Can creativity be learned? Folk crafts: creative learning during art lessons in primary school using the example of birch bark craft. Is it possible to teach creativity?

23.06.2020

The famous theater director G. Tovstonogov states: “A future painter can be taught the basics of perspective and composition, but it is impossible to teach a person to be an artist. In our business too."

If this statement is understood to mean that in order to become an artist, you need special talent, then it is impossible to argue with it. However, sociologists and psychologists say that people are not born as individuals, they become individuals. This fully applies to the artist. Studying biographies outstanding artists helps to identify some common factors in the emergence and development of an artistic personality. Particularly indicative in this regard are those individuals about whom art critic D.V. Sarabyanov notes that with them “the biography itself becomes the history of the development of an artistic personality.” Such a person was, for example, V.A. Serov.

The question of what place in artistic education belongs to the processes of teaching, learning, school in in a broad sense words. In the future we will talk about the art, painting school. There is a point of view that school prevents the formation creative personality artist. This position found its most extreme expression in the statement of Derain, a French artist, one of the “wild” (Fauves). “Excess of culture,” he believes, “is the greatest danger for art. A real artist is an uneducated person.” The position of the Russian artist A. Benois is also close to him: “... everything is harmful if you learn it! You have to work with eagerness, pleasure, passion, take whatever comes your way, love your work and learn at work without noticing.”

Even those who are for school, for science, cannot help but see the objective contradictions between teaching rules, laws and creativity.

In this regard, the thoughts of the sculptor A.S. deserve attention. Golubkina, expressed in her small book “A few words about the craft of a sculptor” (1923). The author believes that when they start studying, self-taught students lose sincerity and spontaneity at school and complain about school, that it has killed this in them. "That's partly true." Often before school there is more originality in the works, and then they become “colorless and stereotyped.” On this basis, some even deny the school. “But this is not true...” Why? Firstly, because self-taught people without school eventually develop their own pattern, and “the modesty of ignorance turns into the glibness of ignorance.” As a result, there can be no bridge to real art. Secondly, the unconscious immediacy of ignorance cannot be maintained for long. Even children very soon begin to see their mistakes and that’s where their spontaneity ends. There is no way back to unconsciousness and spontaneity. Thirdly, the school can and should be organized in such a way as to not only neutralize the negative aspects associated with the need to master a craft, skills, rules or patterns, but even in the process of teaching a craft, at the same time “teach” creativity.

What are the main points of the organization? educational process that contribute to the formation of the artist’s creative personality? In world and domestic art pedagogy, a certain amount of experience has been accumulated in this regard. Much valuable, for example, is contained in the pedagogical system of Chistyakov, Stanislavsky, G. Neuhaus and others. This is explained by the fact that (among other things) outstanding teachers sometimes intuitively, and often theoretically consciously took into account the most important psychological and moral laws creative activity.

Creativity is free, unpredictable and individual. How can this be combined with the need to perform certain tasks (exercises) in accordance with the rules (principles, etc.) common to all those who study at a given school?

In the process of teaching creativity, the teacher must know the main “enemies” creative development, inhibitory factors. From a psychological and ethical point of view most main enemy creativity - fear. Fear of failure stifles imagination and initiative. A.S. Golubkina, in the book we have already mentioned about the craft of a sculptor, writes that a real artist, a creator, must be free from fear. “But not being able to, and even being a coward, is no fun.”

Fear is psychological condition, but it is estimated moral consciousness as a negative moral quality. Fear is not only the fear of failure. He confronts courage And courage necessary for the realization of a moral sense of the new, the creation of a new artistic value.

In connection with the above, a very important practical question arises about the appropriateness of exams and assessments in the process of teaching creativity. For example, P.P. Chistyakov believed that since “young forces love competition,” completing assessment tasks is in principle useful and can stimulate learning success. However, permanent work “for a number”, i.e. for exams and competitions, he considered it harmful. Such work inevitably involves the fear of not meeting deadlines. The student is distracted from the creative solution of the problem and replaces it with the pursuit of completion mandatory rules. The “formality” is observed, but the matter slips away: it is put into the background. In a hurry to finish the work for the exam, the artist writes “roughly and half-measured,” and one cannot blame him for this. Today, many teachers, concerned with simultaneously developing and shaping the creative personality of the student during the learning process, come to the conclusion that it is generally necessary to remove the system of assessment of academic performance and switch to determining the dynamics of academic performance using testing. Test results are important for the teacher, for the one who manages the process of learning and development. The student must know that he is moving forward. Chistyakov, for example, constantly emphasized that the course of a gradual and steady rise should be felt by the young artist. Fear must take its place positive emotions, including moral ones (self-esteem, etc.), is a powerful factor in creative development.

Another enemy of creativity is excessive self-criticism. becoming a creative person, fear of mistakes and imperfections. A young artist must firmly grasp at least two things. He spoke well and poetically about the first circumstance French artist Odilon Redon, whom we have already quoted: “In the artist’s studio there must be dissatisfaction... Dissatisfaction is the ferment of the new. It renews creativity...” An interesting idea about the benefits of imperfections was expressed by the famous Belgian painter James Ensor. Calling on young artists not to be afraid of mistakes, “the usual and inevitable companions” of achievements, he noted that in a certain sense, namely from the point of view of learning lessons, shortcomings are even “more interesting than advantages,” they lack “the sameness of perfection,” they are diverse, they are themselves life, they reflect the artist’s personality, his character. Golubkina very accurately pointed out the second circumstance. To the young artist, she believes, it is important to be able to find and cherish the good in your work. “It’s as important as being able to see your mistakes.” The good may not be so good, but for the given time it is better, and it must be preserved “as a stepping stone” for further movement. There is no need to be ashamed of admiring and appreciating well-chosen passages in your works. This develops taste, reveals the inherent to this artist technique. You can’t treat everything an artist does the same way. But won’t complacency develop in this case, stopping development? There is no need to be afraid of him, because what is good now may be no good in a month. This means that the artist has “outgrown” this step. “After all, if you rejoice in your good, your bad will seem even worse to you, of which there is never a shortage.”

The third serious enemy of creative personal development is laziness and passivity., which in contrast activity, are assessed negatively from a moral point of view. There is no more effective antidote against such an enemy than the ability, the art of the teacher, to awaken and maintain the student’s interest in work, attention, and energy with the help of exciting tasks, even when teaching “elementary” technology. And students need to be taught this. Chistyakov told them: “Never draw in silence, but constantly ask yourself a task.” It is necessary to gradually and constantly complicate tasks, and not repeat them mechanically.” Chistyakov, for example, used contrast - “a sharply opposite exercise”: immediately instead of a still life, paint a head. The purpose of such techniques is to maintain interest and emotional tone. “Carrying soil in a wheelbarrow,” said Chistyakov, “can be done quietly, measuredly, and monotonously; You can’t learn art that way. An artist must have energy (life), ebullience.” The words of the teacher sound like a testament to young artists: “Don’t slack in your work, and do it as if for a time, but don’t rush and not haphazardly,” “with all your might, with all your heart, no matter what the task, big or small... " Pedagogical methods of P.P. Chistyakov deserve a lot of attention and, without a doubt, can be applied in any form of artistic creativity, not only in painting.

Above we paid serious attention moral significance empathy as one of the most important abilities necessary for the creative personality of an artist. It is not difficult to guess that in order to successfully teach creativity, it is necessary to create favorable conditions for the development and training of creative abilities, including empathic ones. Let's briefly consider what modern science says about this.

A connection has been experimentally established between learning empathy (sympathy) and learning to imitate. The discrepancy is observed in the answers to the questions of what comes first and what comes next. The similarity between teacher and student has a great influence on the strength of empathy. Belief in what others say about the similarity of the student to the model also plays a role. It has been noticed: the more they imitate, the more similarities they see. Similarity is especially effective in teaching empathy when it is attractive to the learner. The attractiveness of the model (in particular, the teacher and the student), with which identification occurs, is often described as a special feeling of love, which acts as the main motivational lever of empathy. A research question arises - how to improve learning by love. Love is one of the ethical laws of teaching creativity. In addition to this, such moral motives as “care” and “common cause” of the group to which the student belongs or wants to belong are important. In this kind of group (the so-called reference group), the mechanism of substitute experience, or substitute experience, operates effectively. The student identifies himself with other students and empathizes with them (so-called “role identification”). Incentive mechanisms (“reinforcement”) are also more effective. What matters is not only the student’s empathy with the teacher, but also the teacher’s ability to enter the world of the students’ imagination and experiences. Some data suggest that imitation and identification provide satisfaction on their own, without reinforcement. Among the objects of identification when teaching creativity, an important place is given to the activity in which the reference group is engaged. Identification with a cause is the path to the formation of a creative personality with higher ethical motivation, a mature, self-actualizing personality. Identification, especially at an early age, underlies the effectiveness of imitative learning in subsequent years. When forming the creative personality of an artist, methods and techniques (for example, animation, personification, etc.) that promote identification with artistic form, with means of expression (lines, spatial forms, colors, etc.), with materials and tools (brush, chisel, violin, etc.) of creativity.

One could point to many more experimental results related to the training of empathic ability. Knowledge of these data is necessary to increase the effectiveness of teaching creativity. We should just not forget that many theories of artistic education and upbringing are often characterized by a functionalist approach. Its one-sidedness lies in the underestimation of the fact that training and education in this area is the formation of an artistic, creative personality as an integrity, and not the training of only individual (albeit important) abilities, narrowly focused motivations, etc. It is not individual abilities that develop, but the personality as a whole, and along with it abilities. In our opinion, this should be emphasized in the practice of forming a creative personality.

The center of education should be the task of forming a creative personality, a creative “I”, a necessary component of which is the moral “I”. This task is not trivial. Unfortunately, before today In the practice of education and especially teaching, the system of accumulation and training of mechanically and analytically acquired knowledge and skills is widespread. From knowledge they go to skills and abilities, from samples to automatisms. Thus, the acquired knowledge and skills are not based on an organic basis, on the needs of the individual. Therefore, they are internally unfounded and fragile. In addition, this approach “suppresses” the individual and does not allow students to use “models” on a personal level. This is, of course, not about belittling the role of education and training the logical-cognitive apparatus, but about the need to subordinate the tasks of education to the tasks of forming a creative personality. This means that the starting point should be the individual needs of the students and those being educated, their personal motivation, the process of self-actualization and self-expression. It seems important to focus the efforts of education and training on the formation of a creative subject. In the process of education and training, it is important to create such conditions so that a person feels an internal, personal moral need to think and feel and speak the language of art.

The problem of “art and energy” is discussed in detail by the author in other works (see: Energy aspect of artistic creativity. M., 2000; Introductory article // Art and energy: philosophical and aesthetic aspect: Anthology. M., 2005).

Can creativity be taught?

« Children should live in a world of beauty,

Games, fairy tales, music, drawing,

Fantasy, creativity."

V.A. Sukhomlinsky.

Children are naturally inquisitive and eager to learn. All that is needed for them to show their talents is skillful guidance from adults.

Every child has abilities and talents. It’s just that some of them were not stirred up, not fully educated, not fully developed. We must not miss such a fertile, from the point of view of development, diverse abilities, childhood, when the child is most open and receptive to the wonders of knowledge, to the richness and beauty of the world around him. Until he forgot how to be surprised by a ray of sun that awakened through a cloud, a small bug on a flower petal, and much more. There are many other things that we adults have forgotten how to enjoy.

The subject of music, like no other, has opportunities for creation. But it is not enough to organize the process of communication with music in such a way as to unite the child’s soul with it; it is necessary to induce in children such a feeling when music for them is the very life of their soul.

It is important to awaken a constant need for communication with music and creative activity.

Creative tasks.

Children, as a rule, have a need for self-realization - both those who are capable of music and those who are not so gifted. But those who want to join creativity.

Various creative tasks, developing direct skills, creative tasks are offered for the development of plastic expressiveness of the image, tasks for the development of speech intonation expressiveness, creativity in movements, pantomime and theatrical play activities.

Creativity in movement, pantomime and theatrical play activities

Exercise-game “At the mirror”

1. Frown like

A) king;

B) a child whose toy was taken away

2. Smile like

A) cat in the sun;

B) mother to baby;

B) polite Japanese

3. Sit like

A) bee on a flower

B) offended dog

B) punished Pinocchio;

D) a monkey representing us

Transformations

(To develop a child’s expressiveness and imagination when conveying various emotional states, you can use laconic game exercises)

“Two Clowns” by D.B. Kabalevsky

Depict the following situation: two cheerful clowns are juggling imaginary multi-colored rings without noticing each other

Suddenly their backs collide and they fall. They are a little sad; they sit on the floor and shake their heads.

Having calmed down, the clowns help each other get up, collect the rings and juggle again. Now they are throwing rings to each other.

“New doll” P.I. Tchaikovsky.

The girl was given a new doll. She is happy, jumps merrily, spins, shows everyone the desired gift, hugs her to herself and spins again.

Game tasks for the development of plastic expressiveness when creating an image

(It is important that children themselves notice the differences in the performance of their friends and strive to find their own movements and facial expressions)

Children need to walk on pebbles across a stream
(on behalf of any character. Fairy tales, stories, cartoons of their choice)

Invite the child, on behalf of any character, to sneak up on a sleeping animal (hare, bear, wolf)
Depict a walk of a family of three bears, but in such a way that all three bears behave and act differently.

Tasks for speech intonation expressiveness

Invite children to say phrases

"the rainbow appeared"

"the sun has risen"

“my phone rang”

Differently.

Then repeat these options, but without words, paying attention to the fact that the words have disappeared, but the melody of the pronunciation of the phrase:

That's ecstatic

Then surprised

That's sad

She remained angry.

When all options for pronunciation of the text have been exhausted, you can offer to sing. phrases in a wide variety of voices and ways:

Chantly

Jerky

With light sound, etc.

Creative exercises in music perception.

“Which line should I choose?”

When sounding piece of music The child must draw different lines on a piece of paper, for example:

smooth, wavy - under slow and calm;

straight, curved - under decisive

intermittent - to light, abrupt music

The lines can be of the color that, in the child’s opinion, best suits the mood of the musical fragment being performed.

"Magic Picture"

To work you will need:

watercolor paints or gouache, brush, blotting paper (white) palette (you can use tiles)

When listening to a piece of music, find a color that matches the mood in this moment, and drop it onto the palette using the spray method.

While listening to the mood, and therefore

and colors may change several times.

At the end of listening, invite the children to carefully place the blotting paper on the palette. The colors will merge and a color scheme will appear that matches the feeling of each child.

Creative tasks to develop imagination

" Wizard"

Use the music of P.I. as musical material. Tchaikovsky "Sleeping Beauty"

After listening to the musical characteristics of the fairy Lilac and fairy Karabas, suggest templates for “sorceresses”. Complete these figures, turning one into a “good” and the other into an “evil” sorceress.

It would be advisable to hold an exhibition of children's drawings and celebrate the children's efforts.

"Dance"

(psychological training - dance psychotherapy)

The child is invited to dance to express some image that he himself has invented or suggested.

The main rule for selecting topics:

go from a simple image to a complex one, from animate to inanimate

For example: dance “butterfly”, “cat”, “horse”, “Flower”, etc.

In order for children to show their talents, they need skillful guidance from adults, who must always be in “shape”, be able to evoke an emotional uplift in themselves at the right moment and pass it on to the children.

“Whoever has experienced the pleasure of creativity, for him all other pleasures no longer exist.”

A.P. Chekhov.

“Without impressions, delight, inspiration, without life experience, there is no creativity.”

D.D. Shostakovich.

“Only a chosen one can create art.

Every person loves art."

Julien Grun.

“Inspiration is the kind of guest who does not like to visit the lazy.”

P.I. Chaikovsky.

We receive many requests from parents and teachers on the topic: are there developmental methods for school-age children? “We always tried to keep abreast of news on early development, we worked a lot with our baby using the author’s methods. And now he goes to school and... that’s it?

If you can imagine it, then you can make it happen.
Walt Disney

We receive many requests from parents and teachers on the topic: are there developmental methods for school-age children? “We always tried to keep abreast of news on , we worked a lot with our baby using the author’s methods. And now he goes to school and... that’s it? Tell us about the methods you can use to work with a schoolchild!”

Of course, there are such methods. The Theory of Inventive Problem Solving (TRIZ) is currently the most developed system for teaching creativity. Its author is Genrikh Saulovich Altshuller. TRIZ pedagogy is based on the fact that techniques and methods of creativity can be taught to both adults and children. A person who owns TRIZ is able to overcome given contradictions, predict and prevent difficult (emergency) situations, generate fruitful fantastic ideas, and not randomly (in scraps, scraps), but systematically developing them into a whole picture. Here I want to note that the boundary between an invention and a fantastic idea is quite shaky. What now seems contrary to scientific knowledge and common sense may be realized in the very near future!

Any course for teaching preschoolers should solve problems such as creating educational motivation, formation of general educational skills, speech development, development of the ability to establish right relationship with peers and adults, etc. But here are the specific tasks that teachers who are engaged in the development of a child’s creative imagination (CI) set for themselves:

learn to name as many properties and characteristics of one object as possible;
see the positive and negative properties of objects and phenomena in different situations;
formulate contradictions;
combine parts into a whole, including parts of various objects;
build models of objects and situations; create objects and situations according to given models;
draw analogies between different objects;
find similarities in different objects;
transfer the properties of some objects to others;
learn to imagine yourself as different objects and depict the behavior of these objects, etc.

Of course, for preschoolers, the listed tasks are set only in relation to simple objects, actions, and statements.

Brave Little Tailor

The brave Tailor from the fairy tale of the same name had to compete in strength with the evil Giant. The loser faces being eaten. Who will squeeze the stone harder? The giant squeezed the stone so hard that it turned to dust. What will the Tailor do in response?

Bees on a plane

On the plane, in the luggage compartment, there are beehives. This is a group of scientists transporting from one African country wild and very biting, albeit honey bees for further study and crossing with species familiar to us. Already in flight, it is discovered that the hive entrances have opened due to vibration, and a swarm of bees, irritated by the shaking and humming of the engines, will now fill the cabin. With all the ensuing dire consequences for passengers. What to do?

When we solve such problems with children, it does not matter whether the answer is known to the world community. It is important that it is unknown to the solver personally. And in the decision process he has to do his own thing invention.

An invention is a product of creative activity, a new original solution to an existing difficulty, contradiction, or problem. Inventions are made in all spheres of human activity, although in ordinary consciousness and in management practice they are usually associated with the technical sphere. And in the field of science, the main products of creative activity are usually called discoveries.

The ability to create is one of the fundamental properties human personality, without creativity a person can be considered unfulfilled. Creativity can be contemplative and creative, overcoming contradictions, difficulties and revealing a new idea; it can be productive and self-sufficient. And increasingly, the ability to create new things appears to us as a vital (including professional) skill.

Job advertisements flash: “Creative director needed... creative manager... creative specialist... productive advertising and PR consultant...” Again, entrepreneurship is the activity of creating new types of human activity, which means creativity is the basis of this profession. It seems that teaching creativity as a process of creating new norms, samples, standards of human activity and culture is becoming popular training course.

Let's take, for example, the ability to find positive and negative properties of objects and phenomena in different situations. This is what the “Good-Bad” game might look like in a lesson with five-year-olds.

Game "Good and bad"

Acquaintance with the positive and negative sides of objects and phenomena. The pictures show objects in different situations: a fire in the room and a fire under a pot; a brush that paints in an album and a brush that stains clothes; ice cream in a school bag and ice cream in a cup. The teacher asks to color those pictures in which the object plays a positive role.
Search for the positive and negative aspects of objects and phenomena.
Adult: “Today the Little Bunny came to visit us. He is preparing for winter and decided to talk to you about it.”
An adult helps the children tell the Little Bunny what natural phenomena only happen in winter.
Q: The little hare asks: is winter good or bad? Let's play the game "Good and Bad" with him!
V: Cold is bad. Why? (D.: people, animals and plants are freezing, you need a lot of clothes, there are no flowers, you can’t swim).
V.: But cold is good! Why? (Snow and ice do not melt, interesting icicles are formed, a refrigerator is not needed for ice cream).
V.: Ice is bad. Why? (It’s slippery to walk, slippery for cars to drive).
V.: But ice is good! Why? (You can skate, cross a river without a bridge).
V.: Snow is bad. Why? (It is necessary to clean the paths, it makes clothes wet, it flies into your eyes, etc.)
V.: But snow is very good. Why? (It’s beautiful, the earth and plants are protected from the cold, you can sculpt snowmen...)
Children, with the help of an adult, conclude that in any situation there are good and bad sides.
Finding the positive in negative situations.
The teacher reminds us about the rules of behavior in the forest, because we are guests there and can accidentally harm its inhabitants. The conversation is conducted according to the following scheme:
- What is bad to do in the forest? (Children call "bad" behavior.)
- Where can this... ("bad" behavior) be good, appropriate? (Children name an alternative situation where such behavior would be appropriate.)
For example:
D.: It’s bad to shout loudly, you’ll scare the animals. Screaming loudly is good if you are saving yourself, seeing a fire, or singing a song with friends.
D.: It’s bad to set fire to grass or trees, there will be a fire. It is good to light a fire when you have chosen a place and watch the fire.
It's bad to pick flowers. It’s good to do this in your own garden.
Children, with the help of an adult, conclude that any “bad” situation can be good for something else.
Revealing the negative in the positive.
Q: We played a noise orchestra, and used surrounding objects as instruments. It's very good to be able to play any thing! I wanted music - I took it and played it! What could be wrong with that?
D.: If you make a loud noise, you can disturb others; if you hit a vase hard, it may break; if you take someone else’s thing to play with, its owner will be upset, etc.
V.: Well done! It turns out that you not only know how to play like musicians, you are also very prudent.
The older children are, the more sides they can find to more complex phenomena.

Our children's world will not be like our world. The future depends largely on their ability to understand, perceive and build new concepts, create the possibility of choice where there seems to be none, and learn and adapt to changing conditions throughout their lives.

If you paid attention to the problems at the beginning of the article, then you may be interested in getting acquainted with the solutions that the kids offer.

Brave Little Tailor

The giant extracted dust from the stone. The little tailor decided to ask the giant an impossible criterion: to squeeze water out of a stone. In the story, he extracted water from a lump of cottage cheese that looked like a stone.

The children offered the Tailor many more ways to save himself, squeezing in his hand: a wet rag; sponge; egg; root vegetable; stone-like fruit (plum, black grapes); put a glass of water into your sleeve (like a magician) - when you tilt, the water will flow over your hand and stone, as if pouring out of it; a piece of ice, a lump of snow; a lump of wet earth; stuffed pie.

Try to offer solutions and take the next step - squeeze something gaseous out of the stone!

Bees on a plane

In the bee problem, children begin a thorough search for resources: what is around us, airplane passengers? What does a bee have?

After collecting the necessary information, young solvers give options. Barricade the cabin with suitcases and other luggage. Wrap passengers in parachutes so the bees won't bite. All passengers must eject or parachute. Bring passengers onto the wing while the flight attendants catch the bees. Drop sharply, the swarm of bees will remain in place and hit the ceiling; insensitive bees can be collected with your hands or a broom. Lure them to the other end of the plane with food, perfume, and medicine from the first aid kit. Hang sticky tape at the entrance to the salon. Blow it out with air from fans. Spray them with water; bees do not fly in the rain. Turn off the lights in the cabin, the bees also sleep at night, and turn them on near the hives.

Now the proposals need to be analyzed. After discussion, they agree that the last two methods are the most humane and economical, but the rest should not be discounted - you never know when they might come in handy?

The goal of the TRIZ-RTV course is to teach how to learn, to learn how to think, to learn new methods that you can use to solve any problem that arises in front of you at any age.

In our studio, students begin to master the TRIZ-RTV course at the age of 6. Parents are happy to attend classes, and the next year they demanded that he be included in the lecture program for adults. For us, this is an indicator of the importance and necessity of our work!

Natalia Klyuch
teacher-methodologist of the studio "Planet of Dreamers" NOU UMC "Learning by playing"
Article from the July issue of the magazine

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Can creativity be learned?

We know that work is the most important manifestation of human activity. With its help, a person provides himself with the necessary conditions of existence. Modern science interprets labor as an activity aimed at creating a socially useful product that can satisfy the material or spiritual needs of a person. According to this we can easily determine social essence creativity: is work aimed at creating substantially new a product that meets the material or spiritual needs of people. From here special difficulty labor process, a view of creativity as the highest form of labor.

In a developed society, creativity, like any work, acquires a specialized character. What does this mean?

A person has many needs. Society as an organism that unites people has even more of them. Development and differentiation of the system of needs is continuous. In order to obtain certain objects to satisfy them, corresponding areas of creativity turn out to be necessary. And they arise, taking shape in specific social institutions- organizations, associations, institutions. All these areas are subject to the general laws of creativity, and are therefore united. But each of them also has its own laws, and this separates them, gives them specificity (more correctly, it constitutes their specificity). It is reflected in people's ideas about certain general characteristics, characteristic features products of one or another type of creativity. Already a three-year-old child, in response to an offer to dance, will not recite a rhyme or sing a song - he will spin or jump in the dance.

Such ideas take shape spontaneously, and their role in the formation of the human personality is very significant: in the first stages of development, they act as an incentive to test creative forces - a promise to choose one’s creative space. But for society as a whole, these ideas have great importance: in the process of division of labor, specialization of creativity, they are improved on the basis of the emerging scientific knowledge, are clarified and gradually recognized as generating models of one or another type of creative activity, amenable to mastery. In the minds of professionals, they form a kind of “runway” for the creative process and at the same time represent signal lights that highlight the “landing strip”: in order to “fit” into it, one must follow a certain course. That is why paintings come out from under the artist’s brush, sculptures from under the sculptor’s chisel, and engineering projects turn into machines. That is why the result of a journalist’s work is not a symphony, opera or poem, but a journalistic work.

A special area of creativity is the performing arts. At first glance, this is a simple replication of masterpieces once presented to the world. But let us remember how different the images born from different performers on the same literary or musical basis! IN in this case it is this basis that is used as a generative model for creating new unique creations of the human mind and soul. The ballet roles of Galina Ulanova and Maya Plisetskaya will be preserved in the history of culture as the greatest values. concert programs Emil Gilels and Svyatoslav Richter, performances by Anatoly Efros and Mark Zakharov, roles played by Faina Ranevskaya, Yuri Nikulin, Lyubov Orlova...

It is worth considering, however, that in generative models there is also a certain danger for creativity - standardization. People who are not concerned with developing their creative potential are often exposed to it. The definition of “artisan” is usually applied to such people. This means one thing: a person fails to tear the “plane” of creativity off the “runway.” It rose, perhaps a little, and again fell to the plane of the generating model. But it presupposes an “increase in volumes,” however, this has already been discussed. Gaudi's houses, although at home, are at the same time something completely fantastic, captivating with the audacity of penetration into the invisible connections of man and nature.

And yet, the use of the word “artisan” in such situations seems incorrect. The concept of “craft” was born in the sphere of material production, and its direct meaning is very specific: the production of products by hand, in an artisanal way, in most cases - individually. Such production did not at all exclude creative solutions! At the same time, it assumed knowledge of the matter, i.e. the ability to perform well the reproductive elements of activity, focused on copying existing products, in accordance with the social order for their replication. This gave a start to life to the figurative meaning of the concept of “craft”: the ability to act on the basis of already existing solutions - nothing more. In other words, the word “craft” has actually become synonymous with the concept of “reproductive activity”. But we have already figured it out: any type of creativity to one degree or another includes the reproductive principle - “pure creativity” is practically impossible to find. The whole point is how the reproductive and the creative are related in the very type of creative activity and in the motivation of the creator.

Now let’s return to the question with which our thoughts began: can creativity be taught? Sometimes they answer it like this: “Of course, you can’t. But craft as an element of the creative process is possible and necessary.” There's probably no point in arguing with this. However, when it comes to characterizing theoretical positions, it is preferable not to use figurative meanings of words. Therefore, our answer will sound somewhat different: yes, creativity cannot be taught, but it can be taught professional method of one or another creative activity. Its structure is quite complex and is by no means reduced to the technical side of the matter.

In a developed society, all areas of creative activity exist in two forms: amateur And professional. Any creativity is born as amateur. This is the first phase of its existence, the initial form of organization. It is marked by the fact that creative activity is carried out outside the framework of any job responsibilities, without special training and strict responsibility for the quality of the result. Its area is chosen spontaneously by a person, depending on the inclinations in which the character of the personality’s inclinations manifests itself. (Goethe noted in this regard: our desires already contain a premonition of the possibilities of realizing them.)

Professional creativity is formed on the basis of amateur creativity in the process of division of labor. It is characterized by the fact that it becomes a person’s main occupation, occurs within the framework of cooperation with a certain professional community, is associated with the performance of relevant duties and with responsibility for the quality of the result. And here the need for special training arises.

How essentially Is amateur creativity different from professional creativity? Only one: the first is spontaneous following the laws of this type of activity, while the second is based on what is enshrined in the professional setting conscious study these patterns and the desire to follow them.

However, with the emergence of professional creativity, amateurism does not die out at all. It lives in parallel: it is produced by the creative nature of man. And there are often situations when amateurs grow into classics, and other professionals cannot stand comparison with average amateurs. It's not just a matter of different degrees of talent. This is convincingly evidenced by the fate of Konstantin Sergeevich Stanislavsky, an amateur theatrical arts, who grew into a theater reformer. What circumstances marked the formation of his creative personality? Firstly, of course, rich inclinations, which over time developed into talent. Secondly, a rare sense of purpose, which allowed him to achieve a high level of acquired qualities necessary for an artist and director. Thirdly, a favorable environment - a creative environment in which he received impulses for development.

Hence the conclusion: if a person with well-defined inclinations finds himself in favorable circumstances, in a creative environment, he can spontaneously and sufficiently deeply master the method of one or another type of creativity, form himself as a person suitable for this field of activity. In this case, professionals willingly accept him into their environment. At the same time, a person who has chosen this or that occupation as his profession can various reasons(for example, not very bright inclinations or unfavorable learning conditions) fail to master the way of working professionally, even after receiving a document of education. And this turns into drama: the professional community rejects him and does not accept him as a colleague. Such processes are very painful. Unfortunately, they can be observed in a variety of areas of creativity, and often. This is why it is so important to check in advance whether you are ready to enter a professional environment.

An analysis of the circumstances of yesterday’s student’s adaptation to “adult” professional life allows us to assert that readiness for successful activity is determined, first of all, by the following points:

1) the degree of accuracy of ideas about public role profession and stable characteristics of works of this type of creativity, as well as its method (it is clear that the path to creating a symphony is not the same as the process of preparing an original engineering project);
2) a measure of the development of abilities and personal qualities, corresponding this species creativity;
3) the presence of skills and abilities necessary to solve primary and secondary creative problems;
4) the wealth of the general creative potential of the individual, largely dependent on the level of his social, intellectual, moral development;
5) sustainability and quality professional motivation activity (in other words, the predominance of professionally significant motives of creative behavior in it).

All this more or less clearly manifests itself as soon as a person finds himself “in the field” - in practice, he begins independent creative life among professionals.

Experience shows that professionalism can be achieved while still a student. But we must keep in mind that there are three stages. First, initial - training. This is a level of mastering a profession at which the process of creative activity is successful, when it is necessary to solve fundamentally familiar problems and therefore one can get by mainly using already known techniques and means. In such cases, the source of novelty of the product turns out to be the subject of creative activity. The novelty of an object is inevitably mastered by a person and is reflected in the purpose of the act of creativity, and therefore is embodied in a product.

Anyone who has been to Arbat has probably paid attention more than once to artists painting portraits from life. As a rule, you won’t see much originality here. expressive means. Nevertheless, there are works that make you stop.

A wise old man's face... The funny eyes of a girl... The desperately intense gaze of a beautiful, but somehow wounded woman... Probably for a connoisseur visual arts these works would seem of little interest - so, a copy, where is the creativity?

But there is creativity. First of all, an artist managed to see in the subject of display that which is unrepeatable, unique. Secondly, managed to convey these are the means that he has mastered. And thirdly... To copy means to make a copy, an exact reproduction of something. It is impossible to copy nature: it is always much richer. You can only capture its essence and talk about it, but this is always a creative process, even if the author is at the first level of professionalism.

Second level of professionalism - skill. It is distinguished by a person’s ability to solve new creative problems on the basis of mastered techniques and methods, often in new conditions. Here, the novelty of the product is achieved not only due to the subject of activity: in the purpose creative act both new tasks and new conditions are reflected, forming its new features. Here is an example from engineering practice.

As a graduation assignment, a student at the Aviation Institute developed a project for a new skin for a helicopter body, taking into account an important circumstance: the aircraft was to participate in extinguishing forest fires. While working on the topic, the student found out that such skins exist, but only for airplanes. For helicopters, the materials used are not suitable for a number of parameters. Realizing that the task before him was new and not at all of an educational nature, he began his research by studying the working conditions of aviators as firefighters, and real conditions at that. A business trip to a helicopter pilot detachment was required, but the institute did not have money for it. I went at my own expense, got carried away with the work and could no longer stop. Then - consultations with metallurgists, chemists, and helicopter designers. I studied mountains of technical literature and became familiar with periodicals. And an epiphany happened... When I sat down to do the calculations, I felt as if he had grown wings. He defended himself brilliantly, and to implement the project he was invited to work in a large design bureau. But this was actually his first serious independent act of creativity! But he demonstrated both the skill of the graduate and his well-established motivation for engineering and design activities.

The highest manifestation of professionalism - skill. This stage represents free floating in the profession, when a specialist reaches the maximum in the development of his creative potential and turns out to be capable of further improving the very method of this type of creativity. He is capable of any creative tasks, he is able to enrich the means of activity, to form new methods. Naturally, the novelty of the creative result becomes maximum. At the same time, not everything that the Master offers is accepted by his contemporaries: sometimes his creations are ahead of their time with their meaning, and decades may pass before his ideas are understood and accepted. Even the Eiffel Tower was initially called an outrage by Parisians. They were so proud of their ancient monuments, and suddenly a metal structure, unlike anything else, rose above this monumental beauty! It took years for people to appreciate its lightness and slenderness, majesty and delicacy, and most importantly, to understand that it symbolizes new, coming times.

There are such examples in journalism too. Let's say how many discussions there were in the 50s of the last century around Komsomolskaya Pravda about the “flashy design” of the issues and the “jamming” of journalists! And today this will not surprise anyone. But time gives rise to new discussions. The progress of high information and communication technologies puts on the agenda the question of ways to develop journalism, and this updates long-standing debates about the legitimacy of approaching it as a creative activity. Modern science of remedies mass media, concentrating attention on the communicative aspects of media activity, leaves its creative aspects in the shadows. This unwittingly contributes to the spread of views that deny the creative nature of journalism. As a result, there is a tendency to reduce the quality of information products offered by the media system to society. Meanwhile, there is every reason to see even in a small journalistic article a product of creativity.

Let's think: what is this little note in principle? She appears in information channels society, because it carries news, i.e. reports about some significant change in reality for people. Thus, it satisfies their very important need - to know what is happening in the world in order to behave accordingly. How and what means a journalist uses when creating a text is a question of quality. Fundamentally, a message about news is the appearance in the information picture of the day, necessary for man and humanity for confident social orientation, of a new link, a new cell, the birth of which is not at all an automatic reflection of what is happening. Let's verify this with a specific example. Here is a short message published at one time by Komsomolskaya Pravda:

FOR THE FIRST TIME IN THE WORLD, A CAR OVERCOME THE SPEED OF SOUND!

1229.77 km/h - this is the speed at which British racing driver Andy Green raced through the desert in the American state of Nevada, becoming the first person in the world to break the sound barrier on earth. The Thrust SSC was accelerated through the desert by a jet engine from a Rolls-Royce. The main task of the designers of the miracle car was not so much to provide engine power as to keep it on the surface of the earth. .

As you can see, this text is not distinguished by its original presentation. And yet, as a product of activity, it is characterized by novelty: until now, the society’s funds did not contain this information. It is not for nothing that the material is preceded by the “Sensation” section. Obviously, the novelty here is achieved at the expense of the subject of the story. This is reflected in the fundamentally changing situation in the automotive industry. The author provides four facts in the message that demonstrate this change:

1) British racing driver Andy Green raced through the desert in the US state of Nevada at a speed of 1229.77 km/h;
2) the Thrust SSC was accelerated by a jet engine from a Rolls-Royce;
3) Green became the first person to break the sound barrier on earth;
4) the designers of the miracle car saw their main task is to keep it on the surface of the earth.

And without detailed explanations, it is clear that in reality the situation cannot be reduced to these four facts. It includes a lot of others, united by a variety of connections: the event in Nevada was preceded by big job designers, participants in the production and assembly of the car, test organizers, etc. However, there is no mention of them in the text, there is no message mirror reflection reality. On the face the result of receiving and processing information about actual events. Moreover, the processing is oriented in a certain way - so that in the end what appears is not a poem, a song, a formula or a letter to a friend, but a note containing news. But we have already seen: such processing of primary information, leading to the emergence of a new fragment real world, and forms the internal side of any creative process, always to a greater or lesser extent associated with reproductive activity. The peculiarity in our case is due to the fact that the maximum of the author’s creative efforts is aimed at identifying and isolating the news as the subject of the message in its most significant connections. But this is one of the significant manifestations of that creative task, which is determined by social needs, public expectations from the author’s journalistic work!

Why do you need to know the creative level of the guys? It is impossible to understand the psychology of a person without understanding what his creative abilities are. It is impossible to understand the psychology of a person without understanding what his creative abilities are. creativity is always the embodiment of individuality, it is a form of self-realization of the individual; this is an opportunity to express your special, unique attitude to the world. Creativity is always the embodiment of individuality, it is a form of self-realization of the individual; This is an opportunity to express your special, unique attitude towards the world.

Creativity is discordant harmony, predictable shock, habitual revelation, familiar surprise, generous selfishness, confident doubt, inconsistent persistence, vital trifle, disciplined freedom, intoxicating constancy, repeated beginnings, heavy joy, predictable roulette, ephemeral firmness, equal variety, demanding indulgence, expectation of the unexpected, habitual surprise (Prince J.M. The Practice of Creativity. - New York, 1970)

Educational project – organizational form work that is focused on studying the completed educational topic or educational section. At school, it can be considered as a joint educational-cognitive, research, creative or play activity student partners, having a common goal, agreed upon methods, methods of activity aimed at achieving a common result in solving any problem that is significant for the project participant. joint educational and cognitive research, creative or gaming activities

The project is completely focused on the current program and curriculum. The project is completely focused on the current program and curriculum. Research approach to collected and analyzed materials. Research approach to collected and analyzed materials. Activities within educational project Helps students interpret, evaluate, and organize information. Learning project activities help students interpret, evaluate, and organize information. Use of a wide range of primary sources. Use of a wide range of primary sources. It is based on collaborative learning technology. It is based on collaborative learning technology. The work is carried out by all group members. The work is carried out by all group members.

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We receive many requests from parents and teachers on the topic: are there developmental methods for school-age children? “We always tried to keep abreast of news on early development, we worked a lot with our baby using the author’s methods. And now he goes to school and... that’s it?

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