Verbal creativity of children. Theoretical foundations for the formation of verbal creativity in older preschoolers in psychological and pedagogical literature

The spiritual life of a child is complete only when
when he lives in the world of games, fairy tales, music, fantasy.
Without this he is a dried flower.

/V.A. Sukhomlinsky/

The topic of this work, “Fairy tales as a source for the development of verbal creativity in children of senior preschool age,” was not chosen by me by chance.

1. Currently, the requirements of the educational system for the speech development of children have increased. By the time they leave preschool, children must achieve a certain level of speech development, since perception and reproduction educational materials, the ability to give detailed answers to questions, to independently express one’s thoughts - all these and other actions require a sufficient level of speech development.
2. An analysis of the literature on this issue showed that, despite the variety of methodological developments for the development of verbal creativity in preschoolers, there is still not enough practical material.
3. Children encounter fairy tales in books, cinema, theater, and on television. They forget about everything and immerse themselves in the lives of the heroes. They draw from them a lot of amazing knowledge: the first ideas about time and space, about the connection of man with nature, with the objective world; The fairy tales present brilliant examples of the native language - all this is necessary and favorable material for composing your own fairy tales.

In this regard, the issue of developing the verbal creativity of preschool children using various methods of composing a fairy tale still does not lose its relevance.

Based on the above, goals and objectives were set for the development of verbal creativity of older preschoolers in the process of becoming familiar with Russian folk tales.

Goal of the work – to promote the development of verbal creativity in children of senior preschool age, corresponding to the age level of development of children, using various methods of composing fairy tales and an algorithm for composing fairy tales.

Educational objectives help children master a certain amount of knowledge, skills and abilities for their comprehensive development:

1. Developing interest in artistic culture by introducing the Russian literary heritage, introducing children to Russian folk tales.
2. Attracting children's attention to oral folk art through riddles, folk games, proverbs, sayings, etc.
3. The study of natural phenomena, images of the animal and plant world. Development of research skills.
4. Familiarizing children with Russian folk arts and crafts through the formation of a variety of artistic and creativity.
5. Development of monologue speech, the ability to speak coherently.
6. Enriching children's vocabulary, nurturing their interest in words, love for native language and pride in his wealth.
7. Promoting the development of such mental processes as perception, imaginative thinking, creative imagination, memory.
8. Development acting skills through interpenetration various types art - music, literature, theater.

Educational tasks are aimed at developing the moral and spiritual qualities of children:

1. Increasing the level of creativity (creative organization) of the education and training process, their awareness and purposefulness.
2. Admiration for the creativity of the Russian people; opportunities for children to understand that they are part of this great nation.
3. Development of an emotionally positive attitude towards objects of aesthetic content.
4. Developing a friendly attitude, a desire to communicate with each other, and the ability to behave in a group of peers.
5. Developing the ability to respect the results of child labor.
6. Formation of an emotionally positive attitude towards nature in every child.
7. Developing in a child a sense of self-confidence, in their abilities, realization of their capabilities, and perseverance in achieving goals.
8. Development creative potential child, his artistic observation through the study of literary heritage.

On the basis of the preschool educational institution GDOU No. 27 in St. Petersburg, a system of pedagogical measures was developed and tested, including the creation of favorable conditions for the harmonious development of the child, the formation of a basic personality culture, aesthetic, moral and physical education of the child.

The nature of the work carried out allowed us to develop a series of lessons “The ABC of Fairy Tales”, mnemonic tables “Fairy Tales”, didactic games, select various methods for composing fairy tales and test this material, describing the optimal ways to develop verbal creativity of preschoolers in this work.

In our work we relied on the following principles:

• The principle of accessibility and integrity of the knowledge acquired by the child (selection of artistic material from various types of folk art: musical, artistic and speech, arts and crafts, subject to their close relationship).
• The principle of integrating work based on folk art with various areas of educational work and types of children’s activities (familiarization with the outside world, speech development, various games, etc.).
• The principle of an individual approach to children; taking into account their individual preferences, inclinations, interests, and level of development.
• The principle of careful and respectful attitude towards children's creativity.
• The principle of systematicity and consistency, ensuring the interrelation of the studied concepts.
• The principle of visibility; preferential use of a model approach to learning, i.e. the possibility of presenting concepts in the form of real and graphic models that ensure visually effective and visually figurative nature of learning.
• The principle of the strength of acquired knowledge.
• Educational nature of training.

It is known that teaching children creative storytelling is a gradual and quite complex process. It proceeds most successfully under the guidance of teachers and parents, who help them master these skills as special organized classes, and in the process of everyday life. Older preschoolers have access to creative storytelling about events from surrounding life, about relationships with friends, on topics from personal experience, inventing stories, fairy tales. Therefore, the system of working with preschool children on the development of verbal creativity included:

• Getting to know literary heritage of the Russian people, their creativity, since the special character traits of the Russian people have been preserved here: kindness, beauty, truth, courage, hard work... Oral folk art is the richest source of educational and moral development children.
• Speech exercises (speech exercises). This included not only enriching the vocabulary of preschoolers and speech and accumulation personal experience each child, but also the development of articulatory motor skills, as well as the development of coherent, monologue speech and testing of non-standard methods of composing fairy tales, allowing the development of verbal creativity of preschoolers. Non-standard - this means teaching children to not only perceive the content in an original, unusual, in their own way, but also creatively transform the course of the story, for example, create free continuations, adaptations of fairy tales, come up with different beginnings and endings, introduce unforeseen situations, mix several plots into one and etc. An unconventional approach gives both the teacher and the child the opportunity to understand what is good and what is bad in a fairy tale or hero, to create a new situation where the hero would improve, good would triumph, evil would be punished, not cruelly, but humanely.
• Development of creative abilities through the creation of diverse images of living and inanimate nature through research, visual and gaming activities. It is extremely important not only to teach a child to compose, but also to show him new possibilities. Quite often, children were asked to depict something or someone from a fairy tale, but in a non-standard way, for example, to depict the fairy tale schematically, to show an episode of the text using body movements, gestures or facial expressions, etc.
• Development in theatrical activities (together with the musical director during the open events) by transforming into heroes of various fairy tales and cartoons.

At the first stage, work on the development of verbal creativity was aimed at activating the stock of knowledge of the most famous fairy tales. Along with listening to fairy tales, children became acquainted not only with author's fairy tales and Russian folk tales, but also with small forms of oral folklore (sayings, riddles, chants, counting rhymes, teasers, nursery rhymes, proverbs, sayings).

Until recently, it was believed that it was difficult for preschoolers to understand the figurative meaning of proverbs and sayings. However, studies by F. Sokhin and other authors have shown the inconsistency of this thesis. To help children understand figurative sense small folklore, a fairy tale was selected, where moral education was revealed with the help of an appropriate saying. For example, for the fairy tale “Teremok” “Rukavichka” the proverb was selected: “In cramped conditions, but do not be offended”, for the fairy tale “Zayushkina’s hut” the saying “Don’t have a hundred rubles, but have a hundred friends”, for the fairy tale “The Fox with a rolling pin” - “As you sow, so shall you reap,” etc. .

For a number of works of literary heritage, not only lexical, but also pictorial material was selected. For effective absorption sequences of events taking into account children’s speech skills were determined methodological techniques. Were manufactured reference diagrams - mnemonic tables, reflecting this or that fairy tale and containing black-and-white or color designation of the heroes of the fairy tale, their actions, objects and natural phenomena. These included “Turnip”, “Hen Ryaba”, “Kolobok”, “Teremok”, “Rukavichka”, “Mashenka and the Bear”, “Tops and Roots”, “Snow Maiden and the Fox”, “Fox with a rolling pin”, “Zayushkina’s Hut” ”, “Three bears”, “Winter hut of animals”, “Cockerel and bean seed”, “Visiting the sun”, “Fear has big eyes”, “Cat, rooster and fox”, “Wolf and seven kids”, “Fox - little sister and the gray wolf”, “Cockerel and the millstones”, “At the command of the pike”, “Geese-swans”, “Little Khavroshechka”.

This is not accidental, because the results of recent psychological and pedagogical research have shown that it is more useful for a preschooler to be offered not only illustrations, but it is also necessary to show various directions: abstract, comic, schematic, realistic, etc. All this material provides significant assistance in the development of children’s verbal creativity, because the clarity and clarity of their execution allows you to retain them in memory a large number of information and model the plot more flexibly.

The system of work also included a detailed analysis of fairy tales. Children learned to more deeply perceive traditional ways of constructing a fairy tale and organizing the plot in it. For this purpose they used “Scheme maps by V.Ya. Proppa." The functions presented in the diagrams are generalized actions and concepts, which allows the author of a fairy tale to abstract from a specific act, character, situation in the future when composing his own narrative, thereby developing his creative thinking.

In conclusion of my work, I would like to note that thanks to the use of fairy tales - examples of literary and folk heritage, in the process of classes, children are instilled with a love for their native language and pride in its richness, monologue speech is improved, interest in verbal creativity, independence in the selection of “figurative means of their native language,” and the ability to express their thoughts increase.

Fairy tales help enrich children’s knowledge about the world around them and influence moral education. Children learn to see the interconnection of different types of art. They develop acting and artistic abilities, creative imagination, logical memory; Children's activity, research skills, observation, curiosity and other abilities also develop. Thus, fairy tales are an excellent source of plots and examples for composing your own narrative.

Literature.

1. Alekseeva M.M., Yashina V.I. Speech development of preschool children. – M.: “Academy”, 1998.
2. Bolsheva T.V. Learning from a fairy tale: Development of thinking in preschoolers using mnemonics. – Educational and methodological manual. – SPb.: DETSTVO-PRESS, 2001.
3. Korotkova E.P. Teaching preschool children storytelling. – M.: Education, 1982.
4. Mikhailova A. Let's try to compose fairy tales. // Preschool education, 1993, No. 6.
5. Propp V.Ya. Historical roots fairy tale. – L-d, 1986.
6. Rodari J. The Grammar of Fantasy: An Introduction to the Art of Inventing Stories. – M., 1978
7. Fairy tale as a source of children's creativity. / Scientific hands Lebedev Yu.A. – Vlados, 2001.
8. Tukhta L.S. Write a fairy tale. // Newspaper “Primary School”, 1996, No. 46.
9. Fesyukova L.B. Education with a fairy tale: For working with preschool children. – Kharkov: Folio, 1996.
10. Fesyukova L.B. From three to seven: Book. for dads, moms, grandparents. – Kharkov: Folio; Rostov n/d: Phoenix, 1997.

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 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 supplanted 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 the life of primitive society, cattle breeding and agriculture were established, stone processing techniques were 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; The use of natural resources has expanded, and methods of extracting 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.

One of the most accessible and pedagogically effective means of developing creative speech skills in preschoolers is folklore, in particular, folk tales.

To develop coherent monologue speech, it is necessary to form ideas about the composition of a story, the ability to connect sentences and parts of a statement with each other, to use a variety of lexical and stylistic means. However, the concept of “verbal creativity” is much broader than “creative storytelling”, since it includes active composition, inventing fairy tales, short stories, poems, riddles, scenarios not only in the classroom, but also in free independent activities.

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DEVELOPMENT OF VERBAL CREATIVITY IN PRESCHOOL CHILDREN

E.Yu.Galochkina - teacher

(ANO DO "Planet of Childhood "Lada" DS No. 187 "Solnyshko", Tolyatti)

One of the priority areas of pedagogical science in modern stage is the study creative activity child, searching for ways to form it. Research by psychologists (L.S. Vygotsky, B.M. Teplov) and teachers (N.A. Vetlugina, N.P. Sakulina, E.A. Flerina, O.V. Dybina, L.V. Tanina) proves that creative activity meets the needs and capabilities of the child and is accompanied by the activity of his emotional and intellectual powers.

In studies devoted to the problem of verbal creativity, one of the most accessible and pedagogically effective means of developing creative speech skills in preschoolers is folklore, in particular, folk tales (M.M. Konina, L.M. Pankratova, O.I. Solovyova, etc. .). The authors note the obvious influence of individual elements of a fairy tale on children’s writing. At the same time, studies note that the correspondence of the specifics of folk tales to the peculiarities of children's perception does not yet ensure the positive impact of folklore on the development of children's verbal creativity. Children's difficulties are associated with both the content (imitation, inexpressiveness of compositions, and the consistency of the content) and with the formal side statements (violation of the structure of the narrative, limited use of stylistic means). The psychological prerequisites that determine children’s capabilities in the field of speech creativity, on the one hand, and the difficulties that arise when constructing a fairy tale narrative, on the other, are a problem that arises when organizing work with children on the development of verbal creativity of preschoolers.

In domestic pedagogy, verbal creativity is considered as a two-pronged process: the accumulation of impressions in the course of cognition of reality and their creative processing in verbal form (N.A. Vetlugina, O.S. Ushakova).

In a special study on teaching creative storytelling, carried out by N.A. Orlanova, the following conditions for teaching creative storytelling are highlighted:

Enriching the experience of children;

The wealth of vocabulary and the ability to use it;

Mastering the ability to tell a coherent story, knowledge of the structure of the story: beginning, climax, end;

Children's correct understanding of the “invent” task.

Dynamics of development children's creativity under the influence of training, S.K. Alekseeva traces in her research. She justifies the following sequence of training:

Stage 1: Teach children to subordinate their experience to a specific plan, draw children’s attention to the compositional linguistic features of stories (enrichment of the child’s life and literary experience, familiarization with linguistic means of expression, analysis of the compositional structure of the work);

Stage 2: Determine the correct relationship between the child’s desire to show himself in creative activity and the opportunity to find suitable means to express his idea. Draw children's attention to evaluating stories (inventing the beginning and ending of the story, describing the setting in which the action takes place, independent artistic addition to the stories);

Stage 3: To confront the child with the need to act more consciously, to use conventional methods of verbal creativity more independently (independent selection of plot, compositional and linguistic means, a deeper analysis of the proposed works, familiarization with new linguistic means);

Stage 4: Improve children's ability to combine and

transform received ideas and perceptions, outline

action in the sequence of its development of logical connections.

To develop the creative activity of children, it is necessary to create special pedagogical conditions:

a) selection of literary works, taking into account the possibility of a specific embodiment of their content;

b) holding special creative tasks developing children's theatrical abilities (combining movements with expressive speech, facial expressions and gestures);

V) Active participation children in writing scripts and preparing performances.

At preschool age, a child is able not only to perceive works of art, express his attitude towards the characters, but also to comprehend their behavior, generalize, analyze, experiment, and on this basis create something new for himself and his peers. Artistic imagination plays a special role in this.

K.D. Ushinsky has repeatedly emphasized the importance of developing speech and abilities through art, starting from preschool age. It is not enough if children understand the content of the work, they need to feel its expressive features of expression and figurative words. In the future, they will perceive literary works more deeply, learn to subtly distinguish the semantic shades of a word and transfer them into their work.

Of course, for the development of coherent monologue speech, it is necessary to form ideas about the composition of a story, the ability to connect sentences and parts of a statement, and use a variety of lexical and stylistic means. However, the concept of “verbal creativity” is much broader than “creative storytelling”, since it includes active composition, inventing fairy tales, short stories, poems, riddles, scenarios not only in the classroom, but also in free independent

activities.

Sample literary text from the position of structural and semantic unity of content and form is a folk fairy tale.

Numerous researchers folk tale(V.A. Bakhtina, N.M. Vedernikova, R.M. Volkov, N.V. Novikov, A.I. Nikiforov, E.V. Pomerantseva, etc.) as a distinctive feature of a fairy tale they call it magical- fantastic start. The unity of the magical and the fantastic makes fairy tales especially attractive to children. A peculiar combination of real and fictional forms the content of a fairy tale.

The style of a fairy tale is a unified system of interconnected techniques and means. Traditional language forms are the subject of study of folk phraseology. Typical means of fairy tale poetics include, first of all, stable verbal formulas, traditional formulas, poetic cliches that are important element constructing fairy tales of this type (sayings, beginnings, endings) and performing various functions in the narrative.

One more stylistic device fairy tales is the use of constant epithets that serve as decoration for the work. The likelihood of using one or another combination in an epic or song epic is associated with the peculiarities of reflecting the outside world in various genres. According to O.A. Davydova, 38.7% of certain combinations of a fairy tale are not actually fairy tales, that is, they are also recorded in other folklore genres “wild head”, “red-hot arrow”.

The traditional poetic means of a fairy tale also include: the use of synonyms “so the wedding was played in an amicable way” and paired combinations of words expressing one concept “let’s go meet with bread and salt, maybe we’ll make peace”, the use of antonyms “not much , not a little time has passed” or strengthening “willy-nilly I had to agree”, the use of general linguistic proverbs and sayings “the pike is on fire, but don’t eat the ruff from the tail”, the use of various comparisons “Ivan sat on a wolf. The wolf ran like an arrow"; lexical and syntactic turns that form parallel syntactic constructions “On the pillar it is written: “If you take the road to the right, you won’t see good, and if you go to the left, you won’t see anything alive.”

M.M. Konina distinguishes two types of children's essays: creative processing famous fairy tales and actually creative fairy tales and notes the presence in them characteristic features fairy tales (typical plots, miraculous transformations and heroic elements, wonderful objects, fairytale rituals).

In her opinion, “the development of children’s verbal creativity follows a line of qualitative growth under the influence of the quantitative accumulation of new fairy-tale images.”

A folk tale traditionally belongs to the circle of “children’s reading” and is one of the most beloved genres by children. A fairy tale has a huge impact on the moral and aesthetic development of a preschooler. Colorful, romantic depiction of a fairy-tale world, idealization of goodies, a must a happy ending, fascination, combined with instructiveness - all this evokes a vivid aesthetic reaction in children and contributes to the development of aesthetic feelings. A fairy tale embodies high ideals people, their wisdom. The dynamics of a fairy tale require intellectual tension, a comparison of facts and events while mastering the semantic line of the plot, i.e. stimulates cognitive activity.

To identify the peculiarities of perception of a fairy tale by children of senior preschool age and to determine the level of verbal creativity for coherent speech of preschoolers, we used the methodology of O.S. Ushakova, highlighting criteria and indicators.

Criteria

1.Features of perception of a fairy tale

Naming essential features

Determining the content of a fairy tale

Highlighting structural parts of text

Preservation of linguistic means of expression

2.Features of verbal creativity

The ability to subordinate a storyline to a general theme

Using techniques for revealing character images and plot features of a fairy tale

Ability to use different types of sentences

The ability to formulate a statement according to the laws of fairy tale composition

Using Expression

3. Determination of the development of coherent speech

The ability to determine the topic of a statement and correctly reproduce its content

Ability to use different types of connections between sentences

Usage different types proposals.

First task. In order to determine the peculiarities of perception of a fairy tale in the unity of its content and artistic form, the fairy tale “Sister Alyonushka and Brother Ivanushka” was proposed.

Second task. To identify the level of verbal creativity, the situation “Continue the story” was proposed.

Third task. The level of development of coherent speech was determined using the example of the fairy tale “Geese and Swans”.

To enhance the motivation for speaking, various speech situations were used (“Conversation about a fairy tale,” “Fairy tale on the phone,” “Write a fairy tale”). The choice of fairy tale material was determined by the requirements of the speech development methodology for selection works of art with the principles of pedagogy and aesthetics.

The children's incorrect answers consisted of not distinguishing between a fairy tale and a story.

The diagnostic results showed that children from the seventh year of life do not have a clear understanding of the genre features of the fairy tale, which, in our opinion, should be reflected in the children’s writings.

Children's understanding of the content of the fairy tale was determined by identifying the ability to recognize the theme of a given statement. During the examination, no cases were identified high level understanding the content, which requires the child to have basic skills in analyzing the work. Based on the diagnostic results, it was identifiedlevels of children's perception of folk tales.

Level I (high).Determine the genre of the fairy tale. Its essential features are called. Generally determine the content of the fairy tale. They see the boundaries of structural parts of the text. They strive to preserve linguistic means of expression.

Level II (intermediate).They correctly define the genre of the fairy tale, but in the order of argumentation they put forward both its essential and formal features. Determine the theme of the story. They often have difficulty isolating the main parts of a composition. Use additional language tools.

Level III (low).It is difficult to determine the genre of a work and to identify distinctive features fairy tales. They do not understand the content of the work. They do not see the boundaries between the plot, the development of actions and the denouement of a fairy tale. The means of expressiveness of a fairy tale are not highlighted.

A necessary condition for the verbal creativity of preschoolers is the development of coherent speech skills, therefore the goal of task 2 was to determine the level of development of coherent speech when reproducing the content of a fairy tale.

Criteria for analyzing retellings In children, the following indicators have become traditional in speech development methods:

1. Understanding the topic
2. Volume and grammar of utterances
3. Vocabulary statements
4. Means of communication
5. Structural organization of each part
6. Smoothness and independence of presentation.

The data obtained allowed us to determine the followinglevels of coherent speech of preschoolers.

I (high). Generally determine the topic of the statement and correctly reproduce its content. Use different types of sentences grammatical errors are missing. They use their own exact word substitutions and various methods of connection between sentences. Formulate the statement accurately. Retell the text independently without pauses.

II (intermediate). Determine the topic of the statement. Minor deviations from the text are allowed. Limited use complex sentences, isolated grammatical errors are possible. Refer to individual means linguistic expressiveness. Communication methods are not diverse. In case of difficulties, use a small number of pauses and require additional questions.

III (low). They do not define the topic of the statement. Events are conveyed schematically without using any means of expression. They make grammatical mistakes. When transmitting content, compositional integrity is violated. They do not know how to retell the text on their own (they make pauses, repeats, and need hints).

The children were given the task: “Imagine that you are a storyteller and come up with a fairy tale with miracles and magic.” No instructions were given for completing the tasks. Children's essays were recorded and examined according to a number of indicators aimed at assessing both the content and artistic form of the essay.

The second group of indicators consisted of some generally acceptedcreativity criteria:

Fluency is the ability to generate more ideas expressed in words or pictures.

Flexibility is the ability to come up with a variety of ideas, move from one aspect of a problem to another, and use a variety of problem-solving strategies.

Originality is the ability to come up with an idea.

Authenticity is the correspondence of the emotional reaction to the needs, values ​​and interests of the subject.

The results obtained during the task can serve as the basis for determininglevels of verbal creativityolder preschoolers.

I (high). Subordinate the storyline to the overall theme. The essay uses original techniques to reveal the images of characters and features of the plot of a fairy tale. They turn to traditional figurative and expressive means of fairy tales.

II (intermediate). They try to stick to the chosen topic, the selection of the title is inaccurate. They use individual elements of a fairy tale in essays with an independent plot and simple content. They have difficulty in the structural design of the narrative (one of the parts of the composition is missing).

III (low). They mostly stick to the topic, but find it difficult to explain it; the name is missing. They schematically convey the events of the story or retell a well-known fairy tale without modification.

Analysis of the results obtained showed a low level of development of children’s verbal creativity and made it possible to determine ways for further work.

We developed and tested a system of activities and games that included a fairy tale, created situations for game improvisation and involving children in the preparation of attributes, performances, and exhibitions of children's creativity, which contributed to a significant increase in the level of verbal creativity of older preschoolers.

:The article shows the importance of organizing verbal creativity in a modern preschool institution. The subject of the study is the process of development of verbal creativity of older preschool children through their composing of fairy tales about animals. The goal is to describe the content of the work aimed at effective development verbal creativity of preschoolers. Verbal creativity is considered in in the narrow sense– preschoolers creating their own fairy tales. The basis of verbal creativity of children of senior preschool age is determined - folklore work(Russian folk tale about animals). The advantage of using children's fairy tales about animals for the purpose of developing children's verbal creativity is shown. The data of a diagnostic technique for identifying the level of development of the ability to compose fairy tales in preschoolers is presented; an analysis of children's creative works is given; The reasons for errors and omissions are indicated. The content of the work on the development of children's verbal creativity is presented in three stages: replenishing children's knowledge with new fairy tales; compositional and linguistic analysis of fairy tales; the process of children creating their own fairy tales. The pedagogical techniques with the help of which the development of verbal creativity of older preschool children is realized are listed. The sequence of gradual introduction of types of creative work in classes on speech development with preschoolers is described. The author used the author's techniques known in the methodology, but proposed their own interpretation. The given example of a lesson fragment shows the verbal activity of preschoolers: selecting words according to their meaning, characterizing the hero, determining the sequence of action, continuing the story. Examples of children's creative works are given. The materials of the article can be used by methodologists and practicing teachers in the educational process of a preschool organization.

writing fairy tales

fairy tales about animals

verbal creativity

senior preschooler

1. Tannikova E.B. Formation of speech creativity in preschool children (learning to write fairy tales). - M.: TC Sfera, 2008. - 45 p.

2. Gurova I.V. Technology of teaching children of senior preschool age to compose fairy tales // Samara Scientific Bulletin. - 2013. - No. 4 (5). - P. 63-65.

3. Ushakova O.S. Development of verbal creativity in children aged 6-7 years // Preschool education. - 2014. - No. 5. - P. 18-29.

4. Nikolaeva N.A., Eryshova Yu.V., Generalova O.M., Korneeva M.P. Development of speech of senior preschool children through verbal creativity // Current issues of modern pedagogy. - Samara: ASGARD, 2016. - pp. 86-89.

5. Litvintseva L.A. A fairy tale as a means of educating a preschooler. Using fairy tale therapy techniques. - SPb.: DETSTVO-PRESS, 2010. - 144 p.

6. Serkova M. Journey into a fairy tale / M. Serkova, O. Malysheva // Preschool education. - 2016. - No. 12. - P. 48-50.

7. Propp V.Ya. Russian fairy tale. - M.: Labyrinth, 2000. – 416 p.

8. Glukhov V.P. Formation of coherent speech in preschool children with general speech underdevelopment. - M.: ARKTI, 2002. - 144 p.

Issues of development of verbal creativity of preschoolers form the basis of the process of teaching and upbringing. In the Federal State educational standard Preschool education(FSES DO) allocated educational field“Speech development”, which includes the formation of the ability to compose fairy tales through the following components: to be able to speak as a means of communication and culture, to have an active vocabulary, grammatically correct monologue speech, know works of children's literature. Particular importance in the methodology of speech development for preschoolers is given to teaching the composition of fairy tales by E.B. Tannikova, I.V. Gurova, O.S. Ushakova and others. In their research, N.A. quite widely revealed the possibilities of using fairy tales in the education system of preschoolers. Nikolaeva, L.A. Litvintseva and others.

Purpose of the study: to describe the content of the work, which, in our opinion, will contribute to the development of verbal creativity of preschoolers through the creation of fairy tales.

The research material was theoretical works methodologists on this issue, as well as creative works of children of senior preschool age.

Methods: theoretical analysis methodological literature on the research problem, observation, pedagogical experiment, mathematical data processing.

Tales about animals are fertile material for the development of verbal creativity. Fairy tales about animals are widely used in children's reading circles. As you know, these tales are small in volume. They have a small number of characters (2-4), and one plot action is considered. The duration of the action is indicated by a system of repetitions, although repetitions are not necessary in this type of tale. In these fairy tales, certain character traits are assigned to each hero: cowardice - the hare, cunning - the fox, greed - the wolf, etc. Such fairy tales are characterized by a convergence of mutually exclusive phenomena that violate traditional ideas, which is what creates fiction: the wolf chops wood, bakes pancakes; the hare is crying, etc. From the point of view of composition, a fairy tale can be built as one plot action (“The Fox and the Black Grouse,” “Sheep, Fox and Wolf”), several actions (“The Wolf is a Fool,” “Old Bread and Salt is Forgotten”) or a series of repeating episodes (“ Teremok").

The development of verbal creativity involves long-term, purposeful work with preschoolers. Serkova M. classified children's essays about animals as follows: 1) creative essay according to the picture; 2) contamination on the themes of works of art; 3) free composing of fairy tales.

In this article we will demonstrate the content of the work, which, in our opinion, will contribute to the development of verbal creativity of preschoolers through the creation of fairy tales. Before starting specialized training, we suggest conducting a diagnostic examination of the ability to compose fairy tales in preschoolers. Direct training takes place in three stages. At the first stage, it is necessary to activate the stock of famous Russian folk tales in children’s speech activity and continue to enrich this stock. The main techniques of work will be listening, telling and retelling fairy tales. At the second stage, under the guidance of the teacher, an analysis of the principles of the traditional construction of a fairy tale narrative and plot development takes place: repetition, chain composition, the technique “from big to small” and “from small to big,” traditional beginning and ending. It is also necessary to draw children's attention to the linguistic basis of the fairy tale ( constant epithets, repetitions, abundance of words and actions). The teacher encourages children to use these techniques in own writings. At the third stage, collective and independent composing of a fairy tale is activated. The teacher offers the children tasks with gradual complication: continue the started fairy tale, come up with a fairy tale based on the theme and characters; choose your own theme, characters, plot, etc.

When guiding the process of developing the ability to compose fairy tales, the teacher uses a variety of methods and techniques. Preference should be given to active pedagogical techniques that ensure the creation of one’s own literary works, including fairy tales. E.B. Tannikova proposes a method of teaching children of senior preschool age to write fairy tales - familiar characters in new circumstances. Modeling the plots of fairy tales according to V.Ya. Proppu helps preschoolers understand the antithesis characteristic of fairy tales: characters (evil/kind, smart/stupid); location (palace/hut); events (prohibition/violation of prohibition). Modeling helps children remember similar actions and the order in which characters appear.

Research results. Experimental work on developing the ability to write fairy tales in children of senior preschool age was carried out on the basis of the MBDOU “Kindergarten No. 102” in Orenburg. 10 older preschoolers aged 5-6 years took part in this work. When conducting diagnostics, we told the children the beginning of the fairy tale and invited them to come up with its ending, “The Tale of the Good Hare” (author L.V. Voroshnina).

Fairy tale text. Once upon a time there lived a hare and a hare. They huddled in a small dilapidated hut at the edge of the forest. One day the hare went to pick mushrooms and berries. I collected a whole bag of mushrooms and a basket of berries.

Research results and discussion. An analysis of the ending of a fairy tale invented by children showed that 70% of children of senior preschool age composed the ending of the proposed fairy tale according to leading questions; the beginning of the plot turned out to be a fairy tale. In most of the works, the tale is extremely poor in content and “schematic”; continued as planned, but not completed. The fairy tales written by the children did not have a denouement; the children mainly used plots familiar to them, without adding anything new to them; here is an example of the continuation of the fairy tale text: And the hare immediately went home. A hare was waiting for him at home, they ate and went to bed.

For some preschoolers, the fairy tale did not work out (30%). Some of the children continued the tale with 1 sentence (And everything ended well. / And so they lived.); phrase (the berries are delicious).

When determining the levels of ability to compose a fairy tale among older preschoolers, it turned out that only medium and low levels could be distinguished (40% and 50%, respectively). The children tried to use other animals (a wolf, a bear) in their writings along with the fairy tale characters - the hare and the hare. Let us give an example of a composed fairy tale, where an analogy with the fairy tale “Seven Little Goats” can be traced: the Hare met a wolf and was scared. The Wolf asked the Hare what his name was and where he was going. But the Hare deceived him and said that he was going in the other direction, not home. The Wolf ran there and got lost, and the Hare calmly came to his Hare.

The conducted diagnostic examination proves the need for work aimed at developing the verbal creativity of preschoolers.

Forming the ability to compose fairy tales in preschool children must begin with the creation of optimal conditions that contribute to the fullest development of the creative potential of the preschool child’s personality. At the first stage of teaching older preschoolers how to write a fairy tale, we accumulated art material. We introduced children to fairy tales that are part of children's reading range. We have created conditions for favorable verbal creativity of children, organized interaction different types artistic activity. We used a technique - listening to fairy tales in recordings. The music accompanying the fairy tale and the songs of its characters helped children listen to the music, think about the character of the characters, and enjoy the tenderness and melodiousness vernacular. Viewing and subsequent analysis of cartoons, working with individual fragments, in our opinion, enriched the children’s vocabulary, contributed to the formation of coherent speech (dialogue and monologue), and developed the phonetic-phonemic and prosodic aspects of speech. For example, we invited children to watch the cartoon “The Snow Maiden” (1958), exchange impressions, and come up with options for developing another storyline cartoon or other end.

On last stage Let's go into more detail, because It is this that takes the longest in our experiment. We began developing the ability to write fairy tales in older preschoolers with a technique - inventing a continuation of the fairy tale.

Children inventing a continuation of a familiar fairy tale. Children of senior preschool age recalled the fairy tale “The Little Goats and the Wolf.” We asked the children to come up with what happened next. We came up with the first continuation of the fairy tale together, the children added one sentence, phrase, word at a time. The teacher begins the sentence, and the children continue at will: “The goat went into the forest again. The kids were left at home alone. Suddenly there was a knock on the door again. The kids got scared and hid under the table. And this was a small... (showed a toy) bunny. The bunny says: “Don’t be afraid of me; It’s me, little bunny.” Little goats... (let the bunny in). They treated him... (cabbage, carrots). The kids ate and began... (play, have fun, frolic). The bunny played... (on the drum). And the kids... (jumped merrily).” After collective drafting fairy tales, we moved on to individual creativity. At the first lesson, not all preschoolers coped with the task, but some succeeded in continuing the fairy tale: She walked through the forest for a long time, ate grass and met a Fox. The fox says to her, “I have fox cubs, give me some milk.” The goat replies: “I can’t now, I’m hurrying to the kids.” Come tomorrow, the morning is wiser than the evening. And then in the morning the Fox comes with a bucket, and the Goat has everything ready. The next day the Fox came with the fox cubs, and they brought hay to the Goat. The wolf found out about their friendship and felt ashamed, he asked for forgiveness for his behavior. From then on, they all began to live and get along, and the little foxes and goats jumped and played.

Compiling a continuation of the essay based on the fairy tale by B.N. Sergunenkov's "Goat" we began by asking the children to guess riddles about animals - the characters of the work (then the children name other domestic animals known to them). Next, we read the fairy tale twice and discussed its content, carried out a linguistic (lexical) analysis of the text using illustrations. After the physical education session, we conducted an exercise to compare animals - fairy tale characters by their appearance; establishing similarities and differences between them using pictures and a set of toys. Next, they asked the children to compose the fairy tale to the end.

Writing a fairy tale on a topic suggested by the teacher (without a plan). Completing this task gives a big boost creative imagination and independence of thought: the child acts as an author; he himself chooses the content of the tale and its form. We proposed the topic: “Write a fairy tale about bears.” Let's give an example of a composed fairy tale.

Once upon a time he lived far, far away a little bear. His den looked like a mink. He was afraid of everyone. And then one day I met a man in the forest, he felt sorry for Mishka. The man says: “If you want to become big, you need to eat a lot and sleep long.” The bear obeyed and slept all winter, and in the spring he ate berries and began to grow by leaps and bounds. Now bears are always big.

Playing games with toys. Traditionally in preschool educational organization The technique of dramatizing fairy tales is used. This technique is effective, firstly, from the point of view of speech development, since children, while memorizing the characters’ lines, remember definition words, clarification words, and action words; secondly, from the point of view of the development of verbal creativity. In the dramatization game, preschoolers often add their own statements and use vocabulary typical of fairy tales.

Connection (contamination) of plots different fairy tales. When completing all tasks, older preschoolers were encouraged to use fairy-tale elements (traditional formulas, visual and expressive means, and in their own compositions). Let's give an example of composing a fairy tale about the Fox, the Cockerel and the Ball.

Once upon a time there lived Sharik. One day the Fox came to the village. She saw the puppy and said: “I came to invite Cockerel to visit, I made him porridge.” Sharik answers her: “I won’t let Cockerel go with you, you’ll deceive him and eat him.” The fox began to persuade him, Sharik agreed and said, “I’ll go with you.” Ball called the Cockerel, and they came together to the Fox. She cooked some thin porridge and served it to her. The cockerel pecked and pecked, and remained so hungry. The ball lapped and lapped, but still wasn’t full. The fox began to ask to visit them, but they did not invite her.

Compiling a fairy tale based on a series of pictures. Glukhov V.P. believes that essays based on pictures have great importance for the development of independent speech skills. A series of pictures contribute to learning how to compose an essay and help to understand the sequence of events that reflect individual, key moments of the plot action. Develop the skill of analyzing a clearly depicted plot, the ability to recreate plot situation based on comparison of the contents of individual pictures.

During the lesson, children were asked to compose a fairy tale based on a series of pictures “Smart Hedgehog” (story by N. Radlov). The pupils were shown a series of medium format color pictures (4 pictures). The students placed pictures on the typesetting canvas in the required sequence. At the beginning of the lesson, preschoolers were asked to complete the sentence with a word that required the meaning: The hedgehog found a bunch of... (apples) in the forest. He began to carry them home one at a time... (one by one)./ He got tired of... (running, fiddling). The hedgehog climbed onto... (tree, apple tree) and jumped onto... (apples)./The apples were strung on... (thorns, needles). Then the children recreated the original situation based on the content of the pictures according to the questions: the Hedgehog’s house is visible in the distance; he makes provisions for the winter; he treats guests to apples, apple compote and jam.

Composition educational fairy tale about animals. We used the game "Say More Precisely." The purpose of this game is to develop the accuracy of word usage in children. The teacher begins to tell a fairy tale and asks the children to help choose words when he stops. For example: Once upon a time there lived a Belka and a Belchonok. The squirrel says: “I am the most important!” What kind of squirrel can be? What can she do? (Red-haired, nimble, fluffy. The squirrel lives in the forest, in a hollow. She can collect supplies for the winter, jump from tree to tree...) The little squirrel listened and said: “I’m important too!” What kind of squirrel can be? What can he do? (White, dexterous, nimble...), etc. As you can see, the selected material allows you to compose a scientific educational tale about animals. This type of fairy tale is found in the preschool curriculum. The ability to compose a fairy tale of this type will depend on the extent to which children have theoretical knowledge about a particular animal.

Writing a fairy tale by analogy. This type of essay is quite difficult for preschoolers, so we took the fairy tale “Kolobok” as a basis. All children are very familiar with this work. We analyzed the fairy tale by the questions: Who was the main character? How did Kolobok appear? Why did it happen that he ended up in the forest? Who did he meet? After this, the teacher explained that we would make up a similar fairy tale, where the hero would be... (Bagel, or Cheesecake, or Pancake). He must meet animals... (Gopher, Squirrel, Hedgehog, etc.). The teacher suggests choosing animal characters yourself. At the end of the fairy tale, someone must eat the main character. A fairy tale should teach something, what could be instructive in our fairy tale? The teacher listens to the preschoolers' answer options and suggests composing a fairy tale by analogy. Let's give the beginning of the resulting fairy tale: Once upon a time there lived a mother and her daughter, and they once baked a cheesecake. They put her on the window to freeze, but she came to life and ran away. Rolls along the path, rolls, and towards her...

The main task of the teacher is that preschoolers have the opportunity to learn to express thoughts orally. The teacher can name the characters of the fairy tale or the theme, after which he invites the children to think (what could have happened to this hero?) and speak out. Experience in observing preschoolers shows that at first they don’t know what to say, and then total number As thoughts and images present themselves, it is difficult for them to choose one topic and organize their thoughts. Selecting words and phrases takes a lot of time for many guys, they get tired and lose interest in work. The teacher needs to give several words (helper words) for the children to choose. To organize the actions of the characters and organize the plot, it is advisable to use diagrams and models. When children learn to continue the plot they started, to supplement a well-known fairy tale with new events, they can begin to create their own original fairy tale. For this purpose, it is better to set as the main characters of fairy tales such animals that are rarely used in traditional plots, for example: a sheep, a squirrel, etc. As is known, the images of a fox, a hare, a wolf will return preschoolers to already known plots.

In the process of work, it is advisable to involve children themselves in the analysis of the resulting fairy tales. When assessing the work of preschoolers, we pay special attention to the following indicators: originality, composition of the fairy tale (beginning, main part, ending), richness of vocabulary, correctness and variety of grammatical structures. When organizing classes aimed at developing verbal creativity, it is necessary to build a methodological system. The system will streamline the frequency of such activities, the complexity of types of work, and the variety of types of fairy tale compositions. In order to increase motivation, you can organize a “day of fairy tales” and invite children from another group to visit, you can give mothers (kids) their own fairy tales. If possible, the teacher writes down children's fairy tales and, with the help of parents, designs a book of fairy tales. Pupils can act as illustrators of fairy tales.

Conclusions. Thus, our proposed set of measures to develop the ability of older preschool children to write fairy tales can help increase interest in verbal creativity. Taking into account the syncretic nature of children's creativity, we invited children to improvise, play out the plot of a fairy tale-game, and, using linguistic means, convey the character and mood of the character in specific situations. We believe that the contents of this complex can be used in practical activities preschool teachers.

Bibliographic link

Children's verbal creativity

The basis of verbal creativity is the perception of works of fiction, oral folk art, including small ones 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 begins artistic means.

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 the work of people, the behavior and actions of children and adults, deepens moral feelings, and provides excellent examples literary language. Works of oral folk art contain many artistic techniques (allegory, dialogue, repetitions, personifications), attract attention 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 storytelling is a productive 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."

In the methodology of speech development, there is no strict classification of creative stories, but the following types can be roughly distinguished: stories of a realistic nature; fairy tales; descriptions of nature. A number of works highlight the writing of stories by analogy with 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 senior group as preparatory stage You can use the simplest technique of telling children together with the teacher about the issues. 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 pre-school group, the tasks of teaching creative storytelling become more complex (the ability to clearly build a storyline, use means of communication, understand the structural organization of the text). All types of creative stories and different teaching methods with gradual complication are used.

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 the children’s imagination and provide an opportunity for the development of the 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 this lesson, you can draw greeting cards for mothers.

A system of classes for teaching storytelling based on ready-made stories was developed by E. P. Korotkova. It offers a series of stories on topics that are close and accessible to children, interesting techniques that activate the imagination: description of the character, reliance on the image of the main character when composing the story (describe him and the situations in which he participated more fully), 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, to 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 storytelling to children short stories, fairy tales helps to draw their attention to the form and structure of the work, 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 away 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 writing. The teacher turns to methods of joint creativity: chooses a topic, names the characters - the heroes of the future fairy tale, advises the plan, begins the fairy tale, helps with questions, suggests the development of the plot. At the third stage, the independent development of fairy tale narration is activated: children are asked to come up with a fairy tale based on ready-made themes, plot, characters; choose your own theme 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 - there is a catfish 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”.

A special role in mental and speech development children play riddles. Systematic introduction of children to literary and folk riddles, analysis of artistic means of riddles, special vocabulary exercises create 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 living word, figurative fairy tale, story, expressively read poem, folk song must 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.

The Storyteller Game was born in preschools 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.