- Specialty HAC RF13.00.01
- Number of pages 142
Chapter 1. Creative activity of children in the educational process as a pedagogical problem
1.1. The essence of the creative activity of children
1.2. Possibilities of additional education in the development of the creative activity of the individual
Chapter 2. Pedagogical conditions for the development of children's creative activity in the process of additional education
2.1. The state of development of children's creative activity in the process of additional education
2.2. Characterization and implementation of pedagogical conditions for the development of children's creative activity in experimental work
2.3. The results of experimental work on the development of creative activity of children in the system of additional education
Recommended list of dissertations
Additional education of children as a means of their creative development 1998, candidate of pedagogical sciences Berezina, Valentina Alexandrovna
Development of the personality of a junior schoolchild in the system of additional education for children 2007, candidate of pedagogical sciences Ganina, Svetlana Aleksandrovna
Program and methodological conditions for the integration of basic and additional education in primary school: On the example of artistic and creative classes with younger students 2004, candidate of pedagogical sciences Sanina, Elena Vladimirovna
Development of creative activity of younger schoolchildren in music classes in conditions of additional education 2004, candidate of pedagogical sciences Konovalova, Svetlana Aleksandrovna
Pedagogical conditions for the formation of creative activity of schoolchildren in musical and aesthetic additional education 2002, candidate of pedagogical sciences Peredreeva, Oksana Borisovna
Introduction to the thesis (part of the abstract) on the topic "Development of creative activity of children in the process of additional education"
The development of a creative personality in the process of education and upbringing is one of the socially significant tasks of modern Russian society. The formation of a self-developing and self-determining personality capable of open creative interaction with the environment and society is defined as the highest goal of education.
Pedagogical science considers the influence of education on the creative development of the individual as one of the central problems. Even K.D.Ushinsky, S.T.Shatsky, P.P.Blonsky and other teachers noted the importance of the unity of education and upbringing in the educational process, taking into account the interests, abilities, capabilities and needs of the child.
One of the priority tasks of pedagogical science at present is the study of qualitatively new relations between the individual and society, the search for the most optimal ways of educating, teaching, and creative development of children.1
Recently, a special place in the system of continuous education belongs to additional education, which acts as a means of motivating the development of the individual to knowledge and creativity through a wide variety of activities. The development of the child is reinforced by the opportunities to create a situation of success and the freedom to change the type of activity. It is additional education that is designed to satisfy the constant needs of children, to help reduce the negative consequences of children being unemployed after school hours, the growth of crime, vagrancy, and to increase attention to socially disadvantaged children.
Of particular importance for the development of personality are preschool and primary school age, when the foundation of personality is laid, intensively
1 Hereinafter, the term "children" refers to children of primary school age. socially significant qualities, the foundations of a worldview, habits are formed, cognitive abilities develop, diverse relationships with the outside world are formed. These problems were studied by: Ya.A. Komensky, I.G. Pestalozzi, K.D. Ushinsky, L.N. Tolstoy, S.T. Shatsky, Sh.A. .Dmitriev, S.P. Baranov, L.I. Bozhovich, L.S. Vygotsky, V.V. Davydov, L.V. Zankov, E.V. Zvorygina, L.F. Obukhova, A.I. Savenkov , L.S. Slavina, V.A. Sukhomlinsky, S.L. Novoselova.
The task of the creative development of the individual cannot be accomplished by the efforts of the school system alone; additional (out-of-school) education with extensive experience in our country is called upon to participate in its implementation, designed to meet the constantly changing individual socio-cultural and educational needs of the child. Naturally, the very history of the development and formation of this education provides a lot of material for its improvement. In the works of modern researchers (E.V. Bondarevskaya, A.K. Brudnov, B.Z. Vulfov, O.S. Gazman, M. B. Koval, S. V. Saltseva, A. I. Shchetinskaya, etc.) a deep analysis of various aspects of (out-of-school) additional education of children was carried out. At the same time, a number of unresolved issues remain: the place of out-of-school additional education of children in the general system of lifelong education; the main directions of additional education of children and their development in educational institutions of all types and kinds; the influence of additional education on the creative development of the child's personality and his self-determination.
As practice shows, the real possibilities of most modern schools are insufficient to solve the problem of developing the creative activity of the child's personality, his self-determination. A number of contradictions arise between: the growing requirements of life for the formation of a creative, initiative personality and the lack of a system of special pedagogical work that ensures this process; the mass education system and the individual nature of the process of development of the child's creative activity; the objective necessity of innovative and integration processes in the educational sphere and the lack of teaching staff prepared for this activity; the existing experience of many years of work in this direction and the lack of evidence-based mechanisms for using it in mass practical activities.
The additional education of children can contribute to the resolution of these contradictions. Having the main goal of creating pedagogical conditions for self-education, self-education and self-realization of the individual, additional education is a specific environment for the child, important both for his creative development, socialization, the formation of life experience, and for self-determination (E.V. Bondarevskaya, V.G. Bocharova, B.Z.Vulfov, L.S.Vygotsky, O.S.Gazman, V.V.Davydov, V.A.Karakovskiy, M.B.Koval, D.I.Latyshina, A.V.Mudrik, L.I. Novikova, A.V. Petrovsky, S.D. Polyakov and others). At the same time, the current state of education gives rise to another contradiction: between the need to integrate basic and additional education in the interests of the development of the child's personality and the underestimation of the role of the teacher.
Of course, significant transformations are taking place in modern education, not only its individual aspects are changing, but also the general conceptual approaches. One of the effective ways to solve the problem of the creative development of the child's personality is the integration of basic and additional education, the implementation of personality-oriented, personality-activity approaches that can play a significant role in a child's life in reaching the heights of his creative development, determining his life path (Sh.A. Amonashvili, V.V. Davydov, L.V. Zankov,
I.A. Zimnyaya, V.A. Karakovsky, V.M. Korotov, A.V. Mudrik, L.I. Novikova, A.V. Petrovsky, V.A. Petrovsky, I.S. Yakimanskaya, E.A. Yamburg and others).
It should be emphasized that this relationship is able to solve the strategic tasks of modern education:
Ensure continuity of education;
To fully develop the technologies and ideas of personality-oriented education;
Implement programs of social and psychological adaptation;
Carry out career guidance;
To develop the creative abilities of the individual and create conditions for the formation of the experience of creative amateur performance and creative activity of the child.
The study of philosophical and psychological-pedagogical literature shows that science has paid and is paying close attention to the development of the creative potential of the individual. However, the problem of the formation of the creative activity of children in institutions of additional education has not yet been the subject of a special scientific research. Meanwhile, additional education is designed to solve this problem.
First, as shown by the statistics provided by the Ministry of Defense of the Russian Federation, a significant number of children and adolescents (up to 60% of the total number of schoolchildren) study in institutions of additional education in Russia.
Secondly, the materials of the study indicate that the need of children to realize their interests is not fully satisfied by the family and school. Additional education institutions, providing the child with the opportunity to actively participate in various activities, opening up space for him to perform various social roles, including him in diverse relationships with the outside world, can and should become full-fledged factors in the realization of children's interests.
Thirdly, institutions of additional education, having qualified personnel and a material base, are able not only to satisfy, but also to develop the needs and interests of the child.
At the same time, the analysis of psychological and pedagogical literature shows that so far there have been no special studies on the development of children's creative activity in the process of additional education. The problems of special pedagogical conditions and features of the development of children's creative activity in the process of additional education remain little studied.
Based on the foregoing, it can be argued that, on the one hand, there is an objective need to develop the creative activity of children in the conditions of additional education, and on the other hand, the problem has not been sufficiently developed in pedagogical theory. This circumstance led to the choice of the research topic: "The development of children's creative activity in the process of additional education."
The problem of this study: What are the pedagogical conditions for the development of children's creative activity in the process of additional education?
Solving the problem raised is the goal of the study.
The object of the research is the development of creative activity of younger schoolchildren.
The subject of the research is the process of developing the creative activity of children in institutions of additional education.
The hypothesis of the study is based on the assumption that additional education, as a certain system, can have a significant impact on the development of a child's creative activity in the presence of appropriate pedagogical conditions: the creation of variable additional education programs that ensure the creative development of children with their free choice of areas of their activity; the teacher's orientation towards the development of the creative potential of each child in his chosen field of activity, carried out through a special selection of forms and methods of work; selection of teachers with creative abilities and the ability to direct the efforts of children to non-standard solutions in the chosen type of activity;
Ensuring a positive attitude of the family towards the child's creativity, expressed in support for the child's voluntary choice of the type of activity, providing the necessary materials for it, emotional support for his success.
In accordance with the problem, purpose, object, subject and hypothesis of the study, the objectives of the study were defined:
1. Reveal the essence, content and structure of the creative activity of children.
2. To reveal the possibilities of developing the creative activity of children in the process of additional education.
3. To identify the pedagogical conditions that contribute to the development of creative activity in the process of additional education.
4. Experimentally test the effectiveness of the proposed pedagogical conditions for the development of children's activity in the process of additional education.
The methodological basis of the study is: psychological and pedagogical ideas and concepts about the essence and nature of a person as a subject: non-activity and attitude (Yu.K. Babansky, L.I. Bozhovich, I.F. Gerbart, A. Diesterweg, Ya.A. Komensky, I.G. Pestalozzi, S.L. Rubinshtein, K.D. Ushinsky,
V.D. Shadrikov and others), about the leading role of activity as a source of personality formation (P.P. Blonsky, L.S. Vygotsky, V.V. Davydov, N.K. Krupskaya, A.N. Leontiev, A. .S. Makarenko and others); theory of personality development (A.G. Asmolov,
A.V. Petrovsky, I.I. Rezvitsky, V.I. Slobodchikov, D.I. Feldshtein and others); psychological and pedagogical research in the field of the formation of the personality and the processes of self-determination of the child (A.A. Bodalev, Yu.P. Vetrov, W. Glasser,
V.S.Ilyin, E.A.Klimov, I.S.Kon, E.I.Malikina, A.V.Mudrik, G.P.Nikov, V.F.Safin, V.Frankl, G.I. Schukin and others).
The general pedagogical foundation of the work was the provisions of the theory of educational systems (Yu.K. Babansky, I.F. Gerbart, V.A. Karakovsky, L.I. Novikova, K.D. Ushinsky and others); methodological principles of pedagogical research (F.D. Botvinnikov, V.I. Zagvyazinsky, V.V. Kraevsky, V.M. Polonsky, M.N. Skatkin and others), modern concepts for the development of additional education for children (E.V. Bondarevskaya, A.K. Brudnov, M.B. Koval, D.I. Latyshina, A.I. Shchetinskaya and others).
To solve the tasks and test the initial assumptions, the following research methods were used: theoretical - theoretical analysis, generalization and interpretation of scientific data, retrospective analysis; empirical - observation, questioning, conversation, analysis of scientific psychological and pedagogical literature and pedagogical practice, study and generalization of pedagogical experience in the field of additional education of children; experiment, as well as methods of mathematical statistics.
Experimental research base: studying the experience of forming children's creative activity in the system of additional education, determining the formation of creative activity, implementing pedagogical conditions were carried out on the basis of the Houses of Children's Creativity No. 1 and 2, the Palace of Children's Creativity in Penza, secondary schools No. 57, 63, 68, 74.
Main stages of the study: The study was carried out in several stages.
The first stage (1996 - 1998) - search. The study of philosophical, methodological, psychological and pedagogical literature on the research problem. Analysis and assessment of the current state of the problem in theory and practice. Conducting a stating experiment to identify the levels of formation of creative activity in children. Development of the scientific research apparatus.
The second stage (1998 - 2000) is experimental. Refinement of the hypothesis. Conducting a formative experiment, using pedagogical conditions in the process of developing the creative activity of children,
The third stage (2000 - 2001) - generalizing. Completion of the formative experiment. Correction, systematization and generalization of its results. Approbation of the main ideas and provisions of the study.
The scientific novelty and theoretical significance of the study is as follows: for the first time, the essence is revealed, the content and structure of the creative activity of younger schoolchildren in the process of additional education are determined; the components of creative activity are revealed and the levels of its development are determined. The pedagogical conditions necessary for the development of creative activity of younger schoolchildren in the process of additional education are determined, substantiated and experimentally confirmed, the components of creative activity are identified and the levels of its development are determined. The pedagogical conditions necessary for the development of creative activity of younger schoolchildren in the process of additional education (variability of the content of education, selection of forms and methods of working with children adequate to the content, creativity of a teacher of additional education, positive attitude of the family to the creativity of the child) are determined, substantiated and experimentally confirmed. and
The practical significance of the study lies in the fact that, in accordance with substantiated theoretical provisions, the pedagogical conditions for the development of children's creative activity are determined, experimentally tested and confirmed in the practice of additional education.
Scientific and methodological recommendations developed in connection with these conditions for teachers of additional education have been put into practice. The program of the special course "The role of the teacher of additional education in the development of the creative activity of children" for students of the Pedagogical University, Pedagogical College, which reflected the theoretical conclusions and recommendations of the author, was created and tested.
The results of the study can be used in higher and secondary specialized educational institutions when studying the course of pedagogy.
The reliability of the study is ensured by a methodological approach based on the provisions of philosophy, psychology and pedagogy on the essence and role of creativity, the concept of personality development; using a methodology adequate to the subject and objectives of the study; a combination of qualitative and quantitative analysis, the representativeness of experimental data, a variety of research procedures and techniques, their complementarity, numerous data validation, as well as statistical methods for processing and analyzing data.
Testing and implementation of research results.
The main provisions and results of the study were discussed at meetings of the Department of Pedagogy of Primary Education of the Moscow State Pedagogical University; at the All-Russian scientific-practical conference "Additional education of children - a factor in the development of a creative personality" (St. Petersburg, 1998); at the All-Russian scientific-practical conference "Additional education of children in Russia: state and development prospects in the XXI century" (Moscow, 2000).
The following provisions are put forward for defense:
1. The development of the creative activity of children in additional education is aimed at solving the problems of preparing them for creativity in conscious life and involves the voluntary inclusion of younger students during extracurricular time in artistic and aesthetic, sports and recreational, environmental, biological, tourist or technical classes and receiving them productive results.
2. The structure of the creative activity of a younger student consists of motivational, content-operational and emotional-volitional components; the pedagogical guidance of children in the process of additional education is aimed at their development, and their presence ensures the success of the activities of younger students.
3. Pedagogical management of the development of creative activity in the process of additional education is carried out differently for each child, depending on the level of formation of this personality trait in him.
4. The development of the creative activity of children in the process of additional education is ensured by the presence of the following conditions: the creation of variable additional education programs that ensure the creative development of children with their free choice of areas of their activity; the teacher's orientation towards the development of the creative potential of each child in his chosen field of activity, carried out through a special selection of forms and methods of work; selection of teachers with creative abilities and the ability to direct the efforts of children to non-standard solutions in the chosen type of activity; ensuring a positive attitude of the family towards the child's creativity, expressed in support for the voluntary choice of the type of activity, providing the necessary materials for it, emotional support for his success.
Dissertation structure. The work consists of an introduction, two chapters, a conclusion, a list of references, including 226 titles of works by domestic and foreign authors, and applications containing test tasks for diagnosing creative activity in younger students and a special course "The role of a teacher of additional education in the development of creative activity of children in the process of additional education". The main text of the dissertation is presented on 118 pages, contains 11 tables. The total volume of the dissertation research is 142 typewritten pages.
Similar theses in the specialty "General Pedagogy, History of Pedagogy and Education", 13.00.01 VAK code
Pedagogical foundations for the formation of a system of additional education in modern educational institutions 1998, candidate of pedagogical sciences Gribov, Dmitry Nikolaevich
Pedagogical conditions for the orientation of adolescents to personal achievements in the institution of additional education for children 2002, Candidate of Pedagogical Sciences Bikteeva, Anisya Damirovna
Organizational and pedagogical conditions for advanced training of a teacher of additional education 2000, candidate of pedagogical sciences Kalish, Irina Viktorovna
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Dissertation conclusion on the topic "General pedagogy, history of pedagogy and education", Shulpina, Lyubov Nikolaevna
Conclusions on the second chapter
The conducted experimental work confirmed the hypothesis put forward at the beginning of the study that additional education as a certain system has a significant impact on the development of the creative activity of the child's personality in the presence of appropriate pedagogical conditions: the possibility of variability in the content of additional education for children to freely choose areas of creative activity, suggesting a variety of programs and their corresponding logistics; adequate content selection of forms and methods of work that meet the needs of each child, and focused on the individual development of his creative potential in his chosen field of activity; the presence of creative abilities of a teacher of additional education, providing opportunities to direct the efforts of children to * non-standard original solutions in the chosen type of activity; the positive attitude of the family towards the child's creativity, expressed in support for the child's voluntary choice of the type of activity, providing the necessary materials for it, and emotional support for his success.
The tasks assigned to the experimental work were completely solved. Experimental work was carried out for 5 years. At the stage of the formative experiment, a system of pedagogical conditions was introduced to develop the creative activity of children. During the entire formative experiment, the pedagogical conditions described above were implemented with the help of pedagogical technologies. Among them: technologies based on didactic improvement and reconstruction of the material; technologies of joint work of parents, teachers and children; game and group technologies; management technologies. % We judged the success of the process of developing the creative activity of children in the process of additional education by changes (in the direction of increase) in the levels of manifestation of the creative activity of the participants in the experiment.
The control cut was carried out according to the same methods as during the ascertaining experiment. We carried out the transfer from one level to another on the basis of the qualitative characteristics of the levels in accordance with the indicators of the manifestation of the creative activity of children described above (Chapter 1, § 1).
The dynamics of the development of children's creative activity in the process of additional education is reflected in Table 11 (Chapter 2, § 3).
The results of processing the control section, made at the end of the formative experiment, indicate the differences between the children of the experimental and control groups in terms of levels of creative activity. More significant changes in the levels of creative activity occurred in the experimental groups. The use of the Student's t-test confirmed the effectiveness of the methodology we developed for the development of children's creative activity at a 95% confidence level.
We judged the results of experimental work not only by quantitative indicators of the formation of levels of creative activity, but also by qualitative changes in its components.
Thus, the data obtained allow us to state that the experimental work carried out gave positive results and contributed to a change (in the direction of increase) in the levels of creative activity of children in the experimental groups. These changes are more significant than those that occurred in the control groups.
The sufficient effectiveness of experimental work on the development of children's creative activity in the process of additional education is confirmed by the effective implementation of its results in the practice of additional education institutions in the city of Penza and the region.
CONCLUSION
The democratization and humanization of the education system in the Russian Federation made it possible to consider additional education as a sphere that objectively combines upbringing, training and development into a single process. Additional education deepens and expands the knowledge, skills and abilities provided by the main general educational and professional programs; forms a positive motivation of schoolchildren to creativity, knowledge; introduces students to personally significant socio-cultural values, the need for which is not satisfied by general education; introduces students to national cultural customs, traditions of their people; generalizes the experience of social activity of schoolchildren; organizes useful and interesting leisure activities for children and adolescents; prepares schoolchildren for professional and other types of life self-determination; contributes to the replenishment of the psychophysical strength of children, the correction and rehabilitation of their health; expands the scope of communication and relationships of children and adolescents; supports the individuality and originality of the child; creates situations of success, including for socially disadvantaged children.
The system of additional education for children at the turn of the century provides ample opportunities for the development of the child's creative abilities in various activities and fields of knowledge.
The development of a creative personality, ready for the implementation of significant social functions, for social transformational activities, is one of the essential tasks of modern society.
The focus of additional education on the development of the child's personality requires the identification, determination of those of its properties, the impact on which contributes to the development of the personality as a whole. As one of them, creative activity is considered, which is a system-forming property of a personality, a defining characteristic of its movement towards self-improvement, a condition for realizing oneself as a personality at all stages of ontogenesis.
The performed research, as well as the study of special literature on this issue, give grounds to conclude that the development of children's creative activity has theoretical and practical significance.
The formulation and preliminary study of the problem of the development of children's creative activity in the system of additional education revealed its versatility, complexity and insufficient development in the theory and practice of education.
Despite the fact that a significant number of scientific works are devoted to the study of the problem of developing the creative potential of the individual, such issues as the formation of the creative activity of children in the system of additional education in the presence of appropriate pedagogical conditions have not been developed enough and require further study.
This study is devoted to identifying and substantiating the system of pedagogical conditions that ensure the effectiveness of the process of developing the creative activity of children in the system of additional education, in order to eliminate the corresponding gap in pedagogical theory and practice.
The study of psychological and pedagogical literature, the study showed that the concept of creativity is a fruitful theoretical basis for the development of children's creative activity in the system of additional education through the implementation of a system of pedagogical conditions.
An analysis of the formation of the creative activity of children in the system of additional education allows us to state that all children at one level or another show this quality. At the same time, the results of the ascertaining experiment show that the creative activity of most children in the system of additional education is characterized by low and medium levels of its formation, which implies huge reserves for a more intensive development of this quality in the subjects.
The study made it possible to:
1. To characterize the creative activity of children as a stable integral quality of a personality, expressed in a purposeful unity of needs, motives, interests and actions, manifested in a conscious search for creative situations.
2. Describe the structure of children's creative activity through a system of motives, creative abilities, skills of creative activity, combine them into three components: motivational, content-operational and emotional-volitional.
3. Select indicators of children's creative activity for the purposeful development of this quality, give qualitative characteristics of four different levels of its formation: low, medium, insufficiently high and high.
4. Determine the pedagogical conditions that ensure the effectiveness of the methodology for the development of children's creative activity based on the study of the features of the system of additional education and the results of the ascertaining experiment.
In determining these conditions, we proceeded from the main psychological and pedagogical ideas and concepts, about the essence and nature of a person as a subject of activity, about the leading role of activity as a source of personality formation, about the development of a system of additional education for children and others.
5. To put into practice the system of pedagogical conditions with the help of a number of pedagogical technologies.
The results of the study on the influence of pedagogical conditions on the development of children's creative activity in the process of additional education made it possible to solve the tasks and prove the hypothesis put forward.
The study confirmed the hypothesis and made it possible to draw the following conclusions:
Creative activity is an integral quality of a person, expressed in a purposeful unity of needs, motives, interests and actions, characterized by a conscious search for creative situations. The structure of creative activity includes the unity of motivational, content-operational and emotional-volitional components.
The development of the creative activity of children in the process of additional education occurs effectively when the following pedagogical conditions are implemented: the variability of the content of education, the selection of forms and methods of working with children adequate to the content, the creativity of the teacher of additional education, the positive attitude of the family to the creativity of the child.
The study was not only experimental in nature. It made a number of practical recommendations for teachers of additional education on the development of children's creative activity.
Further search for effective methods, ways and means of developing the creative activity of children is required. In particular, the further deeper development of the system of pedagogical conditions for the development of creative activity in children of adolescence and youth deserves attention. The system of training future teachers of additional education, who own the methodology for developing the creative activity of children, needs special development.
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The development of children's creative activity remains one of the psychological and pedagogical problems of our time. All sorts of games have been created aimed at physical and mental development, at improving the sensory apparatus, but educators traditionally pay insufficient attention to the game. Sometimes this happens due to the lack of professionalism of the educator himself, or a formal attitude to work. But the main reason, most likely, is that a creatively thinking person was not in demand in our country for many years, therefore, very little attention was paid to the development of children's creative activity. Let's just say that this was not considered a priority area of pedagogical theory and practice. At the same time, studies were carried out in our country, the subject of which was the problem of the development of children's individuality in creative games. Often there were also discussions on the issue under consideration.
Specialists, in particular, came to the conclusion that the training and development of children's creativity go in unity and interaction. Proving this, E.A. Flerina, for example, criticized the “decline theory” of children's creativity that had taken place, which consists in the fact that the creativity of preschoolers is unconsciously determined by instinctive, inherited stimuli.
Flerina proved that recession can come from lack of training or bad training; with proper guidance and training, the creativity of children reaches a relatively high level.
The path to personal development is the acquisition of skills. However, one should not think that you first need to teach a child to draw or sculpt, and then develop his creative abilities. “Creativity pervades the learning process.”
In order to deepen children's ideas, to arouse their interest in artistic play, in drawing, modeling, to evoke certain emotions, observations of life must be supplemented with artistic images. At the senior preschool age the book, the picture becomes the important source of game creativity. The richness of their idea, ingenuity in search of the means of its best realization depends on how emotionally children perceive these literary and artistic images, how deeply they realize the idea of the work.
To develop the ability to go from thought to action, it is necessary to develop the purposefulness of the child's activity. The goal is what to play, what to draw. If there is a goal, children can be easily taught to think about the upcoming game, to prepare the necessary material. The goal is the most important element of the structure of artistic activity.
For the development of creative activity of children, the presence of both objective and subjective conditions is necessary.
The objective conditions are as follows:
- a) sources of various artistic information that enrich the experiences of children, activities, entertainment, holidays in kindergarten, numerous life situations surrounding the child;
- b) the conditions of the material environment, allowing children to expand their activities and give it one or another character, to choose some kind of artistic practice;
- c) the nature and tactics of the teacher's leadership, his indirect actions, his complicity, manifested in the expression of his attitude to artistic activity, in encouraging remarks that create a favorable atmosphere.
Subjective conditions include:
- a) the artistic interests of children, their selectivity, sustainability;
- b) encouragement of children, causing their independent activity on the basis of the desire to express their artistic impressions, apply the existing artistic experience or improve it, and engage in relationships with children.
Since any activity, including play, consists of completed actions subordinated to a common goal, its structure should be considered in connection with its process: the emergence of an idea, the deployment of the activity itself and its conclusion. An analysis of the specialized literature shows that the structure of activities looks like this:
- 1. The emergence of ideas (goals) as a manifestation of the interests of the child, dictated by internal motives and due to existing artistic experience. Outwardly, this can be expressed in the child's choice of one or another type of activity, finding a form for its organization, involving peers in participation, establishing relationships and distributing roles, and preparing material conditions for its implementation.
- 2. Implementation of the idea, the quality of which depends on the ability to transfer existing experience to new conditions.
- 3. Self-control of actions, the desire to get closer to the goal. It is expressed in the child's improvement of his actions in the course of the development of play activity, in the assumptions made about its further course and end.
At the same time, in foreign and domestic pedagogy and psychology, the issue of the need to guide the artistic activities of children is widely discussed. Art in modern theories is interpreted from various positions - existentialism, neopragmatism, behaviorism, etc. The heterogeneity of the approach to art does not allow us to talk about common directions. Nevertheless, ideas about art as an independent and purely intuitive phenomenon dominate. In the theory of education, this position is also leading, therefore, naturally, it leads its supporters to the conclusion that there is a negative attitude towards pedagogical leadership.
Many works emphasize that art is not a reflection of life, but only a way to reveal personal experiences, such is the essence of the artistic activity of children.
A number of studies, however, recognizing that independent activity begins at the initiative of children, conclude that this process is not spontaneous, but pedagogically conditioned. Pedagogical conditionality depends on establishing the correct correlation of subjective and objective causes. The interests of children formed by adults, accumulated impressions - all this results in attempts to “self-identify” their experiences. The adult acts as a leader using the subjective interests of the child. This activity of an adult is indirect and requires him to:
- - enrichment of children's consciousness with impressions;
- - creating a subject environment that allows them to easily navigate and act with artistic materials; a benevolent attitude that disposes children to activities;
- - establishing the correct correlation between various forms of organization of children's activities;
- - the development of their pedagogical abilities, which will help teachers to creatively and tactfully form the ways of independent actions of children.
The existing domestic experience in the development of children's creative activity in the game shows that methodological guidance is needed for the development of independent play activity. It is necessary to plan an approximate theme of children's games, outline management techniques. All this contributes to maintaining a steady interest of children in artistic activities.
The teacher can use a whole group of methods to develop independent gaming activities. This is the organization of purposeful observation, conversations, questions.
With the help of these methods, the teacher contributes to the formation of the idea (selection of an object, the content of the future composition), the selection of material (paper, paints, colored crayons), the implementation of the plan (finding expressive means for the best embodiment of the content of the drawing, modeling), evaluation of the product of activity.
The study of the influence of fine arts, for example, on the development of creativity in the drawings of older preschool children showed that in the children's plans, under the influence of the display of illustrative material, the images are concretized, enriched by using and combining the details seen, the properties of the object; a pronounced emotional attitude to the hero and the plot is manifested; attention is directed to the choice of means for conveying the image of the depicted event.
An analysis of the drawings confirms that the illustrative material helps the child find various ways to convey his idea: expressiveness appears in the images of the drawings; used color as a means of expressing content; different compositional solutions are given.
An adult can actively participate in role-playing, dramatization, entertainment, play the role of a host, spectator, or performer.
Children are not indifferent to whether the teacher sees what they are doing, whether they notice their game. They are very sensitive to his reaction, and if he supports, approves of their actions, their activity increases, friendly remarks, hints are taken for granted.
The experimental work of specialists has shown that it is in the process of pedagogical guidance in the development of independent play activities of children that their initiative, speech activity, the ability to apply the skills acquired in training in new conditions increase, and creative opportunities are revealed. In particular, N.S. Karpinskaya, who studied the development of children’s artistic abilities in the process of dramatization games, wrote that “outside the process of special education, children’s dramatization games, the transmission of the text of fairy tales are devoid of color, expressiveness” Vygotsky L.S. Selected psychological studies. M., 1956. 519 p.
Among the main methods that determine the effectiveness of leadership were identified: systematic planning, the creation of an educational environment, the organization of holidays, entertainment, the use of specific methods of pedagogical influence Royak A. A. Psychological conflict and features of the individual development of the child's personality. M., 1988. 113 p.
But the work of an educator in the development of preschoolers should not be limited to pedagogical influence directly on children. In the activation of creative activity and the development of initiative, in enriching them with imaginative artistic impressions, the conditions in the family also play an important role. To familiarize parents with the tasks of the psychology of raising children, experts advise holding parent-teacher meetings. They need to give a detailed description of children's creativity, the work that is carried out in the classroom. Particular attention should be paid to the need for a close connection between the preschool institution and the family for the artistic development of children. Not only in kindergarten, but also at home, the child should have favorable conditions for the development of his creative and personal initiative.
R.I. Zhukovskaya emphasizes that creative games contribute to the transition of children's curiosity into curiosity; education of observation, development of imagination, ingenuity, ingenuity, memory of speech.
It is important that the teacher could skillfully enter the game, the children's society. This skill is a great quality of a teacher. V. G. Belinsky wrote: “There are people who love children's society and know how to keep it busy with a story, a conversation, and even a game, taking part in it; children, for their part, meet these people with noisy joy, listen to them with attention and look at them with frank gullibility, as if they were their friends.
Thus, the role of the teacher in managing the game is quite large and requires special qualities and skills from him.
The personality of a child is multifaceted and the most striking personality traits, its shades can manifest themselves and develop best in games. However, the formation of creative initiative in each child is a long process and to a large extent still depends on the level of cognitive and creative interests.
The task of the teacher is to timely assess and correctly direct the creative abilities of the child.
The conclusion is obvious: there is a direct relationship between learning and any game.
Undoubtedly, the issue of developing the creative activity of preschoolers, and the development of his personality as a whole, in games needs further in-depth study.
In order to understand how to correctly define the term "creative activity", we turned to numerous works that explore the problem of the formation of creative activity in preschool age. These are the works of Yu.B. Boreva, A.I. Lilova, E.A. Anufriev and others. The psychological studies of L.S. Vygotskaya, A.N. Leontieva and others.
Most of the works studying creative activity emphasize the word "activity" in this term. Defining this concept, many tend to the philosophical view that this is a quality that is inherent in the material, and which manifests itself in the ability to self-development, independent change and independent movement.
Different scientific sources define this term in different ways.
Domestic researchers in the field of pedagogy and psychology often understand activity as a certain measure of activity, or the ability to interact with other subjects.
It is believed that activity is one of the stable personality traits. We believe that for a more objective assessment of activity, it is also necessary to consider its psychological component.
There are definitions that indicate that activity is the ability to transform something in the world, which develops as a result of a person's spiritual and material wealth and which is expressed in creativity.
The activity of a person depends entirely on his internal motivation, on how a person relates to it. For the formation of creative activity, the motivational component means a lot.
It is believed that creativity is the highest form of activity that a person is capable of. Creativity can be different - it can be not only artistic, but also scientific and technical. Moreover, each area of creative activity has its own specific features. Therefore, we believe that the two terms "activity" and "creativity" are two concepts that interact with each other and have a mutual influence on each other.
Let us now consider in more detail the term "creativity" and its meaning. According to various scientific sources, we can find a lot of definitions that differ from each other in essence and content. Consider the term mono both from the point of view of philosophy and from the point of view of psychology.
Psychology makes it possible to look at creativity as a process, as a kind of mechanism through which creativity flows.
According to Petrovsky, creativity is a human activity that generates something new, something that has never existed before.
Also, some dictionaries give a more meaningful explanation of this concept. Creativity should be understood as an activity, as a result of which something new appears in material or spiritual terms. A person uses his knowledge and skills in the process of creativity in order to create a new, original and unique product. For creative activity, intuition and imagination, mental activity are involved. Thus, a person can reveal his existing and expand his new capabilities.
According to Dahl's dictionary, creativity is a property of activity, such as creation or creation.
Despite the fact that many different studies have been devoted to creative activity, the development of this kind of activity in children still requires careful research and development.
Begin in preschool childhood.
Usually scientists, when trying to define creative activity, simply list its components. According to V.D. Bayankina, creative activity should be manifested as a result of one's own initiative, as a result of which a person receives and transfers new knowledge, seeks to cooperate in this with other people, and shows a steady interest in new knowledge.
V.D. Maksimova tries to take into account the person's interest in this matter, what part he takes in it, whether he takes the initiative during preparation and during the activity itself, whether the person helps those with whom he works together. As a result, creative activity is considered as a complex of different components that make up the child's activity, as a kind of collection of many features of his personality. Of course, this cannot be called a mistake. However, this approach has its drawbacks. The very term creative activity is divided into small components and its essence as a whole is lost.
L.G. Veselova offers her own version of the definition of creative activity. According to the author's works, this type of activity is a way to satisfy a person's need for new knowledge and positive emotions associated with it. Also, creative activity allows a person to change existing knowledge in such a way as to express his attitude towards them using various techniques.
Yu.N. Ryumina also describes her vision of the phenomenon. According to her works, creative activity is a state of personality, manifested in actions that characterize a person’s desire to transform something or create new value from the point of view of the material or spiritual world.
We believe that all these definitions do not fully reveal the essence of the phenomenon under consideration. Especially when it comes to children of preschool age. Today, there are trends in the problem of preschool creativity and in the study of the potential of preschoolers, which are not taken into account by any of the authors listed above.
The last twenty years have marked for the system of preschool education new approaches to the development and diagnosis of the creative activity of children.
We believe that the main attention for understanding the essence of creative activity in preschool age should be given to the works of V.A. Petrovsky.
According to his works, there is a so-called supra-situational activity. Such activity is the result of a person setting a goal that is excessive in relation to the requirements of the current situation. That is, a person is not limited only by his current needs, but acts, as it were, "above the threshold of the necessary." He himself decides what his super-goal should be. He decides that the entire responsibility for achieving this goal lies with him, despite the fact that he is not able to program the result in advance.
If a person is able to take responsibility for the outcome of activity unknown to him in advance, then this is a sign of self-generation of the person as a subject. And I. Kovalev believes that this is precisely the creative activity of the individual.
After analyzing the research in the field of the formation of creative activity, as well as studying in detail the structure of this phenomenon, we concluded that there are two components, each of which will now be briefly discussed.
The first component is emotional-motivational. It includes: 1) high motivation, which manifests itself in the presence of an attitude to change the current situation or any object, as well as to create an alternative to the existing reality; 2) high intuition, which manifests itself in the fact that a person is able to see the final whole earlier than its individual parts; 3) in the predominance of positive thinking, in the harmony of the personal sphere.
The second component is intellectual and creative. It includes: 1) the ability of a person to solve current problems with the help of mental simulation of conditions (a person mentally conducts experimentation and sees the results); 2) the ability of a person to mentally transfer the properties of an object to a different situation and realize this situation with help.
So, we will understand creative activity as an initiative that a person takes to obtain and transfer new knowledge, the ability to cooperate with other people in the process of cognitive search.
The degree of development of creative activity is expressed in how its structural elements are formed.
KEI RK "Tsaganaman sanatorium boarding school"
I approve
Head teacher
M.S. Tebleeva
Order No. __________
KOU RK "CASSHI"
From________________
self-education
on the topic of:
"Development of creative activity"
Prepared by: Koksheva R.R.
2015
Explanatory note………………………………………………………………………………………
1. Features of the development of creativity and creative abilities in preschool children in modern pedagogy and psychology………………….
1.1 The concepts of "creativity" and "creativity"……………………..
1.2 Characteristics of the development of creative abilities in senior preschool age………………………………………………………
1.3 Conditions for the successful development of the creative abilities of preschoolers 5-7 years old by means of theatrical art……………………………………….
2. Theatrical activity as a means of developing creative abilities in children of senior preschool age…………………………..
2.1 Creative games as a type of theatrical activity…………….
2.2 Methods for diagnosing creative abilities in children aged 5-6 years…….
2.3 Educational games for older preschool children………..
2.4 Methods for the development of creative abilities in children by means of theatrical activities……………………………………………………….
Conclusion………………………………………………………………………..
Bibliography……………………………………………………………….
Explanatory note.
The transformations taking place in society give rise to new requirements in education for preparing children for school. One of them is the development of artistic and creative abilities in children of senior preschool age.
The game in the forms in which it existed in preschool childhood begins to lose its developmental significance and is gradually replaced by teaching and work, the essence of which is that these types of activities, in contrast to the game, which simply provide pleasure, have a specific goal. The games themselves become new. The question of the nature and essence of the game worried and still continues to attract the attention of many researchers, such as: Galperin P.Ya., V.L. Danilova, Zaporozhets A.V., Elkonin D.B.
Different approaches to children's play are reflected in many works. Among these approaches, one can single out an explanation of the nature of the essence of children's play, as a form of communication (M.I. Lisina), or as a form of activity, including the assimilation of adult activities (D.B. Elkonin), or as a manifestation and condition of mental development (Piaget J.)
Each of these approaches, highlighting some side of the game, ultimately turns out to be insufficient to explain the essence, the specifics of children's play as a whole.
L.S. Vygotsky noted that at school age, play and lessons, play and work, form the two main channels along which the activity of preschool children flows. Vygotsky L.S. I saw in the game an inexhaustible source of personal development, the sphere that defines the "zone of proximal development". Hence, the essence of the problem lies in the influence of the game on the development of children's creative abilities, personal qualities. The game creates a positive emotional background, against which all mental processes proceed most actively. The use of game techniques and methods, their sequence and interconnection will contribute to solving this problem.
Relevance The raised problem is caused by the need of psychologists, teachers, parents in improving methods of psychological and pedagogical influence on the emerging personality of the child in order to develop intellectual, communicative and creative abilities.
The definition of the problem and the relevance of the topic allows us to formulate quite specifically the purpose of the study: to develop and prove the effectiveness of gaming tools for the development of children's creativity.
Artistic and creative abilities are one of the components of the overall personality structure. Their development contributes to the development of the personality of the child as a whole. According to prominent psychologists L.S. Vygotsky, L.A. Wenger, B.M. Teplov, D.B. Elkonin and others, the basis of artistic and creative abilities are general abilities. If a child can analyze, compare, observe, reason, generalize, then, as a rule, a high level of intelligence is found in him. Such a child can be gifted in other areas: artistic, musical, social relations (leadership), psychomotor (sports), creative, where he will be distinguished by a high ability to create new ideas. Based on the analysis of the works of domestic and foreign psychologists that reveal the properties and qualities of a creative personality, general criteria for creative abilities were identified: readiness for improvisation, justified expressiveness, novelty, originality, ease of association, independence of opinions and assessments, special sensitivity.
Hypothesis - if in working with children of senior preschool age to develop creative abilities to use theatrical activities, then the formation of abilities will occur faster and more efficiently.
To achieve this goal, the following tasks are formulated:
1. Analyze the psychological, methodological and historical literature on this topic.
2. To study the process of developing creative abilities
3. To study the theatrical activity of children of senior preschool age and the conditions for its occurrence and organization
4. Conduct practical work confirming the influence of theatrical activities on the development of the creative abilities of children of senior preschool age.
Research methods : analysis of psychological, pedagogical, methodological, and other scientific literature, observation of the productivity of children's activities. These methods are used in a certain system, which is characterized by an increase in the role of certain methods at certain stages of research by N.A. Vetlugina, O.P. Radynova, E.A. Medvedeva, B.P. Nikitin, V.G.
1. Features of the development of creativity and creative abilities of preschool children in modern pedagogy and psychology.
1.1. The concept of "creativity" and "creativity"
The analysis of the problem of the development of creative abilities will largely be determined by the content that we will invest in this concept. Very often, in everyday consciousness, creative abilities are identified with abilities for various types of artistic activity, with the ability to draw beautifully, compose poetry, write music, etc. What is creativity really?
Obviously, the concept under consideration is closely related to the concept of "creativity", "creative activity". Creative activity should be understood as such human activity, as a result of which something new is created - be it an object of the external world or the construction of thinking, leading to new knowledge about the world , or a feeling that reflects a new attitude to reality.
If we carefully consider the behavior of a person, his activity in any area, then we can distinguish two main types of actions. Some human actions can be called reproducing or reproductive. This type of activity is closely connected with our memory and its essence lies in the fact that a person reproduces or repeats previously created and developed methods of behavior and actions.
In addition to reproductive activity, there is creative activity in human behavior, the result of which is not the reproduction of impressions or actions that were in his experience, but the creation of new images or actions. Creativity is at the core of this activity. Thus, in its most general form, the definition of creative abilities is as follows. Creative abilities are the individual characteristics of a person's quality, which determine the success of his performance of various creative activities.
Since the element of creativity can be present in any kind of human activity, it is fair to speak not only about artistic creativity, but also about technical creativity, mathematical creativity, etc.
1.2. Game as a means of developing human creative abilities
Play has a special meaning in the life of a child, it has the same meaning as activity and work in an adult. What a child is in play, such is in many ways he will be in work when he grows up. Therefore, the upbringing of the future "man" takes place, first of all, in the game. And the whole history of the individual as a doer and worker can be represented in the development of play and in its gradual transition into work. Childhood gives birth to its own culture of being a child. The significance of play activity in culture can be understood from the need to reproduce a person’s relationship to the real world, which he cannot fulfill in a real situation, from the need to communicate and exchange activities and emotions. The game has a procedural and transient character, its goal is to change the personality. The game is a means of adaptation to culture. It prepares the child for a future independent life. In it, the child, first of all, learns to be a man. The game is fundamentally different from imitation. In play activity, there is always imagination, which does not allow to merge with the object of imitation, maintains a certain distance in relation to it. Children, playing war, are carried away, they believe that “this is so”, that a battle is taking place, and at the same time they know that “this is not so”, no one will be killed here. Imitating something beautiful, sublime, dangerous, something other than what surrounds, the child never loses the idea of "ordinary reality." Play and imagination are inextricably linked. According to L.S. Vygotsky, play is the "common root" of a child's artistic activity. Children always strive to compose, writing is as much an activity of the imagination as a game. The game acts as a way of mastering the world. In the future, teaching becomes such a way of mastering the world, although the game does not completely disappear from the life of a teenager. The game has qualities that address directly the basic features of a person; it acts as a kind of replacement for the real situation, as a truly human activity. The game arises with the need in a certain period of human development, and this is directly related to the tasks of educating a holistic personality.
The world of the game is the result of the imagination, Gross comes to this, exploring the children's game. Elkonin, in contrast to Gross, believes that the element of fantasy, present in every game, does not fence off the creative and adaptive functions of the game from each other, but, on the contrary, unites them, requiring the child to have an active emotional reaction to the world around him. Fantasy is not just present in the game, it creates the game, it is the most important mechanism for transforming reality into the game world.
The ability to play and the need for it are inherent in the existential nature of a person who knows, a person who actively passes the world around him through the prism of subjective perceptions and ideas, through the world of his own imagination, producing various game forms. A person who plays is a person who creates his own world, and therefore, a person who creates. Being a creative person, according to N. Berdyaev, he turns into a being similar to God. Man is a great miracle of creation, he was created “in the image and likeness of God”, and therefore created free, he reflects the whole world as in a mirror, or rather, he himself is the whole world, a model of everything that has been created “from time immemorial”. "Man is a microcosm, in him is given the clue to the mystery of being - the macrocosm." Therefore, anyone who wants to understand the world must understand a person, Berdyaev believes. The game is not indifferent to creativity and is not devoid of it. Far from everything that is created by human genius can be called a game, but everything that is created by man is the result of his creative efforts. The game nourishes all other spheres of being, but does not create them. A person knows how to play and feels the need to play due to the reflexive nature of his consciousness, which manifests itself primarily in fantasy. According to the traditional understanding that prevailed in psychology and philosophy by the beginning of our century, fantasy is the ability to create new images (as well as reproduce images that are stored in memory). A little girl, playing with a doll, imagines herself to be a mother and knows perfectly well that all her actions; - it's "pretend". This division of the world into “really” and “pretend” was brilliantly described by Elkonin, concluding that where “really” there is no game, it is: - where, “pretend”. The playing girl reproduces maternal functions, imagining, fantasizing, creating the image of the mother. She creates her own game world. The same can be said about acting. The result of the conscious doubling of the world is the doubling of personality. "The animal does not know the game of fantasy as communication with possibilities, it does not play, relating itself to an imaginary appearance." Man, as a thinking and creative being, is the only subject of play activity, play consciousness and play relations. A kitten playing with a bow and a kitten lapping milk are one and the same kitten. A child sadly picking semolina porridge with a spoon, and a child saddling a stick, imagining himself a dashing rider, are two different children. The animal does not play in the full sense of the word. In our opinion, it is expedient to talk here not about the presence of the game in its true embodiment, in its specificity and selfhood, but about some rudiments of the game or, better, its prerequisites, just as we are talking about the prerequisites of consciousness in the animal world in the form of a highly organized psyche. Probably, as the mental processes of an animal as a result of evolution are transformed into human mental activity, its play behavior grows into an original, integral, qualitatively defined phenomenon - a game. A person endowed with fantasy is already a multitude of people rolled into one, this is the possibility of a game, for only he has the ability to turn the possible into reality, and the impossible to make possible. Without emotions it is impossible to know the truth. In its subjective reality, the game is determined by its connection with emotionality. The game serves, first of all, the requests of feeling, which is why children often easily destroy what they have created in the course of the game (castles made of cubes, sewn clothes for dolls, etc.): things in themselves, they are not interested here. Both adults and children equally “can’t stand it” when someone in the process of playing begins to “play around”, jokingly and playfully, and not “seriously” refers to what they are doing. The setting for seriousness is entirely determined in the game by the interests of feeling - and this is how it differs from the seriousness that accompanies all other spheres of being - work, love, death, etc. Game seriousness is the depth of feelings and experiences, the moment of authenticity within the framework of conventional existence. The game as a process and a state of mind in its sensual-emotional being is associated with pleasure. The game is that kind of pleasure that is available to everyone, games, like pleasures, can be "bad" and "good"; bring good and evil, teach, heal the soul, help, and can anger, cripple; everyone chooses his games, and the choice is determined by many factors. Remains unchanged, only the focus of the game on getting pleasure. There is no game without pleasure, while pleasure without play is quite achievable.
Perhaps because we feel sorry for parting with childhood, where the game is organic and natural, where it is the main way of mastering the world, why, in fact, role-playing is formed, the child, as it were, tries on his future life? Does this division into childhood and non-childhood exist at all within the limits of the existential significance of certain phenomena? Why do the geniuses of mankind often resemble children in their behavior and attitude? Is it because they "know how" and are not afraid to play?
Everyone will agree that a non-playing child is nonsense, rather an anomaly than the norm, something that causes anxiety of parents, teachers and doctors. Childhood is not only and not so much a preparation for adult life, but an original and self-valuable phenomenon, true being, real life, which, perhaps, is much more significant than all subsequent. Children's play is extremely meaningful, multifaceted, it is the main content of a child's life. What is the content of the game? - Life, in all its diversity and manifestations. This interpenetration of play and life, their interdependence characterizes not only children's play, but play in general. However, in the context of childhood, the game is realized and manifested, "defined" more fully and brighter. It is interesting to look at the game from the point of view of the philosophical understanding of childhood. The world of childhood is a world of deep feelings, strong emotions, all-consuming feelings. Childhood is an intuitive comprehension of the truth of life, its deep ontological meaning is boundless authenticity. How does this authenticity fit in with the conventionality of play, which we have called an essential part of childhood? Is there a contradiction here? Of course, there is, and this is a paradox that only reveals the deep moments of the unity of paradoxical phenomena - in our case, this is the authenticity, sincerity of childhood and the conventionality, the imaginary nature of the game world. The state of play for a child is precisely the moment of authenticity. The game preserves and protects authenticity, sincerity, naivete from the cruel lies of everyday life. Being imaginary, the game is never false, since a lie is impossible where initially there is an appearance that does not pass off as reality, but exists on its own. After all, a lie presupposes the substitution of one phenomenon - a real one, with another - a false one, but the game does not replace reality, it exists along with it.
The game is sincere, just like a child, and this is probably why they “understand” each other so well and combine so organically - a child and a game. The child is "thrown" into a world alien and incomprehensible to him, often frightening and incredibly huge, but interesting. Interest and an attempt to bring this world closer to oneself pushes the child to adaptive activity by creating his own conditional world. The conventions of the game and the authenticity of the children's perception of the world organically complement each other, perhaps that is why the game forever retains the authenticity of emotions, which are the source of pleasure.
1.3. Conditions for the successful development of creative abilities
preschoolers 5-7 years old by means of theatrical art
One of the most important factors in the musical creative development of children is the creation of conditions conducive to the formation of their creative abilities. Based on the analysis of the works of several authors, in particular J. Smith, B.N. Nikitin, and L. Carrol, O.P. Radynova, E.A. Medvedev, six main conditions for the successful development of musical creative abilities of children were identified.
It has long been known that musical creativity requires a comfortable psychological environment and the availability of free time, so the sixth condition for the successful development of creative abilities is a warm, friendly atmosphere in the family and the children's team. Adults must create a safe psychological base for the child to return from creative search and his own discoveries. It is important to constantly stimulate the child to musical creativity, to show sympathy for his failures, to be patient even with strange ideas unusual in real life. It is necessary to exclude comments and condemnations from everyday life.
But the creation of favorable conditions is not enough to raise a child with a high musical creativity, although some Western psychologists still believe that musical creativity is inherent in the child and that it is only necessary not to prevent him from expressing himself freely. But practice shows that such non-intervention is not enough: not all children can open the way to creation and maintain creative activity for a long time. It turns out (and pedagogical practice proves this), if you choose the appropriate teaching methods, then even preschoolers, without losing the originality of creativity, create works of a higher level than their untrained self-expressing peers. It is no coincidence that children's circles and studios, music schools and art schools are so popular now. Of course, there is still a lot of debate about what and how to teach children, but the fact that it is necessary to teach is beyond doubt.
Modern pedagogical science, looking at education as a reproduction of the spiritual potential of a person, has a variety of areas of educational impact on the child. The sphere of art is considered as a space that contributes to the formation of the socio-aesthetic activity of the individual. According to modern scientists who study the problems of preschool education, the synthesis of the arts contributes to the disclosure of the inner qualities of the individual and the self-realization of his creative potential.
This view of the upbringing of the child made the problem of education and upbringing of preschoolers by means of theatrical art relevant and made it possible to turn to theatrical activity in preschool educational institutions not only as an independent section of the artistic education of children, but also as a powerful synthetic means of developing their creative abilities. After all, the art of the theater is an organic synthesis of music, dance, painting, rhetoric, acting, concentrates into a single whole the means of expression available in the arsenal of individual arts, and, thereby, creates conditions for the education of a holistic creative personality, which contributes to the realization of the goal of modern education. .
The modern paradigm of preschool education conflicts with the traditional concept of the development of a preschool child by means of theatrical activity, which argued that introducing a child to theatrical art at this age is limited only to teaching children elementary expressive skills and the formation of specific skills of performing skills.
Focusing on the foregoing, one can note the high degree of importance of theatrical activity for the development of the musical creative abilities of the child and assert the necessity and expediency of the existence of an activity program not only with gifted children, but also with all pupils of preschool educational institutions.
2. Theatrical activities as a means of developing the creative abilities of older preschool children.
Creative abilities in children are manifested and developed on the basis of theatrical activities. This activity develops the personality of the child,instills a steady interest in literature, music, theater, improves the ability to embody certain experiences in the game, encourages the creation of new images, encourages thinking. There is a problem that worries many teachers, psychologists, parents: some children have fears, breakdowns, lethargy, while others, on the contrary, have looseness and fussiness. Children often lack the skills of arbitrary behavior, memory, attention and speech are not sufficiently developed. The shortest way of emotional liberation of a child, removal of contraction, learning to feel and artistic imagination is the way through the game, fantasizing, writing. All this can give theatrical activity. Being the most common type of children's creativity, it is dramatization that connects artistic creativity with personal experiences, because the theater has great power to influence the emotional world of a child.
2.1. Creative games as a type of theatrical activity
Theatrical activity creates conditions for the development of creative abilities. This type of activity requires from children: attention, ingenuity, speed of reaction, organization, ability to act, obeying a certain image, transforming into it, living its life. Therefore, along with verbal creativity, dramatization or theatrical production is the most frequent and widespread type of children's creativity.
This is due to two main points: firstly, the drama, based on the action performed by the child himself, most closely, effectively and directly connects artistic creativity with personal experience.
As Petrova V.G. notes, theatrical activity is a form of living out the impressions of life lies deep in the nature of children and finds its expression spontaneously, regardless of the desire of adults.
In a dramatic form, an integral circle of imagination is realized, in which the image, created from the elements of reality, embodies and realizes again into reality, even if it is conditional. Thus, the desire for action, for embodiment, for realization, which is inherent in the very process of imagination, finds its full realization in theatricalization.
Another reason for the proximity of the dramatic form to the child is the connection of all dramatization with play. Dramatization is closer than any other type of creativity, it is directly connected with the game, this root of all children's creativity, and therefore it is the most syncretic, that is, it contains elements of the most diverse types of creativity.
This is the greatest value of children's theatrical activity and provides a pretext and material for the most diverse types of children's creativity. Children themselves compose, improvise roles, stage some ready-made literary material. This is the verbal creativity of children, necessary and understandable to the children themselves. The production of props, scenery, costumes gives rise to the fine and technical creativity of children. Children draw, sculpt, sew, and all these activities acquire meaning and purpose as part of a common idea that excites children. And finally, the game itself, consisting in the presentation of characters, completes all this work and gives it its full and final expression.
Theatrical activity allows you to solve many problems of the kindergarten program: from familiarization with social phenomena, the formation of elementary mathematical knowledge of physical perfection.
A variety of themes, means of depiction, emotionality of theatrical activities make it possible to use them for the comprehensive development of the individual and the development of creative abilities.
And skillfully, the questions posed in preparation for theatrical activities encourage them to think, analyze rather complex situations, draw conclusions and generalizations. This contributes to the improvement of mental speech. In the process of working on the expressiveness of the characters' replicas, their own statements, thethe child's dictionary, "the sound side of speech is being improved." A new role, especially the dialogue of characters, puts the child in front of the need to express himself clearly, clearly, and understandably. His dialogic speech, its grammatical structure improves, he begins to actively use the dictionary, which, in turn, is also replenished.
The artistic expressiveness of the images, sometimes the comicality of the characters, enhance the impression of their statements, actions, and events in which they participate.
The creativity of children in these games is aimed at creating a game situation, at a more emotional embodiment of the role taken on.
This contributes to the development of creative abilities and is manifested in the fact that preschoolers combine different events in the game, introduce new, recent ones that made an impression on them, sometimes include episodes from fairy tales in the image of real life.
In theatrical activities, actions are not given in finished form. A literary work only suggests these actions, but they still need to be recreated with the help of movements, gestures, facial expressions.
The child himself chooses expressive means, adopts them from the elders.
In creating a game image, the role of the word is especially great. It helps the child to identify his thoughts and feelings, to understand the experiences of partners, to coordinate his actions with them. Children see the world around them through images, colors, sounds. Kids laugh when the characters laugh, they feel sad, upset with them, they can cry over the failures of their favorite hero, they are always ready to help him.
The theme and content of theatrical activities, as a rule, have a moral orientation, which is contained in every fairy tale. The child begins to identify himself with the image he loves, transforms into him, lives his life - this is the most frequent and widespread type of theatrical activity as the development of children's creativity. Since positive qualities are encouraged and negative ones are condemned, children in most cases want to imitate kind, honest characters. And the approval of worthy deeds by adults creates satisfaction in them, which serves as an incentive to further control their behavior. The great and varied influence of theatrical activities on the personality of the child makes it possible to use them as a strong, but unobtrusive pedagogical tool, since the child himself experiences pleasure and joy. The educational possibilities of theatrical activities are enhanced by the fact that their subject matter is practically unlimited. It can meet the diverse interests of children.
The tasteful design of the performance has an aesthetic impact on children. The active participation of children in the preparation of attributes, scenery develops taste, brings up a sense of beauty. The aesthetic impact of theatrical games can be deeper: admiration for the beautiful and disgust for the negative cause moral and aesthetic experiences, which, in turn, create the appropriate mood, emotional upsurge, and increase the vitality of the children.
2.2. Methods for diagnosing creative abilities in children
preschool age
1. Methodology « Sun in the room »
Base. Realization of the imagination.
Target. Identification of the child's ability to transform "unreal" into "real" in the context of a given situation by eliminating the discrepancy. Activation and development of creative imagination of preschoolers in the process of perception of musical works.
Tasks. Enriching children's ideas about the sun. Activation of verbal reactions (statements) of children to music and children's imagination. The development of independent creative activity of preschoolers.
Material. A picture depicting a room in which there is a little man and the sun; pencil, high-quality audio recording of music by S. Prokofiev "Rain and Rainbow"
Instructions for carrying out.
The teacher, showing the child a picture: “I give you this picture. Look carefully and say what is drawn on it. By listing the details of the image (table, chair, little man, lamp, sun, etc.), the teacher gives the following task: “That's right. However, as you can see, here the sun is drawn in the room. Tell me, please, can it be so, or has the artist messed up something here? Try to fix the picture so that it is correct.
It is not necessary for the child to use a pencil, he can simply explain what needs to be done to “correct” the picture.
Data processing.
During the examination, the teacher evaluates the child's attempts to correct the drawing. Data processing is carried out according to a five-point system:
Lack of response, rejection of the task (“I don’t know how to fix it”, “I don’t need to fix the picture”)
“Formal elimination of inconsistency (erase, paint over the sun) Meaningful elimination of inconsistencies:
a) simple answer (Draw elsewhere - “The sun is on the street”)
b) a difficult answer (to redo the drawing - “Make a lamp out of the sun”).
Constructive response (separate the inappropriate element from others, keeping it in the context of the given situation (“Make a picture”, “Draw a window”, “Put the sun in a frame”, etc.).
2. Methodology « Chicks and unhatched chicks »
Base. Realization of imagination and fantasy.
Target. Activation and development of creative imagination of preschoolers in the process of perception of musical works.
Tasks. Enrichment of children's ideas about chicks and unhatched chicks. Activation of verbal reactions (statements) of children to music and children's imagination. The development of independent creative activity of preschoolers.
Material. High-quality audio recording of the music "Ballet of Unhatched Chicks" from M.P. Mussorgsky's piano suite "Pictures at an Exhibition" (for example, performed by S. Richter), tape recorder, egg, pictures depicting chicks, a large soft chick toy, necessary items for drawing paints or wax crayons for each child.
Instructions for carrying out.
The teacher, showing the child a picture: "Now I will give you this picture. Please look carefully and tell me what is drawn on it?" After listening to the answer, the teacher folds the picture and asks: "What will happen to the duck if we fold the picture like this?" After the child's answer, the picture straightens out, folds up again, and the child is asked the same question again. In total, five folding options are used - "corner", "bridge", "house", "pipe", "accordion".
Data processing.
During the examination of the child, the teacher fixes the general meaning of the answers when completing the task. Data processing is carried out according to a three-point system. Each task corresponds to one position when bending the picture. The maximum score for each task is 3 points. In total - 15 points. The following response levels are distinguished:
Lack of response, rejection of the task ("I don't know", "Nothing will happen", "It doesn't happen") - A descriptive response, listing the details of the drawing that are in or out of view, i.e. loss of image context ("The duck has no head", "The duck is broken", "The duck is split into pieces", etc.)
2. Answers of a combining type: maintaining the integrity of the image when the picture is bent, including the drawn character in a new situation (“The duck dived”, “The duck swam behind the boat”), building new compositions (“As if they made a pipe and painted a duck on it”) and etc. Some children give answers in which the preservation of the integral context of the image is “tied” not to any situation, but to the specific form that the picture takes when folded (“The duck has become a house”, “It has become like a bridge”, etc. d.). Similar responses are of the combining type.
3. Method "How to save a bunny"
Base. Supra-situational-transformative nature of creative solutions.
Target. Ability assessment and the transformation of a task of choice into a task of transformation under the conditions of transferring the properties of a familiar object to a new situation.
Material. Bunny figurine, saucer, bucket, wooden stick, deflated balloon, sheet of paper.
Instructions for carrying out.
A bunny figurine, a saucer, a bucket, a wand, a deflated ball and a sheet of paper are placed on the table in front of the child. Psychologist, picking up a bunny: "Meet this bunny. Once such a story happened to him. The bunny decided to sail on a boat in the sea and sailed far, far from the coast. And then a storm began, huge waves appeared, and the bunny began to sink. Help bunny can only we are with you. We have several items for this (the psychologist draws the child's attention to the items laid out on the table). What would you choose to save the bunny?"
Data processing.
During the survey, the nature of the child's answers and their justification are recorded. Data are evaluated on a three-point system.
First level. The child chooses a saucer or bucket, as well as a stick with which you can lift the bunny from the bottom without going beyond a simple choice; the child tries to use ready-made objects, mechanically transfer their properties to a new situation.Second level. A decision with an element of simple symbolism, when a child suggests using a stick as a log, on which a bunny can swim to the shore. In this case, the child again does not go beyond the situation of choice.Third level. To save the bunny, it is proposed to use a deflated balloon or a sheet of paper. For this purpose, you need to inflate a balloon ("A bunny on a balloon can fly away") or make a boat out of a sheet. In children at this level, there is a setting for the transformation of objective material available. The initial task of choice is independently transformed by them into a task of transformation, which testifies to the child's supra-situational approach to it.
4. Method "Plate"
Base. Children's experimentation.
Target. Evaluation of the ability to experiment with transforming objects.
Material. A wooden plank, which is a hinged connection of four smaller square links (the size of each link is 15 * 15 cm)
Instructions for carrying out.
The plank in expanded form lies in front of the child on the table. Psychologist: "Now let's play with such a board. This is not a simple board, but a magic one: you can bend and unfold it, then it becomes like something. Try it."
As soon as the child folded the board for the first time, the psychologist stops him and asks: "What did you get? What does this board look like now?"
Hearing the child's answer, the psychologist again turns to him: "How else can you fold it? What did it look like? Try again." And so on until the child stops himself.
Data processing.
When processing the data, the number of non-repeating responses of the child is evaluated (naming the shape of the resulting object as a result of folding the board (“garage”, “boat”, etc.), one point for each name. The maximum number of points is initially not limited.
2.3. Educational games for preschool children
Games for the development of associativity of thinking
Game "What does it look like"
3-4 people (guessers) go out the door, and the rest of the participants in the game agree on which item will be compared. The guessers come in, the presenter begins: "What I thought looks like ..." and gives the floor to the one who first found the comparison and raised his hand: For example, a bow can be associated with a flower, with a butterfly, a helicopter propeller, with the number "8 , which lies on its side. The guesser chooses new guessers and offers the next subject for association.
"Surreal Game" (drawing in several hands)
The first participant in the game makes the first sketch, depicts some element of his idea. The second player, necessarily starting from the first sketch, makes an element of his image, and so on. to the finished drawing.
"Magic blots"
Before the game, several blots are made: a little ink or ink is poured into the middle of the sheet and the sheet is folded in half. Then the sheet is unfolded and now you can play. Participants take turns talking. What subject images do they see in a blot or its individual parts. Whoever names the most items wins.
Game "Word associations"
Take any word, for example, loaf. It is associated:
1. with bakery products.
with consonant words: baron, bacon.
3. with rhyming words: pendant, salon.
Create as many associations as possible according to the proposed scheme. Associativity of thinking can be developed on the go. Walking with children, you can think together what clouds, puddles on asphalt, pebbles on the shore look like.
Games for the development of dialectical thinking.
Good-bad game
Option 1 . For the game, an object indifferent to the child is selected, i.e. which does not cause persistent associations in him, is not associated for him with specific people and does not generate emotions. The child is invited to analyze this object (subject) and name its qualities from the point of view of the child, positive and negative. It is necessary to name at least once what is bad and what is good in the proposed facility, what you like and dislike, what is convenient and not convenient. For example: pencil.
I like that it's red. I don't like that it's thin.
It's good that it's long; it is bad that it is sharply sharpened - you can prick.
It is convenient to hold in your hand, but it is inconvenient to carry it in your pocket - it breaks.
A specific property of an object can also be considered. For example, it is good that the pencil is long - it can serve as a pointer, but it is bad that it is not included in the pencil case.
Option 2. For the game, an object is proposed that has a specific social significance for the child or causes persistent positive or negative emotions in him, which leads to a subjective unambiguous assessment (candy is good, medicine is bad). The discussion proceeds in the same way as in option 1.
Option 3. After children learn to identify the contradictory properties of simple objects and phenomena, one can proceed to the consideration of "positive" and "negative" qualities, depending on the specific conditions in which these objects and phenomena are placed. For example: loud music.
Well, if in the morning. You wake up quickly and feel refreshed. But it’s bad if at night it interferes with sleep.
One should not be afraid to touch on in this game such categories that were previously perceived by children exclusively unambiguously ("fight", "friendship", "mother"). Children's understanding of the inconsistency of properties contained in any objects or phenomena, the ability to identify and explain the conditions under which certain properties manifest themselves, only contributes to the development of a sense of justice, the ability to find the right solution to a problem in a critical situation, the ability to logically evaluate their actions and choose from many different properties of the object, those that correspond to the chosen goal and real conditions.
Option 4. When the identification of contradictory properties ceases to cause difficulties for children, one should move on to a dynamic version of the game, in which for each identified property the opposite property is named, while the object of the game is constantly changing, a kind of "chain" is obtained. For instance:
Eating chocolate is good - tasty, but the stomach can get sick;
The stomach hurts - this is good, you can not go to kindergarten;
Sitting at home is bad, boring;
You can invite guests - etc.
One of the possible variants of the game "Good - bad" was, perhaps, its modification, reflecting the dialectical law of the transition of quantitative measurements into qualitative ones. For example, sweets: if you eat one candy, it is tasty and pleasant, and if you eat a lot, your teeth will ache, you will have to treat them.
It is desirable that the game "Good - bad" become part of the daily life of the child. It is not necessary to set aside time specifically for its implementation. You can play it on a walk, during lunch, before going to bed.
The next stage in the formation of dialectical thinking will be the development in children of the ability to clearly formulate a contradiction. First, let the child select words that are opposite in meaning to the given words. For example, thin - (?) fat, lazy - (?) hardworking, sharp - (?) stupid. Then you can take any pair of words, for example, sharp - dumb, and ask the children to find an object in which these properties are present at the same time. In the case of "sharp - blunt" - this is a knife, a needle, all cutting, sawing tools. At the last stage of the development of dialectical thinking, children learn to resolve contradictions using TRIZ methods of resolving contradictions (there are more than forty in total).
Games for the development of systematic thinking
Game "Teremok"
Children are given pictures of various objects: accordions, spoons, pots, etc. Someone is sitting in a "teremka" (for example, a child with a drawing of a guitar). The next child asks to go to the teremok, but can get there only if he says how the object in his picture is similar to the object of the owner. If a child with an accordion asks, then both have a musical instrument in the picture, and a spoon, for example, also has a hole in the middle.
"Collect the figurines"
The child is given a set of small figures cut out of thick cardboard: circles, squares, triangles, etc. (approximately 5-7 figures). 5-6 pictures are made in advance with the image of various objects that can be folded from these figures: a dog, a house, a car. The child is shown a picture, and he puts the object drawn on it from his figures. The objects in the pictures should be drawn so that the child can see which of the figures stands where, that is, the drawing should be divided into details.
"Rabbits"
Ri a picture pops up on any subject - a forest, a yard, an apartment. There should be 8-10 errors in this picture, that is, something should be drawn in a way that does not actually happen. For example, a car with one wheel, a hare with horns. Some errors should be obvious and others not. Children must show what is drawn incorrectly.
2.4. Methodology for the development of children's creative abilities by means of theatrical activities
Creative abilities in children are manifested and developed on the basis of theatrical activities. This activity develops the personality of the child, instills a steady interest in literature, music, theater, improves the skill to embody certain experiences in the game, encourages the creation of new images, encourages thinking. There is a problem that worries many teachers, psychologists, parents: some children have fears, breakdowns, lethargy, while others, on the contrary, are free and fussy. Children often lack the skills of arbitrary behavior, memory, attention and speech are not sufficiently developed. The shortest way of emotional liberation of a child, removal of contraction, learning to feel and artistic imagination is the way through the game, fantasizing, writing. All this can give theatrical activity. Being the most common type of children's creativity, it is dramatization that connects artistic creativity with personal experiences, because the theater has great power to influence the emotional world of a child.
Dramatization, one of the types of theater, will be very productive with children. The main goal is to form a thinking and feeling, loving and active person, ready for creative activity.
So, what can you do in circles for theatrical production and dramatization with children
In our time - a time of stress, sharp ups and sharper falls in the lives of people - everything is overgrown with a lot of problems. The press, television, films, even children's cartoons carry a fairly large charge of aggression, the atmosphere is saturated with negative, disturbing and annoying phenomena. All this falls on the unprotected heads and psyche of the child. How to protect them from this terrible and destructive force? That is why it is necessary to instill in children through the theater a love for music, for literature and theater, for the Russian word, and to develop creative abilities in children. Also, classes in a literary and dramatic circle will help the child to perceive the world around him and reality more easily, find the right answers to his questions, act correctly in certain situations and enter the reality around us as a developed and full-fledged personality.
The tasks of the literary and theatrical circle can be determined:
The development of the child's personality, the formation of a worldview based on the best traditions of Russian national culture.
Instilling a steady interest in the literary word, theater, and Russian folklore.
Improving the skills of embodiment in the game and certain experiences.
Development of patriotic, moral education (education of love and respect for one's Motherland, its history, culture of one's people).
Development of children's ability to perceive an artistic image.
Development of the creative abilities of the child.
Classes in the circle develop the correct speech, memory and thinking in the child. In the classroom, I saw more than once how difficult it is for even capable children to express their thoughts. When I began to work with children, I realized that each of the children is talented in their own way, that everyone can play the same role, but in different ways, and therefore each child simply needs to be given the floor (the opportunity to speak) so that he was able to throw off this burden of “tightness”. And then every child has a moment when he can do what he could not before - and this is a victory.
And just like creativity, theatrical ability is best developed at an early age.
Conclusion
Creativity is not a new subject of study. The problem of human abilities aroused great interest of people at all times. However, in the past, society did not have a special need to master the creativity of people. Talents appeared as if by themselves, spontaneously created masterpieces of literature and art: they made scientific discoveries, invented, thereby satisfying the needs of a developing human culture. In our time, the situation has changed radically. Life in the era of scientific and technological progress is becoming more diverse and complex. And it requires from a person not stereotyped, habitual actions, but mobility, flexibility of thinking, quick orientation and adaptation to new conditions, a creative approach to solving large and small problems. Considering the fact that the share of mental labor in almost in all professions is constantly growing, and an increasing part of the performing activity is shifted to machines, it becomes obvious that the creative abilities of a person should be recognized as the most essential part of his intellect and the task of their development is one of the most important tasks in the education of a modern person. After all, all the cultural values accumulated by mankind are the result of the creative activity of people. And how far human society will advance in the future will be determined by the creative potential of the younger generation.
In conclusion, it should be noted that the education of children's creative abilities will be effective only if it is a purposeful process in which a number of particular pedagogical tasks are solved aimed at achieving the ultimate goal. And in this work, based on the study of literature on this topic, I tried to determine the main directions and pedagogical tasks for the development of such important components of creative abilities as creative thinking and imagination in preschool age. Also important is the interest in the lessons of the teacher himself. It is known that an adult can interest children in something only when he himself is passionate. If a child feels such an attitude of an adult, admiration for the beauty of music, he gradually also recognizes musical values. If an adult shows indifference, it is transmitted to children. In my opinion, it is necessary to improve the theatrical and musical education of preschoolers, and improve it not by creating new programs, methods, but by adhering to existing material, as already mentioned, using all types of children's theatrical and musical activities in the classroom.
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