Before starting a conversation about the pedagogical guide for children creative gameshould determine the very concept « theatrical game» .
In the pedagogical literature, the concept « theatrical game» closely closes with the concept "Dramatic game". Some scientists identify these concepts, others consider the game-dramatization by a type of plot-role-playing games. So, according to L. S. Furmin, theatrical Games are presentation games in which in persons with such expressive means as intonation, facial expressions, gesture, pose and gait, the literary work is played, that is, specific images are recreated. According to L. from Furmine, theatrical-Eigher activity for children-Figlikov is the greatest interest when children themselves in the image of the acting person perform a role assumed.
Theatrical game promotes development creative abilities and cognitive activity childrenmoral development of preschool children, formation of cognitive imagination.
In the process theatrical games are childrenAs a rule, they know what they are depicted, but not always and not everyone knows how to do it. That's why intonation children There are defensive, and movements to monotonous. Children experience unsatisfactory from their actions, disappointed and lose their interest in games - dramatization. Therefore, it is necessary to allocate and show children a means of figurative expressiveness and performing activities that would stimulate creative manifestations children. These include speech, intonation expressiveness and pantomimics. It is necessary to use these means to transfer the image, the abilities to use them, find the appropriate emotional condition Character. In affordable children preschool age The form is important to attach children To the embodiment of the stage image in different ways. The creative activity of the child in terms of forming new stage images is to destroy the templates of the stage image. The whole process of creating a stage image is the unity of fixing new images and destruction, the former under the influence of visual techniques. It is on the activation of the action of this mechanism all the work should be sent.
Theatrical Preschoolers are promoted development as cognitiveand emotional the imagination of children, development Their affective sphere. It is necessary to create a special type of relationship between children and adults in the process. theatrical activitySuppose to children will cope with the problems that have arisen, overcome fears and anxiety, detect individuality in creative activity.
For development of creative imagination by means of theatrical activities necessary:
- develop Creative skills children In terms of incarnation of the stage image;
Give ideas about non-verbal and verbal means of incarnation of the image;
- develop cognitive activity;
Form emotional control;
For completeness theatrical perceptions Activities - familiarize children With different species theater: Desktop theater, theater on flannelhemph, finchikov theater With dolls BibA and game - dramatization.
To help children reveal their capabilities, realize the need to work on the role (so that the children represented the images of the heroes of fairy tale expressive, emotionally reflected, behave on the stage at ease, need a special acting training, the purpose of which to help master the following means of figurative expressiveness: intonation, poses, gestures, movements, facial expressions, pantomime.
With systematic occupations theatrical activities in children develop The ability to actively use various types of iconic symbolic features, the ability to create images and efficient mechanisms imaginationaffecting development of creative imagination. Theatrical Games should be of different functional orientation, but it is to contain educational, developing and educational tasks.
Theatrical Games must be different in their own way, and therefore it is very important to be able to select artwork, based on the plot theatrical game. Theatrical The game should carry information about the surrounding reality, influence the formation of the child's personality, to activate his creative imagination, have developing and educating character, as well as correspond to age and individual characteristics children.
Approximate creative tasks
Junior group
Submit and portray how the kitten is sleeping, duckling, cockerel; imagine how they wake up, drink a water or milk; Ask for a kitten, chicken, chanterelles to eat; Present and show how the cat washed.
Transfer by intonation, pose that the bunny cries, rejoices, outraged, portray, as flying, masses with wings and landing the beetle, bird. Imagine as a kitten, duckling, a bear swallowes are moving through the coils through the stream, how to go to the turnover, how hard, the bear after the hibernation is awkwardly move. How runs in the forest of the tricky fox. To present yourself to someone and tell about yourself, choose and present some animal. The rest should guess who the child depicts.
Senior group
Mimic etudes: One child tells, the other shows with the help of facial expressions and gestures, what is said about. Pronounce phrase, for example, image of several heroes: puppy and cat, sparrow and butterfly, passing like an old grandmother, princess, exercises with imaginary objects, like imagine the ball, take it. Inventing the riddles of this type: show your hero in motion first without words, then with words, and everyone should guess who it was (bunny with carrot). Come up and tell new fairy tale About some familiar heroes. Come up with action to songs. Come up with a waltz movement. Figures for polka dance.
Preparatory group
Serve a song being evil, or a good hero. Pronounce the phrase indignantly, surprised, quiet, loud and sad. Transmit a pose that at the moment makes the hero or what happened to him. Compose a song for Masha. Submit and portray how it goes through the woods that at the same time does (sniffs flowers, etc.). Compare wolf on different fairy tales (Cockerel, hare, fox, bear).
Thus, only an integrated approach to the organization theatrical activities necessitates its effectiveness in development of creative imagination in children.
Publications on the topic:
"The development of the speech of children through theatrical games" is one of the important acquisitions of the child in preschool childhood. It is acquisitions,.
Card file of theatrical games for children 3-7 years Theatrical games for children 2 junior Group. Pantomime "Morning Toilet" Purpose: Develop imagination, expressiveness of gestures. Educator.
Methodical recommendations "Development of mathematical ideas in children by developing games V. V. V. Vosobovich" The basis of human intelligence, its touch experience is laid in the first years of the child's life. In preschool childhood there is becoming the first.
Methodical recommendations to educators to overcome the OSR in children of preschool age It is very important to implement the correctional work with the Children with ONR to implement comprehensively, interacting with educators and parents, for efficiency.
The game is the leading type of activity of the preschooler. This postulate of child psychology is known to everyone. In this case, the concept is diverse. What.
Recommendations to parents and educators to reduce aggressiveness in children Recommendations to parents and educators to reduce aggressiveness in children. The problem of learning and education is one of the most important standing before.
Recommendations for educators for the organization of children in Dow I work as a teacher-psychologist in GDDOU No. 49 of the combined view of St. Petersburg. The role of nutrition in modern conditions is significantly.
Recommendations to educators on the organization of positive relationships of preschoolers. The most important thing is to raise the moral forces of the child, without which he cannot do not do good, that is, to learn to empathize. V. A. Sukhomlinsky.
Recommendations to educators "The right of a child must know and observe" Purpose: Enhance legal knowledge and pedagogical competence educators for organizing work on the realization of the rights and freedoms of children and upbringing.
Recommendations to the educators "Principles of interaction of the teacher with parents" Recommendations to teachers: "Principles of interaction with parents" 1. Friendly style of communion teachers with parents positive attitude.
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Olga Mikhailovna Dyachenko
Development of the imagination of the preschooler.
Methodological manual for
educators and parents
Series "Library of the Educator (Mosaic-Synthesis)"
The text is provided by the copyright holder
http://www.litres.ru/pages/biblio_book/?art\u003d5814948.
Development of the imagination of the preschooler. Methodological manual for educators and parents.:
Mosaic synthesis; Moscow; 2007 ISBN 978-5-86775-551-5 Annotation This book is devoted to the problems of developing the imagination of preschool children. It describes the age dynamics of the development of imagination and proposed methods for its diagnosis; Presented educational games and exercises to activate the imagination of preschoolers.
The book is addressed to teachers of pre-school educational institutions and parents.
Content path to unknown pebbles-candy and air locks that can be made of the square almost first an essay on the topic in children's garden And at home app application 1 Appendix 2 Junior group Exercise "What toy?" "What is it?" Exercise "Children on Walk" game "Pebbles on the shore" Average group Exercise "What toy?" "What is it?" Exercise "Children on Walk" game "Personnels on the shore" game "Cheerful Gnome" game "What does it look like?" Exercise "Magic Mosaic" game "Let's help the artist" game "Magic pictures" Senior group game "What is it?" Exercise "Children on Walk" game "Personnels on the shore" game "Cheerful Gnome" game "What does it look like?" Exercise "Magic Mosaic" game "Let's help the artist" game "Magic pictures" game "Captive" game "Compose a fairy tale" Exercise "Who needs?" The game "Different buildings" Preparatory group game "What does it look like?" Exercise "Magic Mosaic" game "Magic Pictures" Game "Perevils" Exercise "Compose a fairy tale" Exercise "Who needs?" "Different buildings" game "Different fairy tales" O. M. Dyachenko. "Development of the imagination of the preschooler. Methodical manual for educators and parents »
The game "Wonderful Transformations" game "Where Whose House?" Game "Wonderful Forest" Exercise "Where maybe?" Game "Signs" List of references O. M. Dyachenko. "Development of the imagination of the preschooler. Methodical manual for educators and parents »
Olga Mikhailovna Dyachenko Development of the imagination of the preschooler.
Methodological manual for educators and parents Olga Mikhailovna Dyachenko - Doctor of Psychological Sciences, Corresponding Member Rao, Scientific Director of Development Program, Laureate of the Prize of the Government of the Russian Federation in the field of education.
More details with the works and activities of O. M. Dyachenko on site www.diachanko.ru O. M. Dyachenko. "Development of the imagination of the preschooler. Methodical manual for educators and parents »
"We all come from childhood" ... these beautiful words of A. Saint-Exupery, as it should not better turn us to the origins of our life, to understanding what exactly in our own, in our children will lead us by different roads of our destinies.
These words could be a kind of epigraph to the work of psychologists, first of all children's psychologists who seek to understand how he feels, thinks, remembers, creates a person at the very beginning of his life path. It is in childhood, and often throughout such a small period of time as preschool childhood, the fact that largely determines our "adult" fate.
L. Tolstoy wrote: "Isn't it then I have acquired everything that I now live, and has acquired so much, so quickly that in the rest of my life I did not get one hundred and one hundred and one?
From a five-year-old child to me only a step. And from a newborn to a five-year-old terrible distance. " Of course, this is some exaggeration. But it is not by chance that now the attention of psychologists is increasingly attracting preschool age, the origins of the development of the human psyche.
After all, if we understand that it is especially important for the formation of the abilities of the child, his feelings, the ability to think, we can give him the opportunity for the most complete development.
No matter how much the life of the parents, the child needs to open as many ways as possible and be sure to help him enter into the world of creativity, imagination, fantasy.
It seems that everything said does not cause any doubt. Of course, novelty, creative search, fiction is beautiful. Let us dwell in more detail on the attitude towards creativity when it comes to our children who invent something without end, fantasize, ask the most unexpected questions, experiment with the most unsuitable things. Do we want to have "uncomfortable" creative children grow, and whatever the teachers and parents of their pupils want to see?
Partially the answer to this question we find in one of the studies conducted by foreign psychologists. At first they offered parents and teachers to describe the children they consider gifted. Both teachers and parents gave pretty close definitions. The most important features of a gifted child, they considered high intelligence, good marks, creativity, dedication, good contacts with others, high moral appearance. Then researchers asked teachers to describe the child whom they would like to see in their class. It turned out that this description largely coincides with the definition that they gave gifted children. Parents asked to describe the children whom they would like to see members of their family. And these descriptions have already dispersed quite sharply with the descriptions of gifted children. For parents, the most important in this situation made such qualities as emotional stability, obedience, good contacts with others, high moral appearance. There was no word about creativity!
Many teachers, thoughtfully and seriously related to the development of the identity of children, are anxiously asked: "Where are the" accuracy "?", "Why are there any questions about the lessons in the lessons?", "Where are the fasselters and inventors who are not always obedient, but But generous to unexpected and independent findings? "
Of course, many parents seek to develop creativity from their children: they give them in the studio, circles, special schools, where experienced teachers are engaged with the guys.
Often everything is evaluated positively until the child develops his fantasy in a circle, and at home he is mil and obedient. But as soon as the child comes out for the frames allocated to him, they often begin to reproach that all this fiction and fantasy. Of course, with such respect to GASO. M. Dyachenko. "Development of the imagination of the preschooler. Methodical manual for educators and parents »
children's sparks of children's immediacy and aspiration for a new one. And then we yourself avoid people with kitsy, even thoughts, deadly fearing to express something new.
But it is also possible to other attitude towards child fantasy. We give an excerpt from the story of Tatiana Tass "Good grains".
"... Once at school, the teacher showed the guys a simple round cup and offered to draw it. Sitting ahead boy looked at the cup for a long time and finally raised his hand. He was vertically challengedAnd therefore seemed younger than all others.
- You can, I do not draw a cup, and what I have never seen? - asked - what do you want to draw? -surprised teacher.
The boy was silent for some time and watched himself. Then again - it is possible, I paint what you saw only some? - he asked.
- Explain, please, what it is, - said the teacher from - please draw a blue bird if you are soi want to.
The whole class diligently creaked with pencils. But the boy, after some time, raised his hand again.
"I would like to draw something that no one ever seen," he said - Mammoth when he wakes up, "the boy said to blame.
- Mammoth? - asked the teacher, looking at him attentively.
The lesson ended, the whole class gave a notebook teacher, where a round cup with a "Bublik" handle was dying.
Just before the boy sitting in front, lay a blank sheet of paper.
The boy wanted to draw eucalyptus, a blue bird, waking up but the whole lesson he saw them, saw a huge red tree with a blue shadow, flocks of parrots who had shoved his flowers, saw the magic bird of happiness, saw a mammoth, slowly overlooking the meadow, giant herbal herbs ... He saw them, admired them, sought them to draw them, but his little fingers were weaker than his imagination, his dream: a sheet of paper The boy did not fulfill the tasks. The teacher was entitled, obviously, provided for, probably in the textbooks of pedagogy, evaluating the strength and fervor of his imagination. She guessed in a poet boy ... "
O. M. Dyachenko. "Development of the imagination of the preschooler. Methodical manual for educators and parents »
Probably, it is such an attitude that will help the child, let the peaks not to the vertices of human creativity, but forever keep the live spark of imagination and fiction.
As J. Rodari said rightly: "Free possession of the Word - everyone - in my opinion, this is a good motto ... not for everyone to be artists, but in order for no one to be a slave."
However, is it enough "passive" to promote the development of creativity in children, simple non-interference in their fantasy and let the friendly, but contemplation? And well, if in the child there is a desire to compose, imagine, and if not, what to do?
Let's try to figure out what imagination is, especially creative imagination, and where does this freedom come from in words, in feelings, in thoughts, in self-expression? Maybe if we can understand how creativity begins to develop, develop imagination in childhood and what determines this development, can you find ways to creative freedom for everyone? Let not equally, but everyone will get the opportunity to make their small discoveries: at work, at home, in relationships with friends. And life will get a new insight from the joy of these discoveries. After all, if we remember the past days, months of our life, we will see that very few of them differ from each other. But it was the days when something unusual happened, special, and even invented by us, remembered as the brightest and festive.
K. Bulychev has a wonderful humorous story about how one day a certain fisherman after successful fishing returned home and met Leshego. Leshel demanded to give him all the catch, but the fisherman was an extremely and refused to Lesme, as it turned out, very rashly. He punished his lyme, punished that all the days of the fisherman became completely the same. Every morning his wife was preparing for breakfast of the scrambled eggs, the son was late for school, and at work it was all the same. Osno became a fisherman from such a lifetime, he poured off his forgiveness and was happy when he understood that she was forgiven: the wife was preparing for breakfast and he did not go to school and did not go to school, and he himself was sent to a distant and uninteresting business trip himself.
A person can not have a day after day to break in the same circle, and if he himself is not able to diversify his life, come up with something new for himself and for others, he is looking for circumstances or people who will help him do it.
But what characterizes people configured to create this new, prone to creative search? Psychologists have long been interested in this question. But the answer to him was initially given too common and descriptive.
For example, creative gifts were characterized as the ability to successfully adapt to new tasks and living conditions. Then were described in more detail the qualities of creative thinking. The main of them were considered to be thought of thought (that is, the number of ideas arising per unit time), the originality of ideas, curiosity, the ability to develop hypotheses, flight of fantasy.
In the future, these qualities were specified, filled with clearer content. The creative abilities began to treat the taste in search of problems (many psychologists began to consider as the most significant characteristic of creativity skill to put a new problem, and not solve old), the ability to "coagulation" (to compressed and accurate wording), the ability to "coupling" (linking new information with old), the ability to transfer (to the use of old knowledge in the new situation), the readiness of the memory to issue the necessary information, the flexibility of intelligence, fluency of speech, the ability to bring the case to the end, etc.
All this, of course, right. But it is especially important for us to understand which of the characteristics of creativity are beginning to develop in preschool childhood, where the origins of our adults are O. M. Dyachenko. "Development of the imagination of the preschooler. Methodical manual for educators and parents »
finds and losses. Let's try to answer these questions, looking into childhood in finding ways for creative development each person.
Today, children's creativity received universal recognition. Competitions of children's drawings are arranged, reviews of children's vocal and dance ensembles are held, children's poems fall on the pages of "serious" magazines. Not doubting the charm of children's works, peculiarity and high artisticity of many of them attract the most serious attention of various specialists: art historians, psychologists, teachers.
It turns out that in such a fine area as the work of children, harmony is quite "belonging to algebra." The most essential moments are allocated in the child's work, serious attempts are made to help him in mastering various creative activities, "teach it creativity."
Not so long ago, the opinion was widespread (many Western psychologists and teachers and now adhere to it) that creativity is initially inherent in the child and you only need to prevent him from being free. But practice shows that this is not enough: not all children can independently open the way to creation and, of course, not everyone can save for a long time creative abilities.
It turns out (and all our pedagogical practice confirms this) that if you choose the appropriate methods of learning, even preschoolers, without losing the originality of creativity, create works much higher levels than their untrained self-expressing peers. It is not by chance that children's circles and studios, music schools and art schools are so popular. Of course, there are still many disputes about what and how to teach children, but the fact that it is necessary to learn is no longer a doubt.
But what is considered the basic in training work? First of all, it is necessary to give a child the means of the activity that he starts to engage. If he is engaged in painting, he must learn to elementary to use the brush and paints, be able to see the color and shape of the items. If the child begins to compose poems and stories, he needs knowledge and practice of mastering artistic words, etc. The child will not be able to independently find these funds developed on the debt of human development.
He will be able to open only the most primitive of them, and his creativity will remain on the lowest stage.
But it turns out to give technical skills not enough. Even with good mastery, they have a child, and often an adult, remains at the level of the craft, and not creativity. After all, it is important to invest in our work that used to be called soul, and now determined by psychologists as emotions, feelings, experiences, life experience.
It would seem that it is so thin and individual sphere that it should not interfere in it. But if we understand that it is the basis of the emotional experience of the reality and the embodiment of this experience in the artistic work, we will be able to influence the development of the child's senses, which will give uniqueness and completeness of his work. And such attempts are already done. For example, in a literary circle, which is managed by the psychologist Z. Novlyanskaya, children give the basis of what constitutes the emotional world of any artist: the ability to sympathize, empathize with people, animals, colors and simplest objects that surround us. After all, it is this empathy, sympathy, the ability to submit or imagine the inner world of all and all create a unique poetry of the fairy tales of the city of X. Andersen, make us go beyond the heroes of the "blue bird" M. Meterlinka.
It turns out that it is possible to give children lessons for sympathy and empathy; Teach them to represent and describe not only some events, but also the inner world of such acquaintances and prosaic objects like onions, potatoes, carrots. After such special occupies. M. Dyachenko. "Development of the imagination of the preschooler. Methodical manual for educators and parents »
tiy stories of children acquire emotionality, individuality, approaching truly creative works.
But there is another component of creativity, without which it is unthinkable to create a new one.
This is a creative imagination, that is, the creation of new images, ideas that subsequently subsequently in the work. Imagination is the basis of any creativity, and it can be assumed that there are some laws for which it develops and manifests themselves common to all types of creative activities.
Means, we help with children, and emotional components that generate artistic images that are specific to different activities. There are their own, special laws of literature, music, painting. As for the images of imagination, it is their analysis that gives us some criteria for evaluating the degree of artist's creativity, in whatever area he has been working.
At first glance, it may seem strange that we are talking about the need to develop the imagination of children, especially since we are talking about preschoolers. The view is quite common that the child's imagination is richer, the most original adult imagination that small child Lives half in the world of his fantasies. Such an idea of \u200b\u200bthe initially inherent preschooler has a bright imagination for some psychologist specialists.
However, already in the 30s of the XX century, the largest domestic psychologist L. Vygotsky proved that the child's imagination is developing gradually, as they acquire a certain experience. He managed to prove that all images of imagination, as if bizarre, they were, are based on those ideas and impressions that we get in real life. L. Vygotsky wrote: "The first form of communication of the imagination with reality is that any creation of imagination is always built from elements taken from the activities and contained in the previous experience of a person."
Therefore, it is unlikely that it is fair to say that the imagination of the child is richer an adult imagination. Just sometimes, without having sufficient experience, the child in his own way explains what he faces in life, and these explanations often seem to us, adults, unexpected and original.
Many such examples can be found in the book of K. Chukovsky "from two to five":
"The sea is one with one bank, and the river with two", "Myshkina's chicks live" under the bed "," Does the knife - forkin's husband? "," Dogs are needed by a hunter, so that the hares do not attack him? "
But if before children put a task to compose something, come up with, then many guys are lost and refuse to do or perform the task traditionally and uninteresting.
You can easily be convinced of this. Ask your familiar guys at the age of the years to write a fairy tale. Most children will be confused, the most shy guys will say that they do not do this in kindergarten and, of course, do not know how. CTOTO of the guys, the lines will retell with small variations of the plots of well-known fairy tales, and only 1-2 kids will try to come up with something. Only a few preschoolers will be able to use the freedom of association really inherent in children and fulfill this task creatively. But if such a task, you will offer older children, and even much older, then, most likely, few of them will be "at the height", and many will answer with the refusal and references to the fact that "we didn't pass it, we did not ask." And it is, so the imagination must be developed since childhood, and the most sensitive, "sensitive" age for the development of imagination, as L. Vygotsky noted, is preschool childhood.
Develop ... But how? What is the essence of the imagination?
O. M. Dyachenko. "Development of the imagination of the preschooler. Methodical manual for educators and parents »
Many psychologists consider imagination as the process of manipulating images, as a result of which new original images are created. In a developed form, such combination is always subordinate to some task (directional imagination, and not free fantasy) and, as if resisting the standard solutions to which the external features of the material are pushing. Imagination is manifested, first of all, where the tasks contain some uncertainty, that is, they do not have a single specified solution. Psychologist A. Petrovsky notes that "the imagination works at the stage of knowledge, when the uncertainty of the situation is very large." Examples can be found in any form of artistic activity, the result, which is purely individual and cannot be regulated in advance as specified conditions. Imagination creatively converts reality; Its images are bending, moving, and their combinations can give new and unexpected results.
During such a relatively small segment of time, like preschool childhood, the child's imagination is essential. How can we judge if the child has imagination or it has not yet arisen? When does this one of the most complex mental processes begins to develop? After all, it is the imagination, that is, the ability to imagine what does not actually distinguishes a person from all other beings.
We know that animals have perception, memory and thinking, although, of course, all these processes differ from human. But imagine an animal endowed with imagination is impossible. The words K. Marx are well known: "The spider performs operations that resemble the operations of weak, and a bee of the construction of their wax cells will be posted by some people - architects. But the worst architect from the best bee from the very beginning is distinguished by the fact that, before building a cell from wax, he already built it in his head. "
Maybe it is because we attract our creativity so creative peoplethat creativity is the top of human development, human abilities. But where are the origins of this? How does the creative imagination begins to develop, what kind of features arise already in preschool childhood? Its development is inextricably linked with the development of the child's personality. Imagination is that sensitive " musical instrument"Mastering which opens the possibilities of self-expression, requires a child to search and fulfill their own ideas and desires.
O. M. Dyachenko. "Development of the imagination of the preschooler. Methodical manual for educators and parents »
Candy pebbles and air locks Many important issues of the imagination of the psychological nature of the imagination remain unanswered, especially for the early stages of the development of creativity. As soon as it comes to the origins of creativity, psychologists begin to contradict each other.
So, in foreign psychology there are different points of view on this matter. E. Torrens, for example, believes that creativity is awakened in children only after 5 years, and according to A. Andrew, the "peak of creativity" in children accounts for 3.5-4.5 years. The discrepancy here is deeper than it may seem at first glance: a year, even six months, in a child's life is a very long time, since it develops quickly, and all the time new and new psychological mechanisms are included. What are the "responsible" for the formation of creative imagination?
A number of psychologists completely refuse to a child in any creativity, believing that he only has a passive fantasy and he can only blindly copy seen in adults.
So what happens really? Let's try to apply to data accumulated by domestic psychology and preschool pedagogy.
It was the domestic children's psychology that gives an answer to the first question: "When can we talk about the emergence of imagination and what does this manifest themselves?" Here the baby lies in the cradle. He will already know Mom, happily smiles with dad, stretches to the rattle ... So he already walks, says the first words, he lays a doll to sleep ... It may seem that no imagination here can be speech. That's when the child starts drawing, writing poems or fairy tales is another matter. But it turns out that the imagination of the child appears much earlier than we can imagine.
The first manifestations of imagination we can observe when the child begins to act not on the basis of reality, but on the basis of his own ideas that arise from him. When the kid knocks a rattle along the crib, collects a pyramid or even fuss a spoonful of porridge from his plate in his mouth with his favorite doll, you do not have to talk about imagination.
The child sees a real object, takes him and acts with him as this subject requires.
But the baby begins to feed a doll with a spoon with a doll, lay a bear bed into a box-bed, wash his hands with a pebble-soap ... In all these situations, the child acts with one thing, and imagines on his place else. The first manifestations of imagination are 2.5-3 years old, because it is at this age that the child begins to act in an imaginary situation, with imaginary objects - first of all, in the game.
Many teachers and psychologists and psychologists have noted the importance of the game for the psychological development of the child. An outstanding teacher K. Ushinsky wrote: "In the game, child lives, and the traces of this life remain deep in it than the traces of a real life, in which he could still keep in the complexity of her phenomena and interests. In the real life of the child is not more than a child, a creature that does not have any independence, blindly and carelessly fascinated by the flow of life; In the game, the child, already a greeted person, tries his strength and independently managed by its own creatures. "
In the game, the child is revealed by its capabilities that are not yet implemented in real life. It's like a look into the future. In the game, the baby is stronger, the kinder, rustier, is more consistency and, of course, there is more fantasy and imagination than in many other situations. And it is natural. The child must necessarily relate his desires with the desires of other children, otherwise he will simply be adopted in the game. He can stubborn with his parents, with educators, but not with the partners in the game. The game forms the child the skills of communication, the ability to establish certain relationships with peers.
O. M. Dyachenko. "Development of the imagination of the preschooler. Methodical manual for educators and parents »
In addition, taking one or another role, the child absorbs and necessary for its execution of the norm of behavior. The baby must be gentle and caring in the role of Mom, kind and attentive as a doctor, polite and neat in the role of the seller. And of course, he should be able to come up with what to play what to use to play, what to say and do in each of the received roles. It is children who distinguish between the wealth of fantasy and fiction that are more willing to take into the game, and most often they themselves are due to the sound and organizers of the Games.
Observing the behavior of children in the game, some psychologists made the conclusion that the game is only manifested by the imagination of a child, which is initially inherent in him. However, L.
Vygotsky managed to prove that the game does not show, and the child's imagination appears.
We have already talked about the fact that it only seems to be a preschooler who is a thought that lives in the world of his fiction. In fact, the imagination of the child is powered by the fact that he sees in reality, by what interests him and worries. In his ideas, he processes what he saw and heard and reproduces it in games, fairy tales, drawings. Sometimes this processing is so far that we cannot immediately see the impressions of the child who woke up his fantasy. But in simple cases, the connection of the child's imagination with reality is very clear.
In their games, preschoolers not only follow the logic of reality, but also well distinguish reality from the gaming situation. When a child plays with a doll, as with her daughter (talking to her, feeds her, clothes), it does not mean that he has the illusion that it is a living child. If this doll suddenly spoke herself or bit off a piece of toy pie, then the child would be frightened.
The child acts with objects (chopsticks, cubes, etc.), replacing what is necessary for him for the game, not because in the game he goes from reality into the world of his fantasies, in a special world of characters, as some psychologists believed, and Because this substitution is dictated by him the logic of the game. A. Zaporozhets pointed out: the child prefers a toy horse umbrella not because it is a symbol, but because the umbrella can "ride", and it is impossible on a toy horse, and it is precisely that a symbolism is manifested, but the realism of the child's imagination is manifested.
If you carefully watch children, then you can see that the imagination of the younger preschooler "riveted" to the subject. It starts the game based on those subjects that see that can beat. If pebbles come across on his way, bumps, it will certainly begin the game in the preparation of lunch. If a false tree or a wide stump occurs, then, as a rule, "travel" begins ... The imagination of younger children is clearly visible, for the subjects that attract their attention. Therefore, kids prefer bright, objectively decorated toys:
dolls, cars, etc. Often the child takes such a toy, performs a few simple actions with her and puts it aside. Therefore, kids' games are usually very long: they last 10-15 minutes.
Since initial imagination is associated with the bearing of objects, the main development can be carried out through this beat.
The answer to the question of the origins, about the first steps in the development of creative imagination gives us the key to management of this development. It becomes clear how we can influence the development of the creative opportunities of the child from early childhood, at least at least in the most common plan.
It is in the game that you can start forming the Baby of the ability to find your own decision, original answers, the ability to act in terms of shaped presentations.
... when the teacher Natalia Vladimirovna comes to walk with the younger group, the kids do not differ across the entire platform every O. M. Dyachenko. "Development of the imagination of the preschooler. Methodical manual for educators and parents »
according to their affairs, but they are going around it waiting for some surprise. And expectations are usually justified. "Guys, today we will all together build a house for our teddy bear and prepare him lunch.
Look, here we have a box with a building material, and here there will be a construction site. It is necessary to transport everything you need for the house, and builders will build. " "And we didn't take the car with them with them," the disappointed voices are heard. "Nothing, you can come up with and find that we will have instead of cars." And no longer boredom and single from the bored truck. Everyone differ in the site, and in a minute - another offers: "You can take this plywood, this will be a truck", "But you can have a big leaf, you can also carry,", "And here is an old shovel, this is also like a car. "
Transport problem solved. With the help of Natalia Vladimirovna, the most successful suggestions are selected, and the kids are divided into groups:
some build, others bring the builders everything you need. And here is the house is ready.
Bear, very pleased, is going to cope a housewarming. It's time to help "and we did not take toy dishes." And again the search begins.
Someone bucket is a saucepan for soup. Large leaf and plywood - a former truck is a frying pan, and in the old stump it is excellent to cook compote.
And again, some kids are responsible for the first dish, others - for the second, the third sets the furniture in the Mishkin House to the arrival of guests. And everything goes into business: bumps, leaves, twigs, grass. And if at first every choice is still indishes ("Natalia Vladimirovna, and I can be a bump with me?"), Then the courage, and the fiction will be growing very quickly, and the grass will be growing. "" No, better vermichel, and Pasta - stems from dandelions. "" And from dandelions it is possible to make glazing ").
Such a game lasts not for a minute, and an hour and more, almost all the time all the time stayed for a walk. Of course, organizes and directs it while the educator, but gradually laid necessary for the development of imagination freedom of treatment of gaming material, ease of replacing one object to others, the ability to see the thing for the game in the most ordinary chopstick or in a piece of paper. And maybe it is from here that the great poetic ability begins.
We see that you can control the game and develop the imagination of even the most sophisticated children. And what about other activities of kids: drawing, modeling, verbal creativity? It should be noted that here the child's imagination is even poorer than in his independent games.
The verbal creativity of the kids has not yet been developed: at best, they can imagine what is happening in a fairy tale, answer questions or even supplement it in their own way. Buildings and drawings of children younger age It is still very poor and monotonous if, of course, special classes are not conducted with the guys. But even if special work is carried out, the imagination of kids is still reproductive. The child almost unchanged displays in his works seen or heard. This is O. M. Dyachenko. "Development of the imagination of the preschooler. Methodical manual for educators and parents »
it is clearly visible in the verbal creativity of kids. If the child put the task to tell what he sees in the picture, or come up with what happened before or what will happen later, then he is usually limited to the listing of what he see, without even trying to connect to some plot. Older children are already trying to come up with a plot that unites everything seen, but still do not go beyond what they see. And only older children can more or less freely compose something their own, however, with a support for the proposed picture.
A distinctive feature of the imagination in all types of child's activities is the complete absence of preliminary plan. Just as the subject is often guided by the game of the baby, the lines spent on paper change and lead the design of the picture, and the cubes put in one way or another - the construction plan. This is easy to make sure. Ask a child before he starts drawing, that he is going to portray. In most cases, he will say with confidence: "I draw a house" or "Drawn Uncle". But the first lines appear. The wall of the house "leaves" to the side and the baby says: "I am better than the drawing ship." Then a failed ship can be turned into a bird, in the castle, for anything, very far from the initial design.
All this suggests that the fantasy of the baby is still very unstable and completely does not obey a certain task, but it is the ability to send their ideas to the right direction, to subjugate them with certain purposes and characterizes creative productive imagination. Only consistent implementation of the intention can lead to the fulfillment of the conceived, to the creation of a creative work. Inability to manage your ideas, subordinate their goal leads to the fact that our best ideas and intentions are dying, not finding incarnation. Therefore, the most important line in the development of the child's imagination is the development of the imagination.
However, everything that we have told about the development of the imagination in children only applied to the first one, its very early stage. Then, throughout preschool childhood, this complex mental process undergoes significant changes. Qualitatively changes the nature of the main activity of the child preschooler - games. If the baby under 3 years is a subject game, then a child has 4-6 years old this is a plot-playing game that provides the widest opportunities for the development of fantasy and creativity.
In the subject game, the child depicts only actions with individual objects - the actions he saw in adults and which seeks to imitate. Kid cooks porridge, feeds a doll, stacked to sleep a bear. The main thing for him is to perform actions with objects, and these actions are not even always associated with a chain from which adult behavior is usually built.
Psychologists held such an experiment. Children of different ages - 3 and 4-5 years old - gave all the necessary items to prepare lunch. Then children were offered to prepare the first dish, the second and third. All kids with pleasure performed this task. Then "led the doll-daughter" to them and advised to treat it with lunch, and first recommended to feed it with a delicious compote, then give the cutlets, and after all this soup.
It turned out that the children of 3 years willingly agree to such an order of treats. For them, the main thing is to tinker with saucepans, spoons, plates. Performing even such a simple, but already a holistic process, like feeding "daughter", not necessarily for them.
You yourself probably could notice how kids play. They are being prepared for a long time to prepare "food" - they are underway with different objects, then quickly spoonfully spoon in the mouth of a doll, say: "Everything, he attempted, it's time to sleep" - and begin to mess with a puppet bed.
Completely other behavior is observed in children 4-5 years. They no longer agree to feed the doll first compote, and then soup. At such a proposal most guys O. M. Dyachenko. "Development of the imagination of the preschooler. Methodical manual for educators and parents »
they answered: "So it is impossible, moms do not do that" - and began to fulfill the correct procedure. It happened because children in preschool age pass from the subject to the plot-role-playing game, where the main thing is to play a certain role, to fulfill the procedure inherent in this role. If the child takes the role of Mom, he monitors everything to eat everything, to sleep in time, etc. In the plot-role-playing game, the child begins to reproduce those relations that he observes in adults and who seeks to imitate. And the more impressions the child receives, the more diverse his games, the more space for the development of his imagination.
Together with the development and enrichment of individual roles, individual stories of children's games are developing, that is, the areas of reality, reflected in games. First, the kids reproduce household plots: feeding, dressing, cooking lunch. In the children of senior preschool age, production plots appear: playing the chauffeur, doctors, builder; There are games with socio-political scenes: in the war, in astronauts, etc.
The development of plots of children's games is largely determined by adults. Most guys before visiting a kindergarten reproduces in the Gaming Family Games. And only the special job of the educator to familiarize children with different areas of life (the work of the cook, hairdresser, railway worker, etc.) enriches and develops their games. And together with the development of the plots of games, the possibilities of creative imagination are developing, the material that awakens and sends the fantasy of the kid.
In the role-playing game, the child not only represents instead of one subject another, but also sees himself by the doctor, then the wizard, then the prince. The role in the game requires the baby of the most complex activity of imagination: it is necessary to imagine well what the hero should do in this minute, plan its further actions, based on the current situation, to direct the development of the general game as a whole. The story game captures the child and creates that emotional attitude that is necessary for creativity.
It is in the game that the child expresses itself most fully and freely. L. Vygotsky wrote about the game: "The child's game is not there is a simple memory of the experience, but creative processing of experienced impressions, combining them and build from them a new reality that meets the needs and attitudes of the child himself."
Creativity begins in the game, and therefore it matters whether the girl is played on the day on the day of the same "mother's daughters", and the boy in the war or to replace one games come others in which children make up all new turns of the plot, take Miscellaneous roles. It would be wrong to think that the game is a purely childish case and it develops according to its laws. You can also interfere with the child's game if you see that games do not differ in variety. You can even play along with the baby, offering playing different stories, to take over different roles.
At first, the child must learn to manifest his creative initiative in the game, organize, plan and direct. Very helpful for the development of imagination creative dramatization games in which children play any familiar fairy tale. In this case, it is necessary to present a wonderful fairytale situation, imagine the fantastic actions of the heroes of the fairy tale. Not just listening to fairy tales, but a living complicity, the promotion of the heroes wakes up the creative forces of the child, his fantasy. If the kid copes well with playing a familiar fairy tale, then you can invite him to come up with what happened to the heroes of the fairy tale further, and all this is played out with other children.
The plot-role-playing game brings the child to the ability characterizing the imagination of an adult, the ability to act completely in terms of images in terms of ideas. At first, the imagination of the child was riveted to the subjects with which it acts, then it relies on play actions in a plot-role-playing game, but by the end of O. M. Dyachenko. "Development of the imagination of the preschooler. Methodical manual for educators and parents »
preschool age imagination of the child is broken away from the external supports and goes into the inner plan.
This transition is prepared by the fact that in the plot-role game, the child must first submit its actions, their sequence and value for the general plot of the game, and then act. This necessity leads to the fact that the child starts increasingly and more often to "lose" various situations in the mind. So gradually there is an imagination as a special mental process - actions in terms of images, representations.
Examples of the gradual transition of the game into the inner plan, turning it into images of imagination. Many psychologists lead in images. Psychologist V. Mukhin describes this process, watching him of his six-year-old son:
"Kyrilka puts toys around him. It falls among you for sure, we noticed that there were often noisy and movable kids by the end of the preschool childhood, focus and play very quietly, saying something and only slightly moving toys. As a rule, it happens with children who have developed imagination, desire for their own creativity and fantasy.
Such a gradual transition to the inner, relatively free from the external validity of the imagination activity, which occurs as a result of the development of the game, leads to the manifestations of creative activity in various fields. There are a variety of children's writings: the first poems, fairy tales. The guys are pleased to be given to creativity, they willingly tell the ancient adults.
But if we carefully look at the products of children's verbal creativity, we will almost always find in them the proximity to the well-known children of fairy tales and stories. The same can be said about other types of manifestation. children's creativity: drawing, design, musical activity. The child appears the opportunity to act in terms of imagination, freely invent and fantasize, but whether this opportunity will be implemented, is largely determined by adults. From the very beginning, we must disclose the meaning of creative activities to the child: not to follow ready-made samples, stamps, templates, and look for as many original solutions as possible, do not be afraid to freely express them, send their imagination to find a new one, bring it to the end.
Along with the transition of the imagination activity to the inner plan, another very important ability appears at the older preschooler: to subjugate its imagination with a certain plan, follow a pre-planned plan.
This feature of the development of imagination plays a completely special role, since it is due to the child that the child appears the opportunity to create its first finished works. At the younger preschooler, the imagination goes for the subject and everything that he creates is fragmentary, unfinished character. Here the baby begins to build a house from cubes: puts one cube, the other, then all this ends with a destroyed building.
When the senior preschooler appears the opportunity to act according to a predetermined plan, according to the plan, it is very important to develop it, helping the child is not just fragmentary to fantasize, but to implement their ideas, create small and simple, but their works: drawings, appliques, fictional stories.
O. M. Dyachenko. "Development of the imagination of the preschooler. Methodical manual for educators and parents »
It is important that the child learned to bring conceived to the end, not to retreat before failure and implement his little creative plans. If you see that the child of senior preschool age is often led by the started, all the time changes the plan in the course of activity, then it is necessary to help him, to direct the development of his productive imagination.
To do this, it's good to include a child in collaborative activities with adults. Come up with him a few fairy tales. To play well in the game in which the fairy tale is coming up collectively: each of the players pronounces several proposals, and the adult participating in the game can direct the development of the plot, to help the children completed the conceived.
All creative manifestations of the child should be encouraged, gradually putting him some criticalness in relation to the products of his work. It is good to start a special folder or album and put the most successful drawings there, fairy tales. Such a form of fixation of creativity products will help him direct his imagination on the creation of completed and original works. Often, individual manifestations of the child's fantasy gradually fade, not meeting active support from the adult. Often what the child creates, it seems uninteresting, non-original, and we can express our skeptical attitude towards his work. In many cases, this is true for some objective indicators (the imagination of the child as a whole is the poorest of the imagination of an adult), but unfairly in relation to the possibilities of developing his imagination.
But no longer harm can cause a child an unlimited training, an exaggeratedly positive assessment of all his creative undertakings. This can lead to the development of complete non-criticalness, to the inability to perceive criticism afterwards and to the stop of its creative development. It is necessary to flexibly combine well-known criticality with friendly attention to the work of the child, with the promotion of various manifestations of his fantasy.
The encouragement of creative manifestations is especially important in preschool age, because all the life of the preschooler is permeated by fantasy and creativity. The school makes special demands on memory, thinking (and above all logical thinking), and often the imagination of the child, without receiving due development in preschool childhood, gradually fastens and is not always manifested in an adult. But in cases where adults support a spark of creativity and fantasy in a child, his imagination can give wonderful fruits at an older age.
Development of the child's imagination requires special attention Also, because in children's creativity a person, emotions, feelings, mood and relationship with the outside world appear. Domestic teacher N. Vetluginen notes that in artistic creativity The child actively opens something new for himself, and for others - a new one about himself.
Psychologists have long been known for the fact that the prevalence in the drawings of children of bright, light tones testifies to them positive attitude To the depicted. Conversely, the use of dark, gloomy paints can talk about a negative attitude of a child to what he draws, or about the predominance of negative emotions in his mental state. In this case, the analysis of children's creativity products allows you to look into the depths of the child's personality, help him to cope with negative emotions if they arose.
Very bright child's mood manifests itself in the game. The game is a mirror of the surrounding children of life. Sad to observe the retired playing corner The baby who shakes and hits a doll, swearing her at all by children's words, and hear, as in response to the question:
"What do you play?" The child answers: "I play my mother" or "I play dad and mom."
Such games may be symptoms of neurosis arising from the traumatic child situations.
O. M. Dyachenko. "Development of the imagination of the preschooler. Methodical manual for educators and parents »
Developing the child's imagination, it is important to remember that the material for his fantasy is the whole surrounding life, all the impressions he gets, and these impressions should be worthy of the light world of childhood.
The development of imagination is in itself and some dangers. One of them is the appearance of children's fears. All parents notice that children have already appear in children from 4-5 years old: the kids may be afraid of darkness, then more definitely - skeletons, devils, etc. The appearance of fears is a satellite and a kind of developing imagination. This phenomenon is very undesirable, and if fear appears, it is necessary to help the child to get rid of him as soon as possible.
Of course, first of all, you should try to prevent those impacts that may be injured by painful images in his imagination. Often, fears of children appear after films and books, harmless and funny in our opinion. But it must be remembered that the child's imagination is completing that he still does not know, replaces him the information about the reality that he has no and which we have adults. It is obvious to us that the Viy is a fiction that Baba-Yagi does not exist, and Kashing the immortal very nice in a film fairy tale. But imagine yourself at the place of the child, try to look at all of his eyes. For him, all this can be a reality, and such that imagination helps him see this reality in his life, transfer it to his world. It should be very carefully related to the impressions that the child receives, select them according to its age and features nervous system. After all, the fear of becoming intrusive, to grow into neurosis, and then the help of a child neuropathologist or psychiatrist will already need.
If the fear already occurred, then you need to try the child from him as soon as possible. It is characteristic that it is often most effective at the same time not to follow the logic of reality, but to switch to the logic of the child's imagination. It does not always help the sense that the devil does not happen that it is not stupid to be afraid of darkness that there are no skeletons, etc. Psychologist Z.
Novlyanskaya leads such an example: the girl was afraid that a black flower would fly in her room. No persuasion helped, but when mom on the advice of a psychologist said that the cactus in the window guards the girl and did not let her black flower, the child calmed down and fear disappeared.
Another danger, melting in the development of imagination, is that the child can completely go into the world of his fantasies. Already in the older preschool age, all the fictional situations may lose to herself, without accompanying it by external actions. And it is here that the risk of care from reality in fantasy, dream, a dream, which is especially often happening in adolescent and youthful age. It is impossible to live without a dream, but if the child lives only with dreams and fantasies, without embodying them in life, he can turn into a barren dreamer.
That is why since the senior preschool age is important to help the child to embody his ideas, subjugate his imagination with certain goals, make it productive. Teach the child to realize the conceived, and you will see how gradually it will begin to experience the joy of creativity, not climbing in his own fantasies, and revealing itself everything is more and more fully in creative creation.
All that we have talked about the development of imagination, refers to its overall characteristics. We saw how the imagination begins to develop, what changes occur in its development throughout preschool age and how many influence on the formation of the imagination of the preschooler.
However, a psychologist may not be interested in the question of the very essence of the imagination: the dynamics of its images, their organization and the construction of the child. After all, only the process of structuring the images itself, having revealed some of its patterns, we can not just affect the development of the child's imagination, but to the formation of the most significant. M. Dyachenko. "Development of the imagination of the preschooler. Methodical manual for educators and parents »
his features. But for this not enough just to watch children, behind their games, their creativity. Here, a special psychological experiment should come to the rescue, subordinate a completely definite task - to identify the specifics of the development of images of imagination from preschoolers. We now turn to him.
O. M. Dyachenko. "Development of the imagination of the preschooler. Methodical manual for educators and parents »
We chose the experiment technique, based on the purpose of identifying the features of the child's imagination, and not his skills and ability to do something specific.
The subjects were 15 children of the younger group, 15 - middle, 15 - senior and 15 - preparatory. Children were asked the task to draw various figures. For each child, 20 cards were cooked. Each card shows the figure: the outline of the object image element (for example, a silhouette of a tree trunk with one branch, a head-head with two ears) or a simple geometric shape (triangle, circle, square).
And here is the experiment. I sit at the Tab Table (the experiment provided for individual work with each child) and telling him a mysterious voice:
"Look, I have a lot of magic leaves here. Any figure is drawn on each leaflet. You can like a wizard, turn this figure to any picture. To do this, Dorisui to the figure all you want, but so that it turned out a beautiful picture. Want to be a little wizard? "
The child joyfully nods, takes a pencil, but, contrary to expectations, very often does not at all. It would seem that the full scope for creativity is given, do what you want, but not all this freedom is on the shoulder.
Tanya took a pencil, pulled a leaf with a figurineeton and suddenly stopped: "What to draw?" "All you want, you can turn your figure into any picture." - "I dont know". Maybe she is generally bad and shy?
I try to offer: "Tanya, take clean leaflets and draw a house."
With the joy of drowning, grabby for the straw, Tanya performs the proposed. It draws it quite decent for its age. But maybe this applies only to houses? Another check: "Umnitsa, draw perfectly! And now I draw a girl. " And again she copes very well with the task. So it's not in the ability to draw.
I move to her leaf with a figure: "And now Dorisuy the figure, because you can draw everything you want." This is what she just can not. Putting a pencil and sadly admits: "I do not know what to draw." Attempts to offer her for Doroving Other figures, calls to freely do nothing: Tanya actually refuses to task. "Well, tanya, nothing. You draw all the same perfectly. Won what house drew, and the girl got great. I even leave your drawings to remember. "
Tanya leaves the experimental room atomed, and I really leave her picture drawings - in memory of how early for many children is closed the path to creativity and they can only act on the instruction of an adult, completely refusing to show their own initiative. Some guys are aware of the hopelessness of their position. For example, when, I turned to Ira, explaining the task: "After all, you can come up with everything you want!", I got a stunning answer: "I do not know how to invent." Already in preschool age, a person realized himself as a completely not a creative person who is not capable of fiction and creation. Will such a child grow in a seeking and creative adult? Unlikely. And if he can, then, probably, not by itself. It is probably necessary to help such children in the development of their imagination, fantasy or at least in the revaluation of their capabilities.
O. M. Dyachenko. "Development of the imagination of the preschooler. Methodical manual for educators and parents »
Fortunately, such pessimists are not very much. But there are other deviations from the task. Some children near the Figurine figure simply draw exactly the same figure.
Others, completely ignoring the specified figure, paint the fact that they are well obtained: flowers, mom, Babu Yagu ... In such cases, I had to stop the little "creators" and explain once again that it should not just draw, but draw a figurochetalon ( After all, we were interested in the ability of the child to subjugate their imagination facing the task). Some children were rebuilt, and some, with enthusiasm stating: "Now it is clear," continued to do the same. Attempts to show, "As it should" (in front of the child, I "turned", for example, a circle in the sun, flower, a bun), often led to the fact that the child simply copied one of the samples. Sometimes it reached the absurdity: some children began to turn triangles into the sun, rectangles, revealing the complete inability to abandon the template proposed by an adult.
But most guys still took the task and performed it in accordance with the instructions, although, of course, completely differently ... Sasha rapidly flew into the room and quickly, without an invitation sat down at the table. I saw the paper, pencils and was noticeably delighted: "We will draw, yes?" - "We". Pencil is already in his hands. "You will wait, we will not just draw ..." And while I explain the task, Sasha turns the pencil, tries to look into the leaflets with the standards and in general, as they say, rushes into battle. I finish explanations and make it a leaflet with a first drawing figure for it. "Oh, probably after all he listened to herself, check." But no. Sasha, the task understood, accepted and acts exactly according to the instructions: a three huge petal and a cortic chopstick stalk quickly acts quickly: "This is a flower"; One hand he already moves the leaf with the pattern, and the other stretches to the next one. He very quickly casts all the figures and even asks to add: "Do you still have?" Unfortunately puts a pencil, says goodbye and goes to the group.
The task is made, but very superficially. Sasha embodies the first ideas, following, in the way, in the way that it appears, the picture shows: Square - TV, a rectangle - another TV, head with ears - a bear, oval - again a bear. All his drawings are the schemes of individual items, and many of them are repeated, despite the fact that different standards are given.
But Marina is clearly in no hurry. It carefully peers into each figure and draws long, thoroughly, for 5-10 minutes working on each leaflet. Just like Sasha, it gives images of individual items, but each object is saturated with a variety of details.
Here is a princess with curls, in the crown and in a magnificent dress with a dozen bows ... Here is an apple tree, on which all the leaflets can be recalculated, with the colossal number of huge apples ... Here is a cat: every fur shell is visible, claws on the paws, on the neck - a bow. Marina fills, saturates invested items every item, but beyond the one of the subject of the clumsy Misha, one of very few, detects very independent and creativity. One important detail: He immediately carried out very independently to the standard figurine. Most children start drawing on a leaflet in the position, as he put in front of him adult.
Misha takes a leaf with a standard, carefully considers it and begins to turn over, peering into a changing figure. He O. M. Dyachenko. "Development of the imagination of the preschooler. Methodical manual for educators and parents »
it pretends so so, then, choosing something from a variety of opportunities, the most interesting thing. This is almost a creative search. Misha turns a schematic image of a tree with one branch: "So the tree will be. And so - on the bait it looks like a boy can catch fish. And so - it's like a stalk in the fire: a pot hang and cook ear. " It stops on the fishing rod and draws a whole picture: Fishing rod, then the boy who holds it, then the river and a huge fishing, selected to the bait ... The Stick Figurine pushed him fantasy and led to the creation of a picture with several items, without unnecessary parts, but with quite complete Displays conceived. Here the most common, compressed idea unfolds in a complete and complete work.
But all our testes as they could have coped with the task. Before me cards with drawings of children. What now to do with them? How to evaluate and classify?
After all, it is not enough just to observe how the children performed the task, and throw on the eyes: this is non-macan, but this kind of nothing. It is necessary to find a more accurate and objective assessment. And, first of all, you need to find the indicator for which you can evaluate the works of children.
As such an indicator, the degree of originality of the drawings of children can speak. After all, it is the originality of the images of imagination by most psychologists as one of its most essential parties. It is necessary to somehow estimate the degree of originality of the drawings of each child. It is advisable to find a quantitative indicator of originality: then you can compare children more objectively.
In order to find such a quantitative indicator of the level of originality of the drawings, the number of images that were not repeated from the child were calculated (those figures in which different reference figures were converted into the same element of the picture, for example, if the child turned and the square and Rectangle to the TV screen, then these drawings were considered as the same). This restriction had to be introduced because some children, giving pretty original drawings at first glance, then repeated them to infinity. So, turning the square into the eye of the robot (which nobody did from the children of the group), one of our subjects draws the same robots on the good half of the cards with figures. The second one very pretty turns the triangle into the cap of the funny clown, but then a whole series of similar clowns with a joyful smile begins to break out from under the pencil of a young artist. All figures begin to be perceived only from the point of view of suitability to be one of the details of the next clown: an unfinished oval - a torso, a circle - a head, a rectangle - again the body ("such clowns are also there!" - Does the child persuade himself, or if I). Obviously, for such children, each of them at first an interesting stroke is actually not so original for them.
After leaving each child only non-refining drawings, we began to compare how the same table is used by different children. And again, those drawings were discarded in which at least two guys used the standard feature equally. For example, a whole series of diverse trees (apple trees, pears, plums, christmas trees) was discarded, which caused a schematic image of a tree with one branch. Some children managed to deviate from the provocative standard response and turn this feature of the standard in the fishing rod, the gun, part of the house, etc. It was not the same in the attention of a plurality of sun and flowers, which turned into a circle. And, finally, if the children turned the specified standard in the same element of different drawings (for example, a clock turned into a bear, Cheburashka or just a little man), then these drawings were also regarded as the same and did not count anyone from the authors.
O. M. Dyachenko. "Development of the imagination of the preschooler. Methodical manual for educators and parents »
After the drawing selection, we calculated the coefficient of originality (Cor), which each child was equal to the number of drawings that are not repeated from him and not repeated by anyone from the children's children.
But is the degree of originality of drawings with the ability of a child to draw?
Maybe well-drawing children just show great freedom and interest in this lesson, what is not related to the level of development of their imagination?
We turned to educators who work with our subjects every day and they know them well enough; Asked each of the two educators working in groups to evaluate on a five-point scale, on the one hand, "creative character"
each child, which he exists in various types of children's activities: in drawing, in the game, in design, and on the other hand, those skills and skills that children show in these different areas.
Each educator received two sheets of paper. On the same sheet, the conditional name "fiction", on the second - "skill". We talked with educators individually so that they give independent evaluation from each other.
Immediately it became clear that the caregivers evaluate all the children very differently and not everyone can give some assessment with the go.
"A, Natasha. Well, this fideller is terrible. Always all the children around themselves will gather, something will speak, then they play some fairy tales, then travel somewhere. And she draws although not very good, for drawing it more Troika and you will not put, but all something your own: palaces, the beasts are wonderful, the cities are magical. It does not like to build at all, then put at least twice:
put a couple of cubes and everything, but it can speak about them for an hour.
Oh, see, and Sasha, although, however, the opposite: he draws very well, everything is correct, but he will blow up little himself, only that usually makes what I will show. Of course, for the skill of him five, but for the fiction, the top three, probably. And in the game, too, he is always quiet, makes other guys will say.
Here, probably, you need two troika. But he loves to build very much.
In the design, he himself can think of something, he really likes with the medium, but sometimes something is naphnthazes. I do not even know what to put, all y and so about all our 60 subjects. Honestly, even the head of the circle went: the mass of estimates and for fiction, and for the skills, and even in different types of activities. But statistics comes to the rescue: there are quantitative assessments of the success of each child, you can try to identify some patterns.
First of all, it turned out that estimates, data from two educators to each child are very close: both educators, independently of the children who estimated children, estimated them almost the same.
And the most important thing, it turned out that the level of development of imagination, manifested in our test drawings, is also quantitatively estimated at all, it is not at all associated with the success of the baby in drawing, but directly associated with the "creative character", which he shows in various fields of life and above all in Game. It is not surprising, because it is in the game that the child's imagination is developing and it is in the game that it is manifested throughout the preschool age most bright and expressive.
So, probably, we really managed to find some common features of the creative imagination of a preschooler who are not related to specific activities.
O. M. Dyachenko. "Development of the imagination of the preschooler. Methodical manual for educators and parents »
But our points for originality themselves have not yet talked about anything. It was important to find out what exactly good, in our opinion, drawings differed from medium or bad and how the way of working with age changed. Maybe there are some qualitative features of the drawings, the methods of using the standalone figurines associated with the level of originality of the depicted.
When we closer closely in the drawings, they saw an interesting pattern. Each child, twenty times drawing different figures, almost always in the same way turns them into an object image. All these methods managed to classify into several groups.
First of all, a group of children suffered and who did not accept the task. Here we took the children who refused to solve the task ("I don't know how to invent"), as well as the guys who tried, but could not correctly fulfill the task: they either repeatedly repeated this sample to them, or did not draw something to them, in no way associated with the task . Naturally, their originality coefficient was zero.
The next group of children, more successfully coped with the task. The guys took the task, drawing figures-standards, but their drawings were contour, schematic, devoid of parts (schematic image of a house, tree, man). Some guys were in no hurry to perform the task; Others simply stopped in the image of a primitive scheme having some similarity with the planned single object.
Interestingly, in drawing classes, these children can give quite a complete and detailed pattern if they copy the sample or perform a very specific task, and even with the preliminary explanations of the tutor. Here they act on the principle of "seems to be okay", and then the image of a single subject is not the imagination. This group includes children with the lowest Cor.
Children with a higher corner, as a rule, draw objects in more detail, fantasize in the course of the task execution, include the displayed item in some imaginary plot. For example, they are no longer a schematic image of a girl (man in a triangle dress), and draw, for example, a girl with a bow, in a dress with ruffles, walking with a basket.
The next level of creativity: children, turning the figure to any object, do not stop on it. The imagination leads them further, and they add new figures to the drawing, organizing a holistic composition. One girl turned the square into the picture, there were several more paintings and walking men, and all this turned out to be a "opening of the exhibition of children's drawings."
But the highest level of the core was in children who perform the task in the way that we have changed to "inclusion". They used a standard figurine qualitatively understatement. If so far, this figure performed as the main part of the picture that the child drew (a head-head, a square-house), now it becomes one of the secondary parts of a completely different picture. For example, a triangle is no longer a roof of the house, but a pencil's griffel, which the boy draws a picture; The square is not an envelope, not the screen of the TV, but a brick raised by the lifting crane in which the craneker sits.
At this level, the solution there is the greatest freedom to use external data only as "material", push to imagination and creativity. Interestingly, it is usually at this stage that children begin to relate more freely to the task, which is proposed to adults with an indisputable authority: they begin to independently choose the position of the figure, which can be suitable for their "creative plans." Some guys are timidly asked: "Can I turn out?", And others, accepting the offer to "come up with what you want," immediately detect an individual approach to the task, leaflets with a benchmark in all directions. The child arises the original compressed intention to use. M. Dyachenko. "Development of the imagination of the preschooler. Methodical manual for educators and parents »
related Stage Figure and the ability to expand this intention in a holistic picture filled with details. It is just the opportunity to realize their ideas, embodied still insensitive, individual images in some complete work and the creativity of adults is different.
Interestingly, all the described methods of working with etal figures met in all groups - from the younger to the preparatory, but, of course, in different ratios.
These methods turned out to be quite unambiguously related to the quantitative indicator - Cor.
The ability to the creative directed imagination was measured by us turned out to be high in children of the younger group, in children of middle and senior group It fell somewhat somewhat and then re-increased in the preparatory group.
So, we see two turning points in the development of the imagination of preschoolers. The first - in children of the younger group: At this age, the guys first begin to take the task of the directional imagination and draw the standards figures in the form of a separate scheme of the subject or even image-scenes. Having learned to direct the imagination, subordinate it to a certain task, they detect large individuality in their drawings, which distinguishes them from many older children. Why? Most likely, this is due to the fact that the kids of 2-3 years have not yet common plot games, the general practices of communication with each other. They say psychologists, "play nearby". Each child masters his own experience, his impressions, not paying special attention to the peers. And life experience, let the small, but already serious, each kid is special: their total life in kindergarten has just begun; The impressions they are mastering and "recycling", including in the drawings, go out of the house. And every child's house has its own, unique.
In the middle and senior groups, all other classes retreat to plot players. We have already said that scene game - This is the main activity of a preschooler, important for the development of his imagination. Scene-role game is a joint game. You can collect all the dolls and put them with passengers on the ship, you can "treat" all your animals as you like, but nothing will replace the joy of fulfilling your role if other roles are performed by your comrades and there is an agreement between you and consistency between you. But such unity is possible only if there is even the dominance of some of the presents common to all children.
Therefore, at this stage, standard stories and situations common to all are dominated at this stage. This manifested in the drawings when performing our task. Children of the middle and older groups performed task the same ways as the children of the younger group (but they used the stall figures, more often they built holistic plots on them). But the increased community of practice, impressions and the focus on the development of adult standards and standards lead to the community of plots, and the original drawings becomes less.
The preparatory group in children accumulates considerable experience in games, drawing, design. A certain set of social norms and rules has already been mastered;
of course, this process will continue for a long time, but the first stage is already passed. Children had a significant general practice, most of the guys easily find common plots and topics for games, freely participate in a wide variety of joint games. Now the possibilities of self-solving a number of tasks are opened. And indeed, some children are 6-7 years old (it is probably guys, whose tendency to creativity and the initiative are encouraged) transfers to a completely new way to fulfill our tasks. They intuitively find and begin to apply a new way: "inclusion". This is the second fracture in the development of the imagination of the preschooler.
O. M. Dyachenko. "Development of the imagination of the preschooler. Methodical manual for educators and parents »
The design figure increasingly becomes a detail of a variety of plots, which gives imagination an unknown earlier freedom: the square turns into the eye of the robot, into part of the bow on the head in the girl, etc. In this case, a child is created by a kind of own scheme, which is only It is repelled from the image of perception, but not followed.
Many psychologists argue that this is how creative tasks and adults solve.
In fact, often a creative solution is the search for a very far analogy. The textbook example - the suspension bridge was invented by analogy with the cobweb. Kekule opened a benzene ring, seeing a snake in a dream, grabbing his tail. In the myth about Dedal, the student of Tal invented the saw by taking a spinal ridge of bone fish for a sample. Then, after such an analogy was already found, the idea itself is filled with content, it becomes the details, embodying in quite concrete works. But the way the way of the plan, similar to the method of "inclusion" detected in our experiments, is undoubtedly one of the important mechanisms for the work of creative imagination. But if this is a way of free manipulation by images, the ability to pull them out of the familiar on the surface of the underlying context and include in a new one ensures the greatest originality of the solutions, whether it is impossible to teach this children, thereby developing their imagination.
We tried to spend special classes with the preparatory group. They were proposed tasks that could be solved only by the way "inclusion".
S. preparatory group We began to engage because at this age, some children begin to spontaneously develop the ability to truly creatively perform tasks for imagination. It was important to find out whether it is possible to affect the development of imagination, to help all children become more free in their work.
This time the children did not paint, but designed. We wanted to establish whether they could, having mastered the principle of such decisions, transfer it to another activity, for example, from designing in drawing, and thus find out whether we really found a common and important element of the development of imagination.
Educational classes we conducted individually: with each child worked as much time as it is necessary for him to help him assign.
And the tasks at first were completely simple. Even Katyusha, about which educators said together, that it is not strong in design, it easily coped with them.
Here, in front of Katya on the table, many strokes of thick paper are laid out, some of them ends with a triangle. We show the wallpaper on which a smooth fence made up of such strips is drawn, and we ask with hope: "Ka-Tenka and you can add exactly the same fence from these strokes?" And although Katya responds to a cheerful voice: "Of course, I can", it does not mean anything. Children, fortunately, are rarely pessimistic when evaluating their capabilities. But then the assessment seems to correspond to the truth: Katya Boyko chooses strips with a tip-triangle and lays out them in a flat row so that the fence is the same length as in the picture. That all such strips are chosen, and Katya with a fully justified celebration announces that everything is ready. Our praise no end, and then a new task is offered. We show Katyusha a picture on which a very primitive Christmas tree drawn up from the same rectangular stripes that remained unused, but one strip is needed - a trunk with a triangular top. And there are no such things before Katya: they all went to the construction of a fence. But we honestly warn that she can use everything in front of her on the table and, of course, take the necessary details from the old O. M. Dyachenko. "Development of the imagination of the preschooler. Methodical manual for educators and parents »
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Practice of work B. preschool institution It shows that intellectually passive children, with non-developed creative activity, are most often falling in school children. an important task It is to contribute to the development of curiosity, the desire for independent knowledge and reflection, the development of creative imagination.
In the process of creativity, the child is revealed, implements its needs for communicating, expressing emotions, self-realization. Children are not born with developed imagination, it is carried out during human ontogenesis and requires the accumulation of a well-known reserve of ideas, which later served as material to create imaging images. Imagination is developing in close connection with the development of the whole person, in the process of upbringing and learning, as well as in unity with thinking, memory, will, feelings.
In each child, a creative spark is laid. One has it better, others are worse. It is impossible to learn creativity, a practice is needed in solving certain objectives, the development in one degree or another creative imagination, which will help in the future to express themselves in creativity. In addition to his informative-intellectual function, the imagination in children performs another - affective-protective - the role, the prevention of growing and easily expanding, is still a weakly protected personality of the child from overly heavy experiences and mental injuries. Thanks to the cognitive function of imagination, children better learn around the world, easier and more efficiently solves the task arising before him.
There are many didactic games for the development of the imagination of preschoolers, each of which has in its foundation any of the essential signs of imagination:
- "Blot"
Purpose: develop creative imagination.
- "Revival of objects"
Purpose: Develop a recreation imagination
- "So does not happen"
Purpose: Develop an active child imagination
- "Continue drawing"
Purpose: Develop small motor Hands.
- "Pebbles on the shore"
Purpose: Learning to create new images based on the perception of schematic imagination.
- "Magic Mosaic"
Objective: Learning to create objects in the imagination, based on the schematic image of the details of these items.
- "What our palms look like"
Purpose: develop imagination and attention.
- "I go, see, I tell myself"
Purpose: Immersion in the plot of the paintings, the feeling of its details as parts of the whole composition.
- "What clouds look like?"
Purpose: Develop a contemplative imagination.
The imagination in its development is subject to the same laws as perception is followed, memory and attention, expressed from the immediately gradually turns into indirect.
The work of the educator on the development of creative imagination through a homemade toy.
The emergence and development of creative imagination is a socially determined process. It is an adult that lays the mechanisms of imagination in a child.An important point in the development of the child's imagination is such an environment that includes, along with familiar subjects with fixed functions, non-specific objects, multifunctional. E. Kravtsova argues that when forming an imagination in children, it is necessary to organize an objective environment so that it serves as a starting mechanism. Tasks are offered that provide for something to draw or just imagine what it is; You yourself come up and ask an adult or peer similar tasks. Children who experience difficulties in addressing the tasks of imagination, need special learning to the game (the initial forms of the organization of the game should be held in a non-playing environment). The actions of some children with objects are monotonous, since the learning process is reduced to the transmission of a method of action with the subject, the educator does not pay due attention to the organization of independent activities of children. From this point of view, it is difficult to overestimate the possibilities of child gaming activities. Activities creates conditions for the formation of the most important component of the function of imagination - the child's own experience. Another component is the presence of a special internal position. The formation is gradually, the basic types of games and toys have crucial importance. According to the experimentation data, the junior preschoolers are needed to organize a special objective environment, at middle age - the experience of the child himself, at the older age it is necessary to have a special internal position, which will allow the subject world, and past experience subjugate the meaning of the situation, its desires. Three components of the function of imagination - subsequent environment, past experience and internal position in aggregate determine the level of development of imagination on a different age stage.
It should be remembered that the foundation for imagination creates a variety, rich presentations, their own experience of the preschooler. The task of an adult is to teach the child to methods and means of transformation, develop its combinatorial abilities. It is important to teach a child to formulate various complexity in the degree of complexity and implement them primarily in productive activities. The preliminary formulation of them in the deployed speech indicating not only what will be done, but also as, gives the process of creating new images a targeted character.
Creative imagination is a property that is updated only when it allows the environment. It can be considered as a property that is formed on the principle of "if ... then ...". IN everyday lifeAccording to numerous studies, the child's creative imagination is suppressed. This can be explained by the fact that creativity suggests independent behavior, the creation of a single, while society is interested in internal stability and continuous reproduction of existing forms of relations, products, etc. Therefore, the formation of creative imagination is possible only in a specially organized environment.
Based on research, according to which creativity can be defined as a certain way out of the limits (cash or knowledge available), it can be argued: creativity as a deep property is expressed in the original vision of the problem. Therefore, in our opinion, it is necessary to carry out a systematic indirect formative impact, and this requirement is responsible for the impact through a certain complex of conditions of microenvas.
A toy as a special subject of the game, as one of the cultural manifestations appeared during the historical development of society.
Through the Millennium, the toy changes radically. The changes primarily concerns the production of toys:. From handicraft to industrial. The development of science and technology affects the technology of creating toys, there are more complex tools, paints and materials from which toys are made.
Under the influence of the dominant ideology, the content of the images (at the beginning of the century - the dolls of Baryni, maid, monks, angels, city, kings are changed; later - Kibalchishi's boyish, dolls-redarmeys, pioneers, etc.). Under the influence of the social policy of society and scientific and technological progress, the range of toys is changing, their quality. This is evidenced by the appearance in our time of computer toys, toys for space topics, Barbie dolls. Over the century, the functions of toys have changed (sometime to scare up evil spirits, as the defenders of the genus, a symbol of well-being and yields, etc.).
Educational meaning of toys:
This is a mandatory satellite of children's games;
Participate in the creation of the game, influence the identity
child;
meet the needs of the child in active activity, in a variety of movements, help to fulfill their intention, enter the role of the child's actions are real;
Often prompt the idea of \u200b\u200bthe game, remind of seeing or read, affect the imagination and feelings of the child;
Teach the child to meaningful, purposeful activities, develop thinking, memory, imagination, attention, produce exposure, bring up volitional qualities;
Help upbringing in children interest in labor, delustedness,
curiosity;
Contribute to the education of the sense of patriotism, sympathy, respect for people of different nationalities;
Unite children, demanding joint efforts agreed;
The most affordable work of art.
Requirements for toys:
They should give a correct idea of \u200b\u200bthe subjects, their features, life appointment, expand the horizons of the child, to develop interest in the technique, to work;
Facilitate the education of the basis of the personality, to form the values \u200b\u200bof knowledge, transformation;
Have dynamic properties that provide multifaceted use of them in the game: mobility of parts and parts, sound mechanisms, additional materials for the disclosure of game functions;
Comply with the age characteristics of the perception of children;
Must be safe and hygienic;
Develop cognitive interests, intensify communication;
Teach to collective activities, educate organizational abilities;
Awaken creative imagination, ingenuity.
In the pedagogical literature there are different approaches to the classification of toys: in content, form, appearance, by appointment for different games, etc. A.S. Makarenko all toys shared on 3 types: a toy ready, mechanical, or simple (cars, steamboats, bears, etc.); The floor toy is ready, which requires some refinement (pictures, cubes, designers, etc.), and the material toy (clay, sand, cardboard, wood, etc.). The teacher believed that each type of toys had its own positive qualities and disadvantages.
E.A. Arquin classified toys on topics and types of games: sensory, movable, industrial and technical, military and hunting, social and domestic, structural, shaped.
E.A. Flearina Groups toys for scene or figurative, motor-sports, and training, construction and structural, didactic and creative-labor toys (semi-finished products for self-timer toys). In modern literature, a classification is more common, which corresponds to the use of toys in different Gaming activities.
Scene-shaped toys: dolls, animal toys, household items that contribute to the development of plot games.
Technical toys: aquatic, land, air and space transport; Toys, reflecting household, agricultural and military equipment, industrial equipment, electronic toys, etc.
Construction and structural toys Geometric bodies sets (cubes, prisms, pyramids, cylinders, plates), architectural or thematic sets, including different blocks (walls, columns, arches, roofs); Mixed building material.
Didactic toys: Matryoshki, inserts, eggs, towers, pyramids; So-printed toys (lotto, paired pictures, cut pictures). Funny toys: with mechanisms, with surprises, light and sound effects.
Motor toys: balls, hoops, kegli, srso, rope.
Musical and theater toys: tambourine, piano, metalphone, scenery and attributes for various types of theater and independent theatrical gaming activities.
Homemade toys: from wood, fabric, paper, natural and leather material; Complement to the finished toys and perform developing and educational functions.
In the manufacture of homemade toys from various materials, the child's fantasy increases. Each knight, branch, a piece of cortex, the root of his form can remind the child some object; It is necessary to break a little, cut off, correct to achieve even more similarities.
If in games with ready-made toys, children only imitate the labor actions of adults - the ponaroschka stroke the underwear inherent in iron, erase without soap and water, control toy cars. This is no longer a work game, but a game-work.
The work game brings joy to children not only from what they do everything as adults, but also from what they see the result of their work. It is especially important to awaken the child the need for the manufacture of various kinds of toys and confidence that it may well cope with this kind of work. But such confidence often not even in adults. When teachers educators offer to limit the acquisition of ready-made toys and make them making them together with children, some parents make out hopeless hand. They are so confident in their inability to make anything that they do not work. In order to learn anything, it is necessary not only to want to achieve this, but also to be sure that you can cope with the task. There is another reason why some parents do not want to make the manufacture of homemade toys, although they could do it. In their opinion, homemade toys are worse ready, less interesting or less beautiful. First of all, homemade toys should not replace ready. One does not exclude the other. Of course, it's nice when, there are a variety of ready-made toys. But they usually lack them, and for some games you will not get ready-made toys.
The game, toys for which are created by its participants themselves, presents great opportunities for fantasy. Plasticine, wire, matches, acorns, straw, rag, threads can go into the course. You can cut out of paper. Gradually, children will learn to get out of the difficult position and when they do not have any material for making toys, you will be able to use what is. Children are always more fun and more interesting in a group where there are toys made by their hands, especially if these are the characters of your favorite fairy tales. At all times, a ready-made toy, even being the wonders of technical progress, could not be replaced by a self-made.
Homemade toys (made by adults for children's games and children themselves - on their own or with the help of older), along with drawing, modeling, designing, modeling the love of labor, develop amateur, creative fantasy, technical thinking, artistic taste. Creating homemade toys, children get acquainted with various materials (their properties and processing methods) and tools, acquire skills to work with them.
Homemade toys Children begin to create from 2-3 years. Some of them are very simple: paper harmonica, sandy "Pupies", "Culching", "Houses". Self-timing toys of children 4-6 years old are diverse and more difficult: carved and glued out of paper boats, turntables, flying "pigeons", christmas decorations. Senior preschoolers for their games are made of paper and cardboard caps, helmets, watches, puppet clothes and furniture, various volumetric forms that are easy to turn into a home TV, a layout of the gas station and others. Children pose from clay figures of people and animals, sometimes paint them ; freezing in the molds colored water, make decorations for Christmas trees in the yard; from rowan, seashells, acorns - beads, flowers - wreaths, of grass, flowers, reurenik, eggs, eggs and nuts, pine bark - figures of dolls, animals; from branches and rods - onions, arrows, whistles, swords, baskets; "Sew" dresses from leaves and others.
Many toys can be made from domestic and production waste. Cardboard boxes turn into doll apartments, body for toy cars, coils - in tubes, tinted covers - in wheels, etc. All of these kindergarten treasures should be clean, stored in drawers, large boxes. Recently, small pieces of foam plastic, foam rubber are given to the creation of toys. This is a flexible, convenient for processing, hygienic material. Loskut, Marley, Wool are used for manufacture soft toys and clothes for them.
In the manufacture of homemade toys, children, especially at first, need to help adults. It is very important to show the child to work with each new material and tool, ensure the safety of this work, respecting the child of hygienic rules. Work on the creation of toys is very fascinating. It requires observation, the ability to notice the characteristic features of animals and people, see their images. The toy made by the child, even with the help of an adult, is not only the result of labor, but also the creative expression of the individuality of its creator. She is especially the way to him, with her much more fascinating the heroes of fairy tales, a song, small stories. The atmosphere of creative raisingness, which reigns during work on the manufacture of toys from various materials, relates it to the labor process folk Master. After all, most of their works are made of simple Materialswhich are found in the surrounding nature. Collection natural materialsEspecially working with him, raise the ability to see the beautiful - the infinite wealth of colors, forms, textures.
Creativity of children in the manufacture of toys is a focused work in which the imagination plays a special role - it is whether it generates new images. As claimed by L.S. Vygotsky, the desire of imagination to the incarnations and there is a genuine basis and the driving start of creativity.
Classes for creating toys from various material Do not just arop the child with skills and skills, but also help him to realize their strength, the power of the Creator, who can subordinate these materials to their own will, make it possible to take a look at the world around the world around the world, and not the consumer. They will be the intellectual and creative activity of the child, learn to plan their activities, make changes to technology, product design, exercise conceived. As a result, each toy, that is, its appearance in aggregate with decoration, acquires individuality.
The manufacture of toys in addition to the diagnostic and educational has a preventive-corrective value. The work is based on the age of the child and its real possibilities, it is provided with the right to an active position when choosing a job, materials and time to make a conceived. The preschooler may determine the degree of cooperation with an adult or a peer, make a toy on his own or perform a part of the work, help someone or simply watch the activities of other children.
The joint work of a child and an adult is one of the possibilities of implementing humanistic pedagogy in kindergarten and in the family. Emotionally rich communication based on cooperation, and not instructions, prompts the dialogue, allows an adult to observe the actions of the child, to evaluate his skills, unobtrusively to correct work, both in the field of skills and the search for creative finds.
To support interest in the case, an adult can offer his help. On the other hand, it is necessary to welcome the initiative of the child, his desire to do in its own way. The most remarkable is the ability of a child to an unexpected, intuitive and bright solution. The efforts of a small master are sent to disclosure through the game image of their attitude towards it. The preschooler gives pleasure not only work. By creating a toy, he talks about her, and the toy tells us about the inner state of her creator, about the motives that prompted this way to convey the image. Thanks to the gaming situation, the child appears the opportunity to tell about their experiences, and an adult is to learn about them.
The choice of materials, preferences in their invoice, open the inner world of the child attentive teacher. For example, the choice of color allows you to detect the mood of the child: yellow - radiates heat, fun; orange-behavior, kindness; Green is rich in associations, he will instill peace of mind, peacefulness; Blue causes a feeling of sadness, sadness. If a child uses predominantly warm tones, it means that it feels the inner lift, thirst to splash out an excess of energy; Preference for contrasting colors in combination with sharp angular lines indicates internal excitation, etc.
Now let's remember how children behave, makes themselves, together with the tutor's crafts from the so-called throwing material. You can see that the guys are in no hurry to part with the hands of their hands. Do not and adults hurry to take their work in their wards to, for example, put on an exhibition place in the reception room. After all, it can be seen that even for a long time after classes, children are impressed by them: toy images encourage them to theatrical game. Any toy can not be separated from the game, turn into a visual manual. Children master the toy in the game, in play actions, take it into their world. The process of playing toys, assimilating the children of the methods of circulation of neodynaks in relation to different toys. Some quickly enter the independent games of children, others require slower introduction, repeated bellows.
Often, on their own initiative, preschoolers begin to play the scenes, they give replicas for each character, while changing the voice, diligently imitating the manner of the speech of the hero, which they imagine it. Children experiences interest in detailed description His characters, their appearance, character, behavioral features. Many guys, telling about their crafts, include them in the plot of familiar fairy tales. The stories of some children are quite original. Often, inventing the plots causes a desire to change the figure to the small actors, supplement it with the corresponding narrative signs.
Work on the creation of toys teaches a preschooler to be initiative, consistent, bring the work started to the end, brings up the careful attitude to the results of labor, and theatrical and directorial games with such copyright toys contribute to the enrichment of gaming experience, which is the most important condition for the full development of the child's personality. And the time spent on the creation of such crafts will be paid off by a hundredfold, and then will remember the warmth and smiles for a long time.
uSTIFY "\u003e The child's imagination is associated with its origins with an emerging early childhood by the sign function of consciousness. One line development line leads from substitution of objects by other objects and their images to the use of speech, mathematical and other signs and to mastering logical forms of thinking. Another line leads to the emergence and expansion of the ability to supplement and replace real things, situations, events imagined, to hide new images from the material of accumulated views.
The game of an adult and child associated with the activity of imagination expresses the trend, the need for environmental transformation. Man appearing in the game, this ability to create a creative transformation of reality in the game for the first time and is formed. In this ability, displaying, transforming reality, is the basic value of the game.
Does this mean that the game, moving to an imaginary situation, is a waste from reality? Yes and no. The game has a departure from reality, but there is also penetration into it. Therefore, there is no care in it, there is no escape from reality as if special, imaginary, fictitious, unreal world. Everything that the game lives and that it embodies in action, it draws out true. The game goes beyond the limits of one situation, is distracted from some sides of reality, so that even deeper in the effective plan to identify others. In the game it is unrealistic only that for her is insignificant; It has no real impact on items, and on this score does not nourish any illusions; But all that is essential in it - it is truly in it, really: real, authentic feelings, desires, ideas that are played out, are real and questions that are solved.
In the game, the child is formed by imagination, which contains in itself and depart from reality, and penetration into it. The ability to transform reality in the image and transformation in action, its change is laid and prepared in the game action; The game lays the way from feeling to organized action and from the action to the sense; In a word, in the game, as in focus, they are going to, it is manifested in it and all parties of the psychic life of the person are formed through it; Cast, which a child, playing, accepts, expands, enriched, the identity of the child is deepened. In the game in one way or another, the properties necessary for teaching at school, which are ready to readiness for learning.
The main value of the game associated with the activities of the imagination is that the child develops the need for environmental transformation, the ability to create a new one.
In psychology it is customary to note that the imagination of the child is in the game. At first, it is inseparable from the perception of objects and performing gaming actions with them. The child jumps riding a stick, and at that moment he is a rider, and a stick is a horse. But in the absence of an object suitable for jumping, he cannot mentally convert a stick to the horse in, the time when it does not act with it.
In the game of children of three-, four-year-old age, the similarity of the substituent object with the subject that it replaces is essential.
In older children, the imagination can rely on such objects that are not at all similar to the replaced.
Gradually, the need for external supports disappears. Interiorization occurs - the transition to the game action with the subject, which is in fact there is not, and to the gaming transformation of the subject, giving it a new meaning and the presentation of actions with it in the mind, without real action.
This is the origin of the imagination as a special mental process.
On the other hand, the game can occur without visible actions, entirely in terms of presentation.
The role-playing game is essential in the development of the imagination of children. In gaming activities, the child learns to replace some items with others, to take on different roles. All this contributes to the development of imagination. In the Games of Senior Preschool Children, substituent items are already optional, as not necessarily and many gaming actions. Children learn to identify objects and actions with them, create new situations in their imagination. The game can flow in the inner plan.
In directorial games, as in all creative games, there is a imaginary or imaginary situation. The child shows creativity and fantasy, inventing the content of the game, defining its participants (the roles that "perform" toys, objects). Items and toys are used not only in their immediate meaning, but also when they perform a function that are not attached to them with universal experience (the sofa pillow becomes a hippopotamus, and a belt from a bathrobe - a snake in the director's game "In the zoo"; cubes turn into teachers and Children in the game "To School"). To the toys of deputies, children willingly resort to games, which speaks of the development of imagination.
The impact of the game on the development of the child's personality is that through her he acquainted with the behavior and relationship of adults who become a way for his own behavior, and it acquires basic communication skills, the quality necessary to establish contact with peers. Capturing the child and forcing him to obey the rules corresponding to their roles, the game contributes to the development of feelings and volitional regulation of behavior.
Mastering the actions of the game, the child simultaneously masters the arbitrary sides of the psychic processes, as well as replacement actions.
Also, gradually, the child masters the actual human iconic symbolic world - first of all the verbal outlined space, which standardizes, socializes it, as well as a special iconic symbolic space where the images of imagination dominate.
Forming in the game, imagination goes to other activities of the preschooler. It is most brightly manifested in drawing and in writing a child fairy tales, poems. Here, just like in the game, children first rely on directly perceived objects or the touches arising under their hand on paper.
Composing fairy tales, poems, children reproduce familiar images and often simply repeat the memorized phrases, lines. At the same time, preschoolers of three- four years are usually not aware that the already known is reproduced. So, one boy announced once: "Here, listen, how I composed:" Swallow with spring in Songy flies to us. " Another child was also confident that he was the author of the following lines: "I'm not afraid of anyone, except for Mom one ..." Like, how did I compose? " He is trying to bring out of error: "It was not you composed, and Pushkin:" You are not afraid of anyone, except for God one. " The child was disappointed: "And I thought I was composed."
In such cases, children's compositions are fully built on memory, not including the work of imagination. However, more often the child combines images, introduces new, unusual combinations.
It is easy to trace the origin of all the elements that entered the fairy tale.
These are images of familiar fairy tales, but their new association creates a fantastic picture that does not like situations perceived by the child or told him.
The transformation of reality in the imagination of the child occurs not only by combining representations, but also by giving subjects that do not inherent properties. So, children in their imagination with excitement exaggerate or understood items. One wants a tiny globe, so that everything was "truly" on it: rivers and oceans, tigers and monkeys. The other tells what he built "the house to the ceiling! No, until the seventh floor! No, tough! No, to the stars! "
There is an opinion that the imagination of the child is richer than the imagination of an adult. This opinion is based on the fact that children fantasize in the most different reasons. A three-year-old boy, drawing an angle, added a small hook to him and, affected by the similarity of this row with a sitting human figure, suddenly exclaimed: "Oh, he sits!" Another child, at the same age, once, playing in the salts and, without giving the children, I walked the earth.
In a moment, he sat down on a bench and cried: "Now she will always smear me!" - "Who?" - Ask. - "Song Earth." Another boy sincerely believed that the stones could think and feel. He considered very unhappy cobblestones, as they are forced to see the same day in the day. From pity, the child endured them from one end of the road to another.
However, the child's imagination is actually richer, but in many ways the poorer than the imagination of an adult. A child can imagine much less than an adult, since children have more limited life experience and, therefore, less material for imagination. Less diverse and combinations of images that build a child. At the same time, the imagination plays a big role in the life of a child than in the life of an adult, manifests itself much more often and allows for a much easier departure from reality, violation of life reality. The relentless work of the imagination is one of the ways leading to the knowledge and development of the children of the surrounding world, going beyond the limits of narrow personal experience. But this work requires constant control by adults, under the leadership of which the child masters the ability to distinguish imaginary from reality.
Finishing the chapter, it can be noted that the imagination is a mental process of creating objects of objects, situations, circumstances by bringing the knowledge of knowledge to a new combination.
In a person's life, the imagination performs a number of specific functions.
The first of them is to represent reality in images. The second function of imagination is to regulate emotional states. The third function of imagination is associated with its participation in the arbitrary regulation of cognitive processes and human states. The fourth function is to form an internal action plan. Fifth function is planning and programming activities.
In psychology, the following types of imagination are distinguished: involuntary or passive: dreams, dreams, hallucinations (auditory and visual); Arbitrary or active imagination: recreative or reproductive and creative. In creative, in turn, includes a dream and fantasy.
The imagination plays a large role in the child's life than in the life of an adult, manifests itself much more often and allows for a significantly easier retreat from reality, violation of life reality. The tireless work of imagination is one of the ways leading to the knowledge and development of children of narrow personal experience.
In the first half of the preschool childhood, the child predominates the reproductive imagination, mechanically reproducing the impressions obtained in the form of images.
In a senior preschool age, when arbitrariness appears in the memorization, the imagination from the reproductive mechanically reproducing reality turns into creatively its conversion.
Imagination from involuntary (passive) becomes arbitrary
(active), gradually turns from the immediately mediated, and the main instrument of mastering them from the child is the sensory standards.
In addition to its cognitive intellectual function, the imagination in children performs another, affective protective role.
Cognitive imagination is formed by separating the image from the subject and the designation of the image with the help of the word. Affective imagination develops as a result of education and awareness by the child of his "I", the psychological branch of oneself from other people and from the actions performed.
Conclusion
The imagination is a mental process of creating objects of objects, situations, circumstances by bringing knowledge available in a person in a new combination.
The following types of imagination are distinguished: involuntary or passive: dreams, dreams, hallucinations (hearing and visual); Arbitrary or active imagination: recreative or reproductive and creative. In the work, in turn, includes a dream and fantasy.
For the development of imagination, pre-school childhood is especially important age. The leading activity of the preschooler is the game, therefore the mental functions of the preschooler, including the imagination develop more efficiently in gaming activities.
Was found:
1) The features of the imagination that the preschooler manifests the fantastic images when playing fabulous images can be observed in gaming activities;
2) the development of imagination and development of gaming activities, interdependent processes important for the normal development of the child;
3) for the diagnosis and development of imagination, knowledge activities are needed specially organized by adult.
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