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Thus, work on the author's fairy tale. Work on fairy tales in the lessons of literary reading in elementary school

The word "fairy tale" appeared in written sources no earlier than the 16th century. It is formed from the word "show" in the meaning: list, list, exact description. Modern meaning"fairy tale" acquires from the XVII-XIX centuries. Previously, the word fable was used, until the 11th century - a blasphemer.

In the literary encyclopedia of terms and concepts, "fairy tale" is interpreted as a kind of folklore prose known to all peoples; genre system and genre varieties.

Kudina G.N. in the dictionary of literary terms deciphers the concept of "fairy tale" as a genre of epic.

A fairy tale is a predominantly prosaic artistic oral story of a fantastic, adventurous or everyday nature with a fantasy setting. Such a concept is given in the dictionary of literary terms.

One more definition of "fairy tale" can be singled out, which is indicated by Turaev S.V. and Timofeev L.I. A fairy tale is a type of oral narrative with fantastic fiction, the forms of which historically developed in the initial connection with mythology and, in an artistically transformed form, became an inseparable property of this folk prose.

The fairy tale goes back to the reality of the era that gave birth to it, reflects the events of the era in which it exists. Mutually exclusive concepts, correspondences and inconsistencies with reality are intertwined in the fabulous image of reality, which is a special fabulous reality. The world of fairy tales is beautiful and exciting for younger students. They are captivated by the sharp, entertaining plot of fairy tales, the unusual setting in which events unfold; attract heroes - brave, strong, resourceful people; fairy tales captivate with their ideological orientation: good forces always win. For children, the form of narration itself, adopted in a fairy tale, is of interest, melodiousness, colorful language, brightness visual means. The characters of fairy tales are expressive, and for the most part they are clearly divided into kind, fair, deserving respect, and evil, greedy, envious. The strength of the influence of the images and the plot of the fairy tale is such that even in the process of the first reading, younger students clearly show their sympathy and antipathy for the characters of fairy tales, wholly take the side of the oppressed, the disadvantaged, and are ready to come to their aid. Children sincerely rejoice that they are winning justice: ordinary poor people get out of trouble, and the evil ones die, that is, evil is punished, good has triumphed. Children want life to always be like this. This, above all, is the great pedagogical value of the tale.

Folk tales differ from author's tales in that fairy tale writers often use folk fairy tale motifs or create their own original tales. Analyzing the attitude to reality in a folk tale and in literature, one can draw a clear line between the forms of thinking typical of folklore and the forms of thinking of storytellers. Also, different laws underlie the poetics of folklore and the poetics of literature. V.Ya. Propp does not deny that literature and folklore are connected: "The process of transition of plots or narrative style into literature was carried out not only by borrowing, but also through overcoming the attitude to reality that is characteristic of fairy tale narrative folklore." This is where the differences between the author's tale and the folk tale originate.

The fairy tale develops schoolchildren's value judgments. In the process of analyzing a fairy tale, they repeatedly face the questions: “What is most valued in people? What are they punished for, and what is encouraged? Fairy tales carry a great potential for positive moral teachings. The strength of fairy tales is their active, effective focus on victory, on the triumph of truth, their major ending, which is especially appealing to children, their worldview. A.A. Gorky conveys this effect of a folk tale in this way: “From her words,” he recalls of his grandmother’s tales, “there has always been a feeling of winged joy, unforgettable to this day.

The plot of the fairy tale is unreal, far from life, but the conclusion is always vital: "The fairy tale is a lie, and there is a hint in it! Good fellows have a lesson!" The cognitive side of the tale is extremely important.

The importance of fairy tales as a means of developing the speech of students is great. The text of fairy tales is an excellent material for the formation of coherent speech skills. Younger students are happy to tell fairy tales, preserving fabulous figurative expressions and visual means, as well as the peculiar syntactic structure of speech adopted in fairy tales, the structure of sentences, and the liveliness of the narration.

IN primary school schools, according to the traditional program, students only practically get acquainted with the features of a fairy tale as a genre of folklore. There are two significant features of the tale:

the presence of fiction;
compositional originality - beginnings, repetitions, ending.

In a fairy tale, one main episode is usually repeated. In this case, the last time after the recurring episode, as a rule, a contrasting event takes place and a denouement follows. Repetitions occur most often because more and more characters appear in the tale or new details are introduced.

In Nikiforov's book, three main features of a fairy tale are distinguished:

) oral story with a mindset for the entertainment of listeners;

) events are unusual in the everyday sense;

) the specifics of fairy-tale poetics.

In the fairy tale epic, three genre varieties are distinguished:

) fairy tales about animals;

) fairy tales;

) household novelistic fairy tales.

Tales about animals differ from others mainly in that animals act in the tale. These tales convince the child right relationship to the world.

Children early learn to evaluate the dimensions of phenomena, deeds and actions and to understand the ridiculous side of all life's inconsistencies. The most elementary and at the same time the most important ideas - about the mind and stupidity, about cunning and straightforwardness, about good and evil, about heroism and cowardice, about kindness and greed - fall into the mind and determine the norms of behavior for the child. It is noticed that children easily memorize fairy tales about animals. This is explained by the fact that the people's pedagogical experience, rightly, caught the peculiarities of children's perception.

Fairy tales about animals can also be called children's because they contain a lot of action, movement, energy - which is also inherent in a child. The plot unfolds rapidly. There is a lot of humor in animal tales. This wonderful property of them develops in children a sense of the real, entertains, pleases, sets in motion spiritual forces. However, fairy tales also know sadness. How sharply contrasted here are the transitions from sadness to fun. The feelings that are spoken of in fairy tales are as vivid as children's emotions.

A sharp distinction between positive and negative in the nature of fairy tales. The child never doubts how to relate to this or that fairy-tale character. The rooster is a hero, the fox is a cunning liar, the wolf is greedy, the bear is stupid, the goat is deceitful. This is not primitiveness, but that necessary simplicity that must be mastered by the baby before he is ready to accept complex things. When working with fairy tales about animals, the following techniques can be used: selective reading, answers to questions and posing questions by students, verbal and graphic drawing, drawing up a plan, all types of retelling, compiling a fairy tale by analogy with the one read. School practice convinces us that younger students are well aware of the unreality of animal behavior in fairy tales, the conventionality of the plot, but they are happy to stay in this fabulous, conditional world. Therefore, it is necessary to tell the children a fairy tale in such a way and organize the conversation in such a way that they find themselves in this fairy-tale world for a while.

First, the fairy tale is analyzed as a realistic story and everything is aimed at ensuring that students clearly perceive the specific content, correctly imagine the development of the plot, the motives of behavior actors, their relationship. Just on last step When working on a fairy tale, the teacher puts the children in the conditions of "transferring" the conclusion of the fairy tale to similar cases in life. This is quite enough so that, on the one hand, a fairy tale remains a fairy tale for students, and on the other hand, they enrich themselves with knowledge of certain phenomena of life. It should be emphasized that the teacher must constantly work on the formation of such aspects of reading skills as expressiveness and consciousness. Noticing the features of this or that character in a fairy tale, students, as it were, convey with their voice his appearance, attitude towards others. A significant role in this will be played by properly structured work on lexical meaning words, their use in a sentence. An excellent example of author's fairy tales about animals are such fairy tales by S.Ya. Marshak as "Quiet Tale", "The Tale of the Stupid Mouse", etc.

In ancient times, there were beliefs in witches, sorcerers who can work miracles. The people in those distant times also believed in magical things: a ring, an ax, a belt, a scarf, a mirror. Later, people realized many phenomena, the connection between the fairy tale and ritual magic was lost. At the same time, the poetic imagination of people grew. Man dreamed of subordinating the forces of nature, building beautiful palaces, moving fast, and living long. I wanted to do a lot, but real opportunities did not allow this to be done. The dream found scope in fairy tales. They are distinguished by a special character of fiction. Supernatural forces always operate in them - sometimes good, sometimes evil, working miracles. Here are terrible monsters: Kashchei the Immortal, Baba Yaga, Serpent Gorynych, and wonderful objects: a flying carpet, an invisibility hat, walking boots. The Russian fairy tale has created an amazingly lively, intricate world. Everything in it is unusual: people, earth, mountains, rivers, trees, even things - household items, tools - and those acquire wonderful properties in fairy tales. In fairy tales there are no unique life troubles, at the same time they do not hide the fact that real world knows severe human suffering, but everything ends happily thanks to a miracle. The imaginary miraculous victory of good over evil always activates the child's senses. The need for justice, the desire to overcome life's hardships forever become part of his attitude. It's in the highest degree important for the formation of a person's vitality and qualities of a fighter for justice.

A fairy tale with its harmonious composition teaches a child to think logically: the events in it unfold in a strict sequence. The story captures the dynamics of the plot. The closer the end is, the sharper and more tense the relationship between the characters becomes. Very often, having brought the hero to the moment of almost complete achievement of the goal, the fairy tale allows a sharp turn of the event to its original position - and again he begins the struggle for the triumph of justice. This technique helps the child to understand that in order to achieve the goal, perseverance, fidelity to duty and the desire to win at all costs are necessary. In a fairy tale, the characters of the characters, the characters from the beginning to the end are endowed with certain positive forces or vices.

The heroes of fairy tales always remain true to their characters, no matter what happens to them. For a child, this feature of fairy tales is very important: this is the necessary simplicity of human relationships. Which must be mastered before he learns to understand the complexity of the affairs and actions of people. The construction of phrases, the selection of words are determined by the nature of the content. A calm narrative is replaced by a swift one when it comes to sudden and quick actions - this is achieved with the help of verbs of motion. About swan geese, for example, they say this: "flew", "caught", "carried away" and others. The choice of verbs clearly conveys the dynamics of events, the severity of the situation. At the same time, the little listener becomes, as it were, a participant in what is happening, empathizing with the heroes of the fairy tale. Storytellers reproduce the world in all its objective materiality, in a variety of sounds, in the brilliance of colors. Fairy tales are filled with sunlight, forest noise, the whistling of the wind, the dazzling brilliance of lightning - all the features of the world around us.

The complexity of the plot is a characteristic feature of fairy tales. There are no developing characters in the fairy tale, only their actions and deeds are reproduced. Therefore, when analyzing, it is advisable to ask the question: "By what actions of the hero can we judge his character?" Distinctive feature fairy tale there is a multi-event fairy tales. The hero must go through a series of trials that get more difficult as the story progresses. The tale is necessarily entertaining, unusual, with a clearly expressed idea of the triumph of good over evil, falsehood over truth, life over death. All events in it are brought to an end, incompleteness and incompleteness are not characteristic of a fairy tale plot. The main genre feature of a fairy tale is its purpose, that which connects the fairy tale "with the needs of the collective." In Russian fairy tales that exist now, the aesthetic function dominates. It is due to the special nature of fairy-tale fiction. Fairy-tale didacticism permeates the entire fairy-tale structure, achieving a special effect by sharply contrasting the positive and the negative. Moral and social truth always triumphs - this is the didactic conclusion that the tale clearly illustrates.

Thus, finishing the second chapter of the work, we note that the world of fairy tales, in which it is interesting to live and develop a child, is very diverse. The main function of fairy tales is to educate a morally developed generation, able to think, feel and express their thoughts. Folk tales are permeated with this idea, but it should be noted that author's tales have the same direction. The main motive of the fairy tales of S.Ya. Marshak is the motive of careful human attitude to the world around. His fairy tales develop schoolchildren's value judgments.

1.3 Methods of working on a fairy tale in primary school

A fairy tale for a child has a great educational and cognitive value. This is the favorite genre of many children. And it is no coincidence that various fairy tales are included in the elementary school curriculum.

So in the first grade, students get acquainted with fairy tales about animals, read everyday and fairy tales (“The Fox and the Black Grouse”, “Two Frosts”, “Porridge from an Axe”).

In the second grade, children read folk tales (“Sivka-burka”, “Sister Alyonushka and brother Ivanushka”, “Ivan Tsarevich and Gray wolf»; epics "Dobrynya Nikitich", "Dobrynya and the Serpent", "Healing of Ilya Muromets", "Ilya Muromets and the Nightingale the Robber"), as well as literary tales V.F. Odoevsky ("Moroz Ivanovich"), S.T. Aksakov ("The Scarlet Flower") and others.

1. Usually, before reading a fairy tale, a small preparatory conversation(you can ask what kind of fairy tales are, what kind of read; organize an exhibition of fairy tales). Before reading fairy tales about animals, you can recall the habits of animals, show an illustration of these animals.

2. A fairy tale is usually read by a teacher, but it is desirable to tell it.

3. Work on a fairy tale as if it were a realistic story, without explaining that “this does not happen in life”, that this is fiction.

4. A fairy tale can be used to compile characteristics and assessments, since the characters of fairy tales are usually the spokesmen for one or two characteristic features that are clearly revealed in their actions.

5. Do not translate the moral of the tale into the realm of human characters and relationships. The didacticism of the fairy tale is so strong and bright that the children themselves draw conclusions: “See right for the frog - you don’t have to brag” (the fairy tale “The Frog is a Traveler”). If children come to such conclusions, then we can assume that reading the fairy tale has reached its goal.

6. The specificity of a folk tale is that it was created for storytelling. Therefore, prose tales are retold as close to the text as possible. The story must be expressive. good reception preparation for it is reading fairy tales in faces. Dramatization of fairy tales outside the classroom helps to express fabulous character develops speech and Creative skills in children.

7. The fairy tale is also used for educational work on drawing up plans, since it is clearly divided into scenes - parts of the plan, headings are easily found in the text of the fairy tale.

Students of grades I-II willingly draw a picture plan.

8. Usually, reading a fairy tale about animals does not require any preparation, but sometimes it should be recalled in a conversation about the manners and habits of animals.

If a fairy tale is read about nature close to children, then the material of the excursion is used, entries in the calendars of nature, that is, observations and experience.

9. In connection with the reading of a fairy tale, it is possible to make puppets, scenery for a puppet theater, figurines of animals and people for a shadow theater.

10. Elementary observations should be made on the features of the composition of a fairy tale, since these observations increase the consciousness of children's perception of the fairy tale. Already in grades I-II, children meet with fairy-tale tricks of triple repetition and notice that this helps to remember a fairy tale.

When reading fairy tales, the following types of work are used:

Preparation for the perception of a fairy tale;

Reading a fairy tale;

Exchange of opinions about what has been read;

Reading a fairy tale in parts and analyzing them;

Preparation for storytelling;

summarizing conversation;

Summarizing;

Assignment for children at home.

The technique gives general direction work with fairy tales depending on their belonging to one or another intra-genre variety, however, it does not fully take into account the qualitative heterogeneity fairy tale genre, does not determine the optimal amount of skills that need to be formed in younger students when reading different types of fairy tales. But it is the knowledge of literary foundations that helps the teacher to better understand the role of a fairy tale, to choose methods and techniques that correspond to this type of fairy tale and contribute to the formation of the necessary skills in the analysis of fairy tales.

Skills provide an opportunity for standards in work, to diversify it in order to create the necessary emotional tone in children's perception, to set them up for the fact that there are no identical fairy tales, that each fairy tale is interesting in its own way.

So, in everyday fairy tales they talk about the characters of people, the habits of animals. When analyzing everyday fairy tales, one should not compare the characters of people. Social fairy tales show the life of the people, their grief, deprivation, poverty, lack of rights. When studying them, one can compare how people lived before the revolution, how they live now, what rights they got. Fairy tales show the dream of the people, ingenuity, talent, skill, diligence. Here a comparison with modern life (cars, cranes, airplanes, etc.) is necessary. In fairy tales about animals, observations, excursions, illustrations, and cinema are important. You need to teach how to write a characterization (remember in which fairy tales and how animals are shown).

1. Do not say that this does not happen in life.

2. Ask the question: Why? What does it say?

3. The moral of the tale should not be translated into human relations.

4. The speech of the fairy tale is simple, the retelling should be close to the text (with laughter, play or sadness).

5. Retelling according to illustrations, according to a picture plan, according to a verbal plan, but using the speech features of a fairy tale (beginning, repetitions, ending).

6. It is important to read in faces, showing cardboard puppets, puppet performance, shadow theater, recordings.

7. On the board, write out vivid definitions, characteristic expressions necessary for introduction when retelling.

8. Set a problem - what is the character, prove with your reasoning and the words of the text.

9. Important in a fairy tale intonation, brightness of expression.

In the practice of teaching, the reading of fairy tales is often one-dimensional, without taking into account the literary specifics of this genre, as a result of which children learn not the depth of the content of the “fairy tale world”, not its metaphorical nature and not the moral and social meaning hidden in it, but only the plot, which they often literally correlate with reality.

The main thing in any fairy tale can be comprehended by younger students if the teacher, when guiding the reading of fairy tales, will rely on their literary specifics and consistently form the necessary skills that are important in terms of literary development students.

What is included in the concept of "literary foundations" of a fairy tale? A folk tale, a literary tale creates its own special fairy world". It is voluminous, informative and specifically designed. The concept of "volume" includes the number of characters and parts, the concept of "form" - complicated and uncomplicated, related and unrelated to folklore tradition composition, narrative, poetic, dramatic.

These characteristics are important not only in terms of artistic features but also in psychological and pedagogical terms. They help to better understand and describe the "fantastic world".

The “wonderful world” is an objective, virtually unlimited, meaningful world created by the wonderful principle of material organization.

When reading a fairy tale with a "wonderful world", you can organize an independent search for students, conducted under the guidance of a teacher.

In the process of reading - searching, students should generalize and deepen practical ideas about the fairy tale as a genre, about the "wonderful world", that is, they need to lay the optimal amount of skills, such as:

1. The ability to see the specific beginning of a fairy tale - the beginning and a happy ending for good heroes;

2. The ability to determine the fabulous place and time of action;

3. The ability, when working with a text, to find a turning point in the development of the action, which makes it possible to trace the changes in the characters;

4. The ability to give an elementary evaluation of the behavior of the characters;

5. Ability to find and name magic items and magical creatures, determine their place and role in the development of the plot, the function of good or evil in relation to the characters.

To form these skills, reading a fairy tale with a “wonderful world” should be organized in such a way that children from the beginning to the end of work are in a state of search situation, read the fairy tale in paragraphs, comprehend the fairy-tale action and the actions of the characters according to “plot milestones”.

Before reading a fairy tale, aim students at its primary perception, interest them, then they will listen with great attention and interest.

Much in the initial perception depends on the teacher. Somewhere you need to change the intonation of the voice, facial expressions, pause.

After getting acquainted with fairy tales, you can give the task to draw a memorable episode in order to see what attracted the attention of children.

Taking into account the specifics of the "wonderful world" helps the teacher to form the necessary skills, to influence the emotional and moral sphere of the child.

In the traditions of Russian methodology, do not discuss the allegorical meaning of the fairy tale with children: “Let everything in the fairy tale speak for itself” (V. G. Belinsky). Children without outside interference catch ideological orientation fairy tales: good triumphs over evil.

Already after the initial perception, students show their likes and dislikes for the characters. The task of the teacher in the analysis of fairy tales is to help children notice the formal features of this genre.

In a cumulative fairy tale, this is a heap of events or heroes, the connection of links in a chain of events, a way of stringing one event after another, building a chain, the role of stylistic formulas in sequential actions. In a fairy tale, this is the specificity of the structure of space, the presence of two worlds and the border between them, the obligatory transition by the main character of this border “there” and “back”, the rebirth of the hero at the end of the fairy tale. In a novelistic (everyday) fairy tale, this is a sharp change in the point of view regarding which the narration is being conducted.

Therefore, when reading a cumulative tale, it is useful to schematically outline the chain of heroes and the connections of events that led to the denouement of the tale. When reading a fairy tale, give the children the task to draw a diagram of the hero's journey to another world and back. And when working on a household fairy tale, it is convenient to use retelling with a change in the face of the narrator.

allegorical meaning fairy tales will be revealed to the child if he understands the function of formal elements and is able to correlate them with a holistic perception of the text, and does not interpret fairy tales based on his worldly attitudes. It is very important to teach children to separate the plot of a fairy tale from the way it is told, therefore, in the analysis, attention is focused on the formulas:

Beginnings: Once upon a time ..., In a certain kingdom, in a certain state ...;

Continuations: How long, how short ..., Soon the tale is told, but not soon the deed is done ...;

End: And I was there, I drank honey-beer, it flowed down my mustache, but it didn’t get into my mouth ... Here’s a fairy tale for you, but a glass of butter for me.

The algorithm for analyzing the content of a fairy tale can be represented as follows:

1. The theme of the fairy tale (for example, about love, about animals, etc.). The originality or borrowing of the plot, the influence external environment for creativity.

2. Analysis of heroes and images. Main and auxiliary are distinguished. Heroes are classified into good and evil, those who help the hero and those who hinder, as well as according to the functions performed. Those heroes who are singled out by the author of the tale through emotional coloring, exaggeration, etc. are singled out and especially carefully considered. it is also necessary to pay attention to the "loss of images", to distortions.
One of the main tasks at this stage is to determine the hero with whom the author identifies himself. This is revealed by personal reactions in the course of observing the client, and is also clarified by leading questions. It should be noted that positive hero and the one with which the person identifies himself do not always coincide.

3. Analysis of the difficulties that arise in the course of the story, in which the main characters fall. They can be divided into external and internal. The first suggest the impossibility of reaching the goal, that is, various obstacles (huge rivers, dense forests, monsters in caves, etc.). The latter represent the shortcomings of the means, that is, flaws, and these are most often the characteristics of the human resource base (cowardice, greed, anger, physical weakness of the characters, etc.).

4. Ways of coping with difficulties. The analysis of modes reflects the typical repertoire of characters. It can be: murder, deceit, psychological manipulation and others.

5. A set of individual ethical standards that prescribe when to be angry, when to be offended, to feel guilty, to rejoice, or to feel right.

In the analysis, not only the main text of the tale is noted. But also all side statements, comments, jokes, laughter, long pauses, failures during the story.

Thus, a fairy tale is a genre of oral folk art; fiction of a fantastic, adventure or everyday nature. Each of them carries a huge educational and cognitive value. The task of the teacher is to bring folk wisdom to the mind of the child.

Teaching children to compose literary fairy tales.

Fairy tale therapy for younger students

storyteller child

this work addressed to teachers and psychologists working with children of senior preschool and younger school age. It describes my experience in teaching children to compose literary fairy tales and the elements of fairy tale therapy used in the course of this work.
One of the areas of psychological and pedagogical work to harmonize the child's personality in order to socialize and adapt to school requirements is fairy tale therapy. This method, which uses a fairy tale to integrate the child's personality, develop creative abilities, and improve interaction with the outside world, is popular today for good reason. But often fairy tale therapy means only work on folklore and therapeutic tales with their subsequent illustration and dramatization. We teach children directly to children's literary creativity. We believe that work on the author's fairy tale is necessary for the development of artistic imagination, the emotional sphere, for mastering speech not just as a means of communication, but as a means of artistic expressiveness. In addition, the author's fairy tale is an excellent diagnostic and harmonizing tool for the child's psyche.
The fairy tale story that the child composes is essentially close to fantasies and dreams and is a product of the unconscious. In such stories, the element of projection, identification is very strongly expressed. The hero of a fairy tale is the child himself, a fairy tale story is his drama. inner life. If an adult writer can separate himself from personal experiences and passions and create works in accordance with logic and design, then a child is not yet capable of such detachment. Fantasies burst out of him like steam from a boiling kettle.
Our work is carried out on the basis of the creative studio "Lepnaya Skazka" and in extracurricular activities with first-graders of a comprehensive school. The children are seven to eight years old.

In our work, we use the following techniques and methods:
1. Writing stories (collective and author's).
2. Reflective analysis, discussion.
3. Dramatization games.
4. Simulation of a fairy-tale world.
5. Sculpting and drawing based on fictional fairy tales.
6. Staging based on fairy tales and making attributes for performances.
In 2013, based on a collectively invented fairy tale, we staged a bright and unusual performance"Dragon Island", which was shown on the stage of the regional Youth Palace. All attributes and decorations for the performance were created by children.

In our studio, such a psychological atmosphere has been created in which any child is accepted as he is. Children know that I treat them with respect and interest, highly appreciate their work, so they are happy to share their discoveries with me, speak freely on any topic and express their opinion without fear. They know that I will not criticize the fairy tales they invented. Therefore, even children who, in the opinion of parents, are “devoid of imagination”, in the classroom are revealed as creative personalities and surprise us with their stories.
The world of a child's soul is not at all as serene as we adults would like to believe. Children experience strong feelings even though they may not be aware of it themselves. Here and anxiety for their safety, and difficult relationships with peers and adults, and the fear of being unsuccessful. What are school changes worth alone! Involuntarily, the lines of N. Lisnyanskaya are recalled:
Change, change!
Everyone yells at the same time
Everyone is running back and forth
Like a horde on the cities!
Children's neuroses and deviations in behavior most often arise due to a conflict between the requirements placed on the student and his actual opportunities.
The main thing in fairy tale therapy is not to get a correct, “combed” literary product, but to give the child the opportunity to materialize, express what is hidden in his subconscious. In the process of such verbalization, the flow of images from the subconscious loses its destructive energy, the images are recognized and integrated into consciousness, thereby the child's psyche approaches integrity and harmony. And the teacher receives invaluable diagnostic material that helps him build the right educational work with every student.

I'll tell you about our method of composing fairy tales. In the first year of study, we use the method of pictogram cards, the meaning of which is based on frequently repeated elements of a fairy tale. At the same time, we rely on the works of V. Propp and D. Rodari, we work a lot with children on revealing the structure of a fairy tale as a genre, on the development of students' speech and teaching them symbolic thinking. Children lay out diagrams famous fairy tales and compose their collective tales on the basis of similar schemes. Passing from a fairy-tale plot to its scheme, the student thereby moves from concrete to abstract thinking and learns to operate with symbols. This skill belongs to the meta-subject and is very necessary for the student in the lessons of mathematics and the Russian language, when drawing up a word scheme and a task scheme. The pictograms denoting this or that function or character of the fairy tale were selected by us in such a way as to be extremely simple, vivid and memorable. (Annex 1)

Of course, we did not use all 31 functions identified by Propp in our work with children, but only the most frequently encountered ones. On the other hand, in the process of composing, we did not limit the children's imagination only to the available functions, using them later as reference beacons, and not a rigid scheme.
In the process of directly composing fairy tales, we also move from simple methods to complex, non-trivial ones.
On this topic, in the magazine "Obruch" No. 3 for 2013, my article "The Key to Fantasy" was published.
Techniques we use when writing fairy tales:
An essay based on a well-known fairy tale plot, transferring the action to the present day. At the same time, the scheme of the basic fairy tale is laid out.
An essay based on character dolls (Baba Yaga, Ivan Tsarevich, Vasilisa the Beautiful, Serpent Gorynych, animals and birds).
An essay based on any two words (noun + noun, noun + verb, noun + adjective).
An essay based on a set of cards made according to children's drawings.
An essay based on three randomly taken subjects.
Changeling tales, where Baba Yaga, for example, fights evil.
Fairy tales based on inventing the magical properties of ordinary objects, like a pink hat that turns the wearer into a rose, or a spoon that chases a child to feed him porridge.
Tales that begin with an incredible guess. For example, what if one day all adults turned into toy men from the Lego constructor? ..
Tales-transformations of dreams, usually unpleasant, disturbing the child.
Fairy tales-transformations of images of the unconscious, breaking through in the drawings and obsessive fantasies of the child.
Fairy tales based on an illustration for a book or a reproduction of a fantastic picture, for example, Belarusian artist P. Kulshi.

In the second year of study, we moved from literary improvisations based on a traditional fairy tale to writing collective and author stories, the plot of which was set by the children themselves, no longer relying on pictograms, but only on the internal need to pronounce one or another disturbing motive for the child. It is not surprising that the author's tales of this kind are closest in form to a dream and are vulnerable to criticism from a literary point of view. I do not interfere in the process of composing author's fairy tales in any way, I only write down, at the request of the child, the story that he dictates.
Collective fairy tales are another matter. They require more time, sometimes the fairy tale started in the studio, the children continued at home, and finished only after a few weeks, because the intended conflict could not be resolved. I coordinated the writing of such fairy tales, demanding, for example, greater authenticity, the development of dialogues, descriptions, and the logical development of events. And, of course, a happy ending. Usually such fairy tales began with an image that caused anxiety in one of the children. So, the fairy tale "The Black Chair" began with the fantasy of the boy V. about a chair from which children disappear. Despite the alarming beginning, the tale was built together as a heroic epic, in which the motives of the war against the Nazis were woven. At the end of the story, justice prevailed, and the heroes were rewarded for their bravery.
It is no coincidence that this fairy tale became the winner of the All-Russian literary competition « Magic word"2014 and sounded on the air of the radio station "Echo of Moscow".

The fairy tale "Fairy Wings" below was written by S., a well-doing girl with high level claims.

magic wings

Once upon a time there was a girl Dasha. She really wanted to learn how to fly. She trained all the time, jumped from the stairs to the trampoline. But it still didn't work. One day she lost a baby tooth. She hid it under her pillow and waited for the fairy. When the tooth fairy appeared, the girl asked that she learn to fly. And the fairy fulfilled her wish: the girl grew wings. Every morning Dasha went for a walk, but in fact she flew. She hid from people in the park and forest. Once her parents saw her wings and immediately took her to the hospital. The doctor examined the girl and tried to cut off her wings. By an effort of will, she made the wings themselves disappear for a while. And the doctor left her alone. Now she had to hide her wings all the time. Once she still forgot to remove her wings before the lessons, and she was seen winged at school. The teacher got angry and the girl was kicked out of school. But she asked the fairy, and she did so that the girl had her own school, in which only she studied, and no one interfered with her. But her parents didn't like it. They demanded that she get rid of her wings. As soon as Dasha promised this, her school disappeared, and the wings too. They disappeared for good. The girl cried for a long time and asked that everything be as before. When her tooth fell out again, she waited for the tooth fairy and asked her to return her wings. But the fairy said that the magic works only with the first tooth. She gave the girl 500 rubles. Dasha said:
- Why do I need money, I want to fly!
Then the fairy said that there is one magic shop of fairies, and it sells wings. But to get there, you need to be very brave. The next day, the girl asked her father for more money, because the wings were expensive, and found a fairy shop. She bought wings and has been flying ever since and has been doing well.

Like the heroine of her story, S. feels special, better, worthy of an extraordinary gift. In a fairy tale, this gift is wings. Symbol of freedom and independence, flight of fancy. Wings are a winged soul, inspiration, dream.
Why don't people applaud, why does she have to hide her wings? The doctor considers the wings a disease, the teacher - a violation of the rules, and even parents demand to get rid of them. The heroine learns to hide her gift, but she does not succeed for long. Finally, pressed against the wall, she promises to give up her wings - and they disappear. The plot is reminiscent of the story of Cinderella, who was also helped by a fairy. As soon as Dasha trembled, retreated before the pressure of her parents, the magic dissipated, the wings, along with the beautiful school (an analogue of the royal palace), disappeared. If in the folk tale the prince restores justice, then in S.'s tale the girl gets one more chance: she can buy wings. True, they are expensive, like any valuable commodity. As an image from a dream, money represents the equivalent of energy, personal effort. The girl has very developed leadership qualities, the desire for freedom and independence. Dreams take her very far. But the subconscious corrects: success in life cannot be received as a gift, you will have to pay for it with personal efforts. Her teacher and parents remind her that only hard work can achieve her goal.
It seems to me that the ending of the tale of wings is positive. The girl's developed thinking and strong will will help her succeed, despite the difficulties. Moreover, the difficulties are not external, but internal. First of all, this is the inability of S. to negotiate, to resolve conflicts peacefully. She is proud and does not admit that not only she can have "wings". We talked heart to heart with her on this topic, and the girl seems to have learned a lesson, she began to treat her peers more kindly.

Children's writing in its "raw", unprocessed form is inherently close to fantasy and its external manifestation in the director's play. This can also be attributed role-playing games which children play without adult intervention. These games, which can last for hours, are a performance without spectators. If you listen carefully to the dialogues of children, you can discern the contours of fantastic adventures or dramatic stories. The unconscious of the child is also very clearly manifested here. The storyline for such games is often the TV series "Transformers" and "Winx", popular among children.
We track the influence of working with fairy tales on the development of the emotional and cognitive spheres of the child with the help of projective methods. At the beginning and end of the school year, the following drawing tests were conducted with children: “Drawing of a non-existent animal”, “Who would I be bewitched into”, “Draw a story” (Silver test), “House, tree, person”, “My family”, “ Family of animals.
Good knowledge of children, their interests helps to take a more balanced attitude to the results of such tests. For example, according to tradition, it is considered a bad indicator if, in the projective test “Draw a non-existent animal” or “Who would I turn into”, a child draws not a living creature, but a mechanism. But all the positive heroes of the "Transformers", replicated in the form of popular toys of the Lego series, are mechanisms. Is it any wonder if a child who loves this movie, or who plays on a tablet while controlling monsters, pretends to be a monster too? The mind of a child reflects reality. This can be combated only by replacing aggressive games and films with others that carry a positive attitude. Therefore, when interpreting the results of drawing tests, one should take into account the influence of the environment on the child. A fairy tale has a great educational and cognitive value for a child. This is the favorite genre of many children. And it is no coincidence that various fairy tales are included in the elementary school curriculum.

It can be seen from the program that the fairy tale occupies a large place in the reading of younger students. Their educational value is enormous. They teach modesty, disinterestedness, politeness, ridicule vices, which led to their satirical orientation.

Work on a fairy tale is carried out in the same way as on stories, but fairy tales have their own characteristics.

Fairy tales retain their national identity, and each folk tale is original and unique in its own way.

Usually, before reading a fairy tale, a small preparatory conversation is held (you can ask what fairy tales are, which ones you have read; organize an exhibition of fairy tales).
Before reading fairy tales about animals, it is advisable to recall the habits of animals, show an illustration of these animals.
If a fairy tale is read about nature close to children, then the material of the excursion is used, entries in the calendars of nature, that is, observations and experience.
Usually reading a fairy tale about animals does not require any preparation, but sometimes it should be recalled in a conversation about the manners and habits of animals.

The teacher reads the story, but it is desirable to tell it.

Work on a fairy tale should be carried out as if it were a realistic story, without explaining that “it doesn’t happen like that in life”, that it is fiction.
A fairy tale can be used to compile characteristics and assessments, since the characters of fairy tales are usually the spokesmen for one or two characteristic features that are clearly revealed in their actions.
Do not translate the moral of a fairy tale into the realm of human characters and relationships. The didacticism of the fairy tale is so strong and bright that the children themselves draw conclusions: “See right for the frog - you don’t have to brag” (the fairy tale “The Frog is a Traveler”). If children come to such conclusions, then we can assume that reading the fairy tale has reached its goal.

The specificity of a folk tale is that it was created for storytelling. Therefore, prose tales are retold as close to the text as possible. The story must be expressive. A good way to prepare for it is to read a fairy tale in faces. The staging of fairy tales outside of class helps to express the fairy-tale character, develops speech and creativity in children.
The fairy tale is also used for educational work on drawing up plans, since it is clearly divided into scenes - parts of the plan, headings are easily found in the text of the fairy tale.
When analyzing a fairy tale, one should not focus on the fact that something in it is fiction, otherwise the charm of the fairy tale disappears.
After working out the content of the tale, its full analysis, the tale should be read by roles. Expressive reading, reading by roles always gives the children pleasure, facilitates the assimilation of the typical features of a fairy tale: colloquial, repetitions, special rhythm.

In connection with reading a fairy tale, it is possible to make puppets, scenery for a puppet theater, figurines of animals and people for a shadow theater.

Elementary observations should be made on the features of the composition of a fairy tale, since these observations increase the awareness of children's perception of the fairy tale.
Already in grades I - II, children meet with fairy-tale tricks of triple repetition and notice that this helps to remember the fairy tale.
Working with a fairy tale (reading by children, reading aloud by adults, various forms retelling and transposition of fairy tales into other types) it is necessary to point out its features, get to its meaning together with the children, widely use the fairy tale as a source aesthetic education children and their enjoyment of art.
Comparison of variants of fairy tales, various "editions" of one plot in different peoples, attracting toys for a deep understanding of a fairy tale, establishing a connection between a folk tale and literature.
The reception of oral (verbal) drawing will help the children notice a characteristic detail, grasp the main idea.
The most rewarding way to study a fairy tale is to stage it. This is facilitated by the saturation of the tale with dialogues.
Under the guidance of adults, the preparation of screenplays by children based on the plot of a fairy tale. This work is a reliable way to comprehend the fairy tale.
Intonation is of great importance when reading fairy tales. Incorrect intonation "destroys the illusion of a fairy-tale world." The fairy tale becomes dull, uninteresting, colorless, and its temperament, the reflection of personality in it, the unique shades of meaning disappear.
The speech of the fairy tale is simple, the retelling should be close to the text (with laughter, play or sadness).

Retelling according to illustrations, according to the picture plan, according to the verbal plan, but using the speech features of the tale (beginning, repetitions, ending).

On the board, write out vivid definitions, characteristic expressions necessary for retelling.
Reading in faces, showing cardboard puppets, puppet performance, shadow theater, audio recordings are important.
To pose a problem - what is the character, prove with your reasoning and the words of the text.
Lexical work on words, expressions, phraseological units is necessary.

2.2 Methods of working with fairy tales

The technique gives a general direction for working with fairy tales, depending on their belonging to one or another intra-genre variety, however, it does not fully take into account the qualitative heterogeneity of the fairy tale genre, does not determine the optimal amount of skills that need to be formed in younger students when reading different types of fairy tales. But it is the knowledge of literary foundations that helps the teacher to better understand the role of a fairy tale, to choose methods and techniques that correspond to this type of fairy tale and contribute to the formation of the necessary skills in the analysis of fairy tales.

In the practice of teaching the reading of fairy tales, it is not uncommon that they go one-dimensionally, without taking into account the literary specifics of this genre, as a result of which children learn not the depth of the content of the “fairy tale world”, not its metaphorical nature and not the moral and social meaning hidden in it, but only the plot, which they often literally correlate with reality.

Fairy tales retain their national identity, and each folk tale is original and unique in its own way. When working with a fairy tale (reading to children, reading aloud by adults, various forms of retelling and translating fairy tales into other types), it is necessary to point out its features, get to its meaning together with children, widely use the fairy tale as a source of aesthetic education for children and their enjoyment of art.

The reception of oral (verbal) drawing will help the children notice a characteristic detail, grasp the main idea.

Expressive reading, reading by roles always gives the children pleasure, facilitates the assimilation of the typical features of a fairy tale: colloquial language, repetitions, special rhythms.

Intonation is of great importance when reading fairy tales. Incorrect intonation "destroys the illusion of a fairy-tale world." The fairy tale becomes dull, uninteresting, colorless, and its temperament, the reflection of personality in it, the unique shades of meaning disappear.

The beginning of a fairy tale is a story about any household item.

Real start fabulous sequel

Learn a fairy tale by the song of heroes

Do not sit on a stump, do not eat a pie ("Masha and the Bear")

· Squeak, leg, squeak, fake! ("Bear - fake foot")

· Goats, kids!

Open up, open up! ("The wolf and the seven Young goats")

Continue the tale

Instead of the well-known ending of the fairy tale, you need to come up with your own. Children learn to fantasize, to think.

From dots to a fairy tale

A dot is a cipher, a sign. By connecting the dots, the child receives a drawing of a fairy tale hero or an object from a fairy tale, remembers this fairy tale, and tells it.

Draw a fairy tale

Children draw illustrations for familiar or their own fairy tales using unconventional ways(monotopia, finger painting, wet watercolor painting).

Game tasks

When performing game tasks, we rely on the visual skills of children

Any fairy tale character asks the children a riddle, and the children draw the solution.

The ability to coordinate one's actions with the actions of others.

"We cook porridge." Children and the teacher agree on who will be who (milk, sugar, salt, cereals). To the words:

One two Three,

Pot, cook!

"products" in order are included in the circle - "pot".

The porridge is cooked (the children take turns getting up, saying: "puff"). Fire add (I start to say "puff" at an accelerated pace, almost bouncing).

The porridge is stirred (everyone goes in a circle)

The porridge is ready! She needs to sweat (everyone sits down).

One two Three,

Pot, don't boil!

We offer educational games:

"Make a portrait of the hero of a fairy tale" (Artistic, emotional development)

"Triangle and Square" (mathematical development)

"Good bad" (assessment of the actions of the heroes, laying out chips of 2 colors: S. Mikhalkov "Three Little Pigs").

"Good - evil" (development of emotions, visual skills) - See these games in the application (T.T.)

Guidelines for conducting games, game and creative tasks. The sincere interest of an adult in the growth of the creative potential of children, a smile and praise. But not overpraising! Involve your child in the assessment:

· What did you achieve today? What didn't quite work out?

· The need to alternate different types of tasks, not to play the same game many times in a row.

An adult is nearby, but it is not necessary to complete the task for the child.

Start with obviously easy tasks, take into account the temperament of each child, think over options for the same exercise.

Do not offer many games, tasks at once. In one lesson, take several games that are different in nature.

· Given the figurative nature of the thinking of the younger student, to revitalize different game situations.

· Create a free, relaxed environment, focus on the game itself, and not on discipline.

· To consolidate the skills acquired in the games (give options for games at home).

Checking the primary perception of a fairy tale

Like no other, Russian fairy tales provide rich material for the development of creative abilities, cognitive activity, for self-disclosure of the individual. Fairy tales are of particular interest to children. Equally attractive to them is the development of action, coupled with the struggle of light and dark forces, and wonderful fiction, and idealized heroes, and a happy ending.

Unfortunately, very often this creative potential inherent in Russian folk tales is not revealed in the classroom, since the study of fairy tales in most cases comes down only to clarifying the characters of the characters and determining storyline fairy tales; as a result, the integrity of it is destroyed artistic world and her special charm disappears.

It is important to show children what a fairy tale consists of, how it “comes up”, to give an idea about the characters, about the system of events and the role of fairy tale characters in them, about the richness of visual means and figurativeness of folk speech, which will contribute to the development of students' imagination and creativity. Behind an exciting fantastic plot, behind a variety of characters, you need to help the child see the main thing that is in a folk tale - flexibility and subtlety of meaning, brightness and purity of colors, poetry popular word. This problem finds its solution only in an integrated approach to the study of Russian folk tales at school.

The proposed system of questions and tasks aimed at checking the primary perception of a fairy tale, analyzing the system of images and plot and compositional features of a folk tale in accordance with their genre nature, contributes to a deeper understanding and perception by children of its moral and aesthetic content.

The idea of an integrated approach to the primary perception of a fairy tale, the principle of its holistic analysis has not yet become generally accepted in the methodology. In numerous publications, we find some interesting observations regarding the images of characters, the plot, the language of a fairy tale, and indications of the effectiveness of the use of certain methods of studying it. However, these remarks remain scattered and, not being brought into a system, cannot ensure the productive movement of children under the guidance of a teacher to comprehend the deeply metaphorical meaning of the text being read.

The algorithm for analyzing the content of a fairy tale can be represented as follows:

1. The theme of the fairy tale (for example, about love, about animals, etc.). The originality or borrowing of the plot, the influence of the external environment on creativity are noted.

2. Analysis of heroes and images. Main and auxiliary are distinguished. Heroes are classified into good and evil, those who help the hero and those who hinder, as well as according to the functions performed. Those heroes who are singled out by the author of the tale through emotional coloring, exaggeration, etc. are singled out and especially carefully considered. it is also necessary to pay attention to the "loss of images", to distortions.
One of the main tasks at this stage is to determine the hero with whom the author identifies himself. This is revealed by personal reactions in the course of observing the client, and is also clarified by leading questions. It should be noted that the positive hero and the one with which the person identifies himself do not always coincide.

4. Ways of coping with difficulties. The analysis of modes reflects the typical repertoire of characters. It can be: murder, deceit. Psychological manipulation and others.

5. A set of individual ethical standards that prescribe when to be angry, when to be offended, to feel guilty, to rejoice, or to feel right.

In the analysis, not only the main text of the tale is noted. But also all side statements, comments, jokes, laughter, long pauses, failures during the story. Including errors, slips of the tongue, mumbling.

2.4 Methods of working with a fairy tale in the 3rd grade according to the program - 2100.

For teachers, the problem of aesthetic education of children on the basis of a fairy tale is especially significant. Fiction, including fairy tales, as a figurative reflection of the world, requires the reader to have special qualities of perception: creative imagination, developed powers of observation; feelings of a figurative word, the author's position and the harmonic integrity of the work; understanding the internal psychological motives of behavior literary heroes. These qualities in their totality constitute a special type of perception - aesthetic. Aesthetic perception develops as a result of a wide acquaintance with fiction, mastering the necessary knowledge, accumulating experience of experiences and life impressions. Therefore, serious, thoughtful work with a fairy tale is so important from the very beginning of introducing a child to literature.

Consider the rubric "Working with the text of the work" (grade 3 according to the program - 2100). The heading gives a setting for independent reading and understanding of the text, organizes expressive reading of works and their parts. Students become familiar with the means of expression and exercise their ability to use them purposefully. And for this, they must understand the tasks of reading as a result of understanding the author's position, personal attitude to events and characters, as well as understanding the figurative and emotional content of the text. The methodological apparatus of the heading helps to build work with the text of the work. Tasks involve primary and secondary perception of the work. Primary perception reflects the general, predominantly emotional impression of what is read; the secondary provides reflection on the work. For the organization of primary perception, such tasks are offered, for example: observe the events and heroes, express your attitude towards them, express your impressions. These tasks are based on the children's emotions and their understanding of the actual content of the work. With secondary perception, after the text is read again, students explain their understanding of the characters and events, their attitude to what they read, reason, prove, and reflect.

The next step is to work on the basis of creative imagination children when perceiving the work: imagine the characters, events, try to “see” them (the appearance of the characters, the scene); explain the behavior, emotional state of the hero; think and confirm with words from the text, how the author treats him, how we learn about it, etc.

Since the work has not only content, but also form, tasks are specially provided for identifying the features of a fable, fairy tale, poem (as genres), establishing their similarities and differences, as well as understanding the features of the language of the work, its composition (construction). It is important that students understand how the work they read is built, what is achieved by this, what words the author chooses to portray the character, how they characterize this character.

The work on the work is completed by expressive reading, which is specially prepared by the teacher. It is very important that children understand: there can be different variants expressive reading, as it reflects the different perceptions of people of the same work of art.

All tasks of the textbook are aimed at developing learning activities students. Children must: 1) understand the learning task (what needs to be done and why), 2) understand (think about) how to complete the task, and 3) monitor and evaluate their work. What is the content of the work in each section of the textbook, in what sequence is it carried out? Let's show this on the example of studying a fairy tale. This is not new material for students. Turning to him in the third grade allows you to deepen children's knowledge of folk art, teach them to distinguish between genres literary works, as well as to see the poetry and diversity of the creativity of the Russian people, the richness of the Russian language.

First, students are given information about the fairy tale, its sources, genre features leading ideas (the triumph of good over evil, the affirmation of the moral standards of life, people's ideas about happiness, human dignity, etc.). It is important, without violating the poetry of a fairy tale, to show children that fairy tales combine real and unreal worlds, and all the characters are divided into positive and negative. Tasks offer to evaluate the actions of the characters, pay attention to the special manner of their description, vernacular, the presence of repetitions, sayings, beginnings, etc.

The next stage of the work is the formation of ideas that the plots of many fairy tales are similar, although they differ in the manner of presentation, in the way they were created at different times, in different places and were told by different storytellers. Children compare fairy tales with similar plots, get acquainted with fairy tales, including riddles, and heroes who defeat enemies not by force, but by wisdom, intelligence and ingenuity. Riddle tales are also studied in comparison.

And, finally, we consider the fairy tale as a source of the writer's creativity. Folk and author's tales are often similar in plot and are studied in comparison (A.S. Pushkin "The Tale of Tsar Saltan ..." and the Russian folk tale "Tsarevich Nekhiter-Nemuder").

Work with the text is usually carried out on stories of a scientific and educational nature and essays. When working on a plot, the plan is involved when the story is large in volume.

In the first and second grades, children mastered free and selective retelling. In the third grade, teaching begins on retelling and storytelling, which preserve the artistic features of the text. It is advisable to start with a retelling of individual episodes so that you can save (and therefore notice) everything means of expression language (epithets, comparisons, personifications, etc.), as well as to convey the intonational pattern of the text, which allows not only to understand the author's point of view, but also to express one's own attitude to what is being read. How to organize training in artistic retelling? This work should be carried out when the students have already mastered the content of the work well, made a plan, and highlighted the features of each episode. Given that the works for reading in the third grade are quite voluminous, 2-3 lessons are allotted for their study. For teaching artistic storytelling, it is more expedient to involve fairy tales. For example, the tale of C. Topelius "Sunbeam in November". After reading the fairy tale, discussing it, you should work on the form of presentation and plan. Together with the students, determine what content can be filled with each point of the plan, how to convey the mood of each character when retelling, which author's words should be completely preserved when retelling and why.

Artistic retelling allows not only to master the content of the work well, but also to see the features of its construction, to notice unusual words, to convey dialogues, to present the characters and their relationships. Observations on the artistic features of the tale are carried out in the process of working with the text. Draw students' attention to the unusual beginning of the fairy tale by Ts. Topelius and ask what and how will change if you use the beginnings of Russian folk tales: “Once upon a time ...”, “In a certain kingdom, in a certain state ...”, etc. . (A different beginning of the fairy tale would change its rhythm, break the author's intonation, and would not arouse a desire to know what will happen next.) Such work with the text is necessary to reveal the image of the hero of the fairy tale: a description of his appearance, actions, attitude towards other characters. It makes students listen, read, peer into the author's text in order to understand what the author wanted to say and determine their attitude to the characters and the whole work.

In the third grade, children not only learn that fairy tales are about animals, everyday and magical, but also observe their form (riddle tales, fairy tales in prose and verse; riddles built on the basis of the opposition of phenomena and objects, riddles - questions, riddles, which are based on specific signs). Having become acquainted with a new literary concept, having read about it in a textbook, the children draw up material for a rubric. For example, having studied different fairy tales- about animals, everyday, magical, - children summarize their knowledge in the form of a diagram: Fairy tales are about animals, magical, everyday.

It is important to constantly refer to these concepts, getting acquainted with a new work, analyzing the text. For example, students will learn the word plot. It needs to be written large in the "reading corner" so that the children remember it. And the concept of the plot can be revealed in the heading “What does this mean?” in the form of a plot triangle.

PLOT: Introduction - Beginning - Development of the action - The most intense moment (climax) - Ending

The “plot-compositional” triangle helps children understand when events took place, how the action developed, what important event happened (climax), how events continued further and how it all ended (denouement). When studying fairy tales, it is desirable to use diagrams, tables and crossword puzzles. I know literary reading this is the form independent work students, which is introduced to summarize the knowledge gained, increase reader's vigilance, and develop attention to the word. Such work helps students to better understand the work, to see its features, to discover the folk origins of A.S. Pushkin and others. Tasks of this type are best performed in groups, which include children with different levels of training.

After reviewing the programs of V.G. Goretsky, R.N. Buneeva, O.V. Dzhezheleya, we came to the conclusion that the fairy tale is studied in the section "Oral folk art" from grades 1 to 4. In the second grade, literary tales by A.S. Pushkin, A.K. Tolstoy, L.N. Tolstoy. When studying author's works, the teacher pays attention to folklore sources (Appendix 1).

Work with a fairy tale has various forms: reading fairy tales, retelling them, discussing behavior fairytale heroes and the reasons for their success or failure, theatrical performance of fairy tales, holding a competition of fairy tale connoisseurs, exhibitions of children's drawings based on fairy tales and much more. According to G.N. Volkova, it’s good if, when preparing for the staging of a fairy tale, the children themselves will select its musical accompaniment, distribute the roles. With this approach, even small fairy tales give a huge educational resonance. Works of modern teachers - N.S. Bibko, N.E. Lvova, G.K. Shcherbinina, M.A. Nikitina - they reveal how, through fairy-tale elements, a teacher can find a way into the sphere of a child's emotions and, on this basis, form moral categories.

A fairy tale has a great educational and cognitive value for a child. This is the favorite genre of many children. And it is no coincidence that various fairy tales are included in the elementary school curriculum.

So in the first grade, students get acquainted with fairy tales about animals, read everyday and fairy tales (“The Fox and the Black Grouse”, “Two Frosts”, “Porridge from an Axe”).

In the second grade, children read folk tales (“Sivka-Burka”, “Sister Alyonushka and Brother Ivanushka”, “Ivan Tsarevich and the Gray Wolf”; epics “Dobrynya Nikitich”, “Dobrynya and the Serpent”, “Healing of Ilya Muromets”, “ Ilya Muromets and the Nightingale the Robber”), as well as literary tales by V.F. Odoevsky ("Moroz Ivanovich"), S.T. Aksakov ("The Scarlet Flower") and others.

1. Usually, before reading a fairy tale, a small preparatory conversation is held (you can ask what fairy tales are, what kind of read; organize an exhibition of fairy tales). Before reading fairy tales about animals, you can recall the habits of animals, show an illustration of these animals.

2. A fairy tale is usually read by a teacher, but it is desirable to tell it.

3. Work on a fairy tale as if it were a realistic story, without explaining that “this does not happen in life”, that this is fiction.

6. The specificity of a folk tale is that it was created for storytelling. Therefore, prose tales are retold as close to the text as possible. The story must be expressive. A good way to prepare for it is to read a fairy tale in faces. The staging of fairy tales outside of class helps to express the fairy-tale character, develops speech and creativity in children.

7. The fairy tale is also used for educational work on drawing up plans, since it is clearly divided into scenes - parts of the plan, headings are easily found in the text of the fairy tale.

Students of grades I-II willingly draw a picture plan.

8. Usually, reading a fairy tale about animals does not require any preparation, but sometimes it should be recalled in a conversation about the manners and habits of animals.

If a fairy tale is read about nature close to children, then the material of the excursion is used, entries in the calendars of nature, that is, observations and experience.

9. In connection with the reading of a fairy tale, it is possible to make puppets, scenery for a puppet theater, figurines of animals and people for a shadow theater.

When reading fairy tales, the following types of work are used:

Preparation for the perception of a fairy tale;

Reading a fairy tale;

Exchange of opinions about what has been read;

Reading a fairy tale in parts and analyzing them;

Preparation for storytelling;

summarizing conversation;

Summarizing;

Assignment for children at home.

1. Do not say that this does not happen in life.

2. Ask the question: Why? What does it say?

3. The moral of the tale should not be translated into human relations.

4. The speech of the fairy tale is simple, the retelling should be close to the text (with laughter, play or sadness).

5. Retelling according to illustrations, according to a picture plan, according to a verbal plan, but using the speech features of a fairy tale (beginning, repetitions, ending).

6. It is important to read in faces, showing cardboard puppets, puppet performance, shadow theater, recordings.

7. On the board, write out vivid definitions, characteristic expressions necessary for introduction when retelling.

8. Set a problem - what is the character, prove with your reasoning and the words of the text.

9. Important in a fairy tale intonation, brightness of expression.

What is included in the concept of "literary foundations" of a fairy tale? A folk tale, literary tale creates its own special "fairy tale world". It is voluminous, informative and specifically designed. The concept of "volume" includes the number of signs and parts, the concept of "form" - complicated and uncomplicated, related and unrelated to the folklore tradition composition, narrative, poetic, dramatic.

These features are important not only from the point of view of artistic features, but also in psychological and pedagogical terms. They help to better understand and describe the "fantastic world".

The “wonderful world” is an objective, virtually unlimited, meaningful world created by the wonderful principle of material organization.

When reading a fairy tale with a "wonderful world", you can organize an independent search for students, conducted under the guidance of a teacher.

1. The ability to see the specific beginning of a fairy tale - the beginning and a happy ending for good heroes;

2. The ability to determine the fabulous place and time of action;

3. The ability, when working with a text, to find a turning point in the development of the action, which makes it possible to trace the changes in the characters;

4. The ability to give an elementary evaluation of the behavior of the characters;

5. The ability to find and name magical objects and magical creatures, determine their place and role in the development of the plot, the function of good or evil in relation to the characters.

Before reading a fairy tale, aim students at its primary perception, interest them, then they will listen with great attention and interest.

Much in the initial perception depends on the teacher. Somewhere you need to change the intonation of the voice, facial expressions, pause.

After getting acquainted with fairy tales, you can give the task to draw a memorable episode in order to see what attracted the attention of children.

Taking into account the specifics of the "wonderful world" helps the teacher to form the necessary skills, to influence the emotional and moral sphere of the child.

In the traditions of Russian methodology, do not discuss the allegorical meaning of the fairy tale with children: “Let everything in the fairy tale speak for itself” (V. G. Belinsky). Children without outside interference catch the ideological orientation of the fairy tale: good triumphs over evil.

The allegorical meaning of fairy tales will be revealed to the child if he understands the function of formal elements and is able to correlate them with a holistic perception of the text, and does not interpret fairy tales based on his worldly attitudes. It is very important to teach children to separate the plot of a fairy tale from the way it is told, therefore, in the analysis, attention is focused on the formulas:

Beginnings: Once upon a time ..., In a certain kingdom, in a certain state ...;

Continuations: How long, how short ..., Soon the tale is told, but not soon the deed is done ...;

End: And I was there, I drank honey-beer, it flowed down my mustache, but it didn’t get into my mouth ... Here’s a fairy tale for you, but a glass of butter for me.

The algorithm for analyzing the content of a fairy tale can be represented as follows:

1. The theme of the fairy tale (for example, about love, about animals, etc.). The originality or borrowing of the plot, the influence of the external environment on creativity are noted.

2. Analysis of heroes and images. Main and auxiliary are distinguished. Heroes are classified into good and evil, those who help the hero and those who hinder, as well as according to the functions performed. Those heroes who are singled out by the author of the tale through emotional coloring, exaggeration, etc. are singled out and especially carefully considered. it is also necessary to pay attention to the "loss of images", to distortions. One of the main tasks at this stage is to determine the hero with whom the author identifies himself. This is revealed by personal reactions in the course of observing the client, and is also clarified by leading questions. It should be noted that the positive hero and the one with which the person identifies himself do not always coincide.

4. Ways of coping with difficulties. The analysis of modes reflects the typical repertoire of characters. It can be: murder, deceit, psychological manipulation and others.

5. A set of individual ethical standards that prescribe when to be angry, when to be offended, to feel guilty, to rejoice, or to feel right.

In the analysis, not only the main text of the tale is noted. But also all side statements, comments, jokes, laughter, long pauses, failures during the story.

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