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Krylov's fables on the school stage
I. A. Krylov
“I love, where there is an opportunity, to pinch vices!”
Dramatizations of fables by A. I. Rozanova
This is the name of the play... The name is loudly announced by the leading girl (or boy) who begins the performance. She goes on stage with a book in her hands and says: “I love, where there is an opportunity, to pinch the vices!” These words belong to Krylov and mean that he is always ready, always happy to expose and ridicule human vices (it is known that under the guise of animals, birds, plants, animals, Krylov brought out people in his fables). The girl reads the inscription on the cover: “Krylov’s Fables.” He steps aside, sits on the edge of the stage, leafs through the book, lingering on the titles of some fables, reading them aloud, but as if for himself: “Swan, Pike and Cancer”, “Demyan’s Ear”, “Two Pigeons”, “A Man and a Snake” ", "The Crow and the Fox"... This last fable interests her more than others. She smiles and decides to read the fable in its entirety, stands up, repeats loudly again, addressing the audience: “The Crow and the Fox,” and the staging of this fable begins. The Crow is already sitting on the tree, and behind the scenes the Fox is waiting to come out.
When this fable ends, the second begins, then the third, and so on until the end. The readers change - the guys reading the text from the author - but all the fables go one after another without any interruption. This, in fact, is what distinguishes this performance from an ordinary concert consisting of separate numbers. And one more thing: in this collection we are giving you a description of only ten fables, but if you want to put more (and we strongly advise you to do so!), then do this: let you have several fables in a row where the Wolf participates. This is like a series of episodes from one play from the life of the Wolf. Each episode reveals new qualities of the Wolf - his greed, deceit, ferocity, ingratitude, hypocrisy (“The Wolf and the Lamb”, “The Wolf and the Crane”, “The Wolf in the Kennel”). Also group together fables about Monkeys (“Mirror and Monkey”, “Monkey and Glasses”, “Quartet”, “Monkeys”), about the Fox, etc.
Such groups of fables with the same characters will help the performance to be integral and unified. Of course, these “groups” can be interspersed with “single” fables.
It is good that fables with a small number of characters - and these are the majority - alternate with fables where there are or where crowd scenes can be introduced.
Try to use the scene in a varied and complete way. The unity of the performance largely depends on the design, on the scenery in which the action takes place. But there are many fables, and their action takes place in different places. Make one set, the same for all the fables, so that the entire performance can be played in it, and immediately install on the stage everything that is needed for each fable. Do not clutter the stage with unnecessary things, select only what is necessary. The forest, which is the setting for many fables, requires trees. Two trees are enough. These two trees are not of any specific species, but trees “in general,” fairy-tale, fable trees, such that our Russian cuckoo can crow on them, and chestnuts can grow, and monkeys can sway. Of course, such universal trees do not occur in nature, but even animals in real life do not speak humanly.
Make the trees so that you can climb them; for example, from stepladders with tied trunks and crowns. The performers climb up the steps into the trees from behind and are visible from above: waist-deep when necessary, neck-deep when necessary. Place two or three stumps and a trunk near the trees. Between the trees on the right and left, there is free space in the middle. It is good that this is not a flat floor of the stage, but a raised small platform, like a stage, made from stands with steps (on which a choir usually performs) or simply from shifted stable tables. These are all playgrounds: a tree on the left, a tree on the right, a fallen trunk, a proscenium, a stage - all these are places where, in our “land of fables,” here and there the action of the next fable occurs. Of course, some small details can be introduced and then removed as needed, as the action progresses. But basically everything has to be prepared on stage in advance.
The design of the performance also includes the costumes of the performers. Sometimes the guys play animals in masks. This is not good: masks interfere with speaking, muffle the voice, cover the face and instead of living facial expressions, living eyes, only a motionless mask is visible. It is better to do without masks, and look for the most characteristic details for each character. For the Wolf, for example, the most characteristic thing is paws with long claws, and not ears or, say, a tail. But the tail is important to the Fox - she covers her tracks with it, flaunts it, and fans herself. It is enough for a donkey to have long ears, for a goat to have a beard. If you want, make masks for animals and birds in the form of caps that leave their faces open.
All these tails, ears, paws, beaks are made from the simplest material - scraps of cardboard, old stockings and gloves, colored paper, wire, rope, washcloth. Fur and feathers come out very well from thinly cut strips of paper.
But how will the performers generally be dressed? It’s very good if all the guys - both boys and girls - wear the same black or blue training suits: they’re comfortable for running, jumping, climbing trees, falling on the floor if necessary. The first girl presenter is in a pioneer uniform. In the future, the reading guys can remain in T-shirts, only by tying a pioneer tie around their necks. Some guys will have to put on and take off their tie several times. There is no way to forget about this. Think what will happen if a boy who has just been a reader suddenly comes out in the next fable, say, to play one of the Geese or the Goat in a pioneer tie!
Readers should not “report” the text indifferently: they are not outside observers, but ardent “fans” and do not hide their sympathies. It should be clear which of the characters they sympathize with and which, say, they condemn. Sometimes they even interfere in the action, enter into communication with the characters... But you will read about this in the descriptions of the fables.
When the text is well memorized, proceed to rehearsals on stage (or on any platform that replaces the stage). Look for characteristic movements for each animal you are playing. Observe the gait and habits of pets and birds. A goose walks differently than a rooster. A cat jumps differently than a dog. If possible, visit the zoo. Look at the pictures and illustrations for books about the life of animals, birds, and animals. You can draw illustrations for the fables yourself. Even someone who does not know how to draw well can draw a plan of mise-en-scène - this is the name for the location of the characters on stage.
Try to arrange the performers so that everyone can be clearly seen, so that no one obscures each other, otherwise the audience will stand up to get a better look.
The reader must coordinate the text with the actions of the characters. Sometimes he may slow down his narration in order to allow the performer to slowly complete all the necessary actions. The sage must work hard to open the box before giving up further attempts. Let the reader be silent.
Sometimes the reader makes a similar pause immediately after the announcement of the next fable. For example, in the fable “The Cat and the Cook,” you need to pause so that Vaska the Cat can do the whole pantomime with the little chicken.
Music greatly embellishes and enriches the performance. In some fables, such as “Quartet”, “Donkey and Nightingale”, it is simply impossible to do without music, as with the appearance of the Dragonfly, the appearance of the Geese or in “The Mirror and the Monkey”. Music not only creates the right mood, but also organizes the performance. All transitions from one fable to another are made to music. The last word of the fable is spoken, and the performers run away from the stage to the music, and they are replaced by a new reader and the performers of the next fable; If necessary, individual design details are added and removed. It is best to take the music of composers of the time when Krylov lived and wrote: polkas by Glinka, Balakirev, of course, “The Nightingale” by Alyabyev, Russian folk songs. This music is best played on the piano. If there is no piano, you can provide musical accompaniment on a button accordion, accordion, some stringed folk instrument, or create an ensemble of several instruments.
Individual fables can be shown at any concert, at any holiday - at school, and at camp. By the way, in the camp you can stage fables right in the forest, where everything - trees, bushes, hillocks - everything will be living scenery. Find a suitable lawn for spectators to sit on. If desired, you can stretch a curtain between two trees, but you can do without it. Imagine how cute it will be: Crow, Cuckoo, Nightingale sitting on real trees and talking from above; Wolf, Fox, Donkey come out from behind real bushes; The Monkey, the Donkey, the Goat and the club-footed Bear start their quartet on a real meadow - even if not under the sticky trees, but under the birches and fir trees - it doesn’t matter! The lamb drinks water from a real stream! Of course, such a performance must be carefully prepared: find in advance a suitable lawn, comfortable trees that are safe to climb, and from where the performers will be clearly visible and audible.
And some fables can also be played in puppet performance: the reader stands in front of a screen over which a puppet performance is taking place.
FROM THE ARTIST
For a generalized stage solution when designing the play “Krylov’s Fables,” you can use the image of a barrel organ, an ancient folk musical instrument.
In the old days, traveling artists walked around fairs and city courtyards with a barrel organ and gave small performances.
Often trained animals also took part in such performances: dogs, bears, etc.
Organ organs were always brightly colored and covered with popular prints. As a rule, the organ grinder took some small animal with him to work: a monkey, a squirrel, a marmot. Accompanied by jokes and songs from the organ grinder, they pulled out tickets “for good luck” from a special box.
Build a large box out of plywood, paint it, attach a handle - and the organ is ready.
It will allow your director to come up with many different placements of actors during the action, enliven the mise-en-scène, make it possible to create a visually fun performance and decorate it.
A Crow and a fox
How many times have they told the world,
That flattery is vile and harmful; but everything is not for the future,
And a flatterer will always find a corner in the heart.
Somewhere God sent a piece of cheese to a crow;
Raven perched on the spruce tree,
I was just about ready to have breakfast,
Yes, I thought about it, but I held the cheese in my mouth.
To that misfortune, the Fox ran quickly;
Suddenly the cheese spirit stopped the Fox:
The fox sees the cheese, - The fox is captivated by the cheese.
The cheat approaches the tree on tiptoe;
He twirls his tail and doesn’t take his eyes off Crow.
And he says so sweetly, barely breathing:
“My dear, how beautiful!
What a neck, what eyes!
Telling fairy tales, really!
What feathers! What a sock!
And, truly, there must be an angelic voice!
Sing, little light, don’t be ashamed! What if, sister,
With such beauty, you are a master at singing,
After all, you would be our king bird!”
Veshunin's head was spinning with praise,
The breath stole from my throat with joy,—
And Lisitsina’s friendly words
The crow croaked at the top of her throat:
The cheese fell out - such was the trick with it.
The reader stands on the left. The crow sits on the tree on the right, visible from the waist up. She doesn't have cheese in her mouth yet. Obviously, she just stole it from somewhere - crows love shiny things - and in her wing-hands she has processed cheese in a silver wrapper (it could be just a piece of cheese). The crow itself has not yet figured out what it is. She unwraps the cheese, closes her eyes with pleasure and, sitting comfortably, half stuffs the cheese into her mouth. The Fox appears on the left. She has a bag on her hand. Having reached the middle of the stage, she stops, opens her bag, takes out a chicken egg, admires it, is about to break it on a tree stump to drink it, and suddenly freezes. He moves his nose and notices Crow and cheese. He quickly puts the egg in the bag, preens himself, and heads to the tree: “My dear, how pretty!..” The Fox pretends that she just noticed the Crow that very minute. And the Crow, although stupid, saw the Fox and realized that she had to be on her guard - she dived back behind the tree, and only looked out from there, watching the Fox. The Fox, in order to lull the Crow’s suspicions, moved back, sat down on a stump and continued to speak, as if to herself, as if not for the Crow: “What a neck, what eyes!” She doesn't even look towards the tree. And the Crow listens, leans out more and more from behind the tree, looks at it, admires its feathers, stretching out one hand-wing, then the other... The Fox gets up and sighs: it’s a pity, they say, to leave such a beauty, well, nothing can be done , business, business!.. - and hurriedly walks, heading to the right wing. Again, as if by accident, he notices Vorona and directly squeals with delight: “What a sock!” And, as if struck by a sudden thought, she prays: “Sing, little light!” She raised her hands, conducted and counted impatiently: “And one, and two, and three...”
Sometimes the Crow holding the cheese in its mouth does not make a loud caw. It is possible that at this moment one of the guys croaked behind the scenes. The Fox picks up the cheese, puts it in her bag and, blowing a kiss to Crow, runs away. The reader shakes his head: “Well, well!..”
The Wolf and the Lamb
The powerful are always to blame for the powerless:
We hear countless examples of this in History.
But we don't write history,
But this is what they say in fables.
On a hot day, a lamb went to a stream to drink;
And something must happen,
That a hungry Wolf was prowling around those places.
He sees a lamb and strives for the prey;
But, to give the matter at least a legal look and feel,
Shouts: “How dare you, insolent, with an unclean snout
Here's a clean drink
My
With sand and silt?
For such insolence
I'll rip your head off,"
“When the brightest Wolf allows,
I dare say that down the stream
From the lordship of his steps I drink a hundred;
And he deigns to be angry in vain:
There’s no way I can make him drink worse.”—
“That's why I'm lying!
Waste! Such insolence has never been heard of in the world!
Yes, I remember that you were still last summer
Somehow he was rude to me here;
I haven’t forgotten this, buddy!” —
“For mercy, I’m not even a year old yet,”—
The lamb speaks. “So it was your brother.”—
“I have no brothers.”— “So this is godfather or matchmaker,
And, in a word, someone from your own family.
You yourself, your dogs and your shepherds,
You all want me harm
And if you can, then you always harm me;
But I will clear up their sins with you.”—
“Oh, what’s my fault?” - “Be quiet! I'm tired of listening.
It’s time for me to sort through your faults, puppy!
It’s your fault that I want to eat.”
He said - and dragged the Lamb into the dark forest.
The reader stands in the foreground on the right. The lamb, squatting on the edge of the stage, facing the left wing, “drinks” from the stream, scooping up water with his palm. The wolf does not appear immediately. First you can hear his howl, then he himself comes out from the right. He does not walk in a straight line, but turns first to the right, then to the left (“the Wolf prowled”). He stumbles upon the reader, who fearfully shys away from him and presses himself against the wall. The Wolf climbs onto the stage and notices the Lamb. The Lamb turns around at the Wolf's voice and jumps up. The Wolf's task is to eat the Lamb, and the Lamb's task is to escape. But it will be boring and uninteresting if the Wolf from beginning to end will only be angry and growl, and the Lamb will only shake and stutter with fear. It is more interesting if everyone acts differently. The wolf at first feigns insult and is “nobly” indignant; he is allegedly defending his legal rights. Only at the end does he cynically admit: “I have leisure to sort out your faults, puppy!” And, howling: “...I want to eat!” — throws himself on top of the Lamb. And the Lamb, although timid at first, behaves with dignity. He feels so right that he calmly and politely explains to the Wolf his mistake, and after explaining, he turns to the stream and continues to drink. Only gradually does he begin to understand that it is better to run away before it is too late, but he can no longer do this - the Wolf seems to have pinned him to the spot with his terrible eyes. When talking, the Wolf howls on vowels, especially in words where the letters “u” and “s” occur. And at the end: “ku-u-ush!”
The main detail of the Wolf costume is its huge paws with long claws. The Lamb is wearing a white baby bib with frills and a hat with a pompom.
Wolf at the kennel
The wolf at night, thinking of getting into the sheepfold,
I ended up at the kennel.
Suddenly the entire kennel yard rose up.
Smelling gray so close to the bully,
The dogs are flooded in the barns and are eager to fight;
The hounds shout: “Wow, guys, thief!”
And instantly the gates are locked;
In a minute the kennel became hell.
They run: another with a club,
Another with a gun.
“Fire! - they shout: - fire! They came with fire.
My Wolf sits with his backside pressed into the corner.
Teeth snapping and fur bristling
With his eyes, it seems he would like to eat everyone;
But, seeing what is not here in front of the herd
And what finally comes
He must pay for the sheep,—
My cunning man set off
In negotiations
And he started like this: “Friends, why all this noise?
I, your old matchmaker and godfather,
I came to make peace with you, not at all for the sake of a quarrel;
Let's forget the past, let's establish a common harmony!
And not only will I not touch the local herds in the future,
But I’m happy to fight for them with others
And I affirm with the Wolf's oath,
What am I..." - "Listen, neighbor, -
Here the Hunter interrupted in response: -
You are gray, and I, buddy, are gray,
And I have known your wolf nature for a long time;
Therefore, my custom is:
There is no other way to make peace with wolves,
Like skinning them off.”
And then he released a pack of hounds at the Wolf.
This fable is one of Krylov's most famous fables. Historical, patriotic fable. Under the guise of the wise old Hunter, Krylov brought out the great Russian commander Kutuzov, the hero of the Patriotic War of 1812. And under the guise of the hypocritical Wolf - Napoleon, who, sitting in burning Moscow, began to ask for peace, realizing that he was in danger of death.
Turn off all the lights on the stage except the blue ones at night. Behind the scenes you can hear desperate dogs barking. The hounds come running with electric flashlights. They highlight the Wolf clinging to the stage. The wolf raises a dirty white flag on a stick and begins his hypocritical speech. After the final words of the fable, the lights on the stage turn off completely for a few seconds, and the deafening barking of dogs resumes in the darkness. When the stage is illuminated again, there is no one on it, there is complete silence.
Two dogs
The faithful yard dog Barbos,
Who diligently carried out his lordly service,
I saw an old friend of mine,
I'm buzzing, curly lap dog,
On a soft down pillow, on the window.
Affectionately towards her, as if towards relatives,
He almost cries with emotion
And under the window
Squeals, wags its tail
And he jumps.
“Well, Zhuzhutka, how are you doing?
Since the gentlemen took you into the mansion?
After all, remember: in the yard we often went hungry.
What service do you perform? —
“For luck, it’s a sin to grumble,” Zhuzhutka replies: “
My master dotes on me;
I live in contentment and goodness,
And I eat and drink on silver;
I'm frolicking with the master; and if I get tired,
I'm lying on the carpets and the soft sofa.
How are you living? “I,” answered Barbos,
Letting down your tail with a whip and hanging your nose: -
I still live: I endure the cold
And hunger
And, saving the master's house,
Here I sleep under the fence and get wet in the rain;
And if I bark at the wrong time,
I also accept beatings.
Why did you, Zhuzhu, get into trouble?
I was powerless and small,
Meanwhile, I’m trying to get out of bed in vain?
What do you serve?” - “What do you serve! That's great! —
Zhuzhu answered with mockery: -
I walk on my hind legs.”
How many people find happiness
Only because they walk well on their hind legs!
During the musical introduction, two stools covered with a rug are placed on the stage. Zhuzhutka is reclining on them. She has a lush bow on her neck and fashionable transparent gloves on her paws. You don’t have to put gloves on Zhuzhutka, but it’s better to let her do a manicure. He will admire his claws and clean them with a nail file.
The reader stands at the forefront on the left.
Barbos is on the right, below the stage. He has a chain around his neck, the end of which goes behind the scenes. Make a chain from scraps of tin, so that it rattles with every movement of Barbos.
Zhuzhutka looks down at Barbos, he looks up at her. He is sincerely glad that she managed to settle down so well. He doesn't envy her at all. He just wants to know what her job is. And only when Zhuzhutka stands on her hind legs and squeals obsequiously, demonstrating her “work”, Barbos spits: “Ugh!” - and moves away from her.
Dragonfly and ant
Jumping Dragonfly
The red summer sang;
I didn’t have time to look back,
How winter rolls into your eyes
The pure field has died;
There are no more bright days,
Like under every leaf
Both the table and the house were ready.
Everything has passed: with the cold winter
Need, hunger comes;
The dragonfly no longer sings:
And who cares?
Sing on a hungry stomach!
Angry melancholy,
She crawls towards the Ant:
“Don’t leave me, dear godfather!
Let me gather my strength
And only until spring days
Feed and warm! —
“Gossip, this is strange to me:
Did you work during the summer?” —
Ant tells her.
“Was it before that, my dear?
In our soft ants
Songs, playfulness every hour,
So much so that my head was turned.”—
“Oh, so you...” - “I’m without a soul
I sang all summer.”—
“Have you been singing everything? This business:
So come and dance!”
The reader stands on the left. On the left, a cowered Dragonfly, trembling from the cold, emerges from the depths onto the front stage. In her hand she holds an umbrella made in the shape of a large yellowed maple leaf on a long stem - a handle. After the words “winter is rolling in,” the reader throws up a handful of finely chopped white pieces of paper, showering the Dragonfly with snow. The dragonfly removes a leaf from the stem and wraps itself in it like a scarf. The words “in cold winter there is need, hunger comes; The dragonfly no longer sings,” the reader pronounces it as a question; turning to Dragonfly, he approaches her and sympathetically puts his hand on her shoulder. The dragonfly pushes him away and unexpectedly rudely answers: “And who would think of singing on his stomach when he’s hungry!” Still, the reader feels sorry for her. He shows the Dragonfly the Ant's house and with signs advises her to knock there. He explains the way with signs.
The dragonfly trudged along the proscenium. So she fell into a snowdrift and obviously got her shoes full of snow, because she stops and, standing first on one leg, then on the other, takes off her shoes, shakes them out and puts them on again. So she got to Ant's house. You can use the door that leads from the auditorium to the stage. Many stages have doors like this. But if not, the Dragonfly knocks right on the wall, and the Ant comes out or looks out from behind the edge of the curtain.
Ant is wearing a work apron (a nice black oilcloth one), and is holding a hammer, saw or ax in his hands—apparently, the arrival of Dragonfly found him at work. Guys sometimes blame Ant for refusing Dragonfly shelter and driving her out into the streets in winter. But that’s how Krylov wrote - obviously, the Dragonfly he had in mind deserved it.
We tried to make the Dragonfly so that you wouldn’t feel sorry for it: our Dragonfly, despite its pitiful appearance, is a rather impudent creature. She answered the reader rudely, and spoke to the Ant in a demanding, capricious tone; she literally banged on the door; without waiting for Ant's permission, she climbs into his house, so that Ant is forced to lightly take her by the shoulders and lead her away from the door. No, the audience will not feel sorry for such a Dragonfly!
The cat and the cook
Some Cook, literate,
He ran from the kitchen
To the tavern (he ruled the pious
And on this day the godfather held a funeral feast
And at home, keep food away from mice
I left the cat.
But what, come back, does he see? On the floor
Pie scraps; and Vaska the Cat is in the corner,
Crouching for a barrel of vinegar,
Purring and grumbling, he works on the little chicken.
“Oh, you glutton! ah, villain! —
Here the Cook reproaches Vaska: -
Aren't you ashamed of the walls, not just the people?
(But Vaska still cleans up the little chicken.)
How! Having been an honest Cat until now,
Sometimes people say that you are an example of humility,
And you... wow, what a shame!
Now all the neighbors will say:
“Vaska the cat is a cheat! Vaska the cat is a thief!
And Vaska didn’t just go to the cookhouse,
There is no need to let him into the yard,
Like a greedy wolf into a sheepfold:
He is corruption, he is a plague, he is a plague of these places!
(And Vaska listens and eats.)
Here is my rhetorician, giving free rein to his words,
There was no end to the moralizing.
But what? While he was singing it,
Vaska the cat ate all the roast.
And I would like a different cook
He ordered to write on the wall:
So as not to waste speeches there,
Where should power be used?
On the stage, where the cook is supposed to be, there is a stool, and on it is a large frying pan covered with a lid. Vaska the cat climbs onto the stage and walks around the frying pan. He lifts the lid and inhales the steam from the roast. Covers the frying pan, moves away, meows pitifully. He can’t stand it, rushes to the frying pan, grabs it and settles down in a secluded corner “behind the vinegar barrel” (instead, you can put one of the suitable stumps on the stage before the start of the fable). It’s good to make two “chickens”: one whole and the other already eaten by Vaska, just the bones. The Cook is wearing a white chef's suit, a cap, and has a ladle in his hand. Running in, he wipes his mouth as he goes. Under no circumstances should you portray the cook as drunk, with a stumbling gait, or with incoherent speech. It’s very ugly when guys pretend to be drunk. By the way, in this fable, the point is not at all that the Cook “ruled a funeral feast for his godfather,” but in his addiction to empty, aimless conversations and his own eloquence. Having first attacked Vaska with reproaches, he later becomes so carried away by his oratory that he almost forgets about the culprit himself and turns directly to the audience. He imitates a bad speaker, raises his hands to the sky, waves a ladle. The timid Vaska gradually becomes bolder: he calmly, no longer hiding, continues to eat and with an innocent look even assents to the Cook. At the end, he places the frying pan on a stool, carefully puts the bones in it, covers it with a lid and “washes it” with his paw.
Mirror and monkey
Monkey, seeing his image in the Mirror,
Quietly push Bear with his foot:
“Look,” he says, “my dear godfather!”
What kind of face is that there?
What antics and jumps she has!
I would hang myself from boredom
If only she was even a little like her.
But, admit it, there is
Of my gossips, there are five or six such crooks:
I can even count them on my fingers.”—
“Why should a gossip consider working,
Isn’t it better to turn on yourself, godfather?” —
Mishka answered her.
But Mishenka’s advice was wasted.
There are many such examples in the world:
No one likes to recognize themselves in satire.
I even saw this yesterday:
Everyone knows that Klimych is dishonest;
They read about bribes to Klimych,
And he furtively nods at Peter.
This fable involves not three performers - a reader, a Monkey and a Bear - but five: two Monkeys, two Bears and a reader. Can you guess why? Because, thinking about how to show a mirror in the fable, we decided to make it alive: there will be no mirror, real or fake, on the stage, but there will be “reflections”, doubles of the Monkey and the Bear. It is necessary to select two girls for the roles of the Monkey and her double, but the possibility of the same height, with the same hair; the faces may not be very similar. To increase their similarity, use costume details: the Monkeys can have exactly the same ruffled bright skirts, the same large bows in their hair. The boys—Bear and his reflection—are wearing the same vests, the same combs and canes in their hands. And the rest of the similarity depends on the execution. The fable begins even before the text begins, and this first scene goes to the music, like a dance. The Monkey and her double jump out onto the stage from behind and stand opposite each other, sideways to the viewer. Between them, in the middle of the stage, there seems to be a large mirror, the size of a Monkey. The monkey jumps up to the mirror, sees his reflection there and is indignant at the intrusion of some foreign “face”. She tries to drive her away, but they want to do the same to her. She runs away from the mirror - and the “stranger” runs away. This one is hiding, watching from afar - and that one too. The monkey carefully approaches the mirror in order to waylay and punish the offender - and she is right there. He imitates her, threatens her... During the rehearsal, you will find a whole series of funny actions for the Monkey: how he wipes the mirror with his paw, and how, swinging to strike, he accidentally hurts his finger and then sucks it, and much more. The performers must train so that the movements of both are absolutely identical. Please note that if the first Monkey moves his right arm or leg, then his reflection moves with his left, that is, the way it appears in a real mirror. The bear goes to the mirror to comb his hair and straighten his tie, and his double takes out exactly the same comb. The conversation between the Monkey and the Bear takes place without music. This is the only way the audience can guess who is the real Monkey and the real Bear, and who are their reflections: the real ones speak out loud, and their doubles only move their lips.
Geese
Long twig
The man drove Geese into the city to sell;
And to tell the truth,
The goose scratched his flock of goose not very politely:
He was in a hurry to make money on market day
(And where it touches profit,
It’s not just the geese who get it, people too).
I don’t blame the man;
But Geese interpreted it differently
And, meeting a passerby on the way,
Here's how they blamed the guy:
“Where can we, Geese, be more unhappy to be found?
The guy is pushing us around like that
And he chases us, as if he were ordinary Geese;
And this ignoramus doesn’t understand this,
That he owes us respect;
That we descend our noble family from those Geese,
To whom Rome once owed salvation.
There are even holidays established in their honor!” —
“What do you want to be distinguished for?” —
A passerby asked them. “Yes, our ancestors...” - “I know
And I read everything; but I want to know
How much benefit have you brought?” —
“Yes, our ancestors saved Rome!” —
“That’s it, why did you do that?” —
"We? Nothing!" - “So what good is there in you?
Leave your ancestors alone:
The honor was right for them;
And you, friends, are only good for roasting.”
This fable could be explained more -
Yes, so as not to irritate the Geese.
There is a legend that once upon a time ancient Rome was attacked by enemies. At night they secretly surrounded the city. The geese heard the approach of the enemy and with their cry woke up the guards guarding the city, thus warning of the danger.
Have you heard the expression “walking single file”? It came “from geese”. So, one after another, in single file, all the participants enter the stage with an important “goose” step. They walk around the stage like a snake, unfurling in a long ribbon, stretching their necks, hissing angrily at the “man” who, shouting, chases them with a long twig; they are trying to grab his hand. The owner anxiously counts them, then sits down on a tree stump to rest. The geese also sit on the ground, occupying the entire stage. The passer-by is walking on the right. Geese text is divided among several Geese according to the number of phrases. The rest chime in at the end of each phrase: “ha-ha-ha!” The last lines (“Yes, our ancestors...”, “Yes, our ancestors saved Rome!” and “We? Nothing!”) The geese speak in unison. At the end of the fable, the owner gets up, takes a twig, makes the geese stand up, and they, just like at the beginning, go behind the scenes, opposite to the one from which they came. You can make the geese the same high standing collars made of thick paper, propping up their chins.
Quartet
Naughty Monkey,
Donkey,
Goat
Yes, clubfooted Mishka
We decided to play a Quartet.
We got sheet music, bass, viola, two violins
And they sat down on the meadow under the sticky trees -
Captivate the world with your art.
They hit the bows, they fight, but there’s no point.
“Stop, brothers, stop! - Monkey shouts: - wait!
How should the music go? That's not how you sit.
You and the bass, Mishenka, sit opposite the viola,
I, the prima, will sit opposite the second;
Then the music will be different:
Our forest and mountains will dance!”
We settled down and began the Quartet;
He still isn't getting along.
“Wait, I found a secret,”
The Donkey shouts: “We’ll probably get along,”
If we sit next to each other."
They listened to the Donkey: they sat down decorously in a row,
And yet the Quartet is not going well.
Now they're getting even more intense than ever
And disputes
Who should sit and how?
The Nightingale happened to fly to their noise.
Here everyone asks him to resolve their doubts:
“Perhaps,” they say: “take patience for an hour,
To put our Quartet in order:
And we have notes, and we have instruments;
Just tell us how to sit down!” —
“To be a musician, you need skill
And your ears are gentler,—
The Nightingale answers them.—-
And you, friends, no matter how you sit down,
You’re still not fit to be musicians.”
It is not so easy to obtain for this fable the very instruments they speak of. Make them out of plywood? The result will not be instruments, but models that cannot be played. It would not be surprising that the Quartet does not work out! It’s better to collect what you can: a guitar, a balalaika, two domras. Not the reader, but the Monkey, boasting, will say: “We got music, bass, viola, two violins.” Well, Monkey and her friends could have made a mistake - how could they understand musical instruments, they even made their own bows from twigs! Monkey is the first to run onto the stage with a bundle of sheet music in her hands. She looks for a suitable clearing, counts the stumps - just four, great! - and calls the others. The reader introduces them to the audience, calling them by name. Having boasted of notes and instruments, Monkey seats the musicians on tree stumps, distributes notes to them, and suddenly realizes that there is nothing to play with. Here everyone gets a twig for themselves. “E-and-and - one!” - Monkey commanded, waving her twig, and everyone “struck their bows.” At first, the musicians are delighted with their music, but, looking at the reader, who covered his ears and ran away from the Quartet, they realized that something was wrong.
During the course of the action, the Quartet is moved several times, and for each new mise-en-scène, use all the possibilities: the proscenium, the stage, and the rearrangement of stumps.
Of course, it is not so easy to move real stumps in a real forest, but in the “land of fables” everything is possible. The Monkey and the Bear even climb trees to play.
Tools must be handled with care. Even in the midst of arguments, do not think of throwing them to the ground out of frustration, or roughly pulling the strings, or fighting with them.
And the Monkey, and the Bear, and the Donkey, and the Goat are essentially good-natured creatures. They are not so much angry about their failure as they are sad. And the Nightingale (he answers them from the tree) speaks to them not disdainfully, but quite politely and even sympathetically.
Donkey and nightingale
The donkey saw the nightingale
And he says to him: “Listen, buddy!
You, they say, are a great master of singing:
I would really like
Judge for yourself, having heard your singing,
How great is your skill?
Here Nightingale began to show his art:
Clicked and whistled
On a thousand frets, pulled, shimmered;
Then gently he weakened
And the languid sound of the pipe echoed in the distance,
Then it suddenly scattered in small fractions throughout the grove.
Everything then listened to Aurora’s favorite and singer;
The winds have died down, the choirs of birds have fallen silent
And the herds lay down.
Breathing a little, the shepherd admired him
And only sometimes
Listening to the Nightingale, he smiled at the shepherdess.
The singer has died. The donkey, staring at the ground with his forehead,
“Pretty much,” he says: “it’s not false to say,
I can listen to you without getting bored;
It's a pity that I don't know
You and our rooster:
If only you had become more alert,
If only I could learn a little from him.”
Hearing this judgment, my poor Nightingale
He took off and flew to distant fields.
God save us from such judges.
The most difficult thing in this fable is playing the role of the Nightingale. But it’s as if the Nightingale wasn’t given any words, and he has nothing special to do - sit on a tree and sing. It’s not difficult to guess what to sing: of course, everyone’s favorite “Nightingale” by composer Alyabyev. But how can you sing if you can’t find a girl or boy for the role of the Nightingale who could sing or whistle this melody artistically? Is it possible for Nightingale to open his mouth to this music, performed by a pianist behind the stage, pretending that he is singing? Of course not. It’s better to do this: let the Nightingale sing, but not out loud, but to himself. To do this, he does not need to “open his mouth”, but only needs to listen to the music very carefully and feel it. He can even conduct himself a little, with light movements, “sing with his hands.” He conducts and looks around and with his “singing” hands, as if he points the audience to everything he sings about: the sky, the earth, the herbs and flowers, all the nature that he loves. But this is the Nightingale’s song. Appropriate lighting will also help create the mood: it’s a summer night on the stage, the moon has risen over the tree. The fable begins like this. When it got dark on the stage and the Nightingale’s singing was heard (he himself is not visible at first), the reader carefully comes out and listens with bated breath. Heavy footsteps are heard, the music stops, the reader turns around. “Donkey...” he announces with annoyance and then adds with tenderness: “... and the Nightingale.” After the Donkey's demand, the Nightingale is up in the tree and performs the difficult part we were talking about. In the middle of his singing, three girls quietly enter the stage, hugging each other, on one side, and two boys on the other: they also came to listen to the Nightingale. After the Nightingale “flew up and flew far away,” they all turn to the audience and say with a sigh: “God deliver us from such judges.”
Flowers
In the open window of rich peace,
In porcelain, painted pots,
Fake flowers, standing together with living ones,
On wire stems
Swung arrogantly
And we displayed our beauty astonishingly.
Now the rain started to fall.
Here they ask for taffeta flowers from Jupiter:
Is it possible to stop the rain?
They scold and vilify the rain in every possible way.
"Jupiter! - they pray: - stop the rain;
What are the ways in it,
And what's worse than that?
Look, you can't walk down the street:
There’s only dirt and puddles everywhere.”
However, Zeus did not heed the empty plea,
And the rain passed in its own way.
Having driven away the heat,
It cooled the air; nature has come to life,
And all the greenery seemed to be renewed.
Then on the window
All flowers are fresh
Spread out in all its glory
And the rain became fragrant,
Fresher and fluffier.
And the poor Flowers have been fake ever since
Stripped of all their beauty and thrown into the yard,
Like rubbish.
True talents do not get angry for criticism:
She cannot damage their beauty;
Some fake flowers
They are afraid of rain.
The end of the previous fable seemed to be not entirely polite towards the audience: with the words “God deliver us from such judges” as. a hint would be given... To dispel this impression, we show “Flowers” as the last fable in the play. Three girls stand on the stage with large, roughly and clumsily painted paper flowers in their hands. The girls pretend to be artificial flowers, they feel very beautiful and look around proudly. In front of them, on the bottom step of the stage, with their arms crossed and their heads bowed, sit three other girls, modest and inconspicuous. These are fresh flowers that have not yet bloomed. Rain is depicted in music, on high notes. Complaining phrases must be divided between three fake flowers. During the rain, a transformation occurs with all the flowers: the fake flowers wilt and in the end fall from the girls’ hands, and the girls themselves quietly move away from the stage. Living flowers, on the contrary, gradually “bloom”: each one raised her head, straightened her back, one hand opened, the other extended, and each girl found herself holding a real flower in her hands. If it is impossible to get real flowers, you will have to take artificial ones, but made They are gracefully, tastefully. The reader approaches the girls, they offer him their flowers, he takes them, makes a bouquet and smells them.
Before the final quatrain, all participants in the performance come on stage wearing pioneer ties. They line up to the right and left of the reader with flowers, who is in the center. “True talents don’t get angry because of criticism,” say those on the left. “She cannot damage their beauty,” say those standing on the right. And they all finish together:
“Only fake flowers are afraid of the rain.”
With these words, everyone seems to be saying goodbye to the public, as if they are telling it: “We are not offended when we are criticized; fair criticism will only help us, and we will be grateful to you for it.”
Open reading lesson in 5th grade
“I.A. Krylov "The Crow and the Fox"
Target: Introduce students to brief information from the life of I.A. Krylov, his fable “The Crow and the Fox.”
Tasks: 1. Learn to see and feel behind the lines
The works express the deep meaning of the fable
Your thoughts through expressive reading.
2. Correction of analytical - synthetic
Exercise-based activities in correlation
Words, proverbs for a fable.
3. Foster a negative attitude towards
The vices and shortcomings of a person are like flattery,
Self-interest, ingratiation.
Visibility and equipment:portrait of I.A. Krylov,
Poster with dates of life and death of the fabulist,
Photo of the monument to I.A. Krylov,
Illustrations for fables,
Subject pictures (crows, foxes),
Cards with a labyrinth,
Pictures for the game “What has changed?”,
Cards with words and phrases,
Fox and crow masks,
Recording of the fable,
Write proverbs on the board.
Lesson type: learning a new topic.
Methods and techniques: verbal (teacher's story, summarizing
Conversation, student performances, work with the textbook);
Visual (subject pictures, illustrations)
Tsii, portrait, photographs)
During the classes.
I. Organizational moment:
Duty officer's report;
Checking the class's readiness for the lesson:
I'm glad to meet you again,
Enjoy your company, friends!
Prepare your answers yourself,
I will listen to them with interest.
Draw conclusions and reason.
And so that the lesson benefits everyone
Get actively involved in your work, my friend!
I think that getting involved in the lesson will help usgame “Remember and name?”
Look at the picture and try to remember it. (The teacher closes the picture.). Then asks students to answer the questions.
How many cups were there on the table?
Was there a pear among the fruits?
What was under the table?
What was shown in the picture?
What color was the fruit bowl?
II. Communicate the topic and objectives of the lesson.
Game "Fragment drawing".
An illustration is drawn on a sheet of paper. This sheet is then cut into several pieces. Invite students to put parts together into a whole - illustration.
Guys, I prepared interesting illustrations for you and cut them into pieces. Your task is to try to put together a whole illustration from these parts.
Remember the name of the fable shown in the illustration.
You see, guys, how many of Grandfather Krylov’s fables you already know. And today we will begin to study a new section of the textbook “Fables by I.A. Krylov.” Let's get acquainted with the content of the fable "The Crow and the Fox".
III. Learning new material.
1. The teacher's word.
(A portrait of I.A. Krylov, dates of life and death are hung on the board.)
Ivan Andreevich Krylov is a great Russian poet and fabulist. Why Russian? Why great? Yes, because Krylov loved everything Russian: the Russian people, the Russian language, Russian nature, Russian art.
2.Speeches by students about the biographical information of the fabulist.
Ivan Andreevich Krylov was born in Moscow into the family of an army officer. The family was poor, and Vanya Krylov was unable to receive a good education in childhood; his father taught him to read and write.
Later, he had the opportunity to study “out of mercy.” Ivan Andreevich served as a footman in the house of a wealthy landowner. The landowner's children had home teachers who taught them Russian and French, mathematics, and he was allowed to study with them.
Life did not spoil him: when Ivan Krylov was ten years old, his father died. After him there was nothing left - no money, no valuables, only a chest with books. Caring for his mother and brother fell on the shoulders of Ivan Andreevich Krylov. He had to go to work as a clerk in court. He copied papers and carried packages of documents.
Ivan Andreevich Krylov read a lot and thereby compensated for the lack of education; he independently learned French, Italian and Greek. His intensive independent studies yielded an extraordinary result: when he became an adult, he was considered one of the most educated people in Russia.
Ivan Andreevich Krylov lived a long life filled with great events, and died at the age of seventy-five.
Grandfather Krylov, as he was called, was a kind man. He fought against the shortcomings and vices that prevent people from living in peace, harmony and happiness. His weapon was fables - small works that taught how to live fairly.
(Showing slides depicting the books “Fables of I.A. Krylov”, the monument to I.A. Krylov in St. Petersburg.)
More than two hundred fables were created by Ivan Andreevich Krylov. In 1855, a monument to the great fabulist was erected in the Summer Garden of St. Petersburg. Krylov is depicted sitting in a chair, he is thoughtful. And next to him, just below, are figures of characters from his fables. This monument was built with money collected throughout Russia.
Yes, indeed, in his fables Krylov taught people to recognize themselves, helped them identify shortcomings and suggested how to get rid of them. I.A. Krylov taught the wisdom of life. Reading his fables enriches us with knowledge of life. Therefore, getting to know Krylov’s new fable means learning something new and important about yourself and people.
3. Game "Labyrinth".
The teacher presents the students with a maze, asks them to look at it carefully and help the crow get through the maze to the cheese.
4. Acquaintance with I.A. Krylov’s fable “The Crow and the Fox”
1) Working with subject pictures.
Describe what a crow looks like.
Can a crow be called the most beautiful bird of the forest?
What character qualities are endowed with the fox in fairy tales?
Therefore, it is no coincidence that the Fox was chosen for the role of the flatterer, who is most often portrayed as cunning, insidious, and dexterous. And the crow embodies the image of a stupid, inattentive person.
2) Listening to the fable in a recording.
Did you like the fable?
3) Vocabulary work.
Flattery – hypocritical, obsequious praise;
Flatterer – flattering person;
Perch – to climb something high with effort;
Captivated – attracted attention, delighted;
Goiter – in insects and birds: an expanded part of the esophagus where food is accumulated and pre-processed.
4) Reading the fable by heart by the teacher. Students follow along in the book.
5) Students read the fable to themselves.
6) General conversation.
How do you understand what flattery is?
(Flattery is when people say obsequious words out of a selfish desire to win someone over)
Who is called a flatterer?
What does I.A. Krylov say about flattery and flatterers?
(“That flattery is vile and harmful...”
“And a flatterer will always find a corner in the heart.”)
Read how Krylov characterizes the Fox.
(The cheat approaches the tree on tiptoe;
He twirls his tail and doesn't take his eyes off Crow.
And he speaks so sweetly, barely breathing...)
List what the Fox praised?
What did she call Crow?
(Darling, little light, sister, craftswoman, king bird.)
Read what praise the Fox said to the Crow.
(My dear, how beautiful!
What feathers! What a sock!
After all, you would be our king bird!)
Were her words sincere?
(And he speaks so sweetly, barely breathing.)
Why did the Fox praise the Crow so much?
(To take away the cheese from Crow.)
Did Crow guess about this?
Has the Fox’s flattery found a “corner” in the Crow’s heart?
How did it happen?
After everything that's happened, how would you describe Crow?
(Gullible, stupid.)
Do you think that if the Fox had praised someone else like that, not striving for honors and glory, would she have been able to achieve her goal?
(No.)
Whom does Krylov condemn and ridicule most in the fable?
(Vanity people.)
What words of the fable contain its main meaning?
(How many times have they told the world,
That flattery is vile and harmful; but everything is not for the future,
And a flatterer will always find a corner in the heart.)
What does it mean “how many times have they told the world”?
(Said more than once.)
- “But everything is not for the future”?
(Not good.)
- “And a flatterer will always find a corner in the heart”?
(As long as there are lovers of flattery (like the Crow), there will also be flatterers (like the Fox).
What is the meaning of the fable?
(Flattery is vile and harmful. If you succumb to flattering words, you may end up with nothing. You don’t need to be stupid and gullible, to understand where the truth is and where the lies are.)
Did Krylov prove this?
(Proved. The Fox was able to deprive the Crow of cheese with deceptive words. The Crow was left with nothing.)
Is it possible to find such a situation among human relationships? Give an example.
I.A. Krylov in the fable “The Crow and the Fox” ridicules incompetence, stupidity and at the same time condemns resourcefulness, the secrecy of one’s real, true intentions, deception, and cunning.
7) Physical training minute
IV. Fixing the material.
- Preparing for expressive reading.
“Somewhere God sent a piece of cheese to a crow;
Raven perched on the spruce tree,
I was just about ready to have breakfast,
Yes, I became thoughtful, but I had the cheese in my mouth.”
The words “yes, I’m thinking about it” should contain mockery. The crow is stupid, and she did not and could not have any smart thoughts.
“The Fox ran close to that misfortune;
Suddenly the cheese spirit stopped the Fox:
The fox sees the cheese, - The fox is captivated by the cheese,
The cheat approaches the tree on tiptoe;
He twirls his tail and doesn’t take his eyes off Crow.
And he says so sweetly, barely breathing: "
“My dear, how beautiful!
What a neck, what eyes!
Telling fairy tales, really!
What feathers! What a sock!
Sing, little light, don’t be ashamed! What if, sister,
With such beauty, you are a master at singing,
After all, you would be our king bird!”
When reading this part, you must convey the kind words of the Fox with which she addresses the Crow. This will help reveal Lisa's character traits.
“The Prophet’s head turned with praise,
The breath was taken away from my throat with joy, -
And Lisitsyn’s friendly words
The crow croaked at the top of its lungs: "
Here we must show the Crow in the most unsightly form: she was delighted with the Fox’s flattering speeches.
“The cheese fell out - that was the trick with it.”
2. Expressive reading of a fable.
3. Game “Dictionary - in reverse”
They said it more than once - how many times did they tell the world
Not for the good - but it’s not all for the future.
Found it by chance, without much difficulty - God sent
Very close - very close
He looks without stopping - he doesn’t take his eyes off
Lost the ability to reason sensibly - dizzy
It became difficult to breathe - the breath stole from the goiter
Very loud - at the top of my lungs
Disappeared, disappeared - she was like that
3. Reading the fable by role.
How many people do we need to choose to read the fable by role?
You will now prepare a role-play reading in pairs. When choosing a role in a couple, consider your own capabilities. You will need to agree on who will choose which role.
- Working with proverbs.
Read the proverbs written on the board. Choose the proverb that matches the fable.
There is honey on the tongue, and ice in the heart.
Be careful in choosing friends and life partners.
Good is paid for with good.
(Students' answers.)
5. An exercise in selecting qualities that characterize the heroes of the fable.
Flattering, prone to flattery - (Fox)
Conceited, striving for glory, for honor - (Crow)
Arrogant – (Crow)
Insincere – (Fox)
Ambitious, glory-loving – (Crow)
Untruthful, deceitful - (Fox)
Sly – (Fox)
Stupid – (Crow)
Trusting – (Crow)
V. Homework.
Learn the fable by role for strong students.
Grishkin Zhenya, Mikheev Ilya, Shishkina Oksana are learning the fable together in parts.
VI. Summing up the lesson.
What did we start learning in class?
What human vice did I.A. Krylov fight against when creating this fable?
(Flattery, ingratiation.)
Did you find the lesson useful? How?
I’m glad that many have found tips for themselves on how to get rid of bad shortcomings. Thank you all very much for the lesson.
Mark the children's work for the lesson.
Start with the environment
The crow sits on a branch when talking to the fox. Therefore, it is better to start drawing with an image of a tree. Place the sheet vertically, draw several arbitrary curved lines. For example, several may emerge from one point at the bottom of the sheet. You can also draw a straight vertical line from which the branches extend. At the first stage, it is enough to convey the general direction. You don’t have to transfer the thickness and don’t draw the leaves for now.
Outlines of figures
Outline the position of the characters. The crow, of course, sits somewhat higher than the fox. You can place it on the highest branch. Draw an irregularly shaped spot that resembles the outline of a fire. The bird's tail will be where the tongues of this fire are directed, and the head should be slightly tilted towards the fox. Draw the head in a sharp arc. As for the fox, outline the position of its pointy ears - in the sketch they will just be corners, located approximately at the level of the crow's head. Outline the contours of the neck and torso. The head, neck and back are drawn with one line. If you start drawing from the ear, the outline of the head and neck is almost vertical. The line of the back is located to the line of the neck at an angle of approximately 135°. Draw a mustache - triangles on both sides of the head.Sharper contours
Circle . Draw the upper parts of the wings. Make a slight extension where the head ends. Draw the paws grabbing the branch. Draw the tail feathers - these are just short, straight strokes made with pressure. The freer your movements, the more natural the bird will appear. She should look a little disheveled. Just trace the contours of the fox with pressure.Eyes, noses, mustaches
The crow's eye is a rather large and wide oval, almost the size of its head. Inside the oval is a small round pupil. The fox also has oval eyes, but the ovals are quite narrow. In this case, the eye that is on the side of the crow and further from the viewer will seem somewhat smaller than the other. It appears almost round. In this case, it is important not so much to maintain proportions as to convey the character of the characters. The fox is cunning, she has her own goal, and she achieves it. The crow is confused, she has lost what she had. A crow can be depicted with an open beak. The fox smiles maliciously, her mouth is an irregular arc. Draw the mustache – short straight lines. The illustration is ready, all that remains is to complement the surroundings - for example, draw leaves. You can, of course, draw illustrations in the most ordinary album. But special paper for watercolors is also very good for pencil drawing. It has texture and looks more expressive. As for pencils, it is better to buy several at once, of different hardness.I.A. Krylov "The Crow and the Fox"
Target: Introduce students to brief information from the life of I.A. Krylov, his fable “The Crow and the Fox.”
Tasks: 1. Learn to see and feel behind the lines
works of the deep meaning of the fable, express
your thoughts through expressive reading.
2. Correction of analytical - synthetic
exercise-based activities in correlation
words, proverbs for fables.
3. Foster a negative attitude towards
like flattery to a person's vices and shortcomings,
self-interest, ingratiation.
Visibility and equipment: portrait of I.A. Krylov,
poster with dates of life and death of the fabulist,
photograph of the monument to I.A. Krylov,
illustrations for fables,
subject pictures (crows, foxes),
maze cards,
pictures for the game “What has changed?”,
cards with words and phrases,
fox and crow masks,
fable recording,
writing proverbs on the board.
Lesson type: learning a new topic .
Methods and techniques: verbal (teacher's story, summarizing
conversation, student performances, work with the textbook);
visual (subject pictures, illustrations)
tions, portrait, photographs)
During the classes.
I. Organizational moment:
Duty officer's report;
Checking the class's readiness for the lesson:
I'm glad to meet you again,
Enjoy your company, friends!
Prepare your answers yourself,
I will listen to them with interest.
Draw conclusions and reason.
And so that the lesson benefits everyone
Get actively involved in your work, my friend!
I think that getting involved in the lesson will help us game “Remember and name?”
Look at the picture and try to remember it. (The teacher closes the picture.). Then asks students to answer the questions.
How many cups were there on the table?
Was there a pear among the fruits?
What was under the table?
What was shown in the picture?
What color was the fruit bowl?
II. Communicate the topic and objectives of the lesson.
Game "Fragment drawing".
An illustration is drawn on a sheet of paper. This sheet is then cut into several pieces. Invite students to put parts together into a whole - illustration.
Guys, I prepared interesting illustrations for you and cut them into pieces. Your task is to try to put together a whole illustration from these parts.
Remember the name of the fable shown in the illustration.
You see, guys, how many of Grandfather Krylov’s fables you already know. And today we will begin to study a new section of the textbook “Fables by I.A. Krylov.” Let's get acquainted with the content of the fable "The Crow and the Fox".
III. Learning new material.
1. The teacher's word.
(A portrait of I.A. Krylov, dates of life and death are hung on the board.)
Ivan Andreevich Krylov is a great Russian poet and fabulist. Why Russian? Why great? Yes, because Krylov loved everything Russian: the Russian people, the Russian language, Russian nature, Russian art.
2.Speeches by students about the biographical information of the fabulist.
Ivan Andreevich Krylov was born in Moscow into the family of an army officer. The family was poor, and Vanya Krylov was unable to receive a good education in childhood; his father taught him to read and write.
Later, he had the opportunity to study “out of mercy.” Ivan Andreevich served as a footman in the house of a wealthy landowner. The landowner's children had home teachers who taught them Russian and French, mathematics, and he was allowed to study with them.
Life did not spoil him: when Ivan Krylov was ten years old, his father died. After him there was nothing left - no money, no valuables, only a chest with books. Caring for his mother and brother fell on the shoulders of Ivan Andreevich Krylov. He had to go to work as a clerk in court. He copied papers and carried packages of documents.
Ivan Andreevich Krylov read a lot and thereby compensated for the lack of education; he independently learned French, Italian and Greek. His intensive independent studies yielded an extraordinary result: when he became an adult, he was considered one of the most educated people in Russia.
Ivan Andreevich Krylov lived a long life filled with great events, and died at the age of seventy-five.
Grandfather Krylov, as he was called, was a kind man. He fought against the shortcomings and vices that prevent people from living in peace, harmony and happiness. His weapon was fables - small works that taught how to live fairly.
(Showing slides depicting the books “Fables of I.A. Krylov”, the monument to I.A. Krylov in St. Petersburg.)
More than two hundred fables were created by Ivan Andreevich Krylov. In 1855, a monument to the great fabulist was erected in the Summer Garden of St. Petersburg. Krylov is depicted sitting in a chair, he is thoughtful. And next to him, just below, are figures of characters from his fables. This monument was built with money collected throughout Russia.
Yes, indeed, in his fables Krylov taught people to recognize themselves, helped them identify shortcomings and suggested how to get rid of them. I.A. Krylov taught the wisdom of life. Reading his fables enriches us with knowledge of life. Therefore, getting to know Krylov’s new fable means learning something new and important about yourself and people.
3. Game "Labyrinth".
The teacher presents the students with a maze, asks them to look at it carefully and help the crow get through the maze to the cheese.
4. Acquaintance with I.A. Krylov’s fable “The Crow and the Fox”
1) Working with subject pictures.
Describe what a crow looks like.
Can a crow be called the most beautiful bird of the forest?
What character qualities are endowed with the fox in fairy tales?
Therefore, it is no coincidence that the Fox was chosen for the role of the flatterer, who is most often portrayed as cunning, insidious, and dexterous. And the crow embodies the image of a stupid, inattentive person.
2) Listening to the fable in a recording.
Did you like the fable?
3) Vocabulary work.
Flattery– hypocritical, obsequious praise;
Flatterer– flattering person;
Perch– to climb with effort onto something high;
Captivated– attracted attention, delighted;
Goiter– in insects and birds: an expanded part of the esophagus where food is accumulated and pre-processed.
4) Reading the fable by heart by the teacher. Students follow along in the book.
5) Students read the fable to themselves.
6) General conversation.
How do you understand what flattery is?
(Flattery is when people say obsequious words out of a selfish desire to win someone over)
Who is called a flatterer?
What does I.A. Krylov say about flattery and flatterers?
(“That flattery is vile and harmful...”
“And a flatterer will always find a corner in the heart.”)
Read how Krylov characterizes the Fox.
(The cheat approaches the tree on tiptoe;
He twirls his tail and doesn't take his eyes off Crow.
And he speaks so sweetly, barely breathing...)
List what the Fox praised?
What did she call Crow?
(Darling, little light, sister, craftswoman, king bird.)
Read what praise the Fox said to the Crow.
(My dear, how beautiful!
What feathers! What a sock!
After all, you would be our king bird!)
Were her words sincere?
(And he speaks so sweetly, barely breathing.)
Why did the Fox praise the Crow so much?
(To take away the cheese from Crow.)
Did Crow guess about this?
Has the Fox’s flattery found a “corner” in the Crow’s heart?
How did it happen?
After everything that's happened, how would you describe Crow?
(Gullible, stupid.)
Do you think that if the Fox had praised someone else like that, not striving for honors and glory, would she have been able to achieve her goal?
Whom does Krylov condemn and ridicule most in the fable?
(Vanity people.)
What words of the fable contain its main meaning?
(How many times have they told the world,
That flattery is vile and harmful; but everything is not for the future,
And a flatterer will always find a corner in the heart.)
What does it mean “how many times have they told the world”?
(Said more than once.)
- “But everything is not for the future”?
(Not good.)
- “And a flatterer will always find a corner in the heart”?
(As long as there are lovers of flattery (like the Crow), there will also be flatterers (like the Fox).
What is the meaning of the fable?
(Flattery is vile and harmful. If you succumb to flattering words, you may end up with nothing. You don’t need to be stupid and gullible, to understand where the truth is and where the lies are.)
Did Krylov prove this?
(Proved. The Fox was able to deprive the Crow of cheese with deceptive words. The Crow was left with nothing.)
Is it possible to find such a situation among human relationships? Give an example.
I.A. Krylov in the fable “The Crow and the Fox” ridicules incompetence, stupidity and at the same time condemns resourcefulness, the secrecy of one’s real, true intentions, deception, and cunning.
7) Physical training minute
IV. Fixing the material.
Preparing for expressive reading.
“Somewhere God sent a piece of cheese to a crow;
Raven perched on the spruce tree,
I was just about ready to have breakfast,
Yes, I became thoughtful, but I had the cheese in my mouth.”
The words “yes, I’m thinking about it” should contain mockery. The crow is stupid, and she did not and could not have any smart thoughts.
“The Fox ran close to that misfortune;
Suddenly the cheese spirit stopped the Fox:
The fox sees the cheese, - The fox is captivated by the cheese,
The cheat approaches the tree on tiptoe;
He twirls his tail and doesn’t take his eyes off Crow.
And he says so sweetly, barely breathing: "
“My dear, how beautiful!
What a neck, what eyes!
Telling fairy tales, really!
What feathers! What a sock!
Sing, little light, don’t be ashamed! What if, sister,
With such beauty, you are a master at singing,
After all, you would be our king bird!”
When reading this part, you must convey the kind words of the Fox with which she addresses the Crow. This will help reveal Lisa's character traits.
“The Prophet’s head turned with praise,
The breath was taken away from my throat with joy, -
And Lisitsyn’s friendly words
The crow croaked at the top of its lungs: "
Here we must show the Crow in the most unsightly form: she was delighted with the Fox’s flattering speeches.
“The cheese fell out - that was the trick with it.”
2. Expressive reading of a fable.
3. Game “Dictionary - in reverse”
They said it more than once - how many times did they tell the world
Not for the good - but it’s not all for the future.
Found it by chance, without much difficulty - God sent
Very close - very close
He looks without stopping - he doesn’t take his eyes off
Lost the ability to reason sensibly - dizzy
It became difficult to breathe - the breath stole from the goiter
Very loud - at the top of my lungs
Disappeared, disappeared - she was like that
3. Reading the fable by role.
How many people do we need to choose to read the fable by role?
You will now prepare a role-play reading in pairs. When choosing a role in a couple, consider your own capabilities. You will need to agree on who will choose which role.
Working with proverbs.
Read the proverbs written on the board. Choose the proverb that matches the fable.
- There is honey on the tongue, and ice in the heart.
- Be careful in choosing friends and life partners.
- They pay for good with good.
(Students' answers.)
5. An exercise in selecting qualities that characterize the heroes of the fable.
Flattering, prone to flattery - (Fox)
Conceited, striving for glory, for honor - (Crow)
Arrogant – (Crow)
Insincere – (Fox)
Ambitious, glory-loving – (Crow)
Untruthful, deceitful - (Fox)
Sly – (Fox)
Stupid – (Crow)
Trusting – (Crow)
V. Homework.
Learn the fable by role for strong students.
Grishkin Zhenya, Mikheev Ilya, Shishkina Oksana are learning the fable together in parts.
VI. Summing up the lesson.
What did we start learning in class?
What human vice did I.A. Krylov fight against when creating this fable?
(Flattery, ingratiation.)
Did you find the lesson useful? How?
I’m glad that many have found tips for themselves on how to get rid of bad shortcomings. Thank you all very much for the lesson.
Mark the children's work for the lesson.
Lesson topic: . Fable "The Crow and the Fox"
Item: Literary reading
Class: 4
Lesson type : Learning new material
Lesson objectives:
- introduce children to the fable “The Crow and the Fox”;
Continue training in thoughtful reading with elements of linguistic analysis of the text;
Demonstrate the complexity and ambiguity of the fable genre and the role of morality in it;
Give an example of expressive reading of a fable.
Lesson Objectives:
Educational objectives: expand students’ knowledge of the “fable” genre and creativity, expand it; achieve an understanding of the content of the fable, morality, and develop the ability to express one’s attitude to what is read.
Developmental tasks: develop the ability to analyze, compare, contrast, generalize, draw conclusions; develop creative imagination, develop fluent, conscious and expressive reading skills, enrich and activate vocabulary, develop fable analysis skills.
Educational tasks: to promote the development of moral qualities in students, to cultivate a positive attitude towards honest, noble, kind deeds, to cultivate a love of fable verse and interest in the subject.
Knowledge, abilities, skills and qualities that students will actualize, acquire, and consolidate during the lesson
ZUNs are updated: knowledge of literary genres of works, the ability to listen to the teacher’s speech, reading skills.
ZUNs will be acquired: knowledge of the writer’s biography and a new fable, the ability and skill to analyze the fable and morality.
ZUNs will be fixed: skill of conscious expressive reading.
Lesson summary
1.Organization of positive motivation for students’ activities in the classroom.
Slide 1 - The bright sun is shining on the board, it looks at you and stretches its rays to your cheeks. Smile back at him, and you will immediately feel warmer and more cheerful! Now imagine that your palms are a small mirror, look into it, smile at yourself - you see how cute and smart you are!
Look at each other, smile, and your mood during the lesson will be cheerful and upbeat, you will want to learn new things, because it is so interesting!
Speech warm-up
Zhenya became friends with Zhanna.
Friendship with Zhanna did not work out.
To live together with friends,
There is no need to offend friends.
Read slowly.
Read slowly and then speed up.
What does this tongue twister teach us?
4. Statement of the topic and purpose of the lesson
Whose portrait do you see on the board? ()
A game. BRAINSTORM.
* Who it?
*What family was Krylov born into?
*Where did the family live?
*What did Krylov like to do?
*What made Krylov famous?
*What is a fable?
*How many fables did you create? (more than 200)
* What is ridiculed, Krylov’s fables are denounced.
*How does a fable differ from other literary works?
*What is morality? (teaching, advice)
Ivan Andreevich began his literary activity as a playwright. He wrote 13 plays, which were published and staged in the theater. Krylov began writing fables later; they first appeared in print when the writer was 40 years old. Everyone immediately liked them. They talked a lot about them. People were surprised by the strange name with which the fables were signed: “Navi Volyrk.”
Krylov worked deeply and seriously on his works. Over the course of 40 years of work, he wrote 200 fables and enriched the Russian language with winged, figurative, and witty expressions. Fables were memorized, retold to each other by generals, merchants, and poor people, and even Emperors Alexander I and Nicholas II read them. Why? Because in these fables there is a lesson for everyone, everyone sees themselves as in a mirror.
(A fable is a short work, written in verse or prose, in which the vices of people are ridiculed.
Fables usually feature animals that we easily recognize as humans.
Today in class we will get acquainted with a new work - which means we will learn something new and important about ourselves and people. What do you know about the writer? Tell me.
PUZZLES (on the slide)
TOPIC GOAL SETTING FORECASTING
- Formulate the topic of the lesson. Goals. What will we do in class? What to study?
4. Conversation about the raven. (show illustration)
What do you know about the crow?
What kind of plumage does she have?
Is this an attractive bird, or are there more beautiful ones?
How does a crow sing? (shouting)
- The raven is considered one of the smartest birds. British scientists have confirmed that the raven has intelligence. For example, a bird was given water to drink from a deep jug, which it could not reach with its beak. The raven being tested came up with the idea of throwing various objects into the container to make the water level rise. In the wild, the lifespan of a raven is 10 - 15 years. These birds can live much longer in captivity, up to 40 years.
- Crows are omnivores and eat absolutely anything that they think will be edible. The crow's diet includes any insects (beetles, flies, butterflies), worms, eggs of other bird species and their chicks, lizards, frogs, squirrels, fish, small rodents (mice and rats).
5. Conversation about the fox. (show illustration)
What do we know about the fox?
What do we know about her behavior?
Foxes belong to the canine family, which means that their relatives are wolves, jackals, and dogs. They are medium in size (slightly smaller than the average domestic dog) and weigh between 3 and 6.5 kg.
But unlike their relatives, foxes do not live in packs.
The fox is often called Patrikeevna. This name was given to her in honor of one Novgorod prince Patrikey Narimuntovich, who was very cunning and resourceful.
It’s not for nothing that foxes are called very smart animals. They have one interesting way of getting rid of fleas. Foxes go deep into the water with a stick in their teeth, and fleas move into this trap. After a while, the animal throws out the stick, and with it the annoying fleas.
Moving away from her enemies, the fox confuses her tracks.
These animals are considered omnivores. They do not refuse plants either.
1) Initial acquaintance with the fable
-Open the textbook. Find a fable. Now sit comfortably and listen to the fable
(audio recording of the fable)
2) Perception from the heard fable.
Did you like the fable?
What story happened to Vorona?
Fizminutka .(to music)
( let's visit the forest where they live) Let's depict a crow - flapping its wings. Let's portray a fox - walking, wagging its tail. She disappeared and sat down quietly.
3) Vocabulary work
Combine words and lexical meanings on cards.
What words did you come across for the first time?
Flattery is hypocritical, obsequious praise;
Flatterer – a flattering person;
Vile - disgusting, disgusting;
To perch - to climb with effort onto something high;
Captivated - attracted attention, delighted;
Veshunina (head) - from the word prophet - fortune teller.
Goiter - in birds, insects: an expanded part of the esophagus where food accumulates and is pre-processed.
4) Reading fables by students
5) Conversation.
1) Why does Krylov say that flattery is harmful, vile, because everyone is pleased to hear good words about themselves? (this is a lie)
2) Why was the Fox chosen for the role of the flatterer, and the Crow became her trusting listener? (in fairy tales the Fox is cunning, smart, and the Crow is stupid)
3)It was not for nothing that Krylov called her so aptly - a cheat. What does it mean? What words from the fable reveal the character of the fox? Read it.
4) Can the Crow be called the most beautiful bird? (No).
5) What did the Fox say about the Crow?? Read it.
(My dear, how beautiful!
What a neck, what eyes!
Telling fairy tales, really!
What feathers! what a sock!)
8) Find words in the text about how the Fox’s kind words affected Crow.
(“The Prophet’s head turned with praise,
My breath stole from my throat with joy."
9) Why did the Fox praise the Crow so much? (To please her. The Fox needed the Crow to “sing” and drop the cheese).
10) Why did the Fox manage to deceive the Crow? (from my stupidity)
11) Whom does Krylov condemn and ridicule most in the fable? Why?
12) Re-read the moral of the fable, its main idea. (Selective reading of the part where the moral is contained).
13) How do you understand the meaning of this phrase? (Although the fable was written many years ago, flatterers can still achieve what they want with flattery).
14) What does it warn its readers about? (Both the flatterer and the one who succumbs to his flattering speeches are ugly).
6) Exercise for the eyes
Work in pairs
RULES FOR WORK IN GROUPS
Teamwork is the key to success!
You are a team, which means everyone must work!
Distribute responsibilities quickly and clearly.
Know how to listen to your friend.
Don't get upset if you fail and don't look for someone to blame.
Believe: you will succeed!
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