Introduction.
Hello dear friends. My name is Anna. And today I am your guide. We are with you today gathered in order to listen to a very interesting excursion. The topic of our excursion is "Malakhov Kurgan monument - two defenses"... The route of our excursion passes through the territory of the Malakhov Kurgan, here you will see many monuments, guns, a defensive tower, the places of mortal wounds of Nakhimov and Kornilov, the only tree that survived the Second World War. I will ask you to keep up with the group, during the excursion I will answer your questions.
Well, now let's get back to the topic of our Excursion !! Malakhov Kurgan is not easy historical monument, this is a sacred land for every citizen of Sevastopol, here the fate of the first defense of Sevastopol was decided. The name of the mound, as one of the versions explains, is associated with the name of a retired naval sailor Mikhail Malakhov, who was a highly respected person on the Korabelnaya side, one of the first to settle at the foot of the mound. His house stood on the slope of this mound. People often came to Malakhov for advice, help, for a trial: he was an honest and just man. So they said: "Let's go to the mound, to Malakhov." Kurgan gradually began to be called by his name.
The outwardly mound may not be very impressive - a hill is like a hill. Its height is only 97 meters above sea level, but the glory of the mound is great. Within one hundred years, the mound twice became the arena of the most fierce battles.
During the defense of Sevastopol in 1854-1855 Malakhov Kurgan, dominating the surrounding area, was the key position of the left flank of the defense. There was also the main bastion of the Ship Side, which, after the death of Vice Admiral V.A. Kornilov began to be called Kornilovsky.
Here the French troops conducted the most violent assaults. However, the enemy managed to take possession of the mound only after eleven months of fighting, when the defensive structures were demolished by many days of artillery bombardment and the forces of its defenders were exhausted. The loss of Malakhov's mound predetermined the outcome of the 11-month defense of the city.
During the period of defense, there were nine batteries on the Malakhov Kurgan, two of them were reproduced in 1958. They are equipped with genuine ship cannons from the Crimean War era. The cannons are cast from cast iron and weigh from two to seven tons. A lot of effort had to be made by the sailors to drag them to the bastions. The cannons fired solid and explosive (bomb) cannonballs. Despite the imperfection of weapons and the need of the defenders in literally everything, the two powerful imperial powers could not take Sevastopol for almost a year.
The enemy managed to undertake the first assault on the city only nine months after the start of the siege, on June 6, 1855. This assault was heroically repulsed by the defenders of Sevastopol. Tells about the events of this day Panorama of the defense of Sevastopol, located on the former fourth bastion.
Many outstanding heroes of the defense fought on the Malakhov Kurgan: admirals Nakhimov, Kornilov, Istomin, sister of mercy Dasha Sevastopolskaya, sailor Koshka, a participant in many sorties into the camp of the enemy. At night, brave hunters (as they were called) captured trophies, prisoners, destroyed enemy fortifications, and most importantly, it was a very powerful psychological weapon. After the Crimean War, the name "Malakhov Kurgan" became known all over the world. In 1856, the French Marshal Pelissier, who commanded the French army in the Crimea in 1855-1856, was awarded the title "Duke of Malakhovsky". There is a fort Malakhov in Germany, small town near Paris began to be called "Malakoff".
The mound became famous during second defense of Sevastopol. Therefore, Malakhov Kurgan - memorial Complex monuments of two wars: the Crimean and the Great Patriotic War.
Main part
Now we are at the main entrance to the Malakhov Kurgan. Arch adorns a massive Doric portico with dates on the frieze: 1854-1855. Wide main staircase leads to the top of the mound. The staircase bifurcates and reconnects to form a large lawn with a manicured lawn. From here you can see the whole of Sevastopol: the central part of the city; Vladimirsky Cathedral - the tomb of admirals, three of whom died here, on the Malakhov Kurgan; the open sea; Konstantinovskaya battery at the entrance to the Sevastopol Bay; The northern side of Sevastopol, crowned with the pyramid of the church of St. Nicholas at the Bratsk cemetery. Now we will climb these stairs
Now we are on the first wide horizontal platform, on which there are two monuments. The one on the left - during the Crimean War, on the right - the Great Patriotic War. Let's go to the monument to the right. it a monument to the pilots of the 8th Air Army, who in May 1944 liberated Sevastopol from the Nazis. It was commanded by Major General Khryukin. As part of the army, the women's night bomber regiment fought under the command of Evdokia Bershanskaya. The girls flew on airplanes with PO-2 percale wings, flew out only at night, since the airplanes were imperfect, in the event of a shell hit they burned like matches. On these planes, the pilots terrified the enemy, the Nazis called them night witches. More than forty female pilots of the regiment
were awarded the title of Hero of the Soviet Union.
The monument is a granite rock from which a fighter "takes off". One of the best fighters of the Second World Yak-3 was used as a prototype for the memorial aircraft. The monument was erected by military builders in July 1944, restored in 1994. Near the monument, granite boards are installed, on which the flight formations and units that participated in the liberation of Sevastopol are listed.
Now let's follow to the left side of the site. Here is a small white marble monument , established in 1892 abovea common grave of Russian and French soldiers . The soldiers who died in the last battle on the Malakhov Kurgan on August 27, 1855 rest in it.
When, on the last day of the first defense, the French broke into the Malakhov Kurgan, the Russians launched several counterattacks, fought selflessly, as a result, losses were very large on one side and on the other. Those killed in this battle were buried in one grave. They were buried by the French, who highly appreciated the courage of their opponents.
A black stele with a black cross rises above the white pedestal. The symbolism of flowers is explained by the inscription in French, embossed on the back of the monument: "They were inspired by victory and united by death. Such is the glory of the brave, such is the lot of the soldier." The words are engraved on the face of the monument: "Monument to the Russian and French soldiers who fell on the Malakhov Kurgan during the defense and attack on August 27, 1855."
During the Great Patriotic War, the monument was badly damaged and restored in 1960.
The main alley of the Malakhov Kurgan begins from this site, which the French soldiers called "devilish"; its age is already approaching fifty years. Trees on this alley were planted by party, state and public figures of the USSR and foreign countries, Heroes of the Soviet Union, cosmonauts (including Yuri Gagarin). Previously, there were signs near the trees, on which the names were written. This alley was called Alley of Friendship.
Now let's go along the alley. So on the left you see a powerful naval weapon . This is a genuine ship cannon from the Second World War. The caliber of the gun is 130 mm, the firing range is 20 km. At this place stood the second gun (ahead of the trees - the first). In October 1941, the destroyer "Perfect" was blown up by a Nazi mine. The guns were removed from it and installed on land. So was created battery "Malakhov Kurgan". The guns were served by the destroyer sailors (60 people), the battery was commanded by Lieutenant Commander Matyukhin. This is what the batteries were called - "Matyukhintsy". The battery provided support to our units on the Mekenziev mountains (16 km to the north), on the northern side of the city.
The Matyukhins fought until the last days of the defense. On June 30, 1942, the Nazis captured the Malakhov Kurgan. The forces were unequal. Those who survived went to the south-west of Sevastopol and continued to fight there. Many suffered the fate of other defenders of the city: they were captured. The cannons you see have been removed from the destroyer Boyky. They are exactly the same as they were on the destroyer "Perfect", and stand here as monuments to the sailors who defended Sevastopol.
Going a little further, we see an unusual monument. itmonument tree - old almond , he survived the Great Patriotic War... When Sevastopol was liberated, even the earth was burnt on the Malakhov Kurgan, of course, all the greenery died, and only a small burnt almond tree survived and blossomed. There is only one live branch left on it. But every spring it is covered with white flowers, symbolizing the triumph of life over death.
Now pay attention to the center of the alley, in it is installed bronze relief map of the Malakhov Kurgan bastion ( architect A. Schaeffer). The map shows batteries, powder depots, shelters - everything that was here during the defense of 1854-1855. In the area of \ u200b \ u200bthe angle directed towards the enemy, the so-called outgoing, is indicated Defensive tower , which is now located branch of the Museum of Heroic Defense and Liberation of Sevastopol.
Let's go to the Defense Tower. This donjon tower is the only stone defensive structure on the bastion. It was built in the summer of 1854 at the expense of the residents of Sevastopol according to the project of the military engineer F.A. Starchenko. A tower was built of Inkerman stone. The thickness of the walls of the lower tier was 152 cm, the upper one - 88 cm. The tower had 52 loopholes on two tiers, and five fortress eighteen-pound cannons were installed on the upper platform. The tower has a memorial plaque with the names of the regiments and units that defended the Malakhov Kurgan during the first defense.
On October 5, 1854, during the first bombardment of Sevastopol, the upper tier of the tower was demolished by enemy shells, while the lower one served as a shelter. It housed a dressing station, a powder store, a camp church and the headquarters of Rear Admiral V.I. Istomin, who commanded the fourth distance of the defensive line (which included the Malakhov Kurgan). March 7, 1855 Istomin inspected the outrigger fortification of the Malakhov Kurgan, the so-called Kamchatka lunette (in front of the defensive tower), where he was killed on the spot by an enemy cannonball that hit him in the head. It was a great loss for the defenders of Sevastopol.
To the left of the tower, you see the Anti-Assault Battery. At this place, during the war, there was a 1803 model ship cannon. Now let's go up the road behind the tower. Here you can see the Battery on the glacis, there is also a marble slab here, marking the place of the fatal wound of Admiral Nakhimov
On June 28, 1855, Nakhimov stood on glacis and watched the positions of the French. As always, the admiral was in uniform with golden epaulettes, representing a good target for the French riflemen (the union is a rifle gun). The commander of the fourth distance, which included Malakhov Kurgan, Captain First Rank F.S. Kern (a relative of Anna Kern) asked him to go down to the shelter, Nakhimov rather abruptly refused. Several bullets hit the parapet nearby, he managed to say: “They are shooting quite well today,” when one of the bullets hit him in the left temple. No efforts of the doctors could save the admiral, and two days later, without regaining consciousness, Nakhimov died.
On this day, the whole of Sevastopol mourned. An eyewitness wrote that there was no person in the city who would not gladly give his life for the life of an admiral. On July 1, Pavel Stepanovich was buried next to his unforgettable teacher Lazarev and his comrades in arms, Kornilov and Istomin, who died at the Malakhov Kurgan. In the obituary of Nakhimov it is said: "Peace be upon your ashes, clever, skillful and experienced, passionately in love with his art and his subordinates, equally loved by them, always cold-blooded courageous, kind-hearted, great in mind and courage, honest, generous person!" Admiral Nakhimov wrote: “completely devoted to the service, he did not know outside of it and had no interests.” He devoted himself entirely to the naval service, did not start a family. "Everything here is so clearly and strongly inspired by the soul and strength of Nakhimov that it is impossible not to realize that he really personifies the present era, and it is impossible to imagine what would have happened without him ..." because he took his own apartment for an infirmary for the wounded, and the admiral's personal money went to help the families of sailors.His courage and contempt for death were legendary. was expected by a loud, enthusiastic "Hurray!" The soul of the Sevastopol defense died with Nakhimov.
Proceeding further you see the batteries of Senyavin, Emelyanov. To the right of the batteries is a monument to Kornilov, installed at the site of Kornilov's injury (architect A. Bilderling, sculptor academician I. Schroeder). On the pedestal, the top of which reflects part of the fortification, is the figure of a mortally wounded admiral. With his right hand, he points to the city, his words, spoken before his death, are inscribed below, sound like a call or even an order: "Defend Sevastopol!" On the right - the figure of an artillery sailor, who is given a resemblance to the famous hero sailor P. Koshka. At the foot of the monument there is a cross, laid out by the order of Nakhimov by Sevastopol cabin boys from enemy cannonballs.
Admiral Kornilov was wounded on the day of the first bombing of Sevastopol, October 5, 1854, at about 11 o'clock. Kornilov arrived at the Malakhov Kurgan, examined the tower, the fortifications and went to the horse to continue the survey, but then the enemy's core crushed his left leg at the groin. On the same day at half past four, Vice Admiral Kornilov died. When the defense began, Kornilov was chief of staff of the Black Sea Fleet. He led the defense, being an excellent organizer, did a lot to build defensive fortifications, to organize the defense as a whole. Despite the fact that Kornilov died at the very beginning of the defense, his merits were great, and the loss for Sevastopol was very great.
The words of the dying Kornilov inscribed on the pedestal enraged the fascist invaders, who paid a terrible price for the capture of Sevastopol. Therefore, they destroyed the monument: they took out the bronze, and blew up the pedestal. A monument dedicated to the 200th anniversary of Sevastopol has been restored. The original version of the monument was taken as a basis, the model of which is stored in Naval Museum Petersburg. Malakhov Kurgan is a place of exploit of hundreds, thousands of city defenders. Note that among those who fought on the Malakhov Kurgan was the father of the “red lieutenant” Pyotr Schmidt - P.P. Schmidt, who commanded the anti-storm battery, and together with the famous N.I. Pirogov and Professor of Kiev University H.Ya. Gubbenet fought for the lives of the wounded and Schmidt's mother E.Ya. Wagner.
Conclusion
So, our tour has come to an end. Thank you all for your attention. You are very good listeners. I am ready to answer your questions.
Introduction ………………………………………………… ..3
1. Subject and ides of excursion methods.
1.1 Subject and types of excursion methods ... ... 5
1.2. Methodology for preparing excursions ……………… ... 8
2. Classification methodological techniques.
2.1 Classification of methodological techniques ………… .14
2.2 Methodological techniques of displaying ……………….… ... 17
2.3 Methodological techniques of the story ………………… .25
3. Special methodological techniques.
3.1. Reception of demonstration of visual aids ..................... 35
3.2 Assimilation of methodological techniques by a guide ………………………………………………… ..39
4. Technique of guiding excursions.
4.1 Technique of guiding excursions ……………………… 42
Conclusion ………………………………………………… ..51
Bibliography …………… .. ……………….… 52
Introduction.
A technique in the broadest sense of the word is a set of methods for expediently carrying out a particular work, solving a problem, achieving a goal, and in a narrower sense, it is a set of specific methodological techniques for conducting lectures, conversations, excursions on a specific topic and for a specific group.
The technique is divided into general and specific.
An excursion is a methodically thought-out show of sights, monuments of history and culture, a show based on an analysis of the objects in front of the sightseers, as well as the events associated with them.
The guide is not indifferent to what the excursionist sees, how he will understand and perceive what he has seen and heard.
The guide, with his explanations, brings the tourists to the necessary conclusions, the effectiveness of the excursion depends on this.
It follows from this that the essence of the excursion can be defined as follows: a visual process of cognition of the surrounding world, a process built on pre-selected objects located in natural conditions or located in the halls of museums, exhibitions, workshops of a sculptor, artist, etc.
The excursion technique is a private technique, since it is associated with the process of disseminating knowledge based on one form of work. The excursion methodology is a set of requirements and rules for the excursion, as well as the sum of methodological techniques for preparing and conducting excursions different types, on different topics and for different groups of people.
The method of excursion work answers the following questions:
1. Why was the excursion prepared and conducted (purpose, objectives)?
2. What issues are covered during the excursion (what is its content)?
3. How to conduct an excursion (methodological techniques)?
The excursion methodology consists of several independent, interconnected parts:
Methods for developing a topic that is new for this bureau;
Methods for the development of a new topic for a guide, but already developed in this bureau;
Methods of preparing a guide for the next excursion;
Excursion methods;
Techniques after excursion work.
1. Subject and types of excursion techniques.
1.1 Subject and types of excursion techniques.
The method of conducting an excursion is a combination of techniques used in conducting an excursion, which are designed to find a way more usual and, together with the fact that, as everyone knows, effective achievement of the purpose of the excursion, to help the excursionists to finally learn the content of the excursion easier and more firmly.
Methodological techniques for conducting an excursion are divided into general, personal and individual ones. Imagine one fact that general techniques are, as usual, the basis for conducting, as everyone knows, any excursion, regardless of its topic, the composition of the excursion group. I must say that personal, in the end, are those methods that are used in excursions, as most of us are used to saying, of a certain type (industrial, museum, natural history, transport, walking), or in excursions conducted for a certain, as people used to express themselves, excursion audience (kids, youth, adults). It's no secret that personal techniques, focusing on the main requirements of excursion techniques, develop and concretize more effective techniques for conducting excursions of this type. Everyone knows that in the end, single techniques are, as we constantly say, unique methods of observing some, as many say, the first object or a story about it, for example, showing a building on the shore of a reservoir, which, on a fine summer day, is finally reflected on its surface. And it is not even necessary to say that such techniques are usually the intellectual property of the 1st guide and are not finally used by everyone who, therefore, conducts such excursions. And indeed, single techniques include those whose implementation is limited, as we put it, a certain time year or day.
The excursion methodology is considered in several aspects: as the basis of the professional skills of the guides; as a mechanism that improves the "presentation" of the material; as a process of streamlining the activities of the guide. The technique helps tourists see, remember and understand much more than in a lecture that covers the same topic. This is because the lecturer's methodology is largely based on various kinds of messages and descriptions, the lecture story is conducted in isolation from the objects of description. The excursion methodology consists of several independent, interconnected parts: - methodology for developing a topic that is new for this bureau; - methods for the development of a new topic for a guide, but already developed in this bureau; - methods for preparing a guide for the next excursion; - methods of conducting an excursion; - methods of post-excursion work.
Aspects of the excursion methodology: the basis of the professional skill of the guide, the mechanism for submitting the material, the process of streamlining the activities of the guide during the preparation and conduct of the excursion.
The excursion technique is associated with concepts such as storytelling and showing. To the question about the ratio of the show and the story in the excursion, the methodology gives an unambiguous answer: from the show to the story. One should start with a show, with visual or other (tactile, olfactory) impressions, and then introduce the story. The technique takes into account the object's ability to attract attention, uses various means to enhance the attention of tourists.
Another task of the methodology is to suggest the most effective use of methodological techniques for conducting an excursion. The excursion methodology takes into account the issues of emotional impact on tourists.
The subject of the excursion methodology is the purposeful study, systematization, formulation, explanation and application in practice of the means and methods of education and training, as well as methodological techniques with the help of which employees of excursion institutions carry out their activities. The excursion methodology summarizes the experience of conducting excursions, develops and proposes such methodological techniques that have justified themselves in practice and ensure the highest efficiency of disclosure and perception of the topic.
1.2 Methodology for preparing excursions.
The development of the excursion is carried out by a creative group, consisting of 3-10 people, depending on the complexity of the topic. Each of the participants is working on one of the sections or one of subtopics excursions. The head of the creative group combines and edits the prepared material.
The preparation is divided into two stages:
Preliminary - the selection and study of factual materials (i.e. the process of the initial accumulation of knowledge on a given topic), carried out by a creative group, the choice of objects on which the excursion will be built;
Immediate - drawing up an excursion route, processing factual material.
In addition, work is underway on the structure of the methodological development: introduction, main part, conclusion; a control text is drawn up, the methodological guidance of the excursion is analyzed (determination of the most appropriate methodological techniques for showing and telling specifically for one or another part of the excursion), a "guide's portfolio" is formed, an individual text is prepared. A methodological development is a concise plan, a document that determines how to conduct a given excursion, in what sequence to organize the display of monuments, what methodology is advisable to use for an effective excursion. Here the guide must find advice on the sequence in which to show and tell the story, what materials are from the “guide's portfolio” and when it is better to demonstrate. A methodological development is compiled for each topic of the excursion.
Methodological development is an obligatory document, without which an excursion on this topic cannot be conducted.
Mandatory document is and customized text, which gives the guide the right to conduct an excursion on this topic. A correctly drawn up methodological development helps the guide to reveal the topic more fully.
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State cultural institution
4.organization of inspection
5.presence of a route
TO peculiarities Museum excursions should be attributed to the great mobility and frequent change of themes and routes due to the constant development of the exposition (the introduction of new themes, exhibits, partial re-expositions, etc.). The museum excursion is limited to the space of the exhibition space. During the excursion, the guide cannot use pauses; his opportunities for relaxation, preparation of the group for the perception of new material are limited. Often the exhibits presented to the tourists in variety and variety scatter the group's attention, and the guide has to put a lot of skill and effort into organizing and directing the audience's attention to the desired exhibit.
All of the above should be taken into account when preparing and conducting a tour of the museum.
Depending on the breadth of the topic, the depth of its disclosure, excursions are divided into overview and thematic. Also, in some cases, there are cyclic excursions.
The most common type of excursion is sightseeing tour.
Its purpose is to give the visitor general idea about the museum, its collections, the exposition in general.
Thematic excursion Is a guided tour on one specific topic. She sets the task of full and deep disclosure of the topic using the maximum of the material related to it, presented in the exhibition.
Thematic tours are not available in all non-state museums. Their presence depends on the profile of the museum, the nature of its main themes, exhibition area, the number of sections and topics, and most importantly, on the variety and richness of museum material.
Cycle excursions for non-state museums, this is a rare phenomenon, since they require the unification of excursions by a single topic, work with the same group of visitors in a certain sequence for a certain time.
II. Preparation of a museum excursion
1. Start work on new excursion is an determination of the topic, purpose, range of issues that need to be covered.
All these components of the initial stage of work depend, first of all, on the profile of the museum, the collections that are on display, as well as the demand of visitors.
IV. Excursion methodology
The main methods and techniques for conducting an excursion are outlined in the process of developing its content. However, they receive concrete forms and a complete character only after special working out at the exposition, in conditions as close as possible to the excursion. The guide must, in practice, choose the most successful methodological techniques for the given exposition.
Distinguish the following general techniques guiding the excursion:
2.story
In practice, they all act in interconnection, ultimately forming a single excursion method. Its main requirement is the organic connection of the show with the story, but, as a rule, during the guided tour, the show precedes the story. An exhibit display is not a simple demonstration of an item. Each material presented in the exhibition carries certain information and plays a certain role. The task of the guide is to convey this to the sightseers.
When conducting a specific excursion, display and story methods are implemented through a number of techniques, such as:
1.verbal or mental reconstruction (recreation of an event based on the materials presented in the exhibition)
2.comparison
3.citation of the exhibited documents (read-out excerpts should be skillfully combined with the display of the exhibit itself, help to reveal the topic)
Conversation is an integral part of any excursion. First of all, these are the introductory and final parts of the excursion, which were discussed above. Separate elements of the conversation are introduced into the main part of the excursion, having thought over the questions for the tourists in advance.
In addition to the demonstration, story and conversation, which form the basis of the excursion methodology, additional techniques are often used in the museum excursion: listening to sound recordings of the memories of the participants in the events, which are discussed in the excursion, watching videos, filmstrips, etc. methods should be followed only in those cases if this material is bright, emotional, saturated with information. The duration of such "inserts" should not exceed 4-5 minutes. Otherwise, the attention of tourists will be scattered, interest in continuing the excursion will decrease.
For a more complete disclosure of the topic with a small number of exhibits, you can resort to using additional, auxiliary material not included in the exhibition: photographs, reproductions, copies, diagrams, maps, drawings, etc. (the so-called "guide's portfolio").
V. Some rules of the excursion
The success of the excursion depends on many factors. The guide is required to:
Knowledge of the material
Correct speech
Impeccable look
Ability to establish contact with the group, etc.
During the excursion, the guide should arrange the group in such a way that the excursionists, without exception, could see the exposition material with which they this moment work in progress. The guide's place is between the group (1.5 m from it) and the stand. When showing with a pointer this or that material (unless a document is read out or certain features of the exhibit are indicated), the guide should address the group and observe its reaction. The indifference of the guide to the behavior of the audience, as well as the manifestation of a bad mood by him, is not permissible. The guide is a kind of actor. And on how he prepares his role and plays it in public, the success of all the work on preparing the excursion and conducting it for a specific excursion group largely depends.
Vi. Improving the excursion
Before going out with a prepared excursion to the group, the guide must present it to a more experienced and knowledgeable employee for listening, and then the excursion is officially accepted by a commission, which may include representatives of the museum administration, staff members, members of the Museum Council.
But even after the commission accepts the excursion, the work on it is not considered complete.
It is necessary to continue studying the chosen topic - to get acquainted with new publications, clarify information about the exhibits, listen to excursions of other guides, analyze the reaction of visitors.
This will provide an opportunity to constantly improve the excursion, make it more relevant, attractive for tourists, and, consequently, increase interest in the museum as a whole.
Working with tourists (continued)
Always weigh carefully what you say. Use reputable sources, double-check the information several times. Even if incorrect information is often found, it does not become correct from this and there is no need to tell it to tourists. Scientific lectures, specialized museum publications, local history magazines, books written by historians are preferred as sources of information. Television, newspapers, magazines, internet stand on last place since unverified or distorted information prevails there.
You can read what the "excursion", based on stories, fictions, TV shows and modern books turns into, can be found here:
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Night excursions are one of the favorite summer entertainments of bored townspeople and curious guests of the capital, which was confirmed by a full house last night. Your humble one could not help but poke his nose into this industry, grabbing a notebook for barley) I highlight nonsense in italics, commenting offtopic. Since we were driving away from Sukharevskaya, the Sukharevskaya tower that had previously stood there was the first to suffer from the guide's imagination:
When building a story, do not forget that there are people in the group who perceive information in different ways: the majority, of course, are visuals, but there are both kinesthetics and audials. Therefore, when describing objects, use words that characterize not only the width and volume of the house, but also the bright color of the stained-glass windows, the rustle of leaves near the house, the unevenness of bricks in the masonry. There are people for whom it is enough to look at the monument, and there are those who need to touch and feel it to get acquainted with the object.
The guide only transmits information taken from trusted sources. He does not express his own opinion, much less impose it. People go to rest, learn something new, but do not receive moral instruction or initiation into any religion. There should be no pressure or aggression in the tone of the conversation. People feel this and then the trip turns into torture, into the imposition of opinions.
"As a professional historian, I know perfectly well how to captivate the audience the most interesting stories on historical topics. I prepared dozens of examples for my lectures so that the lecture presented for the recording would not be too "dry" and academic, so that the listeners would be interested. Here it is not at all required to prepare material at the lecture level. It is enough to know the basic facts and tell stories on this topic, since there are more than enough of them.
This is what happens abroad. In addition to the fact that the general level of knowledge of the guides is an order of magnitude higher than in Moscow travel agencies, no one is trying to teach tourists how to live, to preach to them their religious views and political views. Perhaps this is due to the fact that a slightly different contingent gets there on excursions. Although I cannot say that local routes are used by people who have never seen anything in their lives and have never been abroad. But why is the level of "export" guides much higher than the level of "home-grown" ones?
We drove back without a guide, avoiding a rather boring lecture about his religious views mixed with leavened patriotism. And I don't envy the part of the group with which he stayed, despite the fact that they had the opportunity to just walk around this incredible city .... "
Tell interestingly, with expression, exciting:
"... we were taken on an excursion to Lomonosov. The guide spoke so boringly that I wanted to hang myself! It's just torture."
"... during the guide's story about the defense and surrender of Odessa, the men cried (they really wiped away their tears)"
If you are going to lead an excursion in the temple, you need to get permission (blessing) from the priest in advance. If you received it, do not forget that the story should be told in a relatively quiet voice, without disturbing the believers in the temple. A loud voice in the temple is inappropriate. It is also worth remembering that they do not stand with their backs to the altar, to the icons. You can stand to them sideways or slightly to the side, forming a triangle with the group.
The story should be interesting, comprehensive and not turn into a dry description of the facts. For example, you are passing by any enterprise, TV tower, Mosfilm, botanical garden- tell us what interesting excursions there are, how you can get on them, how to get here.
"Yes, this is the misfortune of many storytellers and guides: they do not always understand that the interlocutors may be interested in the reasons for unusual (illogical) technical solutions, and not only in the history of creation."
"We were on an excursion around Minsk on July 25th. I liked Minsk very much, but the guide Margarita is not. The excursion was not informative, only dry historical facts, dates. Margarita herself was exhausted from the heat and constantly complained that she felt bad. "
Speak slowly enough with expression. The pace of speech and its presentation should be such that you would like to listen to, so that you can remember and understand what you have heard. Otherwise it might look like this:
"... I was just dumbfounded. My brain did not just have time to digest information, it simply did not perceive some :-) The guide spoke very quickly, very confidently, not always coherently, and such things that contradict school textbooks (in particular - about the formation of St. Petersburg)"
"... a guide, a young girl, a student very carefully and on business told about the city and the legends of the city. At the end of the tour, applause was heard on the bus, the guide and the driver were a little embarrassed. :) And we didn't even want to leave them."
Summarize what you saw, summarize what was said. This will help tourists to better remember and understand what they saw.
"I was convinced that a guide is still needed, because he structures what I saw and heard."
If they try to interrupt you with a question in the middle of the story, ignore it. When you finish the story, you can ask the person to repeat his question.
If during the story something sudden happens around that distracts the attention of people (for example, a wedding procession, dogs, squirrels), you should pause for a little and then continue.
As you build your story, speak from general to specific. First, tell us where we are, what surrounds us, and then proceed to describe a specific object. You cannot start the story right away with some story that happened in a certain house. People simply will not understand what kind of house they are talking about, where to look and where they are in general.
Use logical transitions. Don't jump from fact to fact. Nobody needs a lot of little information. Fragmentary information is difficult to assimilate.
When you speak important information, let's link to the sources. Otherwise, your speech may be considered unfounded or fiction.
It is clear that after the three hundredth or thousandth time it is difficult to tell as if it were the first time. But still, the opinion of people and the emotions they receive about the walk depends on your acting talent, inspiration.
"And most of all I remembered the guides, which are included in the ticket price, and I listened to lectures from as many as three. They tell so vividly, with soul and in colors! The last, third girl-guide, I even began to record on a dictaphone."
A guide is an organizer, but not a drover of people. If you work in a group all day, it would be appropriate to warn everyone before starting the trip that at the exits you first tell interesting things for 5-10 minutes, and then free time. Because people are often nervous, they look at you - they are worried that they will not have time to take photos and buy souvenirs. It is important to give them time for this. Otherwise it might look like this:
"I was in Kostroma 1 time, on an excursion. A terrible impression remained - the coldness of a dog, although the rest of the boat trip was kept warm. The tour was crumpled, the guide was a loud, nervous aunt, gave a lot of orders, didn't tell much."
Don't keep people in one place for a long time. 10 minutes is enough. Then people are distracted, worried that they will not have time to photograph, and in cold weather they freeze.
Do not wave your arms meaninglessly, keep track of your gestures. With the movements of your hands, you direct the eyes of tourists, help them not only to look, but also to see.
When communicating with people, do not wear unnecessarily dark sunglasses. People need to see your eyes, this is respect. If the sun gets in the way, a wide-brimmed hat will help.
Depending on the position of the sun, during the story, arrange people so that the sun does not hit their eyes. If the weather is hot, put the group in the shade; if it is cold, on the contrary, choose a sunny place, sheltered from the wind.
If lunch is planned on the route, do not forget that the guide will sit down to eat the last one. First, he must check all the tables - how the people were seated, whether there is enough cutlery for everyone, what exactly was served to the tourists (compare with the information of the travel agency). If you are traveling by bus, make sure that the driver is fed as well. Tour guides, drivers, managers dine at a separate table from tourists.
Let's give the amount of information that people can assimilate. There is no need to overload them with unnecessary facts, abstract topics and specific terms. Take small breaks. They are necessary for the awareness and assimilation of information.
How much is the guide supposed to say? For example, an excursion is designed for 6 hours. If this is a walk around the city, then the guide says 6 astronomical hours. If outside the city - 6 academic, i.e. every 45 minutes he has the right to take a break of 15 minutes. On the way back, the guide, as a rule, does not speak. Tourists at this time are resting, someone is sleeping, someone is sharing their impressions with a neighbor, someone is listening to music.
Sometimes on excursions there are people who lack communication. They ask questions they don't need answers to. They need time and attention. If you have the opportunity, give it to them.
If a tourist expresses his point of view on the information provided and tells a lie, do not argue with him. Everyone has the right to be wrong. Your task is to give knowledge, and to assimilate it is the personal work of everyone. Maybe he will learn, maybe not, it is voluntary.
If you had a suburban bus tour and you return back, warn tourists in advance that the bus follows without intermediate stops to the starting point of the excursion. People should be informed about this in advance. Otherwise, when approaching the city by bus, a procession of "walkers" will be arranged to the driver and everyone will ask to stop him there. Such situations are often unnerving for drivers. After all, an excursion bus is not a taxi and a driver should not drop off a group of people here and there, slowing down, rebuilding and wasting time. The travel time is also monitored by a guide. At the end of the excursion, he must document the time of the bus stop when the last tourist left it. Otherwise Travel Company will overpay for the time the bus rolls over.
At the end of the tour, remind tourists that you can answer their questions. And there are usually a lot of questions.
The guide tries to make the walk interesting, filled with reliable information. Moreover, he presents it in such a way that tourists understand and remember a lot. They gain knowledge and the opportunity for further reflection and, possibly, independent reading and walking. It's great when the work of one person encourages you to find interesting things in new objects.
At the end of the excursion, be sure to sum up the results - tell me briefly where you have been, what you saw. Thank your colleagues for organizing the walk and the tourists for their attention. Usually this is followed by applause :) Your reward for a job well done.
