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Staging p. Staging and automation of sounds "t d"

Honored Artist of Uzbekistan, humorist Obid Asomov died in Tashkent at the age of 56. The day before, on December 11, Asomov was hospitalized at the First Clinical Hospital. Despite the medical assistance provided, the actor died on December 14 in the hospital.

The famous comedian, who had long been friends with Asomov, Evgeniy Petrosyan, expressed his condolences to the family of the deceased Uzbek artist. Farewell to Obid Asomov took place in the Kukcha mahalla on December 15.

Asomov Obid Agzamovich is a Russian and Uzbek actor-comedian. Actor of the humorous TV show “Crooked Mirror”, aired on the “Russia-1” channel.

Obid Asomov - biography

Studied at the Art College named after. Benkova, graduated with honors. The next year, Obid entered the art department of the Tashkent Theater Institute, which he never graduated from.

During his studies, Obid worked as a toastmaster and gave humorous concerts in cultural centers and clubs. Once, director Latif Fayziev, who was working on the Soviet-Indian film “By the Law of the Jungle” at that time, visited one of his concerts. After filming the debut film, offers from other directors began pouring in, and with the advent of popularity, endless tours around Uzbekistan began.

In 2000, Farrukh Zakirov invited Obid to work as a presenter during the Yalla group’s tour of Germany. The comedian-presenter visited 29 cities in Germany from Frankfurt to Hamburg within a month.

In the late 2000s, the famous comedian Yevgeny Petrosyan invited Obid Asomov to perform on stage together. The actor has since performed on the TV show “Distorted Mirror”.

In 2009, Asomov was banned from appearing on Uzbek television “for mocking the Uzbek nationality.” More than five years later, in May 2017, Asomov reappeared on Uzbek television.

On May 24, 2018, he was appointed director of the State Unitary Enterprise "Animation Filmlar Studiyasi" (Animation Film Studio) at the Uzbekfil Film Studio.

On December 11, 2018, Obid Asomov was hospitalized at the 1st Clinical Hospital with a diagnosis of “Ischemic heart disease, acute attack, arrhythmic shock.” Despite the medical assistance provided, the actor died in the hospital at 17:30, December 14, 2018.

Tchaikovsky Dreams at the Mikhailovsky Theater

A real scandal at the Mikhailovsky Opera House in St. Petersburg - what a premiere! The production of Tchaikovsky’s “Iolanta,” which was carried out by director Andriy Zholdak together with conductor Peter Ferants and multimedia author Gleb Filshtinsky, caused a real storm: through applause and cries of “bravo!” isolated cries like “shame!” were heard. and “a mockery of Russian art!” The performance was completely sold out and there was great excitement: tickets were sold out long before the premiere, journalists were denied accreditation due to lack of seats, relatives were shoved into the gallery... Who would have thought that classical music at the height of the 21st century could arouse such operatic passions!

Andriy Zholdak has a reputation as a provocateur and even a hooligan. Which is quite surprising, because his direction is not at all more radical than the artistic searches and machinations of his colleagues - world and Russian. But something about Andria himself excites people. Knowing him personally, I will try to guess: he is sincere and honest. He actually feels, sees and hears exactly as he puts it. And therefore it seems not entirely adequate - like everyone who is confident in his artistic correctness and genius, and therefore is not too puzzled by diplomacy and political correctness. While Zholdak was working on the play, trying, inventing, fantasizing, gushing, rejecting what was invented, he seemed to have quarreled with the entire theater. Some artists simply refused to work. Someone got sick right before the premiere. In this atmosphere of hysteria, a performance was born, imperfect, but incredibly strong, filled with contradictions and provocations, but in its main idea - whole and correct, annoying and annoying, but at the same time giving rise to a feeling of belonging to something high and spiritual. In short, a “bad” good performance.

Zholdak's handwriting is easily recognizable from the first minutes. Of course, everything begins in silence. Of course, on stage, stewards in snow-white headdresses and gloves are serving something. Of course, the living Pyotr Ilyich Tchaikovsky himself sits at the table, and the score is born from his pen. By the way, this is not the first time Tchaikovsky has been present on stage as an online creator of his music. In the recent Amsterdam production of The Queen of Spades by Stefan Herheim, the composer was very actively involved in the action, which only proves that it is not easy to come up with something new in opera directing.

It's only when we see the first notes of the intro on the giant projection screen that the orchestra enters. Video projection and light in this performance are the most important components of the spatial solution. Gleb Filshtinsky created a true masterpiece by combining real scenery (the performance designer was Zholdak himself along with his son Daniel) with the play of video and light. Filshtinsky’s work has nothing in common with pathetic designer “backgrounds” and animated “comments”, which have already set teeth on edge and turned into a provincial cliche. Here, thanks to multimedia, real magic happens: the configuration of space changes, virtual three-dimensional worlds are built, which interface with the material world of hard scenery. The huge framed wall becomes transparent - and through it we see flashback pictures of Iolanta’s childhood. Sometimes ghosts appear from this gigantic picture, and the quality of the video is such that it is not immediately clear whether it is a living artist in front of us or an image. The artists come into real contact with the images: they take them by the hand, materialize, fade away... Sometimes the picture becomes a blank wall, sometimes it turns into a mirror, behind which lies the mystical world of looking-glass doubles.

Photo courtesy of the theater press service.

All this is not a show designed to surprise with special effects. The creators of the play reproduce on stage “multiple states of being,” as Rene Guenon put it. Everything exists always and everywhere. Today, the past, the subtle world of ghosts, the divine world of angels, the world of artistic creativity in which the composer becomes the main character, the world of dreams in which the heroine guesses the existence of something other than darkness, the world of theater in which we are watching here and now performance - all these realities do not seem to be an eclectic flight of the authors’ wild imagination. They are synthesized into a single whole, and how this is achieved - God knows.

The performance is permeated with a state of spiritual and even religious search. With all the everyday details that Zholdak knows how to use so well - including the cinematic authenticity of the interiors and his adored quotes from film classics (in this case, Tarantino) - there is nothing mundane or mundane in this story of Iolanta. The daughter of King Rene in the Mikhailovsky Theater version is certainly not a girl with disabilities who underwent a successful operation. The authors interpret the acquisition of light and the gift of vision in strict accordance with the concept of Pyotr Ilyich, who by the time he created his last opera was not only passionate about the search for spiritual truth, but also quite definitely found it in Christianity.

The finale of the performance is open. After the ecstatic final chorus, the director plunges the action back into silence. They are preparing for the wedding of Iolanta and Vaudemont. But will it happen? Will the heroine continue her path to the light through renunciation of everything worldly?

Now about the “bad”. Of course, Andriy Zholdak is a man of the dramatic theater. For all his musicality and ability to build action, intuitively obeying internal rhythm and dramatic laws not related to the verbal text, he treats the musical text in exactly the same way. What is dangerous: to fragment an opera, especially not a numbered one, but one like Tchaikovsky’s - with end-to-end development, to break up the musical dramaturgy with pauses and stops - this means entering into a dramatic war with the composer, in which Tchaikovsky will definitely win. Nevertheless, the inclusion of the adagio from The Nutcracker into the fabric of the score turned out to be interesting. It is known that “The Nutcracker” is traditionally related to “Iolanta”: the one-act opera is usually combined with a suite from the ballet. Zholdak divided his performance into two acts (the second begins with the appearance of the knights) and gave the adagio the role of a semantic and emotional climax.

Photo courtesy of the theater press service.

Among the annoying shortcomings of the performance is the director's characteristic overload of details, unnecessary characters, details, and movements. Perhaps this is appropriate in drama, but in opera there is no such need: music still dominates. And therefore Iolanta should not have brushed off invisible flies in the episode before the operation, the pianist starting to play the adagio should not have clumsily pretended to play the piano when the music had already been picked up by the orchestra, and certainly the two mysterious old men should not have polished the floors and brushed dust from the windows ram. If a director like Zholdak fell for the cliche code-named “opera cleaning,” then this phenomenon definitely deserves serious research. Perhaps even with the involvement of psychotherapists: why are all the directors so obsessed with the desire to sweep and wipe the dust?!

The musical side of the performance was disappointing. The Mikhailovsky Theater has always demonstrated the high level of the opera troupe's condition. “Iolanta” raised a lot of questions. Maria Litka found it frankly difficult to cope with the title role. Not very accurate intonation, equally inaccurate articulation, obvious difficulties on the upper notes, especially when drunk. The singing of Alexander Bezrukov (Rene) turned out to be even more problematic. The vocals began in the second act, when Sergey Kuzmin (Vaudemont) and Alexey Zelenkov (Robert) came on stage - two “Siberian guests” discharged from NOVAT, fortunately he is a close relative of Mikhailovsky through the general director Vladimir Kekhman. Kuzmin has practically become Mikhailovsky’s soloist, which is very joyful. Zholdak came up with a witty solution for their arias: both artists sing their hits exactly as concert numbers - standing on the proscenium, receiving applause and willingly bowing to the audience (the backdrop at this moment turns into a mirror image of the Mikhailovsky Theater hall). But even their strong voices are drowned out by conductor Peter Feranets in an endless fortissimo. Alas, the maestro was unable to convey the expression of Tchaikovsky’s music in organic unity with the voices. After all, forte is not an emotion. Or it's no longer an emotion.

Despite all the ambiguity of what was seen and heard, it is impossible to get rid of the feeling that the performance took place. And the cries of “shame!” in this case they hardly have any meaning other than increasing the degree of perception. And if the performance “succeeds” musically - which is quite possible, as long as such a task is set - then “Iolanta” at Mikhailovsky will not be a “mockery of Russian culture”, but its brightest event.

Saint Petersburg.

Udovychenko Natalia
Articulation gymnastics

Tongue exercises:

speech therapy exercises.

Speech therapy exercises for sound[m]

Articulation gymnastics:

For the jaw:

Close your teeth, open, close;

For lips:

Close your lips "let's sit in silence";

-"smile tube".

For language:

Holding the tongue against the lower teeth on a count from 1 to 5;

Bite with your teeth.

Speech therapy exercises for sound[b].

Articulation gymnastics:

For the jaw: imitation of chewing;

For lips:

Smack your lips;

-"don't care" on the tongue;

Play the harmonica.

For language:

We will press our tongue with our lips: five-five-five.

And then we’ll press it with our teeth: cha-cha-cha.

Speech therapy exercises for sound[f].

Articulation gymnastics:

For lips:

Who can make a better pipe?

Make your lips look like a donut (show your upper teeth, lift your upper lip);

Bite your lower lip with your upper teeth.

For language:

Tongue wide (keep counting from 1 to 5,

The tongue is narrow,

Alternating wide and narrow language.

Speech therapy exercises for sound[c].

Articulation gymnastics:

For lips:

Lips in "tube": relax

Mouth corners to the sides and relax;

Smack your lips

Bite your lower lip with your teeth.

For language:

Place your tongue wide on the lower lip and hold it for a count of 1 to 5;

-"brush your teeth";

- "painter".

Speech therapy exercises for sound[n].

Articulation gymnastics:

For lips:

-"smile",

-"tube"- 2-3 times;

For language:

-"brush your teeth";

-"watch";

-"horses".

Speech therapy exercises for sound[t].

Articulation gymnastics:

For language:

-"delicious jam";

We will press our tongue with our lips:

And then we’ll press it with our teeth: cha-cha-cha.

Speech therapy exercises for sound[d].

Articulation gymnastics:

For lips:

-"smile",

-"tube",

-"mouthpiece"- 2-3 times;

For language:

-"brush your teeth";

-"prick the upper teeth";

-"fungus".

Sound setting [T]

By imitation:

Repeated isolated pronunciation of a sound based on symbols “How do the wheels of a train knock? - t-t-t” (Fomicheva)

Mechanically:

a) Ask the child to pronounce PA-PA-PA-PA-PA, placing the tip of his tongue between his lips. Then, at the moment of pronouncing pa-pa-pa-pa, the lips are moved back (either the child smiles, exposing the upper and lower teeth in front of the mirror, or the adult helps to move the lips away with the thumb and forefinger. At the moment of moving the lips apart, we will hear ta-ta-ta-ta.

b) press the front part of the back of the tongue to the upper lip, use a spatula to carefully push the tongue towards the upper gum and invite the child in this position to blow sharply onto a strip of paper.

Sound setting [d]:

By imitation:

The speech therapist shows and explains to the child articulation pattern. Then asks: “How does a woodpecker chisel a trunk?” Child answers: "d-d-d-d-d"

Draw the child's attention to the fact that articulation sounds [t] and [d] are distinguished by the vibration of the vocal folds .

Mechanically:

Ask your child to say ba-ba-ba-ba by placing the tip of his tongue between his lips. Next, the lips are moved back. At the moment of biting, you hear yes-yes-yes.

Sound setting [n]:

by imitation:

Place one finger of the child on the speech therapist’s nose and the other on his own. In this case, you need to show the child the position of the tongue.

based on M sound: The child pronounces the sound M in a drawn-out manner with his tongue stuck wide between his closed lips. At the same time, a shade of the sound N appears. As the child gets used to this interlabial pronunciation of the sound N in syllables and words, the lips are removed with the fingers. This results in an interdental N. Gradually the tongue is moved behind the upper incisors to a normal position.

Sound setting [P]

By imitation.

1. The speech therapist shows the child and explains articulation pattern. After asks: “How does the porridge puff?” Child answers: "P-p-p."

2. The speech therapist asks the child to pronounce the syllable pa by blowing into a ball of cotton wool or a strip of colored paper.

Mechanically.

Pronounce the sound [f], with the index finger located horizontally under the lower lip, patting the lips.

Sound production [B]

1. The speech therapist draws the child’s attention to the fact that articulation sounds [p] and [b] are distinguished by the vibration of the vocal folds (to do this, place the child’s hand on the speech therapist’s larynx) and pronounce [b] with a slight swelling of the cheeks (put child's hand to cheek).

2. The child says ba-ba-ba, while his cheeks need to be slightly puffed out.

Mechanically.

With a voice, calmly and for a long time blow on passive lips, while the lips and cheeks should puff out. The result should be a sound approximately reminiscent of [v] - bilabial [v]. Then move your index finger, located horizontally under the lower lip, up and down, alternately closing and opening your lips. Then the child places his finger himself. Gradually the finger is removed.

Sound setting [M]:

By imitation. The speech therapist presses one hand of the child to his cheek, the other to the child’s cheek. The child feels the vibration on the speech therapist’s cheek and reproduces it through tactile control through his palm.

Speech therapist advice:

Prepared:

Sound setting [k]

By imitation:

a) To obtain the correct k and g, open the mouth wide, resting the tip of the tongue on the lower teeth, bend the tongue into a slide, strongly pressing the back to different points of the hard palate (closer to the incisors or further from them, and following the speech therapist, pronounce hard and soft - k, and then g.

If for some reason the back of the tongue does not rise to touch the palate, then the child is asked to breathe through his nose with his mouth wide open. In this case, the tongue rises up. Sometimes it is possible to achieve k by propping the tongue against the palate with the thumb from the outside through the bottom of the mouth.

b) the child is asked to arch his tongue "slide", press it to the sky and, without lowering it, blow off the cotton ball from the back of the hand brought to the mouth => [k]. If imitation fails, then mechanically.

mechanically:

using a finger or spatula, based on the sound [t]. The child is asked to pronounce the syllable ta. At the moment of pronunciation, the speech therapist presses his finger on the front part of the back of the tongue, resulting in the syllable cha. Then the speech therapist moves the finger a little deeper, resulting in the syllable kya. Finally, the third stage - even deeper pressure on the tongue - gives a hard sound - ka.

use visual control to focus the child’s attention on a new sound (kh)

Sound setting [g]

by imitation:

The child is asked to put his hand on the neck and, "turning on" voice, pronounce the sound /K

With mechanical assistance:

The child is asked to say "Yes Yes Yes", the speech therapist moves the tongue back with a spatula until it is heard sound combinations: "yes - yes - ha".

Sound setting [x]

By imitation.

A). The sound /X/ is easily evoked by imitation using a game reception: “Open your mouth wide and breathe on your hands, "warm them up". In this case, the speech therapist makes sure that the tip of the child’s tongue is at the bottom, and the back part rises steeply, but does not touch the palate. You can, for example, first invite the child to do "low hill", and only then "let the breeze".

b). You can offer your child a funny picture or toy to make him laugh, laugh with him, and then draw his attention to laughter: we are laughing "ha ha ha". We fix the sound /Х/ in combination with other vowels (O, E, S).

With mechanical assistance.

If it is not possible to produce a sound by imitation, it can be produced with mechanical assistance, that is, using a probe to move the tongue deeper into the tongue. We ask the child to pronounce the syllable "sa", with the correct position of the tongue it will turn out "sa-sa-ha-ha".

The tongue is in front of the teeth, the exhalation is warm, then the tongue is retracted into the tooth position.

The tip of the tongue is behind the lower teeth, without moving it towards the throat. Long, calm, soft air.

From the correct /K/.

The child is asked to pronounce the sound /K/ often and protractedly. At this time the combination is obtained "kh". It is necessary to draw the child’s attention to the fact that after the sound the sound /X/ is heard, after which we tear off /K/ from /X/. It turns out /X/.

Sound setting [th]

by imitation

By means of reflected and conjugate pronunciation of the sound [th];

From a soft dull sound to the inclusion of a voice with mandatory auditory and tactile-vibration control;

From the vowel sound [and] in combination with the vowels A, O, U, E with gradual acceleration: ia-ia-ia – ia-ia-ia – ya-ya-ya

Io-io-io – io-io-io – yo-yo-yo

Eew-eew-eew - eew-eew-eew - yu-yu-yu

Ee-ee-ee – e-ee-ee – ye-ye-ye

Mechanically.

From the sound [z] using a spatula or probe:

The child pronounces the syllable za-za-za, at this time the speech therapist presses the tip of the tongue with a probe or spatula, slightly lifting and moving the back of the mouth into the back of the mouth language: for-for-for-zya-zya-zya-ya-ya-ya

Speech therapist advice:

“Methods for producing sounds of early ontogenesis.”

Prepared:

teacher-speech therapist MBDOU No. 11 Udovychenko N.V.

“How to memorize poems with children?”

Prepared:

teacher-speech therapist MBDOU No. 11

Udovychenko N.V.

Find out all the unclear words and expressions.

Invite the child to repeat it out loud from memory after 2 minutes, while helping him without getting irritated.

Invite the child to once again imagine the events described and read the poem again.

After a few hours, invite the child to read the poem again.

(help with homework with children)

teacher-speech therapist MBDOU No. 11

Udovychenko N.V.

Doing homework is a huge help to the speech therapist. Children who study at home with their parents, in addition to the instructions of a speech therapist, introduce not only fixed sounds, but also complex speech structures into everyday speech much faster and more successfully.

Performing speech therapy

homework.

1. Articulation gymnastics must be performed daily for 5 minutes.

2. It is advisable to conduct classes in the morning.

3. Classes with the child should be regular.

4. You cannot force a child to study.

5. Having mastered one exercise, you can move on to the next.

6. Do not complete the task for your child, if he finds it difficult, then you can return to it again.

7. Change roles with your child; children love to be in a role. "teachers".

8. Don’t forget to praise your child for minor results.

9. Exercises should be performed step by step and sequentially, no more than three exercises.

10. Lesson duration 15-20 minutes.

11. If you see that your child is having difficulty preparing homework, consult a speech therapist.

Important to remember:

Only a kind attitude, love and praise will increase the child’s interest in classes.

Remember: The joint work of the speech therapist and parents will determine the overall success in your child’s correctional education.

Tips for parents:

“Let’s breathe correctly to train our speech.”

teacher-speech therapist MBDOU No. 11

Udovychenko N.V.

Disadvantages of baby breathing overcome:

Developing a deeper breath;

Developing in children the ability to breathe correctly during speech.

In early preschool age this is achieved through play, and in middle and high school age - through gymnastics. The duration of breathing exercises should be limited to 3-5 minutes (to avoid dizziness).

Breathing exercises:

blow off snowflakes, fluff, pieces of paper from the table, from the palm of your hand;

blow on light balls, pencils and roll them on the table;

drive the ball into the goal;

set ducks, boats, and paper figures floating in a basin in motion by blowing;

blow on pinwheels, cotton balls suspended on a thread;

blow off the stamens of ripe dandelions;

inflate balloons;

blow bubbles;

blow up a fluff, cotton wool, piece of paper, soap bubble.

To develop a long, smooth speech exhalation, it is recommended to invite children to speak on one exhalation, gradually increasing the number of words. Success is secured by constant monitoring of breathing and appropriate suggestion.

Teach your child to take a deep breath, and then a smooth, long exhalation - this is necessary for the formation of speech skills.

Be sure to buy your child a pipe, a whistle, soap bubbles, a pinwheel...

Important: the toy on which the child blows should be at the level of his lips and at a distance of 10 - 15 cm.

[T] is a sound of early ontogenesis and, subject to normal speech development, appears in children at about one and a half years old. If a child over three years old does not have it, the sound [T] is required. To stage it, it is necessary to take into account the peculiarities of articulation.

How sound is produced

When pronouncing [T], the articulatory organs are in the following position: the lips stretch slightly, the teeth open, the tip of the tongue connects with the upper incisors, the air stream is sharp, breaks the bow, there is no voice. In the initial position, the lips should open slightly, the gap between the dental rows is approximately 3-5 mm. The tip of the tongue hits the upper alveolar process, connecting with it.

When playing [T], the soft palate rises, the vocal folds separate, and the air flow is jerky. The sound [T] is consonant, hard, occlusive, anterior lingual, explosive, noisy, deaf.

Defects in the pronunciation of the sound [T]

Distortion. Instead of [T], a sound is heard that has no analogue in the native language. Nasal pronunciation of phonemes in rhinolalia.
Absence (elision). The articulatory structure of the phoneme is not completely formed. Occurs in severe forms of cleft palate in the case of rhinolalia.
Replacement. [T] is replaced by another phoneme, similar in acoustic-articulatory parameters, most often by the back-lingual phoneme [K]. With rhinolalia, a replacement with pharyngeal pronunciation is observed.
Mixing. In isolation [T] is pronounced correctly, but in spontaneous speech it is replaced by another phoneme.
Mitigation. Replacement of hard [T] with soft [Ть], undifferentiated use of these phonemes.
Vocalization defect. The child does not deafen the sound enough. His sonorous pair [D] can be heard in his speech.

Preparatory stage for sound production [T]

Speech therapy work on the production of any sound traditionally contains four stages: preparatory, actual production, automation, differentiation. The lesson begins with the characteristics of articulation. Be sure to use a variety of visual material: picture plan, articulation profiles, manual articulation model, dummies, pictures.

The child examines the position of the articulatory organs and determines the nature of the air flow. Then, with the help of an adult, he analyzes the sound according to the following algorithm: vowel or consonant (whether there is an obstacle to the exhaled air flow), dull or voiced (whether the vocal cords tremble), hard or soft (whether the middle part of the back rises to the hard palate).

After becoming familiar with the characteristics of sound, you need to start performing articulatory gymnastics:

Fence. The teeth are clenched tightly, the lips stretch into a wide smile. Hold this position for about ten seconds.
Arrow. The front edge of the tongue moves very quickly to the left and right from one corner of the lips to the other.
Flatbread. The spread out wide tongue is located on the relaxed lower lip.
Naughty tongue. Open your mouth as much as possible. Place your flat tongue on your lower lip and say “five-five-five” while slapping your upper lip.
The escape. Push your tongue between your closed teeth.
Brush. Use the narrow tip of the tongue to make sliding movements along the upper incisors, moving to the alveolar processes.
Camel. Suck up the candy with the tip of your tongue, click at the same time, then spit out the candy with the wide tip.

In addition to articulation exercises, gymnastics involves performing breathing exercises:

Football player. Open your mouth very strongly, pull out the flat tip of your tongue, and with a sharp exhalation, blow a light ball into the toy gate.
Sailor. Using jerky short exhalations, push the paper boat into a container of water.

Setting the sound [T] with a softening defect

Soft phonemes are characterized by a high elevation of the back of the tongue towards the hard palate. The softening defect appears due to increased muscle tone. The nature of the defect is influenced by the location of the lesion in the cerebral cortex.

An increase in the muscle tone of the tongue causes it to tense, pull back, and the tip is not pronounced. To eliminate this disorder, speech therapy exercises are used: hill, angry cat, frog. Their goal is to ensure plasticity of the middle part. In difficult situations, you should rely on tactile sensations - place your middle and index fingers on your tongue to feel relaxation when moving from a soft sound to a hard one.

It is necessary to demonstrate the difference in the position of the tongue in front of the mirror and ask to repeat the position. Then the child reproduces paired syllables with hard and soft phonemes after the adult. If the solid sound is reproduced correctly, it is advisable to immediately begin pronouncing words.

Setting the sound [T] with a voicing defect

A voicing defect manifests itself in individuals with dysarthria or rhinolalia, with voice and hearing impairment. Its correction begins with preparatory exercises: first, inhalation and exhalation are performed alternately, then the breathing is accompanied by a groan. First, the exercise is demonstrated by a speech therapist, then it is performed together with the child, and ends with independent implementation.

Setting the sound [T] for dysarthria

Several methods of setting [T] are used:

Spitting. It is considered the most effective staging technique. Against the background of the involuntary movement of spitting, they achieve the sound [T] by clamping the edge of the tongue with the incisors, then moving it behind the upper teeth with a spatula.
Production of [T] by imitation of the syllable TA. An adult in front of a mirror invites the child to pronounce first the syllables, and then the words, with the syllable TA. Then pure phrases are spoken. You can use ready-made sayings, or come up with new ones together with your child.
Interdental method. The adult demonstrates the position of the tongue to the child. Starting position - the tongue is located behind the teeth and pressed tightly with the jaws on both sides. In this position, you need to take a deep breath and exhale sharply to produce sound. Having achieved interdental sound, move your tongue behind your teeth.
Stun. Stun [D] - say in a whisper.
From the sound [P]. [T] is developed as a derived phoneme from [P]. Begin with several repetitions of the syllable PA, pressing the widest part of the tip of the tongue to the lower lip. Then you need to pronounce the original syllable while smiling, and you should hear TA-TA.
Mechanically from the syllable PA. The tip of the tongue is in an interdental position, set against the background of [P]. It is necessary to reproduce the syllable PA repeatedly, at the same time the lips are parted with the help of the thumb and forefinger. If performed correctly, the syllable TA should be heard.

Automation and differentiation of sound [T]

After the child has been able to pronounce [T] correctly, it is necessary to move on to automating it - reinforcing the correct pronunciation. Automation should begin with the development of phonemic hearing - the perception of phonemes by ear. The child is asked to isolate a sound from a number of phonemes that are similar in acoustic-articulatory characteristics; isolate it from a series of syllables; isolate a sound from a series of words; determine its presence and location in a word. At the beginning of automation and with an insufficient level of speech development, it is necessary to start with sounds that are distant in acoustic-articulatory characteristics.

Then they move on to automating the phoneme in isolated form. It is practiced with a sharp exhalation using onomatopoeic games.

Then you need to introduce the child to the letter that represents the sound [T] in the letter. Explain how a sound differs from a letter: a sound is heard and spoken, but a letter is seen, written and read. Select objects from the surrounding world that look like the letter T.

If necessary, the correct spelling of the letter is practiced. A variety of graphic exercises are used, aimed at developing hand motor skills and training in obtaining an adequate image of a letter. When a child speaks the sound [T] well in isolation, the automation of phonemes in syllables, in words, in sentences, in coherent speech begins.

After automating the sound, they move on to its differentiation - distinguishing it from other sounds. It is carried out by analogy with automation: in isolation, in syllables, words, sentences, coherent speech. First, sounds that are distant in acoustic-articulatory characteristics are differentiated, ending with phonemes that have similar sound and articulation. The production of the sound [T] is considered complete if the child always pronounces [T] accurately, including in spontaneous speech.

Summary of an individual lesson on sound production

(for a child with rhinolalia)

Subject. Sound P

Stage. Sound production

Tasks: educational:sound production; formation of vocabulary and knowledge of parts of the subject;

correctional: develop articulatory motor skills, diaphragmatic - costal type of breathing, fixed exhalation;

educational: cultivate self-control in speech.

Equipment: pictures: from the series “Fun and Sad”, D/ and “Parts of Objects”.

Progress of the lesson

Organizing time

Look at the pictures. It is necessary to determine the emotional state of the children depicted in the pictures.

Show me where the girl is crying?

Show me where the boy is crying?

Show me where the boy frowns?

Okay, now answer the following questions.

Why do you think the girl is crying?

Why is the boy smiling?

Why is the boy frowning?

Well done, what mood are you in, show the picture and name it.

Development of articulatory motor skills

Speech therapy massage

Lip massage: stroking, spiral rubbing, stretching the upper/lower lip, vibration.
Tongue massage: stroking the tongue from root to tip, circular rubbing of the side edges, tip of the tongue, pinching the side edges and tip of the tongue, vibration by tapping.
Massage of the soft palate: longitudinal stroking, circular rubbing, transverse rubbing, kneading with pressure.

Articulation gymnastics

For the lower jaw: imitate chewing, open your mouth with resistance.
For lips and cheeks: imitate rinsing teeth (pout lips); pout the upper and then the lower lip; pinch a small piece of paper between your lips, then spit it out.
For the tongue: exercises “Clock”, “Swing”, “Brush your teeth”, “Painter”, “Horse”
For the soft palate: cough, yawn, pronounce vowel sounds on a hard attack (a, o, y).

Breathing exercises

"Ears". Shaking our heads as if we were saying to someone: “Ay - yay - yay, what a shame!” Make sure that the body does not turn. The right ear goes to the right shoulder, the left ear to the left. Shoulders are motionless. Simultaneously with each rocking, inhale.
Inhale through your nose, exhale through your nose in bursts; open your mouth wide, stick out your tongue, inhale and exhale through your mouth jerkily, intermittently (like a dog breathing); inhale through your nose, exhale forcefully through the corners of your mouth, first through the right, then through the left.