One of the most accessible and pedagogically effective means of developing creative speech skills in preschoolers is folklore, in particular, folk tales.
To develop coherent monologue speech, it is necessary to form ideas about the composition of a story, the ability to connect sentences and parts of a statement, and use a variety of lexical and stylistic means. However, the concept of “verbal creativity” is much broader than “creative storytelling”, since it includes active composition, inventing fairy tales, short stories, poems, riddles, scenarios not only in the classroom, but also in free independent activities.
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DEVELOPMENT OF VERBAL CREATIVITY IN PRESCHOOL CHILDREN
E.Yu.Galochkina - teacher
(ANO DO "Planet of Childhood "Lada" DS No. 187 "Solnyshko", Tolyatti)
One of the priority areas of pedagogical science at the present stage is the study creative activity child, searching for ways to form it. Research by psychologists (L.S. Vygotsky, B.M. Teplov) and teachers (N.A. Vetlugina, N.P. Sakulina, E.A. Flerina, O.V. Dybina, L.V. Tanina) proves that creative activity meets the needs and capabilities of the child and is accompanied by the activity of his emotional and intellectual powers.
In studies devoted to the problem of verbal creativity, one of the most accessible and pedagogically effective means of developing creative speech skills in preschoolers is folklore, in particular, folk tales (M.M. Konina, L.M. Pankratova, O.I. Solovyova, etc. .). The authors note the obvious influence of individual elements of a fairy tale on children’s writing. At the same time, studies note that the correspondence of the specifics of folk tales to the peculiarities of children's perception does not yet ensure the positive impact of folklore on the development of children's verbal creativity. Children's difficulties are associated with both the content (imitation, inexpressiveness of compositions, and the consistency of the content) and with the formal side statements (violation of the structure of the narrative, limited use of stylistic means). The psychological prerequisites that determine children’s capabilities in the field of speech creativity, on the one hand, and the difficulties that arise when constructing a fairy tale narrative, on the other, are a problem that arises when organizing work with children on the development of verbal creativity of preschoolers.
In domestic pedagogy, verbal creativity is considered as a two-pronged process: the accumulation of impressions in the course of cognition of reality and their creative processing in verbal form (N.A. Vetlugina, O.S. Ushakova).
In a special study on teaching creative storytelling, carried out by N.A. Orlanova, the following conditions for teaching creative storytelling are highlighted:
Enriching the experience of children;
The wealth of vocabulary and the ability to use it;
Mastering the ability to tell a coherent story, knowledge of the structure of the story: beginning, climax, end;
Children's correct understanding of the “invent” task.
Dynamics of development children's creativity under the influence of training, S.K. Alekseeva traces in her research. She justifies the following sequence of training:
Stage 1: Teach children to subordinate their experience to a specific plan, draw children’s attention to the compositional linguistic features of stories (enrichment of the child’s life and literary experience, familiarization with linguistic means of expression, analysis of the compositional structure of the work);
Stage 2: Determine the correct relationship between the child’s desire to show himself in creative activity and the opportunity to find suitable means to express his idea. Draw children's attention to evaluating stories (inventing the beginning and ending of the story, describing the setting in which the action takes place, independent artistic addition to the stories);
Stage 3: To confront the child with the need to act more consciously, to use conventional methods of verbal creativity more independently (independent selection of plot, compositional and linguistic means, a deeper analysis of the proposed works, familiarization with new linguistic means);
Stage 4: Improve children's ability to combine and
transform received ideas and perceptions, outline
action in the sequence of its development of logical connections.
To develop the creative activity of children, it is necessary to create special pedagogical conditions:
a) selection literary works taking into account the possibility of a specific embodiment of their content;
b) holding special creative tasks, developing children's theatrical abilities (combining movements with expressive speech, facial expressions and gestures);
c) active participation of children in writing the script and preparing performances.
At preschool age, a child is able not only to perceive works of art, express his attitude towards the characters, but also to comprehend their behavior, generalize, analyze, experiment, and on this basis create something new for himself and his peers. Artistic imagination plays a special role in this.
K.D. Ushinsky has repeatedly emphasized the importance of developing speech and abilities through art, starting from preschool age. It is not enough if children understand the content of the work, it is necessary to feel its expressive features of expression and different words. In the future, they will perceive literary works more deeply, learn to subtly distinguish the semantic shades of a word and transfer them into their work.
Of course, for the development of coherent monologue speech, it is necessary to form ideas about the composition of a story, the ability to connect sentences and parts of a statement, and use a variety of lexical and stylistic means. However, the concept of “verbal creativity” is much broader than “creative storytelling”, since it includes active composition, inventing fairy tales, short stories, poems, riddles, scenarios not only in the classroom, but also in free independent
activities.
An example of an artistic text from the position of structural and semantic unity of content and form is a folk fairy tale.
Numerous researchers of folk tales (V.A. Bakhtina, N.M. Vedernikova, R.M. Volkov, N.V. Novikov, A.I. Nikiforov, E.V. Pomerantseva, etc.) as a distinctive feature of a fairy tale they call it a magical-fantastic beginning. The unity of the magical and the fantastic makes fairy tales especially attractive to children. A peculiar combination of the real and the fictional makes up the content of a fairy tale.
The style of a fairy tale is a unified system of interconnected techniques and means. Traditional language forms are the subject of study of folk phraseology. Typical means of fairy tale poetics include, first of all, stable verbal formulas, traditional formulas, poetic cliches, which are an important element in the construction of fairy tales of this type (sayings, beginnings, endings) and performing various functions in the narrative.
Another stylistic device of the tale is the use constant epithets, serving as decoration of the work. The likelihood of using one or another combination in an epic or song epic is associated with the peculiarities of the reflection of the external world in various genres. According to O.A. Davydova, 38.7% of certain combinations of a fairy tale are not actually fairy tales, that is, they are also recorded in other folklore genres“violent head”, “hot arrow”.
To traditional poetic means fairy tales also include: the use of synonyms “with that, the wedding was played in an amicable way, in a good way” and paired combinations of words expressing one concept “let’s go meet with bread and salt, maybe we’ll make peace”, the use of antonyms “neither more nor less has passed time” or strengthening “willy-nilly I had to agree”, the use of general linguistic proverbs and sayings “the pike is on fire, but don’t eat the ruff from the tail”, the use of various comparisons “Ivan sat on the wolf. The wolf ran like an arrow"; lexical and syntactic turns that form parallel syntactic constructions “On the pillar it is written: “If you take the road to the right, you won’t see good, and if you go to the left, you won’t see anything alive.”
M.M. Konina distinguishes two types of children's works: creative processing of famous fairy tales and creative fairy tales themselves and notes the presence in them of the characteristic features of a fairy tale (typical plots, miraculous transformations and elements of heroism, wonderful objects, fairy-tale rituals).
In her opinion, “the development of children’s verbal creativity follows a line of qualitative growth under the influence of the quantitative accumulation of new fairy-tale images.”
A folk tale traditionally belongs to the circle “ children's reading"and is one of the most beloved genres by children. The fairy tale has a huge impact on the moral and aesthetic development preschooler. Colorful, romantic image of a fairy-tale world, idealization goodies, an obligatory happy ending, fascination combined with instructiveness - all this evokes a vivid aesthetic reaction in children and contributes to the development aesthetic feelings. A fairy tale embodies the high ideals of the people and their wisdom. The dynamics of a fairy tale require intellectual tension, a comparison of facts and events while mastering the semantic line of the plot, i.e. stimulates cognitive activity.
To identify the peculiarities of perception of a fairy tale by children of senior preschool age and to determine the level of verbal creativity for coherent speech of preschoolers, we used the methodology of O.S. Ushakova, highlighting criteria and indicators.
Criteria
1.Features of perception of a fairy tale
Naming essential features
Determining the content of a fairy tale
Highlighting structural parts of text
Preservation of linguistic means of expression
2.Features of verbal creativity
Ability to subdue storyline general theme
Using techniques for revealing character images and plot features of a fairy tale
Ability to use different types of sentences
The ability to formulate a statement according to the laws of fairy tale composition
Using Expression
3. Determination of the development of coherent speech
The ability to determine the topic of a statement and correctly reproduce its content
Ability to use different types of connections between sentences
Usage different types proposals.
First task. In order to determine the peculiarities of perception of a fairy tale in the unity of its content and artistic form, the fairy tale “Sister Alyonushka and Brother Ivanushka” was proposed.
Second task. To identify the level of verbal creativity, the situation “Continue the story” was proposed.
Third task. The level of development of coherent speech was determined using the example of the fairy tale “Geese and Swans”.
To enhance the motivation for speaking, various speech situations were used (“Conversation about a fairy tale,” “Fairy tale on the phone,” “Write a fairy tale”). The choice of fairy tale material was determined by the requirements of the methodology of speech development for the selection of works of art with the principles of pedagogy and aesthetics.
The children's incorrect answers consisted of not distinguishing between a fairy tale and a story.
The diagnostic results showed that children from the seventh year of life do not have a clear understanding of the genre features of the fairy tale, which, in our opinion, should be reflected in the children’s writings.
Children's understanding of the content of the fairy tale was determined by identifying the ability to recognize the theme of a given statement. During the examination, no cases were identified high level understanding the content, which requires the child to have basic skills in analyzing the work. Based on the diagnostic results, it was identifiedlevels of children's perception of folk tales.
Level I (high).Determine the genre of the fairy tale. Its essential features are called. Generally determine the content of the fairy tale. They see the boundaries of structural parts of the text. They strive to preserve linguistic means of expression.
Level II (intermediate).They correctly define the genre of the fairy tale, but in the order of argumentation they put forward both its essential and formal features. Determine the theme of the story. They often have difficulty isolating the main parts of a composition. Use additional language tools.
Level III (low).It is difficult to determine the genre of a work and to identify the distinctive features of a fairy tale. They do not understand the content of the work. They do not see the boundaries between the plot, the development of actions and the denouement of a fairy tale. The means of expressiveness of a fairy tale are not highlighted.
A necessary condition for the verbal creativity of preschoolers is the development of coherent speech skills, therefore the goal of task 2 was to determine the level of development of coherent speech when reproducing the content of a fairy tale.
Criteria for analyzing retellings In children, the following indicators have become traditional in speech development methods:
- Understanding the topic
- Volume and grammar of utterances
- Vocabulary statements
- Means of communication
- Structural organization of each part
- Smoothness and independence of presentation.
The data obtained allowed us to determine the followinglevels of coherent speech of preschoolers.
I (high). Generally determine the topic of the statement and correctly reproduce its content. Use a variety of sentence types and have no grammatical errors. They use their own exact word substitutions and various methods of connection between sentences. Formulate the statement accurately. Retell the text independently without pauses.
II (intermediate). Determine the topic of the statement. Minor deviations from the text are allowed. Complex sentences are used to a limited extent; isolated grammatical errors are possible. They turn to individual means of linguistic expressiveness. Communication methods are not diverse. In case of difficulties, use a small number of pauses and require additional questions.
III (low). They do not define the topic of the statement. Events are conveyed schematically without using any means of expression. They make grammatical errors. When transmitting content, compositional integrity is violated. They do not know how to retell the text on their own (they make pauses, repeats, need hints).
The children were given the task: “Imagine that you are a storyteller and come up with a fairy tale with miracles and magic.” No instructions were given for completing the tasks. Children's essays were recorded and examined according to a number of indicators aimed at assessing both the content and artistic form of the essay.
The second group of indicators consisted of some generally acceptedcreativity criteria:
Fluency is the ability to generate more ideas expressed in words or pictures.
Flexibility is the ability to come up with a variety of ideas, move from one aspect of a problem to another, and use a variety of problem-solving strategies.
Originality is the ability to come up with an idea.
Authenticity is the correspondence of the emotional reaction to the needs, values and interests of the subject.
The results obtained during the task can serve as the basis for determininglevels of verbal creativityolder preschoolers.
I (high). Subordinate the storyline to the overall theme. The essay uses original techniques to reveal the images of characters and features of the plot of a fairy tale. They turn to traditional figurative and expressive means of fairy tales.
II (intermediate). They try to stick to the chosen topic, the selection of the title is inaccurate. They use individual elements of a fairy tale in essays with an independent plot and simple content. They have difficulty in the structural design of the narrative (one of the parts of the composition is missing).
III (low). They mostly stick to the topic, but find it difficult to explain it; the name is missing. They schematically convey the events of the story or retell a well-known fairy tale without modification.
Analysis of the results obtained showed a low level of development of children’s verbal creativity and made it possible to determine ways for further work.
We developed and tested a system of activities and games that included a fairy tale, created situations for game improvisation and involving children in the preparation of attributes, performances, and exhibitions of children's creativity, which contributed to a significant increase in the level of verbal creativity of older preschoolers.
Development of imagination and verbal creativity in children of senior preschool age
MBDOU "Child Development Center - Kindergarten No. 178"
city of Cheboksary, Chuvash Republic
Verbal creativity is the most complex type of creative activity of a child. The opportunity to develop creative speech activity arises in older preschool age, when children have a fairly large stock of knowledge about the world around them, children master complex forms of coherent speech, a developed vocabulary, and they have the opportunity to act according to plan. Imagination, from previously reproductive, mechanically reproducing reality, turns into creative.
In older preschool age, the emotional and expressive function of speech becomes significantly enriched and complicated. The child learns the meaning of words expressing an emotional state, emotional attitude to objects and phenomena, learns the meaning of words associated with the experiences of emotions, understands the meaning of words denoting socially significant characteristics of a person. At this age, the child’s assimilation of words occurs with a deeper and clearer distinction between signs, objects and phenomena.
One of the manifestations of creative imagination is children's verbal creativity. There are two types of word creation.
Firstly, these are the so-called new formations in inflection and word formation (children's neologisms). Secondly, this writing is an integral component of artistic and speech activity.
We all know that children love to compose fairy tales, stories, poems, and fantasize, and there is a tendency toward “obvious absurdities” and “reversals.” In “reversals” and fables, the child, through imagination, “breaks” the connections between objects and phenomena, their constant signs, “steps back” from them, and then connects them into new combinations, “enters” the depicted circumstances, selects speech means to construct a coherent statement.. In this way, stereotypically formed associations are “shattered”, thinking and imagination are activated. In a word, verbal creativity is understood as the productive activity of children, which arose under the influence of works of art and impressions from the surrounding life and is expressed in the creation of oral compositions - fairy tales, short stories, poems, fables, rhymes, etc.
With the help of verbal creativity, the child experiments with words and sentences, tries to change something, come up with something - in a word, create. He is interested in this activity, as it allows him to more fully understand his capabilities and replenish his luggage with something new. Verbal creativity enriches and develops thought, making it more logical and imaginative. The feeling of joy and satisfaction from what has been achieved, emotional tension makes the creative process itself attractive. Children's word creation is the most complex type of creative activity of a child.
According to many scientists, verbal creativity of older preschoolers can be developed taking into account the following factors:
One of the factors influencing the development of verbal creativity is the enrichment of children's experience with impressions from life in the process of purposeful observation of the surrounding reality. Observing the work of adults, natural phenomena, can take different forms: watching movies, looking at paintings, albums, illustrations in books and magazines, etc. (In the process of observing nature, we note the aesthetic side, highlight the beauty of the natural world, note the colors. It would be good if, at the same time, we introduce how authors describe nature in their works, what expressions and words they use).
A very important factor is the enrichment of literary experience, reading various books, especially of a cognitive nature, which enrich children with new knowledge and ideas about the work of people, about the behavior and actions of children and adults, this deepens moral feelings and provides excellent examples literary language. Works of oral folk art contain a lot artistic techniques(allegory, dialogue, repetitions, personifications), attracts with its unique structure, artistic form, style and language. All this has an impact on children’s verbal creativity.
To others an important condition Successful teaching of creative storytelling is considered to be the enrichment and activation of the vocabulary through definition words;
words that help describe experiences, character traits characters.
For example, observing a winter landscape, children, with the help of a teacher, give various definitions of the qualities and conditions of snow: white, like cotton wool; slightly bluish undertree; sparkles, shimmers, sparkles, shines; fluffy, falls in flakes.
These words are then used in children's stories (“It was in winter, in the last month of winter, in February. When last time snow fell - white, fluffy - and everything fell on the roofs, on the trees, on the children, in large white flakes").
Another condition is the children’s correct understanding of the “invent” task, i.e. create something new, talk about something that didn’t actually happen, or the child didn’t see it himself, but “invented it” (although in the experience of others a similar fact could exist). The topic should be close to the children’s experience (so that a visible image arises from the imagination), accessible to their understanding and interesting. Then they will have a desire to come up with a story or fairy tale.
Development of a poetic ear, the ability to distinguish genres, understand their features, the ability to feel the components of an artistic form and to realize their functional connection with the content.
To develop verbal creativity, it is effective to use techniques that stimulate creativity, imagination and interest in children:
· coming up with the ending of a fairy tale started by the teacher, its beginning or middle,
· an essay using a subject-schematic model, a picture (this is a little more difficult, because the child must follow a certain algorithm).
· an essay on the topic using supporting words-mnemonic tables.
· creative storytelling based on a literary model - with the replacement of characters, the scene of action, or with the invention of a new plot with the same characters, and others.
Usage didactic games for the development of fantasy and imagination (“Funny rhymes.” Choose a rhyme: Candle - ... stove; pipes - ... lips; racket - ... pipette; boots - pies, etc. “Bring the object to life.” This game involves giving inanimate objects abilities and qualities of living beings, namely: the ability to move, think, feel, breathe, grow, rejoice, reproduce, joke, smile.
What living creature would you turn a balloon into?
What are your shoes thinking?
What does furniture think about?
· “collage from fairy tales.” Any heroes of fairy tales (Vasilisa the Beautiful, Baba Yaga, Serpent Gorynych and Little Thumb) are selected to independently compose a fairy tale (you can use any magical means in the fairy tale, leading questions to combine fragmentary episodes into a single composition.)
· compose a fairy tale about an unusual creature. (A butterfly that had transparent wings, but she wanted to have colorful wings like her friends).
· use of proverbs, sayings (Until recently, it was believed that it was difficult for preschoolers to understand the figurative meaning of proverbs and sayings. However, research has shown the inconsistency of this thesis. In order to help children understand the figurative meaning of small folklore, a fairy tale was selected, where moral education was revealed with the help of an appropriate saying For example, for the fairy tale “Teremok” “Rukavichka” the proverb was chosen: “In cramped conditions, but do not be offended”, for the fairy tale “Zayushkina’s Hut” the saying “Don’t have a hundred rubles, but have a hundred friends”).
Thus, the development of verbal creativity is a complex and dependent process that appears in direct connection with the development of mental processes, requiring the active work of imagination, thinking, speech, observation, volitional efforts, and the participation of positive emotions.
People say: “Without imagination there is no consideration.”
Albert Einstein considered the ability to imagine superior to knowledge, because he believed that without imagination, discoveries cannot be made. A well-developed, bold, controlled imagination is an invaluable characteristic of original, out-of-the-box thinking.
Children subconsciously learn to think - through play. We need to take advantage of this and develop imagination and imagination from early childhood. Let children “invent their own bicycles.” Anyone who did not invent bicycles as a child will not be able to invent anything at all. It should be interesting to fantasize! Remember that play is always immeasurably more productive if we use it to put the child in pleasant situations that allow him to perform heroic deeds and, while listening to a fairy tale, see his future as fulfilling and promising. Then, while enjoying the game, the child will quickly master the ability to fantasize, and then the ability to imagine, and then to think rationally.
Verbal creativity is an effective means of developing a creative personality.
Game library around the family.
Dear parents! You are offered games that will help your child make friends with words, teach them to tell stories, find interesting words, and thereby make your child’s speech richer and more varied.
These games can be interesting and useful for all family members. They can be played on weekends, holidays, and on weekday evenings, when adults and children get together after another working day.
When playing with words, take into account the child’s mood, all possibilities and abilities.
Play with your child as equals, encourage his answers, rejoice in success and small victories!
"ONLY FUN WORDS."
It's better to play around. One of the players determines the topic. You need to say one by one, for example, only funny words. The first player says: "Clown." Second: "Joy." Third "Laughter", etc. The game moves in a circle until the words run out.
You can change the topic and name only green words (for example, cucumber, Christmas tree, pencil, etc.), only round ones (for example, clock, bun, wheel, etc.)
"POBERISLOVO".
The child is asked to select words denoting characteristics for any object, object, or phenomenon. For example,winter,which?(cold, snowy, frosty).Snow, what a? (white, fluffy, soft, clean)
"WHO CAN DO WHAT?"
The child is asked to select as many words and actions as possible for any subject or object. For example, what can a cat do? (purr, arch its back, run, jump, sleep, scratch, lap).
"AUTOBIOGRAPHY".
At first, one of the Adults takes the leading role and imagines himself as an object, thing or phenomenon and tells a story on his behalf. The rest of the players should listen carefully and, through leading questions, find out who or what they are talking about. The player who guesses this will try to take on the role of the Leader and reincarnate into some object.
For example, “I am in every person’s house. Fragile, transparent. I perish from a careless attitude, and it becomes dark not only in my soul... (light bulb).”
"MAGIC CHAIN".
The game is played in a circle. One of the Adults names a word, for example, "honey",asks the player standing next to him what he imagines when he hears this word?
Some other family member answers, for example, "bee". The next player hearing the word"bee", must name a new word that is similar in meaning to the previous one, for example,"pain"etc. What might happen?Honey - bee - pain - red cross - flag - country - Russia - Moscow.
"BALL WORDS".
Children and an adult play in pairs. The adult throws balls to the child and at the same time pronounces the word, for example, "quiet". The child must return the balls and say the word with the opposite meaning."loud". Then the players switch roles. Now the child is the first to pronounce the word, and the adult matches it with a word with the opposite meaning.
"FUNNY RHYMS".
The players must match the words with rhymes.
Candle - ... stove; pipes - ... lips; racket - ... pipette; boots - pies, etc.
" IF SUDDENLY …".
The child is offered some unusual situation from which he must find a way out and express his point of view.
For example , If suddenly the Earth disappears:
* all buttons; * all knives; * all matches; * all books, etc.
What will happen? How can this be replaced? The child can answer: “If suddenly all the buttons on Earth disappear, nothing bad will happen, because they can be replaced: with ropes, Velcro, buttons, a belt, etc.” You can offer the Child other situations, for example,if I had:
* living water; * flower - seven flowers; * carpet - airplane, etc.
Didactic games for the development of verbal creativity
2. "Let's tell a story together"
3. "Magic glasses"
4. "Box of Fairy Tales"
5. "The Magic Trumpet"
6. “Help Kolobok” (1 option)
7. “Help Kolobok” (2nd option)
8. "Let's play Turnip"
9. "An old fairy tale in a new way"
10. "Create an unusual creature"
11. "Magic Tree"
12. “Who came to the New Year’s carnival?”
13. "Magic items from a wonderful bag"
14.
15. "Nonsense"
16. "Transformations"
17. “How to escape from a sorcerer?”
18. "Make up a story"
19.
20.
21. "Pantomime"
22. "Correct the mistake"
1. Lotto “Journey through Russian folk tales”
(for children from three years old)
Target:Arouse in children the need for communication, develop visual attention.
Equipment:6 large lotto cards with images of 6 fairy tale characters, 36 small cards with the same images.
The second part of the game is played as follows: the child is given a lotto sheet, then the leading player selects one of the small cards placed picture down, shows the picture, and names the character. The child who has the lotto sheet with this image takes a small card and covers the image on the large card. The winner is the one who covers all the images on the lotto sheet first.
2. "Let's tell a story together"
(for children from three years old)
Target:Continue to develop children's skills verbal communication, strive to ensure that children enter into genuine communication, i.e. acted emotionally.
Equipment:Pictures depicting successive episodes of fairy tales.
3. "Magic glasses"
(for children from five years old)
Target:Development of creative speech skills, creative imagination; mastering the concept of time.
4. "Box of Fairy Tales"
(for children from four years old)
Target:Development of coherent speech, imagination, creative thinking.
Equipment:8 – 10 different figures, box.
Content: The presenter offers to randomly remove figures from the box. We need to figure out who or what this object will be in the fairy tale. After the first player has said 2 - 3 sentences, the next one takes out another object and continues the story. When the story is over, the items are collected together and the new story. It is important that each time you get a complete story, and that the child comes up with different options for actions with the same object in different situations.
5. "The Magic Trumpet"
(for children from four years old)
Target:development of vocabulary, imagination, cognitive function; the child’s mastery of opposite character traits fairy tale characters.
Equipment:A magazine or sheet of paper rolled into a tube.
Content: The presenter shows the “magic pipe” and says that if you look through it at a fairy-tale character, he will change his character traits, for example, to the opposite. The presenter asks the child to look through the pipe at the heroes and tell how they have changed.
6. “Help Kolobok” (1 option)
(for children from four years old)
Target:development of coherent speech, creative imagination, thinking, memory; determining the sequence of events.
Equipment:Cards with a plot from the fairy tale “Kolobok” (made from two little books - a card for each plot).
Content: The presenter reminds the child of the fairy tale “Kolobok” and shows the cards. Then the pictures are mixed, the child takes out any of them and continues the story from the place to which the picture corresponds.
If the child succeeds, invite him to tell the story in reverse order, as if the film was running backwards. If possible, show on the VCR what this means.
7. “Help Kolobok” (2nd option)
(for children from five years old)
Target:Nurturing good feelings; development of imagination, creative thinking, coherent speech.
Equipment: Fairy tale “Kolobok”, cards made from two little books, multi-colored circles: yellow (Kolobok), gray (wolf), white (hare), brown (bear), orange (fox).
Content: The presenter asks the children to remind him of the fairy tale about Kolobok, using pictures or colorful circles. Ask the kids to figure out how to save Kolobok. Let the children figure out what will happen to Kolobok if he escapes from the fox, who he will be friends with, where his home will be. These and other leading questions will help your child come up with an interesting story.
8. "Let's play Turnip"
(for children from five years old)
Target:Development of speech and creative imagination; training in symbolic playback of the plot; color designation of fairy tale heroes; assimilation sequence of events.
Equipment:Mugs: yellow (turnip), green (grandmother), brown (grandfather), Content: The presenter tells a confusing tale. Starts with “Turnip”, includes characters from other fairy tales. The child will notice mistakes and as a result will retell “Turnip”.
At first, you can allow the use of picture prompts. When the child has answered, ask him to come up with some kind of fairy tale with these new characters. Children who successfully complete the task come up with stories of two or three sentences and notice almost all mistakes.
9. "An old fairy tale in a new way"
(for children from four years old)
Target:Development of coherent speech, imagination, creative thinking.
Equipment:fairy tale "Three Bears", circles indicating bears (brown different sizes), red circle (girl).
Ask your child to come up with a “reverse fairy tale”:
a) the bears got lost and ended up with the girl. What would they do?
b) the bears turned out to be good, but the girl was evil. How would they behave?
The presenter suggests using circles to act out a new fairy tale.
You can use other fairy tales as well.
10. “Create an unusual creature”
(for children from five years old)
Target: Development of word creation, imagination, ability to analyze and distinguish between real and fantasy images; broadening your horizons.
Equipment:A set of cards depicting various objects, plants, birds, animals, flowers, fairy tale characters, etc.
Content: Give the child two cards at once. Let the kid come up with a character that would combine the properties of two characters at once. For example, when adding the animals dinosaur and pig, we get other non-existent animals: pigsaurus or diniña. Thus, you can add different words (oak + rose = oakberry, dragonfly + goat = dragonfly, etc.). Don’t limit your baby’s imagination, or your own! Properties can be taken from different plants, birds, animals, objects, etc., as long as the source is named.
11. "Magic Tree"
(for children from three years old)
Target:Expanding the volume of vocabulary and horizons; development of creative speech skills, the ability to solve riddles.
Equipment:A tree made of cardboard with pockets for pictures; a set of images of objects on the lexical topic being studied.
Pictures are laid out in front of the children. An adult makes a riddle about one of the objects shown in the picture. The child who has correctly guessed the riddle looks for the corresponding image and “hangs” this picture on the “Miracle Tree”.
Complication (for children from five years old). Invite children to come up with new properties of objects placed on the “magic tree”: “Try to think of what magical property the object on our magic tree will have.”
12. “Who came to the carnival?”
(for children from four years old)
Target:Expanding the volume of vocabulary and horizons; development of figurative memory, verbal creativity.
Equipment:An image of a New Year tree with pockets around the tree for “fairy-tale characters”; a set of fairy-tale characters from the fairy tale being studied.
Complication.After all the heroes “take” their places, the children are asked to come up with the content of the conversation between the fairy-tale heroes. “Try to think of what fairy-tale characters will talk about at the New Year’s carnival.”
13. "Magic items from a wonderful bag"
(for children from five years old)
Target:Expanding the volume of vocabulary, developing tactile perception, clarifying ideas about the characteristics of an object; development of creative thinking, verbal creativity.
Equipment:An elegantly decorated bag, small toys.
Content:First, children get acquainted with toys: they look at them, name them, and highlight their qualities. The first player puts his hand into the bag, feels for one toy, recognizes it and calls it: “I have a cup.” Only after these words can the child take the toy out of the bag, examine it, show it to all the children and tell about its new magical qualities.
Complicated version : before taking an item out of the bag, you need to determine its shape (round, oblong), the material from which the object is made (rubber, metal, plastic, wood), surface quality (smooth, rough, cold, slippery).
14. "Create a riddle about a magical animal"
(for children from four years old)
Target:Development of creative thinking, the ability to compose descriptive stories about animals; clarifying ideas about the actions of animals.
Equipment:Subject pictures, chips, support diagram for describing animals.
Low difficulty level. Children are given object pictures (4 pieces each). One player chooses and guesses any picture out of four. An adult asks him questions about the animal: “What is the animal’s size, color, where does it live?” “What kind of fur, ears, tail?” “What can an animal do?” The child who thought of an animal answers: “The animal is small, gray, lives in the forest, can jump. The fur is thick, the ears are long, the tail is short.” Questions are asked until one of the players guesses which animal is guessed. A chip is awarded for the correct answer.
Medium difficulty level. The game uses 4 pictures. The children ask the player questions one by one: “What color is the animal?”, “What size?” etc. Children play without the participation of an adult.
High level of difficulty. An adult distributes more than 4 pictures to each participant. The child talks about the characteristics of the hidden animal (“comes up with a riddle”) on his own.
Complication (for older preschoolers). Invite the children to come up with what magical actions the animals will have. “Try to think of what magical action an animal can perform.”
15. "Nonsense"
(for children from four years old)
Target:Development of the ability to distinguish between reality and fantasy; clarification of ideas about the subject, natural phenomena.
Equipment:Identical black and white plot pictures depicting absurdities (according to the number of children), colored pencils.
Low difficulty level. Each child is given a black and white picture depicting absurdities. Children look at the picture. The adult invites the children to name what is shown incorrectly in the picture. Then the adult offers to color with colored pencils only those images that correspond to the truth of what may actually be.
Medium difficulty level. Children compete to see who can see and name the most absurdities. An option for using adult help is to have reference words indicating an error and the correct option. In accordance with the named pair of words, children find the mistake in the picture. At the end of the task, children color what is shown correctly in the picture.
High level of difficulty. Children complete the task without the help of an adult. By pointing out the absurdities, they give the correct options. After this, the children color what is shown correctly in the picture.
16. "Transformations"
(for children from four years old)
Target:Development of the ability to identify essential features of objects.
Equipment:Kaleidoscope, subject pictures (cup, cap, jug, bottle, sofa, chair, armchair).
The adult draws the children's attention to the fact that the presence or absence of certain details in an object is an important sign by which we recognize this object and call it by one word or another.
17. “How to escape from a sorcerer?”
(for children from five years old)
Target:development of coherent speech, imagination, creative thinking.
Equipment:a set of small toys or object pictures of 8-10 pieces (substitutes can be used in the future).
After this, the child is asked to combine the objects into a single plot. If the child understands the task, then you can immediately give him a set of toys or pictures.
If a child experiences any difficulties, it is necessary to help him. For example, take the first two cubes you come across and come up with your own story: “Once a butterfly met a hedgehog, was very surprised and asked him why the hedgehog didn’t fly. The hedgehog replied that he cannot fly, but he can curl up into a ball. And he offered to teach the butterfly this. Since then they have become friends."
18. "Make up a story"
(for children from five years old)
Target:Development of understanding and activation of words with a general meaning; development of coherent speech and verbal creativity.
Content:An adult invites the child to come up with a story (story, fairy tale) about vegetables, pets, dishes, transport, etc. An adult gives a sample story and helps to come up with a beginning. Stages of plot development (“Once upon a time there was a commotion in the village...”, “One night the toys came to life and...”). In this game, the child not only consolidates his understanding of general words, but also updates vocabulary on the topic and develops verbal creativity.
19. “It happens - it doesn’t happen” (1 option)
(for children from four years old)
Target:Development of the conceptual aspect of the meaning of words with a general meaning, clarification of their meaning; development of creative thinking.
Complication.Invite the children to come up with a false or true judgment themselves. “Try to come up with a sentence yourself that contains the truth, i.e. which may be a lie, i.e. which cannot be."
Sample speech material:
· fruits grow on trees;
· vegetables grow on bushes;
· jam is made from the berries;
· shoes warm the human body in the cold season;
· the store sells products;
· wild animals live in the forest;
· migratory birds fly south in the spring;
· furniture is needed for human convenience;
· clothes are worn on the legs;
· in summer the puddles are covered with ice, etc.
20. “It happens - it doesn’t happen” (2nd option)
(for children from five years old)
Goals:Formation of semantic fields, expansion of the dictionary of antonyms; development of creative abilities.
Sample speech material:
· Thumbelina is taller than Snow White, and Gulliver is shorter than the Lilliputians;
· The Talker Bird likes to be silent loudly;
· The Snow Queen loves summer because it snows in summer;
· Winnie the Pooh loves honey because it is bitter;
· Papa Carlo is shorter than Pinocchio because he is small;
· The kitten Woof meows loudly, and the cat meows quietly;
· The fairy tale “Kolobok” has a happy ending, but the fairy tale “Turnip” does not.
21. "Pantomime"
(for children from five years old)
Target:Formation of semantic fields, expansion of the dictionary of antonyms, development of general motor skills and creative abilities.
Sample speech material:
· evil wolf - good bear;
· stupid frog - smart rabbit;
· the swift deer is the slow turtle;
· brave lion cub - cowardly hare;
· strong tiger - weak mouse;
· fat hamster - thin heron;
· a joyful person is a sad person;
· straight tree - crooked tree;
· heavy bag - light snowflake;
· cold ice - hot fire.
22. "Correct the mistake"
(for children from five years old)
Target:Formation of semantic fields; consolidation of ideas about fairy-tale characters.
Content:An adult pronounces a sentence in which two objects (objects) are compared. The fallacy of the judgment is that in the first part of the sentence one sign of comparison is indicated, and in the second part - another (granddaughter is small, grandmother is old). The child needs to correct the mistake by offering two correct options for the judgment. For example: “The chalk is white, and the soot is liquid. The first part of the comparison talks about color, and the second part talks about hardness. It will be correct: the chalk is white and the soot is black, or the chalk is hard and the soot is soft.”
Sample speech material:
· the granddaughter is small, and the grandmother is old;
· Eeyore is big, and Winnie the Pooh is fat;
· The fox is cunning, and Kolobok is yellow;
· Gulliver is tall, and Thumbelina is small;
· The hare is gray, and the cockerel is bold;
· Winnie the Pooh loves honey, and Piglet is pink;
· Thumbelina is light, and the swallow is large;
· Pierrot has long sleeves, and Malvina has blue hair, etc.
Elena Alexandrovna Korneva
GDOU kindergarten No. 27 of the administrative district of St. Petersburg
teacher speech therapist
An adult, raising a child, must subtly and tactfully support the child's initiative. This will allow the child to control himself and his behavior, think and fantasize, build an imaginary situation and be aware of his actions. Such interaction contributes to the learning of creativity, since creativity itself can only develop in individual individuals.
Issues of creativity, its development and manifestation in humans have worried the minds of outstanding people for many years in the formation of human history.
Even Aristotle in the 4th century BC. emphasized the innovative and authorial nature of scientific and artistic creativity. The development of new knowledge is based on a person’s own activity, and therefore it is so important, according to Aristotle, already from early age teach children creativity, the ability to observe and understand people and their experiences. Proving that the imprint of the creator’s personality lies on his works, Aristotle not only gave examples of how different artists interpret the same subjects differently, but also proved the need to develop independence, activity and individuality when raising children, because otherwise, they will never become outstanding scientists and creators.
The nature of creativity is studied by philosophers, psychologists and teachers who study certain aspects of creative thinking and personality, based on the specifics of their sciences.
Thus, the philosophical dictionary gives the following definition of creativity: “Creativity is a process of human activity that creates qualitatively new material and spiritual values.” In philosophy, creativity is a person’s ability, arising through work, to create from the material provided by reality (based on the knowledge of the laws of the objective world) a new reality that satisfies diverse social needs. In the process of creativity, all the spiritual powers of a person take part, including imagination, as well as the mastery acquired in training and practice, necessary for the implementation of a creative plan.
IN pedagogical science creativity is defined as “an activity aimed at creating a socially significant product that has an impact on the transformation of the environment.”
The significance of a child’s creativity is limited to creating something new for himself, and this determines the significance of creativity for the formation of personality.
Characterizing the creativity of children, the famous didact I.Ya. Lerner highlighted the following features creative activity:
- 1- independent transfer of previously acquired knowledge to a new situation;
- 2 - vision of a new function of an object (object);
- 3 - vision of the problem in a standard situation;
- 4 - vision of the structure of the object;
- 5 - ability to make alternative solutions;
- 6 - combining previously known methods of activity into a new one.
I. Ya. Lerner argues that creativity can be taught, but this teaching is special, it is not similar to how knowledge and skills are taught. At the same time, creativity is impossible without acquiring certain knowledge and mastering skills and abilities.
By creativity, according to teachers, we should understand the very process of creating images of a fairy tale, story, game, etc., as well as methods and ways of solving problems (visual, gaming, verbal, musical).
The psychology of creativity studies the process, the psychological mechanism of the act of creativity, as a characteristic of the individual. In psychology, creativity is studied in two directions:
- 1 - as a mental process of creating something new,
- 2 - as a set of personality properties that ensure its inclusion in this process.
A necessary element of creativity and human creative activity is imagination. It is expressed in the mood of the image of the products of labor and ensures the creation of a program of behavior in cases where the problem situation is characterized by uncertainty.
Imagination, or fantasy, is one of the highest cognitive processes in which the specific human nature of activity is clearly revealed. Imagination allows you to imagine the result of a person’s work even before it begins.
Imagination, fantasy is a reflection of reality in new, unexpected, unusual combinations and connections.
When characterizing imagination from the perspective of its mechanisms, it is necessary to emphasize that its essence is the process of transforming ideas, creating new images based on existing ones.
The synthesis of ideas in the processes of imagination is carried out in various forms:
- § agglutination - “gluing” various parts, qualities;
- § hyperbolization - increasing or decreasing an object and changing the number of parts of an object or their displacement;
- § sharpening, emphasizing any features;
- § schematization - the ideas from which the fantasy image is constructed merge, differences are smoothed out, and similarities come to the fore;
- § typification - highlighting the essential, repeated in homogeneous facts and embodying them in a specific image.
In psychology, it is customary to distinguish between active and passive imagination. In the case when fantasy creates images that are not realized, outlines behavioral programs that are not implemented and often cannot be implemented, passive imagination manifests itself. It can be intentional or unintentional. Images of fantasy, deliberately evoked, but not associated with the will aimed at bringing them to life, are called dreams. Unintentional imagination manifests itself when the activity of consciousness weakens, the second signaling system, during temporary inactivity of a person, in a half-asleep state, in a state of passion, in sleep (dreams), in pathological disorders of consciousness (hallucinations), etc.
Active imagination can be creative and re-creative. Imagination, which is based on the creation of images that correspond to the description, is called recreating. Creative imagination involves the independent creation of new images, which are realized in original and valuable products of activity. The creative imagination that arises in work remains an integral part of technical, artistic and any other creativity, taking the form of active and purposeful operation of visual ideas in search of ways to satisfy needs.
In order to understand the psychological mechanism of imagination and related creative activity, it is necessary to clarify the connection that exists between fantasy and reality in human behavior. L.S. Vygotsky in his work “Imagination and Creativity in childhood» identifies 4 forms of connection between imagination and reality.
The first form is that every creation of the imagination is always built from elements taken from reality and contained in man's previous experience. Imagination can create more and more degrees of combination, first combining the primary elements of reality, then secondarily combining fantasy images (mermaid, goblin, etc.). Here we can highlight the following pattern: “the creative activity of the imagination is directly dependent on the richness and diversity of a person’s previous experience, because this experience is the material from which fantasy structures are created.”
The second form is a more complex connection between the finished product of fantasy and some complex phenomenon of reality. This form of connection is only made possible through someone else's or social experience.
The third form is emotional connection. Fantasy images provide an internal language for a person’s feelings “This feeling selects elements of reality and combines them into a connection that is determined from within by our mood, and not from the outside, by the logic of these images themselves.” However, not only feelings influence imagination, but imagination also influences feeling. This influence can be called the “law of emotional reality of the imagination.”
The fourth form is that the construction of a fantasy can be something essentially new, which has not been in human experience and does not correspond to any really existing object. Having taken on material embodiment, this “crystallized” imagination becomes reality.
L.S. Vygotsky also describes in detail the psychological mechanism of creative imagination. This mechanism includes the selection of individual elements of an object, their change, the combination of changed elements into new holistic images, the systematization of these images and their “crystallization” in the subject embodiment.
O.M. Dyachenko identifies two types or two main directions in the development of imagination. Conventionally, they can be called “affective” and “cognitive” imagination. An analysis of the affective imagination can be found in the works of S. Freud and his followers, where it is indicated that imagination and creativity are an expression of unconscious conflicts that are directly related to the development of innate tendencies.
Cognitive imagination was studied by J. Piaget. In his research, imagination was associated with the development of the symbolic function in a child and was considered as a special form of representative thinking that allows one to anticipate changes in reality.
O.M. Dyachenko characterizes these types of imagination and the stages of their development throughout preschool childhood.
Stage I - 2.5-3 years. There is a division of imagination into cognitive (the child, with the help of dolls, acts out some actions familiar to him and their possible options) and affective (the child plays out his experience).
Stage II - 4-5 years. The child learns social norms, rules and patterns of activity. Imagination involves a planning process that can be called stepwise. This, in turn, leads to the possibility of directed verbal creativity, when a child composes a fairy tale, stringing together events one after another. Cognitive imagination is associated with the rapid development of role-playing games, drawing, and design. But without special guidance, it is mainly of a reproducing nature.
Stage III - 6-7 years. The child operates freely with basic patterns of behavior and activity.
Active imagination is also aimed at overcoming the received psycho-traumatic effects by repeatedly varying them in games, drawing and other creative activities. Cognitive imagination manifests itself in the child’s desire to look for techniques for conveying processed impressions.
It should also be emphasized that imagination, which is extremely important for the implementation and organization of activity, is itself formed in various types activity and subsides when the child stops acting. Throughout preschool childhood, there is a constant transformation of the child’s imagination from an activity that needs external support (primarily toys) into an independent one. internal activities, which allows for verbal (writing fairy tales, poems, stories) and artistic (drawings, crafts) creativity. A child’s imagination develops in connection with the acquisition of speech, and, consequently, in the process of communication with adults. Speech allows children to imagine objects they have never seen before.
Fantasy is an important condition for the normal development of a child’s personality; it is necessary for the free identification of his creative possibilities. K.I. Chukovsky in his book “From Two to Five” spoke about children’s imagination in its verbal manifestation. He very accurately noted the age (from two to five) when a child’s creativity is especially sparkling. Insufficient confidence in the laws existing in the field of language “directs” the child to cognition, mastery, modeling existing connections and relationships in the surrounding world of sounds, colors, things and people.
K.I. Chukovsky defended the right of children to a fairy tale and proved the child’s ability to realistically understand the imagery of a fairy tale.
Fantasy is a necessary element of creative activity in art and literature. The most important feature of the imagination involved in the creative activity of an artist or writer is its significant emotionality. An image, a situation, an unexpected plot twist that arises in the writer’s head turns out to be passed through a kind of “enriching device”, which serves as the emotional sphere of a creative personality.
In any activity, two stages are absolutely necessary: setting a task (goal) and solving the problem - achieving the goal. In artistic creative activity, the idea by its very essence is the formulation of a creative task. Literary ideas, despite all their differences, are formulated in other types of activity. It's about the task of writing piece of art. This task necessarily includes the desire to discover the aesthetic aspect of reality and influence people through one's work.
It should be noted that children are completely sincerely involved in literary works and live in this imaginary world. A child’s verbal creativity opens up richer opportunities for understanding the world and conveying his impressions, limiting the child’s actions to any technical techniques.
Issues of the formation of children's verbal creativity were studied by E.I. Tikheyeva, E.A. Flerina, M.M. Konina, L.A. Penevskaya, N.A. Orlanova, O.S. Ushakova, L.M. Voroshnina, E.P. Korotkovskaya, A.E. Shibitskaya and a number of other scientists who developed the topics and types of creative storytelling, techniques and sequence of teaching. Children's creative storytelling is considered as a type of activity that captures the child's personality as a whole: it requires the active work of imagination, thinking, speech, observation, volitional efforts, and the participation of positive emotions.
Verbal creativity is the most complex type of creative activity of a child. There is an element of creativity in everything children's story. Therefore, the term “creative stories” is a conventional name for stories that children come up with themselves. The peculiarities of creative storytelling are that the child must independently come up with content (plot, imaginary characters), based on the topic and his past experience, and put it into the form of a coherent narrative. It also requires the ability to come up with a plot, a course of events, a climax and a denouement. An equally difficult task is to convey your idea accurately, expressively and entertainingly. Creative storytelling is somewhat akin to real storytelling. literary creativity. The child is required to be able to select individual facts from existing knowledge, introduce an element of fantasy into them and compose a creative story.
The basis of verbal creativity, notes O.S. Ushakov, lies in the perception of works of fiction, oral folk art, including small folklore forms (proverbs, sayings, riddles, phraseological units) in the unity of content and artistic form. She views creativity verbally as an activity that arises under the influence of works of art and impressions from the surrounding life and is expressed in the creation of oral compositions - stories, fairy tales, poems. The relationship between the perception of fiction and verbal creativity, which interact on the basis of the development of poetic hearing, is noted.
Children's verbal creativity is expressed in various forms: in writing stories, fairy tales, descriptions; in writing poems, riddles, fables; in word creation (creation of new words - new formations).
For the methodology of teaching creative storytelling, understanding the peculiarities of the formation of artistic, in particular verbal, creativity and the role of the teacher in this process is of particular importance. ON THE. Vetlugina noted the legitimacy of extending the concept of “creativity” to the activities of a child, delimiting it with the word “children’s.” She identified three stages in the formation of children's artistic creativity.
At the first stage, experience is accumulated. The role of the teacher is to organize life observations that influence children's creativity. The child must be taught to visualize the surroundings (perception acquires an aesthetic coloring). In enriching perception special role art plays. Works of art help a child to feel more keenly the beauty in life and contribute to the emergence of artistic images in his creativity.
The second stage is the actual process of children's creativity, when an idea arises, a search begins artistic means. The process of children's creativity is not very developed in time. The emergence of a child’s idea is successful if a mindset for a new activity is created (let’s come up with a story). The presence of a plan encourages children to search for means of its implementation: searching for composition, highlighting the actions of heroes, choosing words and epithets. Creative tasks are of great importance here.
At the third stage, new products appear. The child is interested in its quality and strives to complete it, experiencing aesthetic pleasure. Therefore, an analysis of the results of creativity by adults and their interest are necessary. Analysis is also necessary for the formation of artistic taste.
Knowledge of the peculiarities of the formation of children's verbal creativity makes it possible to determine the pedagogical conditions necessary for teaching children creative storytelling.
1. One of the conditions for children’s success in creative activities is the constant enrichment of children’s experience with life impressions. This work can have a different nature depending on the specific task: excursions, observing the work of adults, looking at paintings, albums, illustrations in books and magazines, reading books.
Reading books, especially educational ones, enriches children with new knowledge and ideas about the work of people, the behavior and actions of children and adults, aggravates moral feelings, and provides excellent examples of literary language. Works oral creativity contain many artistic techniques (allegory, dialogue, repetition, personification), and attract attention with their unique structure, artistic form, style and language. All this has an impact on children’s verbal creativity.
- 2. Another important condition for successful teaching of creative storytelling is considered to be the enrichment and activation of vocabulary. Children need to replenish and activate their vocabulary through definition words; words that help describe experiences, character traits of characters. Therefore, the process of enriching children’s experience is closely related to the formation of new concepts, new vocabulary and the ability to use the existing vocabulary.
- 3. Creative storytelling is a productive type of activity; its end result should be a coherent, logically consistent story. Therefore, one of the conditions is the ability of children to tell a coherent story, master the structure of a coherent statement, and know the composition of the narrative and description.
Children learn these skills at previous age stages by reproducing literary texts, writing descriptions of toys and paintings, and inventing stories based on them. Particularly close to verbal creativity are stories about one toy, inventing the end and beginning of the episode depicted in the picture.
4. Another condition is the children’s correct understanding of the “invent” task, i.e. create something new, talk about something that didn’t actually happen, or the child didn’t see it himself, but “invented it” (although in the experience of others a similar fact could exist).
Topics creative stories must be connected with the general tasks of raising children correct attitude to the surrounding life, fostering respect for elders, love for younger ones, friendship and camaraderie. The topic should be close to the children’s experience (so that a visible image arises from the imagination), accessible to their understanding and interesting. Then they will have a desire to come up with a story or fairy tale.
In the methodology of speech development, there is no strict classification of creative stories, but the following types can be roughly distinguished: stories of a realistic nature; fairy tales; descriptions of nature. A number of works highlight the writing of stories by analogy with literary way(two options: replacing heroes while maintaining the plot; changing the plot while maintaining the heroes). Most often, children create contaminated texts because it is difficult for them to give a description without including an action, and the description is combined with the plot action.
Techniques for teaching creative storytelling depend on the children’s skills, learning objectives, and type of story.
In the older group, as a preparatory stage, you can use the simplest technique of telling children together with the teacher about questions. A topic is proposed, questions are asked, to which the children come up with an answer as they pose them. At the end, a story is compiled from the best answers. Essentially, the teacher “composes” together with the children.
In a preparatory school group, the tasks of teaching creative storytelling become more complicated (the ability to clearly build a storyline, use communication tools, realize structural organization text). All types of creative stories and different teaching methods with gradual complication are used.
The easiest thing is considered to be coming up with a continuation and completion of the story. The teacher gives a sample that contains the plot and determines the path for the development of the plot. The beginning of the story should interest children, introduce them to the main character and his character, and the setting in which the action takes place.
Ancillary questions, according to L.A. Penevskaya, are one of the methods of actively guiding creative storytelling, making it easier for the child to solve a creative problem, affecting the coherence and expressiveness of speech.
A plan in the form of questions helps to focus children's attention on the consistency and completeness of the development of the plot. For a plan, it is advisable to use 3-4 questions; a larger number of them leads to excessive detail of actions and descriptions. What can hinder the independence of a child’s plan? During the storytelling process, questions are asked very carefully. You can ask what happened to the hero that the child forgot to tell about. You can suggest a description of the hero, his characteristics, or how to end the story.
A more complex technique is storytelling based on the plot proposed by the teacher. (The teacher set a learning task for the children. He motivated it, suggested a theme, a plot, named the main characters. The children must come up with content, formalize it verbally in the form of a narrative, and arrange it in a certain sequence).
Coming up with a story on an independently developed topic is the most difficult task. The use of this technique is possible if children have basic knowledge about the structure of the narrative and means of intratextual communication, as well as the ability to title their story. The teacher advises what a story can be written about, invites the child to come up with a name for the future story and draw up a plan.
Learning the ability to invent fairy tales begins with introducing elements of fantasy into realistic plots.
At first, it is better to limit fairy tales to stories about animals: “What Happened to the Hedgehog in the Forest,” “The Adventures of the Wolf,” “The Wolf and the Hare.” It is easier for a child to come up with a fairy tale about animals, since observation and love for animals give him the opportunity to mentally imagine them in different conditions. But a certain level of knowledge about the habits of animals, their appearance. Therefore, learning the ability to invent fairy tales about animals is accompanied by looking at toys, paintings, and watching filmstrips.
Reading and storytelling to children short stories, fairy tales helps to draw attention to the form and structure of the work, to emphasize interesting fact, revealed in it. This has a positive effect on the quality of children's stories and fairy tales.
The development of children's verbal creativity under the influence of Russian folk tales occurs in stages. At the first stage, the stock of well-known fairy tales is activated in the speech activity of preschoolers in order to assimilate their content, images and plots. At the second stage, under the guidance of the teacher, an analysis of the scheme for constructing a fairy tale narrative and plot development (repetition, chain composition, traditional beginning and ending) is carried out. Children are encouraged to use these elements in their own writing. The teacher turns to methods of joint creativity: chooses a topic, names the characters - the heroes of the future fairy tale, advises the plan, begins the fairy tale, helps with questions, suggests the development of the plot. At the third stage, the independent development of fairy tale narration is activated: children are asked to come up with a fairy tale based on ready-made themes, plot, characters; choose your own theme, plot, characters.
In Gianni Rodari's book The Grammar of Fantasy. "Introduction to the Art of Storytelling" talks about some ways to create stories for children and how to help children create their own. The book’s author’s recommendations are also used in Russian kindergartens.
The most common technique is the game “What would happen if...”, where children are asked to find a solution to a certain situation.
“Old games” - note-taking games with questions and answers. It begins with a series of questions that outline in advance a certain pattern, the end of the story.
Sample questions:
- § Who was that?
- § Where is it?
- § What did you do?
- § What did you say?
- § What did the people say?
- § How did it all end?
Children's answers are read aloud as a continuous story.
“The technique of nonsense” is the writing of absurdities, fables, “twists” in two lines.
“Making a limerick” is a variant of organized and legalized nonsense. The structure of a limerick could be as follows:
- 1. Choosing a hero.
- 2. Its characteristics.
- 3, 4. Implementation of the predicate (performing an action).
- 5. The final epithet characterizing the hero.
The use of these techniques will successfully affect the development of verbal creativity in preschool children.
Features of the manifestation of verbal creativity
in older preschool age
The problem of developing the creativity of the younger generation is currently increasingly attracting the attention of philosophers, psychologists, and teachers. Society is constantly in need of creative personalities who are able to act actively, think outside the box, and find original solutions to any life problems.
Verbal creativity is a complex process associated with the general development of the child (O.S. Ushakova, F.A. Sokhin, N.N. Poddyakov, O.M. Dyachenko, N.V. Gavrish, O.N. Somkova, etc. ). There is a direct relationship between the development of children's speech and their creativity. Creativity itself is unthinkable without mastering the richness of the language in which a child speaks and thinks.
Verbal creativity is an integral part of the general development of creative abilities of preschoolers in various types of activities:
its formation is based on the perception of works of fiction, oral folk art in the unity of content and artistic form;
familiarization with different genres of literary works and their specific features introduces the child to the world of artistic images, the understanding of which deepens in the visual and theatrical activities, which contributes to the development of creative imagination, and also develops the ability to use a variety of linguistic means when creating your own compositions;
The development of verbal creativity in older preschoolers is a multifaceted and multifaceted process. It depends on the general speech development children: the higher this level, the more freely the child manifests himself in composing works.
Literary creativity is a two-pronged process: the accumulation of impressions in the process of cognition of reality and their creative processing in verbal form. Children’s verbal creativity can be expressed in different forms:
In word creation, i.e. in the creation of new words, neologisms;
In writing poems;
In essay own stories and fairy tales;
In creative retellings.
Children must be prepared to express themselves through creativity. Children need to be taught to write poems, riddles, fairy tales, and stories. Children's texts help trace the process of children's verbal creativity and their individuality.
Most scientists note that not all children develop the ability to compose immediately and not every child strives to show off his “masterpiece.” The problem of verbal creativity of preschool children has not yet been sufficiently fully and deeply studied by preschool pedagogy.
Purpose of the study is to study the characteristics of the manifestation of verbal creativity in children of senior preschool age.
Object of study– verbal creativity and features of its manifestation. The subject of the study is the psychological and pedagogical conditions for the manifestation of verbal creativity in children of senior preschool age.
Research hypothesis there was an assumption that the manifestation of verbal creativity will depend on a number of psychological and pedagogical conditions:
From the inclinations, from the children’s inclination to activity;
From the personality of the teacher (environment of interests, intelligence);
From the activities of the teacher with children (games, activities, observations, etc.);
From the conditions of upbringing in the family (hobbies, communication, connection between generations);
From the child’s experience (theater, literature, TV, CD/DVD, etc.);
From a differentiated approach to the child’s personality.
The study was conducted on the basis of MDOU No. 157 in Murmansk. The experiment involved 15 children of the older group aged 5 to 6 years.
The purpose of the ascertaining experiment: to identify the features of the manifestation of verbal creativity in children of senior preschool age.
identify children's ability to compose various works: riddle, fairy tale, song, poem;
identify the dependence of the characteristics of the manifestation of verbal creativity on the inclinations and inclinations of children;
determine the general level of verbal creativity of older preschoolers.
The ascertaining experiment consisted of two series of tasks: a conversation with children; observation of children for a month.
Let's give an example of observations.
Morning. Dasha R. took the theatrical “Teremok”, hid all the heroes of the fairy tale and decided to ask riddles to Nastya, who had just entered the group. “Red-haired, with a long ponytail, a beautiful girl, walks around, deceives everyone, sister. Hitral she" (fox). “She digs minks and loves cheese very much. Beautiful princess girl. She’s so cute, she says “pee-pee” (mouse).
“The gray one walks around, eats calves, he eats piglets, and for lunch he can eat a calf with little cow" (wolf). "Clubfooted, loves honey, can lift huge house. He himself is handsome and rich” (bear). “The green princess is jumping through the swamp. She's a talker. Croaks (speaks quietly, lowering his head under the table). And she has beautiful little things on her fingers” (frog). “He jumps and waits for my riddles, a nice guy. He is afraid of the fox and quickly runs away through the ant grass” (hare).
Nastya didn’t solve all the riddles, maybe she didn’t wake up, maybe she had some difficulties. Dasha laughs and says: “Oh, Nastya, thoughtless your head!
Evening. In the game, the girls built toys in a round dance and Dasha says: “That’s how they danced, they were great and hard workers! I ask: “What does the word “laborers” mean? “This means we worked hard and together,” Dasha answered.
Classes By visual arts. Dasha painted an aquarium, beautiful fish. I started drawing algae and probably forgot what they are called. “And here I will have these enslavement».
During a salt dough modeling class, Dasha asked to look at my book. Seeing a salt shaker in it, he says: “Let’s make the same one at the next lesson.” sunflower!”.
Dasha has the best imagination in the group; she composes with pleasure and invents a lot in games. For example, he never gets bored on the street because he comes up with games with any objects (fallen leaves, sticks, boxes, grass, seeds, shells), imagining them different heroes. Mom, dad, grandparents always approve of Dasha’s games and “miracles” and treat creativity with respect, not considering it stupid. So, for example, one winter, on an evening walk, Dasha blinded a little Snow Maiden, and did not want to say goodbye to her. Mom allowed the Snow Maiden to live at home. We read a fairy tale to the children: “Ivanushka said this, cried and went home.” Sasha Sh. asks: “What is svoyasi? In yours, in yours, in yours.”
Independent activity. Anya M. draws and says: “And here I need a leathery color” (skin color). She also draws the mayor, the mayor's wife and the little girl. He explains: “And this is the mayor’s daughter” (the mayor’s daughter).
Analysis of the observation allows us to conclude that verbal creativity was demonstrated mainly by those children who have innate inclinations, a propensity for activity, and also whose parents take an active part in the development of the creative abilities of their children.
To implement the first objective of the study, children were asked 4 tasks: compose a riddle; come up with a fairy tale; come up with a song; write a poem. Let us give examples of children's verbal creativity. Mystery Dashi R. “It looks like an octopus and a jellyfish, lives in the sea, but is not a fish. It’s delicious, they eat it and sell it in the store” (squid).
Fairy tale Olya R. On the topic “Teapot, coffee pot and fish or a fairy tale about friendship”:
“Once upon a time there was a new kettle. He had no friends, so it was boring. But one day the owners bought a coffee maker. Only the coffee maker disliked the teapot, because she had an imagination, thought that she was better than everyone and loved only herself. Then we bought different fish: two crucian carp, a red cap and a golden one. And for some reason they got an angry cat. He ate all the fish except the golden one, and he was punished. The teapot made friends with the fish. And the coffee maker broke. Serves her right! You need to take care of your friends! The end” (meant coffee maker, but pronounced cafearka). Poem Sashi Sh. “The girl went out for a walk, to pluck some fresh grass (laughs and explains: for salad). And behind her is Bug, with a mouse on her side.”
Histogram 1.
Children's writing levels
The main directions of work with children in the process of formation: classes aimed at developing verbal creativity. A system of specially selected games. Teaching poetry. Working with a picture, a book. Work with folklore. Interaction between the teacher and preschool specialists.
Games can be played with the whole group, with a subgroup of children, or individually. Required condition- playing games after observing, examining, comparing, etc. The child must accurately represent the subject in question. The inclusion of these activities in everyday life should arouse in them constant interest, a desire to fantasize, to experience imaginary situations together with the teacher, adding new details each time. In the process of this work, children and parents began to compose poems, riddles, fairy tales, and nursery rhymes.
“The letter I has always been sweet to everyone. But, friends, we advise you to remember the place of the letter “Y” (Katya S.); Once upon a time there lived in the alphabet the letter I and I was very beautiful letter was. That letter stood at the end of the alphabet and therefore was very angry” (Ira P.); “I decided to stand first in the alphabet, and change the letter A with me. I want to be first! - she said, and, displacing A, she took a place there”; “Watermelon, orange, don’t call me, because I’m the most capital letter my! I am a proud, brave, important me, all the main letters are my merit!” (Daniil S.).
A fairy tale about the green eye of a traffic light. “Once upon a time there lived one amazing traffic light. He had three eyes: red, yellow, green. The two eyes were obedient, lit up on time and in turn. And the green eye was always naughty. He liked to wink at pedestrians. Because of this, there were troubles on the road. One day, the peephole played a prank on a boy he knew, and he got hit by a car. The boy was taken to the hospital. Green Eye felt ashamed of his prank. And since then he stopped playing pranks. And all three eyes now light up in turn and on time, and order reigns on the road” (Karina M. and her mother).
A fairy tale based on a fable: “It’s a warm spring now. The grapes are ripe here. A horned horse runs and jumps in the snow in the summer. Once upon a time there lived a grandfather and a woman. In the spring, their grapes ripened, and not just ordinary ones, but magical ones. If you eat such grapes, horns may grow or it will snow. Grandfather and woman had a horse. One summer, the horse accidentally ate grapes. His horns grew and it began to snow. He was delighted and began to jump for joy in the snow. Imagine how much fun grandma and grandpa had!” A survey of parents revealed examples of children’s word creation: "kepuch"- ketchup, "roll"- sausage, "monoki"- tomatoes, "jackal"- wallet, "monki"- pasta, "kufli" ( shoes), "taratapiki" (slippers), "gunovatik" ( grapes), "podratik" ( square). Later in life: "easternity" ( dance in oriental costume), "pants"( one trouser leg), "glacier"- fridge, "warmer"- microwave, "sippy cup"- funnel, "manager"- TV remote.
Almost all parents wrote that children write riddles on their own. For example: “Semicircular, colored” (rainbow); “A bird with a long neck, it can swim and walk. The wings are large and the legs have webs. Tell me who is this?” (duck); “What looks like a banana in the sky at night?” (month). They make up fairy tales at home. Let's give an example of a fairy tale by Nastya S. “Once upon a time there lived a colorful butterfly in a forest. One day in a clearing she met a grasshopper. She told the Grasshopper that she had once seen children having fun playing with a ball. “Come on, blacksmith, let’s play ball with you too!” " The grasshopper sadly answered: “Where can we find such a small ball?” The butterfly offered to play with a dandelion, but it was very light. Suddenly the grasshopper brought a dewdrop, and the fun game! What a great ball it was! They did not notice how night came and appeared in the sky bright Star. “Are you going to sleep?” - asked the star. I had to remove the dewdrop before the morning and go to bed.”
The children's writings showed how their artistic associations had expanded. They included images of fairy-tale characters in their fairy tales and poems, invented different actions heroes could develop the plot according to their own logic. The learned method of contamination was clearly revealed; the children easily connected the plots of fairy tales. In poetry, children retain melody and laconicism; in stories, realistic events and figurative language. An analysis of the children's compositions showed that their compositions (riddles, fairy tales, poems, stories) correspond to the chosen genre.
Histogram 2.
Levels of originality in children's essays
Verbal creativity arises and develops where there is purposeful guidance of this activity, where all conditions are created for this activity. It is very important that it is in preschool age that writing becomes a habit and becomes commonplace. Then the desire to communicate, express your thoughts, argue, defend your point of view, and most importantly the desire to create, will not disappear at school.
You can often notice that in the families of artists, children also draw, and in the families of poets, they write poetry. All this is not accidental, and the point here is not only in genes and heredity, but also in the fact that the child had the opportunity to try this type of creative activity at the most necessary moment for further development - in preschool age. The child had accumulated experience that he was able to combine and apply.
Understanding children's creativity is impossible without knowing the following points:
preschool age is the age of rapid accumulation of experience by the child, which in turn is necessary as the basis for any creative activity;
the development of a child’s mental characteristics leads to an expansion of his experience, therefore, by developing attention, memory, thinking, sensation, emotions, we increase the child’s ability to accumulate practical experience, and this in turn will have a beneficial effect on the mechanism of creativity;
syncretism of cognitive processes, more advanced physical capabilities of the child, “problematic” perception of the world - all these are developmental features that are significant in relation to creativity in preschoolers;
all the characteristics of preschool children indicate that the preschool period involves high degree manifestations of creativity and is certainly significant for its development.
The proposed hypothesis that the manifestation of verbal creativity will depend on a number of psychological and pedagogical conditions was confirmed.
In order to help a child successfully develop his speech creativity, realize the potential of his speech abilities, and encourage him to create the simplest, most unpretentious stories, fairy tales, and poems, children must be systematically offered creative exercises. Reading literary works and folklore brings to the consciousness of children the inexhaustible wealth of the Russian language, and contributes to the fact that they begin to use this wealth in independent activities - verbal creativity. The use of a variety of creative tasks influences the logic of presentation of children's essays and expands children's understanding of the artistic image.
A.A. Smaga,
L.A. Kharchenko
Features of mastering the grammatical structure of speech
preschool children
Development grammatical structure speech is carried out on the basis of a certain level of cognitive development of the child. Thus, when forming an inflection, a child, first of all, must be able to differentiate grammatical meanings (meanings of gender, number, case, etc.), since before he begins to use a linguistic form, he must understand that it means teas.
A.N. Gvozdev identifies five periods of formation of the grammatical structure of speech.
The first period (l year 3 months - l year 10 months) is the period of sentences consisting of amorphous root words, which are used in one unchanged form in all cases. This period is divided into two stages:
Stage of using one-word sentences (1 year 3 months - 1 year 8 months);
The stage of using sentences of several words, mainly two-word sentences (1 year 8 months - 1 year 10 months).
The second period (l year 10 months - 3 years) is the period of mastering the grammatical structure of a sentence, associated with the formation of grammatical categories and their external expression. It is characterized by the rapid growth of different types of simple and complex sentences, in which the members of the sentence receive expression in the syntactic means of the language. There are three stages within this period:
The stage of formation of the first forms: number, case, time (1 year 10 months - 2 years 1 month);
The stage of using the inflectional system of the Russian language (inflections) to express syntactic connections (2 years 1 month - 2 years 3 months);
The stage of mastering function words to express syntactic relations (2 years 3 months - 3 years).
A.N. Gvozdev notes that this period is sharply delimited from the first period, and with the subsequent one it does not have sharply defined boundaries.
Third period (3 years - 4 years) - the system of inflections is mastered. Words acquire grammatical design, singular and plural numbers appear, cases are contrasted, verbs acquire tense. In the child’s speech there are already parts of speech and basic grammatical categories characteristic of spoken language, but there is still no complete grammatical correctness.
The fourth period (4 years - 5 years) - a new formation appears: a surge in word creation, complex grammatical constructions of sentences appear (complex, compound). Children master the agreement of adjectives with all forms of nouns. By the end of the 5th year, the number of grammatical errors increases.
Fifth period (5 years - 6 years) - word creation fades, the number of grammatical errors decreases. Simple sentences are always grammatically correct. Complex sentences appear, conjunction and non-conjunction, sentences with a formal coordinative connection (then, then, and), sentences with a cause-and-effect relationship (because), sentences with homogeneous members.
A.N. Gvozdev identified the characteristic features of the formation of the grammatical structure of speech:
1. The child quite accurately identifies the root, prefix, suffix, ending (morphological structure) in a word, but masters these parts of words intuitively.
2. The child forms words by analogy, using elements of words when extracting from another word.
3. The initial period of use of morphological elements is characterized by relative freedom of their use.
4. The child freely uses the morphological elements of the word, which indicates self-creation individual forms, words.
A.G. Arushanova identifies several stages in the acquisition of grammatical means and methods of language.
1. Understanding the meaning of what was said (focusing on the ending of the noun, distinguish where there is one object and where there are many).
2. Using one or another grammatical device in your speech, borrowing a grammatical form from the speech of others.
3. Independent formation of the form of a new word by analogy with a familiar one (foals, cubs by analogy with the word form kittens).
4. Assessing the grammatical correctness of one’s own and other people’s speech, determining whether one can or cannot say so.
In the speech of preschoolers A.N. Gvozdev notes isolated examples of isolation (isolated participial phrase; isolated single adjective separated from a noun; clarifying controlled group of words) and gives an example with a rare dividing conjunction “or”).
In older preschool age, complex sentences with two subordinate clauses appear, and there may be subordinate clauses and subordinate clauses of different degrees. Children combine simple sentences into complex ones using conjunctions “when”, “how”, “so that”, “if”, “because”, “that”, allied words “who”, “from-what”, “which” and etc.
The appearance of grammatically formed sentences is preceded by the so-called word-sentences, consisting of one word, representing a complete whole and expressing a message. Sentence words can mean characters, animals, or serve as a designation for objects or actions. The same word-sentence can have different meanings. In some cases, these meanings become clear thanks to intonation, in others - only from the situation, and thirdly, thanks to gestures. The use of words-sentences, according to the observations of A.N. Gvozdev, occurs approximately between the ages of 1 year 3 months and 1 year 8 months.
Characterizing this stage of development, A.A. Leontiev notes that the word and the sentence are not distinguished; more precisely, the equivalent of a sentence is a word that is included in a particular objective situation.
Around the middle of the second year of life, two-word sentences appear in the child’s speech. It is their appearance that speaks of the first step in the development of a sentence from a “primary syntactic whole.” An important factor is that the child independently constructs these sentences.
By the age of two, three to four complex sentences appear, which can be considered as the initial stage of mastering the grammatical structure of a sentence. It is associated with the formation of grammatical categories and their external expression. According to A.A. Leontyev, at this time the first complex sentences appear. So, at the age of 1 year 9 months, the child begins to pronounce complex non-union proposals.
The main types of complex sentences are learned by the age of three. Initially they are used without conjunctions, then with conjunctions ( When you wake up, I'll give you some candy). Children use both coordinating and subordinating conjunctions ( The girl sat down on a chair and put on her felt boots. The girl sat down on a chair to put on her felt boots.).
As noted in his work “Speech Development of Children from Three to Five” V.I. Yadeshko, the fourth and fifth years of life are a further stage in mastering the system of the native language. In children's speech, simple common sentences still predominate (57%), but their structure becomes noticeably more complicated due to an increase in the number of sentence parts. For the first time, sentences with homogeneous circumstances, homogeneous additions and definitions appear. Children also use complex sentences, accounting for 11% of the total number of sentences.
The structure of complex sentences also becomes more complex. There are often cases when, before transferring homogeneous members in one of the simple sentences that are part of a complex sentence, there is a generalizing word. Among subordinate clauses, the most common are additional subordinate clauses, subordinate clauses of time, reasons, places, comparatives, conditions, less often definitive clauses, purposes, measures and degrees.
In the monologue statements of children of senior preschool age, there are complex sentences of a complicated type, which consist of three or more simple sentences, united by either a coordinating or subordinating connection.
G.M. Lyamina notes that up to the age of four, a child easily comments on what he sees, talks about what he will do or has done, but is silent when performing his own actions.
In the fifth year of life, according to G.M. Lyamina, in children there is an increase in the desire and ability to confirm their activities with speech. True, 90% of children’s statements in these cases consist of simple sentences. Preschoolers of this age have a great need to explain to each other what they see and know. In these situations, children say so much complex sentences, how much you won’t hear from them even in very cognitively rich classes in their native language.
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