What is the importance of verbal creativity of preschoolers. Development of imagination and verbal creativity in children of senior preschool age

According to psychologists, creativity is an activity

as a result of which a person creates something new, original, showing imagination, realizing his plan, independently finding the means to implement it.

The largest Russian scientist and psychologist L.S. Vygotsky gave the following definition of the concept of creative activity: “We call creative activity such human activity that creates something new, no matter whether what is created by creative activity is some thing in the external world or a construct of the mind, or a feeling that lives and is revealed in the person himself.” . In addition, he emphasized that “the imagination does not repeat impressions that have been accumulated before,

but builds some new series from previously accumulated impressions. Introducing something new into our impressions and changing these impressions so that the result is a new, previously non-existent image.”

L.S. Vygotsky revealed the mechanism for creating imagination images: “A person accumulates material from which his fantasy is subsequently built. What follows is a very complex process of processing this material. The most important components of this process are dissociation and association of perceived impressions."

An analysis of psychological and pedagogical research has shown that creativity is characterized by scientists by two main indicators: it must represent public value and provide completely new products.

In order to determine whether children's creativity corresponds to these indicators, it is necessary to turn to the research of psychologists (L.S. Vygotsky, B.M. Teplov, D.B. Elkonin) and teachers (N.A. Vetlugina, E.A. Flerina, A.E. Shibitskaya). They prove that creative activity meets the needs and capabilities of the child and is accompanied by his emotional and intellectual activity,

and ensures the formation of methods of unified creative cognition, implemented in various activities

In the works of B.M. Teplova, A.V. Zaporozhets, L.A. Wenger emphasized the leading role of education, training, the determining importance pedagogical activity in the development of artistic creativity. Transforming imagination into a deliberate, purposeful one is the task of the teacher, and with some work with it, the preschooler develops a recreating imagination, the result of which is the creation of an image in accordance with the description, drawing, diagram, task. The image created by a child is always a personal formation, therefore even the most elementary cognitive act, leading

to the creation of a subjective image, begins on the initiative of the subject, is determined by his internal attitudes and emotions, i.e. reflects his internal state (L.A. Wenger).

Tikheyeva E.I. emphasizes that, by its nature, children's creativity is synthetic, often improvisational in nature and makes it possible to judge individual manifestations quite fully and identify them in a timely manner.

In the development of children's artistic creativity N.A. Vetlugina identifies three stages. At the first stage, the role of the teacher is

in organizing those life observations that influence children's creativity. If a child has to reflect life experiences

in a fairy tale, a story, then he must be taught to visualize the surroundings,

i.e., perception that has an aesthetic coloring. The imaginative vision must be holistic: the child must consider the phenomenon not in isolation, but in its multilateral connections. This develops in him the ability to find a relationship between various items and phenomena. Children's observations help develop combinatorial abilities. It is important that they realize that some things can be changed

and transformed.

Art plays a special role in the development of children's perception.

It helps the child to feel more keenly the beauty in life, enriches his world emotional experiences, promotes the emergence artistic images. This stage precedes the creative activity itself, however, the development of perception, the accumulation of artistic and life experience are closely related to the subsequent artistic and creative activities of children.

The second stage is the actual process of children's creativity.

It is directly related to the emergence of a plan, to the search for artistic means. The process of children's creativity is not very developed

in time. The creative act takes place “in one breath.” The child gives a quick release to his feelings and, according to L.S. Vygotsky, “creates

in one go."

The role of the teacher is, according to a number of authors, to create a joyful atmosphere full of interesting, sometimes unexpected experiences, which is necessary for the child to successfully carry out creative activities and ensure the internal need for self-expression in creativity. It is important to provide variability in situations

in which the child will have to act, as this will activate his mental activity. To develop creativity, it is necessary to change conditions from time to time, to combine individual

and teamwork. Special attention attention should be paid to the child’s mastering the methods of sensory examination of objects. The wider the children’s orientation in the most diverse properties of objects

and phenomena, the more vital and imaginative their creativity will be.

In order for a child to express himself naturally and freely in creativity, he must master the simplest artistic means. The teacher's task is to help him with this.

The third (final) stage is characterized by the creation of new products. At this stage, the child begins to be interested in the quality of the products of his creativity and experiences aesthetic pleasure, striving to give them completeness. But the experiences of preschoolers will be even more complete if he is convinced that his work is interesting not only to him, but also to those around him. Therefore, the analysis of children's products carried out by the teacher is so important.

M.V. Fadeeva offers a system that will help determine the level creative possibilities and methods for developing children's creative abilities. As criteria for this level, she names such moments as the desire to choose one’s own ideas or topics;

to express them through your own means; to organize them own methods. On modern stage There is a search for the most effective ways and means of developing children's creativity.

So, the analysis of psychological and pedagogical literature on this issue showed that artistic creativity cannot be carried out without the participation of an adult who helps the child create

and takes on the functions of a critic and partly a creator, i.e. functions that are inaccessible to a preschooler due to his age characteristics

(N.A. Starodubova).

In the development of children's artistic and creative abilities, education and training play a leading role. An adult teaches a child special skills that are the basis for the development of creativity.

Due to lack of or poor training, a “creativity decline” occurs. Only with proper pedagogical guidance and training can high results be achieved.

The concept of “verbal creativity,” according to T.N. Ushakova, can be applied to any case of creativity associated with words.

At the same time, it refers to two, although related, but still fundamentally different areas: creativity in speech and creativity in language. Speech creativity leads to the creation of a new speech product, i.e. a new text, oral or written, of any volume, in any of its forms - prose, poetic, codified, free, monologue, dialogic, etc. Unlike speech, linguistic creativity is associated with processes that lead to transformation in the language system itself - both in an individual and in the national language

The study of the problem of the development of children's verbal creativity, due to the complexity and versatility of the nature of speech phenomena, is closely related to the principles of psychology, linguistics, psycholinguistics and pedagogy.

Psychological aspect includes features of the perception of a literary work (L.M. Gurovich, A.V. Zaporozhets,

N.S. Karpinskaya, O.I. Nikiforova, S.L. Slavina, O.I. Solovyova,

E.A. Flerina, N.A. Tsivanyuk) and the activities of children’s imagination

(L.A. Wenger, L.S. Vygotsky, O.M. Dyachenko, S.L. Rubinstein,

MM. Rybakov) as the basis of speech creativity. The creation of a speech work occurs as a result of the processing of visual images - ideas obtained during perception, and the translation of selected combinations into the language of verbal signs that adequately reflect the content of the images.

Within the framework of the linguistic approach, a coherent utterance (text) is considered as a product speech activity, having its own internal structure and categorical characteristics

(S. Gindin, I. R. Galperin, T. M. Dridze, L. A. Kiseleva, L. M. Loseva,

O.I. Moskalskaya, E.A. Referovskaya, G.Ya. Solganik).

IN pedagogical research devoted to the problem of the formation of verbal creativity, it is proved that creative speech activity is successfully carried out in older preschool age under the influence and as a result of special training, an important condition of which is the choice of means (L.M. Voroshnina, E.P. Korotkova,

ON THE. Orlanova, O.N. Somkova, E.I. Tikheyeva, O.S. Ushakova, E.A. Fleurina

and others).

Verbal creativity is a process associated with the general development of the child. There is a direct relationship between the development of children's speech and their creativity. Creativity itself is unthinkable without a child mastering the richness of the language in which he speaks and thinks. Of course, we understand this mastery in accordance with the characteristics of preschool age.

In domestic pedagogy, the problem of verbal creativity of preschool children was considered in the works of E.I. Tikheeva, N.S. Karpinskaya, O.S. Ushakova and others.

In particular, in the study of O.S. Ushakova, the author shows how the development of a poetic ear influences the development of children’s creative verbal activity, helping to cultivate in children a flair for their native word, sensitivity to fiction, and an understanding of the characteristics of genres. And, most importantly, a poetic ear helps children transfer learned words and expressions into their compositions, helps them realize the connection between the content of a literary work and its artistic form, and more subtly sense the beauty of the artistic word.

32. The concept of verbal creativity.

LITERATURE Creativity expressed in words, both oral and written, verbal creativity. Theory of literature.

Artistic literary creativity and verbal folklore ( book.). Graceful With. (obsolete name fiction).

Literature and literature.

There is no need to make a strict distinction between these two terms, and one can almost always use both in the same way. If we still look for the difference in their meaning, then we will classify the first as written works, and the other as oral. It is more correct to talk about folk literature than about folk literature. The people carry out oral creativity: from generation to generation, fairy tales, songs, epics, proverbs pass from mouth to mouth - everything that can be united under the name of literature. "Literature" comes from the Latin word litera, which means letter, letter, inscription; It is already clear from this that literature is verbal creativity, imprinted and enshrined in writing. A combination like theory literature, more common than the combination theory literature ; This means that the concept of literature is broader than the concept of literature. And above both of them the concept of the word rises. Of course, not every word is literature: in order to become it, it must be artistic. But, on the other hand, the service word, the one we use and exchange with others in our community, the word useful, practical - it also has an element of artistry in it. That is why it is not easy to draw the line where the word ends and where literature begins. The very material from which literature is created is itself literary. In a certain sense, everyone who speaks is thereby already a wordsmith, a writer, because our words bear the imprint of creativity and represent phenomena of an artistic order: they are figurative, picturesque, sonorous. The gift of speech is the gift of literature. And yet, from the infinite number of words that have not echoed in time, but have left a mark in the memory of mankind, it is necessary, of course, to single out those that represent literature, literature, and art. Broadly speaking, literature is the totality of all works of human thought, enshrined in the word - whether oral or written; but usually when they say literature or literature , then before these nouns an adjective is implied artistic. And therefore, not every verbal monument deserves to be studied in a course on the history of literature: “The Tale of Igor’s Campaign” is literature, “The Teachings of Vladimir Monomakh” is not. Truth, term literature apply not only to works of art: there is also scientific literature, and you can hear such an expression as literature subject when they mean a list of books or articles devoted to a particular issue. It is interesting to note that the Russian word literature almost replaced by a foreign word literature : to such an extent the latter has entered the system of our speech and received the right of citizenship in it. They say: study literature; However, it has been preserved - teacher literature and several similar expressions. What literature prevails over literature, this is so understandable: after all, in our time it is not so much the people who create verbally, but the individual, - and personal, individual creativity hastens to express itself in writing, in print - in literature.

33.Cultural eras of primitiveness, the main characteristics of the Paleolithic and Mesolithic culture. The era of primitive culture is the longest in the history of mankind, and according to archaeological periodization (based on the material from which tools and weapons were made) includes the following main stages of development: Stone Age (40 thousand years - 4 thousand years BC. ) - Paleolithic, Mesolithic, Neolithic - characterized by primitive stone tools, the construction of the first boats, rock paintings, reliefs and round sculptures Hunting and gathering as a way of life of the Paleolithic by 12-8 thousand BC. e. are replaced by livestock breeding, a sedentary lifestyle, and the appearance of bows and arrows (Mesolithic). In the period from 9-4 thousand BC. e. in life primitive society cattle breeding and agriculture are being established, stone processing techniques are being improved; the Bronze Age (3-2 thousand BC) separated crafts from agriculture and led to the creation of the first class states; The Iron Age (1st millennium BC) accelerated the heterogeneous development of world culture. Features of the Paleolithic. Development is not uniform, which is largely influenced by climate change. One of the features of primitiveness is the low number and density of population, because even in a landscape rich in resources, demographic capacity is limited. During this era, a developed communal system of life was created, in which the initial social molecule was a small family (5-6 people). Small families united, forming camps and settlements that could consist of 4-5 dwellings, located on an area of ​​700-1500 m2. They had one long-term focus. Near the dwelling there were production sites and utility pits. Prehistoric societies were socially homogeneous, and the main form of division of labor was the division of activities between men and women. The economic strategy of Paleolithic society was aimed mainly at hunting activities and the sustainability of food chains. There was selective hunting and seasonality of hunting cycles, as evidenced by multi-layered long-term sites (Kostenki on the Don is an excellent example of this) and many seasonal settlements. In the Franco-Cantabrian zone and on the Russian Plain, mammoths, woolly rhinoceroses, reindeer, and wild horses were hunted, but round-up hunting for mammoth dominated. In the Urals and the Caucasus, hunting for the cave bear prevailed, in Central Asia and Altai - for mountain goats, in the steppe zone of Europe (for example, the Amvrosievka site near Donetsk in Ukraine) - round-up hunting for bison, similar to the Paleo-Indian bison hunting in the southwest of the USA. The economic strategy also included gathering, focused on local plant species. For hunting, they used slingshots, spears and darts equipped with hard silicon tips, as well as various remote weapons - spear throwers and harpoons made of hard wood and bone. As noted, the dwellings were large, light and warm caves with powerful cultural layers. . The widespread use of mammoth bones in combination with wood and stone is characteristic of the entire periglacial zone of Eurasia. Upper Paleolithic houses had an oval or oblong shape; sometimes these were half-dugouts, covered with a frame of tusks, poles, skins; inside there were hearths lined with stone slabs, and around there were utility pits for storing tools, supplies of raw materials, food, etc. Light portable dwelling- bivouacs. At this time, there were specialized industries with a variety of effective tools: large and small scrapers, burins, stones for softening and polishing skins, bone piercings, needles with an eye, special “work tables” for kneading skins and belts, etc. The clothing complex included analogues of capes or cloaks. As for household utensils, these were wickerwork, wood, bone and stone utensils. The spiritual culture of Paleolithic society is characterized by a certain level of complexity. Researchers associate the presence of early forms of religion (magic, totemism, animism) with burial rituals of animals and people, with images of supernatural beings. An image of a “sorcerer” from the Trois Freres cave, a drawing of a bison man from the Chauvet cave in France, a bone figurine of a lion man from Holenstein Stadel in Germany. The art of that time was an organic part of a syncretic, undivided cultural complex, and not an independent sphere. The structure of the art world (morphology) included two main categories of monuments. This is colorful monumental art represented by paintings and engravings on cave walls, also called petroglyphs (rock paintings). The second category is mobile art, or art of small forms (portable), represented by a wide range of bone carvings, engravings and drawings on pebbles, ornamented tiles, decorations and sculptural works. The main place in art was occupied by images of animals. The beast, apparently, was not only food for the people of that time, but also an ancestor, friend, enemy, victim and deity. Images of Paleolithic people were embodied mainly in sculptural works and, less commonly, in engravings on bone and antler. Plastic art consists mainly of female figurines, made mainly from mammoth tusks, and in some cases from stone and baked clay (terracotta)2. Figures of naked, curvaceous ladies emphasizing the genetic functions of the “sacral” nature of women are called “Paleolithic Venuses.” Images of men are extremely rare. Ornamental geometric art became widespread in Stone Age culture. It is found in all areas of the Upper Paleolithic ecumene, but is most characteristic of the Russian Plain and Siberia. Musical and dance art, recitation, probably arose neither earlier nor later than the visual and architectural arts. the existence of pantomime and round dances is confirmed by some cave paintings in Eurasia. Musical instruments (flutes and percussion instruments) have been found in a number of Paleolithic sites. Features of Mesolithic culture. During the Mesolithic period of prehistory, the glacier melted and retreated. Huge areas of the Earth were swallowed up by the waters of the world's oceans, the mammoth fauna and other species of large game animals disappeared, and the descendants of the Cro-Magnons lost their traditional habitats and hunting grounds. They survived one of the largest environmental disasters. The population size and density increased during this time; the intensification of the appropriating economy occurred; increased use natural resources, and the methods of obtaining them have acquired more diverse and sophisticated features. New hunting strategies were aimed at hunting mountain, forest and steppe ungulates (elk, deer, wild boar, goat, etc.), and therefore remote weapons - bows and arrows with flint tips - began to be widely and effectively used. A specialized marine fishery is emerging on the sea coasts. A very important achievement in the sphere of economic culture was domestication - the domestication of wild animals (sheep, dogs, etc.). People move to open spaces, build half-dugouts and squat dwellings from local raw materials. the appearance of extraordinary dynamics in multi-figure images of animals. Along with animals, the compositions now include people - men and women. Male images are beginning to dominate in art. Most often - a group of archers hunting for a fleeing animal. All images are schematized, deformation appears in the image of the human figure, and the concreteness of “primitive naturalism” disappears. Geometric ornamentation in products made of stone, bone, wood, and clay is spreading in all regions of the world. In this time, shorter than in the Paleolithic, humanity accumulated strength for a new historical breakthrough in cultural achievements associated with the Neolithic revolution.

PROGRAM

For children 7-10 years old

The program was compiled by: Ph.D. ped. Sciences I.A. Kirshin

Kaliningrad 2014

Explanatory note

Needs to be organized pedagogical environment

Basic goals :

Main goals:

First conceptual component

Target

The third basic component is pedagogical conditions

- pedagogical environment -

- creative dialogue -

- club forms of activity

The role of the teacher

The role of the child

The nature of the child’s motivation

- only with my heart

Diagnosis of the result

Diagnostic methods

Educational and thematic plan

Writing riddles.

1) word games: charades;

2) reading Russian folk riddles;

3) emotional and practical preparation of children for writing riddles;

4) writing riddles;

Writing a story.

1) word games: literary shifters;

2) emotional and practical preparation of children for storytelling based on the picture;

3) reading stories by E. Kuznetsova “ Good word heals, but bad things cripple”, “We quarreled”;

4) writing stories;

5) homework: write a story.

Writing tongue twisters.

1) warm-up – stage sketches: “we are forest animals”;

2) emotional and practical preparation of children for composing tongue twisters;

3) reading Russian folk tongue twisters;

4) writing tongue twisters;

5) discussion of the received works.

Essay couplet.

1) word games: “guess the letter”;

2) emotional and practical preparation of children for composing couplets;

3) reading B. Zakhoder’s couplets;

4) writing couplets in pairs;

5) discussion of the received works.

Storytelling from a picture.

1) verbal games: joke poems;

3) Compilation descriptive story based on the reproduction of I. Grabar “March”

4) writing a collective story based on the picture;

5) discussion of the received works.

Creative storytelling.

1) word games: puzzles;

2) emotional and practical preparation of children;

3) reading N. Nosov’s story “Why”;

4) writing individual stories;

5) discussion of the received works.

Writing a story.

1) warm-up – stage sketches;

2) emotional and practical preparation of children;

3) writing stories in pairs;

4) reading L. Tolstoy’s story “Fire Dogs”;

5) discussion of the resulting works, comparison with the master’s work.

Writing the basis of the script.

1) warm-up – stage sketches: “we are cats”;

2) emotional and practical preparation of children;

3) writing scenarios in pairs;

4) acting out children's scenarios;

5) discussion of the received works.

Writing fairy tales.

6) word games: scanwords;

7) emotional and practical preparation of children;

8) reading N. Kalinin’s fairy tale “About the Snow Bun.”

9) writing collective fairy tales;

10) discussion of the received works.

Writing poetry.

1) warm-up – stage sketches: “we are birds”;

2) emotional and practical preparation of children;

3) reading poetry by A. Barto;

4) writing poetry in pairs;

5) discussion of the received works.

Storytelling from a picture.

1) word games: “the letters are hidden”;

2) emotional and practical preparation of children;

3) display of the painting and compilation of a descriptive story based on the reproduction of A. Savrasov “The Rooks Have Arrived”;

4) discussion of the received works.

PROGRAM

additional education children

Development of children's verbal creativity

For children 7-10 years old

The program was compiled by: Ph.D. ped. Sciences I.A. Kirshin

Kaliningrad 2014

Explanatory note

The basis for the program was the ideas of the School of Life of Sh. A. Amonashvili, as well as the following provisions:

Children's verbal creativity is the written or oral expression by a child of subjectively significant verbal content for him, which has the following qualities: fantasy, sincerity, mastery of words, a sense of humor and lyricism, relevance for the author.

To develop children's verbal creativity, it is first necessary to identify the child's needs and the motives for his activities.

Needs to be organized pedagogical environment, in which these needs of the child will be satisfied. The pedagogical environment is a team of like-minded people, consisting of teachers, parents and children who are in creative contact. This team carries out a single activity that should evoke strong feelings in the child. positive emotions, since only such emotions give rise to a vivid image in the imagination. As a result of such activity, the child is invited to realize the image that has arisen (write, draw, play, depict).

The pedagogical environment should cover all aspects of a child’s life, satisfy his physiological, moral, aesthetic and other needs. Only by creating a full-fledged childhood life for a child do we have the right to expect creative manifestations from him.

True creativity possible only as a holistic lifestyle, as general principle system of relationships with the child, and not as a separate technique in the lesson - only in this case creativity will become diverse and full-fledged. Therefore, a teacher must be able to accept a child’s life with everything that is in it, be able to participate in it, and be able to earn the love and respect of children. Only by immersing yourself in a child’s life in this way will a teacher be able to identify the true needs of children and create conditions for their satisfaction.

The pedagogical environment, on the one hand, creates conditions for the manifestation of children’s spontaneous creativity (horizontal level), on the other hand, saturates children beautiful images, encouraging the creative element to rise upward - to the heights of Goodness, Love and Beauty (vertical level). The unification of these levels by the pedagogical environment should give completeness and balance to the development of children’s verbal creativity.

Basic goals :

Raising a Noble Person

Development of creative abilities;

Development of verbal and creative abilities;

Development of communication abilities.

Main goals:

To captivate children with the joy of creativity;

Unleash their verbal and creative potential;

Create creative children's group;

Instill in children universal human values.

Basic principles of pedagogical activity:

Close cooperation of teachers in a single activity;

Constant self-improvement of each teacher ( creative growth in the chosen field of art, personal development, improvement pedagogical qualities);

Informal relationships with children;

Creative dialogue between teachers and children.

First conceptual component The model consists of a humane-personal approach developed by Sh.A. Amonashvili.

On the indicated conceptual foundation, the second one is built, verbal and creative component, representing methodological support models. When creating a program for children’s verbal creativity, we relied on the developments of V.A. Levin, G.N. Kudina, Z.N. Novlyanskaya and A.A. Melik-Pashaev, L.E. Streltsova and N.D. Tamarchenko, J. Rodari.

Target- transform play with art into communication with art. For this purpose they decide two series of pedagogical tasks. The first row is aimed at preserving in children the properties inherent in a preschooler: spontaneity, emotional integrity and individual originality of perception; desire to play with artistic forms; the desire to act freely in an imaginary situation; the joy of doing art and the need for such activities.

The second series of tasks is aimed at ensuring the artistic development of the child. These tasks are solved by combining two areas of activity: the first is familiarity with children's classics, the second is your own creativity. This combination determines the successful development of children's verbal creativity.

Features of performing creative tasks:

Performed only voluntarily;

Performed in class or at home (at the child’s request);

The child’s works are read only with his consent;

The teacher completes tasks together with the children;

Creative works teachers are discussed along with the children’s work.

The third basic component is pedagogical conditions development of children's verbal creativity:

- pedagogical environment - a team consisting of teachers, parents and children who are in constant creative contact. This team carries out unified activities based on a humane-personal approach (Sh.A. Amonashvili);

- creative dialogue - a specific type of communication, which is the discovery, expression and transmission to others of the personal meaning of phenomena in an aesthetic form. The purpose of verbal creative dialogue is to identify and develop the child’s own speech style;

- club forms of activity - lively, flexible, non-programmed activities that correspond to children’s nature (games, music, theater, visual arts, modeling, etc.).

All components form a single whole pedagogical process, in which we can highlight the following characteristics:

The role of the teacher- a teacher in the position of an encouraging assistant.

The role of the child- a child in the position of a freely creative subject.

The nature of the child’s motivation- predominantly internal, individual motivation.

Subject of the teacher’s organizing efforts- inspiration of the child (a state of positively colored emotional and intellectual tension), filling him with images of goodness, love and beauty.

The nature of interactions between teacher and child- empathy, personal involvement of teacher and child.

Specifics of pedagogical impact- only with my heart The teacher can touch and guide the development of the child’s creative abilities. Brutal pressure on a child or teacher distorts the pedagogical process, therefore, for the successful implementation of goals, a caring and sensitive atmosphere is necessary as the main condition.

Diagnosis of the result- the results in the form of products of children's verbal creativity are diagnosed.

Diagnostic methods: self-assessment, mutual assessment, method expert assessments(carried out by qualified specialists in the field literary creativity or teaching literature as art), conversation with parents and teachers. It should be borne in mind that you cannot expect significant success from every child right away - it is necessary Long procces maturation of creative abilities.

Educational and thematic plan

Features of the manifestation of verbal creativity

in older preschool age

The problem of developing the creativity of the younger generation is currently increasingly attracting the attention of philosophers, psychologists, and teachers. Society is constantly in need of creative personalities who are able to act actively, think outside the box, and find original solutions to any life problems.

Verbal creativity is a complex process associated with the general development of the child (O.S. Ushakova, F.A. Sokhin, N.N. Poddyakov, O.M. Dyachenko, N.V. Gavrish, O.N. Somkova, etc. ). There is a direct relationship between the development of children's speech and their creativity. Creativity itself is unthinkable without mastering the richness of the language in which a child speaks and thinks.

Verbal creativity is an integral part of the general development of creative abilities of preschool children in various types of activities:

its formation is based on the perception of works of fiction, oral folk art in the unity of content and artistic form;

introduction to different genres literary works, their specific features introduces the child to the world of artistic images, the understanding of which deepens in visual and theatrical activities, which contributes to the development of creative imagination, and also develops the ability to use a variety of linguistic means when creating their own compositions;

The development of verbal creativity in older preschoolers is a multifaceted and multifaceted process. It depends on the general speech development of children: the higher this level, the more freely the child manifests himself in composing works.

Literary creativity is a two-pronged process: the accumulation of impressions in the process of cognition of reality and their creative processing in verbal form. Children’s verbal creativity can be expressed in different forms:

In word creation, i.e. in the creation of new words, neologisms;

In writing poems;

In writing your own stories and fairy tales;

In creative retellings.

Children must be prepared to express themselves through creativity. Children need to be taught to write poems, riddles, fairy tales, and stories. Children's texts help trace the process of children's verbal creativity and their individuality.

Most scientists note that not all children develop the ability to compose immediately and not every child strives to show off his “masterpiece.” The problem of verbal creativity of preschool children has not yet been sufficiently fully and deeply studied by preschool pedagogy.

Purpose of the study is to study the characteristics of the manifestation of verbal creativity in children of senior preschool age.

Object of study– verbal creativity and features of its manifestation. The subject of the study is the psychological and pedagogical conditions for the manifestation of verbal creativity in children of senior preschool age.

Research hypothesis there was an assumption that the manifestation of verbal creativity will depend on a number of psychological and pedagogical conditions:

From the inclinations, from the children’s inclination to activity;

From the personality of the teacher (environment of interests, intelligence);

From the activities of the teacher with children (games, activities, observations, etc.);

From the conditions of upbringing in the family (hobbies, communication, connection between generations);

From the child’s experience (theater, literature, TV, CD/DVD, etc.);

From a differentiated approach to the child’s personality.

The study was conducted on the basis of MDOU No. 157 in Murmansk. The experiment involved 15 children of the older group aged 5 to 6 years.

The purpose of the ascertaining experiment: to identify the features of the manifestation of verbal creativity in children of senior preschool age.

identify children’s ability to compose different works: a riddle, a fairy tale, a song, a poem;

identify the dependence of the characteristics of the manifestation of verbal creativity on the inclinations and inclinations of children;

determine the general level of verbal creativity of older preschoolers.

The ascertaining experiment consisted of two series of tasks: a conversation with children; observation of children for a month.

Let's give an example of observations.

Morning. Dasha R. took the theatrical “Teremok”, hid all the heroes of the fairy tale and decided to ask riddles to Nastya, who had just entered the group. “Red-haired, with a long ponytail, a beautiful girl, walks around, deceives everyone, sister. Hitral she" (fox). “She digs minks and loves cheese very much. Beautiful princess girl. She’s so cute, she says “pee-pee” (mouse).

“The gray one walks around, eats calves, he eats piglets, and for lunch he can eat a calf with baby cow" (wolf). “Clubfooted, loves honey, can lift a huge house. He himself is handsome and rich” (bear). “The green princess is jumping through the swamp. She's a talker. Croaks (speaks quietly, lowering his head under the table). And she has beautiful little things on her fingers” (frog). “He jumps and waits for my riddles, a nice guy. He is afraid of the fox and quickly runs away through the ant grass” (hare).

Nastya didn’t solve all the riddles, maybe she didn’t wake up, maybe she had some difficulties. Dasha laughs and says: “Oh, Nastya, thoughtless your head!

Evening. In the game, the girls built toys in a round dance and Dasha says: “That’s how they danced, they were great and hard workers! I ask: “What does the word “laborers” mean? “This means we worked hard and together,” Dasha answered.

Classes By visual arts. Dasha painted an aquarium, beautiful fish. I started drawing algae and probably forgot what they are called. “And here I will have these enslavement».

During a salt dough modeling class, Dasha asked to look at my book. Seeing a salt shaker in it, he says: “Let’s make the same one at the next lesson.” salted salt!”.

Dasha has the best imagination in the group; she enjoys composing and inventing a lot in games. For example, he never gets bored on the street because he comes up with games with any objects (fallen leaves, sticks, boxes, grass, seeds, shells), imagining them different heroes. Mom, dad, grandparents always approve of Dasha’s games and “miracles” and treat creativity with respect, not considering it stupid. So, for example, one winter, on an evening walk, Dasha blinded a little Snow Maiden, and did not want to say goodbye to her. Mom allowed the Snow Maiden to live at home. We read a fairy tale to the children: “Ivanushka said this, cried and went home.” Sasha Sh. asks: “What is svoyasi? In yours, in yours, in yours.”

Independent activity. Anya M. draws and says: “And here I need a leathery color” (skin color). She also draws the mayor, the mayor's wife and the little girl. He explains: “And this is the mayor’s daughter” (the mayor’s daughter).

Analysis of the observation allows us to conclude that verbal creativity was demonstrated mainly by those children who have innate inclinations, a propensity for activity, and also whose parents take an active part in the development of the creative abilities of their children.

To implement the first objective of the study, children were asked 4 tasks: compose a riddle; come up with a fairy tale; come up with a song; write a poem. Let us give examples of children's verbal creativity. Mystery Dashi R. “It looks like an octopus and a jellyfish, lives in the sea, but is not a fish. It’s delicious, they eat it and sell it in the store” (squid).

Fairy tale Olya R. On the topic “Teapot, coffee pot and fish or a fairy tale about friendship”:

"Once upon a time there was new kettle. He had no friends, so it was boring. But one day the owners bought a coffee maker. Only the coffee maker disliked the teapot, because she had an imagination, thought that she was better than everyone else and loved only herself. Then we bought different fish: two crucian carp, a red cap and a golden one. And for some reason they got an angry cat. He ate all the fish except the golden one, and he was punished. The teapot made friends with the fish. And the coffee maker broke. Serves her right! You need to take care of your friends! The end” (meant coffee maker, but pronounced cafearka). Poem Sashi Sh. “The girl went out for a walk, to pluck some fresh grass (laughs and explains: for salad). And behind her is Bug, with a mouse on her side.”

Histogram 1.

Children's writing levels

The main directions of work with children in the process of formation: classes aimed at developing verbal creativity. System of specially selected games. Teaching poetry. Working with a picture, a book. Work with folklore. Interaction between the teacher and pre-school specialists.

Games can be played with the whole group, with a subgroup of children, or individually. Required condition– playing games after observing, examining, comparing, etc. The child must accurately represent the subject in question. The inclusion of these activities in everyday life should arouse in them constant interest, a desire to fantasize, to experience imaginary situations together with the teacher, adding new details each time. In the process of this work, children and parents began to compose poems, riddles, fairy tales, and nursery rhymes.

“The letter I has always been sweet to everyone. But, friends, we advise you to remember the place of the letter “Y” (Katya S.); Once upon a time there lived in the alphabet the letter I and I was very beautiful letter was. That letter stood at the end of the alphabet and therefore was very angry” (Ira P.); “I decided to stand first in the alphabet, and change the letter A with me. I want to be first! - she said, and, displacing A, she took a place there”; “Watermelon, orange, don’t call yourself Y, because the most important letter is mine!” I am a proud, brave, important me, all the main letters are my merit!” (Daniil S.).

A fairy tale about the green eye of a traffic light. “Once upon a time there lived one amazing traffic light. He had three eyes: red, yellow, green. The two eyes were obedient, lit up on time and in turn. And the green eye was always naughty. He liked to wink at pedestrians. Because of this, there were troubles on the road. One day, the peephole played a prank on a boy he knew, and he got hit by a car. The boy was taken to the hospital. Green Eye felt ashamed of his prank. And since then he stopped playing pranks. And all three eyes now light up in turn and on time, and order reigns on the road” (Karina M. and her mother).

A fairy tale based on a fable: “ Warm spring Now. The grapes are ripe here. A horned horse jumps in the snow while running in the summer. Once upon a time there lived a grandfather and a woman. In the spring, their grapes ripened, and not just ordinary ones, but magical ones. If you eat such grapes, you may grow horns or it will snow. Grandfather and woman had a horse. One summer, the horse accidentally ate grapes. His horns grew and it began to snow. He was delighted and began to jump for joy in the snow. Imagine how much fun grandma and grandpa had!” A survey of parents revealed examples of children’s word creation: "kepuch"- ketchup, "roll"- sausage, "monoki"- tomatoes, "jackal"- wallet, "monki"- pasta, "kufli" ( shoes), "taratapiki" (slippers), "gunovatik" ( grape), "podratik" ( square). Later in life: "easternity" ( dance in oriental costume), "pants"( one trouser leg), "glacier"- fridge, "warmer"- microwave, "sippy cup"- funnel, "manager"- TV remote.

Almost all parents wrote that children write riddles on their own. For example: “Semicircular, colored” (rainbow); “A bird with a long neck, it can swim and walk. The wings are large and the legs have webs. Tell me who is this?” (duck); “What looks like a banana in the sky at night?” (month). They make up fairy tales at home. Let's give an example of a fairy tale by Nastya S. “Once upon a time there lived a colorful butterfly in a forest. One day in a clearing she met a grasshopper. She told the Grasshopper that she had once seen children having fun playing with a ball. “Come on, blacksmith, let’s play ball with you too!” " The grasshopper sadly answered: “Where can we find such a small ball?” The butterfly offered to play with a dandelion, but it was very light. Suddenly the grasshopper brought a dewdrop, and the fun game! What a great ball it was! They did not notice how night had fallen and a bright star appeared in the sky. “Are you going to sleep?” - asked the star. I had to remove the dewdrop before the morning and go to bed.”

The children's writings showed how their artistic associations had expanded. They included images in their fairy tales and poems fairy-tale heroes, came up with different actions of the characters, and could develop the plot according to their own logic. The learned method of contamination was clearly revealed; the children easily connected the plots of fairy tales. In poetry, children retain melody and laconicism; in stories, realistic events and figurative language. An analysis of the children's compositions showed that their compositions (riddles, fairy tales, poems, stories) correspond to the chosen genre.

Histogram 2.

Levels of originality in children's essays

Verbal creativity arises and develops where there is purposeful guidance of this activity, where all conditions are created for this activity. It is very important that it is in preschool age that writing becomes a habit and becomes commonplace. Then the desire to communicate, express your thoughts, argue, defend your point of view, and most importantly the desire to create, will not disappear at school.

You can often notice that in the families of artists, children also draw, and in the families of poets, they write poetry. All this is not accidental, and the point here is not only in genes and heredity, but also in the fact that the child had the opportunity to try this type of creative activity at the most right moment for further development- in preschool age. The child had accumulated experience that he was able to combine and apply.

Understanding children's creativity is impossible without knowing the following points:

preschool age is the age of rapid accumulation of experience by the child, which in turn is necessary as the basis for any creative activity;

development mental characteristics the child leads to an expansion of his experience, therefore, by developing attention, memory, thinking, sensation, emotions, we increase the child’s ability to accumulate practical experience, and this in turn will have a beneficial effect on the mechanism of creativity;

syncretism cognitive processes, more advanced physical abilities a child, a “problematic” perception of the world - all of these are developmental features that are significant in relation to creativity in preschoolers;

all the characteristics of preschool children indicate that the preschool period involves high degree manifestations of creativity and is certainly significant for its development.

The proposed hypothesis that the manifestation of verbal creativity will depend on a number of psychological and pedagogical conditions was confirmed.

In order to help a child successfully develop his speech creativity, realize the potential of his speech abilities, and encourage him to create the simplest, most unpretentious stories, fairy tales, and poems, children must be systematically offered creative exercises. Reading literary works and folklore brings to the consciousness of children the inexhaustible wealth of the Russian language, contributes to the fact that they begin to use this wealth in independent activity- verbal creativity. The use of a variety of creative tasks influences the logic of presentation of children's essays and expands children's understanding of the artistic image.

A.A. Smaga,

L.A. Kharchenko

Features of mastering the grammatical structure of speech

preschool children

Mastering the grammatical structure of speech is carried out on the basis of a certain level of cognitive development of the child. So, when forming an inflection, a child, first of all, must be able to differentiate grammatical meanings(meanings of gender, number, case, etc.), since before starting to use a linguistic form, he must understand what it means.

A.N. Gvozdev identifies five periods of formation of the grammatical structure of speech.

The first period (l year 3 months - l year 10 months) is the period of sentences consisting of amorphous root words, which are used in one unchanged form in all cases. This period is divided into two stages:

Stage of using one-word sentences (1 year 3 months - 1 year 8 months);

The stage of using sentences of several words, mainly two-word sentences (1 year 8 months - 1 year 10 months).

The second period (l year 10 months - 3 years) is the period of mastering the grammatical structure of a sentence, associated with the formation of grammatical categories and their external expression. It is characterized rapid growth different types simple and complex sentences, in which the members of the sentence receive expression in the syntactic means of the language. There are three stages within this period:

The stage of formation of the first forms: number, case, time (1 year 10 months - 2 years 1 month);

The stage of using the inflectional system of the Russian language (inflections) to express syntactic connections (2 years 1 month - 2 years 3 months);

The stage of mastering function words to express syntactic relations (2 years 3 months - 3 years).

A.N. Gvozdev notes that this period is sharply delimited from the first period, and with the subsequent one it does not have sharply defined boundaries.

Third period (3 years - 4 years) - the system of inflections is mastered. Words acquire grammatical design, singular and plural numbers appear, cases are contrasted, verbs acquire tense. In the child’s speech there are already parts of speech and basic grammatical categories characteristic of spoken language, but there is still no complete grammatical correctness.

The fourth period (4 years - 5 years) - a new formation appears: a surge in word creation, complex grammatical constructions of sentences appear (complex, compound). Children master the agreement of adjectives with all forms of nouns. By the end of the 5th year the number is growing grammatical errors.

Fifth period (5 years - 6 years) - word creation fades, the number of grammatical errors decreases. Simple sentences are always grammatically correct. Complex sentences appear, conjunction and non-conjunction, sentences with a formal coordinative connection (then, then, and), sentences with a cause-and-effect relationship (because), sentences with homogeneous members.

A.N. Gvozdev identified the characteristic features of the formation of the grammatical structure of speech:

1. The child quite accurately identifies the root, prefix, suffix, ending (morphological structure) in a word, but masters these parts of words intuitively.

2. The child forms words by analogy, using elements of words when extracting from another word.

3. The initial period of use of morphological elements is characterized by relative freedom of their use.

4. The child freely uses the morphological elements of the word, which indicates the independent creation of individual forms and words.

A.G. Arushanova identifies several stages in the acquisition of grammatical means and methods of language.

1. Understanding the meaning of what was said (focusing on the ending of the noun, distinguish where there is one object and where there are many).

2. Using one or another grammatical device in your speech, borrowing grammatical form from the speech of others.

3. Independent formation of the form of a new word by analogy with a familiar one (foals, cubs by analogy with the word form kittens).

4. Assessing the grammatical correctness of one’s own and other people’s speech, determining whether one can or cannot say so.

In the speech of preschoolers A.N. Gvozdev notes isolated examples of isolation (separated participial; a separate single adjective separated from a noun; clarifying controlled group of words) and gives an example with a rare disjunctive conjunction “or”).

In older preschool age, complex sentences with two subordinate clauses appear, and there may be subordinate clauses and subordinate clauses of different degrees. Children combine simple sentences into complex ones using conjunctions “when”, “how”, “so that”, “if”, “because”, “that”, allied words “who”, “from-what”, “which” and etc.

The appearance of grammatically formed sentences is preceded by the so-called word-sentences, consisting of one word, representing a complete whole and expressing a message. Sentence words can mean characters, animals, or serve as a designation for objects or actions. The same word-sentence can have different meanings. In some cases, these meanings become clear thanks to intonation, in others - only from the situation, and thirdly, thanks to gestures. The use of words-sentences, according to the observations of A.N. Gvozdev, occurs approximately between the ages of 1 year 3 months and 1 year 8 months.

Characterizing this stage of development, A.A. Leontiev notes that the word and the sentence are not distinguished; more precisely, the equivalent of a sentence is a word that is included in a particular objective situation.

Around the middle of the second year of life, two-word sentences appear in the child’s speech. It is their appearance that speaks of the first step in the development of a sentence from a “primary syntactic whole.” An important factor is that the child independently constructs these sentences.

By the age of two, three to four complex sentences appear, which can be considered as the initial stage of mastering the grammatical structure of a sentence. It is associated with the formation of grammatical categories and their external expression. According to A.A. Leontyev, at this time the first complex sentences appear. So, at the age of 1 year 9 months, the child begins to pronounce complex non-union proposals.

The main types of complex sentences are learned by the age of three. Initially they are used without conjunctions, then with conjunctions ( When you wake up, I'll give you some candy). Children use both coordinating and subordinating conjunctions ( The girl sat down on a chair and put on her felt boots. The girl sat down on a chair to put on her felt boots.).

As noted in his work “Speech Development of Children from Three to Five” V.I. Yadeshko, the fourth and fifth years of life are a further stage in mastering the system native language. In children's speech, simple common sentences still predominate (57%), but their structure becomes noticeably more complicated due to an increase in the number of sentence parts. For the first time, sentences with homogeneous circumstances, homogeneous additions and definitions appear. Children also use complex sentences, accounting for 11% of total number proposals.

The structure of complex sentences also becomes more complex. There are often cases when, before transferring homogeneous members in one of the simple sentences that are part of a complex sentence, there is a generalizing word. Among subordinate clauses, the most common are additional subordinate clauses, subordinate clauses of time, reasons, places, comparatives, conditions, less often definitive ones, purposes, measures and degrees.

In the monologue statements of children of senior preschool age, there are complex sentences of a complicated type, which consist of three or more simple sentences, united by either a coordinating or subordinating connection.

G.M. Lyamina notes that up to the age of four, a child easily comments on what he sees, talks about what he will do or has done, but is silent when performing his own actions.

In the fifth year of life, according to G.M. Lyamina, in children there is an increase in the desire and ability to confirm their activities with speech. True, 90% of children’s statements in these cases consist of simple sentences. Preschoolers of this age have a great need to explain to each other what they see and know. In these situations, children pronounce as many complex sentences as you would not hear from them even in very cognitively intensive classes in their native language.

Self-development, self-realization, development all personalities or individual ones... development productive interactions with the child while solving rehabilitation problems), psychologically-pedagogicalconditions formation, direction of formation ( pedagogical ...

Children's verbal creativity

The basis of verbal creativity is the perception of works of fiction, oral folk art, including small folklore forms (proverbs, sayings, riddles, phraseological units) in the unity of content and artistic form.

Children's verbal creativity is expressed in various forms: in writing stories, fairy tales, descriptions; in writing poems, riddles, fables; in word creation (creation of new words - new formations).

There are three stages in the formation of children's artistic creativity.

At the first stage experience is accumulated.

The role of the teacher is to organize life observations that influence children's creativity. The child must be taught to visualize his surroundings.

Second phase – the actual process of children’s creativity, when an idea arises, a search for artistic means begins.

At the third stagenew products appear. The child is interested in its quality and strives to complete it, experiencing aesthetic pleasure. Therefore, analysis of the results of creativity by adults is necessary.

Pedagogical conditions, necessary for teaching children creative storytelling.

One of the conditions for children’s success in creative activities is the constant enrichment of children’s experience with impressions from life.

Reading books, especially educational ones, enriches children with new knowledge and ideas about people’s work, the behavior and actions of children and adults, and deepens moral feelings, provides excellent examples of literary language. Works of oral folk art contain a lot artistic techniques(allegory, dialogue, repetitions, personifications), attract with their unique structure, artistic form, style and language. All this has an impact on children’s verbal creativity.

Another important condition for successful teaching of creative storytelling is accepted withread enriching and activating vocabulary.

One of the conditions– children’s ability to speak coherently,master the structure of a coherent statement, know the composition of the narrative and description. Creative story– a productive type of activity, end result it must be a coherent, logically consistent story.

Another condition -children’s correct understanding of the “invent” task,those. create something new, talk about something that didn’t actually happen, or the child didn’t see it himself, but “invented it.

Topics for storytelling can be with specific content: “How a boy found a puppy”, “How Tanya looked after her sister”, “A gift for mom”, “How Santa Claus came to the Christmas tree in kindergarten”, “Why the girl cried”, “How Katya lost in the zoo."

There is no strict classification in the methodology of speech development creative stories, but conditionally the following types can be distinguished: stories of a realistic nature; fairy tales; descriptions of nature. A number of works highlight the writing of stories by analogy with literary example(two options: replacing heroes while maintaining the plot; changing the plot while maintaining the heroes). Most often, children create contaminated texts because it is difficult for them to give a description without including action, and the description is combined with plot action.

It is better to start learning creative storytelling by inventing stories of a realistic nature (“How Misha lost his mitten”, “Gifts for Mom on March 8th”). It is not recommended to start learning by inventing fairy tales, since the peculiarities of this genre lie in unusual, sometimes fantastic situations, which can lead to false fantasy.

Most difficult task is to create descriptive texts about nature, since it is difficult for a child to express his attitude towards nature in a coherent text. To express his experiences related to nature, he needs to master a large number of generalized concepts and, to a greater extent, be able to synthesize.

Techniques for teaching creative storytelling depend on children's skills, learning objectives, and type of story.

In the older group, you can use it as a preparatory stage simplest technique children talking with the teacher about questions. A topic is proposed, questions are asked, to which the children come up with an answer as they pose them. At the end, a story is compiled from the best answers. Essentially, the teacher “composes” together with the children.

For example, on the topic “What happened to the girl,” children were asked the following questions: “Where was the girl? What happened to her? Why did she cry? Who consoled her? The instructions were given to “make up” a story. If the children were at a loss, the teacher prompted (“Maybe she was at the dacha or got lost on a noisy city street”).

In order to develop creative skills, it is recommended that children come up with a continuation of the author’s text. So, after reading and retelling L. Tolstoy’s story “The Grandfather Sat Down to Drink Tea,” the teacher suggests continuing it. Shows how you can come up with an ending by giving your own example.

In the school preparatory group, the tasks of teaching creative storytelling become more complex (the ability to clearly build a storyline, use communication tools, realize structural organization text). All types of creative stories are used, different techniques training with gradual complication.

Below we will consider the features of using teaching techniques depending on the type of story.

As in the older group, work with children begins with inventing realistic stories. The easiest thing is considered to be coming up with a continuation and completion of the story. The teacher gives a sample that contains the plot and determines the path for the development of the plot. The beginning of the story should interest children, introduce them to the main character and his character, and the setting in which the action takes place. E. I. Tikheyeva recommended giving a beginning that would provide scope for children’s imagination and provide an opportunity for development storyline in different directions. Let's give an example (FOOTNOTE: From the research of L.A. Penevskaya).

Vasya loved to walk in the forest, pick strawberries, and listen to birds singing. Today he went out early and went especially far. The place was unfamiliar. Even the birches were somehow different - thick, with hanging branches. Vasya sat down to rest under a large birch tree, wiped his sweaty brow and wondered how to find his way home. A barely noticeable path led to the right, but Vasya did not know where it went. Some kind of descent began straight ahead, and to the left there was a dense forest. Where to go?

Children must figure out how Vasya got out of the forest.

Auxiliary questions, according to L.A. Penevskaya, are one of the methods of actively guiding creative storytelling, making it easier for the child to solve a creative problem, affecting the coherence and expressiveness of speech.

A plan in the form of questions helps to focus children's attention on the consistency and completeness of the development of the plot. For a plan, it is advisable to use 3–4 questions; a larger number of them leads to excessive detail of actions and descriptions, which can inhibit the independence of a child’s plan.

During the storytelling process, questions are asked very carefully. You can ask what happened to the hero that the child forgot to tell about. You can suggest a description of the hero, his characteristics, or how to end the story.

A more complex technique is telling a story based on the plot proposed by the teacher. For example, the teacher reminds that March 8 is coming soon. All children will congratulate their mothers and give them gifts. He further reports: “Today we will learn to come up with a story about how Tanya and Seryozha prepared a gift for their mother for this day. Let's call the story: “A gift to mom.” Best stories We'll record it." The teacher put in front of the children learning task, motivated her, suggested a theme, plot, named the main characters. Children must come up with content, formalize it verbally in the form of a narrative, and arrange events in a certain sequence. At the end of such a lesson you can draw Greeting Cards for moms.

A system of classes for teaching storytelling based on ready-made stories was developed by E. P. Korotkova. She offers a series of stories on topics close and accessible to children, interesting techniques, activating the imagination: description of the character, reliance on the image of the main character when composing a story (to more fully describe him and the situations in which he participated), etc.

Coming up with a story on a self-selected topic is the most difficult task. The use of this technique is possible if children have basic knowledge about the structure of the narrative and means of intratextual communication, as well as the ability to title their story. The teacher advises what you can come up with a story about (about interesting case, which happened to a boy or girl, about the friendship of animals, about a hare and a wolf). Invites the child to come up with a name for the future story and make a plan (“First, say what your story will be called, and briefly - what you will talk about first, what in the middle and what at the end. After that, you will tell everything.”).

Learning the ability to invent fairy tales begins with introducing elements of fantasy into realistic plots.

For example, the teacher begins the story “Andryusha’s Dream”: “Dad gave the boy Andryusha a bicycle “Eaglet”. The baby liked it so much that he even dreamed about it at night. Andryusha dreamed that he went traveling on his bicycle.” Where Andryusha went and what he saw there, the children must come up with an idea. This sample in the form of the beginning of a story can be supplemented with explanations: “Something unusual can happen in a dream. Andryusha could go to different cities and even countries, see something interesting or funny.”

At first, it is better to limit fairy tales to stories about animals: “What Happened to the Hedgehog in the Forest,” “The Adventures of the Wolf,” “The Wolf and the Hare.” It is easier for a child to come up with a fairy tale about animals, since observation and love for animals give him the opportunity to mentally imagine them in different conditions. But a certain level of knowledge about the habits of animals, their appearance. Therefore, learning the ability to invent fairy tales about animals is accompanied by looking at toys, paintings, and watching filmstrips.

Reading and telling short stories and fairy tales to children helps to draw their attention to the form and structure of the work, and to emphasize the interesting fact revealed in it. This has a positive effect on the quality of children's stories and fairy tales.

An example of a fairy tale by Tanya (6 years 7 months): “The Magic Wand.” Once upon a time there was a bunny, he had a magic wand. He always said the magic words: “Magic wand, do this and that.” The wand did everything for him. The fox knocked on the hare’s door and said: “Can I come to your house, otherwise the wolf kicked me out.” The fox deceived him and took away his wand. The hare sat under a tree and cried. The rooster is walking: “Why are you crying, bunny?” The hare told him everything.

The rooster took the magic wand from the fox, brought it to the bunny, and they began to live together. That’s the end of the fairy tale, and whoever listened, well done.

The development of children's verbal creativity under the influence of Russian folk tales occurs in stages. At the first stage, the stock of well-known fairy tales is activated in the speech activity of preschoolers in order to assimilate their content, images and plots. At the second stage, under the guidance of the teacher, an analysis of the scheme for constructing a fairy tale narrative and plot development (repetition, chain composition, traditional beginning and ending) is carried out. Children are encouraged to use these elements in their own writings. The teacher turns to methods of joint creativity: chooses a topic, names the characters - the heroes of the future fairy tale, advises the plan, begins the fairy tale, helps with questions, suggests the development of the plot. At the third stage it is activated independent development fairy tale storytelling: children are invited to come up with a fairy tale based on ready-made themes, plot, characters; choose your own theme and plot. As mentioned above, the most difficult type of children's essays is the description of nature. The following sequence of learning to describe nature is considered effective:

1. Enrichment of children's ideas and impressions about nature in the process of observation, learning the ability to see the beauty of the surrounding nature.

2.Deepening children's impressions of nature by looking at artistic paintings and comparing the beauty of what is depicted with living reality.

3.Teaching children to describe natural objects by representation.

4.Training in the ability to describe nature, generalize one’s knowledge, impressions gained during observations, looking at paintings, listening to works of art.

Help for children is provided by a model teacher. Let's give an example.

“I really like autumn. I like to look at and collect yellow leaves of maple and birch, red leaves of sedge, and light green leaves of willow and poplar in bouquets. And when the wind blows, I like how the leaves fall from the trees, circle in the air, and then quietly fall to the ground. And when you walk on the ground, on such a carpet of autumn leaves, you can hear it rustling gently.” (N.A. Orlanova).

The miniature descriptions are interesting (O. S. Ushakova). For example, after a short conversation about spring and vocabulary exercises, children are asked to talk about nature in spring.

Examples of exercises: “How can you say about spring, what kind of spring? (Spring is red, hot, spring is green, warm, sunny.) What grass is in spring? (Green, tender ant-grass, whispering grass, soft, ant-grass, dewy, silky grass, soft as a blanket) What kind of apple tree can there be in the spring? (Snow-white, fragrant, blooming, pale pink, white as snow, tender).”

Children's verbal creativity is not limited to stories and fairy tales. Children also compose poems, riddles, fables, and counting rhymes. Counting rhymes are popular and ubiquitous among children - short rhyming poems that children use to identify leaders or assign roles.

The desire for rhyme, the repetition of rhymed words - not only counting rhymes, but also teasers - often captivates children, becomes a need, and they develop a desire to rhyme. Children ask to be given words to rhyme, and they themselves come up with words that are consonant with them (thread - there is a snail in the pond; house - a catfish lives in the river). On this basis, poems appear, often imitative.

Children's verbal creativity sometimes manifests itself after lengthy reflection, sometimes spontaneously as a result of some kind of emotional outburst. So, a girl on a walk runs to the teacher with a bouquet of flowers and excitedly reports that she came up with the poem “Cornflower”.

Riddles play a special role in the mental and speech development of children. Systematic introduction of children to literary and folk riddles, analysis of the artistic means of riddles, and special vocabulary exercises create the conditions for children to independently compose riddles.

The formation of poetic verbal creativity is possible with the interest of teachers and the creation necessary conditions. E.I. Tikheeva also wrote that a living word, a figurative fairy tale, a story, an expressively read poem, a folk song should reign in kindergarten and prepare the child for further deeper artistic perception.

It is useful to keep records of children's compositions and compose homemade books from them, which children enjoy reading many times. Such books complement children's drawings on essay topics well.

IN preschool institutions"The Storyteller Game" was born in Reggio Emilia (Italy). Children take turns going up to the dais and telling their friends the story they have made up. The teacher writes it down and the child carefully makes sure that he doesn’t miss or change anything. Then he illustrates his story with a large drawing.

This example is taken from Gianni Rodari’s book “The Grammar of Fantasy. Introduction to the art of inventing stories" (M, 1978). It talks about some ways to create stories for children and how to help children write their own. The book’s author’s recommendations are also used in Russian kindergartens.