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Fairy-tale image in fine arts, or "Relive the fairy tale"
(consultation for educators)

The formation of personality creativity is one of the most important tasks of pedagogical theory and practice in present stage. Its solution should begin already in preschool childhood. Most effective remedy for this - the visual activity of children in a preschool institution.

In the process of drawing, modeling, application, the child experiences a variety of feelings: he rejoices at the beautiful image that he created himself, upset if something does not work out. But most importantly: by creating an image, the child acquires various knowledge; his ideas about the environment are clarified and deepened; in the process of work, he begins to comprehend the qualities of objects, remember them characteristics and details, to master visual skills and abilities, to learn to use them consciously. Drawing and other activities artistic activity create the basis for full-fledged communication between children and adults, perform a therapeutic function, distracting children from sad, sad events, remove nervous tension, fears, cause a joyful, high spirits, provide a positive emotional state. Therefore, it is so important to widely include various artistic and creative activities in the pedagogical process. Here, every child can express himself most fully without any pressure from an adult.

for the fine arts, as a rule, the embodiment in the image of one moment of the event is characteristic. The artistic image affects the feelings, and through them the thought and expresses the revival of the creative person to the world of people, nature. In the visual arts, the image is visible, visible, felt. The surrounding world is reproduced in a visual, sensually perceived form with the help of special visual materials, methods, means of expression. Visual activity, like a game, allows the child to more deeply comprehend the subjects of interest to him and express his emotional attitude to the environment. In drawing, modeling, appliqué, design, you can immediately see what is the main thing for a child.

As the senior preschooler masters the skills of creativity, an internal plan of activity is formed, which is absent in a child of an early age. By the age of seven, a child should:
l. perceive and emotionally respond to the artistic image and means of expression in works of fine art of various types and genres;
2. independently create individual artistic images in various types of visual activity.
Z.in individual and teamwork integrate different types visual activity.
4. transfer the folded composition independently, using its various variants (friezed, multidimensional, linear) with elements of perspective.
5. possess a complex of technical skills and abilities, motivate an independent choice of materials.
6.participate in teamwork, plan their activities in drawing, modeling, appliqué, give a motivated assessment of the results.

Based on these provisions, we ask ourselves the question: how to bring the child to the understanding of the fairy-tale image? There are various approaches. There are two directions. One is based on the "illustration" of program fairy tales. Children should consider illustrations, get acquainted with the art of book graphics on the basis of creativity famous artists and on the basis of the impressions received, convey this or that plot in a drawing, application, modeling. The main attention is drawn to the conditions in which the child acquires the experience of perception, actively and creatively processes the material in the course of specially initiated situations of a fantasy nature - creates fabulous images in a play-dramatization or performance.

What is the essence of the technique "Relive the image"? fabulous image, created by children, undergoes significant changes during preschool childhood. For the younger preschool age, color images of an associative nature are mainly characteristic; integration of images, speech, gestures and facial expressions; passion for the creative process. For the older age - not only color, but also stable, expressive graphics, composition, result of activity.

The fairy tale, of course, stimulates the visual creativity of the child, contributes to the creation of original, variable images, reflects the conduct of the plot, actions and actions of the characters. A fairy tale is an exceptionally favorable material for combining not only various types of visual activity, as well as various types of art in the artistic activity of children - folklore. Decorative - applied art associated with folklore. The child is not interested in the object itself (ceremonial toy), but in its fabulous reincarnation. Fairy-tale themes most clearly manifest the features of children's creativity - sincerity, emotionality, immediacy, content, humanism, optimism, brightness, colorfulness, decorativeness, expressiveness. And, nevertheless, the question arises: “Why do many children, depicting a fairy-tale theme, still experience certain difficulties?” most often the reason lies in the dynamic moment - children cannot catch, “stop the moments”, single out a fragment in the plot flow of events and a series of acting characters for a possible and (or) desired image.
In the methodology of visual activity, the fairy-tale theme is the priority of drawing classes. It is best to introduce fabulous images in modeling classes and in the course of artistic work, design. Heroes created by the hands of children, the scenery is then played up. For clarity, we will illustrate the process of creating a "plasticine performance". This will be the topic of several classes for which you need to prepare for the teacher himself, and for the children; firstly, an adult should read a fairy tale to his pupils; secondly, to collect material in advance. In addition, make complex decorations in co-creation with children. Something can be molded, something cut out of paper and pasted on coasters. Place the prepared decorations on the table. Some decorations can be permanent, others temporary for one or two actions. The teacher thinks in advance how to put them in the course of the performance, how to fix them. Children work, i.e. sculpt figurines; also the entrance of several classes. And so, the characters and scenery are ready. Remember, or read the fairy tale with the children again. Write a short script based on their answers. Five minutes before the start of the performance, check the scenery and conveniently arrange all the props. One minute before the start of the performance, make sure that the script in pictures is in place. The curtain rises. The show starts. The teacher plays the role of a leader, and the children put and move the scenery, act out dialogues.

The pedagogical conditions of the experiment are effective because a) they help children to react emotionally to a fairy-tale situation; b) contribute to the creation of the image and the desire to actively act with it; c) reveal individual interests and preferences; d) support creative search for solutions.

The study showed that children with great interest act not as "Illustrators" but as "authors" of their own fairy-tale image. With a reproductive approach, they unwittingly copy a professional artist and evaluate their capabilities, come to the conclusion: “I can’t portray as beautifully and well” therefore, new approaches should be developed. Which? Variable methods are most suitable - immersion in a fairy-tale situation, for example, “let's turn into ...” “what kind of fairy-tale hero do you want to meet?”, the creation of search, extremely emotional situations. Co-creation with an adult who acts as a director. Among the methods used in the experiment, we single out the following: creating a search situation and “immersing” the child in the process of searching for a hero; stimulating the choice of different materials and a way to convey a fabulous image.

fairy tale development schoolboy

The heroes of fairy tales are internally static images-types. The fairy tale is not interested in pedagogy: the world of typical experiences of a Russian person, in all its shades, was talentedly displayed by the richest folklore lyrics. In a fairy tale, we are presented not with characters, but with types, that is, the bearers of some main idea that determines the image. They are internally static, and this can be emphasized by a repeated nickname, portrait, image of a dwelling. However, the internal immutability of fairy-tale images-types is combined with their inherent external dynamism.

Fairy tales are characterized by the steady repetition of characters of the same type in various works but only within its genre. Thanks to this, fairy tales could be combined in one narrative, that is, contamination occurred. Contamination (from Latin - mixing, connection) - combining in one work of art two or more independent works or their parts. The identification of contaminated plots also indicates the main ways of analyzing fairy tales. For example, it is known that in Russian fairy tales, a typical feature of a fox is cunning, treacherous, a liar, a cheat. Because in the tales about the fox, the same type of image was always preserved (although it acquired additional shades in different plots: the midwife fox, crying, even the "confessor"), that is, due to the typification of this character, all tales about the fox can be reduced to one story. In the oral tradition, some of these tales have turned into stable contaminations, that is, they are usually told together: "The fox steals fish from the cart" + "The wolf at the ice-hole" + "The beaten unbeaten one is lucky." The contamination of fairy tales is known to all peoples.

The number of characters in the fairy tale does not correspond to the number actors, since different characters are endowed with the same function. So, a snake, Koschey, a little man with a marigold, a baba-yaga and others act as a pest, a backyard grandmother, wonderful birds, etc. act as a donor. There are other characters in fairy tales. Evil is represented in them by fantastic, disgusting monsters. This is, first of all, Koschey the Immortal - a terrible, strong old man who kidnaps women - as a rule, the mother, wife or bride of the hero of a fairy tale. This is Baba Yaga - "a bone leg, itself on a mortar, nose to the ceiling, one leg to the right corner, and the other to the left." This is the Serpent Gorynych, bursting with fire, with three, six, nine or twelve heads. It can be “a man with a fingernail - a beard with an elbow”, etc. These monsters bring death to people and kingdoms. They are unusually strong and aggressive. But the evil inclination embodies and human characters. This is the stepmother who hates her husband's children, these are the older brothers of the hero, etc. [Zueva 2010: 107].

With all of them, the main characters of fairy tales, Ivan the Tsarevich, Ivan the Fool, Ivan Bykovich, are fighting not for life, but for death. They are distinguished by modesty, diligence, fidelity, kindness, willingness to help, disinterestedness. All this makes us admire. We sympathize with them in difficult times, rejoice in their victories. Together they embody the unwritten moral code of the people. Ivan Bykovich, without hesitation, goes to protect the people from the Serpent; Ivan Tsarevich goes in search of his mother, who was suddenly kidnapped by Koschey; Ivan the Fool unquestioningly fulfills the request of the deceased parent to come to his grave.

Fairy tales say: he will emerge victorious in the fight against the enemy, who loves his people, honors his parents, respects his elders, remains faithful to his beloved, who is kind and fair, modest and honest.

With all the plot differences, fairy tales have a unity of poetic structure. This is expressed in the strict correlation of motives that form a consistently developing action from the plot through the development of the action - to the climax leading to the denouement. The action of the tale is built on the principle of growth: each previous motif explains the next one, preparing the events of the main, climactic, which conveys the most dramatic moment of the plot action: Ivan Tsarevich defeats Koshchei, fulfills the difficult assignments of the sea king, Ivashka burns the witch, the king reveals the intrigues of the witch and returns to his wife , turned into a lynx, the image of a beautiful queen, Culminating, or, in other words, central, the motif is specific to each plot. The rest can vary, i.e., be replaced by motives similar in content within the framework of a given plot.

Conflict, expressed in a sharp opposition of the main characters, is an indispensable condition for plot action. In a fairy tale, she is always motivated. The traditional motivations that determine the actions of heroes are marriage, the desire to receive wonderful objects, the destruction of an enemy that causes some harm to the hero (his family or people in general), for example, the destruction of crops, the abduction of a princess, etc. One fairy tale can contain two motivations ( for example, Ivan Tsarevich defeats a snake and at the same time finds his wife in the underworld). Depending on the direction of the plot, motivations can receive heroic, everyday or social overtones. The composition of a fairy tale is simple in its own way, but this simplicity is the clarity of the complex, the result of centuries-old polishing of a fairy tale in the process of its existence. The stepdaughter politely replies to Frost and he rewards her, the stepmother's daughters are rude to Frost and die.

Taking into account plot differences and author's interpretations, fairy-tale characters appear as a wide gallery of typical images. Among them, the image of the hero is especially important, because it largely determines the ideological and artistic content of fairy tales, embodying folk ideas about justice, kindness, true beauty; it is as if all the best qualities of a person are concentrated in it, thanks to which the image of the hero becomes an artistic expression of the ideal. The high moral qualities of the heroes are revealed through their actions. However, in fairy tales you can find elements of a different nature, attempts to convey inner world heroes, their spiritual life: they love, rejoice, grieve, are proud of the victory, experience betrayal and infidelity, look for a way out of difficult situations, sometimes they make mistakes. That is, in a fairy tale we already find outlines of the image of a person.

And yet, it is possible to speak about the individualization of images with a certain degree of conventionality, since many features inherent in the hero of one plot will be repeated in the heroes of other fairy tales. Therefore, the opinion about the image in fairy tales of a single folk character is fair. This folk character was embodied in different types of heroes - male and female images.

The fairy-tale hero is essentially nameless. The name Ivan allows any substitutions - Vasily, Frol, Ivan the peasant's son, Ivan Medvedko and others.

At the beginning of the tale, he is named among other characters: "Once upon a time there was a king, he had three sons" - such is the typical beginning of most fairy tales. To make a hero stand out secondary characters, the tale introduces a number of traditional positions and situations associated only with the hero. He is young, among the brothers he is always the youngest and therefore he is not trusted. The definition of “younger” can be not only age related, but also social: Ivan the Fool is despised by his older brothers, he is disinherited, Ivan the peasant son, as the youngest, is opposed to the royal sons.

Not infrequently, a hero is distinguished by a miraculous birth: the queen eats a pea, drinks water from a well or stream - twin sons are born to her. Ivan Medvedko will be born from the marriage of a man and a bear, a miraculous fish is eaten by a queen, a servant and a cow, each of them has a son, but the son of a cow (Ivan Bykovich) shows the features of a hero in the future.

These motifs that begin the tale, due to their traditional character, are, as it were, signal situations that draw the attention of listeners to the hero and, accordingly, determine the attitude towards other characters. This bias enhances emotional perception.

In most fairy tales, the hero, unlike other characters, is endowed with extraordinary power. His heroism is already revealed in childhood, he "grows by leaps and bounds", "goes out into the street, grabs someone by the hand - hand away, grabs someone by the leg - foot away." He is only capable of a wonderful horse, which awaits the rider on its own in the dungeon, chained with twelve chains. Setting out on his journey, the tsarevich orders himself a club worth twelve poods. The same power is hidden in Ivan the Fool (“Sivka-Burka”): “...He grabbed the nag by the tail, skinned it and shouted: “Hey, flock, jackdaws, hags and magpies! Here is the father sent you a stern.

It should be noted that any quality the hero of the tale gives is not like sparing the animals; Ivan the Fool ransoms a dog and a cat with the last money, frees a crane that has fallen into a snare; the hunter, in need, feeds the eagle for three years. The same manifestation of ideal qualities is the fulfillment of duty, honoring elders, following wise advice. Usually advice comes from old men and women who embody life experience the ability to anticipate events. These characters often act as wonderful helpers. In the tale of the three kingdoms, Ivan Tsarevich, setting off in search of his kidnapped mother, defeats a many-headed serpent, following her command "not to strike with weapons twice" or to rearrange the barrels with "strong and powerless water." The plot “Go there, I don’t know where” is all based on the fulfillment by the archer of the wise advice of his wife. Failure to comply with the order, violation of this word is regarded as a fault and carries grave consequences: miraculous objects, the bride, are stolen from Ivan Tsarevich.

Special persuasiveness doing the right thing gives the initial erroneous behavior. Ivan Tsarevich thinks where to get the heroic horse. When asked by an oncoming backyard grandmother, what he thought about, he answers with rudeness, but then changes his mind, asks the old woman for forgiveness and receives the necessary advice.

The personality of the hero is manifested in his actions, in his reaction to the outside world. The plot action (situations in which the hero is placed) serves to reveal and prove the truth. positive qualities of a person, the correctness of his actions, as corresponding to the norms of human behavior in society. For each good deed, the hero is rewarded with magical items: an invisibility cap, a self-assembled tablecloth, wonderful animals - a heroic horse, helper animals. The reward may be in the form of advice - where to find a horse, how to find the way to the betrothed, to overcome the snake [Propp 2010: 219].

A fairy tale knows two main types of heroes: Ivan Tsarevich - the hero of magical and heroic plots ("Three Kingdoms", "Kashchey the Immortal", "Rejuvenating Apples", etc.) and Ivan the Fool - the hero of fairy tales "Sivka-Burka", "Magic Ring", "Wonderful Gifts", "Humpbacked Horse", etc. Existence various types heroes finds its historical and aesthetic conditionality, the latter is determined by the desire to comprehensively reveal the national ideal. The goal of the hero in different plots is different: to return to people the light that the snake swallowed, to save the mother from the monster and find the brothers, to restore the sight and health of the old man, turns the queen into a white duck, and then tries to kill her children.

Revealing the images of its heroes, the fairy tale conveys folk ideas about people, their relationships, affirms kindness and fidelity. The image of the hero is revealed in a complex system of plot oppositions. The antithesis is artistic technique, with the help of which the central image receives an in-depth characterization. Contrasting the hero with his opponent (the pest) is of particular importance, since the relationship of these characters is an expression of various life principles and thus become a means of revealing the ideological content of fairy tales.

The main types of heroes - active (Ivan Tsarevich) and passive (Ivan the Fool, stepdaughter) - also correspond to the types of opponents. Conventionally, they can be divided into two groups: monstrous opponents of the "other" kingdom - snakes, Kashchei, Baba Yaga and others, and opponents of "their" kingdom - the king, princess, brothers, etc. [Pruss I. 2013: 47].

Monstrous opponents are the characters of heroic plots. Folk fantasy paints them as fantastic monsters. Intentionally portraying the characters as outwardly ordinary people - good fellow, a red maiden, the tale resorts to hyperbole when describing enemies: a nine-headed snake, a peasant with a marigold - a beard with an elbow. All of them are aggressive, bring death and destruction to people: they kidnap women, children, burn kingdoms. But the more monstrous the enemy, the more determination and courage the hero must have.

The antagonistic relationship between the hero and his opponent is the basis of all fairy tales. But despite the general similarity of the plot plot, none of the tales nevertheless repeats the other. This difference lies, in particular, in the plot variety, which is largely due to the numerous images of opponents. Each of them has a specific traditional function in the plot, hence the differences in appearance, attributes, properties that give rise to special forms of struggle with them. The number of opponents of the hero will increase even more if we take into account that different characters can be hidden behind one name.

Thus, in addition to the main characters - the hero and his opponent - there are many other characters in the fairy tale, each of which has its own purpose in the plot action; among them, the group of characters who give miraculous helpers, and the miraculous helpers themselves, is especially numerous. These are characters from a fairy tale.

In fairy tales, domestic and wild animals always stand on the side of the hero: the horse helps to defeat the snake, the cow Burenushka does hard work for her stepdaughter, the cat, etc. a dog returns the ring stolen by the princess, a bear, a wolf, a hare help the prince get Kashchei's death or deal with the sorcerer - his sister's lover.

Since ancient times, wishing to save oneself from illnesses and accidental dangers, striving to ensure good luck in all matters, the popular imagination endowed bread, water, fire, as well as a wide variety of objects with a magical function: flint, towel, needle, mirror, ring, knife, etc. This belief is confirmed in numerous rituals and customs, it was reflected in a peculiar way in the tale of miraculous properties individual items, with the help of which the hero performs difficult assignments, avoids danger. Miraculous objects in a fairy tale are, as a rule, outwardly ordinary household items- comb, brush, towel. Miraculous Properties are concluded in their action: the tablecloth feeds all the hungry, the towel spreads like a river, the comb turns into an impenetrable forest.

One of the most popular negative heroes of the Russian fairy tale is the Serpent Gorynych. A survey among students, which consisted of only one question: "Name the most popular negative heroes of Russian fairy tales in descending order," showed that the most "popular" negative heroes of Russian folk tales are: Koschey the Immortal, Baba Yaga, Serpent Gorynych, Vodyanoy , Leshy.

Koschey the Immortal - 100%

Baba Yaga - 98%

Serpent Gorynych - 80%

Water - 70%

Goblin - 65% [Strelkova L.P. 2012:109-110].

At different stages of cultural development and in different national traditions, the Serpent acquired numerous variations of his image, complete and interesting enough to consider this hero, identify his distinctive features, and create a collective image of the negative hero of a Russian folk fairy tale. “In the realm of fabulous legends, one of the most important fields belongs to the fiery, flying serpent…”

What is the Serpent and snake fighting in the view of the Slavs?

Afanasiev in " Poetic views Slavs to nature” Serpent is characterized as a poetic representation of thunder, lightning and meteors. He says that folk fantasy created many mystical images, and one of them was the image of a snake - the personification of lightning, the whimsical bend of which resembled a snake gliding along the ground.

The importance of the image of the Serpent Afanasiev finds in close connection with many of the main religious ideas of the Slavs. Beliefs ascribe to the Serpent demonic properties, heroic strength, the ability to change one's appearance, the possession of countless riches and living water, and knowledge of healing herbs [Dmitrieva 2012: 371].

Propp believes that almost all fairy tales can be reduced to a plot about the abduction of a princess by a snake, and he, in turn, to an even more ancient plot of the kidnapping of the sun by a cloud: "... morphologically, all these fairy tales can be derived from fairy tales about the kidnapping of a princess by a snake, of the species that we tend to consider the main one. Propp emphasizes that the kite does not have a complete external description, there are only individual elements, such as many heads or the fact that the kite is flying, but, nevertheless, the wings are almost never mentioned, from which we can conclude that it soars without wings. The flight of a snake resembles the flight of Baba Yaga - accompanied by a storm, wind.

The serpent is a very famous character in fairy tales and epics, most often he appears before the reader in the form of an enemy with whom the hero will have to enter into an uncompromising struggle. Among all negative characters Russian folk fairy tales in popularity, he is second only to Koshchei the Immortal and Baba Yaga.

He is one of the most complex and unsolved figures of world folklore and world religion. The snake image in the fairy tale is extremely complex and versatile, because it is a combination of several animals, that is, it is a hybrid creature.

First of all, this creature is multi-headed, especially in Russian fairy tales, and this is its indispensable feature. The number of heads is different, 3, 6, 9, 12 heads predominate, but 5 and 7 also come across. Also, usually, the Serpent is a fire creature that can fly. In addition to the fire element, the serpent is also associated with the water element, and these two elements do not exclude each other. There are fairy tales in which he lives in the water and sleeps on a stone in the sea. At the same time, the serpent is often called the Serpent Gorynych, and, therefore, lives among the mountains. However, such a location does not prevent him from being a sea monster at the same time. In some tales, he lives in the mountains, but when the hero approaches him, he comes out of the water.

According to the functions, V.Ya Propp divides Russian fairy-tale kites into 4 categories. fairy tale snake

abductor snake

The serpent engaged in requisitions

Border Guard Serpent

Devouring snake [Tolstikova 2012: 59].

As you can see, in fairy tales, the image of a snake can be positive and negative. The duality of his image is explained by different attitudes towards the snake at various historical stages. AT primitive society the snake was revered as a totemic animal, later it was interpreted in folklore as an image that personifies the totemic, formidable forces of nature, and then the oppressor, rapist, enemy of the people.

Thus, it is possible to fully describe this negative hero. The snake is engaged in requisitions on the orders of his master - the Water King. Initially, the snake has three heads, but if they are cut off, the number of heads doubles. The serpent lives in the water, and, going out on requisitions, raises it to the sea big waves, thus all the other heroes of the tale understand that it is he who is approaching. In a fairy tale, he acts clearly in accordance with his goal, or rather an order. He only needs to pick up Martha the Princess and take her to her owner. Naturally, when he comes across obstacles on the way, such as Ivan - Tsarevich, for example, he eliminates them, engaging in battle with the enemy. In this type of snake, his certain “individuality” and character traits are not manifested, he acts here as a “robot” doing a certain job, so you can’t even agree with him.

Thus, the following types of heroes are distinguished in Russian fairy tales: the main characters are Ivan Tsarechiv and Ivan the Fool, antagonist heroes, magical helpers and magical objects.

© flickr.com/photos/sofi01

Folklorist Varvara Dobrovolskaya about two types of fairy-tale heroines, the ideal of a woman and the origin of Baba Yaga.

All female characters Russian fairy tales are divided into two large groups: the characters of this world, that is, the world of a fairy-tale hero, and the characters of another world, the world where he goes fairy tale hero where wonderful curiosities are located, where enemies live, where the Serpent takes away the beautiful royal daughters.

Varvara Dobrovolskaya- Candidate of Philology, Head of the Folklore and Ethnographic Department of the Center for Russian Folklore, doctoral student at the Institute of World Literature named after A.I. A.M. Gorky, Scientific Secretary of the State Republican Center of Russian Folklore.

Typology of female images in Russian fairy tales

In the world of the hero, women are innocent, oppressed by all heroines - these are stepdaughters who are offended by stepmothers; wives who are slandered by the husband's relatives; women being turned into animals by witches, and so on. The other group is made up of beloved royal daughters, clever and beauties, whom loving fathers protect from the harmful influence of the world. This excessive guardianship leads to the fact that sooner or later the king has to announce a competition for the hand of his daughter and come up with difficult tasks for potential suitors, the most famous of which is a horse jump to the window of the princess. In another case, the girl turns out to be completely unprepared for the vicissitudes of fate, and she is kidnapped right from under the care of mothers and nannies by a large and terrible Serpent.

Of course, there are other, smaller varieties of women of this world, but they are all distinguished by their beauty and absolute unsuitability for life. The exception is devoted wives who go in search of their husbands, as, for example, the heroine of the fairy tale "Finist - the Clear Falcon", or with their all-consuming love revive the deceased lover, as in the fairy tale "The Scarlet Flower". Finally, there are heroines who marry an alien creature and then, after his murder by relatives, turn into birds that mourn their beloved all their lives, as in the fairy tale "Cancer Husband".

The characters of the other world are significantly richer. They operate in the hero's world, but in fact they are creatures of another world. These are witches and sorceresses who somehow come into contact with the hero or heroine. This is the stepmother who is actually endowed magical powers and even is in a number of fairy tales a relative of otherworldly creatures. These are all sorts of wonderful virgins that somehow appear in the life of a hero. The king-maiden, who sails to the seashore, where the hero sleeps; this is a beautiful princess, whose existence the hero learns from a portrait brought from overseas countries, or from the words of a friend who, in combination, turns out to be the brother of such a girl.

The hero can find a wife at the border of the worlds, where she resides in animal form. So, the hero finds a frog in a swamp, which at night turns into Vasilisa the Wise, carrying out all the instructions of the hero's father with the help of her wonderful helpers. Another lucky man finds his wife in the forest, where she sits on a birch in the form of a dove. Taking the bird home, the hero receives not only three hot meals a day, but also a good adviser and assistant in the fight against the tsarist regime. Finally, Ivan the merchant's son, having shown a certain ingenuity, steals the duck girl's dress and agrees to exchange it only for a wedding ring, and with her help he not only deceives the sea king, but also safely returns to his kingdom-state.

But more often, the hero is simply told about girls from another world. Usually such heroines are the subject of a hero's search. He follows them to the thirtieth kingdom, descends into the underworld, descends to the bottom of the sea-ocean. These can be completely independent and wealthy heroines who have not only their own kingdom-state, but also a garden with wonderful rejuvenating apples and a well with living and dead water.

It should be noted that in fairy tales there is a small group of characters who live on the border between the worlds. First of all, this is Baba Yaga, a wonderful old woman, and all those various assistants to the hero, all sorts of old women who appear on the road and help him with advice.

The image of a girl in Russian fairy tales

In a Russian fairy tale, the age of the hero is often indeterminate. Speaking about the fact that the hero is a boy and the heroine is a girl, the storyteller will not necessarily talk about children. So, everyone is used to the fact that a girl acts in the fairy tale “Little-Havroshechka”, but at the end of the fairy tale she marries the king’s son, that is, we are not dealing with a child, but with a marriageable girl. Similar story and with my sister Alyonushka, who also, despite her goat brother, is happily getting married.

Most likely, the girl heroine appears in a small number of fairy tales. The child hero is a rather rare type for Russian fairy tales, most often it is a boy. The girl can be found in several fairy tales: this is the Snow Maiden - a girl fashioned from snow and melted under the rays of the sun or from the heat of a fire. Probably, as a girl, one can consider the heroine from the tales of the reed on the grave, in which friends or sisters kill the youngest girl because of a jug of berries. Finally, most likely, the heroine of the fairy tale "Geese-Swans" can be considered as a child.

The girl is very rarely found in Russian fairy tales, which is understandable, because a child cannot be a hero as such. He can either be distinguished by a miraculous birth, and then the fairy tale is worried about the problem of what will happen next when he grows up and begins to perform feats, or this miraculous birth becomes the main one - the Snow Maiden melts.

The ideal of a woman in Russian fairy tales

The Russian fairy tale does not give detailed descriptions, this is not typical for the genre, respectively, and there is no ideal woman in the fairy tale. In fairy tales, a certain conditional portrait is given, that is, we can guess what kind of woman could be. Whatever you like at the moment, this is how she appears in the fairy tale. We don't even know her hair color. She is simply beautiful and, of course, smart - both Elena the Beautiful and Elena the Wise. This does not mean that one is beautiful and the other is smart. She is beautiful and smart at the same time, just depending on what the hero needs more at this particular moment: for the wife to be smart or for the wife to be beautiful - depending on the needs of the fairy tale plot, it is precisely this image of a woman that will be realized in a fairy tale.

Sometimes there are some wonderful elements of the portrait of the heroine, such as, for example, "she is so beautiful that her cerebellum shimmers from bone to bone." We can assume that her skin is so thin that we can see all her insides. It's hard to say if it's beautiful or not. But to the storyteller at the time of telling the tale, this seems to be an indicator of extraordinary beauty. If Western princesses are usually golden-haired, then our fairy-tale heroines can be dark-haired. But even such a detail as hair color is rarely mentioned in a fairy tale.

The origin and features of the image of Baba Yaga

This is a mythological character who got into a fairy tale already during the destruction of the mythological system. It is associated with the image of a priestess in initial and funeral rites. Its origin is usually associated with chthonic characters. underworld, the world of the dead, most often with snakes.

We can talk about it based on her name. The root "-yag-" in a number of dialects was used to designate snakes. One can speak about the snake origin of the yaga by some features of her appearance, preserved in fairy tales. For example, Baba Yaga never walks - she jumps. She has a bone leg. Most likely, this is the only leg of the character, and she does not have a second leg. If we understand in more detail, referring to the mythological origins of this image, it becomes clear that the only leg of the yaga is not a leg, but a snake's tail. Baba Yaga refers to the so-called snake deities who are the masters of the forest and the world of the dead. In some fairy tales, Baba Yaga is dominated by animals and birds.

Illustration by Ivan Bilibin (1876–1942)

She can be depicted as a corpse, she is in a hut, which in itself resembles a coffin, she "lies from corner to corner", "her nose has grown into the ceiling." In some tales, pieces of rotten flesh may stick out of her body. That is, she is a half-decomposed corpse. Being closest to the world of death, she acts as the first dead, the character who first passed through death, who knows how to get through the world of the dead. That is why she helps the hero-seeker to overcome the difficulties of another world, to obtain secret knowledge and treasures that are there.

But, as you know, they do not return from the world of the dead, and the hero arrives safely home. The reason for this is that the tale is associated not only with ideas about funeral practices, but also with rituals of an initial nature, in which the participant goes through death in order to receive a new life and new social qualities. This is most clearly seen in the tales of the boy and Baba Yaga, when the hero, with the help of cunning, avoids falling into the furnace. The tale in this case involved the motif of the hero's rebirth through rebirth, since the stove in mythology is synonymous with the female womb. Baba Yaga helps the hero to be reborn in a new quality, to acquire new knowledge, that is, she, as it were, performs the rite of initiation.

Russian fairy tale

How was the fairy tale genre formed? What is the audience for a fairy tale? What are the origins of the image of Baba Yaga? And what myth underlies the image of the fabulous Serpent? Varvara Dobrovolskaya, candidate of philological sciences, tells about this.

It's about the bride of the protagonist. Whether he is Ivan Tsarevich or Ivanushka the Fool, he will certainly find Vasilisa the Wise or Vasilisa the Beautiful. The girl is supposed to be saved first, and then to marry - all honor by honor. It's just that the girl is not easy. She can hide in the form of a frog, have some kind of witchcraft and abilities, be able to speak with animals, the sun, wind and moon ...

In general, she is clearly a difficult girl. At the same time, it is also some kind of "secret". Judge for yourself: finding information about her is much more difficult than about any other fairy-tale character. In encyclopedias (both in classical, paper, and in new ones, online) you can easily find lengthy articles about Ilya Muromets and Dobryn Nikitich, about Koshchei the Immortal and Baba Yaga, about mermaids, goblin and mermen, but there is almost nothing about Vasilisa . Only a short article in the Great Soviet Encyclopedia lies on the surface, which reads:

"Vasilisa the Wise is a character in Russian folk fairy tales. In most of them, Vasilisa the Wise is the daughter of the sea king, endowed with wisdom and the ability to transform. The same female image appears under the name of Marya the Tsarevna, Marya Morevna, Elena the Beautiful. Maxim Gorky called Vasilisa the Wise one one of the most perfect images created by folk fantasy. Another by nature is a destitute orphan - Vasilisa the Beautiful in Afanasiev's unique text.

Let's start, perhaps, with Vasilisa Sr., with the one that Gorky identified with Marya the Tsarevna, Marya Morevna and Elena the Beautiful. And there was every reason for that. All these characters are very similar, for example, in that nothing is really said about them in fairy tales. Like, a red maiden, which the world has never seen - that's all. Neither a detailed description of the appearance, nor any character traits. Just a female function, without which a fairy tale would not work: after all, the hero must conquer the princess, and who she is there is a tenth matter. Let there be Vasilisa.

The name, by the way, hints at a high origin. The name "Vasilisa" can be translated from Greek as "royal". And this royal maiden (sometimes in fairy tales she is called the Tsar Maiden) begins to put the hero to the test. That is, sometimes it is not she who does this, but some fabulous villain like Koshchei the Immortal or the Serpent Gorynych, who kidnapped the princess and keeps her captive (at best) or is going to devour her (at worst).

Sometimes the father of a potential bride acts as a villain. In the fairy tale, where Vasilisa appears as the daughter of the water king, the lord of the sea creates obstacles for the hero in order to destroy him, but loses, because the enemy suddenly turns out to be dear to the heart of his daughter, and no witchcraft can overcome him. But here everything is more or less clear: there is some kind of evil force (a dragon, a sorcerer or the girl's evil parents), and the hero must fight the enemy. In fact, that's how he becomes a hero. And the princess, princess or princess (it doesn’t matter) is a reward for the hero.

However, it also happens that Ivan Tsarevich or Ivan the Fool or some other central fairy tale character is forced to undergo trials not because of dragons or sorcerers - he is tormented by the bride herself. Now the hero needs to jump on horseback to the windows of her room and kiss the beauty on the lips of sugar, then recognize the girl among twelve friends who look exactly like her, then you need to catch the fugitive - or demonstrate enviable cunning to hide from the princess so that she did not find him. At worst, the hero is invited to solve riddles. But in one form or another, Vasilisa will check it.

It would seem that unusual in the tests? Testing a man is generally in female character: is he good enough to connect his life with him or give birth to offspring for him, does he have the strength and mind to be a worthy spouse and father? From a biological point of view, everything is absolutely correct. However, there is one small detail. If the unfortunate Ivan does not complete the task, then death awaits him - and this is repeatedly emphasized in dozens of Russian fairy tales.

The question is, why does the beautiful princess demonstrate bloodthirstiness, which is more likely to face the Serpent Gorynych? Because she doesn't really want to get married. Moreover, she is the enemy of the hero, the famous researcher of Russian folklore Vladimir Propp believes in his book "The Historical Roots of a Fairy Tale":

"The task is set as a test of the groom ... But these tasks are also interesting to others. They contain a moment of threat:" If he does not, cut off his head for a fault. "This threat gives another motivation. Tasks and threats reveal not only the desire to have the best groom for the princess , but also a secret, hidden hope that there will be no such groom at all.

The words "perhaps I agree, just complete the three tasks in advance" are full of deceit. The bridegroom is sent to his death... In some cases, this hostility is expressed quite clearly. It manifests itself outwardly when the task has already been completed and when more and more new and more and more dangerous tasks are being set.

Why is Vasilisa, she is Marya Morevna, she is Elena the Beautiful, against marriage? Perhaps in fairy tales, where she constantly intrigues the main character, she simply does not need this marriage. She either rules the country herself - and she does not need a husband as a competitor in power, or she is the daughter of a king who will be overthrown by her potential husband in order to seize the throne. Quite a logical version.

As the same Propp writes, the plot about the intrigues that the future father-in-law repairs to the hero along with his daughter or in defiance of her could well have real grounds. According to Propp, the struggle for the throne between the hero and the old king is a completely historical phenomenon. The tale here reflects the transfer of power from father-in-law to son-in-law through a woman, through a daughter. And this once again explains why fairy tales say so little about the appearance and character of the bride - this is a character-function: either a prize for the hero, or a means of achieving power. Sad story.

Meanwhile, in the Russian tradition there is a fairy tale that tells about the childhood, adolescence and youth of Vasilisa. Gorky just mentioned her, saying that she does not look like the usual image of a princess that the hero is trying to conquer. In this tale, Vasilisa is an orphan girl. Not sure if it's the same character. Nevertheless, this Vasilisa, unlike other fairy-tale namesakes, is an absolutely full-blooded heroine - with a biography, character, and so on.

I'll sketch the storyline with a dotted line. The merchant's wife dies, leaving him a little daughter. The father decides to marry again. The stepmother has her daughters, and all this new company begins to tyrannize Vasilisa, loading her with overwork. In general, it is very similar to the fairy tale about Cinderella. It seems, but not really, because Cinderella was helped by a fairy godmother, and Vasilisa was helped by a creepy witch from the forest.

It turned out like this. The stepmother and her daughters said that there was no more fire in the house, and they sent Vasilisa to the forest to Baba Yaga, of course, hoping that she would not return. The girl obeyed. Her journey through the dark forest was scary - and strange: she met three riders, one white, one red, and a third black, and they all rode in the direction of Yaga.

When Vasilisa reached her dwelling, she was met by a high fence of stakes, seated with human skulls. Yagi's house turned out to be no less creepy: for example, instead of servants, the witch had three pairs of hands that appeared from nowhere and disappeared from nowhere. But the most terrible creature in this house was Baba Yaga.

The witch, however, accepted Vasilisa favorably and promised that she would give fire if Vasilisa completed all her tasks. Completing difficult tasks is the indispensable path of a hero. Unlike the fairy tales mentioned above, a woman passes through this one, and therefore her tasks are female, there are simply too many of them: clean the yard, and sweep the hut, and wash the linen, and cook dinner, and sort out the grain, and that’s it. - for one day. Of course, if the tasks are performed poorly, Baba Yaga promised to eat Vasilisa.

Vasilisa washed Yaga's clothes, cleans her house, cooked her food, then learned to separate healthy grains from infected ones, and poppies from dirt. After Yaga allowed Vasilisa to ask her a few questions. Vasilisa asked about three mysterious horsemen - white, red and black. The witch replied that it was a clear day, a red sun and a black night, and all of them were her faithful servants. That is, Baba Yaga in this tale is an extremely powerful sorceress.

After that, she asked Vasilisa why she did not ask further, about dead hands, for example, and Vasilisa replies that, they say, if you know a lot, you will soon grow old. Yaga looked at her and, narrowing her eyes, said that the answer was correct: she does not like too curious and eats. And then she asked how Vasilisa manages to answer her questions without mistakes and how she managed to do all the work correctly.

Vasilisa replied that it helped her maternal blessing, and then the witch pushed her over the threshold: "I don't need the blessed here." But in addition, she gave the girl fire - she removed the skull from the fence, whose eye sockets were blazing with flames. And when Vasilisa returned home, the skull burned her tormentors.

Creepy tale. And its essence is that Vasilisa the Beautiful, performing the tasks of Baba Yaga, learned a lot from her. For example, while washing Yaga's clothes, Vasilisa literally saw what the old woman was made of, the famous fairy tale researcher Clarissa Estes writes in her book "Running with the Wolves":

"In the symbolism of the archetype, clothes correspond to the person, the first impression that we make on others. The person is a kind of camouflage that allows us to show others only what we ourselves want, and no more. But ... the person is not only a mask behind which you can hide, but a presence that overshadows the familiar personality.

In this sense, a persona or mask is a sign of rank, dignity, character and power. It is an external pointer, an external manifestation of mastery. When washing Yagi's clothes, the initiate will see firsthand how the seams of the person look, how the dress is tailored.

And so it is in everything. Vasilisa sees how and what Yaga eats, how he makes the world revolve around him, and the day, the sun and the night walk in his servants. And the terrible skull, blazing with fire, which the witch gives to the girl, in this case, is a symbol of the special witchcraft knowledge that she received while she was in Yaga's novices.

The sorceress, by the way, might have continued her studies if Vasilisa had not been a blessed daughter. But it didn't work out. And Vasilisa, armed with power and secret knowledge, went back to the world. In this case, it is clear where Vasilisa's magical skills come from, which are often mentioned in other fairy tales. It is also understandable why she can be both good and evil.

She is still a blessed child, but the school of Baba Yaga is also not going anywhere. Therefore, Vasilisa ceased to be a meek orphan: her enemies died, and she herself married the prince and sat on the throne ...

Mikhail Pasechnik

Lecturer: Voiloshnikova L.V.

Plan - abstract open lesson in the discipline "Composition"
Theme: Fairy tale character

Discipline: composition (2 hours) group: 2B

Purpose: To create a certain image of a fairy-tale character based on the knowledge gained
Tasks:
Expand knowledge in the field of composition on the topic "Fairy-tale character".
Develop communicative competence, creativity, skills in creating an artistic image of a composition by means of expressiveness;
To form visual literacy by performing compositional searches.

Literature: Anikin, V.P. Russian folk tale. A guide for teachers. - M.: "Enlightenment", 1977. Grushko, E.A., Medvedev, Yu.M. Russian legends and traditions. - M.: Eksmo Publishing House, 2004.
Visual range: Reproductions of illustrations by artists: V. Korolkova, S. Kovaleva. Works of students of previous years.
Equipment for students: Visual materials, paper.

Lesson plan:

I. Organizational moment

II. Message of the new material: "Typification of the image in art"

A conversation about fairy-tale characters in Russian folk epic
The use of means of artistic expression when creating a fairy-tale character.
Analysis of reproductions of paintings by artists, illustrations of children's books and students' works.
The sequence of execution of the composition on the theme "Fairy-tale character".

III. Practical work

Performing Linear Searches fairy tale characters;

IV. Summary of the lesson

Protection of the created image of a fairy-tale character.
Assignment for independent work of the student.

Abstract
In the previous lessons, you studied the laws, rules and techniques of composition, as well as performed various compositional exercises. By completing work on today's and subsequent topics, you will apply the studied theoretical aspects compositions in practice.
Today I would like to start our lesson with a literary work:
Once upon a time there lived an orphan girl. Her stepmother did not like her and did not know how to get rid of the world. One day she says to a girl:
- Enough, you have free bread! Go to my forest grandmother, she needs a day laborer. You will earn your own living. Go right now and don't turn anywhere. As you see the lights - there is a grandmother's hut.
And it’s night outside, it’s dark - even gouge out your eye. The hour is near when the wild beasts will go hunting. The girl was scared, but there was nothing to do. She ran, not knowing where. Suddenly he sees a ray of light ahead. The farther it goes, the brighter it becomes, as if fires were kindled not far away. And after a few steps it became clear that it was not the bonfires that were glowing, but the skulls impaled on stakes.
The girl looks: the clearing is studded with stakes, and in the middle of the clearing stands a hut on chicken legs, turning around itself. She realized that the stepmother, the forest grandmother, was none other than Baba herself, the yaga.
She turned to run wherever her eyes looked - she heard someone crying. He looks, large tears are dripping from empty eye sockets in one skull. “What are you crying about, human?” she asks.
- How can I not cry? the skull answers. - I was once a brave warrior, but I fell into the teeth of Baba Yaga. God knows where my body has decayed, where my bones are lying. I yearn for the grave under the birch tree, but, apparently, I don’t know the burial, like the last villain!
Then the rest of the skulls began to cry, who was a cheerful shepherd, who was a beautiful girl, who was a beekeeper. Baba Yaga ate everyone, and planted skulls on stakes.
The girl took pity on them, took a sharp branch and dug a deep hole under the birch. She put the skulls there, sprinkled earth on top, covered it with turf.
- Thank you, kind soul, - hears voices from under the ground. - you have put us to rest, and we will repay you with kindness. Pick up a rotten one - it will show you the way.
The girl bowed to the ground to the grave, took a rotten one - and, well, run away!
Baba Yaga came out of the hut - and in the clearing it was dark dark, even gouge out her eye. The eyes of the skulls do not glow, she does not know where to go, where to look for the fugitive.
And the girl ran until the rot went out, and the sun rose over the earth. Here she met on a forest path with a young hunter. He liked the girl, he took her as his wife. They lived happily ever after.
? I think you guessed what genre of oral folk art (narrative literature) is? (Story).
? And what is a fairy tale in your understanding? Explain?
This is one of the types of oral folk art. Indeed, among the people there are also songs, proverbs, sayings, epics, tales, legends, traditions. The main thing that a fairy tale differs from them is that it contains fiction, fantasy.
A fairy tale (Slide) is the oldest folk genre of folklore of a predominantly fantastic nature, aimed at moralizing and entertainment. In fairy tales, the character of the people, their wisdom and high moral qualities are manifested. Some have Proto-Slavic roots and reflect ideas about the world and man of our distant ancestors.
“Tales, wrote A. N. Tolstoy, are the remains of ancient beliefs in the pagan deities of Perun, Stribog, Veles. Almost every fairy tale depicts the struggle of evil with good; the struggle of the forces of nature harmful to man with the useful ones; good always triumphs, evil remains deceived or defeated. Beautiful tales about Ivan Tsarevich and the Firebird, Vasilisa the Wise, Baba Yaga, trying to ruin her granddaughter, or a good sorceress are taken from life, from the people's faith in the truth.
Fairy tale reveals complexity to the child human relations, warns that in the world there is ingratitude, deceit, rotosey, stupidity, lies, cruelty, in a word, human sins, however, as well as virtues: devotion, honesty, diligence, kindness, etc.
And who just does not inhabit the ancient, keeping thousands of secrets and mysteries, exciting the world of fairy tales, myths and legends. “There are miracles, the goblin roams there ..” and not only him: good brownies and dangerous mermen, seductive mermaids and insidious witches, miracle birds and talking animals, mighty giants and beautiful swan maidens, werewolves, field workers, coastlines.
(Slide) The topic of our lesson is “Fairy-tale character”, it is designed for 18 hours of study. During this time, you will have to complete two fairy-tale characters or mythical hero.
In fairy tales, positive characters act: the main character is active, enterprising, making bold deeds. This is either Ivan Tsarevich, a hand-written handsome man, or the third, stupid son - Ivan the Fool. To match them, female images - Elena the Wise, Vasilisa the Beautiful, the king - a maiden, Marya Morevna. They are so beautiful that "neither in a fairy tale to say, nor to describe with a pen."
The main characters are opposed by sharply negative characters: insidious, evil, envious, cruel - Koschey the Immortal, Baba Yaga, Serpent Gorynych, famously one-eyed. They are monstrous and ugly in appearance, insidious, cruel in the confrontation with the forces of light and good.
In difficult times, assistants come to the aid of the main characters: magical animals, kind old women, wonderful uncles, strong men, walkers. Magical wonderful objects are distinguished by a great variety: a flying carpet, a self-assembled tablecloth, walking boots, an invisibility cap, living and dead water.
Despite the fact that the description of the appearance of the heroes of a fairy tale is very conditional (“such a beauty that the eye would not take away for a century”), everyone visibly imagines them. Famous illustrations for Russian folk tales play an important role in this.
All these images are connected with the origins folk epic, legends, rooted in deep antiquity.
Let's look at illustrations by artists, the origin and interpretation of the most common images.
? What is the most common image in fairy tales? Describe her appearance and character?
Baba Yaga. (Slide). Let us recall what features and what role Baba Yaga is endowed with. She lives in a dense forest in a strange hut on chicken legs, which stands on the edge of the forest, and then there is no way for the hero - only pitch darkness, nothing is visible.
According to the miraculous spell “Stand back to the forest, to me in front”, the hut turns to the hero, and he enters this strange dwelling. Baba Yaga meets him with the same grumbling and snorting: “Fu-fu-fu! Previously, the Russian spirit was not heard, it was not seen by sight; now the Russian spirit sits on a spoon, rolls itself into the mouth. Yaga is uncomfortable with the smell of a living person. “The smell of the living is also disgusting and terrible to the dead, just as the smell of the dead is terrible and disgusting to the living” (V.Ya. Propp). Baba Yaga is dead. She lies across her hut "from corner to corner, her nose has grown into the ceiling." The hut is cramped for Yaga, in it she is like in a coffin. That Yaga is a dead man, her bone-footedness also says. A living person meets Yaga - a dead man in that region where the raven does not bring bones. This is the realm of death. It brings death to all living things. Baba Yaga is blind: she does not see the hero, but smells him.
Baba Yaga is the mistress of animals, they are all subordinate to her. faithfully serve her Gray wolves, swan geese, fish and reptiles.
From ancient times in Yaga, people saw an ancestor in the female line - the ancestor - an old woman who lived beyond the line that separates the world of living people from the dead.
Baba Yaga is a mythical image of the rulers of the natural world. The hut, reminiscent of its cramped coffin, testifies to ancient custom to bury the dead on the platform (air burial).
Fairy tales say that Yaga reclines "on the stove, on the ninth brick", travels around the wide world in a mortar or on a broomstick, rests with a pestle. Yaga inspires disgust and horror. Such an attitude towards Yaga appeared at the stage of the destruction of matriarchy and the establishment of the patriarchal system. The once respected being was reduced from his high place in the hierarchy of revered supernatural beings.
Indeed, in most ancient fairy tales, Yaga takes on the role of a donor of some wonderful object, gives wise advice - instructions on how to behave as a hero in the upcoming difficult trials. In numerous Russian fairy tales, Baba Yaga is found as an assistant to the hero, but more often as a hostile creature - an ogre. However negative traits were not the original property of the image of Baba Yaga. The role of Yaga - the giver is quite consistent with the fact that in this fantastic image they saw a helper for everyone who got into the world of death and destruction.
Later, the image of Baba Yaga acquired the features of medieval witches. We know her like this from later fairy tales. She is trying to roast the baby in the oven. Probably, originally it was about saving a child from death. There was such a custom in Russia, to “bake” a child: they put him in the oven, like bread, in order to restore his health.
When considering the image of Baba Yaga, attention is drawn to the means by which the expressiveness of the image is achieved (fabulousness, unusualness, expressiveness of the character, emotions (facial expressions)). What techniques were used in the work (techniques of typification and hyperbolization, elements of myth, creative imagination).
So, with the help of Baba Yaga, the hero enters a mysteriously creepy world - realm of the dead. Rule the kingdom scary monsters. The hero meets snakes with many heads, with which a person fights not to the stomach, but to death.
? Describe the snake.
(Slide) A multi-headed monster, a serpent is a fiery winged creature. When he flies, a “strong storm rises above the earth - thunder rumbles, the earth trembles, dense forest bows down." A fierce serpent flies towards the hero, scorches with fire, threatens with death.
In a fairy tale, the habitat is associated with the mountains - they say about it: “The Serpent Gorynych”. "Gorynych" seems to mean "living in the mountains." Associating the Serpent with the mountains and calling him Gorynych, the people originally did not mean the mountains in the direct and exact modern sense of the word. "Gorynych" - this means "dwelling at the top", not necessarily on the mountains. Meanwhile, real mountains were called differently in ancient times.
The common Slavic word "mountain" at one time meant not mountains, but a forest. Consequently, "Gorynych" could also have the meaning of "forest", "derived from the forest, the tree."
Fire was produced by rubbing wood against wood. The wood was used for fuel. "Gorynych" could also mean the fire that arose as a result of a lightning strike in a forest tree. If the serpent is fire, then it is not difficult to understand why the fabulous serpent is endowed with many heads: these are numerous fiery tongues. In place of the felled heads, many others grow: the fire, badly extinguished in one place, flares up again; in place of one tongue of flame, many others arose.
The question arises: why did people liken fire to a snake?
The combination of the concepts of a snake and fire - “Snake Gorynych” - could arise on the basis of a common symptom: with a snake bite, a person felt a sharp burning sensation, similar to a burn sensation. Also, fire crawls across the ground. It is noteworthy that the word "snake" is interpreted by linguists as crawling on the ground. THOSE. the words "snake" and "earth" are the same root. Such is the ancient mythical image of a powerful, insidious serpent-fire, in fairy tales nothing is said about its positive features.
Image analysis.

Koschey (Slide) - always appears in a fairy tale as a kidnapper of women, turning them into his slaves. In addition, he has untold wealth.
In the imagination of storytellers, he appears as an ugly old man, a rapist, an insidious killer, a miser, a soulless, cruel destroyer. There is nothing human in it. Koschei is an armed invader. The storytellers endowed Koshchei with the real-life and moral features of the military leaders who appeared.
Fairy tales depict Koshchei as a withered, bony old man with sunken burning eyes. He adds and diminishes people's age, but he himself is immortal. The fairy tale did not put up with injustice and ruined the immortal Koshchei.
In the Old Russian language, the word "koshchei" meant a slave, a captive, a servant. However, in fairy tales, Koschey is not a slave, but a lord. The word "koschey" is an adjective that replaces such words as "thin", "skinny", "bony".
A slave, a slave is called Koshchei because he belongs to Kosh. Kosh is the master, Koschey is the slave. This name was given to the old man, whom Marya Morevna defeated: he is really a slave - a koschey.
Image analysis.

Brownie (Slide - part of the mythical ideas about the power and strength of the ancestors passed into the relatively late concept of the brownie. - this is the keeper of the hearth, the invisible helper of the owners. He can tickle and rattle dishes in a dream, or tap behind the stove, but he does it more out of mischief.But his main business is to inspect the household.
Image analysis.

Vodyanoy (Slide) - "grandfather of the water - the head of the water." They represent the waterman - an old man covered with swamp grass. Rumor has it that this is a half-fish, half-man, he has a beard, like grass or mud. The hair is long, also from this mire. The body is smooth, iridescent, like fish scales. Sometimes it takes the form ordinary person and appears in a village or in a city, but the water owner could be recognized: water constantly drips from the left floor of his clothes.
His favorite fish is catfish, on which he travels around the property. Mermen marry mermaids and beautiful drowned women. The Vodyanys also have their own houses: in the thickets of reeds and sedges they have built rich chambers of shells and semi-precious river pebbles.
Image analysis.

Leshy (Slide) - the goblin lives in every forest. He is dressed like a man - a red sash, the left half of the caftan is usually wrapped behind the right, and not vice versa, as everyone wears. The shoes are mixed up: the right bast shoe is worn on the left foot, the left one on the right. The goblin's eyes are green and burn like coals.
He has no eyelashes or eyebrows, as well as his right ear. The goblin can become a stump and a tussock, turn into an animal and a bird, because he is not only the spirit of the forest, he is also his essence: he is overgrown with moss, snores, as if the forest is noisy.
Votyaks think that he has one leg and that one is turned upside down, heel forward, one big eye, dressed in an animal skin, with horns and hooves.
Image analysis.

(Slides). Various fairy tale characters.
Image analysis.
Look, all these images are endowed with the features of a Russian national character, his way of life, are imbued with love for Russian nature and at the same time in them a mystery and a riddle.

So, we examined fairy-tale characters, how storytellers describe them and depict illustrators, identified them mythical origin. It can be concluded that to convey the image, its expressiveness, artists use various techniques and means of expression.




Agglutination is “gluing”, a way to create a new image by connecting, gluing completely different objects or their properties. connection of the human figure and the wings of a bird).

Analysis of students' work.
On the example of reproductions from children's books and students' works, analyze the characters, determine their image (positive, negative hero) and emotional state.

Any composition on a theme is performed according to the following algorithm:
- at the first stage, a lot of linear searches for an image in a pencil are performed (character is transferred);
- then the most successful of them are selected and placed in a certain environment (scene) - a swamp, a barn, a house, a forest, etc. It is possible that your character will perform some actions (teasing a cat, taking a bath, holding on to a bad tooth, dancing, crying, etc.), depending on this, the emotional state of the character is depicted; -those. song is searched.
- at the next stage - the search for a composition in color;
- and at the end of the work - transfer to the format and execution of the composition in the material.
Target setting for practical work:
You need to perform a linear search for one of the fairy-tale characters, convey his image, character, emotional state. Try not to make your image look like existing images.
At the end of the session, you will present your images to us. Protection schemes will help you with this.
Practical work.
Performing a compositional exercise by students (independent work).
Summary of the lesson
Exhibition of works. Individual protection of the created images.
Assignment for independent work

Fairy tale character protection scheme

Character name
Positive or negative character? Why?
What is the nature? (kind, evil, greedy, treacherous, formidable, two-faced, ungrateful, stupid, deceitful, cruel, devoted, honest, hardworking, fierce, etc.)
Describe the appearance of the character? (does the appearance of his essence, character, or is he hidden; what is his emotional state (cheerful, sad, playful, etc.)
How original, not similar to existing ones?
By what means is the expressiveness of the image achieved? (fabulousness, unusualness, expressiveness of the character's character, emotions (facial expressions)). What techniques were used in the work (techniques of typification and hyperbolization, elements of myth, creative imagination).

Thesaurus

Hyperbolization is an exaggeration used to enhance the artistic impression.
Typification is an artistically generalized image of human individuality, the most possible, characteristic of a particular social environment.
A typical image is always collective.
Collective image- an image that combines the best and character traits people.
Mythical image. From the word myth - fabulous, fictional, implausible, fantastic.
Emotional state - transmitted through facial expressions.
Agglutination is “gluing”, a way to create a new image by connecting, gluing completely different objects or their properties (connecting a human figure and bird wings).