of justice and happiness are embodied. Having absorbed the centuries-old experience of the people, folk art is distinguished by the depth of artistic development of reality, the truthfulness of images, and the power of creative generalization.
The richest images, themes, motifs, forms of folk art arise in the complex unity of individual (though, as a rule, anonymous) creativity and collective artistic consciousness.
For centuries, the people have been selecting, improving and enriching the solutions found by individual masters. The collective nature of folk art, which constitutes its permanent basis and undying tradition, manifests itself in the course of the entire process of formation of works or their types. This process, which includes improvisation, its consolidation by tradition, subsequent improvement, enrichment and sometimes renewal of the tradition, turns out to be extremely long in time.
It is typical for all genres of folk art that the creators of a work are at the same time its performers, and the performance, in turn, can be the creation of variants that enrich the tradition.
Also important is the closest contact between performers and people who perceive art, who themselves can act as participants in the creative process.
It should also be noted that the long-standing indivisibility, the highly artistic unity of various genres. Poetry, music, dance, theater, decorative arts merged in folk ritual actions; V public dwelling architecture, carving, painting, ceramics, embroidery created an inseparable whole; folk poetry is closely connected with music and its rhythm, musicality and character is associated with poetry, labor movements, dances. The works and skills of folk culture are passed down from generation to generation.

5.2 Folk art (folklore)
Folklore - oral folk art, including:

· fairy tales,

· Proverbs and sayings,

· lullaby songs,

· puzzles,

· jokes, etc.

Word "folklore" literally translated from English means folk wisdom.
Folklore is poetry created by the people and existing among the masses. in which he reflects his labor activity, social and household way of life, knowledge of life, nature, cults and beliefs.
Folklore embodies the views, ideals and aspirations of the people, their poetic fantasy, the richest world of thoughts, feelings, experiences, protest against exploitation and oppression, dreams of justice and happiness. This is an oral, verbal artistic creativity that arose in the process of the formation of human speech.
M. Gorky said: “... The beginning of the art of the word is in folklore.”
In a pre-class society, folklore is closely connected with other types of human activity, reflecting the rudiments of his knowledge and religious and mythological ideas.
In the process of development of society, various types and forms of oral verbal creativity arose. Some genres and types of folklore have lived a long life. Their originality can be traced only on the basis of indirect evidence: on the texts of later times, which retained the archaic features of content and poetic structure, and on ethnographic information about peoples that are at the pre-class stages of historical development.
Only from the 18th century and later are authentic texts of folk poetry known. Very few records survive from the 17th century. The question of the origin of many works of folk poetry is much more complicated than that of literary works. Not only the name and biography of the author - the creator of this or that text are unknown, but also the social environment in which the fairy tale, epic, song, time and place of their composition was formed is unknown. The ideological intention of the author can only be judged by the surviving text, often written down many years later.
That is why acquaintance with folklore works introduces children to the artistic heritage of their national culture.
The work of folk poetry affects the imagination, evokes a spiritual response, awakens a sense of belonging to what is happening. The described situation is created in the imagination of the child. through the artistic word.
We live in an interesting and difficult time, when we begin to look at many things differently, rediscover and re-evaluate many things - first of all, this refers to our past, which we, it turns out, know very superficially.
What cared about, what pleased and disturbed the Russian people, what did they do, how did they work, what did they dream about, what did they tell and sing about, what did they pass on to their children and grandchildren? To answer these questions today means to restore the connection of time, to return the lost values.
Folklore will help to turn to the origins, because its content is the life of the people, human experience, the spiritual world of the Russian man, sifted through the sieve of centuries, his thoughts, feelings, experiences.
In ancient times, they said that for absolute happiness, a person needs a glorious Fatherland. One cannot but agree with this: perhaps the most grateful way is the revival of forgotten national values.
Fortunately, childhood is the time when a genuine, sincere immersion in the origins of national culture is possible. Not ostentatious "souvenir", but everyday appeal to it dictates non-traditional approaches to the process of education.
Culture and experience (especially folk) are passed from mouth to mouth and effectively - from generation to generation.
Is folk art being squeezed out in today's "adult" life, which exists mainly on the stage and in museums, from the life of a child, does it become uninteresting, archaic and unattractive for him, who is actively assimilating modern information means of communication? Of course not.
Folklore, as a historically specific form of folk culture, does not remain unchanged, but develops along with the people, absorbing everything valuable that existed before, and reflecting new social changes. That's why folklore is always original and modern.

A feature of folklore is its pronounced regional affiliation and historical specificity. In the course of history, some genres have undergone significant changes, disappeared, new ones appeared.
Despite the bright national coloring of the folklore works of different peoples of Russia, many motives, images and even plots are similar in them.
Children's folklore is a special part of folk culture that plays essential role in the life of every nation. The works of children's folklore are of great importance in the formation and development of the personality of each newly born person, in the development of the cultural riches of previous generations. They are necessary for the child to express in artistic form his special vision of the world, generated by age-related mental characteristics. These features, the interaction of the child with the world around him, with peers and adults change as the child develops from birth to adolescence. Therefore so rich, original area of ​​folk art associated with the world of childhood.
It's hard to overestimate the importance of folklore in the education of preschoolers.
Folk art performs an educational function; contributes to the development of memory: in the works of oral folk art there are many repetitions, this helps to better remember, and then reproduce their content.
Folklore affects the health of the child's body as a whole, for example, the nursery rhymes “Magpie-Crow”, “Kuy, kui, hammer, kui chabotok”, bring joy and help children to independently massage their hands and feet, as well as influence biologically active points located on the hands and feet.
A number of nursery rhymes can be used to develop fine motor skills of the hands and fingers (for example, "Finger-boy").
Works of folk art, especially small forms, affect the development of children's speech:

· enriching the vocabulary

· developing the articulatory apparatus,

· phonemic awareness,

· giving models for compiling descriptive stories, etc.

Some of them can be staged; at the same time, convey the content only with movements, if the children do not yet own active speech (for example, “Two black grouse”, “Pussy”).

Thanks to rhythm, musicality, emotional and motor saturation, as well as the creativity of music directors, some nursery rhymes have turned into word games, game exercises that help to work on coordinating movement with the word.
Folk songs, round dances, singing games are also widely used, as they allow you to include children in independent musical, speech and gaming activities.
5.3 Lullabies
A lot of songs created by the people

· pestles and nursery rhymes,

· lullabies,

· invocations,

· jokes,

· fables.

Let's turn to lullabies, which each of us knows: from time immemorial, in the house where a child was born, a cradle was hung from the ceiling - a cradle for a baby. The mother, rocking it evenly, sometimes doing some work, hummed a lullaby to her child:

Bye-bye, bayushok,
Cockerel in the garden.
Peter sings loudly
Vanya won't let him sleep
And you, Vanechka, go to sleep,
Sound sleep come to you.
You sleep - do not walk,
Just close your eyes.

Melodiousness, a special rhythm teach children the smooth pronunciation of phrases, sentences. The vocabulary is also greatly enriched. In the works of oral folk art, an abundance of words-signs of objects, figurative comparisons, many synonyms, antonyms, etc. are used.
First, the child copies how an adult performs certain movements and intonations with which the song is sung.
Later there are words, lyrics. Surprisingly fast many lyrics pass into the active vocabulary of children and sound already during games, conversations with peers.

An important role in the development of a child's speech is played by the development of phonemic perception, which is facilitated by lullabies. According to the people, they childhood companion».
Lullabies, along with other genres of folk art, contain a powerful force that allows you to develop the speech of preschool children.
Lullabies enrich the vocabulary of children due to the fact that they contain wide circle information about the world around us, primarily about those objects that are close to the experience of people and attract with their appearance, for example, "hare".
The grammatical variety of lullabies contributes to the development grammatical structure of speech.
Teaching children to educate single word words, you can use these songs, as they create images that are familiar to children, for example, the image of a cat. Why is it not just cat, but "kitten", "kotok", "kitty", "kitty".
Besides positive emotions associated with this or that from the cradle in a familiar way, make this development more successful and durable.
A lullaby, as a form of folk poetry, contains great opportunities in the formation of a special intonational organization of a child's speech.

· slow pace,

· the presence of repetitive phonemes, sound combinations, onomatopoeia.

Lullabies allow you to memorize words and forms of words, phrases, master the lexical side of speech.
Despite the small volume, Lullaby contains an inexhaustible source educational and educational opportunities.
5.4 Children's folklore.
Rhymes, incantations, counting rhymes
Children's folklore enables the teacher to early stages development of the child to attach him to folk poetry. Thanks to this, long before acquaintance with fairy tales, epics and other major genres of Russian folklore on the material of children's folklore kids develop an internal readiness for the perception of our origins - Russian folk culture.

What else applies to children's folklore?

· Rhymes, jokes - games of an adult with a child (with his fingers, pens, etc.).

· Calls - appeal to natural phenomena (to the sun, wind, rain, snow, rainbow, trees).

· Rhymes - short rhymes that serve for a fair distribution of roles in games.

The nursery rhymes addressed to children, chants, counting rhymes, jokes sound like an affectionate saying, expressing care, tenderness, faith in a prosperous future. This is exactly what children like in small forms of folklore.
How much tenderness, tact, rationality are in these seemingly uncomplicated verses. They satisfy the child's early need for an artistic word.
In any, even small work- whether it is a nursery rhyme, a joke or a nickname - the era, way of life, color of the national culture are highlighted.
Folklore for children is no exception. general rule- This is a very cheerful, sometimes instructive genre of folk art. In a comic form, you can praise and scold the child.
Calls and counting rhymes decorate and enrich the child's speech, expand vocabulary, develop imagination. After all, in order to use the simplest counting rhymes and incantations, the child must quickly assess the situation, how to attach it to the invocation (which natural phenomena he needs to refer to), compare their correspondence again and only then say it.
Rhythm- This is a folklore genre that helps the guys to play fair, and, above all, choose a driver.
Creating this genre, the poet, as it were, enters into a playful relationship with children, not only with the meaning and purpose of his verse, but also with sound. Thus, the counting rhyme helps to work on sound pronunciation.
The features of these miniature folklore works are deep humanity, extremely precise moral orientation, lively humor, and figurative language.
Folklore works are interesting for children of different ages, they are quickly remembered by a child.

5.5 Fairy tale
In folk art, a fairy tale is probably the greatest miracle.
Reading fairy tales, we, without noticing it ourselves, find ourselves in the power of fiction. Fairy tales always tell about something incredible, improbable, but at the same time, fiction carries a certain idea, usually materialized in hyperbolic images: good and evil are constantly fighting.
The fairy tale calls to fight against evil, against enemies, calls to defend goodness, justice. In it - the statement of the moral law of life, moral principles, norms, aesthetic ideals are extremely clearly expressed.
The fairy tale helps to believe in the power of good, which wins not by itself, but by overcoming difficulties and fighting evil.
IN satirical tale people ridicule idleness, the desire to easily obtain life's blessings, greed and other human shortcomings. And vice versa, it sings of luck, resourcefulness, mutual assistance and friendship.
It turns out that a fairy tale is truth and fiction at the same time.
“A fairy tale is a lie, but there is a hint in it: a lesson for a good fellow.”
The story has a specific language style which is characterized by: melodiousness, repetitions of various phrases.
The language of fairy tales is very beautiful:

· melodious and poetic

· contains many metaphors, figurative comparisons,

· well-aimed and instructive proverbs and sayings.

All these features make the fairy tale an indispensable means of speech development and education of children of different ages.
Journey into the world of a fairy tale develops the imagination, fantasy of children, encourages them to write.
When we talk about telling and even acting out a fairy tale by children, we mean only folk works that were originally created For And in progress oral performance, that is "said".
Telling a fairy tale is directly related to the tasks of developing children's speech. A free retelling of a fairy tale does not preclude a good knowledge of typical fairy tale phrases by heart, constant epithets, beginnings, choruses like: “Once upon a time ...”, “You never know, how much time has passed: soon the fairy tale is told, the deed is not done soon ...” etc.
All this helps to recreate the color of the work, brings up stylistic sensitivity in children, sets the audience in a certain emotional way.
Folk tales are divided into the following groups:

· about animals,

· magical,

· household,

· adventure novels,

· annoying.

Among them only tales about animals and tedious ones can no doubt be offered to children.
The fairy tale should correspond to the age of the child, be small in volume, interesting in content, dynamic and bright.

Mystery

“The riddle is the key of the verbal image,
grain of poetry, metaphor.

M.A. Rybnikova
Mystery is a genre of folk art, which, like proverbs and sayings, also belongs to small folklore forms.
A riddle is one of the small forms of oral folk art, in which the most vivid, characteristic signs of objects or phenomena are given in an extremely compressed, figurative form.
Solving riddles develops the ability to analyze, generalize, forms the ability to independently draw conclusions, conclusions, the ability to clearly identify the most characteristic, expressive features of an object or phenomenon, the ability to vividly and concisely convey images of objects, develops a "poetic view of reality" in children.
The value of riddles lies in their figurativeness, artistry and poetry.
Bright, specific, colorful artistic images riddles help the child take a fresh look at the world around them, develop a poetic view of reality, the ability to analyze it and, therefore, think logically.
Thanks to such poetic means used in riddles like metaphor, metonymy, personification, hyperbole, happen to the simplest things magical transformations: the corn on the cob becomes a tower, the carrot a maiden with a scythe.
Metaphors and comparisons in riddles differ from metaphors and comparisons in other literary and folklore genres the fact that here they are given in the form of an entertaining game task, and the attention of the listener or reader is specifically directed to the need for guessing, comparison and comparison.
Consequently, the very artistic specificity of the riddle is the step that raises a person up the ladder leading to the understanding of the poetic image, the development of artistic thinking and creativity.
Riddles in their content reflect the history of the formation and development of folk cultures. This is their special value. They form the first ideas about the unity of the world and its laws.
Unlike proverbs and sayings, they are aimed at finding the identity or similarity of various objects and phenomena.
Riddles contribute to the development of the child's memory, his figurative and logical thinking, mental reactions. The riddle teaches the child to compare the features of various objects, to find common things in them, and thereby forms in him the ability to classify objects, to discard their insignificant features. In other words, with the help of a riddle, the foundations of theoretical creative thinking are formed.
In educational work with children, you can use other small forms of folklore that have specific developmental and educational functions:

· Tongue Twisters,

o tongue twisters used to develop correct, phonetic pure speech;

o counting rhymes (element of the game);

o barkers (type of songs)

6. Description of own pedagogical experience on this topic
Familiarization of children with oral folk art and everyday use of it both in regime moments and in play activities develops the child’s oral speech, his fantasy and imagination, influences spiritual development, and teaches certain moral standards.
Children's folklore gives us the opportunity to in the early stages of a child's life, introduce him to folk poetry.
With the help of small forms of folklore it is possible to solve almost all problems of the method of speech development, Therefore, along with the basic techniques and means of speech development of preschoolers, I use this richest material of the verbal creativity of the people.
WITH lullabies I begin to introduce children at an early age, which allows kids memorize words and word forms, phrases, master the lexical and grammatical aspects of speech.
Rhymes, counting rhymes, incantations are the richest material for development of sound culture of speech. Developing a sense of rhythm and rhyme, we prepare the child for further perception of poetic speech and form his intonational expressiveness.
Riddles enrich children's vocabulary due to the ambiguity of words, they help to see the secondary meanings of words, form ideas about their figurative meaning. They help children learn sound and grammatical structure Russian speech, forcing you to focus on the linguistic form and analyze it. Solving riddles develops the ability of preschoolers to analyze and generalize.
To solve all the above problems of the speech development of children, I selected and compiled a card file of games based on children's folklore.
Russian folk, round dance games attracted my attention not only as a huge potential for the physical development of the child, but also as a genre of oral folk art. The folklore material contained in the games contributes to an emotionally positive mastery of native language. Children play outdoor games with great pleasure, desire and interest.
I noted that in the process of familiarizing children with mobile And finger games not only speech is formed, but also fine motor skills of the hands and fingers develop, which prepares the child’s hand for writing, makes it possible to improvise, combine word with action. And most importantly, the level of development of children's speech is directly dependent on the degree of formation of fine movements of the hands and fingers.
Based on folklore made a complex of hardening gymnastics after daytime sleep for children of primary preschool age, which is used every day to strengthen and maintain the health of children, maintain interest in physical exercises.
I consider various leisure and entertainment activities to be one of the effective forms of work with children on speech development. In accordance with this, she developed a cycle of entertainment artistic and aesthetic cycle.
Prepared consultations on this topic for parents and teachers, reflecting topical issues of the development of the child's speech in the preschool educational institution and the family.
Made table theaters: "Masha and the Bear", "Teremok", "Geese-Swans", "Gingerbread Man" and theaters on flannelgraph:"Three Bears", "Geese-Swans", "Zayushkina's Hut", "Turnip", "Ryaba Hen".
Compiled card file on Russian folk games:“Cucumber-Cucumber”, “Lark”, “Sea Figure”, “Duck and Drake”, “At the Bear in the Forest”, “Bridge”, “Into the Sparrow”, “Geese-Geese”, “Bees and Swallow”, “ Silence", "Golden Gate", "Birds", "Kurchenyatochki", "Kruta Gora", "Snake", "Loaf", "Fly-do not fly", "Duck and wolf" ..
Collected together with parents in a group children's library of Russian folk tales.
Diagnostics in the section of the program "Childhood" "Developing the speech of children" at the end of the 2006-2007 academic year showed the effectiveness of the work I am implementing to familiarize children with oral folk art.
There is an increase in the number of children with a level above the average by 20%, the correspondence of the level of speech development to age norms is observed in 78% of the children of the group.
As of the middle of the 2007-2008 academic year, the positive dynamics in the section "Development of the vocabulary" was 9.4%, in the section "Development of coherent speech" - by 9.5% compared to the beginning of the academic year. According to the section "Grammatical correctness of speech" in the middle of the school year there are no children with a low level.
I am sure that folklore effectively develops the oral speech of a child, influences his spiritual, aesthetic and emotional development.
Thus, introducing the child to folk culture should start from early childhood. Folklore is a unique medium for the transmission folk wisdom and upbringing of children initial stage their development. Children's creativity is based on imitation, which serves as an important factor in the development of the child, his speech. Gradually, the kids develop an internal readiness for a deeper perception of the works of Russian folk literature, vocabulary is enriched and expanded, the ability to master native speech.
In my future work, I will actively use all types and forms of children's folklore, Russian folk games, reading and telling fairy tales.

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The use of small folklore forms for the development of speech of preschoolers

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