Formation of creative abilities of younger students. The current state of the problem of developing the creative abilities of younger schoolchildren The history of the emergence of the “Tsumami-kanzashi” technique

home » Middle Ages Formation of creative abilities of younger students. The current state of the problem of developing the creative abilities of younger schoolchildren The history of the emergence of the “Tsumami-kanzashi” technique

The development of students' creative abilities is an interesting and serious task that teachers and parents face. Nowadays, much attention is paid to the presence of creative abilities in younger students, their ability to think in an original and interesting way. In the future, specialists who can think outside the box, "creatively" are in demand in almost all professional areas - from the development of complex software products to the design of premises and buildings.

Many parents believe that the child's abilities are a ready-made set of skills and abilities. However, they are wrong. A person is not born capable of any particular type of creativity (drawing, singing, writing). The presence of certain abilities in him, most likely, will be due to the influence of the correct organization of education and training at the initial stage of his life.

That is why it is very important to assess in time the degree of "involvement" of the child in the creative process, his desire to find unusual and unique solutions.

	Several criteria by which one can judge the readiness of a younger student for creativity:
creative activity	He loves non-standard tasks, fantasizes with pleasure, he can come up with something new: a literary hero, a non-existent animal, his own version of the end of his favorite fairy tale, cartoon.
Originality	His answers to simple questions confuse adults, finds original solutions for the proposed tasks, does not like to choose from ready-made options.
Flexibility	“Gushing” with ideas in all areas of education: from solving logical exercises to tasks for making something in labor lessons.

It must be remembered that the period of primary school age is very responsible and difficult. The child finds himself in a completely new atmosphere for himself, builds a different level in his system of social relations (teacher-student), gains new experience in communicating with people. Therefore, this age provides additional advantages for the development of creative abilities, on the one hand, enriching existing skills, on the other hand, opening up scope for gaining new knowledge and experience.

Fantasy - as one of the basic elements of the development of creativity in a child

You can often hear from parents the words addressed to the child: “Well, you came up with it!”, “What an inventor you are, better go do some math”, “Oh, well, a dreamer ...” and so on. The range of parental assessments of a child's predilection for fantasizing is unusually wide - from complete rejection (“better do something useful”) to an attitude as something inevitable - “oh, I need these fantasies of yours”.

Meanwhile, it is fantasies that are an indicator of how much a younger student is capable of creative activity. It is fantasy that will help him develop his creative abilities in the future, it is important only to direct the energy of the young dreamer in the right direction. And you need to do this even from preschool age, when the child’s imagination begins to actively develop.

Types of art that stimulate the creative activity of the child

Almost all types of art that a younger student encounters in the classroom in one way or another will develop his creative activity. This is, first of all, the art of the word-literature, and related activities - the development of speech, literary reading. Fine art, which includes in its activities not only drawing lessons, but also the creation of objects in the technique of folk crafts, arts and crafts. This also includes music lessons, all kinds of dances and ballet.

Nevertheless, it can be noted that the school curriculum is sometimes very static and does not always provide the necessary scope for the development of the child's creative potential. That is why homework or optional classes in specialized circles and sections will help younger students realize their desire for creative activity to the fullest.

Tasks for the development of creative abilities of younger students at home

Visual arts, figurative thinking

Drawing abstract categories (draw, sadness, joy, sound, thought).
Looking at random blots, drawing and transforming them into familiar forms and concepts: animal figures, houses, flowers.
Looking at clouds in the sky, searching for analogies with known concepts, ideas (by shape, color)
Reverse drawing technique. A very interesting activity that will take not only the child, but also the parents. A child or adult holds a pencil vertically, pressing its tip against a sheet of paper. The pencil must remain motionless. The second child (or adult) moves the paper under the pencil in such a way that the result is a drawing.

In the first lessons, these can be simple tasks: lines, simple shapes (oval, circle, triangle). In the future, the tasks become more difficult: offer to draw animal figures, letters, contours of famous objects (house, car, flower).

Role-playing games, pantomime

Pantomime involves the use of such tools of acting to create an image as plasticity, facial expressions and gestures, without the use of voice. The main task of pantomime in classes with children is to develop the child's imagination and his acting abilities. Ask the child to depict several situations that are familiar to him, (start from the simplest), for example:

You pet the dog.
You are reading a newspaper.
You light the gas on the stove.
You eat the first course.
You are fixing the faucet in the bathroom.
You lace up your boots.
You are watching TV.
You are dusting.
You hang your laundry to dry.
You are drinking very hot coffee.

Gradually, tasks can be complicated and offer the child not specific situations for the image, but abstract categories: joy, fun, happiness, surprise, etc.

Over time, when you can guess and guess completely different words and concepts, playing pantomime will become a favorite type of joint leisure for adults and children.

Role-playing game is one of the great ways to show the creative potential of the child to the fullest.

The options are varied. “Who do I want to be” is one of the favorite role-playing games for younger students. Its goal is not to provide the child with knowledge in career guidance, you offer him to reincarnate as anyone - from the hero of his favorite fairy tale to an abstract person (kind, brave) and an inanimate object (table, car, crane).

First, try to jointly demonstrate reincarnation - posture, facial expressions, actions. Then ask the child to explain what this image he created thinks about, how he acts, what they expect from others. For example, a child decides to "become" a school chair. Invite the child to talk about how he would like to see those who sit on it, what the children who will sit on this chair are talking about, and so on.

In conclusion, analyze with the child why this particular object (concept, object) was chosen by him for reincarnation.

Educators and psychologists say that it is not difficult to reveal the creative beginning (and it must be in any child). Primary school age is a period that provides wonderful opportunities for the formation of a child's creative space. Therefore, the development of students' creative abilities is an important and demanded aspect in the school system of education and training.

Lecturer, child development center specialist
Druzhinina Elena

A child psychologist talks about how to develop creativity and imagination in children:

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Introduction

The relevance of the research problem. The talent and creativity of the individual in modern socio-economic conditions are the engine of the country's intensive economic development and a contributing factor to national prestige. As it turned out, an intellectual with a high level of development of creative abilities cannot be replaced either by a cybernetic machine or by a team of individuals with average intellectual and creative abilities. The intellectual and creative potential largely depends on the extent to which psychological and pedagogical science, together with school practice, can develop a scientifically based theory and effective pedagogical technology for identifying and further developing the creative abilities of schoolchildren of different age categories in the process of teaching, managing the process of education and self-education of creative personality.

Scientific research tends to move from developing a general theory of creativity to finding ways to teach creative activity. But in the very problem of teaching creativity lies an internal disagreement. The phenomenon of creativity involves the creation of a qualitatively new, which did not exist before. Therefore, it is impossible to teach according to what has not been created, but it is possible to teach the mechanisms of its creation, to form the ability for creative activity, its driving motives.

Psychological and pedagogical research (D. Bogoyavlenskaya, L. Vygotsky, A. Zhuganov, V. Kan-Kalik, N. Kirillova, V. Kraevsky, Yu. Kulyutkin, M. Lazarev, V. Lozovaya, R. Nizamov, A. Petrovsky , V. Smagin, O. Sushchenko, P. Shevchenko, etc.) give us reason to believe that the defining quality of a creative personality is its creative activity, which is considered as an integrative characteristic of a personality, in which, on the one hand, new deep formations are displayed in the structure personalities (creative needs, motives, harassment), and, on the second, qualitative changes find their expression in activities that become more purposeful, powerful, productive.

Although, a feature of the activity of a teacher of an elementary educational institution is the fact that he participates in a creative act - the creation of a new person, therefore, creativity is the most essential side of the teacher's activity. The elementary school is obliged to reveal as early as possible the features of the creative abilities of the personality of younger students, to begin to successfully develop them in all pupils, remembering that all children, without exception, are born with various inclinations of creativity. At the same time, to a greater extent, one should take care of the development of the creative abilities of the personality of capable and gifted children. That is why the system of training future teachers should be focused on their mastery of advanced pedagogical technologies, on the use of subject knowledge for the purpose of more effective education and development of the individual, on the development of computer technology, the formation of a holistic scientific picture of the world, the ability of younger students to self-determination. In order to form a creative personality in the process of education and training, each teacher must know the features of the creative learning process, be able to diagnose the level of development of creativity in children, know modern organizational forms, ways and mechanisms for the formation of a creative personality as a system of qualities, in order to be able to form such qualities in their students . This justifies the relevance of the chosen topic: "Psychological and pedagogical foundations for the development of creative abilities of younger students."

The object of the study is the process of formation of creative abilities of younger students.

Subject of study- the basics of the formation of creative abilities in the lessons of teaching literary reading.

To study this problem in the field of literature, a goal: to reveal the psychological and pedagogical foundations for the formation of the creative abilities of a younger student in the process of teaching literary reading.

In the course of our work, we set ourselves the following tasks:

1. To study and analyze the psychological and pedagogical foundations for the development of creative abilities of younger students;

2. To identify the main components of creative abilities based on the analysis of the studied literature;

3. To identify effective means of developing the creative abilities of younger students in the classroom teaching literary reading.

4. Experimentally and exploratory way to check the effectiveness of the developed methodology and its use for the development of creative abilities of younger students.

Hypothesis research: the effectiveness of the psychological and pedagogical foundations for the development of the creative abilities of a younger student will increase if he is included in active educational and cognitive activity with the help of a system of cognitive tasks in the lessons of teaching literary reading and the creation of certain didactic conditions.

The methodological basis of the diploma research was the following works:

The problem of creativity and creative abilities was studied by many scientists (J. Gilford, A. Maslow, T. Anderson, V. Andreev, V. Bibler, A. Brushlinsky, S. Goldentricht, O. Matyushkin, Ya. Ponomarev, etc.). The result of their many years of research was the conclusion that creativity is not a special gift for the elite, on the contrary, it is a property that is distributed among all of humanity to a greater or lesser extent, and creative thinking begins to work for any normal person, if life itself, practice prompts her to some difficulties, obstacles that appear in the form of more or less complex tasks.

In the works of V. Lozova, O. Stolyarova, O. Sushchenko, G. Shevchenko, O. Shtepenok, certain aspects of educating the creative activity of students and teachers are considered: in conditions of problem-based learning, labor, aesthetic, social activities, as well as in the process of analyzing certain pedagogical situations, but the development of the creative personality of a junior schoolchild in mathematics lessons was not covered as a separate issue.

The following methods were used during the study:

1. Analysis of psychological, pedagogical, methodological educational literature on the research problem;

2. Analysis, systematization, generalization of pedagogical experience;

3. Observation;

4. Pedagogical experiment.

Theoretical significance consists in the theoretical substantiation of the methodology for developing the creative abilities of a younger student in literature lessons.

Practical significance the results of the study, consists in approbation of the test and processing of the results of experimental work, in the development of a set of tasks, for the development of creative abilities of younger students in the process of studying the subject of literature.

The basis for the experimental study was the State Institution "Zhanakhai Primary School", Fedorovskiy District.

1. The current state of the problem of developing the creative abilities of younger students

creative schoolboy reading

1.1 Analysis of the psychological and pedagogical foundations for the development of creative abilities of younger students

The problem of creativity today, no doubt, has become relevant. The problem of developing the creative abilities of younger students forms the basis, the foundation of the learning process, is an “eternal” pedagogical problem that does not lose its relevance over time, requiring constant, close attention and further development. Today in society, there is a particularly acute need for people who are enterprising, creative, ready to find new approaches to solving urgent socio-economic and cultural problems, able to live in a new democratic society and be useful to this society. In this regard, the problem of developing the creative activity of the individual is of particular relevance today. Creative personalities at all times determined the progress of civilization, creating material and spiritual values that are distinguished by novelty, unconventional, helping people to see the unusual in seemingly ordinary phenomena. But it is precisely today that the educational process is faced with the task of educating a creative personality, starting from elementary school. This task is reflected in alternative educational programs, in the innovative processes taking place in the modern school. Creative activity develops in the process of activities that have a creative nature, which makes students learn and be surprised, find solutions in non-standard situations. Therefore, today in pedagogical science and practice there is an intensive search for new, non-standard forms, methods and methods of teaching. Non-traditional types of lessons, problematic teaching methods, collective creative activities in extracurricular activities, which contribute to the development of creative activity of younger students, are becoming widespread.

In order to develop creative abilities in literature lessons today, every teacher must be familiar with the essence of the creative process, modern ideas about it, methods for studying creativity, the qualities of a creative personality, their system in order to be able to form such qualities in primary school students. In addition, each teacher should be able to diagnose the level of creativity, know the basic forms, ways and mechanisms for developing the creative abilities of a younger student, especially the main one - the creative task.

The main task in the teacher's work is the task of identifying the qualities of a creative personality in students as early as possible and developing them in all younger students, paying attention, of course, to the fact that children are born with different inclinations of creativity. At the same time, it is necessary to take care of the development of creativity in capable and talented students.

Philosophers define creativity as “mental and practical activity, the result of which is the creation of original, unique values, the identification of new facts, features, patterns, as well as methods of research and transformation of the material world or spiritual culture; if it is new only for its author, then the novelty is subjective and has no social significance.

“We call creative every activity that creates something new ... Arguing that creativity is a necessary condition for existence, and everything around owes its origin to the creative process of man,” such is the position of the famous psychologist L. Vygotsky on creativity.

Psychologist A. Ponomarev, interpreting the concept of "creativity", defined it as a "mechanism of productive development" and did not consider "novelty" a decisive criterion for creativity.

Bibler V.S., revealing the essence of creativity from the standpoint of psychology, defines that "creativity is understood as the process of creating something new for a given subject." Therefore, it is clear that creativity in one form or another is not the talent of the "chosen ones", it is available to everyone.

Noteworthy is the view on the work of leading practitioners (V. Sukhomlinsky, A. Zakharchenko, V. Shatalov, Sh. Amonashvili, V. Irzhavtseva, etc.). V. Sukhomlinsky defined creativity as a kind of sphere of spiritual life, self-affirmation, when originality and the individuality of each child. A. Zakharchenko considers the creativity of younger schoolchildren as a special qualitative and at the same time social sphere, since its results are directly addressed to the student's personality, they influence the passion for the process of cognition, the upbringing of the need to work, high moral qualities.

Creative personality, according to V.I. Andreev, is a type of personality that is characterized by perseverance, a high level of focus on creativity, motivational and creative activity, which manifests itself in organic unity with a high level of creative abilities, allowing it to achieve progressive, social and personally significant results in one or more types of activities.

V. Levy characterizes the stages of creativity in this way: “In his thoughts, somewhere in himself, he discovers a new, more wonderful world. And then you need to find yourself in society, yourself in a person, yourself in the world.

A person begins to think creatively as early as childhood, since each situation was new for the child and required a new (creative) approach, solution. A child does a lot of things every day: small and large, simple and complex. And every case is a task, sometimes more, sometimes less difficult. When solving problems, an act of creativity occurs, a new path is found or something new is created. This is where the special qualities of the mind are required, such as observation, the ability to compare and analyze, find connections and dependencies - all that in the aggregate constitutes creative abilities.

Gradually, however, as Gerald Nirenberg notes, “We become limited and forget that we can be creative. Many of us, throughout our lives and beyond, inherit established stereotypes in this way. According to the definition of J. Nirenberg, creative thinking is “knowledge of something new. It is an integral part of the human intellect." In his studies, Z. Freud also pointed out the huge differences between the brilliant mind of a child and the smoldering mentality of an adult.

"A creative person is a person who is able to penetrate the essence of ideas and implement them in spite of all obstacles until a practical result is obtained." This is exactly what T. Edison had in mind.

Much attention is paid to the definition of the concept of a creative personality in philosophical, pedagogical and psychological literature (V.I. Andreev, D.B. Bogoyavlenskaya, R.M. Granovskaya, A.Z. Zak, V.Ya. Kan-Kalik, N.V. Kichuk, N.V. Kuzmina, A.N. Luk, S.O. Sysoeva, V.A. Tsapok and others). N.V. Kichuk defines a creative personality through its intellectual activity, creative thinking and creative potential.

Most authors agree that a creative person is an individual who has a high level of knowledge, has a desire for a new, original. For a creative person, creative activity is a vital need, and a creative style of behavior is the most characteristic. The main indicator of a creative personality, its most important feature is the presence of creative abilities, which are considered as individual psychological abilities of a person that meet the requirements of creative activity and are a condition for its successful implementation. Creativity is associated with the creation of a new, original product, with the search for new means of activity.

There are different interpretations creativity. Dr. Edward Land describes it as a "sudden retreat of stupidity", and Dr. Margaret Mead, believes that a person, working, designing or inventing something new for himself, performs an act of creativity. The word "new" is inherent or allowed in most definitions of creativity. Many researchers tried to create a theory of creativity, but their approaches and interpretations differed significantly.

The essence of creativity lies in predicting the result, correctly setting up the experiment, in creating a working hypothesis close to reality by the effort of thought.

Let us consider how the sciences of philosophy and psychology define creativity.

Philosophy does not consider creativity as a process, but foresees that the inner world of a person is what he has developed and improved in himself: the qualities of active abilities. The Philosophical Dictionary interprets creativity as an activity that gives birth to something new that has never been.

Psychologists consider creativity as a high level of logical thinking, which is the impetus for activity, "the result of which is the created material and spiritual values."

Today, many psychologists argue that the definition of creativity as "... a system of actions leading to the creation of a new product" cannot be considered satisfactory. So, many psychophysiologists S. M. Bondarenko, V. S. Rotenberg consider creativity as a kind of search activity - a type of activity that is focused on changing a problem situation or changes in the subject interacting with it. Ya. A. Ponomarev in his concept says that the essence of creativity comes down to intellectual activity and synergy to by-products of one's activity.

Thus, there is no single definition of creativity, but a large number of works devoted to age, general psychology, as well as the psychology of creativity, contain many facts that help to study the essence of the phenomenon under study.

For many years, the problem of developing the creative abilities of students has attracted close attention from representatives of various fields of scientific knowledge - philosophy, pedagogy, psychology, linguistics, and others. This is due to the ever-increasing needs of modern society in active individuals who are able to pose new problems, find high-quality solutions in conditions of uncertainty, multiple choice, constant improvement of the knowledge accumulated by society, since “today, talent and creative talent become the key to economic prosperity and a means of national prestige".

Creativity is the ability that determines the success of creating objects of material and cultural spirituality, the production of new ideas, discoveries, inventions, in a word, individual creativity in various fields of activity.

It is possible to single out the components of the structure of creative abilities:

1. The ability to independently transfer knowledge and skills to a new situation;

2. The ability to see new problems in a familiar situation;

3. The ability to independently combine known methods of activity into a new one;

4. The ability to find different ways to solve the problem and alternative evidence;

5. The ability to build a fundamentally new way of solving a problem, which is a combination of known ones.

These creative abilities do not manifest themselves simultaneously when solving a particular problem, but in various combinations and with different strengths.

In the psychological and pedagogical literature, next to the term "creative personality" is the term "creative personality".

The most successful approach to this definition was proposed by S.O. Sysoev. Under the creative personality of Sysoev S.O. understands such a personality that has internal preconditions (personal inclinations, neurophysiological inclinations) that ensure its creative activity, that is, search activity that is not stimulated externally, is not always productive. Productive creative activity is called creative activity, that is, such a creative process, as a result of which a new movement arises.

Creative person- this is a creative person who, subsequently, under the influence of external factors, acquired additional motives, personal inclinations, and abilities necessary for actualizing the creative potential of a person, which affect the achievement of creative results in one or more types of creative activity.

Normal children have a variety of potential abilities. The most effective way to develop individual abilities lies through introducing younger students to productive creative activity from the 1st grade in the process of schooling. However, the effect of learning activity is reduced, primarily due to the imperfection of the methods or methods of teaching. And this happens because the necessary methods are not developed and strengthened enough. Their mobility is not developed, they are not transferred to various situations of educational actions, the most complex tasks are not provided with the development of more complex methods, which often leads to unsuccessful activities. Because of this, students do not experience satisfaction with activities, on the way to which there are obstacles that are not overcome by every student. Following this, interest decreases, the desire to learn disappears.

Traditional school education contains mainly elements of an explanatory and illustrative type, when the teacher himself poses problems and himself indicates ways to solve them. With this type of learning, the criterion component becomes decisive, i.e. the amount of knowledge at the end of training, while educational research, process orientation remains outside the scope of didactic searches. This approach organizes the processes of education on the basis of the predominance of reproductive activity, detailed results.

In modern psychological and pedagogical literature (V.I. Andreev, G.S. Altshuller, M.I. Makhmutov, T.V. Kudryavtsev, A.M. Matyushkin, E.I. Mashbits, A.I. Uman, A. .V. Khutorsky and others) focuses on determining the means of increasing the productivity of students' cognitive activity, organizing their joint creative activity, discusses the organization of students' creative activity by creating problem situations, developing the methodological culture of schoolchildren in the process of performing creative tasks.

Primary school is a crucial period in a person's life. It is at primary school age that purposeful training and education begins, the main activity of the child becomes educational activity, which plays a decisive role in the formation and development of all his mental properties and qualities.

Psychologists agree that the age of elementary school children is the most suitable for the development of communication and creative skills. Entering school is a turning point in a child's life: new relationships are formed with adults (teachers) and peers (classmates), the child is included in a new system of teams (school-wide, classroom).

This is explained by the fact that it is at primary school age that a child develops "creativity". But often the education system in grades 1-4 is based mainly on the performance of training exercises by children to consolidate some skill (for example, calligraphy). Consequently, the teacher offers a ready-made model of action, and the children “according to the template” perform the exercises. The implementation of the educational process in this style leads to the fact that a “solution stamp” of the task is developed, as a result of which the search activity is curtailed, and the child gradually loses interest not only in learning, but also in the creative process.

The unity of development and learning is the fundamental principle of modern school education, and teaching literary reading is the process and result of cognitive activity aimed at mastering the basics of the theory of language for communication purposes, at speech, mental and aesthetic development, at mastering the culture of the people as a native speaker.

A junior schoolboy is still a small person, but already very complex, with his own inner world, with his own individual psychological characteristics. Primary school age is called the pinnacle of childhood. The child retains many childish qualities - frivolity, naivety, looking at an adult from the bottom up. But he is already beginning to lose his childish spontaneity in behavior, he has a different logic of thinking. Therefore, for a younger student, teaching is one of the important activities. At school, he acquires not only new knowledge and skills, but also a certain social status. The interests, values of the child, the whole way of his life are changing. In this period, the child gradually leaves the illusory world in which he lived before.

At primary school age, there is a significant expansion and deepening of knowledge, the skills and abilities of the child are improved. This process progresses and by grades 3-4 leads to the fact that most children have both general and special abilities for various activities. General abilities are manifested in the speed with which the child acquires new knowledge, skills and abilities, and special abilities are manifested in the depth of the study of individual school subjects, in special types of work and in communication.

The younger student perceives with lively curiosity the life around him, which reveals something new to him every day. The development of perception does not happen by itself, the role of the teacher is very great here, who daily brings up the ability not only to look, but also to consider, not just to listen, but also to listen, teaches you to identify the essential features and properties of objects and phenomena, indicates what you should pay attention to , teaches children to systematically and systematically analyze perceived objects. A number of studies have shown that comparison is the most effective method of organizing perception and educating observation. At the same time, perception becomes deeper, the number of errors decreases.

The main activity that ensures the formation of mental properties and qualities of a child of school age is educational, cognitive activity. Moreover, it most intensively performs the function of personality development when it is only developing, that is, at primary school age. The development of the child occurs only in activity. Only by one's own efforts can one assimilate the experience and knowledge accumulated by mankind, develop one's intellectual and other abilities.

Impressions from poems and stories performed in an expressive art form, from a theatrical performance, from a song, from a musical play and a movie can be deep and persistent in children of 8-10 years of age. Feelings of pity, sympathy, indignation, excitement for the well-being of the beloved hero can reach great intensity. However, in the perception of individual emotions of people, young schoolchildren make serious mistakes and distortions. In addition, a small student may not understand some of the experiences of people, and therefore they are uninteresting to him and inaccessible for empathy.

The psychological properties that appear in a child in the last years of preschool childhood, before entering school, develop and become fixed during the first four years of schooling, and by the beginning of adolescence, many important personality traits have already been formed.

The individuality of the child at this age is also manifested in cognitive processes, or cognitive abilities. These are mental processes by which a person learns the world, himself and other people. These abilities include: sensation, perception, attention, memory, thinking and imagination. Cognition is also impossible without speech and attention.

Each stage of childhood has its own prerequisites for mental growth. At primary school age, readiness and ability to memorize and absorb come to the fore. And, apparently, there are truly extraordinary data for this. It's not just about the properties of memory. For elementary school students, the authority of the teacher is great and the mood is to follow his instructions, to do exactly the right thing. Such trustful diligence in many respects favors the assimilation of educational material. At the same time, the inevitable imitation at the initial stage of learning is based on the child's intuition and his peculiar initiative.

Studies by scientists testify to the special opportunities for learning at primary school age.

Psychologists compared the features of mastering a foreign language by second-graders and fifth-graders who first started studying a foreign language, it turned out that the superiority of adolescents in the level of mental development and nervous endurance does not provide them with greater success. “Big successes in language acquisition were found by younger schoolchildren - in particular, due to the peculiar speech activity characteristic of their age. At foreign language lessons, they are much more willing to try to use new vocabulary and phonetics that have not yet been mastered, they are not afraid to make mistakes, activity in foreign language speech is part of their general need for verbal communication, which is not yet subject to many psychological "brakes" of adolescence. So, in relation to a foreign language, it is quite possible to speak of a special age sensitivity.

Diligence and independence, a developed ability to self-regulation create favorable opportunities for the development of children of primary school age and beyond direct communication with adults or peers. We are talking, in particular, about the ability of children of this age to spend hours alone doing what they love.

Of particular importance for development in primary school age is the stimulation and maximum use of the motivation to achieve success in educational, labor, and play activities. The strengthening of such motivation, for the further development of the younger student, seems to be a particularly favorable time of life, it brings two benefits:

Firstly, the schoolchild has a vitally very useful and fairly stable personality trait - the motive for achieving success, which dominates the motive for avoiding failure;

Secondly, it leads to the accelerated development of various other abilities of the child.

The thinking of a younger student undergoes very large changes in the learning process. The development of creative thinking leads to a qualitative restructuring of perception and memory, to their transformation into arbitrary, regulated processes. Therefore, it is important to influence the development process correctly, since for a long time it was believed that the child’s thinking is like an “underdeveloped” thinking of an adult, that the child learns more with age, gets smarter, and becomes quick-witted. However, now psychologists do not doubt the fact that the thinking of a child is qualitatively different from the thinking of an adult, and that it is possible to develop thinking only based on knowledge of the characteristics of each age. The child's thinking manifests itself very early, in all those cases when a certain task arises before the child. This task can arise spontaneously, come up with an interesting game on your own, or the task can be offered by an adult specifically for the development of the child's thinking.

Studies of children's creativity allow us to distinguish at least 4 stages in the development of creative thinking:

Visual and effective;

Causal;

heuristic;

Creative.

Visual and effective thinking is born from action at a younger and early age. In the process of developing visual-effective thinking, the child develops the ability to single out in an object not just its external properties, but precisely those that are necessary to solve the problem. This ability develops throughout life and is absolutely necessary for solving any, the most complex problems.

Development causal thinking children begin with awareness of the consequences of their actions. In a child of 4-5 years old, cognitive interests shift from individual objects, their names and properties to the relationships and connections of phenomena. They begin to be interested not just in objects, but in actions with them, the interactions of people and objects, the relationship of causes and effects. First, children learn to plan actions on real objects, then with language material: a word, a statement, a text. Thanks to independence, the child learns to control his thinking; set research goals, put forward hypotheses of cause-and-effect relationships, consider the facts known to him from the standpoint of the hypotheses put forward. These abilities are, without a doubt, the basic prerequisites for creativity at the stage of causal thinking. Critical thinking is manifested in the fact that children begin to evaluate their own and other people's activities in terms of the laws and rules of nature and society. Foresight and planning are at the heart of creativity at the stage of cause-and-effect thinking. This is how the plots of fantastic stories and fairy tales are born.

Since, as children grow up, they encounter a large number of situations where it is impossible to single out one cause of an event, in these cases causal thinking will not be sufficient. There is a need for a preliminary assessment of situations and a choice among the many options and the abundance of facts that have a significant impact on the course of events. In this case, the choice is made based on a number of criteria that allow narrowing the “search area”, making it more abbreviated and selective. Thinking, which, based on the criteria of selective search, allows you to solve complex, problematic situations, is called heuristic. It is formed approximately by the age of 12-14.

Refracting with age, changing in significance, these types of development of thinking continue to develop even during the period of education in elementary school. Moreover, the study of the cognitive activity of children shows that by the end of primary school there is a surge in research activity. “The research activity of children at the stage of causal thinking is characterized by two qualities: the growth of independence of mental activity and the growth of critical thinking”;

The adjective heuristic is derived from the word heuristics (from eureka - “found, discovered”) - the science of the processes and methods of discovering something new. The purpose of heuristics is to investigate the methods and rules that lead to discoveries and inventions. Heuristic reasoning is not final, but is considered as preliminary, the purpose of which is to find a solution for a specific problem.

It turns out that heuristic thinking gives a person the opportunity to direct his search activity to the optimal solution of the problem, to obtaining new knowledge. According to some scientists, heuristic thinking is auxiliary and occupies an intermediate place among algorithmic and creative thinking. This is due to different views on understanding heuristics.

The concept of "heuristics" denoted in ancient Greece the method of verbal learning used by Socrates (469 -399 BC) (recall the "Socratic conversations"). The student had to find the true conclusion by answering the leading questions of the teacher, who led the conversation along the optimal path to new knowledge. Socrates believed that each person is unique, which means that his individuality, including the individual characteristics of thinking, deserve attention and respect. At that time, the activity of Socrates was interpreted as creative, the term "heuristics" was not yet used, although there was a need for the emergence of a concept that was not associated with "reified" creativity.

Ancient Greek mathematician Pappus of Alexandria in the 3rd century AD studied in detail the works of ancient thinkers, including mathematicians, and singled out logical methods and others, with the help of which the solution of the problem was found. He combined the latter and gave them the code name "Heuristics". In a treatise called "The Treasury of Analysis" (or "The Art of Solving Problems"), Pappus of Alexandria suggested different ways of solving the problem, including non-logical ones;

Psychological and pedagogical science notes that in the conditions of rapidly growing information of the XXI century. of particular importance is the development and activation creative thinking: in any activity, not only the assimilation of a certain amount of knowledge by the student is significant, but also the ability to apply them in solving various issues or problems.

Creative thinking is characterized by the creation of a subjectively new product and new formations in the very cognitive activity for its creation, concerning the goals, motives, assessments and meanings of the activity itself. Such thinking is distinguished by the ability to transfer knowledge and skills to a new situation, the vision of a new problem, both in a familiar and non-standard situation, and the ability to determine a new function of an object. Creativity is a search that reveals to a person what is not yet known, contributing to the expansion of the boundaries of knowledge. The product of creativity is necessarily original, individual. It is also important that elements of creativity can be found in any human activity, including the study of various educational disciplines.

For more active mental activity of students, the teaching method is used - a conversation. During the conversation, questions are posed to discuss the upcoming work, the answers of the students are clarified and supplemented. Often, in the process of students performing work assignments, an individual interview is used to determine the degree to which the student comprehends individual methods of work, as well as the entire assignment, or the causes of errors. The conversation can be in the nature of a free discussion, develops independence of judgment of a creative idea.

Thus, by gradually forming all types of thinking with the development of a child's creative approach to any task, it is possible to give him the opportunity to grow up as a thinking and creative person.

One of the most important conditions for the formation of a child of primary school age is creative imagination. True assimilation of any academic subject is impossible without the active activity of the imagination, without the ability to imagine what is written in the textbook, what the teacher says, without the ability to operate with visual images.

Describing the imagination of children, L.S. Vygotsky spoke of the need to understand the psychological mechanism of imagination, and this cannot be done without clarifying the connection that exists between fantasy and reality. “The creative activity of the imagination,” writes L.S. Vygotsky, is in direct proportion to the richness and diversity, the previous experience of a person, because this experience is the material from which the constructions of fantasy are created. The richer the experience of a person, the more material that his imagination has at his disposal. This idea of the scientist should be emphasized especially, because it is too widely known abroad, and in our country, that the child has a violent, unlimited imagination, is capable of generating bright, inorganic images from the inside. Any intervention of an adult, a teacher in this process only fetters and destroys this fantasy, the richness of which cannot be compared with the fantasy of an adult. At the same time, it is quite obvious that the poverty of the child's experience also determines the poverty of his imagination. As experience expands, a solid foundation is created for the creative activity of children.

In the process of developing the imagination at primary school age, the recreating imagination is improved, associated with the presentation of previously perceived or the creation of images in accordance with a given description, diagram, drawing, etc. Creative imagination as the creation of new images, associated with the transformation, processing of impressions of past experience, combining them into new combinations, combinations, also receive further development.

Creative (creative) abilities are the complex capabilities of a student in performing activities and actions aimed at creating new educational products for him.

In connection with the problem of introducing a new educational paradigm in the 21st century, the requirements for the development of the creative abilities of a younger student are increasing. The student must have flexible productive thinking, developed active imagination to solve the most complex problems that life puts forward. Rapid changes are taking place in society. A person is forced to respond adequately to them and, therefore, must activate his creative potential. In accordance with this, it is necessary to select and develop adequate means for the formation of creative productive thinking, because the former do not meet the educational paradigm of the new millennium.

The formation of creative abilities in the learning process is an important task for instilling practical skills and technological mastery in younger students. It is important for younger students to learn how to introduce elements of fantasy, the possible diversity of their creative thoughts into the work at the lessons of teaching literary reading.

In the psychological and pedagogical literature, the following types of creative activity are distinguished:

Cognition "... the educational activity of the student, understood as a process of creative activity that forms their knowledge";

Transformation is the creative activity of students, which is a generalization of basic knowledge that serves as a developing beginning for obtaining new educational and special knowledge;

Creation is a creative activity that involves the design by students of educational products in the areas studied;

The creative application of knowledge is the activity of students, which involves the introduction by the student of his own thoughts when applying knowledge in practice.

All this makes it possible to define the concept of "creative activity of younger schoolchildren" as a productive form of activity of elementary school students aimed at mastering the creative experience of knowing, creating, transforming, using objects of material and spiritual culture in a new capacity in the process of educational activities organized in cooperation with the teacher. The cognitive motivation of the younger schoolchildren's creativity manifests itself in the form of search activity, higher sensitivity, sensitivity to the novelty of the stimulus, situation, discovery of the new in the ordinary, high selectivity in relation to the new (subject, quality) being studied.

Scientists note the dynamics of the very research activity of the child's creativity. By the age of 7-8, the creativity of a younger student is often expressed in the form of independently posed questions and problems in relation to the new, unknown, and the research range of students is expanding.

This leads to the fact that already at primary school age, the main component of creativity becomes problematic, which ensures the child's constant openness to the new and sharpens the desire to search for inconsistencies and contradictions. The solution of the proposed and independently (seen) problems in a creative child is often accompanied by a manifestation of originality. This is another important component of creativity, expressing the degree of dissimilarity, non-standard, unusual.

1.2 The essence and specificity of the foundations for the development of creative abilities of younger students

Today, one of the fundamental principles of updating the content of education is becoming a personal orientation, which involves the development of the creative abilities of students, the individualization of their education, taking into account the interests and inclinations for creative activity. The strategy of modern education is to give "the opportunity for all students, without exception, to show their talents and all their creative potential, which implies the possibility of realizing their personal plans." These positions correspond to the humanistic trends in the development of the national school, which is characterized by the orientation of teachers to the personal capabilities of students, their continuous "building up". At the same time, the goals of personal development are brought to the fore, and subject knowledge and skills are considered as a means of achieving them.

With the modern development of science and technology, the increasing amount of information that needs to be brought to the attention of students, it is not enough to use traditional teaching methods, it is necessary to improve them based on the latest technologies. One of the ways of such improvement is the development of concepts for the development of the creative abilities of schoolchildren in the lessons of teaching literary reading from the initial stage of teaching a child at school.

Pedagogy identifies the following components of the creative abilities of younger students:

1) creative thinking;

2.creative imagination

The means of developing creative abilities are used at almost all stages of teaching literary reading:

1) at the stage of explaining new material (presenting information);

2) at the stage of consolidation and formation of skills (training students in certain actions);

3) at the stage of monitoring the assimilation of knowledge and the formation of skills (assessment of the results of students' work);

4) at the stage of systematization, repetition, generalization of the material (highlighting the main, most important in the material being studied).

In order for younger students to consciously assimilate knowledge and labor skills, use them creatively, with full dedication of strength, in order to form their creative abilities, various groups of techniques should be used:

Motivational;

Assistance;

Stimulants.

TO motivational techniques methods include:

Goal setting;

Showing the practical significance of activities and results of work.

The next group of techniques is associated with the implementation of the training task.

Sometimes in the classroom there are situations when students, for various reasons, find it difficult to do this or that work. For this purpose, methods are used assistance. All students have different levels of formed knowledge, skills, abilities, abilities. Some of them are paralyzed by the thought that “it won’t work anyway.” Help methods include:

Reminder;

specification;

Asking leading questions.

The reminder technique is used if the necessary knowledge or methods of action are not retained in the memory of students by the time they are used, and a mistake made at the very beginning may affect the further course of work. Concretization ensures that students correctly understand the task. It allows you to use examples, the idea of which has already been formed among schoolchildren.

Tasks of a creative nature in the lesson of teaching literary reading in elementary school suggest the variability of solving the task. They should be aimed at the development of the intellect, mental functions, techniques and operations of mental activity. Creativity is inseparable from the knowledge and skills that a junior student receives in the educational process, and therefore, this concept (“creativity”) is associated in pedagogy with the term “abilities”.

Improving the quality of mastering the knowledge of younger students is one of the most important tasks of the school. Many teachers achieve its implementation not due to the additional burden on students, but by improving the forms and methods of teaching. In solving this issue, teachers and methodologists attach great importance to the development of the interest of younger students in learning through the formation of creative abilities in the process of work. It is in the first years of education that, due to the psychological characteristics of children of primary school age, their creative abilities are actively developing. In particular, in order to solve the developmental learning goals, the primary school teacher A.V. Nikitina organizes the systematic, purposeful development and activation of creative activity in a system that meets the following requirements:

Cognitive tasks should be built on an interdisciplinary basis and contribute to the development of the mental properties of the individual (memory, attention, thinking, imagination);

Tasks, tasks should be selected taking into account the rational sequence of their presentation: from reproductive, aimed at updating existing knowledge, to partially exploratory, focused on mastering generalized methods of cognitive activity, and then to creative ones, which allow considering the studied phenomena from different angles;

The system of cognitive and creative tasks should lead to the formation of fluency of thinking, mental flexibility, curiosity, the ability to put forward and develop hypotheses.

But how can creativity be developed? What conditions need to be created for this?

Conditions for the development of students' creative abilities in the lessons of teaching literary reading.

The creative activity of students needs the psychological and pedagogical support of the teacher. Let us formulate the conditions conducive to the development of creative abilities of younger students:

1. The organization of the work of the schoolchildren themselves, the development of their activity - provides for the practical work of students (reading works of art, practical tasks in the analysis of works);

2. Teaching literature (a specific reflection of life and the means of its knowledge) requires the teacher to deepen and expand the life experience of students. It is necessary to ensure the richness and diversity of the reading experience of children, observation of the skill of the writer, knowledge of literary theory, analysis of works;

3. The creative abilities of students develop successfully when the systematic study and practical assimilation of the theory of literature are combined with familiarity with various types of arts with close attention to their specifics;

4. The next important condition is to provide children with a certain freedom of creativity, expressed in the freedom to choose methods of work, the sequence of operations, the possibility of presenting various answers;

5. It is very important to make students feel the vital need for work;

6. Activities in which the teacher includes children should be varied, exciting; for this it is necessary to alternate, for example, different types of analysis of a work of art, different types of work of a systematic nature;

7. Teacher Help: The most important thing here is not to turn the help into a hint; You can't do for your child what he can do for himself. If necessary, the student must be "sent" to the text of the work.

The teacher should evoke a creative search in children, which consists in recognizing the contradiction between the existing problems in solving a particular problem and their own experience. The student is faced with the need to create a new, but not available in his experience, solution scheme, i.e. create an idea.

The idea is the basis of creativity, the highest level of human consciousness that transforms the world; a condition for stimulating and shaping the creative abilities of schoolchildren, freedom of conscious activity. The idea fills the entire work of the younger student as a whole, since the whole path to obtaining the result of labor, the goal of labor is thought out:

Use of materials;

means of labor;

Sequence of operations and preparation for work.

For the development of creative abilities in primary school age, it is necessary to develop the following skills in students:

Classify objects, situations and phenomena on various grounds;

Establish causal relationships;

See the relationships and identify new connections between systems;

Consider the system in development (dynamics);

Make forward-looking assumptions;

Highlight the opposite features of the object;

Identify and formulate contradictions;

Chapter 1. The development of creative abilities of a younger student as a pedagogical problem.

1.1. The essence of the concept is ability.

In the first paragraph, we will consider the essential characteristics of abilities.

This problem was dealt with by such luminaries of Russian psychology as B.G. Ananiev, A.N. Leontiev, S. L. Rubinshtein, B. M. Teplov, N. S. Leites and others. The conceptual apparatus, content and main provisions of the theory of abilities were developed mainly in the works of these scientists.

So, abilities are understood as individual psychological and motor characteristics of an individual, which are related to the success of any activity, but are not limited to the knowledge, skills and abilities that have already been developed in the child. At the same time, success in any activity can be ensured not by a separate ability, but only by that peculiar combination of them that characterizes a person.

Domestic psychologists A. N. Leontiev and B. M. Teplov studied abilities from different points of view. The focus of attention is B.M. Teplov were individually - the psychological prerequisites for the unequal successful development of certain functions and skills; A.N. Leontiev was mainly interested in how qualitatively mental functions and processes arise from natural prerequisites based on the structures of human activity (in the spirit of the concept of higher mental functions, according to L.S. Vygotsky).

Neither one nor the other did not deny the innate inequality of inclinations, on the one hand, and the ambiguous connection of these inclinations with the final success of complex forms of activity, on the other, however, the emphasis differed, as did the use of concepts. B.M. Teplov, in the context of differential psychophysiology, connected the concept of abilities primarily with biologically determined differences, A.N. Leontiev, in the context of a systematic understanding of psychological functions and their development, referred this word to complex, cultivated, “become” human functions.

Definition: “Ability” = mental characteristics on which the possibility, implementation and degree of success of an activity depends.

If we turn to the “Explanatory Dictionary of the Russian Language” by S.I. Ozhegov, he considers the concept of “ability” as follows: ability is natural giftedness, talent.

A man of great ability. Mental abilities for artistic activity. Able - having the ability to do something, gifted. able to do something; possessing some property. Able to work. This person is capable of anything / will stop at nothing.

In the Pedagogical Encyclopedic Dictionary, ability is interpreted as individual psychological characteristics of a person, which are

conditions for the successful completion of certain activities. They include both individual knowledge and skills, and readiness to learn in a new way and methods of activity.

Different criteria are used to classify abilities. So sensorimotor, perceptual, mnemonic, imaginative, mental, and communicative abilities can be distinguished. One or another subject area can serve as another criterion, according to which abilities can be qualified as scientific / linguistic, humanitarian /, creative / musical, literary, artistic, engineering /.

There are also general and special: general - these are the properties of the mind that underlie various special ones, distinguished in accordance with the types of activity in which they appear / technical, artistic, musical /.

The components that make up the structure of special abilities are identified, which makes it possible to form pedagogical recommendations aimed at improving the efficiency of the formation of abilities in students.

In the "Pedagogical Encyclopedia" the ability is considered as a property of the individual, which is essential in the performance of a particular activity. Usually, the ability is assessed in accordance with the requirements for different types of labor to the psycho-physiological characteristics of a person; you can also talk about the ability to learn or to play.

The ability to act includes a complex structure of simpler abilities. They can be expressed in the speed of assimilation and the correct application of relevant knowledge, skills and abilities, as well as in the originality of their use.

In the learning process, the first of these manifestations of abilities is more easily detected, while the latter are of decisive importance in creative activity. According to the social significance of the abilities shown by a person, expressed in the results of his work, capable, talented and brilliant people are distinguished.

In the "Philosophical Dictionary" abilities are defined as individual personality traits, which are subjective conditions for the successful implementation of a certain kind of activity. Abilities are not limited to the knowledge, skills and abilities that an individual has. They are found primarily in the speed, depth and strength of mastering the methods and techniques of some activity, they are internal mental regulators that determine the possibility of acquiring them.

In the history of philosophy, the ability for a long period was interpreted as properties of the soul, special powers that are inherited and inherent in the individual. Qualitative, the level of development of abilities is expressed by the concept of talent and genius. Their distinction is usually made according to the nature of the resulting products of activity. Talent is such a set of abilities that allows you to get a product of activity that is distinguished by novelty, high perfection and social significance. Genius is the highest stage in the development of talent, which makes it possible to make fundamental changes in one or another area of creativity.

A large place in psychological and pedagogical research is occupied by the problem of the formation of abilities and specific types of activity. They show the possibility of developing abilities through the creation of a personal attitude to mastering the subject of activity.

The textbook "Psychology" (edited by Doctor of Psychology A.A. Krylov) gives several definitions of abilities

1. Abilities are the properties of the human soul, understood as a set of all kinds of mental processes and states. This is the broadest and oldest definition in psychology.

2. Abilities represent a high level of development of general and special knowledge, skills and abilities that ensure the successful performance of various types of activities by a person. This definition appeared in the psychology of the 18th-19th centuries and is still in use today.

3.Ability is something that does not come down to knowledge, skills and abilities, but ensures their rapid acquisition, consolidation and effective use in practice.

This definition is the most common. A significant contribution to the theory of abilities was made by the domestic scientist B.M. Teplov .. He proposed the third of the listed definitions of the concept of ability .. The concept of “ability”, in his opinion, contains three ideas:

Individual psychological characteristics that distinguish one person from another;
not any, in general, individual characteristics, but only those that are related to the success of the implementation of any activity or many activities;
the concept is not limited to the knowledge, skills or abilities that a given person has already developed.

An ability that does not develop, which a person ceases to use in practice, does not manifest itself over time.

Only thanks to certain conditions associated with the systematic pursuit of such complex human activities as music, technical and artistic creativity, creative abilities develop. We support them and develop them further. Our successful activity does not depend on any one, but on a combination of different abilities, moreover, this combination gives the same result. In the absence of the necessary inclinations for the development of some abilities, their deficiency can be made up for by a stronger development of others.

Krutetsky V.A. The concept of ability is based on two indicators: the speed of mastering the activity and the quality of achievements. A person is considered capable - quickly and successfully masters any activity, easily acquires the appropriate skills and abilities in comparison with other people, - achieves achievements that significantly exceed the average level.

Abilities are individual - psychological characteristics of a person that meet the requirements of this activity and are a condition for its successful implementation, abilities - individual characteristics that distinguish one person from another / long, flexible fingers of a pianist or a tall basketball player are not abilities /.

Abilities include (ear of music, sense of rhythm, constructive imagination, speed of motor reactions - for an athlete, subtlety of color discrimination for an artist - painter).

Along with the individual characteristics of mental processes (sensations and perceptions, memory, thinking, imagination), more complex individual psychological characteristics are also abilities. They include emotional and volitional moments, elements of attitude to activity and some features of mental processes, but are not limited to any particular mental manifestations (mathematical orientation of the mind or aesthetic position in the field of literary creativity).

Any activity requires from a person not one particular ability, but a number of interrelated abilities.

Lack, weak development of any one particular ability can be compensated (compensated) by the enhanced development of others.

Krutetsky V.A. believes that the ability is formed, and therefore, is found only in the process of the corresponding activity. Without observing a person in activity, it is impossible to judge the presence or absence of his abilities. It is impossible to talk about musical abilities if the child has not yet been engaged in at least elementary forms of musical activity, if he has not yet been taught music. Only in the course of this training (moreover, correct training) will it become clear what his abilities are, quickly and easily or slowly and with difficulty, a sense of rhythm, musical memory will be formed in him.

A person is not born capable of this or that activity, his abilities are formed, formed, developed in a properly organized corresponding activity, during his life, under the influence of training and education.

Abilities are lifelong, not innate education. In activities aimed at meeting needs, people's abilities were historically created and developed. In the course of the historical development of human society, new needs arose, people created new areas of activity, thereby stimulating the development of new abilities.

It should be emphasized the close and inextricable connection of abilities with knowledge, skills and abilities. On the one hand, abilities depend on knowledge, skills, and on the other hand, abilities develop in the process of acquiring knowledge, skills and abilities. Knowledge, skills and abilities also depend on abilities - abilities allow faster, easier, stronger and deeper mastery of the relevant knowledge, skills and skills.

In activities aimed at meeting needs, people's abilities were historically created and developed. In the course of the historical development of human society, new needs arose, people created new areas of activity, thereby stimulating the development of new abilities.

In the psychological and pedagogical literature, special and general abilities are distinguished.

General - include (human success in a variety of activities) mental, subtlety and accuracy of manual movements, developed memory, perfect speech.

Special abilities are the abilities that are necessary for the successful performance of any one specific activity - musical, artistic and visual, mathematical, literary, constructive and technical, etc. These abilities also represent the unity of individual private abilities.

Special - determine the success of a person in specific activities that require inclinations and their development / musical, mathematical, linguistic, technical, literary, artistic, creative, sports /.

The presence of general abilities in a person does not exclude the development of special ones and vice versa.

And often they mutually complement and enrich each other.

Theoretical and practical abilities differ in that the former predetermine a person's inclination to abstract-theoretical reflections, and the latter to concrete, practical actions. These abilities often do not combine with each other, meeting together only in gifted, multi-talented people.

Educational and creative are different from each other. The former determine the success of education and upbringing, the assimilation of knowledge, skills and abilities by a person, the formation of personality traits. The second - the creation of objects of material and spiritual culture, the production of new ideas, discoveries and inventions, individual creativity, in various fields of human activity.

The ability to communicate, interact with people, subject-activity, or subject-cognitive.

These include speech as a means of communication (its communicative functions) Interpersonal perception and evaluation of people, social and pedagogical adaptation to various situations: to get in touch with various people, to win them over, to influence them.

The absence of such abilities in man would be an insurmountable obstacle to his transformation from a biological being into a social one.

In the development of communication skills, one can single out the stages of formation, one's own specific inclinations. These include the innate ability of children to respond to the face and voice of the mother (the animation complex), the ability to understand states, guess intentions and adapt their behavior to the mood of other people and follow certain social norms in communication / the ability to communicate with people to behave in order to be accepted , convince others, achieve mutual understanding, influence people /.

General mental abilities include, for example, such qualities of the mind as mental activity, criticality, systematicity, speed of mental orientation, a high level of analytical and synthetic activity, focused attention

A high level of ability development is called talent.

Talent is the most favorable combination of abilities that make it possible to perform a certain activity especially successfully and creatively, on the one hand, an inclination for this activity, a peculiar need for it, on the other, and great diligence and perseverance, on the third. Talent can manifest itself in any human activity, and not just in the field of science or art. Therefore, a talented person can be an attending physician, a teacher, a pilot, an innovator in agricultural production, and a skilled worker.

The development of talents depends decisively on socio-historical conditions. Class society hinders the development of talents among the representatives of the exploited classes. And even if in such conditions the people gave a lot of outstanding talents (M.V. Lomonosov - the son of a fisherman - Pomor, T.G. Shevchenko - the son of a serf, the inventor of the steam locomotive Stephenson - the son of a worker), then this only speaks of how talented people, how great are the possibilities of the working people.

Consequently, it can be argued that the cognitive abilities required by the modern school can rightly be considered generic universal. These abilities are the same signs of belonging to the human race, as are the human senses, the activity of his muscles, etc. If there are little or no progress among schoolchildren, this must be explained by the fact that some teaching methods do not activate generic abilities, do not form them, just as there are children who cannot show the strength of their muscles, their physical dexterity due to unpreparedness to their application. No one, as a rule, should fall behind in teaching. If there are such at school, it is only because they were not ready for learning: some because of the insufficiency of their previous knowledge, others because of the inability to use their generic abilities in educational activities.

There is a great formula by K.E. Tsiolkovsky, which opens the veil over the secret of the birth of a creative mind: “First I discovered truths known to many, then I began to discover truths known to some, and finally I began to discover truths unknown to anyone.” Apparently, this is what it is. the path of the formation of the creative side of the intellect, the path of development of inventive and research talent. Our duty is to help the child embark on this path.

Thus, abilities cannot be either innate or genetic formations - they are a product of development. The inborn factors underlying abilities are inclinations.

Makings are defined as anatomical and physiological features of the brain, nervous and muscular systems, analyzers or sensory organs (B.M. Teplov,

S.L. Rubinstein, B.G. Ananiev, K.M. Gurevich, A.V. Rodionov, N.S. Leites and others).

1.2. Conditions for the transition of natural inclinations into abilities.

Having examined the essential characteristics of abilities in the previous paragraph, it is necessary to develop the following important aspect of this problem, in our opinion: the conditions for the transition of hereditary potency into abilities.

At birth, each child has certain inclinations for the development of abilities and personal qualities, which are finally formed in the process of individual development and learning. but in order for the abilities to develop, it is not enough to give the child knowledge, skills and abilities. It is very important to form such personal qualities that would become the driving force behind all his educational activities, as well as determine the further fate of the knowledge gained: whether they remain dead weight or will be creatively implemented.

Psychologists recognize the well-known role of natural, biological factors as natural prerequisites for the development of abilities. Such natural prerequisites for the development of abilities are called inclinations.

Inclinations are some congenital anatomical and physiological features of the brain, nervous system, analyzers that determine the natural individual differences between people.

Inclinations influence the process of formation and development of abilities. All other things being equal, the presence of favorable inclinations for this activity contributes to the successful formation of abilities facilitates their development. Of course, only the presence of especially favorable inclinations and especially favorable living and working conditions explain the extremely high levels of achievement.

The inclinations include some innate features of the visual and auditory analyzers. The typological properties of the nervous system also act as inclinations, on which the speed of formation of temporary nerve connections, their strength, the strength of concentrated attention, the endurance of the nervous system, and mental performance depend. It has now been established that, along with the fact that typological properties (strength, balance and mobility of nervous processes) characterize the nervous system as a whole, they can characterize the work of individual areas of the cortex (visual, auditory, motor, etc.) in a completely different way. .

In this case, the typological properties are partial (“partial” in Latin means “partial”, “separate”), since it characterizes the work of only certain parts of the cerebral cortex. Partial properties can already more definitely be considered the makings of abilities associated with the work of the visual or auditory analyzer, with the speed and accuracy of movements.

The level of development and correlation of the first and second signal systems should also be considered as inclinations. Depending on the peculiarities of the relationship between signal systems, I.P. Pavlov distinguished three specifically human types of higher nervous activity: art type with the relative predominance of the first signal system; thinking type with the relative predominance of the second signal system; middle type with relative balance of signaling systems. For people of the artistic type, the brightness of direct impressions, the imagery of perception and memory, the richness and liveliness of the imagination, and emotionality are characteristic.

Thinking type people tend to analyze and systematize, to generalized, abstract thinking.

Individual features of the structure of individual sections of the cerebral cortex can also be inclinations.

It should be remembered that inclinations do not include abilities and do not guarantee their development. Inclinations are only one of the conditions for the formation of abilities. Not a single person, no matter how favorable inclinations he may have, can become an outstanding musician, artist, mathematician, poet, without doing a lot and persistently in the relevant activities. There are many examples in life when people with very favorable inclinations were never able to realize their potential in life and remained mediocre performers in precisely the activity in which they could achieve great success if their life had turned out differently. And vice versa, even in the absence of good inclinations, a hardworking and persistent person with strong and stable interests and inclinations for any activity can achieve certain success in it.

For example, on the basis of such an inclination as speed, accuracy, subtlety and dexterity of movement, depending on the conditions of life and activity, both the ability for smooth and coordinated movements of the body of a gymnast, and the ability for fine and precise movements of the surgeon’s hand, and the ability for quick and the plastic fingers of a violinist.

On the basis of the artistic type, the abilities of an actor, and a writer, an artist, and a musician can develop, on the basis of a thinking type, the abilities of a mathematician, and a linguist, and a philosopher.

With favorable inclinations and under optimal conditions of life and activity, a child’s abilities, for example, musical, literary, visual arts, and mathematics, can form very early and develop very quickly (which sometimes creates the illusion of innate abilities). (17, p.6-12.)

According to R.S. Nemov terms and conditions The development of a person's social abilities are the following circumstances of his life:

1. The presence of a society, a socio-cultural environment created by the labor of many generations of people. This environment is artificial, it includes many objects of material and spiritual culture that ensure the existence of a person and the satisfaction of his own human needs.

2. The lack of natural inclinations to use the appropriate items and the need to learn this from childhood.

3. The need to participate in various complex and highly organized human activities.

4. The presence of educated and civilized people around a person from birth, who already have the necessary abilities and are able to transfer to him the necessary knowledge, skills and abilities, while having the appropriate means of training and education.

5. Absence from birth in a person of rigid, programmed structures of behavior such as innate instincts, immaturity of the corresponding brain structures that ensure the functioning of the psyche and the possibility of their formation under the influence of training and education.

Each of these circumstances is necessary for the transformation of a person as a biological being, from birth possessing elementary abilities that are characteristic of many higher animals, into a social being, acquiring and developing in itself human abilities proper, the socio-cultural environment develops abilities (use of objects, material and spiritual culture).

For a teacher who carefully studies students, for the correct organization of the educational process and an individual approach to teaching and upbringing, it is important to know what the student’s abilities are for, and to what extent these abilities are expressed. The student's abilities can be judged by observing his manifestations in the corresponding activity. In practice, one can judge abilities by the totality the following indicators:

1) for the rapid advancement (rate of advancement) of the student in mastering the relevant activity;

2) according to the qualitative level of his achievements;

3) by a strong, effective and stable inclination of a person to engage in this activity

The successful implementation of a particular activity, even in the presence of abilities, depends on a certain combination of personality traits. Only abilities that are not combined with the corresponding orientation of the personality, its emotional and volitional properties, cannot lead to high achievements. First of all, abilities are closely related to an active positive attitude towards the relevant activity, interest in it, a tendency to engage in it, which at a high level of development turns into passion, into a vital need for this type of activity.

Interests are manifested in the desire for knowledge of the object, a thorough study of it in all details. Propensity - the desire to perform the corresponding activity. Personal interests and inclinations do not always coincide. You can be interested in music and not have an inclination to study it. You can be interested in sports and remain only a “fan” and a connoisseur of sports, without even doing morning exercises. But in children and adults capable of a certain activity, interests and inclinations, as a rule, are combined.

Interests and inclinations for a certain activity usually develop in unity with the development of abilities for it. For example, the interest and inclination of the student to mathematics make him intensively engage in this subject, which in turn develops mathematical abilities. Developing mathematical abilities provide certain achievements, successes in the field of mathematics, which cause a joyful feeling of satisfaction in the student. This feeling causes an even deeper interest in the subject, a tendency to engage in it even more.

For success in activity, in addition to the presence of abilities, interests and inclinations, a number of character traits are necessary, first of all, diligence, organization, concentration, purposefulness, perseverance. Without the presence of these qualities, even outstanding abilities will not lead to reliable, significant achievements.

Many people think that everything is easy and simple for capable people, without much difficulty.

This is not true. The development of abilities requires a long, persistent study and a lot of hard work. As a rule, abilities are always combined with exceptional ability to work and diligence. It is not for nothing that all talented people emphasize that talent is labor multiplied by patience, it is a propensity for endless labor.

I.E. Repin said that a high level of achievement is a reward for hard labor. And one of the greatest scientists in the history of mankind - A. Einstein once said in a joking manner that he achieved success only because he was distinguished by "stubbornness of a mule and terrible curiosity."

At school, sometimes there are students who, thanks to their abilities, grasp everything on the fly, do well, despite laziness, disorganization. But in life they usually do not live up to expectations, and precisely because they are not accustomed to work seriously and in an organized manner, to persistently overcome obstacles.

Such personality traits as self-criticism, exactingness to oneself are very important. These qualities give rise to dissatisfaction with the first results of labor and the desire to do even better, more perfect. This is what forced the great inventor T. Edison to do thousands of experiments in order to find, for example, the most successful battery design. It was this that made A.M. Gorky redo the manuscript of the book “Mother” seven times. Leo Tolstoy's work "Kreutzer Sonata" is small in volume. But the manuscripts of all versions of this work, all notes, notes and sketches are 160 times larger in volume than the work itself.

Such a character trait as modesty is also very important. Confidence in one's exclusivity, nourished by uncertain praises and delights, is often detrimental to abilities, since in this case arrogance, self-admiration and narcissism, and disdain for others are formed. A person stops working on improving the product of his labor, obstacles cause him irritation and disappointment, and all this hinders the development of abilities.

The initial prerequisite for the development of abilities are those innate inclinations with which the child is born. At the same time, the biologically inherited properties of a person do not determine his abilities. The brain does not contain certain abilities, but only the ability to form them. Being a prerequisite for the successful activity of a person, his abilities, to one degree or another, are the product of his activity. In other words, what will be the attitude of a person to reality, such is the result.

Abilities include in their structure of skills, therefore, knowledge and skills. The ease, speed and quality of the formation of each skill, skills depend on the existing abilities.

This earlier development of abilities will allow them to be more fully formed by adulthood. Skills, knowledge, abilities, having become personality traits, turn into elements of new, changed human abilities, lead to new, more complex types of activity. There is a kind of “chain reaction” of developing abilities based on existing ones.

With the inclinations, abilities can develop very quickly even under adverse circumstances. However, excellent inclinations in themselves do not automatically ensure high achievements. On the other hand, even in the absence of inclinations (but not with complete ones), a person can, under certain conditions, achieve significant success in the relevant activity.

So, in this paragraph, we examined the conditions for the transition of natural inclinations into abilities.

1.3. The development of the child's abilities in primary school age.

Having considered in the previous paragraph the conditions for the transition of natural inclinations into abilities, it is necessary to develop the next aspect of this problem, in our opinion, as a characteristic of the mechanism for developing the creative abilities of younger schoolchildren.

As a result of experimental studies, among the abilities of a person, a special kind of ability was singled out - to generate unusual ideas, deviate from traditional patterns in thinking, and quickly resolve problem situations. This ability was called creativity (creativity)

Under the creative (creative) abilities of students understand "... the complex capabilities of the student in the performance of activities and actions aimed at creation."

Creativity covers a certain set of mental and personal qualities that determine the ability to be creative. One of the components of creativity is the ability of the individual.

A creative product must be distinguished from a creative process. The product of creative thinking can be judged by its originality and its value, the creative process by its sensitivity to the problem, the ability to synthesize, the ability to recreate the missing details (do not follow the beaten path), the fluency of thought, etc. These attributes of creativity are common to both science and art.

Problems of creativity have been widely developed in domestic psychology. Currently, researchers are searching for an integral indicator that characterizes a creative person. This indicator can be defined as a certain combination of factors or considered as a continuous unity of procedural and personal components of creative thinking (A.V. Brushlinsky).

A great contribution to the development of problems of abilities, creative thinking was made by psychologists like B.M. Teplov, S.L. Rubinshtein, B.G. Ananiev, N.S. Leites, V.A. Krutetsky, A.G. Kovalev, K.K. Platonov, A.M. Matyushkin, V.D. Shadrikov, Yu.D. Babaeva, V.N. Druzhinin, I.I. Ilyasov, V.I. Panov, I.V. Kalish, M.A. Kholodnaya, N.B. Shumakova, V.S. Yurkevich and others.

Adhering to the position of scientists who define creative abilities as an independent factor, the development of which is the result of teaching the creative activity of younger students, we single out the components of creative (creative) abilities of younger students:

* creative thinking,

* creative imagination,

* application of methods of organization of creative activity.

For the development of creative thinking and creative imagination of primary school students, it is necessary to offer the following tasks:

classify objects, situations, phenomena on various grounds;
establish causal relationships;
see interconnections and identify new connections between systems;
consider the system in development;
make forward-looking assumptions;
highlight the opposite features of the object;
identify and form contradictions;
to separate conflicting properties of objects in space and time;
represent spatial objects.

Creative tasks are differentiated according to such parameters as

the complexity of the problem situations contained in them,
the complexity of the mental operations necessary to solve them;
forms of representation of contradictions (explicit, hidden).

In this regard, three levels of complexity of the content of the system of creative tasks are distinguished.

Tasks of the III (initial) level of complexity are presented to students of the first and second grades. A specific object, phenomenon or human resource acts as an object at this level. Creative tasks of this level contain a problematic issue or a problematic situation, involve the use of the method of enumeration of options or heuristic methods of creativity and are designed to develop creative intuition and spatial productive imagination.

Tasks of the II level of complexity are one step lower and are aimed at developing the foundations of systemic thinking, productive imagination, mainly algorithmic methods of creativity.

Under the object in the tasks of this level is the concept of “system”, as well as the resources of systems. They are presented in the form of a vague problem situation or contain contradictions in an explicit form.

The purpose of tasks of this type is to develop the foundations of students' systemic thinking.

Tasks I (highest, high, advanced) level of complexity. These are open tasks from various fields of knowledge containing hidden contradictions. Biosystems, polysystems, resources of any systems are considered as an object. Tasks of this type are offered to students in the third and fourth years of study. They are aimed at developing the foundations of dialectical thinking, controlled imagination, and the conscious application of algorithmic and heuristic methods of creativity.

The methods of creativity chosen by students when performing tasks characterize the corresponding levels of development of creative thinking, creative imagination. Thus, the transition to a new level of development of creative abilities of younger students occurs in the process of accumulation of creative activity by each student.

III level - involves the performance of tasks based on the enumeration of options and the accumulated creative experience in preschool age and heuristic methods. The following creative methods are used:

focal object method,
morphological analysis,
control question method,
separate typical methods of fantasizing.

Level II - involves the performance of creative tasks based on heuristic methods and TRIZ elements, such as:

little man method
methods of overcoming psychological inertia,
system operator,
resource approach,
laws of system development.

Level I - involves the performance of creative tasks based on the thinking tools of TRIZ:

* adapted algorithm for solving inventive problems,

* techniques for resolving contradictions in space and time,

* typical methods of conflict resolution.

Domestic psychologists and teachers (L.I. Aidarova, L.S. Vygotsky, L.V. Zankov, V.V. Davydov, Z.I. Kolmykova, V.A. Krutetsky, D.B. Elkonin and others.) emphasize the importance of educational activity for the formation of creative thinking, cognitive activity, the accumulation of subjective experience of creative search activity of students.

The experience of creative activity, according to researchers, is an independent structural element of the content of education:

transfer of previously acquired knowledge to a new situation,
independent vision of the problem, alternatives for its solution,
combining previously learned methods into new and different ones.

Analysis of the main psychological neoplasms and the nature of the leading activity of this age period, modern requirements for the organization of education as a creative process, which the student, together with the teacher, in a certain sense build themselves; orientation at this age on the subject of activity and ways to transform it suggest the possibility of accumulating creative experience not only in the process of cognition, but also in such activities as the creation and transformation of specific objects, situations, phenomena, creative application of knowledge gained in the learning process.

In the psychological and pedagogical literature on this issue, definitions of creative activities are given.

Cognition is “... the educational activity of the student, understanding it as a process of creative activity that forms their knowledge.”

At primary school age, in the first place, there is a division of play and labor, that is, activities carried out for the sake of pleasure that the child will receive in the process of the activity itself and activities aimed at achieving an objectively significant and socially assessed result. This distinction between play and work, including educational work, is an important feature of school age.

The importance of imagination in primary school age is the highest and necessary human ability. However, it is this ability that needs special care in terms of development. And it develops especially intensively at the age of 5 to 15 years. And if this period of imagination is not specially developed, in the future there will be a rapid decrease in the activity of this function.

Along with a decrease in a person’s ability to fantasize, a person becomes impoverished, the possibilities of creative thinking decrease, interest in art, science, and so on goes out.

Younger students carry out most of their vigorous activity with the help of imagination. Their games are the fruit of the wild work of fantasy, they are enthusiastically engaged in creative activities. The psychological basis of the latter is also creative imagination. When in the process of learning children are faced with the need to comprehend abstract material and they need analogies, support with a general lack of life experience, imagination also comes to the aid of the child. Thus, the significance of the function of imagination in mental development is great.

However, fantasy, like any form of mental reflection, must have a positive direction of development. It should contribute to a better knowledge of the world around self-disclosure and self-improvement of the individual, and not develop into passive daydreaming, replacing real life with dreams. To accomplish this task, it is necessary to help the child use his imagination in the direction of progressive self-development, to enhance the cognitive activity of schoolchildren, in particular the development of theoretical, abstract thinking, attention, speech and creativity in general. Children of primary school age are very fond of doing art. It allows the child to reveal his personality in the most complete free form. All artistic activity is based on active imagination, creative thinking. These features provide the child with a new, unusual view of the world.

They contribute to the development of thinking, memory, enrich his individual life experience! According to L.S. Vygotsky, imagination provides the following activities of the child:

Building an image, the end result of his activity,

Creation of a program of behavior in a situation of uncertainty, creation of images that replace activities,

Creation of images of described objects.

For the development of the child, the formation of many interests is very important.

It should be noted that the student is generally characterized by a cognitive attitude to the world. Such a curious orientation has an objective expediency. Interest in everything expands the child's life experience, introduces him to various activities, activates his various abilities.

Children, unlike adults, are able to express themselves in artistic activities. They are happy to perform on stage, participate in concerts, competitions, exhibitions and quizzes. The developed ability of imagination, typical for children of primary school age, gradually loses its activity as the age increases.

Summing up the results of the paragraph, we come to the following conclusion.

A child of primary school age, in the conditions of upbringing and education, begins to occupy a new place in the system of social relations accessible to him. This is primarily due to his admission to school, which imposes certain social duties on the child, requiring a conscious and responsible attitude towards it, and with his new position in the family, where he also receives new duties. At primary school age, the child for the first time becomes, both at school and in the family, a member of a real work collective, which is the main condition for the formation of his personality. The consequence of this new position of the child in the family and at school is a change in the nature of the child's activities. Life in a team organized by the school and teacher leads to the development of complex, social feelings in the child and to the practical mastery of the most important forms and rules of social behavior. The transition to the systematic assimilation of knowledge at school is a fundamental fact that forms the personality of a younger student and gradually restructures his cognitive processes.

The range of creative tasks solved at the initial stage of education is unusually wide in complexity - from finding a malfunction in a motor or solving a puzzle, to inventing a new machine or a scientific discovery, but their essence is the same: when they are solved, an experience of creativity occurs, a new path is found or something is created. new. This is where the special qualities of the mind are required, such as observation, the ability to compare and analyze, combine, find connections and dependencies, patterns, etc. all that in the aggregate constitutes creative abilities.

Creative activity, which is more complex in its essence, is available only to a person.

There is a great “formula” that opens the veil over the secret of the birth of a creative mind: “First, open the truth known to many, then open the truths known to some, and finally open the truths unknown to anyone.” Apparently, this is the path to the formation of the creative side of the intellect, the path to the development of inventive talent. Our duty is to help the child embark on this path..

The school always has a goal: to create conditions for the formation of a personality capable of creativity and ready to serve modern production. Therefore, the elementary school, working for the future, should be focused on the development of the creative abilities of the individual.

Chapter 2. Pedagogical conditions for the development of creative abilities of primary school students.

In the first chapter, we examined the essence of the concept of ability, the conditions for the transition of natural inclinations into abilities, and the characteristics of the creative abilities of a younger student.

In the second chapter, we reveal the pedagogical conditions for the development of the child's creative personality both in extracurricular and extracurricular activities, and in class activities.

2.1. The study of the development of creative abilities.

The topic of our research was to determine the conditions for the development of the creative abilities of a child of primary school age, the characteristics of which were given in the first chapter of the thesis

The focus of our work is children of primary school age. As we noted above, this age is the most favorable for the development of the imagination and creativity of the individual. The younger school age is characterized by the activation of the functions of the imagination, first recreating, and then creative.

Scientific analysis of the problem, the practice of the work of educational institutions shows that developmental work does not have an effective result if it is not based on a preliminary and current study of the level of development of a particular ability of the child. D.B. Elkonin pointed out the controllability of the development of abilities, the need to take into account the initial level and control the development process, which contributes to the choice of directions in subsequent work. Therefore, the first stage in our research work was the study of the development of creative abilities of primary school students No. 9 of the city of Mariinsk, which became the starting point for constructing a formative experiment.

Research by scientists convincingly proves that the basis of many gaps in the development of a child's creative abilities is a low level of development of a person's culture.

Based on the understanding of culture as:

a) systems of specific human activities;

b) the totality of spiritual values;

c) the process of self-realization of the creative essence of man.

we have identified the following components of the object of study (creativity), which can be the basis for identifying diagnostic parameters, as well as guidelines that determine the goals and objectives of the content and the effectiveness of educational activities:

Literacy
Competence
Value-semantic component
Reflection
cultural creativity

Literacy is the basics of culture, in particular knowledge about creative abilities, from which its development begins, taking into account age and individual characteristics.

Literacy means the acquisition of knowledge, which can manifest itself in outlook, erudition, awareness, both in terms of scientific knowledge and in terms of everyday experience, drawn from traditions, customs, direct communication of a person with other people. Literacy involves mastering the system of signs and their meanings. (18, from 75.)

In the definition of competence, we adhere to the definition given in the work of M.A. Kholodny: "Competence is a special type of organization of subject-specific knowledge, which allows making effective decisions in the relevant field of activity."

The main difference between literacy and competence is that a literate person knows, understands (for example, how to behave in a given situation), and a competent person can really and effectively use knowledge in solving certain problems. The tasks of developing competence are not just to know more and better about the costume, but to include this knowledge in life practice.

Creativity is a set of personally significant and personally valuable aspirations, ideals, beliefs, views, positions, relationships, beliefs, human activities, relationships with others.

Value, unlike the norm, implies a choice, which is why, in situations of choice, the characteristics related to the value-semantic component of human culture are most clearly defined.

Reflection is tracking the goals, process and results of one's activity in the appropriation of culture, awareness of those internal changes that are taking place, as well as oneself as a changing personality, subject of activity and relationships.

Cultural creativity means that a person already in childhood is not only a creation of culture, but also its creator. Creativity is inherent in development already at preschool age. These components do not exist in isolation from each other.

They are not opposed, but only conditionally divided into processes of development of creativity.

Relationships can appear between almost all components; the organization of reflection allows to achieve transformations in the value-semantic sphere, which can affect the improvement of literacy and competence.

Since our experiment is practice-oriented, we used empirical research methods. Based on the parameters identified by some scientists (literacy, competence, creativity), based on the sections of the psychological and pedagogical characteristics of a child of primary school age, we developed a set of diagnostic tasks that were aimed at determining the degree of severity fantasies of each child, which gave us initial ideas about the development of his creative imagination

To more accurately determine the level of development of students' creative abilities, it is necessary to analyze and evaluate each independently completed creative task. The pedagogical assessment of the results of the creative activity of students was carried out by us using the “Fantasy” scale, developed by G.S. Altshuller to assess the presence of fantastic ideas and thus allow assessing the level of imagination (the scale is adapted to the junior school question by M.S. Gafitulin, T.A. Sidorchuk).

The Fantasy scale includes five indicators:

novelty (assessed on a 4-level scale: copying an object (situation, phenomenon), minor change in the prototype, obtaining a fundamentally new object (situation, phenomenon));
persuasiveness (convincing is a reasonable idea described by the child with sufficient certainty).

The data of scientific works suggest that research conducted in real life is legitimate if it is aimed at improving the educational environment in which the child is formed, contributing to social practice, at creating pedagogical conditions conducive to the development of creativity in the child.

Our initial research showed the need for painstaking and purposeful work with more than half of the students to develop their creative abilities, which stimulated us to identify and create conditions conducive to the development of creative abilities.

We assumed that the greatest effect in the development of the creative abilities of a younger student can be

daily inclusion of creative tasks and exercises in the educational process,
implementation of circle or optional classes according to a specially designed program,
involvement of students in creative interaction of an applied nature with peers and adults by connecting the families of students,

Didactic and plot - role-playing games in the classroom and outside of class

Excursions, observations;

Creative workshops;

Trainings conducted by the psychologist of an educational institution.

Analysis of the results of diagnostics of the development of creative abilities of younger students was carried out through a system of creative tasks, which allowed:

* to form requirements for a system of tasks that will allow you to purposefully develop these abilities;

* consider the content of various training courses as a resource for tasks for younger students;

* offer ways to organize the creative activity of students and tools for pedagogical diagnostics;

* formulate organizational requirements for the learning process at the primary level of the school.

All this made it possible to concretize and solve the problem of developing the creative abilities of younger students through a system of creative tasks.

2.2. The development of the child's creative abilities in educational activities.

Adhering to the position of scientists who believe that the most appropriate form of development of creative (creative) abilities is teaching the creative activity of younger students. For such training, at the first stage of our experimental work, we chose a lesson.

Lesson - remains the main form of education and upbringing of primary school students. It is within the framework of the educational activity of a junior schoolchild that, first of all, the tasks of developing his imagination and thinking, fantasy, ability to analyze and synthesize (isolate the structure of an object, identify relationships, understand the principles of organization, create a new one) are solved.

It should be noted that modern educational programs for younger students imply solving the problems of developing the child's creative abilities in educational activities.

So, as part of the implementation of the program on literary reading, the work of a primary school teacher should be aimed not only at developing reading skills, but also at:

development of creative and recreative imagination of students,
enrichment of the moral, aesthetic and cognitive experience of the child.
At the same time, the choice of forms, methods, means for solving the designated tasks traditionally causes difficulties for primary school teachers.

Any activity, including creative, can be represented

in the form of certain tasks. I.E. Unt defines creative tasks as “…tasks requiring creative activity from students, in which the student himself must find a way to solve, apply knowledge in new conditions, create something subjectively (sometimes objectively) new”

The effectiveness of the development of creative abilities largely depends on the material on the basis of which the task was compiled. Based on the analysis of psychological, pedagogical and scientific and methodological literature (G.S. Altshuller, V.A. Bukhvalov, A.A. Danilov, A.M. Matyushkin and others), we identified the following requirements for creative tasks:

compliance with the conditions of the chosen methods of creativity;
the possibility of different solutions;
taking into account the current level of the solution;
taking into account the age interests of students.

Considering these requirements, we have built a system of creative tasks, which is understood as an ordered set of interrelated tasks focused on objects, situations, phenomena and aimed at developing the creative abilities of younger students in the educational process.

The system of creative tasks includes target, content, activity and result components.

We have replaced the traditional assignments for writing essays in the Russian language lessons with cooperation in the cool handwritten magazine “Fireflies”. In order to get their creative work on the pages of the magazine, students must not only spell correctly write the work, but also be creative in its design. All this stimulates younger students to independent, without pressure from adults, the desire to write poetry, fairy tales.

No less opportunities for the development of creative abilities of students have lessons in natural history, environmental culture. One of the most important tasks is the education of a humane, creative personality, the formation of a careful attitude to the riches of nature and society. We sought to consider the available cognitive material in an inseparable, organic unity with the development of the child's creative abilities, to form a holistic view of the world and a person's place in it.

At the lessons of labor training, a lot of work is done to develop creative thinking and imagination in children of primary school age.

An analysis of textbooks for elementary school (a set of textbooks “School of Russia”) showed that the creative tasks contained in them are mainly classified as “conditionally creative”, the product of which are essays, presentations, drawings, crafts, etc. Part of the tasks is aimed at developing the intuition of students; finding multiple answers; creative tasks that require permission are not offered by any of the programs used in schools.

The proposed tasks involve the use in the creative activity of younger students mainly of methods based on intuitive procedures (such as the method of enumeration of options, morphological analysis, analogy, etc.). Modeling, a resource approach, and some fantasizing techniques are actively used. However, the programs do not provide for the purposeful development of students' creative abilities.

Meanwhile, for the effective development of the creative abilities of schoolchildren, the use of heuristic methods should be combined with the use of algorithmic methods of creativity.

Particular attention is paid to the creative activity of the student himself. The content of creative activity refers to its two forms - external and internal. The external content of education is characterized by the educational environment, the internal content is the property of the individual himself, created on the basis of the student's personal experience as a result of his activity.

When selecting the content for the system of creative tasks, we took into account two factors:

The fact that the creative activity of younger schoolchildren is carried out mainly on the problems already solved by society,
Creative possibilities of the content of primary school subjects.

Each of the selected groups is one of the components of the creative activity of students, has its own purpose, content, offers the use of certain methods, performs certain functions. Thus, each group of tasks is a necessary condition for the student to accumulate subjective creative experience.

Group 1 - "Knowledge".

The goal is the accumulation of creative experience of cognition of reality.

Acquired Skills:

to study objects, situations, phenomena on the basis of selected features - color, shape, size, material, purpose, time, location, part-whole;
to consider in the contradictions that determine their development;
to model phenomena, taking into account their features, system connections, quantitative and qualitative characteristics, patterns of development.

Group 2 - "Creation".

The goal is the accumulation by students of creative experience in creating objects of situations, phenomena.

The ability to create original creative products is acquired, which involves:

* obtaining a qualitatively new idea of the subject of creative activity;

* Orientation to the ideal end result of the development of the system;

* rediscovery of already existing objects and phenomena with the help of dialectical logic.

Group 3 - "Transformation".

The goal is the acquisition of creative experience in the transformation of objects, situations, phenomena.

Acquired Skills:

simulate fantastic (real) changes in the appearance of systems (shape, color, material, arrangement of parts, and others);
to model changes in the internal structure of systems;
take into account when changing the properties of the system, resources, the dialectical nature of objects, situations, phenomena.

Group 4 - "Use in a new capacity."

The goal is the accumulation by students of the experience of a creative approach to the use of existing objects, situations, phenomena.

Acquired Skills:

consider the objects of the situation, phenomena from different points of view;
find fantastic applications for real-life systems;
carry out the transfer of functions to various areas of application;
get a positive effect by using the negative qualities of systems, universalization, obtaining systemic effects.

In order to accumulate creative experience, the student must be aware (reflect) of the process of performing creative tasks.

The organization of students' awareness of their own creative activity involves current and final reflection.

Current reflection is implemented in the process of students completing assignments in a workbook and involves independent fixation of the level of students' achievement (emotional mood, acquisition of new information and practical experience, degree of personal advancement, taking into account previous experience).

The final reflection involves the periodic performance of thematic examinations.

Both at the current and at the final stage of reflection, the teacher fixes what methods for solving creative tasks students use, and draws a conclusion about the progress of students, about the level of development of creative thinking and imagination.

By reflexive actions in our work, we understood

willingness and ability of students to think creatively to overcome problem situations;
the ability to acquire new meaning and values;
the ability to set and solve non-standard tasks in the conditions of collective and individual activities;
ability to adapt in unusual interpersonal systems of relations;
humanity (determined by a positive transformation aimed at creation);
artistic value (estimated by the degree of use of expressive means when presenting an idea);
subjective assessment (given without substantiation and evidence, at the level of likes or dislikes). This methodology can be supplemented with an indicator of the level of the method used.

Thus, the organization of the creative activity of younger students, taking into account the chosen strategy, involves the introduction of the following changes in the educational process:

involvement of students in systematic joint creative activity based on personal-activity interaction, focused on cognition, creation, transformation, use of objects of material and spiritual culture in a new quality, the obligatory result of which should be the receipt of a creative product;
systematic use of creative methods that ensure the advancement of students in the development of creative abilities by accumulating experience in creative activity when performing gradually more complex creative tasks within the framework of an additional curriculum;
intermediate and final diagnosis of creative abilities of younger students.

2.3. Implementation of the program “Creativity Lessons”.

The implementation of the program of creative tasks within the framework of the educational disciplines of elementary school is possible only in the first grade. Starting from the second grade, the absence of tasks containing contradictions in the subjects and the lack of time for mastering the methods of organizing the creative activity of students compensates optional course "Lessons of creativity".

The main objectives of the course:

development of a productive, spatial, controlled imagination;
training in the purposeful use of heuristic methods to perform creative tasks.

In the explanatory note to the program, that the course is designed for 102 academic hours from the second grade of a four-year elementary school (34,34,34 hours, respectively) and contains about 500 tasks of a creative nature, however, based on the results of the initial diagnosis of the development of creative abilities of our experimental class, we did our thematic planning as part of extracurricular activities with students in grades 2 and 3.

Thematic planning of the course "Lessons of creativity".

Sections 2 classes	Number of hours	Sections 3 classes	Number of hours	Sections 4 classes	Number of hours
Object and its features				Bi - and polysystems
Human Resources		Laws of system development		Contradiction
Fantasizing techniques				Techniques for resolving contradictions
Methods for activating thinking		Modeling		Qualities of a creative person

To organize the content of the course, an approach was used that allows parallel inclusion of creative tasks focused on cognition, the creation, transformation and use of objects, situations, phenomena of various levels of complexity, which ensures progress in the development of students in an individual mode, while maintaining the integrity of the learning system.

So, for example, in the section “Object and its features” when studying the topic

“Form” tasks focused on the knowledge “Creation and transformation of objects” were used (make a riddle; come up with a new shape; divide into groups; connect objects of the natural and technical world that are similar in shape; find objects that look like a circle, square, triangle). And in the topic

“Material” - assignments for the knowledge, creation and use of objects in a new capacity (“What of what?”, “Make a riddle”, “Find a new use for an old rubber toy”, “think up a new material and explain how to use it”).

According to the principles of the personal-activity approach, all completed creative tasks ended with practical activities that are meaningful and accessible to younger students - visual activity, schematization, construction, writing fairy tales (stories), compiling riddles, descriptions, comparisons, metaphors, proverbs, fantastic plots. The development of students' creative abilities is considered from the standpoint of personal acquisitions, the continuous "building up" of the experience of creative activity by each student.

We presented the activities for the implementation of the system of creative tasks in four areas focused on;

1) knowledge of objects, situations, phenomena;

2) creation of new objects, situations, phenomena;

3) transformation of objects, situations, phenomena;

4) the use of objects, situations, phenomena in a new quality.

Let us dwell on the main points of the implementation of the selected areas at various levels of complexity.

“Lessons of creativity” were realized in the following directions.

"Knowledge".

The implementation of the first direction of work involves the implementation by students of creative tasks focused on the knowledge of objects, situations, phenomena in order to accumulate experience in creative activity. They are represented by the following thematic series: “Yes-No”, “Signs”, “Natural world”, “Technical world”, “Human organism”, “Theatrical”, “Fantastic stories”, “What is good?” These tasks involve the use of dichotomy methods, control questions, and individual fantasizing techniques.

"Creating a New"

When implementing the second direction, students perform creative tasks focused on creating a new one:

"My business card";
"Compose a riddle";
“Come up with your own color (shape, material, sign)”;
“Picture your memory”;
“Come up with a fairy tale (story) about……..”;
“Invent a new balloon (shoes, clothes)”;
“Invent a telephone for the deaf”, etc.

To complete these tasks, we used separate fantasizing techniques (splitting, combining, shifting in time, increasing, decreasing, vice versa) and methods of activating thinking - synectics, the method of focal objects, morphological analysis, control questions. The mastering of the methods took place mainly in group activities, followed by collective discussion.

“Object Transformation”

To create the experience of creative activity, students were asked to perform the following tasks on the transformation of objects, situations, phenomena:

"The Rover on Mars";
“Fruit Packing Problem”;
“The problem of drying gunpowder”;
“Problem about separation of a microbe”;
“Come up with a label for a bottle of poison”, etc.;

As a result of the implementation, the students have expanded the possibilities of transforming objects, situations, phenomena by changing intra-system relationships, replacing system properties, and identifying additional system resources.

“Use in a new capacity”

A feature of the organization of work on creative tasks is the use of a resource approach in combination with previously used methods. Students perform the following creative tasks:

“Find a use for the discovery of the ancients in our days”;
“Baboons and tangerines”;
“Problem about the publicity stunt”;
“The problem of the first people on the moon”;
Series of tasks “Problems of the third millennium”;
“Winnie the Pooh decides out loud”;
"Narnia" etc.

As a result of their implementation under the guidance of a teacher, students were able to master the ability to quickly find an original application for the properties shown in an object.

Repeated diagnostics according to previously selected indicators led us to the following conclusions:

the systematic conduct of extracurricular activities, the use of algorithmic methods made it possible to expand the possibilities of children in the transformation of objects, achieved the transformation of ideas, various operations.

Conclusion

In the process of research, we analyzed in detail the essential

characteristics of abilities, their theoretical aspects, pedagogical management of the process of developing creative abilities in a school environment. Creativity as a formative concept seems to us especially important and relevant today.

The problem of pedagogical management of the development of creative abilities was considered by us from different angles: we used the program of the author G.V. Terekhova “Creativity Lessons”, which can be used as a course in optional classes.

This problem is reflected in the educational and leisure activities of the school.

We have made an attempt to build a system

performing creative tasks at each lesson in the process of teaching younger students. By the system of creative tasks, we mean an ordered set of interrelated tasks focused on knowledge, creation, transformation in a new quality objects, situations and phenomena of educational reality.

One of the pedagogical conditions for the effectiveness of the system of creative tasks is the personal-activity interaction of students and the teacher in the process of their implementation. Its essence lies in the inseparability of direct and reverse effects, the organic combination of changes in the subjects influencing each other, the awareness of interaction as co-creation.

In the course of experimental work, we came to the conclusion that one of the pedagogical conditions for the effectiveness of the system of creative tasks is the personal-activity interaction of students and teacher in the course of their implementation. Its essence lies in the inseparability of direct and reverse effects, the organic combination of changes that affect each other, the understanding of interaction as co-creation.

The personal-activity interaction of a teacher and students in the process of organizing creative activity is understood as a combination of organizational forms of education, a binary approach to the choice of methods and a creative style of activity.

With this approach, the organizational function of the teacher is strengthened, it involves the choice of optimal methods, forms, techniques, and the function of the student is to acquire the skills of organizing independent creative activity, choosing the way to perform a creative task, the nature of interpersonal relationships in the creative process.

All these measures will allow children to be actively involved as subjects in all types of creative activity.

The accumulation by each student of the experience of independent creative activity involves the active use of collective, individual and group forms of work at various stages of performing creative tasks.

The individual form allows you to activate the personal experience of the student, develops the ability to independently identify a specific problem for solution.

The group form develops the ability to coordinate one's point of view with the opinion of comrades, the ability to listen and analyze the areas of search proposed by group members.

The collective form expands the ability of students to analyze the current situation in a wider interaction with peers, parents, teachers, provides the child with the opportunity to find out different points of view on solving a creative problem.

Thus, the effectiveness of the work being done is largely determined by the nature of the relationship between students. and between students and teachers.

In this regard, some conclusions and recommendations can be drawn:

The results of our observations, the questioning of students and their parents indicate that the child's creative abilities develop in all types of activities that are significant to him, provided that the following conditions are met:

the presence of an interest formed in children in performing creative tasks;
the implementation of creative tasks as the most important component of not only classroom, but also extracurricular activities of the student;
uniting by a common thematic and problematic core of educational and extracurricular forms of work, in which children learn to reflect on the problems of creativity and translate these reflections into practical activities;

Creative work should unfold in the interaction of children with each other and adults, be lived by them depending on specific conditions in interesting game and event situations;

Encourage parents of students to create home conditions for the development of the child's creative abilities, include parents in the creative affairs of the school.

Bibliography

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2. Bermus A.G. Humanitarian methodology for the development of educational programs // Pedagogical technologies.-2004 - No. 2.-p.84-85.

3. Vygotsky L.S. Imagination and creativity in childhood. M.-1981 - p. 55-56.

4. Galperin P. Ya. Staged formation as a method of psychological research // Actual problems of developmental psychology - M 1987

5. Davydov VV Problems of developmental education -M - 1986

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8. Ilyichev L.F. Fedoseev N.N. Philosophical encyclopedic dictionary. M.-1983 - p. 649.

9. Krutetsky V.N. Psychology.-M.: Education, 1986 - p.203.

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11. Ksenzova G.Yu. Success breeds success.// Open school. -2004 - No. 4. - p.52

12. Ledneva S.A. Identification of children's giftedness by teachers.//Scientific and practical journal. – 2002 - No. 1.- p. 36-42.

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Explanatory note
.

Primary school age is a particularly important period of the child's psychological development, the intensive development of all mental functions, the formation of complex activities, the laying of the foundations of creative abilities, the formation of the structure of motives and needs, moral standards, self-esteem, elements of volitional regulation of behavior.

“Creativity and personality”, “creative personality and society”, “creativity” - this is an incomplete list of issues that are in the focus of attention of psychologists, teachers, parents.

Creativity is a complex mental process associated with the character, interests, abilities of the individual.

Imagination is his focus.

A new product received by a person in creativity can be objectively new (a socially significant discovery) and subjectively new (a discovery for oneself). The development of the creative process, in turn, enriches the imagination, expands the knowledge, experience and interests of the child.

Creative activity develops the feelings of children, contributes to a more optimal and intensive development of higher mental functions,

such as memory, thinking. perception, attention

The latter, in turn, determine the success of the child's studies.

Creative activity develops the personality of the child, helps him to assimilate moral and ethical norms. Creating a work of creativity, the child reflects in them his understanding of life values, his personal properties. Children of primary school age love to make art. They sing and dance with enthusiasm. they sculpt and draw, compose fairy tales, and are engaged in folk crafts. Creativity makes a child's life richer, fuller, more joyful. Children are able to engage in creativity regardless of personal complexes. An adult, often critically evaluating his creative abilities, is embarrassed to show them.

Every child has their own. only his inherent features that can be recognized early enough.

Program goal:

development of systematic, dialectical thinking;
development of a productive, spatial, controlled imagination;
training in the purposeful use of heuristic and algorithmic methods to perform creative tasks.

Program objectives:

1. create conditions for the development of students' creative abilities.

2. contribute to the education of aesthetic feelings, susceptibility

child to the world, and appreciation of the beautiful.

Basic working methods:

individual, group, collective.

Classes are structured in such a way that there is a frequent change of activities, while the principle is observed from complex to simpler during each task, dynamic pauses are held. Many younger students need to develop sensory and motor skills, so the classes include exercises to develop graphic skills, fine motor skills of the hand.

Reflection at the end of the session includes a discussion with the children about what they learned in the lesson and what they liked the most.

This program is designed for 68 academic hours from the second grade of a four-year elementary school (34.34 hours, respectively) and contains about 500 creative tasks.

We presented the activities for the implementation of the system of creative tasks in four areas focused on:

knowledge of objects, situations, phenomena;
creation of new objects, situations, phenomena;
transformation of objects, situations, phenomena;
the use of objects, situations, phenomena in a new quality.

Structure and content of the program:

The entire course of study is a system of interrelated topics that reveal the diverse connections of objective practical activity in nature with the world of creativity and art.

In order to develop creative abilities, children are included in various forms and activities.

The name of the program “Creativity Lessons” is not accidental.

The idea of the program is an individual, group, collective approach, after each lesson there is a reflection, each student analyzes his attitude to the classes, whether he succeeded in creative work.

In this regard, the purpose of this work is to draw up a program for the development of creative abilities of children of primary school age.

The program for the development of younger schoolchildren makes it possible to positively influence the formation of the personality of a growing person through a system of classes, to trace the dynamics of changes in personality development, and to obtain grounds for predicting the further course of the child's mental development.

Techniques and methods of working with children correspond to the age and individual psychological characteristics of younger students.

Thematic planning for grade 2

	Topic name	Number of hours
	Acquaintance
	Object and its features
	The natural and technical world
	Object and its features



	Material
	Purpose


	Human Resources

	sense organs
	Thinking
	Attention
	Imagination



	Independent creative work
	Fantasizing techniques
	On the contrary, fragmentation-combination
	Animation, movable - immobile
	Shift in time, increase-decrease.
	Problem solving
	Methods for activating thinking
	Selection method, morphological analysis
	Focal object method



	Independent creative work

Thematic planning for grade 3

date of	Topic name	Number of hours
September	Repetition	1
	System	8
	Systems function	1
	System Resources	1
	Perfect end result	1
October	Problem solving	2
	System - man	1
		1
November		1
	Laws of systems development	10
	Law of Systems Development	1
	Law of Completeness of Parts	1
		1
December	Law of S-shaped development of systems	1
January	The law of agreement - mismatch	1
		1
		1
	Problem solving	2
	Independent creative work	1
	Modeling	10
	Order in the "brain attic"
	Algorithm	1
	Formulation of the problem	1
February	Models	1
March	Task Models	1
April	Modeling by little people	3
	Problem solving	1
April	Independent creative work	1
	Analogues	6
	Analogues	1
	Nature and technology	2
	Analogues in creative tasks	2
May	Independent creative work	1
Results:		34

Topics for parent meetings in grade 2

Topics for parent meetings in grade 3.

The use of creative tasks in the educational activities of younger students

Thematic series		Job types	Possibilities of educational subjects
"Theatrical"	Creation of theatrical effects, development of costumes for scenery, staging finds	Cognition, creation, transformation, use in a new capacity.	Artistic work, literary reading.
"Natural World"	Finding correspondences between natural and technical objects, studying the possibilities of natural analogues for the development of technology	Creation, transformation	The world
"Narnia"	Relationship analysis heroes of the works of Clive Staples Lewis	knowledge, creation	extracurricular reading
"Winnie the Pooh decides out loud"	Solving problems in fairy-tale situations from the works of J. Rodari, L. Carroll, A.A.Miln, J.Tolkien, A.Lindgren, N.A.Nekrasov, Russian folk tales, myths of ancient Greece; writing fairy tales, stories	Creation, transformation, use in a new capacity	Literacy education Literary reading
"Natural World"	The study of animals, the formation of a humane attitude of man to nature, the cultivation of cultivated plants, the study of the senses. memory. thinking, attention, natural and social characteristics of a person; studying the problems of people with disabilities	Cognition, creation, transformation, use in a new capacity	literacy education, The world Literary reading Russian language
“Puzzles”	Solving and compiling tasks for attention, encryption puzzles, tasks with matches, charades, crosswords	Creation, transformation	Maths The world Literacy education Literary reading Russian language
"Signs"	The study of the signs of objects (colors, shapes, sizes, materials, destinations, location in space, natural phenomena; drawing up riddles, metaphors, comparisons	Knowledge, creation, transformation, new use	Maths The world Literacy education Literary reading Russian language
"Space"	Studying the problems associated with human spaceflight: troubleshooting, water supply, operation of equipment in conditions of other planets; performance in a state of weightlessness	Creation, transformation, use in a new capacity	Literacy education Artistic labor The world
"Land of Unfinished Business"	Consideration of problems identified by students from various fields of knowledge	Transformation, use in a new capacity	The world

Federal Agency for Education

Kuzbass State Pedagogical Academy

Department of Humanitarian Disciplines and Teaching Methods

Final qualifying work

Development of creative abilities of younger students in the lessons of literary reading

female students of the 5th year of the 1st group OFO

Shipunova Anastasia Vladimirovna

Novokuznetsk 2009

Introduction

Chapter I. Theoretical foundations of the problem of developing the creative abilities of younger students

1.2 Analysis of practical experience development of creative abilities of younger students

Conclusions on Chapter I

Chapter II. Organizational and pedagogical conditions for the development of creative abilities of younger students

2.1 Development of creative abilities of younger students in the process of performing creative tasks

Conclusions on Chapter II

Conclusion

Bibliography

Appendix

Introduction

The problem of developing the creative abilities of younger students forms the basis, the foundation of the learning process, is an “eternal” pedagogical problem that does not lose its relevance over time, requiring constant, close attention and further development. Today in society, there is a particularly acute need for people who are enterprising, creative, ready to find new approaches to solving urgent socio-economic and cultural problems, able to live in a new democratic society and be useful to this society. In this regard, the problem of developing the creative activity of the individual is of particular relevance today. Creative personalities at all times determined the progress of civilization, creating material and spiritual values that are distinguished by novelty, unconventional, helping people to see the unusual in seemingly ordinary phenomena. But it is precisely today that the educational process is faced with the task of educating a creative personality, starting from elementary school. This task is reflected in alternative educational programs, in the innovative processes taking place in the modern school. Creative activity develops in the process of activities that have a creative nature, which makes students learn and be surprised, find solutions in non-standard situations. Therefore, today in pedagogical science and practice there is an intensive search for new, non-standard forms, methods and methods of teaching. Non-traditional types of lessons, problematic teaching methods, collective creative activities in extracurricular activities, which contribute to the development of creative activity of younger students, are becoming widespread.

Studies of the features of the development of creative activity of a younger schoolchild were carried out in the works of L.S. Vygotsky, B.M. Teplova, S.L. Rubinstein, N.S. Leites, teachers Sh.A. Amonashvili, G.I. Schukina, V.N. Druzhinina, V.D. Shadrikova, I.F. Kharlamov and others. Among the various means of developing the creative activity of younger students, Russian language lessons and reading in the primary grades occupy a special place.

The relevance stated in the final qualifying work is determined by the need of society for creative, active people and the insufficient use of various means in the lessons of the Russian language and reading, aimed at developing creative abilities. The importance and necessity of developing the creative activity of students in the practice of primary education led to the choice of the research topic "Development of creative abilities in the lessons of literary reading."

The purpose of the study: to identify and scientifically substantiate the organizational and pedagogical conditions for the development of creative abilities of younger students in the lessons of literary reading.

Object of study: the development of creative abilities of younger students.

Subject of study: the process of developing the creative abilities of younger students in reading lessons.

Research hypothesis: the development of the creative abilities of younger students in reading lessons will be effective if:

A truly creative atmosphere is created, conducive to the free manifestation of the child's creative thinking;

The inclusion of younger schoolchildren in creative activities, in the process of which creative tasks are solved, is ensured;

The choice of forms and methods of development of creative abilities is carried out;

During the study, the following tasks were solved:

1. Determine the psychological and pedagogical essence of the process of developing the creative abilities of younger students.

2. Determine the criteria and levels of development of creative abilities of younger students.

3. To analyze the practical experience of developing the creative abilities of younger students.

4. To identify effective conditions for the development of creative abilities of younger students in the lessons of literary reading.

Research methods: study and analysis of psychological and pedagogical literature on the research problem; pedagogical observation; questioning; conversations; psychological and pedagogical experiment; mathematical processing of experimental data.

The basis of our experimental study is the MOU "Sidorovskaya General Education School".

Chapter I. Theoretical foundations of the problem of developing the creative abilities of younger students.

1.1 Psychological and pedagogical essence of the concepts of "creative activity," creative abilities "of younger students

Creativity is not a new subject of study. The problem of human abilities has aroused great interest of people at all times. 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 we are considering is closely related to the concept of "creativity", "creative activity". The opinions of scientists about what is considered creativity are contradictory. In everyday life, creativity is usually called, firstly, activity in the field of art, secondly, design, creation, implementation of new projects, thirdly, scientific knowledge, the creation of the mind, fourthly, thinking in its highest form, beyond the limits of what is required to solve the problem that has arisen in already known ways, manifesting itself as imagination, which is a condition for mastery and initiative.

"Philosophical Encyclopedia" defines creativity as an activity that generates "something new, never before." The novelty resulting from creative activity can be both objective and subjective. Objective value is recognized for such products of creativity, in which still unknown laws of the surrounding reality are revealed, connections between phenomena that were considered unrelated to each other are established and explained. The subjective value of creative products takes place when the creative product is not new in itself, objectively, but new for the person who first created it. These are for the most part the products of children's creativity in the field of drawing, modeling, writing poetry and songs. In modern studies of European scientists, "creativity" is defined descriptively and acts as a combination of intellectual and personal factors. .

So, creativity is an activity, the result of which are new material and spiritual values; the highest form of mental activity, independence, the ability to create something new, original. As a result of creative activity, creative abilities are formed and developed.

What is "creativity" or "creativity"? So, P. Torrens understood creativity as the ability to a heightened perception of shortcomings, gaps in knowledge, disharmony. In the structure of creative activity, he singled out:

1. perception of the problem;

2. search for a solution;

3. the emergence and formulation of hypotheses;

4. hypothesis testing;

5. their modification;

6. finding results.

It is noted that such factors as temperament, the ability to quickly assimilate and generate ideas (not to be critical of them) play an important role in creative activity; that creative solutions come at a moment of relaxation, distraction of attention.

The essence of creativity, according to S. Mednik, is in the ability to overcome stereotypes at the final stage of mental synthesis and in the use of a wide field of associations.

D.B. Bogoyavlenskaya singles out intellectual activity as the main indicator of creative abilities, which combines two components: cognitive (general mental abilities) and motivational. The criterion for the manifestation of creativity is the nature of the person's performance of the mental tasks offered to him.

I.V. Lvov believes that creativity is not a surge of emotions, it is inseparable from knowledge and skills, emotions accompany creativity, inspire human activity, increase the tone of its flow, the work of a human creator, give him strength. But only strict, proven knowledge and skills awaken the creative act.

Thus, in its most general form, the definition of creative abilities is as follows. Creativity is the individual psychological characteristics of the individual, which are related to the success of any activity, but are not limited to knowledge, skills, skills that have already been developed by the student.

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. Creativity is an amalgamation of many qualities. And the question of the components of human creativity is still open, although at the moment there are several hypotheses concerning this problem.

Many psychologists associate the ability to creative activity, primarily with the peculiarities of thinking. In particular, the famous American psychologist J. Gilford, who dealt with the problems of human intelligence, found that creative individuals are characterized by the so-called divergent thinking. People with this type of thinking, when solving a problem, do not concentrate all their efforts on finding the only correct solution, but begin to look for solutions in all possible directions in order to consider as many options as possible. Such people tend to form new combinations of elements that most people know and use only in a certain way, or form links between two elements that at first glance have nothing in common. The divergent way of thinking underlies creative thinking, which is characterized by the following main features:

1. Speed - the ability to express the maximum number of ideas (in this case, it is not their quality that matters, but their quantity).

2. Flexibility - the ability to express a wide variety of ideas.

3. Originality - the ability to generate new non-standard ideas (this can manifest itself in answers, decisions that do not coincide with generally accepted ones).

4. Completeness - the ability to improve your "product" or give it a finished look.

A well-known domestic researcher of the problem of creativity A.N. Luk, based on the biographies of prominent scientists, inventors, artists and musicians, highlights the following creative abilities:

1. The ability to see the problem where others do not see it.

2. The ability to collapse mental operations, replacing several concepts with one and using symbols that are more and more capacious in terms of information.

3. The ability to apply the skills acquired in solving one problem to solving another.

4. The ability to perceive reality as a whole, without splitting it into parts.

5. The ability to easily associate distant concepts.

6. The ability of memory to give out the right information at the right moment.

7. Flexibility of thinking.

8. The ability to choose one of the alternatives for solving a problem before it is tested.

9. The ability to incorporate newly perceived information into existing knowledge systems.

10. The ability to see things as they are, to distinguish what is observed from what is brought in by interpretation. Ease of generating ideas.

11. Creative imagination.

12. The ability to refine the details, to improve the original idea.

Candidates of Psychological Sciences V.T. Kudryavtsev and V. Sinelnikov, based on a wide historical and cultural material (the history of philosophy, social sciences, art, individual areas of practice), identified the following universal creative abilities that have developed in the process of human history

1. Imagination realism - a figurative grasp of some essential, general trend or pattern of development of an integral object, before a person has a clear idea about it and can enter it into a system of strict logical categories. The ability to see the whole before the parts.

2. Supra-situational - transformative nature of creative solutions, the ability, when solving a problem, not just to choose from alternatives imposed from the outside, but to independently create an alternative.

3. Experimentation - the ability to consciously and purposefully create conditions in which objects most clearly reveal their essence hidden in ordinary situations, as well as the ability to trace and analyze the features of the "behavior" of objects in these conditions.

Scientists and teachers involved in the development of programs and methods of creative education based on TRIZ (theory of inventive problem solving) and ARIZ (algorithm for solving inventive problems) believe that one of the components of a person’s creative potential is the following abilities:

1. The ability to take risks.

2. Divergent thinking.

3. Flexibility in thought and action.

4. Speed of thinking.

5. The ability to express original ideas and invent new ones.

6. Rich imagination.

7. Perception of the ambiguity of things and phenomena.

8. High aesthetic values.

9. Developed intuition.

Analyzing the points of view presented above on the issue of the components of creative abilities, we can conclude that, despite the difference in approaches to their definition, researchers unanimously single out creative imagination and the quality of creative thinking as essential components of creative abilities.

The activation of creative activity is achieved, according to A. Osborne, due to the observance of four principles:

1) the principle of exclusion of criticism (you can express any thought without fear that it will be recognized as bad);

2) encouraging the most unbridled association (the wilder the idea, the better);

3) requirements that the number of proposed ideas be as large as possible;

4) recognition that the ideas expressed are not anyone's property, no one has the right to monopolize them; each participant has the right to combine the ideas expressed by others, modify them, “improve” and improve.

D.N. Druzhinin believes that in order to intensify creative activity, it is necessary:

1) the lack of regulation of subject activity, more precisely, the absence of a model of regulated behavior;

2) the presence of a positive model of creative behavior;

1. The ability to take risks.

2. Divergent thinking.

3) Flexibility in thinking and acting. creating conditions for imitating creative behavior and blocking manifestations of aggressive and deductive behavior;

4) social reinforcement of creative behavior.

The creative activity of the student increases his involvement in the educational process, contributes to the successful assimilation of knowledge, stimulates intellectual efforts, self-confidence, and fosters independence of views. M.N. Skatkin considers separate ways of activating creative activity:

1) problematic presentation of knowledge;

2) discussion;

3) research method;

4) creative work of students;

5) creating an atmosphere of collective creative activity in the classroom.

In order to successfully activate the creative activity of schoolchildren, the teacher needs to see the effectiveness and productivity of his work. To do this, it is necessary to monitor the dynamics of the manifestation of the creative activity of each child. The elements of creativity and interaction of the elements of reproduction in the activity of a schoolchild, as well as in the activity of a mature person, should be distinguished according to two characteristic features:

1) by the result (product) of activity;

2) according to the way it proceeds (process).

It is obvious that in educational activity the elements of students' creativity are manifested, first of all, in the peculiarities of its course, namely, the ability to see the problem, find new ways to solve specific practical and educational problems in non-standard situations.

Thus, we can conclude that creative activity is activated in a favorable atmosphere, with benevolent assessments from teachers, and encouragement of original statements. An important role is played by open-ended questions that encourage students to think, to search for a variety of answers to the same questions of the curriculum. It is even better if the students themselves are allowed to ask such questions and answer them.

Creative activity contributes to the development of creative abilities, an increase in the intellectual level.

1.2 Analysis of practical experience in the development of creative abilities of younger students

Cognitive tasks should be built on an interdisciplinary basis and contribute to the development of the mental properties of the individual (memory, attention, thinking, imagination);

The system of cognitive and creative tasks should lead to the formation of fluency of thinking, flexibility of mind, curiosity, the ability to put forward and develop hypotheses.

In accordance with these requirements, the classes of A.V. Nikitina include four successive stages:

1) warm-up;

2) development of creative thinking;

3) fulfillment of developing partially search tasks;

4) solving creative problems.

These assignments are given to the entire class. When they are done, only success is measured. Such tasks are not evaluative, but educational and developmental in nature. Classes are held at a fairly high pace, frontally. According to A.V. Nikitina, such work creates a spirit of competition, concentrates attention, develops the ability to quickly switch from one type to another.

Under the leadership of E.L. Yakovleva developed and tested a developing program aimed at enhancing the creative activity of younger students. The main condition for creative work, in her opinion, is the organization of interaction between children and adults in accordance with the principles of humanistic psychology:

1) Admiration for each student’s idea is similar to admiration for the first steps of a child, involving:

a) positive reinforcement of all ideas and answers of the student;

b) the use of error as an opportunity for a new, unexpected look at something familiar;

c) maximum adaptation to all statements and actions of children.

2) Creation of a climate of mutual trust, non-estimation, acceptance of others, psychological security.

3) Ensuring independence in choice and decision-making, with the ability to independently control their own progress.

When studying under this program, the principles of developmental education (A.M. Matyushkin): problematic, dialogic, individualization were applied to the following content of the program: understanding one’s own and others’ thoughts, feelings and actions, interpersonal relationships and patterns of world development:

1. The use of intellectual tasks that can be solved by heuristic methods.

2. Exchange of opinions and questions between members of the group, between the group and the facilitator.

3. Acceptance of various aspects of creativity: oral and written responses, responses that have a literary or non-literary form, behavior and reactions to another person.

To equip children with the means of creative self-expression, this program uses a variety of material: literary works, problem situations, dramaturgy of situations invented by children, conflict situations from life and literature, which entail the ability to recognize and express their own emotional states, respond differently to one and the same situation.

Under the leadership of N.B. Shumanova developed and tested a program for the development of creative thinking of younger students in accordance with the requirements for the construction of educational programs for gifted children:

The global, fundamental nature of the topics and problems studied by students;

Interdisciplinary approach in formulating problems;

Integration of topics and problems related to different fields of knowledge;

Content saturation; focus on the development of productive, critical thinking and so on.

The specific content of the course is based on the materials of Russian and foreign history, the history of culture, literature, art, Russian and foreign natural science. The predominant teaching method is problem-dialogical as the most appropriate to the nature of the child's creative development.

Under the leadership of S.N. Chistyakova developed a program to develop the creative abilities of schoolchildren through the organization of group cooperation.

Primary school teacher O.V. Kubasova uses the possibilities of lessons to enhance the creative activity of younger students, adapting games and exercises to develop imagination and creative thinking on the material of school subjects and using them in the process of teaching the Russian language:

Various types of essays, presentations, creative dictations;

Construction (construction of sentences, verbal drawing, drawing up plans, words and sentences according to schemes);

Drawing up tables, diagrams;

- "discovery" of ways of word formation;

Analysis of literary works, in order to prove any assumption;

Distribution of offers;

Coming up with endings for stories;

Drawing up drawings using stencils;

Publication of newspapers, magazines, where the results of children's creativity are used (notes, interviews, reviews, essays, poems, fairy tales, drawings, rebuses, puzzles, crosswords and others);

Creation of filmstrips for literary works;

Staging, dramatization, "revival" of pictures;

Selection of characteristics (what can be a smile, gait, and so on);

Creation of visual, sound, taste images of letters;

Selection of synonyms, antonyms;

The study of phraseological turns.

As a result of the analysis of practical experience of activating the creative activity of younger schoolchildren, it was revealed, firstly, the significance of this problem for teachers, the interest of psychologists and methodologists in it; secondly, programs, courses, a series of tasks presented in the scientific and methodological literature and periodicals have been developed and tested on this problem; thirdly, the low psychological and pedagogical competence of teachers on this problem; fourthly, the lack of systematic, purposeful work to enhance the creative activity of younger students due to a lack of knowledge of techniques, means, forms of work in this direction; and as a result, low levels of development of creative activity of younger students.

1.3 Criteria and means of diagnosing the level of development of creative abilities of younger students

In order for the process of developing the creative abilities of younger students to be successful, knowledge about the levels of development of the creative abilities of students is necessary, since the choice of types of creativity should depend on the level at which the student is. For this purpose, diagnostics is used, carried out using various research methods (measurement tools). The study is carried out according to certain criteria. One of the objectives of this study was to determine the criteria, indicators and means of measuring the level of development of creative abilities of younger students. Based on the understanding of the term "creative abilities", which implies the student's desire to think in an original, non-standard way, independently seek and make decisions, show cognitive interest, discover new things that are unknown to the student, we have identified the following criteria for the level of development of creative abilities of younger students:

1. Cognitive criterion, which reveals the knowledge, ideas of younger students about creativity and creative abilities, understanding the essence of creative tasks.

2. Motivational - need criterion - characterizes the student's desire to prove himself as a creative person, the presence of interest in creative types of educational tasks.

3. Activity criterion - reveals the ability to perform tasks of a creative nature in an original way, to activate the creative imagination of students, to carry out the process of thinking outside the box, figuratively.

Each of the criteria has a system of indicators characterizing the manifestation of the studied qualities according to this criterion. Measurement of the degree of manifestation of indicators for each criterion is carried out using measuring instruments and certain research methods. Criteria, indicators and means of measuring the level of development of students' creative abilities, presented in Table 1.

Table 1

Criteria, indicators and means of measuring the level of development of students' creative abilities

Criteria	Indicators	Measuring
cognitive	1. Knowledge of the concept of "creativity" and operating with it. 2. The presence of ideas about creativity and creative abilities.	Testing Method "Compositor".
Motivational-need	1. Attitude towards creative exercises. 2. Development of creative abilities. 3. Striving for self-expression, originality.	observation. Method "Make up a story about a non-existent animal"
activity	1. Proposal of new solutions in the process of educational activities. 2. The manifestation of unconventionality, creativity, originality of thinking. 3. Participation in collective creative activity	Observation Method of problem situations. Method "Three words"

In accordance with the selected criteria and indicators, we have characterized the levels of development of creative abilities of younger students in Table 2.

table 2

Levels of development of creative abilities of younger students

Criteria	High level	Average level	Low level
cognitive	Has a sufficient level of knowledge, good speech development.	Has an insufficient level of knowledge, concepts, ideas; average speech development.	Has a low level of knowledge, fragmentary, poorly learned concepts, speech is poorly developed.
Motivational-need	The student seeks to show creative abilities, performs creative tasks with interest.	The student is not active enough, performs creative tasks under the supervision of the teacher, but can prove himself as a creative person.	The student is passive, does not seek to show creative abilities.
activity	Shows originality, imagination, independence in performing tasks.	Demonstrates originality, unconventionality in the performance of tasks. But often the help of a teacher is needed.	Cannot create or receive unusual images, solutions; refuses to comply creative tasks

Characteristics of the levels of creative abilities of younger students

1.High level.

Students show initiative and independence of decisions, they have developed a habit of free self-expression. The child manifests observation, ingenuity, imagination, high speed of thinking. Students create something of their own, new, original, unlike anything else. The work of a teacher with students with a high level is to apply those techniques aimed at developing their very need for creative activity.

2. Average level.

It is typical for those students who perceive tasks quite consciously, work mostly independently, but offer insufficiently original solutions. The child is inquisitive and inquisitive, puts forward ideas, but does not show much creativity and interest in the proposed activity. The analysis of the work and its practical solution is only if the topic is interesting, and the activity is supported by strong-willed and intellectual efforts.

3.Low level.

Students at this level master the skills to acquire knowledge, master certain activities. They are passive. With difficulty, they are included in creative work, they expect causal pressure from the teacher. These students need a longer period of time to think and should not be interrupted or asked unexpected questions. All children's answers are stereotyped, there is no individuality, originality, independence. The child does not show initiative and attempts to non-traditional solutions.

After determining the levels of development of creative abilities, the first ascertaining experiment was carried out.

The purpose of the first ascertaining experiment: to identify the level of development of creative abilities of younger students in the control and experimental classes.

The experiment was carried out in the third grades of the Sidorov secondary school. Class 3a was defined as the control class, class 3b as the experimental class. Both classes consist of 20 students. Students are engaged in the system of developmental education L.V. Zankov and have approximately the same indicators of academic performance and general development. The ascertaining experiment was carried out in accordance with the criteria, indicators and means of measurement presented in table 1. The diagnostic data obtained during the first ascertaining experiment are presented in tables 3, 4, 5, in Fig. 1, 2,3.

Table 3

The distribution of students in the experimental and control classes according to the cognitive criterion (the first ascertaining experiment)

The results of the first ascertaining experiment show that students of both the control and experimental classes have the highest scores on the motivational-need criterion, which indicates the students' interest in performing creative tasks, the desire to prove themselves as a creative person.

In general, students in the control class have a slightly higher level of development of creative abilities than students in the experimental class. (Intermediate tables are in the appendix).

The data of the first ascertaining experiment indicate an insufficient level of development of students' creative abilities, which necessitates a formative experiment.

Conclusions on Chapter I

1) Creative activity is understood as such human activity, as a result of which something new is created - whether it is an object of the external world or a construction of thinking that leads to new knowledge about the world, or a feeling that reflects a new attitude to reality.

2) Creative activity and creative abilities are interrelated with each other, since abilities develop and form only in the process of activity, and are not innate human characteristics. Creative imagination and thinking are the highest and necessary human abilities in the process of learning activities. The educational process in elementary school has real opportunities for the development of creative abilities.

3) As a result of the analysis of practical experience in enhancing the creative activity of younger students, we have identified: the significance of this problem for teachers, the interest of psychologists and methodologists in it.

4) Reading lessons are the most frequent and favorable lessons from a methodological point of view, where you can significantly increase the level of development of creative abilities if you regularly use creative exercises.

5) We have identified the criteria and means of diagnosing the level of development of creative abilities of younger students. The results of the first ascertaining experiment showed that the majority of students in the control and experimental classes have an average level of development of creative abilities. The highest indicators for the motivational-need criterion, which indicates the formation of a positive attitude towards creativity and creative tasks, the development of creative abilities, the presence of a desire for self-realization, but insufficient manifestation of the desire to perform non-standard tasks. The data of the ascertaining experiment necessitate a formative experiment.

Chapter II. Organizational and pedagogical conditions for the development of creative abilities of younger students.

2.1. Development of creative abilities of younger students in the process of performing creative tasks

The traditional education system is concerned with giving students some amount of knowledge. But now it is not enough to memorize a certain amount of material. The main goal of learning should be the acquisition of a general strategy, you need to teach how to learn, one of the conditions for mastering such a strategy is the development of creative abilities. These words belong to the well-known Soviet psychologist who studied the psychology of creativity and creative abilities Luk A.N. Indeed, often the teacher requires from the student only the reproduction of certain knowledge given to him in finished form. Creative abilities develop, as we found out during the theoretical analysis of the works of Rubinshtein S.L., B.M. Teplova and Nemova R.S., can only be done when organizing truly creative activity.

R.S. Nemov, defining the essence of the process of developing abilities as a whole, put forward a number of requirements for activities that develop abilities, which are the conditions for their development. Especially among such conditions, Nemov R.S. highlighted the creative nature of the activity. It should be associated with the discovery of something new, the acquisition of new knowledge, which ensures interest in the activity. This condition for the development of creative abilities was singled out by Ya.A. Ponomarev in his work "The Psychology of Creativity".

In order for students not to lose interest in activities, it is necessary to remember that the younger student seeks to solve problems that are difficult for him. This will help us to realize the second condition for developing activities put forward by Nemov R.S. It lies in the fact that the activity should be as difficult as possible, but doable, or, in other words, the activity should be located in the zone of the potential development of the child.

Subject to this condition, it is necessary to increase their complexity from time to time when setting creative tasks, or, as B.D. Bogoyavlenskaya, adhere to the "principle of the spiral". It is possible to realize this principle only during long-term work with children of a typical nature, for example, when setting the themes of essays.

Another important condition for the development of precisely creative abilities, Ya. A. Ponomarev called the development of creative activity, and not teaching only technical skills and abilities. If these conditions are not met, as the scientist emphasized, many qualities necessary for a creative person - artistic taste, the ability and desire to empathize, the desire for something new, a sense of beauty are among the redundant, superfluous. To overcome this, it is necessary to develop the desire to communicate with peers, conditioned by the age characteristics of the development of the personality of primary school age, directing it to the desire to communicate through the results of creativity.

The best in relation to primary school age is “a specially organized creative activity in the process of communication”, which subjectively, from the point of view of a primary school student, looks like an activity for the practical achievement of a socially significant result. For this, it is important that the child has something to say to the participants in the communication, so that he really conveys information, for this it is necessary to find a recipient of communication. In our case, the recipient is the class team and the teacher, and at the school level, this is the school team, and so on.

The traditional objective conditions for the emergence of students' creative activity in the process of learning are provided when implementing the principle of problematicness in the learning process in a modern school. Problem situations that arise as a result of encouraging schoolchildren to put forward hypotheses, preliminary conclusions, and generalizations have been widely used in teaching practice. Being a complex method of mental activity, generalization implies the ability to analyze phenomena, highlight the main thing, abstract, compare, evaluate, define concepts.

The use of problem situations in the educational process makes it possible to form a certain cognitive need in students, but also provides the necessary focus of thought on an independent solution to the problem that has arisen. Thus, the creation of problem situations in the learning process ensures the constant inclusion of students in independent search activities aimed at resolving emerging problems, which inevitably leads to the development of a desire for knowledge and creative activity of students. Answering a problematic question or solving a problematic situation requires the child to derive such knowledge on the basis of what he has, which he did not yet possess, i.e. creative problem solving.

But not every problematic situation, the question is a creative task. So, for example, the simplest problem situation may be a choice of two or more possibilities. And only when a problem situation requires a creative solution can it become a creative task. When studying literature, the creation of a problem situation can be achieved by asking questions that require students to make a conscious choice. So, creative abilities develop and manifest themselves in the process of creative activity, the essence of the child's creative activity - the student creates something new only for himself, but does not create something new for everyone. Thus, children's creativity is the implementation of the process of transferring the experience of creative activity. In order to acquire it, the child "needs to find himself in a situation that requires the direct implementation of similar activities."

So, in order to learn creative activity, and in the process of such learning, the creative abilities of students will naturally develop, there is no other way than the practical solution of creative problems, this requires the child to have creative experience and, at the same time, contributes to its acquisition.

2.2 Literary creativity of schoolchildren as a condition for the development of creative abilities

These are children's speech exercises based on active imitation. On the one hand, through oral retelling and written presentation, the student’s speech is enriched, he, as it were, takes lessons from the writer; on the other hand, the student himself builds sentences and text, shows initiative and activity in generating speech.

It is difficult to imagine a lesson without a retelling, even a small one: the student retells what he has read, learned at home, conveys the content of books of extracurricular, free reading. The student retells the tasks for exercises in the Russian language, conveys the content of the mathematical problem, retells the rule in his own words. Constant retelling strengthens memory, trains the mechanisms of speaking. A variety of types of retelling, developed by experience, brings animation to the lessons: a retelling is known that is close to the text of the sample (detailed), selective, compressed - with several degrees of compression, retelling with a change in the face of the narrator (sample in the first person - retelling in the third), from the person one of the characters (there is an imaginary story from the “face” of an inanimate object), a dramatized retelling - in faces, a retelling with creative additions and changes, a retelling based on key words, in connection with pictures - illustrations, a retelling-characteristic, a retelling - a description of the exposition (places actions); retelling - oral drawing of pictures, illustrations, etc.

Presentation (retelling) is one of the creative methods of developing students' speech. It is assumed that the student, listening to or reading a story intended for written presentation, must assimilate the thought and convey it in his own words. The presentation should sound like a live speech of the student. Language means are assimilated when reading, in conversations, in the course of text analysis, they become their own for the student, and in the process of compiling their own text, the student does not strain, remembering the sample verbatim, but builds the text himself, conveys the content of the thought. In this work, independence increases, elements of creativity are born in the course of reproduction. The retelling (presentation) reflects the feelings of the student, his desire to interest the audience. If he "entered the role", empathizes with the heroes of the story, if his feeling sounded in the retelling, then the creative level of his speech is high: the retelling turns into a story being created, not memorized. Creative retellings and presentations are those retellings and presentations in which the personal, creative moment becomes the leading and determining one, it is foreseen in advance, it concerns both content and form. This is a change in the face of the narrator, the introduction of verbal pictures into the story - the so-called verbal drawing, this is an imaginary screen adaptation, the introduction of new scenes, facts, characters into the plot; finally, it is dramatization, staging, theatrical embodiment. A variant of creative retelling is the transfer of content on behalf of one of the characters, for example, when retelling the fairy tale "The Gray Sheika" by D.N. Mamin-Sibiryak from the face of a fox. After all, the fox could not know what happened before her first arrival to the lake, as well as the further fate of the duck. “The story of the dogwood stick in its own presentation” (Tikhomirov D.I. What and how to teach in the lessons of the Russian language. - M., 1883) is a new fantastic story with fictional characters, with the adventures of the owner of this dogwood stick. In other words, some scenes will disappear, others can be presented in a completely new way, and some are invented anew, based on creative imagination. There will also be changes in the language, it should reflect the character of the fox, which so wanted to eat the Gray Neck, and Vanka Zhukov will tell his story, introducing into speech the words and turns of speech characteristic of a village boy.

The study of the native language and especially literature gradually introduces students into the world of linguistic creativity: this includes keeping a diary, and correspondence, and describing pictures of nature, even if on the instructions of a teacher, and drawing pictures, and reciting poems, and staging, publishing newspapers and magazines, composing plays, this is the research activity of students in grammar, the history of words, etc. In other words, creativity is not only poetry; Perhaps the composition of poetry is not always the pinnacle of creativity, but rhythmic and rhymed speech immediately stands out from prose exercises. Literary attempts of children most often go beyond the lessons, they are associated with extracurricular activities, circle work, and clubs. In the modern education system, the following forms of organizing creative work such as an essay or close to it are known:

a) independent creativity at home, sometimes hidden: diaries, records of events or something interesting, important for schoolchildren, writing poetry, etc. This is all done without the teacher’s tasks, and it happens that the teacher finds out about the student’s hidden creative activity years later. On this basis, this form of the creative life of the individual is not only underestimated, but even condemned. This is unfair: a child, even more than an adult, has the right to his secret, to non-standard behavior;

b) circles organized by the school and other institutions: literary and creative circles for studying the native language, theatrical, children's clubs, literary associations, school theater, various holidays, matinees, meetings, joint trips; they allow communication in free conditions;

c) various competitions, olympiads, competitions: a competition of riddles, poetic congratulations for the New Year, by September 1. Competitions are announced within the framework of the school, the entire city, even within the entire country. The winners are awarded the titles of laureates, as in adults;

d) publication of newspapers and magazines of children's creativity. These publications are now being published in hundreds of gymnasiums and ordinary secondary schools, and quite often an independent magazine is published for elementary grades.

Let's give some examples - from practice.

Riddles competition.

Making riddles.

A start has been given. Mokhnatenka, mustachioed ...

The children continue. Lies in the sun

He squints.

Another offers. Her mice are afraid.

The third. She has one concern:

Go hunting at night!

Lies round, golden

I opened my mouth as much as I could

Took a big bite.

I thought it would be sweet

It turned out sour, nasty!

Piggy bank of poetic images. Someone writes down songs, someone writes aphorisms, and someone writes excerpts from their favorite poems. It is necessary that the passage be small, contain an image. Here is the soundtrack:

Wave upon wave ran,

The wave drove the wave.

Smooth, rhythmic sound, the sound [l] is repeated.

Here is another auditory image, “rumbling”:

When the first spring thunder

As if frolicking and playing,

Black raven in the snowy dusk.

Peace to the aspens, which, spreading its branches,

We looked into the pink water.

(S. Yesenin.)

The mountain ash lit up with a red brush. Leaves were falling. I was born...

(M. Tsvetaeva.)

To poetry - through a joke. Having created an atmosphere of looseness in the classroom, teacher R.V. Kelina (Samara) suggested the first line to the children, i.e., in essence, suggested the theme and rhythm:

Grandma just fell asleep...

And received a collection of funny poems:

Grandma just fell asleep

Murzik quickly got off the chair,

Started walking around the room

Jump, run, wake everyone up.

Morning has finally come

The fugitive walked a lot,

The naughty trudged home

Dirty, wet and lame.

The first snow fell to the ground

All at once it became light!

It is fluffy, bright, white,

It lies lightly on the ground.

General advice to the teacher in connection with the first attempts of students in literary work: do not give any assignments, no reproaches, and even more so - humiliating remarks; complete freedom of creative attempts; create an atmosphere of positive emotions, a good mood, you can read samples, tell children about the early poems of M.Yu. Lermontov, S. Yesenina, A.S. Pushkin, etc.; assistance to provide mainly individual; L.N. Tolstoy allowed help in choosing a topic, in compiling individual phrases, in writing down a text - in particular, in spelling; especially appreciate a good image, a well-chosen word, humor, the ability to notice the details of what is being described; perform some organizational functions: help in organizing competitions, matinees, discussions, publishing a magazine and, of course, in editing.

2.3 Organization of creative activity of younger students for the development of creative abilities

1. Compose a story from several texts on a given topic.

2. Retell the text and continue it by adding new facts, events from the life of the characters.

3. Change the person, tense of verbs when transferring the content of the text.

4. Compose a story by analogy with what you read based on your personal experience.

5. Compose or continue a story based on a picture or a series of pictures illustrating what has been read.

6. Compose a story based on a picture that makes it possible to compare what is read and what is shown in the picture.

7. Compose a story based on personal observations of pictures of nature that are close to what you read.

When conducting a formative experiment, the purpose of which was to develop the creative abilities of younger students, the students were given the following task - to combine similar content that is available in several texts. To perform such a retelling, the guys must carry out a complex creative mental operation - synthesis. Under the synthesis of learning is understood the association, linking, establishing relationships between the acquired knowledge. We turn to the characteristics of the implementation of exercises of this type of retelling.

The students are given the task of compiling one story out of two or three stories they read. This work is carried out after an appropriate preparatory conversation, in which the teacher confronts the children with the need to correlate parts of texts similar in content according to the plan. For example,

1. Read three stories: the story of Skrebitsky and Chaplina "Look out the window", "What did the woodpecker feed on in winter", "Sparrow".

2. Conversation on the text to identify factual and contextual information. Identification of author's positions in texts.

3. Finding common in the content of the stories read.

4. Answers to questions for the purpose of language training.

5. Formulation of the task: compose a story "How wintering birds get their own food."

6. Structural and compositional work (story plan):

Birds are "winterers".

Bird food in winter.

Getting food.

7. Role play. Image of birds.

The work on the retelling became more difficult. The story is carried out not only on the basis of read prose, but also poetic texts. In this regard, students are tasked not only to combine what they read from different texts, but to compose a story on a specific topic based on what they read in different works. This task, of course, is more creative and therefore makes much more demands on the mental activity of students. As with any synthesis task, the student must, in order to compose this story, realize and keep in his mind the general theme around which he needs to group the material from the texts. For example,

1. Read F. Tyutchev's poem "Spring Thunderstorm", "Spring Noise", M. Isakovsky's poem "Spring".

2. Based on these poems, make up a story on the theme "Spring".

3. Drawing up a plan for a future story:

A) the first spring thunder,

B) nature is awakening,

C) people rejoice in spring.

This task is not designed to reproduce the text, but to develop its content. Of course, this improvisation was the fruit of the creative imagination of children and must have real foundations. In this regard, it is necessary to involve sensual life and reader's experience in the conversation. The wider the experience, the greater the scope of creative imagination.

As a formative experiment in the experimental 3 "A" class, we carried out purposeful work to develop the creative abilities of younger students. After that, 2 ascertaining experiments were carried out. The purpose of the second ascertaining experiment: to identify changes in the level of development of creative abilities of students in the control and experimental classes.

In the second ascertaining experiment, the measuring instruments presented in paragraph 1.3 were used. to develop the creative abilities of students at the lessons of literary reading, a number of lessons were held (Appendix). The data obtained during the second ascertaining experiment are presented in tables 6.7, in Fig. 4.5.

Table 6

Distribution of students in the control and experimental classes according to the level of formation of creative abilities (the second ascertaining experiment)

Fig. 4 Distribution of students in the control and experimental classes in the second ascertaining experiment

Table 7

Distribution of students in the experimental class according to the level of formation of creative abilities

(first and second ascertaining experiment)

Analysis of the results of the second stating

his experiment in the control and experimental classes showed that the level of development of the creative abilities of younger students in the control class, where the formative experiment was not conducted, remained the same. The experimental class showed higher results:

A low level of development of creative abilities in the experimental class was not revealed by any criterion, while in the control class it ranged from 15 to 20% according to various criteria.

In general, the level of development of creative abilities of students in the experimental class is significantly higher than that of students in the control class. (Annex 6)

The data of the second ascertaining experiment indicate that significant changes occurred in the level of development of the creative abilities of students in the experimental class, due to the formative experiment conducted in the class.

Conclusions on Chapter II

In the course of the study, we have identified the most effective conditions for the development of creative abilities of younger students in reading lessons. Based on the work carried out, the following conclusions can be drawn:

1) In our formative experiment, we used such means of developing creative abilities as creative tasks in reading lessons, creative retelling, exercises aimed at developing the literary creativity of schoolchildren (creating newspapers, magazines, almanacs, writing poems, keeping personal diaries).

2) One of the important ways to develop creative abilities in elementary school is to include younger students in joint creative activities outside of school hours. The participation of schoolchildren in creative activities at extracurricular activities most clearly demonstrates the level of interest in performing creative tasks. In our experiment, we implemented this method through the writing activity of children (composing riddles, poems).

3) Analysis of the results of the second ascertaining experiment in the control and experimental class showed that the level of development of creative abilities of younger students in the control class, where the formative experiment was not conducted, remained the same. In general, the level of development of creative abilities of students in the experimental class is significantly higher than that of students in the control class. The data of the second ascertaining experiment indicate that significant changes occurred in the level of development of the creative abilities of students in the experimental class, due to the formative experiment conducted in the class.

Conclusion

Having studied the theoretical foundations of the formation of creative abilities of younger students and identified the pedagogical conditions for the formation, we made the following conclusions:

1) By creative activity, we mean such human activity, as a result of which something new is created - be it an object of the external world or a construction of thinking that leads to new knowledge about the world, or a feeling that reflects a new attitude to reality.

2) As a result of the analysis of the practical experience of teachers - practitioners, scientific and methodological literature, it can be concluded that the educational process in primary school has real opportunities for developing creative abilities and enhancing the creative activity of younger students.

3) Consideration of the conditions for the development of creative abilities of younger students allows us to identify ways to implement their development in the process of conducting reading lessons. The first is the organization of the educational process by setting creative educational tasks and by creating pedagogical situations of a creative nature; as well as the organization of independent creative work of primary school students. And the second way is through the involvement of students in the study of literature to artistic and creative activities.

4) We have determined the criteria for the development of creative abilities (cognitive, motivational-need, activity), characterized the levels of development in accordance with the criteria and selected diagnostic tools. The results obtained by us after conducting experiments 1 and 2 showed that as a result of using creative tasks in reading lessons, the number of children with a low level in the experimental class decreased, and the number of children with a high and medium level increased, there were no changes in the control class. Comparing the results of the two classes, we can conclude that there is a positive trend in the growth of the level of creative abilities in the experimental class.

Thus, the goal of our work has been achieved, the tasks have been solved, the conditions put forward in the hypothesis have been confirmed.

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Applications

Attachment 1

Method "Compositor"

This is a test - a game for assessing non-standard creative thinking, ingenuity, intelligence of a student. The child is given a word consisting of a certain number of letters. Words are made from this word. This job takes 5 minutes.

Words must be common nouns in the singular, nominative case. The word is nonsense.

The signs by which children's work is evaluated: the originality of words, the number of letters, the speed of inventing.

For each of these characteristics, a child can receive from 2 to 0 points in accordance with the criteria:

Originality of words: 2 - words are unusual, 1 - words are simple, 0 - a meaningless set of words.

Number of letters: 2 - the largest number of letters, all words are named; 1 - not all reserves are used; 0 - task failed. Thinking speed: 2-2 minutes, 1-5 minutes. 0 - more than 5 minutes. Accordingly, a high level - 6 points, an average - 5-4 points, a low level - 3-1 points.

Annex 2

Method "Make up a story about a non-existent animal"

The child is given a sheet of paper and is invited to come up with a story about an unusual fantastic animal, that is, about one that has never existed anywhere before and does not exist (you cannot use fairy tale and cartoon characters). You have 10 minutes to complete the task. The quality of the story is evaluated according to the criteria and a conclusion is made about the general level of development of creative abilities.

8-10 points - in the allotted time, the child came up with and wrote something original and unusual, emotional and colorful.

5-7 points - the child came up with something new, that in general it is not new and carries obvious elements of creative imagination and makes a certain emotional impression on the listener, the details are spelled out in an average way.

0-4 points - the child wrote something simple, unoriginal, the details are poorly worked out.

Annex 3

Method "Three words"

This is a test game for assessing creative imagination, logical thinking, vocabulary, general development. The students were offered three words and asked them to write as soon as possible the largest number of meaningful phrases, so that they included all three words, and together they would make up a meaningful story.

Words for work: birch, bear, hunter.

Evaluation of results:

5 points - a witty, original phrase (example: a bear was watching a hunter from a birch);

4 points - the correct logical combination of words, but all three words are used in each phrase (the hunter hid behind a birch, was waiting for a bear);

3 points - a banal phrase (the hunter shot at a bear, hit a birch);

2 points - only two words have a logical connection (birch trees grew in the forest, a hunter killed a bear in the forest);

1 point - a meaningless combination of words (white birch, cheerful hunter, clumsy bear).

Conclusion about the level of development: 5-4 points - high; 3 - medium; 2-1 - low

Appendix 4

Summaries of the lessons conducted at the stage of the second ascertaining experiment

Lesson outline. Folklore. Bylina "Ilya Muromets and the Nightingale the Robber"

Type of lesson - familiarization with new material.

In this lesson, active forms of student activity were used, the following were used: modeling techniques, differentiated and individual work with children, information technology, group work.

Lesson Objectives:

to teach how to work with a work, to form the skills of a full-fledged perception and analysis of a work;

learn how to plan a work using modeling.

Lesson objectives:

Educational:

introduce the concept of the epic as a genre of folklore and its features (melodiousness, repetitions, stable epithets)

to introduce children to the epic “Ilya Muromets and the Nightingale the Robber”;

identify the artistic features of epics;

Developing:

develop thinking, imagination, memory, holistic perception, observation, the ability to compare and analyze;

form literary ideas

Educational:

to cultivate love for oral folk art, for Russian literature, the education of patriotic feelings and moral qualities of the individual

Planned achievements of students in the lesson:

name epics correctly and highlight their features

compare heroes - positive and negative

retell the epic and individual episodes according to the plan, read expressively the texts of the epic or episodes from them (description of epic heroes, their exploits and miracles)

compare epics about the exploits of the same heroes, characterize the features of the speech of storytellers (epics).

Equipment:

computer, presentation of the lesson, CD-ROM "Masterpieces of Russian Painting", a tape recorder with a recording of the epic "Ilya Muromets and the Nightingale the Robber", reproductions of paintings by V. M. Vasnetsov

Visual range:

a selection of illustrations by the artist N. Vorobyov for epics

interactive tour using the CD-ROM “Masterpieces of Russian Painting”

feature film “Ilya Muromets and the Nightingale the Robber” (excerpt)

Sound range:

A. Muravlev “Concerto for a duet of gusli with an orchestra of folk instruments”, epic

R. Gliere "Symphony No. 3" "Ilya Muromets"

During the classes

I. Generalization of existing knowledge about oral folk art.

1. The guys are invited to work with a diagram in the center of which the word “Folklore” is placed, and from it the arrows indicate various genres of folklore (fairy tales, nursery rhymes, riddles, fables, tongue twisters, proverbs.)

It is necessary to restore the missing element - epics.

Slide number 1.

Thus, we bring the children to the topic of the lesson - epic.

At this stage, there is a generalization of existing knowledge.

2. Sounds “Concert for a duet of gusli with an orchestra of folk instruments”, bylina A. Muravlev in order to create an emotional mood and prepare for the perception of the topic.

3. To activate cognitive processes, children are asked the question: What does the word “epic” mean? (children's answers).

After that comes the work with the slide.

II. Learning new material.

1. Slide number 2.

The word "Bylina" means "true story", that is, a true story. Previously, epics were sung to the harp, so the performance has a smooth and melodious narration.

In total, there are more than a hundred epics, and they came to us from distant times, were passed down by people from mouth to mouth. And for us, they were saved by the collectors of epics, who traveled through cities and villages and wrote them down from simple peasant storytellers.

2. Slide number 3 (image of a hero)

The main characters of epics are folk heroes - heroes. Bogatyrs love their native land, stand guard over its borders, in a moment of danger come to the aid of their people, save them from enslavement and humiliation. They are the embodiment of the ideal of a courageous, honest person devoted to the Motherland and people. He is not afraid of the innumerable forces of the enemy, he is not afraid even of death itself!

Ilya Muromets, Dobrynya Nikitich, Alyosha Popovich, Danube-in-law, Vasily Kazimirovich, Sukhman - cause us admiration, joy, faith in the forces of the people.

So, epics are, first of all, heroic folk songs about the exploits of strong, mighty defenders of the Russian land.

The most famous epics were “Dobrynya and the Snake”, “Alyosha Popovich and Tugarin Zmeevich”, “About Dobrynya Nikitich and the Serpent Gorynych”, “Ilya Muromets and the Nightingale the Robber” and many others.

Today we will meet one of them.

3. Listening to the epic “Ilya Muromets and the Nightingale the Robber”

(listening to an audio cassette with an epic)

4. Analysis of the text of the epic, answers to questions:

What feelings did the heroes of the epic evoke in you?

How did you imagine Ilya of Muromets and the Nightingale the Robber?

Describe the appearance of the hero and the Nightingale the Robber.

Why did people sing the exploits of Ilya Muromets? Which?

Vocabulary in the classroom.

Gat - flooring made of logs or brushwood for driving through a swamp

Rawhide belts - durable belts made from raw animal skin

Tyn - fence

Chambers of princes - a large rich room

Kaftan - men's outerwear

It’s enough for you to cry fathers-mothers - to make you shed tears, to grieve

Druzhina - princely army in Ancient Russia

5. - Reading bylina by children in a chain after the teacher.

Subsequent analysis: (group and individual form of work) 1 group (weak) 2 group (medium) 3 group (strong)

Check: children read the passage. Check: children read the passage. Show the completed model to the whole class

Individual task for the student:

Tell us about the main characters of the epic and convey your attitude to each

6. Now look at how these characters are presented in the movie and answer the question:

Did the filmmakers manage to convey the character and appearance of the heroes of the epic?

What difference did you see?

viewing an excerpt from the movie “Ilya Muromets” (the fight between Ilya Muromets and the nightingale the robber)

III. Completion of tasks in a notebook (tasks are given differentially)

1 group (weak)

Reread the first paragraph. Find the words that speak about the magical power of the horse Ilya Muromets.

Ilya Muromets gallops at full speed. Burushka Kosmatushka jumps from mountain to mountain, jumps rivers-lakes, flies over hills.

2 group (middle)

2) Pay attention to the names of the epic characters. What does the author call them? write down

3 group (strong)

3) Find in the text and read the paragraph and underline the words that speak of the heroic strength of Ilya Muromets.

Ilya jumped off his horse. He supports Burushka with his left hand, and with his right hand tears oaks with roots, lays oak floorings through the swamp. Thirty versts Ilya laid the gati - until now, good people drive along it.

Work with the whole class.

4) Find a paragraph that talks about the power of the Nightingale - the robber. Write in the missing words.

Yes, as he whistles like a nightingale, growls like an animal, hisses like a snake, so the whole earth trembled, hundred-year-old oaks swayed, flowers crumbled, the grass died. Burushka-Kosmatushka fell to his knees.

Independent work of children.

Checking completed work.

8. Crossword

1) The village where I. Muromets lived. (Karacharovo)

2) The city from under which the hero came. (Murom)

3) The river where the Nightingale the Robber lived. (Currant)

4) The name of the horse Ilya Muromets. (Burushka)

5) The name of the father of the Nightingale the Robber. (Rahman)

9. Literary dictation

Bylina, hero, epic hero, Russia, Ilya Muromets, Burushka-Kosmatushka, Nightingale the Robber, Karacharovo village, Smorodinaya river

IV. Summary of the lesson. Interactive tour. Slide number 5

Mu Homework:

artistic retelling of the epic

draw heroic armor

Summary of the lesson "Oral folk art of the Russian people"

Type of lesson: generalization and systematization of knowledge.

Lesson form: lesson-game with competition elements.

Lesson Objectives:

1. Educational:

to consolidate the concepts of oral folk art;

talk about genres: “riddles”, “proverbs”, “patter tongues”, “fables”, “counters”, “rhymes”, “fairy tales”, “epics”;

2. Developing:

development of the ability to carefully, thoughtfully perceive a literary text;

development of competent oral speech;

development of expressive reading skills

3. Educational:

fostering a careful attitude to oral folk art;

education of moral qualities.

Equipment: an exhibition of children's drawings, a flower, magnets, illustrations for fairy tales, a reproduction of V. Vasnetsov's painting "Heroes", drawings of children about the family, a textbook by L.A. Efrosinina, M.I. Omorokova “Literary reading” Grade 3, part 1, workbook No. 1, Ozhegov’s explanatory dictionary.

Benefits: texts of nursery rhymes, fables.

Lesson plan:

1. Introductory word of the teacher.

2. Students perform various tasks and exercises (in the form of a game).

3. The result of the lesson.

4. Homework.

During the classes

1. Organizational moment. Introduction by the teacher. Communication to students of the purpose of the upcoming work and the form of the lesson.

Today we have an unusual lesson

On it we will sum up the work.

On the genres of oral folk

Let's talk creativity

Let's repeat what we have read.

Whether in the garden, in the garden

The girl was walking

Whether in the garden, in the garden

Watered the flowers.

One flower plucked

And handed it to us in class.

2. The topic of the lesson.

The petals on our flower are not simple, but magical. We must help this fabulous living flower of Russian folklore bloom. Let's try guys? And for this we need to complete tasks.

Remember, we said: literature is what is written in letters. A letter is a letter. Literary work is written, and folklore affects. So, who can explain what “oral creativity of the Russian people” means?

(Children speak in their own words). Now find the definition of oral folk art in the textbook and read it. (page 4)

Every nation has works of oral folk art (folklore). This is his living memory, passed down from generation to generation, from grandfathers to grandchildren. These works reflected the life and customs of the people, their views on the world and man, ideas about good and evil.

Teacher. Amazing! Today we will continue the conversation about oral folk art, about its various genres. Let's divide into teams: 1 row - 1 team, 2 row - 2 team, 3 row - 3 team. At the end of the lesson, let's summarize: who is the most erudite on this topic? (1 minute.)

So, 1 task. Who can say what a proverb is? Now find and read the definition of the proverb in the textbook (p. 25)

Name and explain proverbs about family, parents and children. At home, you had to draw your family and pick up proverbs about the family. Children read prepared proverbs and explain their meaning.

“Children are joy, children are grief.” Parents love their children, but we do not always obey them, and they get upset and upset because of us.

"A mother's heart warms better than the sun." Mom will always support, help, tell. She is always the best friend.

"The whole family is together - and the soul is in place."

"Not the father - the mother who gave birth, but the one who made him drunk and taught good."

Each team names their proverbs and explains them.

Now read the proverb written on the board and explain it.

“Whoever is literate is not the abyss.”

You have completed the task and one petal opens. (1 minute.)

(Comment. Identification of students' reading experience, individual survey and evaluation of students' answers, ability to work with textbooks and library books. Children bring books to class from the city library, school or home. I try to mark such children, stimulate their cognitive activity).

2 task.

Let's clap and say our favorite tongue twister "Bull, bull, dumb-mouthed, dumb-mouthed bull, the bull had a white lip was stupid." Now let's try to say it faster. Why do we need shortcuts? We train our tongue to pronounce all sounds clearly and correctly.

Task for each row: give your own example of a tongue twister.

Well done! So the second petal of our magic flower opens.

3 task.

One two three four five -

Calculate guys

What are in the circle here.

What is the name of this genre of folk art? Children's answers.

Each team must give an example of their own rhyme.

Well done boys! Here comes the next petal.

4 task.

You have text printed on the sheets. You must read it in an undertone, then determine the genre.

Three-ta-ta, three-ta-ta!

A cat married a cat.

The cat is walking on the bench.

And the kitty - on the bench,

Catches a cat by paws:

Oh you kitty, kitty

Cool little one!

Play with me cat

With Masha, a young cat!

These are fun. What do you think, what are the jokes for? A nursery rhyme is a song or rhyme to play with young children. These are games with fingers, arms and legs.

Each row should give an example of its nursery rhyme.

While the next petal opens, we will spend a physical education session with the help of nursery rhymes.

The sparrow flew, flew.

He flew, he flew young.

Over the blue sea.

I saw, I saw a sparrow.

I saw, I saw young

How girls walk

And the girls walk like this

And like this, and like this,

This is how the girls go.

The sparrow flew, flew.

I flew, I flew young

Over the blue sea.

I saw, I saw, sparrow,

I saw, I saw, young,

How do guys walk.

And the boys walk like this

And like this, and like this,

That's how the guys go.

(Comment. Identification of the reading experience of students, individual survey and evaluation of students' answers, the ability to work with additional literature and educational books. This form of work allows each child to show his level of erudition and literary development, test himself, comprehend and understand something).

5 task.

Guys, who can say what is fiction?

Reality is what was, the truth. And fiction is fiction. This is something that does not happen, did not exist.

A merchant walked past the market,

tripped over a basket

And fell into a hole - bang!

Squashed forty flies.

Try to come up with your own fantasy. I give you a rhyme: a jackdaw is a stick.

Children's answers.

Well done guys, you're doing great. You completed this task as well, and therefore we have another petal open.

(Comment. The lesson continued the creative work of students, which began in the lessons of studying Russian folk art. Fictions were composed in the class, in groups and individually, and homemade books were designed in fine arts lessons. This form of work allows each child to show their level of erudition and literary development).

6 task.

What it is? An intricate description of an object or phenomenon, compiled with the aim of testing the quick wit, observation and ingenuity of a person.

It's a mystery.

Then for you guys

One riddle.

1 team.

Not a rider, but with spurs,

Not a watchman, but wakes everyone up. (rooster)

And how did you guess?

The rooster has growths on its paws, like spurs, and it wakes everyone up in the morning.

2 team.

Not a tailor, but all my life

Walks with needles. (hedgehog)

And how did you guess?

He has a lot of needles.

3 team.

Two bellies, four ears (cushion)

Explain how you determined it was a pillow.

A riddle, a proverb, a tongue twister, a nursery rhyme, fables, a counting rhyme, a song are forms of folklore.

Here is the next petal opened.

7 task.

Guys, who can say what an epic is? Children's answers.

But what is the definition of the epic given by Ozhegov's explanatory dictionary. (read out)

Bylina is a work of Russian folklore about the exploits of heroes who lived in the distant past. They fought with evil forces, with the enemies of the Russian land.

What epic heroic heroes do you know? Read the passage on page 20 and name the epic.

You have the names of various heroes printed on the leaves. You read carefully and select the names of only fabulous heroes and underline them.

Ilya Muromets, Moroz Ivanovich, Christopher Robin, Alyosha Popovich, Karabas Barabas, Dobrynya Nikitich.

Children's answers

Demonstration of a reproduction of the painting by V. M. Vasnetsov “Heroes”.

The great Russian artist Viktor Mikhailovich Vasnetsov was very fond of legends about heroes, who he listened to from his father, from the old people in the village where he lived. The artist devoted two decades to the painting “Bogatyrs”. To create images of heroes, the artist studied epics, the history of Ancient Russia, got acquainted with samples of ancient weapons and clothes of our ancestors in museums. In the center of the picture we see Ilya Muromets. To his left is Dobrynya Nikitich, to the right is the youngest of the heroes - Alyosha Popovich. Now this picture is stored in the Tretyakov Gallery in the Vasnetsov Hall.

Here's another petal open.

8 task.

What is a fairy tale? Children's answers.

Find the definition of a fairy tale in the textbook and read it. Page 28.

This is an oral story about something unusual, which is hard to believe, about incredible, fantastic. Each nation has its own fairy tales, which are passed from the elders to the younger. When we open a book with folk tales, we will not see the names of the authors in it, because the author of folk tales is the people. But there are fairy tales that are created by writers. Such fairy tales are called literary or author's. These are the tales of A. S. Pushkin, S. Ya. Marshak, K. I. Chukovsky and other writers. (page 28)

You drew pictures for the fairy tales that we have already met. Can you please tell me which fairy tales you drew illustrations for?

Can you name the fairy tales whose main characters are depicted in these illustrations.

Demonstrate illustrations, children's answers.

Well done boys! And who among you can say what a saying is? A saying is a playful introduction or ending to a fairy tale.

Find and read the sayings to the fairy tale “Tsarevich Nekhitor - Nemuder”. Children's answers.

Find the dialogue between the old man and the old woman from the fairy tale “The Most Dear” and read what the old man offered, how the old woman objected to him.

In the workbook on page 23, guess the crossword “Through the pages of fairy tales”. Check completed work.

(Comment. We learned to work with the images of characters, the text of the work, practicing the ability to read “aloud” and “silently.” Setting a learning task is the goal of working in a notebook and textbook, the ability to navigate in a textbook and notebook, independently choose the operation of working with a textbook, working out search reading, expressive reading. All children's answers are confirmed by the test. Here the ability to work with the text of the work is revealed. Children learn self-examination and self-esteem. Work is carried out simultaneously on the language of the work and on the speech of children. The child can show his level of erudition and test himself.)

So our magical living flower of the oral creativity of the Russian people has opened.

Let's repeat? What genres of oral folk art we talked about today. Children's answers. As the lesson progresses, grades are given.

What do you think, what do the works of oral creativity of the Russian people teach? (goodness, truth, conscience, diligence)

Which of the following do you think is the most important?

You all did a good job with the tasks, and each team has the right to receive the title of an erudite team.

I suggest that you find books with Russian folk tales at home, read one of them, and in the next lesson you will retell the tale that you liked or expressively read an excerpt from this tale.

(Comment: Homework is given in several versions so that each child can choose a job according to their abilities.)

Additional material.

What genre of oral folk art belongs to a work that begins with the words:

1. “Once upon a time there was a grandfather and a woman, and they had a hen Ryaba.”

2. Crested laughter

Laughed with laughter:

Ha ha ha!

3. An apple rolled past the garden,

Past the garden, past the city.

Whoever picks it up will get out!

4. Complete task No. 2 on page 20 in your notebook.

Lesson-journey "Meeting with a fairy tale"

The purpose of the lesson:

Develop observation, logical thinking, coherent speech, switchability of attention, the ability to analyze, generalize;

To form the needs of constant reading of books, to enrich the reading experience of students;

To cultivate interest in reading, the ability to work together, to show independence and initiative, a culture of speech.

Equipment:

exhibition of books "Russian folk tales";

cards with excerpts from fairy tales;

items for staging fairy tales: tablecloth, plate

bag, bucket, broom.

visual material depicting objects from fairy tales.

tables with the names of fairy tales;

rooster, mouse, snow maiden masks

illustrations for Russian folk tales;

During the classes

1. Organizational moment.

2. Setting the goal of the lesson.

Guys, today we will talk about a fairy tale. For us, the existence of cars, airplanes, spaceships has long become familiar. I wanted to be transported to the end of the world - turn on the TV, and different countries, people, mountains, seas and more will appear on the screen. People have created more miracles than fairy-tale heroes. But why does the fairy tale remain so sweet and dear? Why are fairy tales still written? The fact is that all adults were once children, and children are always told fairy tales. And no matter what we invent, no matter where fate brings us, the fairy tale remains with us. A fairy tale was born with a person, and as long as a person is alive, a fairy tale will also be alive.

3. Actualization of knowledge.

Guys, we have been preparing for this lesson for a long time, we read many different fairy tales, drew illustrations for fairy tales. Tell me, what are fairy tales? (children's answers)

Household. These are stories about animals. There are no magical transformations in them. But these stories are very funny. In them, a good-natured bear, a cowardly hare, a cunning fox, an evil and deceived wolf.

There are also tales about peasants, soldiers, orphans. They also belong to everyday fairy tales.

Magic. They can do everything. Turn a swan into a girl, build a silver palace, turn a frog into a princess, a young man into a mosquito.

Literary tales. These are the ones that writers have composed and written.

Each nation has its own fairy tales, short and long, about people and animals, magical and almost without magic: What does a fairy tale teach us? (children's answers)

She teaches us goodness and justice, teaches us to resist evil, to despise the cunning and flatterers. Learn to understand someone else's misfortune.

No wonder the great Russian poet A. S. Pushkin says: "A fairy tale is a lie, but there is a hint in it - a lesson for good fellows." A fairy tale - a lie turns out to be the most beautiful truth, fairy tales help us to be kinder.

Who does not believe - let him believe

I am glad to any guest!

Opening doors to a fairy tale

I invite all the guys!

4. Work on fairy tales.

Guys, today we will go on a journey to the land of fairy tales. The flying carpet will help us. Close your eyes, mentally stand on the carpet, we will go on a journey "Meeting with a fairy tale." We fly over mountains, over seas, over dense forests. Fairyland is getting closer. The flying carpet slowly descends to the ground. We have arrived. Open your eyes, we are met by a fairy tale. We arrived at the Mysterious station.

Station "Mysterious" (a student comes out)

Fairy tale, fairy tale, joke

Telling her is not a joke.

To a fairy tale first,

Like a river murmured

So that by the end both old and small

She didn't fall asleep.

Student: Hello guys. Welcome to the land of fairy tales. My name is Alyonushka. Do you remember what fairy tale I live in? ("Sister Alyonushka and brother Ivanushka", "Geese are swans".)

I have fabulous things in my shopping cart. They belong to the heroes of Russian folk tales. You know these characters well. Guess what fairy tales these items are from?

(children's answers)

1. "Turnip". 2. "The Fox and the Crane". 3. "Geese and swans". 4. "Chicken - Ryaba". 5. "Princess - frog." 6. "Cat, rooster and fox" (the cat rescued the rooster with a harp) 7. "The Tale of Rejuvenating Apples and Living Water" "Geese - Swans". 8. "Sivka - Burka". "Ivan Tsarevich and the Grey Wolf".

I also have fabulous letters, only they do not have return addresses. Who wrote these letters?

1) Someone for someone

Grabbed tight:

Oh, can't pull it out

Oh, stuck tight.

But more helpers will soon come running:

Friendly common work will win the stubbornness

Who sat down so tight?

Maybe this: (Turnip).

2) Save. We were eaten by a gray wolf. (Goats).

3) "The fox is carrying me through dark forests, over fast rivers, over high mountains" (Cockerel).

4) What should be said to open the entrance to the cave? (Sim-sim open).

The storytellers embodied in the main characters of fairy tales the ideas of the Russian people about the best character traits. The events in the fairy tale take place in such a way as to repeatedly test the hero: his strength, courage, kindness, love for people and animals.

Today the guys act as heroes of Russian folk tales. They prepared questions.

(Children go to the blackboard one at a time and ask questions to the class).

I am Ivanushka from the fairy tale "Geese - Swans". Tell me, what animal helped me and my sister to escape from Baba Yaga? (Mouse).

I am Chanterelle - a sister from the Russian folk tale "Fox - sister and wolf". Answer me the question, where did the wolf put his tail to catch the fish? (Into the river).

I - Frost - Blue nose from the Russian folk tale "Two Frosts". Who did I freeze? (Barina).

I am the stepdaughter from the fairy tale "Morozko". Here is my riddle. What did Santa Claus give me? (Box).

I am the Chanterelle from the fairy tale "The Fox and the Crane". Tell me, what kind of porridge did I treat the crane? (Manna).

I am the Cat from the fairy tale "Cat, Rooster and Fox". My riddle is this. What did I play at the fox hole? (on the harp).

I am a Snow Maiden. Tell me, what made me happy on a spring day? (Grad).

On what basis can they be combined into one group? (All of them are Russian folk tales).

The red girl is sad

She doesn't like spring

She's hard on the sun

Tears are shed, poor thing.

(Snow Maiden).

Who guessed what kind of fairy tale it is. (Russian fairy tale "Snegurochka").

A dramatization of the fairy tale "The Snow Maiden". (children show a fairy tale)

Teacher. Name the main reason for the disappearance of the Snow Maiden. (She melted.)

In each proverb, the people put their dreams of goodness, justice, a comfortable life. Every folk tale contains a wise thought. It is not for nothing that this is said in the proverb: "A fairy tale is a lie, but in it:". Continue the proverb. (Hint, good fellows lesson.)

Labor feeds a person, but: (laziness spoils.)

Once he lied - forever: (he became a liar.)

Who does not love others: (he destroys himself.)

Finished the job -: (walk boldly.)

A person gets sick from laziness, but: (He gets healthy from work.)

It is bad for the one who: (does no good to anyone.)

Learn good: (bad things will not come to mind.)

Bitter work: (yes bread is sweet).

What famous Russian folk tale is the last proverb suitable for?

Russian folk tale "Spikelet".

Dramatization of the fairy tale "Spikelet" (children show a fairy tale)

What does this tale teach? (This tale teaches us that everyone gets what he has earned.)

Who owns these words from a fairy tale?

"Get in one ear and get out the other - everything will work out." (Cow - "Havroshechka")

"Are you warm, girl, are you warm red." (Morozko)

"Do not drink, brother, you will become a goat." (Alyonushka)

"Fu-fu, the Russian spirit is not heard, the view is not seen, but now the Russian spirit itself has come." (Baba Yaga)

"Sivka-burka, prophetic kaurka, stand before me, like a leaf before grass." (Ivan the Fool)

"As soon as I jump out, as I jump out, shreds will go along the back streets." (A fox).

"The fox carries me over dark forests, over fast rivers, over high mountains." (Cockerel)

"Kids, kids, open up, open up, your mother has come, she has brought milk." (Wolf).

"I see - I see! Do not sit on a stump, do not eat a pie. Bring it to your grandmother, bring it to your grandfather." (Masha)

"Look for me at distant lands, in a distant kingdom, in a distant state." (Princess Frog)

Teacher. What signs of Russian folk tales do you know? (fabulous beginnings and endings, magic items, stable combinations of words)

In fairy tales, the theme is varied. Remember fairy tales in which there was such a theme:

about industriousness ("Morozko")

about resourcefulness, ingenuity ("Ivan Tsarevich and the gray wolf")

about friendship, fidelity ("Cat, rooster and fox")

about greed, stinginess ("Havroshechka", "The Fox and the Hare")

about modesty, simplicity ("The Tale of Rejuvenating Apples and Living Water")

about courage, courage ("Porridge from an ax")

about respect for parents, old people ("Masha and the Bear")

Teacher. Our fun and interesting journey has come to an end. One boy said: "If I were a fairy tale, I would not have a good end, I would have no end at all, I would go on and on:" But this does not happen, and therefore let's end our meeting with these words:

Let the heroes of fairy tales give us warmth,

May good always triumph over evil!

It's time for us to fly back. And thank you, Alyonushka. Goodbye, we will meet again in fairy tales. (To children). Children, stand on the carpet, close your eyes. We are returning. Carpet - the plane rises higher and higher. Below was a magical land. We fly over mountains, over seas, over dense forests. Here is our village, our school. We landed. Open your eyes, we are home again. New journeys are waiting for us. You will make these trips with your faithful friends - books. We give each of you a book of fairy tales.

Summary of the lesson.

What new did you learn at the lesson today?

For whom was the lesson difficult?

What did you especially like?

Evaluation for active participation in the lesson and a mark for all students.

Homework.

Continue reading Russian folk tales.

Annex 5

Characteristics of the level of development of creative abilities of students in the control class in the first ascertaining experiment

F.I. student	Cognitive criterion	Motivational-need criterion	Activity criterion	Average level
F.I. student	Levels			Average level
1	Kira K.	Short	Short	Short	Short
2	Julia K.	Middle	Middle	Middle	Middle
3	Sergei. FROM.	Middle	Middle	Middle	Middle
4	Anton. G.	Middle	Middle	Middle	Middle
5	Olga. Sh.	Middle	Tall	Middle	Middle
6	Ludmila B.	Middle	Middle	Middle	Middle
7	Vyacheslav N.	Tall	Tall	Tall	Tall
8	Pavel S.	Tall	Tall	Tall	Tall
9	Elya O.	Middle	Middle	Middle	Middle
10	Sergei S.	Middle	Middle	Middle	Middle
11	Michael K.	Middle	Middle	Middle	Middle
12	Oksana Ch.	Middle	Middle	Middle	Middle
13	Olga T.	Middle	Middle	Middle	Middle
14	Julia D.	Middle	Middle	Middle	Middle
15	Michael K.	Tall	Tall	Middle	Tall
16	Nicholas S.	Tall	Tall	Tall	Tall
17	Yura L.	Short	Short	Middle	Short
18	Valery T.	Tall	Tall	Tall	Tall
19	Eugene B.	Middle	Short	Short	Short
20	Mark T.	Tall	Tall	Middle	Tall

Characteristics of the level of development of creative abilities of students in the experimental class in the first ascertaining experiment

№	F.I. student	Cognitive criterion	Motivational-need	Activity, criterion	Average level
№	F.I. student	Levels
1	Nicholas B.	Tall	Tall	Tall	Tall
2	Sergei A.	Middle	Middle	Middle	Middle
3	I am above.	Middle	Tall	Middle	Middle
4	Alexander B.	Middle	Middle	Middle	Middle
5	Oksana S.	Middle	Middle	Middle	Middle
6	Sergei Zh.	Middle	Middle	Middle	Middle
7	Tatyana T.	Tall	Tall	Tall	Tall
8	Daria G.	Middle	Middle	Short	Middle
9	Alexey I.	Middle	Middle	Middle	Middle
10	Alexey K.	Middle	Middle	Middle	Middle
11	Natalya P.	Middle	Middle	Middle	Middle
12	Olga K.	Middle	Middle	Middle	Middle
13	Inna K.	Short	Short	Middle	Short
14	Elena G.	Middle	Middle	Middle	Middle
15	Elena O.	Tall	Tall	Middle	Tall
16	Roman K.	Tall	Tall	Tall	Tall
17	Glory S.	Short	Short	Short	Short
18	Ulyana F.	Tall	Tall	Tall	Tall
19	Gleb D.	Middle	Middle	Short	Middle
20	Daniel Sh.	Short	Short	Middle	Short

Appendix 6

Characteristics of the level of development of creative abilities of students in the control class in the second ascertaining experiment

F.I. student	Cognitive criterion	Motivational-need	Activity criterion	Average level
F.I. student	Levels
1	Kira K.	Middle	Tall	Short	Middle
2	Julia K.	Middle	Middle	Middle	Middle
3	Sergei. FROM.	Middle	Tall	Middle	Middle
4	Anton. G.	Middle	Tall	Middle	Middle
5	Olga. Sh.	Middle	Tall	Middle	Middle
6	Ludmila B.	Middle	Middle	Tall	Middle
7	Vyacheslav N.	Tall	Tall	Tall	Tall
8	Pavel S.	Tall	Tall	Tall	Tall
9	Elya O.	Middle	Middle	Middle	Middle
10	Sergei S.	Middle	Middle	Middle	Middle
11	Michael K.	Middle	Middle	Middle	Middle
12	Oksana Ch.	Middle	Middle	Middle	Middle
13	Olga T.	Tall	Middle	Middle	Middle
14	Julia D.	Middle	Middle	Middle	Middle
15	Michael K.	Tall	Tall	Middle	Tall
16	Nicholas S.	Tall	Tall	Tall	Tall
17	Yura L.	Short	Short	Middle	Short
18	Valery T.	Tall	Tall	Tall	Tall
19	Eugene B.	Middle	Middle	Short	Middle
20	Mark T.	Tall	Tall	Middle	Tall

Characteristics of the level of development of creative abilities of students in the experimental class in the second ascertaining experiment

№	F.I. student	Cognitive criterion	Motivational-need	Activity, criterion	Average level
№	F.I. student	Levels
1	Nicholas B.	Tall	Tall	Tall	Tall
2	Sergei A.	Middle	Tall	Middle	Middle
3	I am above.	Tall	Tall	Middle	Tall
4	Alexander B.	Tall	Middle	Middle	Middle
5	Oksana S.	Tall	Tall	Tall	Tall
6	Sergei Zh.	Middle	Tall	Middle	Middle
7	Tatyana T.	Tall	Tall	Tall	Tall
8	Daria G.	Tall	Middle	Middle	Middle
9	Alexey I.	Tall	Tall	Tall	Tall
10	Alexey K.	Middle	Middle	Middle	Middle
11	Natalya P.	Tall	Tall	Tall	Tall
12	Olga K.	Middle	Tall	Middle	Middle
13	Inna K.	Middle	Middle	Middle	Middle
14	Elena G.	Tall	Middle	Middle	Middle
15	Elena O.	Tall	Tall	Middle	Tall
16	Roman K.	Tall	Tall	Tall	Tall
17	Glory S.	Middle	Middle	Middle	Middle
18	Ulyana F.	Tall	Tall	Tall	Tall
19	Gleb D.	Middle	Middle	Middle	Middle
20	Daniel Sh.	Middle	Middle	Middle	Middle

Fantasy - as one of the basic elements of the development of creativity in a child

Types of art that stimulate the creative activity of the child

Tasks for the development of creative abilities of younger students at home

Visual arts, figurative thinking

Role-playing games, pantomime

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