Department of Education of the City of Sevastopol
State budgetary educational institution
vocational education
city of Sevastopol "Sevastopol Pedagogical
college named after P.K. Menkova"
Branch preschool education
Coursework
Subject: "Formation verbal creativity in older children in the process of learning to compose stories
according to the description of nature"
Supervisor
Taranenko Svetlana
Mikhailovna
Teacher
__________________________
signature
"____"______________ 2017
Student of group DO-14-1z
Ivanova Alevtina
Andreevna
___________________________
signature
"____"______________2017
Sevastopol 2017
CONTENT
INTRODUCTION………………………………………………………………………………. ..3
Chapter 1. Theoretical foundations formation of verbal creativity in preschoolers…………………………………………………………………………………......7
1. Development of creative abilities in preschool children in the process of becoming familiar with nature…………………………………………………………………………………7
2. The role of nature in the development of creative abilities of older children
preschool age…………………………………………………………….9
Chapter 2. Development of verbal creativity in older preschoolers……….15
1. Features of children's verbal creativity in older preschoolers………………………………………………………………………………….15
2. The essence and methodology of teaching descriptive stories about nature……18
Conclusion………………………………………………………………………………...24
References……………………………………………………………..25
INTRODUCTION
The development of imagination is one of the leading lines of mental development of a preschool child. In addition to the ability to transform images and impressions, which is recognized as the main mechanism of the functioning of the imagination, the assimilation of speech plays an important role in its development. L. S. Vygotsky noted that speech frees the child from his immediate impressions, makes it possible to imagine an object that he has not seen and think about it.
One of the manifestations of creative imagination is children's verbal creativity. There are two types of word creation (A.G. Tambovtseva, L.A. Wenger, etc.), these are the so-called new formations
inflection and word formation (children's neologisms). And secondly, this
writing is an integral component of artistic and speech activity. IN the latter case verbal creativity is understood as the productive speech of children, which arose under the influence of works of art,
impressions from the surrounding life and expressed in the creation of oral
works - fairy tales, short stories, poems, etc. . Creating essays implies the ability to modify, transform memory representations and create new images and situations on this basis, determine the sequence of events, establish connections between individual events, “enter” the depicted circumstances, select speech means to construct a coherent statement.
According to V.T. Kudryavtsev, children's word creation is valuable not only for the development of speech, but also for the acquisition of their native language. The scientist assures that children's linguistic experiments are a universal mechanism for “entry” into culture.
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. Korotkova, A.E. Shibitskaya and a number of other scientists who developed the topics and types of creative storytelling, techniques and sequence of teaching.
According to Vikhrova N.N., Sharikova N.N., Osipova V.V. The peculiarity of creative storytelling is that the child must independently come up with content (plot, imaginary characters), relying on the topic, his past experience and putting it into a coherent narrative. 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. They have the opportunity to act according to plan.
L.S. Vygotsky, K.N. Kornilov, S.L. Rubinshtein, A.V. Zaporozhets consider creative imagination as a complex mental process inextricably linked with the life experience of a child. Creative imagination in preschool childhood has the greatest plasticity and is most easily amenable to pedagogical influence.
Children's creative storytelling is considered as a type of activity that captures the child's personality as a whole: it requires active work of imagination, thinking, speech, observation, volitional efforts, participation positive emotions. It is creative storytelling that brings the child closer to the level of monologue speech that he will need to move on to a new leading activity - study, since it provides great opportunities for the child to independently express his thoughts. Conscious reflection in speech of various connections and relationships between objects and phenomena plays an important role in the development of verbal - logical thinking, contributes to the activation of knowledge and ideas about the environment. To teach how to write a descriptive story about nature means not only to awaken his interest in what he is talking about, but also to help the child understand, feel the beauty of the described object or phenomenon and thereby make him want to find the necessary words and expressions to convey it in his speech.
K. D. Ushinsky also emphasized the role of nature in the development of logical thinking and coherent speech. He considered the logic of nature to be the most useful, accessible and visual for a child. It is the direct observation of the surrounding nature “...that will constitute those initial logical exercises of thought on which logic depends, i.e. the truth of the word itself, and from which logical speech and understanding of grammatical laws will then naturally flow.” The process of cognition of nature in all its diversity contributes to the understanding and use in coherent speech of various grammatical categories that denote names, actions, qualities and help to analyze objects and phenomena from all sides.
Currently, the high social significance of the development of verbal creativity in children forces us to take a different look at the issues of upbringing and teaching in kindergarten, at the relevance and necessity of creating developmental activities for the development of creative abilities in children.
The pedagogical influence on children is becoming increasingly important, that is, the creation of conditions and the use of various methods, techniques and forms of organizing work to develop the creative abilities of preschool children in the process of becoming familiar with nature.
It follows from this that children must be specially taught to talk about nature:
1. Give them sufficient knowledge to allow them to compose a relatively complete and accurate story about any object or natural phenomenon;
2. Develop children’s ability to formulate their thoughts, imagination, thinking, and observation skills;
The relevance of the topic is related to the problem of a child mastering the skills of verbal creativity in the speech of a preschooler. Most shortcut emotional liberation of the child, relieving tension, teaching feeling and artistic imagination - this is the path through play, fantasy, writing and the creation of a holistic system for teaching verbal creativity
Object of study: verbal creativity of children of senior preschool age in describing nature
Subject of research: the formation of verbal creativity in the process of learning to compose stories describing nature.
Research objectives:
Features of the development of verbal creativity in children of senior preschool age.
Development of creative abilities in preschoolers in the process of becoming familiar with nature;
The role of nature in the development of children's creative abilities;
To study ways of developing coherent speech based on familiarization with nature, enriching and activating the vocabulary on this issue.
Teaching children to talk about nature.
Methodological techniques that prepare children to write descriptive stories about nature.
Target course work:
Studying methods and techniques for teaching children to compose stories about nature.
Chapter 1. Theoretical foundations for the formation of verbal creativity in preschool children
1.Development of creative abilities in preschool children in the process of becoming familiar with nature.
It is known that teaching children creative storytelling is a gradual and quite complex process. It proceeds most successfully under the guidance of teachers and parents, who help children master these skills, both in specially organized classes and in the process of everyday life. Older preschoolers have access to creative storytelling about events in life around them, about relationships with friends, and on topics from personal experience, inventing stories, fairy tales.
Children's creative storytelling is considered as a type of activity that captures the child's personality as a whole. It requires active imagination, thinking, speech, observation, volitional efforts, and the participation of positive emotions. It is creative storytelling that brings the child closer to the level of monologue speech that he will need to move to a new leading activity - study, since it provides great opportunities for the child to independently express his thoughts. Conscious reflection in speech of various connections and relationships between objects and phenomena plays an important role in the development of verbal and logical thinking, contributes to the activation of knowledge and ideas about the environment. To teach how to write a descriptive story about nature means not only to awaken his interest in what he is talking about, but also to help the child understand, feel the beauty of the described object or phenomenon and thereby make him want to find the necessary words and expressions to convey it in his speech.
The ability to compose creative stories independently, while observing all the necessary standards (literacy, structure, integrity, etc.) is, according to the definition of A. M. Leushina, “the highest achievement of the speech development of a preschooler.” When composing a story, the child’s speech must be meaningful, detailed, logical, consistent, coherent, literate, lexically accurate, and phonetically clear.
N.A. Vetlugina noted thatin his creativity, “the child discovers something new for himself, and for those around him, something new in himself.”
The opportunity to develop creative speech activity arises in older preschool age, when children have a sufficiently large stock of knowledge about the world around them, which can become the content of verbal creativity. Children master complex forms of coherent speech and vocabulary. They have the opportunity to act according to plan. “Imagination from reproductive, mechanically reproducing reality, turns into creative,” this is explained by the acquired ability of children to operate with their ideas, generalize, analyze, and draw conclusions.
L. S. Vygotsky, K. N. Kornilov, S. L. Rubinshtein, A. V. Zaporozhets consider creative imagination as a complex mental process inextricably linked with the life experience of a child. Creative imagination in preschool childhood has the greatest plasticity and is most easily amenable to pedagogical influence.
Verbal creativity is the most complex look creative activity of the 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. No less difficult task- convey your idea accurately, expressively and entertainingly. Creative storytelling is to some extent akin to real 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.
To others an important condition Successful teaching of creative storytelling is considered to be the enrichment and activation of vocabulary. A fairly rich and varied vocabulary is the basis for the development of coherent speech, consisting of correctly composed sentences. 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. To develop coherent speech, it is very important to learn how to compose sentences different types. A.N. Gvozdev repeatedly emphasized this and attached great importance to mastering the syntax of complex sentences, since they “exclusively” provide a variety of opportunities for expressing connections and relationships of thoughts. Transferring knowledge about nature requires the mandatory use of complex sentences. Thus, observing the 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 under the tree; sparkles, shimmers, sparkles, shines; fluffy, falls in flakes. These words are then used in the children’s stories: “It was in winter, in the last month of winter, in February. When was the last time snow fell - white, fluffy - and everything fell on the roofs, on the trees, on the children, in large white flakes.
2. The role of nature in the development of creative abilities of children of senior preschool age.
Nature has always served as the content of fine art. N. E. Rumyantsev, a famous Russian teacher, wrote that nature is “eternally alive, renewing, great in its diversity... is always a living spring of poetic creativity.” V. A. Sukhomlinsky wrote: “The world surrounding a child is, first of all, the world of nature with an endless wealth of phenomena, with inexhaustible beauty. Here in nature, the eternal source of children's intelligence and creativity." K. D. Ushinsky wrote: “A beautiful landscape has such a huge educational influence on the development of a young soul that it is difficult to compete with the influence of a teacher.”
.
Nature surrounds a child from an early age and is one of the main means of aesthetic education of children.The beauty of nature does not leave even the smallest children indifferent.
The diversity of the surrounding world and natural objects allows the teacher to organize interesting, useful, cognitive activities for children. Aesthetic perception is ensured by direct, “live” communication between children and nature. In the course of games, observations, and work, children become familiar with the properties and qualities of objects and natural phenomena, learn to notice their changes and development. They develop curiosity. Observing the beauty of nature - sunrise and sunset, spring drops, flowering gardens and much more - a source of artistic impressions that knows no bounds. Acting on the child’s emotions with its beauty - perfection of form, varied and (depending on the time of day, year, lighting) changeable color, nature evokes aesthetic feelings. The aesthetic perception of nature evokes in children feelings of a careful, caring attitude towards plants and animals, a desire to care for and care for them. This allows the teacher to develop logical thinking, voluntary attention, and most importantly, creative abilities in students. Expansion of ideas about the natural world occurs in preschoolers every day, in direct educational activities, on walks, and during observations. To develop creative abilities in children, it is necessary to use in moments of observation a variety of expressions, comparisons, epithets that can be found in poetic works, because pictures of nature have inspired many poets and writers. They also help the child learn the beauty, truth, and goodness of the works of landscape artists. Colorful images of landscape paintings teach children to fantasize, they have a desire to create something similar themselves. When introducing children to nature, it is important to give them correct ideas about the life of animals, plants, and the beauty of their appearance in an interesting, accessible form. Animals attract the attention of children with their habits, mobility, habitat, and the way they are connected to humans. It is necessary to show children the diversity of the animal world, allow them to observe and study animals (on the street, in the zoo, at home). Some children have pets at home, and they, of course, enjoy drawing them and talk a lot about them. This always evokes a positive response from them, and also helps to clarify their knowledge about natural objects and a positive attitude towards it.
Nature is a source of knowledge, and knowledge of various natural phenomena is closely related to mastering the art of speech.N.F. Vinogradova argues that nature, with all its diversity of shapes, colors, and sounds, is the richest source for the development of a preschooler’s vocabulary and the child’s aesthetic experiences.Children always and everywhere come into contact with nature in one form or another. Green forests and meadows, bright flowers, butterflies, beetles, birds, animals, moving clouds, falling snow flakes, streams. Even puddles after rain - all this attracts the attention of children, makes them happy, and provides rich food for their development.In the process of contemplating nature, the child has the opportunity to correctly determine the size of an object, its shape, symmetry, colors, their harmonious combination and color contrast, or disharmony, determine shades of color at different degrees of illumination in different periods day, season, etc. But a child can do all this only if his dictionary contains the appropriate names of objects, objects and phenomena, as well as the formation of the corresponding ideas.
K. D. Ushinsky also emphasized the role of nature in the development of logical thinking and coherent speech. He considered the logic of nature to be the most useful, accessible and visual for a child. It is the direct observation of the surrounding nature “...that will constitute those initial logical exercises of thought on which logic depends, i.e. the truth of the word itself, and from which logical speech and understanding of grammatical laws will then naturally flow.” The process of cognition of nature in all its diversity contributes to the understanding and use of coherent speech of various grammatical categories, denoting names, actions, qualities and helping to analyze objects and phenomena from all sides.
Nature provides a rich, emotional experience for children.“Nature is not only a great teacher, but also a great educator. The beauty in nature is limitless and inexhaustible. Therefore, nature is a source for creativity. The beautiful in nature has been and remains the subject of artistic exploration. Therefore, great artists have always been pioneers of beauty in the world around us.”
Interest in nature also needs to be cultivated. By showing children what and how to observe in animals and plants, drawing their attention to appearance, movements, habits, the teacher forms not only knowledge about nature, but also children’s attitude towards it.
The ability to see nature is the first condition for education through nature. It is achieved only through constant communication with nature. To feel like you are part of a whole all the time, you need to be in a relationship with this whole. That is why the harmony of pedagogical influences requires constant communication with nature.
In direct contact with nature, along with observation, curiosity also develops.
The child must be taught to see nature. After all, looking does not mean seeing. Not everything that is imprinted in the retina of the eyes is perceived, but only what attention is focused on. We see only when we are aware. Children need to be taught to see. This means not only to show, but also to describe verbally. For example, describe the colors and shades of the sunset sky and dawn, describe the shape of the clouds and their color, describe the starry sky and the moon, show it all. If residents high floors can see the sky from a window or from a balcony, others will see it when they go out into the yard. The sky is extremely varied and always beautiful. You cannot get tired of contemplating it every day, throughout your entire life, just as you cannot get tired of breathing. On the contrary, every day such contemplation, even for a few minutes, refreshes the soul. You also need to “see” snowfall or rain, or a thunderstorm. There should always be flowers in the house that the child cares for, observes, and whose beauty rejoices. Cities have trees, boulevards, squares, and parks. And here we need to teach children to “see” trees, flowers, shrubs: to notice the features and shades of petals and leaves, to observe how the buds swell and bloom or the leaves begin to turn yellow, how the flowers bloom and the seeds ripen. It is necessary for the child to choose the tree in his immediate environment that seems most attractive to him, and watch it wither and winter sleep. Let him treat his favorite tree as a friendly creature - visit it, notice new shoots, help it.
The main task in developing creative abilities through the means of nature is to awaken in children an emotional attitude towards it. An emotional attitude towards nature helps make a person taller, richer, and more attentive. Nature is one of the factors influencing the development and formation of creative abilities. It is an inexhaustible source of impressions and emotional impact on a person. Nature occupies a significant place in people's lives and contributes to the formation and development of creative skills.
A large role in the development of creative abilities of preschool children through the means of nature belongs to the teaching staff of the kindergarten. The most effective sequence of work is as follows:
Direct perception of nature;
Organized observation of nature during walks and excursions.
Observation surrounding reality has a profound impact on the comprehensive development of the child’s personality. During the observation process, all the child’s analyzers are turned on: visual – the child sees the size and color of the object being studied; auditory - the child hears the sound of the wind, the splash of water in the river, the sound of raindrops, the rustling of leaves, the babbling of a brook - all this is delightful for the child’s hearing. The taste allows you to subtly distinguish between the sweet taste of honey and the salty taste. sea water, taste of spring water. The sense of touch is a child’s second eyes. Sensing objects of nature, the child feels all the roughness of tree bark, grains of sand, and scales of cones. Smells also excite a child's imagination. Developing observation skills in children is the task that educators face.
When working to develop creative abilities through the means of nature with preschool children, the teacher must be well aware of the characteristics of this age. Children of this age have a great desire for independence and creativity. They want to see everything, discover everything themselves. This interest encourages children to be active. But its direction in relation to nature can be different.
Chapter 2. Development of verbal creativity in preschoolers.
1. Features of children's verbal creativity in older preschoolers.
Verbal creativity is a process associated with the general development of the child. There is a direct relationship between the development of children's speech and their creativity. Creativity itself is unthinkable without a child mastering the richness of the language in which he speaks and thinks. Of course, we understand this mastery in accordance with the characteristics of preschool age.
The concept of “verbal creativity” can be applied to any case of creativity associated with words. At the same time, it refers to two, although related, but still fundamentally different areas: creativity in speech and creativity in language.
Pedagogical studies devoted to the problem of the formation of verbal creativity prove that creative speech activity is successfully carried out in older preschool age under the influence and as a result of special training, an important condition of which is the choice of means (L.M. Voroshnina, E.P. Korotkova, N. .A. Orlanova, O.N. Somkova, E.I. Tikheeva, O.S.
The basis of verbal creativity, notes O. S. Ushakova, “is the perception of works fiction, oral folk art, including small folklore forms (proverbs, sayings, riddles, phraseological units) in the unity of content and artistic form. She views verbal creativity 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, and poems.”
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.
N.A. 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 see his surroundings imaginatively.
The second stage is the actual process of children's creativity, when the idea arises and the search for artistic means begins. The emergence of an idea in a child goes away if an attitude towards new activity(let's make up a story). The presence of a plan encourages children to search for means of its implementation: searching for a composition, highlighting the actions of the characters, choosing words. 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. 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.
Since the basis of creative storytelling is the process of processing and combining ideas that reflect reality, and the creation on this basis of new images, actions, situations that did not previously have a place in direct perception. The only source of combinatorial activity of the imagination is the surrounding world. Therefore, creative activity is directly dependent on the richness and diversity of ideas, life experience, providing material for imagination.
One of the conditions for children’s success in creative activities is the constant enrichment of children’s experience with impressions from life.
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. Thus, before describing nature, systematic observations of seasonal changes in nature and reading literature describing natural phenomena are used.
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, deepens moral feelings, and provides excellent examples of literary language. Works of oral folk art 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.
Creative story- 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.
The theme of creative stories should be related to common tasks education of 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.
Creative stories can be divided into the following types: stories of a realistic nature; fairy tales; descriptions of nature.
The most difficult task is to create descriptive texts about nature, since it is difficult for a child to express his attitude towards nature in a coherent text. To express his experiences related to nature, he needs to master a large number of generalized concepts, including to a greater extent be able to synthesize.
In the process of learning coherent speech, children master the skills of composing stories of various types. E.P. Korotkova distinguishes factual, creative, descriptive and plot stories.
Teaching one’s native language, in particular teaching creative storytelling, is one of the main tasks of preparing for school. Many studies have been conducted on the formation of coherence, imagery and other qualities of monologue speech - different types of storytelling, including creative. Research by O.I. Solovyova, E.I. Radina, V.A. Ezikeeva, E.G. Baturina, Yu.S. Lyakhovskaya, G.A. Tumakova, V.V. Gerbova and others is devoted to this problem. research in preschool pedagogy has developed general ideas about the directions of work on the development of creative storytelling in preschoolers.
Creative stories require the child to be able to modify his existing experience, to create relatively new (for the child-storyteller) images and situations from this material. Moreover, creative stories can also be based either on a visual basis (come up with events with the characters in the picture that go beyond what is depicted; come up with a fairy tale about a toy squirrel and a little bunny, which the child holds in his hands), or on a verbal basis (come up with a story on a topic suggested orally“How Seryozha helped Natasha”).
Children show great interest in independent composition. At the same time, it is necessary to create certain conditions for the development of children’s creative speech skills:
- compilation of various types of creative stories;
IN senior group- coming up with a continuation and ending to the story, stories by analogy, stories according to the teacher’s plan, according to the model;
In the preparatory group - stories, fairy tales on a topic proposed by the teacher, modeling a story;
Identification of the child’s individual abilities for creative speech activity.
One of the important methodological issues in teaching creative storytelling is the question of choosing plots. The plot can be approved if it makes children want to come up with a story, a fairy tale with a clear compositional structure, including elementary descriptions, if they correspond to the child’s experience, the level of his speech development, affects moral and aesthetic feelings, activates the imagination, deepens interest in speech activity.
2. The essence and methodology of teaching descriptive stories about nature.
The ability to talk about nature develops in children gradually. To do this, it is necessary to specifically teach children to talk about nature:
It is necessary to give the child the necessary knowledge that will help to compose a relatively complete and accurate story about any object or natural phenomenon;
Develop children’s ability to formulate their thoughts and present their information as logically and consistently as possible.
N.F. Vinogradova offers several types of stories that are taught to children to describe nature. This sequence of types of stories provides a gradual complication of working with children.
1. A plot story based on direct perception or work in nature (“How we built a flower garden”, “Who dined in the bird canteen”);
2. Plot and descriptive story based on the generalization of knowledge gained from conversations, reading books, looking at paintings (“How animals live in winter”, “What happened to the fox cubs”).
3. A descriptive story based on a comparison of different seasons (“Forest in spring and winter”);
4. A descriptive story about the season as a whole “Why I love summer”;
5. A descriptive story about a separate object or natural phenomenon
(“Bouquet of Daisies”) .
Children have the least difficulty with descriptive stories based on comparisons of different seasons. Children describe objects and phenomena that they have repeatedly observed on excursions and walks. To compose such a story, you can use landscape paintings by famous artists, for example: I. Shishkin “Morning in a Pine Forest”, the teacher can offer the task: “Tell me what would be drawn in the picture if the artist wanted to depict the evening.”
A narrative story about nature based on direct perception or labor is accessible to children of the fifth or sixth year of life, since it should reflect specific situations familiar to them. Such a story based on the teacher’s model is possible already in the middle group of kindergarten.
The most difficult of all nature stories is the descriptive story about a single object or natural phenomenon. In such descriptions, children more often list the signs and properties of the object, rather than their attitude towards the described object.Compiling narrative stories about nature is much easier for children than composing descriptive ones. Therefore, the process of teaching nature storytelling is different from teaching about other topics.
To teach a child to compose a descriptive story about nature means not only to awaken him to what he is talking about, but also to help him understand, feel the beauty of the described object or phenomenon, and thereby arouse in him the desire for the necessary words and expressions to convey in his own speech.
Descriptive storytelling is a type of creative storytelling.
To teach children how to compose a descriptive story about nature, it is necessary to develop the expressiveness and figurativeness of children’s speech, and to develop the ability to convey their attitude to what they are talking about.
A unique impetus for nurturing the expressiveness of children’s speech is provided by vivid, diverse impressions from the world around them. Observing pictures of nature together with the teacher, listening to his explanations, which are always figurative and expressive, children perceive this beauty. She makes them think and then talk. The role of the teacher here is very important.
N.A. Vetlugina noted that in his creativity “a child discovers something new for himself, and for those around him - something new about himself.” .
Children's mastery of figurative speech should not be limited to the accumulation of epithets in their vocabulary and the ability to compose syntactically complex sentences. It involves the ability to choose the right, bright word in the context, insert homogeneous members, isolation, comparison into your story. The selection of a figurative word or expression is a necessary condition for the correct and deep characterization of an object or phenomenon. Emotional attitude, noted B. M. Teplov, is cultivated from a small age: from elementary “like”, “dislike”, “pleasant”, “unpleasant” to mastering a whole range of aesthetic assessments.
N.A. Vetlugina identified 3 stages for the development of expressiveness of children's speech:
1. Tasks that give instructions for ways of action that are new for children: compose, invent, change. At this stage, children act together with the teacher, independently using only elements of creative actions.
2.Tasks that force children to find new combinations based on old, already known solutions;
3.Tasks in which children themselves plan their activities from beginning to end and choose artistic means.
O. S. Ushakova proposed using lexical exercises to select epithets, metaphors, comparisons, synonyms and antonyms, which help children feel the beauty of poetry, compare non-poetic and poetic language, and develop their poetic ear. Also, one of the types of creative tasks is for children to compose stories - sketches about nature and natural phenomena.
V.A. Sukhomlinsky called such works “small essays about nature.” He taught children to feel nature and convey their impressions in speech.
A story - sketch is a short story on a proposed topic, a kind of verbal sketch. The purpose of these stories is to develop figurativeness and precision of language, to develop the ability to characterize an object or phenomenon in a few sentences, and to find the most expressive words to describe it.
Conventionally, stories - sketches are divided into groups:
A story is a sketch compiled during an observation or excursion;
A story is a sketch about one or more natural objects, compiled during a conversation;
A story is a sketch about one or more natural objects, the compilation of which takes place as an independent activity.
Compiling stories and sketches awakens children's interest in language. They always willingly learn to “come up with beautiful stories”; they are happy to select figurative expressions and insert them into colloquial speech.
Purposeful work, during which children's familiarization with nature is used to develop their logical thinking and coherent speech, leads to the fact that the stories of older preschoolers become accurate, clear, quite rich and linguistically diverse, and emotional. Children master all types of descriptive stories about nature.
As children's knowledge expands, their stories include generalizing words (“rooks are the first spring birds”), participles and gerunds (“murmuring brooks,” “blooming spring nature”), bright epithets and comparisons (“dandelion, like the sun, green sky and lots and lots of sunshine"). All this speaks to the development of the ability to creatively use the means of language to express one's thoughts and feelings.
The development of figurative language is helped by the child’s attraction to rhymed speech. In this regard, in older groups it is advisable to give tasks more often: “Come up with a riddle”, “Let’s come up with poems together.” So, in class, while examining any objects, the teacher makes riddles about them, and then invites the children to come up with riddles themselves.
Such activities develop children's creative imagination. As K. D. Ushinsky said, logical thought in the soul of a child merges with poetically, the development of the mind goes hand in hand with the development of feeling, logical thought finds poetic expression. Children's interest in a well-aimed, bright word seems to be focused.
With the thoughtful work of the teacher, the intonation of children's speech and their posture during storytelling change noticeably. The teacher must teach children, speak expressively, and address all listeners. Along with enumerative and narrative intonations, typical of children’s speech, intonations of reasoning, joy, admiration, and surprise appear. During the learning process, the behavior of child listeners changes: they are attentive, focused, and critical. When assessing the stories of comrades, their requirements for the content of the story, its reliability, and clarity become more complicated (“I made it all up, it doesn’t happen like that,” “You can’t understand anything from him, he’s in a hurry”). Children make sure that the answer corresponds to the teacher’s assignment (“They told you “tell me”, but you said one word”).
All this indicates that the learning process has a positive effect not only on the content and form of a child’s story, but also on the children’s attitude towards the story itself: gradually, preschoolers develop a sense of words and a love for their native language.
CONCLUSION
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. It is known that the basis of creative storytelling is the process of processing and combining ideas that reflect reality, and the creation on this basis of new images, actions, situations that did not previously have a place in direct perception. The only source of combinatorial activity of the imagination is the surrounding world. Therefore, creative activity is directly dependent on the richness and diversity of ideas and life experiences that provide material for fantasy. One of the conditions for children’s success in creative activities is the constant enrichment of children’s experience with impressions from life.
Communication with nature contributes to the development of creative speech activity of preschool children. By learning, observing nature and its phenomena, the child develops observation and curiosity, replenishes vocabulary. Observing nature, watching pictures about nature together with the teacher, listening to his explanations, obligatory figurative, expressive ones, children perceive this beauty. Along with this, verbal creativity develops, which is expressed in various forms: writing stories, fairy tales, descriptions; writing poems, riddles, fables; word creation (creation of new words - new formations).
There is a direct relationshipbetween the development of children's speech and their creativity. Creativity itself is unthinkable without a child mastering the richness of the language in which he speaks and thinks. Children's knowledge base must correspond to the characteristics of preschool age.
The development of creative speech activity occurs in older preschool age, when children acquire a sufficiently large stock of knowledge about the world around them, which can become the content of verbal creativity. But in order for a child to express his thoughts and feelings, it is necessary to constantly enrich and activate his vocabulary.From this we conclude thatverbal creativity arises and develops where there is purposeful guidance of this activity, where all conditions are created for this activity.
REFERENCES
1.Alekseeva M.M., Yashina V.I. Methods of speech development and teaching the native language to preschoolers / M.M. Alekseeva, V.I. Yashina. – M.: Academy, 1998. –400 p.
2. Borodich A.M. Methods for developing children's speech/ A.M. Borodich – M.:Education, 1988. – 256 p.
3. Vinogradova I.F. Mental education of children in the process of acquaintance with nature / I.F. Vinogradova - M.: Education, 1982.-112p.
4. Vetlugina N.A. Artistic creativity in kindergarten / Ed. N.A. Vetlugina - M.: Education, 1974. – 284 p.
5. Vetlugina N. A. The main problems of artistic creativity of children // Artistic creativity and the child. /Ed. N.A. Vetlugina - M., Education, 1972. – 215s.
6. VeretennikovaWITH. A. FamiliarizationpreschoolersWithnature: textbook for students of pedagogical schools/S.A. Veretennikova -M.: Education, 1973. - 256 p.
7. Vygotsky L.S. Imagination and creativity in childhood/ L.S. Vygotsky - St. Petersburg: SOYUZ, 1997. – 96 p.
8. Gerbova V.V. Classes on speech development in the senior group of kindergarten / V.V. Gerbova - M.: Mosaic - Synthesis, 2010. - 60 p.
9. Grab L.M. Creative storytelling for children, teaching children 5-7 years old / L.M. Hornbeam – Volgograd: Teacher, 2013. – 136 p.
10. Gvozdev A.N. Issues in the study of children's speech / A.N. Gvozdev St. Petersburg: Childhood - Press, 2007. - 472 p.
11. Korotkova E.P. Teaching preschool children storytelling: A manual for kindergarten teachers / E.P. Korotkova - M.: Education, 1982. – 112 p.
12.Teaching preschoolers how to write stories about nature[Electronic resource] -www/ http:// allbest. ru., free access. – (Date of access: 01/06/2017).
13. Craig G. Developmental Psychology / St. Petersburg: Peter, 2000. - 992 p.
14. The role of nature in the development of creative abilities of children of senior preschool age [Electronic resource] - ., free access. - (Date of access 04/09/2017)
15. Tkachenko T.A. Teaching children creative storytelling using pictures / T.A. Tkachenko – M.: Vlados, 2006. – 47 p. / UshinskyTO. D. – M.:Pedagogy, 1974. – 584 p.
18.Ushakova O.S. Development of verbal creativity in children 6-7 years old / O.S. Ushakova // Preschool education. – 2009.- No. 5.- 50 p.
19. Ushakova O. S. Speech education in preschool childhood. Development of coherent speech: Abstract doctoral dissertation: – M., 1996- 364 p.
20.Ushakova O.S. Speech development of preschoolers / O.S. Ushakova - M.: Publishing House of the Institute of Psychotherapy, 2001. – 256 p.
21.
Kazarinova O. A. Image of nature as a means of developing the creative abilities of preschool children // Young scientist. - 2017. - No. 15. - P. 580-582
Speech development in preschool childhood is a complex process in nature, since developed thinking of a person is speech, language, verbal-logical thinking. Speech becomes figurative, spontaneous and lively if the child develops an interest in linguistic wealth and develops the ability to use a wide variety of expressive means in his speech. The development of figurative speech should take place in unity with other areas of work on the word - lexical, grammatical, phonetic. By the way a child constructs his statement, how interestingly, vividly, figuratively he can tell and compose, one can judge the level of his speech development, his command of the richness of his native language and at the same time the level of his mental, aesthetic and emotional development. Systematic tasks on the use of various means of artistic expression lead children to independent verbal creativity.
Quests in the development of children’s verbal creativity can be very different: from composing creative stories to word formation, from organizing observations focused on the imaginative perception of the surrounding reality to inventing new stories about...
At the age of 5-7 years, many children willingly play with words, sounds, compose short poems, counting rhymes and simply meaningless rhymes. The child actively masters linguistic reality, learns grammatical rules and norms, and masters them in the process of practical use of the language.
The basis of children's speech creation is the forms of interaction between a child and an adult, developed by society, and the forms of organizing children's activities. By mastering the language, the child assimilates the stable traditions of his native language and learns speech creation.
A rich vocabulary is a necessary condition for the subsequent development of a child’s speech, during which he learns to isolate structural elements (roots, suffixes, prefixes, endings) in a word and fill it with meaning, and masters the rules of operating with them.
Mastery of word formation methods presupposes the ability to find connections and relationships that are essential for naming in objects and phenomena, the ability to compare different names with each other, notice common elements in them that carry the same meaning, independently operate with them and evaluate the accuracy, correctness of what was said or heard. The essence of children's word creation is that it gradually turns into an internal ability to easily and quickly navigate new words and even, if necessary, create them themselves. When mastering methods of word formation, the most important task is to cultivate interest in the word. Special speech games and exercises with grammatical content, organized in kindergarten, will be beneficial only if they are based on the experience of children, their knowledge and ideas about the environment. The range of such knowledge is determined by the program of education and training in kindergarten. Speech proficiency itself becomes a condition for the success of a child’s practical and cognitive activities, a means of communication, thinking, and self-organization.
In older preschool age, children develop keen powers of observation and sensitivity to expressive means language. This makes speech more precise and figurative.
Fiction is of great importance in the education of a person and at the same time it is one of the powerful means of developing and enriching the speech of children; it enriches the emotions of children. Listening to reading and storytelling, children sympathize with the hero, experience with him his adventures, hardships and victories. They are indignant and outraged by negative characters and actions. The child’s imagination follows the flow of the story, fairy tale and draws pictures one after another.
Children experience the events described in the book as if they were happening before their eyes; at the same time, the attitude of children to the facts and heroes of the work is revealed.
Preschoolers express their experiences, feelings, and established relationships openly, directly - with facial expressions, gestures, exclamations, remarks (for example, they say about the characters: “it serves him right” or “she is good, kind”).
In older preschool age, children show great creative activity in artistic and speech activities.
This is expressed when they retell the texts of accessible works of art, in the expressive reading of familiar poems, in their own writings - stories, fairy tales.
Creative storytelling reflects the impressions of reality and the images of art perceived by the child. It is necessary to cultivate in children interest and love for the artistic word, for works of children's literature and folk art: fairy tales, stories, poems; make you want to compose and tell your own fairy tale to other children.
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 ANOTHER..."
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 verbal communication skills, strive to ensure that children engage in 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 put back together and a new story begins. 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 the opposite character traits of 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. So you can fold 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 level of difficulty. The game uses 4 pictures. The children ask questions to the player 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 level of difficulty. 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 with 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 groceries;
· 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 administrative district of St. Petersburg
speech therapist teacher
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 with each other, to 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.
Download:
Preview:
DEVELOPMENT OF VERBAL CREATIVITY IN PRESCHOOL CHILDREN
E.Yu.Galochkina - teacher
(ANO DO "Planet of Childhood "Lada" DS No. 187 "Solnyshko", Tolyatti)
One of priority areas Pedagogical science at the present stage is the study of the child’s creative activity, the search 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. However, studies note that compliance with the specifics folk remedies fairy tales to the peculiarities of children's perception does not yet provide a positive impact of folklore on the development of children's verbal creativity. Children's difficulties are associated with both the content (imitation, inexpressiveness of essays, and the consistency of the content) and with the formal side of the statement (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.
The dynamics of the development of children's creativity under the influence of training is traced in her research by S.K. Alekseeva. 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 life and literary experience child, 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 of literary works, taking into account the possibility of a specific embodiment of their content;
b) carrying out special creative tasks that develop 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, they need to feel its expressive features of expression and figurative words. In the future they will perceive more deeply literary works, will learn to subtly distinguish the semantic shades of a word and transfer them into their creativity.
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.
Sample literary 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 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 real and fictional forms 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.
One more stylistic device fairy tales 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 characteristics of reflection outside world V 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 “wild head”, “hot arrow”.
The traditional poetic means of a fairy tale also include: the use of synonyms “so the wedding was played in an amicable 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 “not much , not a little time has passed” 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 a 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 of “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. A colorful, romantic depiction of a fairy-tale world, idealization of positive characters, an obligatory happy ending, fascination combined with instructiveness - all this evokes a vivid aesthetic reaction in children and contributes to the development of 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 subordinate the 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 connections between sentences
Using different types of sentences.
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 genre features fairy tales, which, in our opinion, should be reflected in the writings of children.
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 identifying 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
- Communications
- 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 exact word substitutions, various ways connections 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. Limited use complex sentences, 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, and 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.
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, to teach children creativity, the ability to observe and understand people and their experiences from an early age. 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 identified the following features of 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” of 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 behavior 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, the second signaling system, is weakened, during temporary inactivity of a person, in a semi-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 an 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 familiar actions and their possible options) and affective (the child acts 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, allowing for verbal (writing fairy tales, poems, stories) and artistic (drawings, crafts) creativity. The 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 potential. 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. Lack of confidence in the laws existing in the field of language “directs” the child to cognition, mastery, and modeling of 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 a work of fiction. 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 any 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 to some extent akin to real 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. N.A. 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). Art plays a special role in enriching perception. 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 the idea arises and the search for artistic means begins. 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 of 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).
The theme of creative stories should be connected with the general tasks of instilling in children a correct attitude towards life around them, instilling 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 a literary image (two options: replacing heroes while preserving the plot; changing the plot while preserving 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 plot development. 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 it?
- § Where is it located?
- § 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 nonsense technique” is the writing of absurdities, fables, and “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.