Components of creativity. Components of creativity and their characteristics

The theoretical analysis of works devoted to the problem of the structure of creative abilities is carried out. It is noted that many researchers have identified motivational, personal and cognitive components in the structure of creative abilities. The importance of considering the procedural side of creativity, the nature of which affects the effectiveness creative activity... In this regard, the components are identified that are directly related to this side of creative activity: the activity-procedural component, which includes creative independence and the ability to optimize one's behavior (the choice of a strategy of behavior that will lead to a positive result); reflective component (the ability for deep reflection, striving for aesthetic enrichment, self-education and self-development). So the structure of creativity junior schoolchildren has the following components: cognitive-emotional, personal-creative, motivational-value, activity-procedural, reflexive.

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creativity

Creative skills

structure of creativity

components of creativity

creativity of younger students

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The focus of modern pedagogical science and practice is the problem of educating a free, critically thinking, creative personality. That is why the problem of developing creative abilities has remained relevant for quite a long time. FGOS NOO of the second generation sets before the teacher the task of educating an inquisitive, actively learning and creatively creative student. Understanding the structure of creativity is the necessary knowledge for modern teacher seeking to solve the problem of organizing work on the development of creative abilities in modern educational institutions.

By creative abilities, we mean the synthesis of individual psychophysiological personality traits and new qualitative states (changes in thinking, perception, life experience, motivational sphere) that arise in the process of a new activity for the individual (in the process of solving new problems, tasks), which leads to successful its implementation or the appearance of a subjectively / objectively new product (idea, object, work of art, etc.). Creativity is inherent in everyone; they are formed and developed in activity. The product obtained as a result of creative activity bears the imprint of individual personality traits. The quality of the product (its elaboration, completeness, expressiveness, degree of originality) depends on the characteristics of the processes of thinking, perception and the motivational component (interest in the business, the need for creative self-expression) of the individual. But what is the structure of creativity?

By the structure of creative abilities, we mean the sum of components (a number of particular abilities) that make up the unity of psychological and personal elements, leading to the successful performance of an activity or the emergence of a subjective / objective new one.

To highlight the structural components of creativity for our research, we turned to the analysis of scientific literature, the results of research on this topic.

In the works of foreign researchers there is no such thing as “creativity”. There is the concept of "creativity", which is defined in different ways, depending on the approach: 1) as a component of general mental giftedness; 2) as a universal cognitive ability; 3) as a stable personality trait. Representatives of the cognitive approach (F. Galton, G. Eysenck, L. Termen, R. Sternberg, E. Torrance, L. Cropley, etc.) do not distinguish creativity as an independent specific form of mental activity. From their point of view, creativity is a way of using intelligence, characterized by flexible and versatile information processing. According to R. Sternberg, the structure of creativity consists of “three special intellectual abilities: 1) synthetic - to see problems in a new light and avoid the usual way of thinking; 2) analytical - to assess whether the ideas are worth further development; 3) practical-contextual - to convince others of the value of the idea. "

Other researchers (L. Thurstone, J. Guilford and others) adhere to a different point of view - creativity as an independent process. J. Guilford defined creativity as a "universal cognitive creative ability", which is based on divergent thinking (focused on the search for several options for solving a problem). They were allocated the following intellectual abilities that are part of the structure of creativity. Among them: fluency of thought (the ability to generate a large number of ideas); flexibility of thought (the ability to use different solution strategies); originality (the ability to avoid obvious, banal answers); curiosity (sensitivity to problems); elaboration (the ability to detail ideas).

Further research in the field of creativity was developed on the basis of personal approach- creativity began to be understood as a personality trait. Here, the researchers assigned a large role to the emotional and motivational spheres. They (S. Springer, G. Deutsch, J. Godefroy, L.S. Kyubi, F. Barron) identified the following personality traits, inherent in humans successful in creativity: non-recognition of social restrictions, sensitivity, pronounced aesthetic principle, duality of nature, arrogance, self-confidence, independence, eccentricity, aggressiveness, complacency, independence of judgment, vulnerability, inconsistency, curiosity, sharp mind, openness to new things, preference for complexity , high dedication to the task, great fortitude, resistance to environmental disturbances, to all kinds of conflicts, a sense of humor. As for the motivational sphere, there are two points of view. Creative people are characterized by: 1) a tendency to self-expression, to achieve "matching their capabilities"; 2) a tendency to take risks, a desire to achieve and test their ultimate capabilities. Other motives also stand out: for example, playful, instrumental, expressive, internal. Researchers (M. Vasadur, P. Hausdorff and others) pay great attention to the latter. The result of any activity, and even more so of creative activity, depends on the inner position of the individual, its orientation, value orientations.

The problem of creativity, the structure of creative abilities was further developed in our country. A new direction has emerged - the psychology of creativity. Creativity is understood as a specific ability that is not limited only to intelligence. However, in many studies, the structure of creative abilities relies on their cognitive side - the so-called creative thinking (thinking aimed at a fundamentally new solution to a problem situation, leading to new ideas and discoveries). So, A. N. Luk, based on the research of J. Guilford, expanded the number of indicators of creativity, including, in addition to the cognitive component, features of perception, temperament and motivation.

S. Mednik considers creativity as an associative process. Creative ability in his understanding is a synthesis of developed convergent thinking and divergent thinking. That is why the author distinguishes the following units in the structure of creative abilities: the ability to quickly generate hypotheses; associative fluency; finding similarities between individual elements (ideas); mediation of some ideas by others; intuitive sagacity. Ya. A. Ponomarev also emphasizes the importance of intuition and marks it as one of the important components of creativity.

Further study of creative abilities led to the reflection and consolidation in the structure of creative abilities of personal and behavioral aspects (cognitive-affective component).

E. Tunik identifies the following structural components of creative abilities: curiosity; imagination; complexity and risk appetite.

AM Matyushkin, who studied creative talent, substantiated its following synthetic structure: a high level of cognitive motivation; a high level of research creative activity; flexibility of thinking; fluency of thinking; ability to forecast and anticipate; the ability to create ideal standards that provide high aesthetic, moral, intellectual assessments.

VA Molyako identified the components of the creative potential, including in them: the inclinations and inclinations of the individual; the strength of the manifestation of intelligence; features of temperament; character traits; interests and motivation; intuitionism; features of the organization of their activities.

In the research of D. B. Bogoyavlenskaya, the cognitive and affective subsystems of the personality find their way out in the so-called "intellectual activity" - unstimulated productive activity, cognitive self-activity. Intellectual activity - "the ability to develop activities on the initiative of the subject himself." This activity is the force that drives the creative process. The structure of creative abilities looks like "as the relationship between the" whole "(intellectual activity) and the" part "(general mental abilities, motives)". We emphasize the main thing in this approach - creativity is seen as the activity of the individual, which consists in the possibility of going beyond the given.

VN Druzhinin sees the structure of creative abilities as follows: intellect; learnability; creativity (transformation of knowledge). He emphasizes the importance of individual personality traits, which lead to the dominance of either oversituational (creative) or adaptive (non-creative) activity, which makes it possible to divide people into more and less creative.

The very concept of oversituational activity was introduced by V.A.Petrovsky. This is going beyond the given, external conditions and their own needs; it is a striving for self-actualization and creation; it is the choice of the unknown; setting redundant, from the point of view of the original problem, goals. Creativity is a form of oversituational activity.

V. A. Petrovsky's views were developed in the works of S. V. Maksimova, who developed the concept of duality of non-adaptive and adaptive manifestations in creativity. According to this concept, the creative process is made up of non-adaptive activity that generates new ideas, goals, etc. and adaptive activity required for their implementation.

Nowadays, the tendency to consider the structure of creative abilities in the unity of cognitive and personality variables remains relevant.

IA Malakhova offers the following structure of creative abilities: thinking (convergent, divergent); qualitative indicators of mental activity (breadth of categorization, fluency, flexibility, originality); imagination; creative well-being; intellectual initiative (creative activity, sensitivity to the problem).

VT Kudryavtsev, considering the structure of creative potential, pointed to imagination and initiative.

E.V. Getmanskaya distinguishes three interrelated structural components: cognitive motivation; creative thinking; creative personality traits.

T. A. Barysheva, along with motivation and divergence, includes an aesthetic component in the structure of creative abilities (form-creation, perfectionism).

E.V. Goncharova included imagination and emotional development in the cognitive and creative component, verbal intelligence, creative thinking, cognitive activity in the cognitive and intellectual component, and creative perception and creative product in the creative one.

The younger school age is considered by us as the most successful period for the development of creative abilities. Because it is at this age that, while maintaining childlike spontaneity, curiosity, impressionability and desire for knowledge, all cognitive processes, imagination, motivational sphere, and individuality develop. The child is looking for himself in learning activities, communication, he is open to new experience and believes in himself.

There are few works on the problem of the structure of the creative abilities of primary schoolchildren.

L. G. Karpova substantiated the existence of cognitive, emotional and motivational components in the structure of the creative abilities of primary schoolchildren.

EP Shulga has emotional and activity components. Motivation and personality traits combined by the researcher into a motivational and personal component. Creativity, creative thinking and imagination are included in the cognitive-creative. Here we observe in the structure all those components that have already been encountered in the works of various researchers presented by us above.

From the point of view of G.V. Terekhova, the development of creative abilities is the result of teaching creative activity to younger schoolchildren. Therefore, the researcher identifies the following components in the structure of creative abilities: creative thinking, creative imagination, application of methods of organizing creative activity.

So, in the scientific literature there is no consensus on the issue of the structure of creativity. However, motivational, personal and cognitive components are reflected in many works on this issue. Many researchers limit themselves to these components. We note the insufficient attention of researchers to the procedural side of creative activity (analysis of the problem, search for contradictions, development of a solution, justification, etc.), and, as a consequence, the absence in the structure of creative abilities of the components responsible for the effectiveness of the creative process. That is why we single out the activity-procedural component, which includes creative independence and the ability to optimize one's behavior (the choice of a strategy of behavior that will lead to a positive result). The development of creative abilities is impossible without deep reflection, striving for aesthetic enrichment, self-education and self-development. Therefore, we have identified another independent component - reflexive.

The structure of the creative abilities of primary schoolchildren in our understanding is as follows:

1) cognitive-emotional component (divergent thinking, features of temperament, expressiveness, emotional sensitivity);

2) personal and creative component (creativity, imagination, criticality, independence, inclination to take risks, intellectual activity);

3) motivational-value component (the need for creative activity, socially significant motives of activity, recognition of the value of creativity);

4) activity-procedural component ( creative independence, the ability to optimize their behavior);

5) a reflexive component (self-assessment of creative activity, the desire of the individual for self-education, self-development).

The components highlighted by us indicate the directions of the teacher's activity in diagnosing and developing the creative abilities of students and can be reflected in methodological developments.

Reviewers:

Kharitonov M.G., Doctor of Pedagogical Sciences, Professor, Dean of the Psychological and Pedagogical Faculty of FSBEI HPE "ChGPU im. AND I. Yakovleva ", Cheboksary;

Kuznetsova L.V., Doctor of Pedagogical Sciences, Professor, Director of the Research Institute of Ethnopedagogy named after Academician G.N. Volkova FSBEI HPE "ChGPU im. AND I. Yakovleva ", Cheboksary.

Bibliographic reference

Kondratyeva N.V., Kovalev V.P. STRUCTURE OF CREATIVE ABILITIES OF JUNIOR SCHOOL STUDENTS // Contemporary problems science and education. - 2015. - No. 5 .;
URL: http://science-education.ru/ru/article/view?id=21736 (date of access: 02/01/2020). We bring to your attention the journals published by the "Academy of Natural Sciences"

Creatively active activity in the learning process forms a number of qualities in schoolchildren, which will ultimately have a positive effect on the character of the student. Practice convinces that for the formation of a rich inner peace students need to choose such techniques and ways of encouraging active creative activity that open up to him a tempting prospect of overcoming difficulties, the development of creative thinking.

1. One of the first pedagogical requirements is not to suppress the individuality of the student in any way. There are often pedagogical situations when students, having made a guess or an assumption, cannot justify them logically. Nevertheless, they need to be encouraged for trying to use intuition and sent to further logical analysis of the idea put forward.

2. In order for students to develop creative abilities, it is necessary to form their confidence in their abilities, faith in the ability to solve creative problems. Those who do not believe in themselves are already doomed to failure. Of course, this belief must be justified.

3. It is also necessary to stimulate in every possible way the desire of students to independently choose goals, objectives and means of solving them. A person who is not used to acting independently, taking responsibility for decision, loses the ability to be creative.

4. Propensity for risky problem solving should be encouraged within fairly wide limits.

5. Develop imagination and not suppress the tendency to fantasize, even if it sometimes borders on passing fiction as truth. This is especially true of the initial stages of training.

6. To make wider use of problem teaching methods that stimulate the mindset to discover new knowledge independently or with the help of a teacher, strengthen the student's faith in his ability to make such discoveries.

7. The most important condition for the development of students' creativity is joint research activities with the teacher. It is possible only when a problem is solved, the answer to which neither the student nor the teacher knows.

Information technology tools aimed at developing the creative potential of students in music lessons and in extracurricular activities in the subject

1. Educational computer programs - as a means of teaching, began to be used in the early 70s during the period of the appearance of personal computers.

The main functions that they perform in the educational process:

individualization and differentiation of the learning process; monitoring with error diagnostics and feedback; self-control and self-correction of educational activities;

visualization of educational information modeling and imitation of the studied processes or phenomena;

formation of the ability to make the best decision in various situations; development of a certain type of thinking (for example, visual-figurative, theoretical);

strengthening of motivation for learning (for example, due to the visual means of the program or interspersing of game situations);

the formation of a culture of cognitive activity and others.

2. Multimedia encyclopedias - reference material on computer CDs and DVDs is intended for children of all ages. It allows you to quickly find the desired and useful information, listen to musical fragments, structured by themes, composers, genres, trends in art; watch video or animation fragments; get acquainted with the photo archive on a variety of topics; work with various dictionaries and so on. With the help of encyclopedias, you can not only prepare a high-quality and interesting presentation, but also work independently in class or at home. The attractiveness of this product for participants in the educational process is that many years of additional training are not required for their effective development.

3. Internet resources. Often, even the most introverted children are liberated while working on the computer, shy students easily communicate on the Internet, their self-esteem and status among their peers increase. As practice shows, students enthusiastically master computer programs.

4. Multimedia presentations. Such work can be carried out at different stages of the lesson: as a form of checking homework; as a way to create a problem situation; as a way to explain new material; as a form of consolidation of what has been learned; as a way to test knowledge during the lesson.

5. Lessons using a computer presentation are lessons in explaining new material in an interactive mode, and a lesson-lecture, and a lesson-generalization, and a lesson-scientific conference, and a lesson-defense of projects, and an integrated lesson, and a lesson-presentation, and lesson-discussion in the mode of the Internet conference.

6. A lesson using computerized forms of control assumes the ability to test students' knowledge (at different stages of the lesson, with different goals) in the form of testing using a computer program, which allows you to quickly and effectively fix the level of knowledge on a topic, objectively assessing their depth (the mark is set by the computer ).

7.COR (digital educational resources). Modern information technologies necessitate the creation of a media library. A large amount of material on the subject "Music" in digital format - phono-chrestomatics, works of classical Russian and foreign music; video clips from operas, ballets, films; collections of artists' reproductions, illustrations - all this is an integral part of every lesson and needs to be systematized. Unified digital educational collection.

8. Programs-editors - tools for creating multimedia applications. These are professional sound editors, tools for creating and editing sound information that make it possible to make the necessary changes in music files: transpose in karaoke songs, improve the sound quality of music, convert video and audio files for later use in presentations or for recording on audio discs that can be used in lessons while listening to a conventional music center.

Technologies for organizing the work of the class teacher ... The class teacher is included in the structure of school management, is the organizer of educational work in primary school collectives (classes), interacts with other subjects of school management and education of students.

Activities of class teachers in general education schools different types in the Republic of Belarus it is regulated by the ^ Regulations on the class teacher (1999). The class teacher is appointed by order of the director of the educational institution from among the full-time teachers. In accordance with the above Regulation, the rights, tasks and duties of the class teacher are determined.

Tasks and job responsibilities of the class teacher.1 Formation of personality; spiritual, mental and physical development of each student, his formation as a citizen. 2 Formation of universal norms of humanistic morality in class students, a culture of attitudes towards oneself and the people around him. 3 Education of national self-awareness, patriotism; assistance in the assimilation of universal and national cultural values by students, the formation of an active civic position. 4 Development of the traditions of the educational institution; assistance in the assimilation of internal regulations, the rights and responsibilities of students in the classroom, the development of student government bodies. 5 Promoting self-knowledge and self-education, creative self-development, vocational guidance of class students based on a comprehensive study of their individual characteristics, needs, interests, abilities, value orientations, organization of free time. 6 Interaction with family, social educator and educational psychologist in order to achieve unity of requirements and coordination of the actions of the educational institution and the family in relation to students; creating friendly, friendly relations in the class; fostering respect for the people around them. 7 Caring for the creation of conditions for the successful learning activities of students, preserving the class contingent; making proposals on the organization of compensatory education.8 Caring for the safe life, moral and social, protection of students; formation of a healthy lifestyle, prevention of bad habits and AIDS, assistance in organizing meals and medical services for students; prevention of unlawful behavior of student youth. 9 Planning the organization of the educational process, socially useful activities, work, rest and health improvement of class students during extracurricular and vacation time. 10 Maintaining the class documentation established in the educational institution (journal, personal files of students, diary of the class teacher, etc.) 11 Improvement their professional and methodological level, advanced training in courses, seminars, workshops, conferences, participation in the work of the methodological association of class teachers, etc.

Keywords

CREATIVITY / KNOWLEDGE / CREATIVITY / SUPERCONSCIOUSNESS / TECHNOLOGY / NEEDS

annotation scientific article on the sciences of education, the author of the scientific work - Dashchinskaya T.N., Dashchinskiy V.E.

The work is devoted to the development and testing of technologies for the development of creative abilities and the need for self-improvement through training and creative activity in the intellectual and artistic spheres. To substantiate the technological methods, we used the known data and carried out comprehensive studies of the dependence of a person's creative activity on sociocultural and psychophysical factors. Using an original method for studying the spatial synchronization of biopotentials, we identified the features of the neurophysiology of creative brain states and the stimuli that contribute to their activation. For the first time, it was found that cross states are involved in the creative act, in which there is synchronization of active foci forming two axes - "cognitive" (left frontotemporal, right occipital foci) and "superconsciousness" (right frontotemporal, left occipital foci). Moreover, it was found that effective way activation of these states is a complex of coordinated and harmonious action of the triad of breathing, movement and sound during direct student-teacher contact. The use of technology in the educational process made it possible to increase the efficiency of mastering new material among students of the theatrical institute and, at the same time, to develop the ability for heuristic thinking and self-improvement through artistic creativity. Taking into account these results, the technology can be recommended for use in educational institutions and not only in the art profile.

The text of the scientific work on the topic "Technology for the development of creative abilities"

UDC 316.3 + 612.82 TECHNOLOGY OF DEVELOPMENT OF CREATIVE ABILITIES

Dashchinskaya T.N., Dashchinsky V.E.

The work is devoted to the development and testing of technologies for the development of creative abilities and the need for self-improvement through training and creative activity in the intellectual and artistic spheres. To substantiate the technological methods, we used the known data and carried out comprehensive studies of the dependence of a person's creative activity on sociocultural and psychophysical factors. Using an original method for studying the spatial synchronization of biopotentials, we identified the features of the neurophysiology of creative brain states and the stimuli that contribute to their activation. For the first time, it was found that cross states are involved in the creative act, in which there is synchronization of active foci forming two axes - "cognitive" (left frontotemporal, right occipital foci) and "superconsciousness" (right frontotemporal, left occipital foci). At the same time, it was found that an effective way of activating these states is a complex of coordinated and harmonious action of the triad - breathing, movement and sound with direct student-teacher contact. The use of technology in the educational process made it possible to increase the efficiency of mastering new material among students of the theatrical institute and, at the same time, develop the ability for heuristic thinking and self-improvement through artistic creativity. Taking into account these results, the technology can be recommended for use in educational institutions and not only in the art profile.

Key words: creativity, cognition, creativity, superconsciousness, technology, needs.

TECHNOLOGY DEVELOPMENT CREATIVE ABILITIES

Dashchinskaya T.N., Dashchinskiy V.E.

The work is devoted to development and approbation of technology of development of creative abilities and need for self-improvement through education and creative activities in intellectual and art spheres. For justification of technological methods were used known data and were carried out complex investigation of dependence of creative activity of the person from sociocultural and psychophysical factors. Involving an original method of studying of spatial synchronization biopotentials, revealed features of neurophysiology of creative conditions of a brain and the incentives promoting their activation. For the first time it is revealed that cross conditions in which synchronization of the active focuses forming two axes - "cognitive" (left fronto-temporal, right occipital focuses) and "superconsciousnesses" (right fronto-temporal, left occipital focuses). It is thus established that effective way of activation of these states is the complex of the coordinated and harmonious action of a triad - breath, movement and a sound with the direct student- teacher contact. Technology application in educational process allowed to increase efficiency of assimilation of a new material at students of theatrical institute and in parallel to develop abilities to heuristic thinking and self-improvement through art creativity. Taking into account these results the technology can be recommended for use in educational institutions and not only an art profile.

Keywords: creativity, knowledge, creativity, superconsciousness, technology,

INTRODUCTION

The problem of innovation has now become relevant in all areas

In science and technology, in art and education, in production and consumption. Its solution is limited by the level of a person's professionalism and his ability to find non-standard original ideas and solutions that allow him to gain new knowledge and open up prospects for development in all spheres of life. It is obvious that the solution of these problems will be facilitated by the study of neuro- and psychophysiological laws of the creative process and the development of technologies (psychotechnics) based on them, intended not only for the disclosure and full development of the natural talent of a creative person, but to a greater extent - for the formation of a sustainable need for any creativity, including the assimilation and creation of new knowledge. These technologies should be designed for use not only under the guidance of a teacher, but also by the student himself. The guarantee of the effectiveness and psychosomatic harmlessness of such psychotechnics will be the justified use of reliable scientific data on the dependence of the mechanism of the mental and creative act on genetic, physiological, psychophysical and socio-cultural factors.

In this work, in order to develop and test an integrated technology that develops creativity and the need for self-improvement through learning and creative activity, we analyzed the known data on neurophysiology and psychophysics of the creative state of the brain, as well as the characteristic psychosomatic characteristics of people with one or another talent. At the same time, the dependence of the genesis of a creative personality on sociocultural and physical biogenic factors was taken into account.

1. JUSTIFICATION OF TECHNOLOGY

An objective characteristic of the value of a creative intellectual or artistic product in verbal or non-verbal form is the degree of its novelty, with which the measure of the usefulness of creative activity is directly related. These quantitative, in fact, characteristics are equally applicable in two qualitatively different spheres of human creative activity related to the knowledge and transformation of the world. They are associated with two types of thinking - verbal-logical and non-verbal-intuitive and, accordingly, two spheres of creativity - intellectual and artistic. At the physiological level, this bifurcation of creative abilities corresponds to the morphofunctional asymmetry of the cerebral hemispheres - the right hemisphere in right-handers is considered dominant in artistic creation, while the functions of the left hemisphere (for example, speech and analytical) dominate in intellectual and rational creativity. Of course, such a differentiation of the specialization of the cerebral hemispheres is conditional, and in fact, the dominance of one of the types of thinking and the corresponding creative ability, as a rule, is associated with the presence of extraordinary abilities related to the specialization of the contralateral hemisphere. For example, gifted physicists and mathematicians are well versed in music (A. Poincaré,

A. Einstein, R. Feynman, G. Perelman). Many outstanding artists succeeded in the epistolary genre (A. Dürer, Van Gogh, E. Delacroix, A. Benois,

V. Vasnetsov, V. Vereshchagin) and vice versa - most poets were able to draw quite expressively (A. Pushkin, M. Lermontov, V. Mayakovsky, F. Garcia Lorca).

These examples indicate that the neuro- and psychophysiology of creativity has a pronounced asymmetry at the level of the cerebral hemispheres, in addition, the high activity of the dominant hemisphere is a motivating factor in the development of creative abilities inherent in the contralateral hemisphere. At the heart of this synergistic effect,

Obviously, there is a mechanism of neuroplasticity of the brain, which ensures the effectiveness of various developmental psychotechnics.

1.1. Superconsciousness concept

For the first time the term "superconsciousness" was used by K.S. Stanislavsky in the psychotechnics of teaching actors to stage skills. At the same time, the ability to “technically master your superconsciousness perfectly” was regarded as a key and necessary component of creativity. According to P.V. Simonov, the psychophysics of creativity includes consciousness, subconsciousness and superconsciousness. Consciousness operates with knowledge that can be transferred to another, the subconscious includes automated skills, learned norms and motivational conflicts, those manifestations of intuition that are not associated with the generation of new information, but only involves the use of previously accumulated experience. Superconsciousness is interpreted as a mechanism of creative intuition not controlled by a conscious volitional effort, associated with the receipt of fundamentally new information and an original product. Simonov emphasizes that creativity in its highest manifestation (talent and genius) is characterized by high degree development of cognitive needs. P.M. Ershov connected the psychophysics of "inspiration" with the activation of superconsciousness, implying at the same time the inclusion of the mechanism of intuition and the achievement of a specific mental state - enlightenment. He emphasizes that “the development of consciousness itself is carried out by superconsciousness (intuition, inspiration) and dialectical logic itself is being improved. This is the creative work of thinking in cognition, which includes unconscious mental processes. " The neurophysiology of superconsciousness is based on the processes of transformation and recombination of traces (engrams) stored in the memory of the subject. In the processes of recombination, the superconsciousness involves the psychophysics of consciousness and subconsciousness, which stores not only unconscious reflexes, but also sociocultural archetypes and

mythologemes.

The work notes that the ontogenesis of superconsciousness in the presence of genetic inclinations is carried out in the process of human socialization, in parallel with the genesis of the Freudian superego, responsible for moral consciousness, self-observation and ideals. The main difference between the superconsciousness and the superego is its creative dominant, which combines the subconscious mechanisms of illumination, intuition and memory with the mechanism of awareness of the novelty and usefulness of a new meaning.

Studies in the neurophysiology of creative states have shown that the creative process in a complex sequence combines the neural activity of both hemispheres of the brain with the obligatory participation of the cross axes of spatial synchronization of the biopotentials of the frontal regions of the right and posterior left hemispheres, as well as the frontal regions of the left and posterior right hemispheres. Creative states corresponding to these two axes were conventionally defined as the axes of superconsciousness and cognitive.

1.2. Factors of functional activity of the brain

The inclusion of factors selectively activating the right or left hemisphere in psychotechnics significantly increases their effectiveness. First of all, we are talking about motor and sensory asymmetries. The leading among motor asymmetries is considered to be manual and tactile ones associated with it. Visual, auditory, and olfactory sensory asymmetries are also important. The combination of the asymmetry of the auditory system and the vocal apparatus makes it possible to include phonetic and musical factors in psychotechnics. It has been established that, depending on external physical conditions, during a night's sleep, a person can generate a resource of functional asymmetry, which manifests itself through the asymmetry of the biomechanics of the musculoskeletal system and can be activated by “switching on” the speech function of the brain.

The dominant role in the development of psychophysical asymmetry is played by the dominance of reflex connections of the right hemisphere with visceral

organs, the neurophysiology of which forms the basis of the unconscious Freudian id. It is also necessary to take into account the asymmetry of the emotional factor of creativity. Numerous neuropsychological and psychophysiological studies have shown the predominant connection of the left hemisphere of the human brain with positive emotions, and the right hemisphere with negative ones. It is believed that phylogenetically positive emotions are younger than negative, that is, new, young functions are initially formed in the left hemisphere of the brain, and later, to one degree or another, are transferred to the right. Since the patterns of phylogenesis are reproduced in ontogenesis, they must be taken into account when developing developing psychotechnics.

The right hemisphere is involved in thinking and provides the ability to communicate at the pre-speech level. Sign speech of deaf and dumb people is under the jurisdiction of the right hemisphere, as well as any form of communication using conceptual signs, including pictographic and hieroglyphic writing. These abilities in right-handers are not impaired even with lesions of the left hemisphere, as evidenced by the drawings of the artist who suffered a serious trauma to the frontal-temporal parts of the left hemisphere. The work of the right hemisphere is carried out mainly by reflex, and the left arbitrarily controls mental processes. The left hemisphere takes over the analysis and comprehension of rational sign systems. Due to the predominance of tactile receptors on the right wrists in the sighted and, moreover, in blind people, it processes and analyzes the visually perceived messages of the signs of the finger alphabet of the deaf and dumb and synthesizes response speech from the same chains of motor acts, which are letter signs. It is the left hemisphere of deaf-blind-mute people that analyzes tactile sensations about signs of sign alphabet or vibration signs that arise in the larynx. speaking person, and synthesizes chains of motor acts of response speech. Before I. Sokolyansky developed this method

communication with children who were deaf-blind from birth, they practically did not become people, that is, their intelligence remained at the level of animals. Sokolyansky's method enables deaf-blind children to achieve high intellectual development - they acquired higher education, became scientists and defended their Ph.D. degrees.

The last example clearly illustrates the importance and necessity of including direct sensory contacts of the student with the teacher and society in developing psychotechnics. Obviously, in this case, a universal adaptation mechanism works, which is inherent from birth to all living systems. For example, the ability to sing in a young nightingale develops in the process of imitating mature nightingales, just as a parrot, after long-term sound communication with a person, can reproduce words and elements of human speech. Accordingly, psychotechnics, which develops a person's need for learning and creativity, must necessarily include elements of psychophysics that are sensitive to the actions of sociocultural factors, the most important of which, undoubtedly, is speech and the demand for creative activity by the society. The development of the vocal apparatus and speech is a key endogenous factor in the phylo- and ontogenesis of thinking ability, and the degree of the creator's awareness of the demand for the fruits of his work is determined by the motivational and emotional components of the creative process.

If such characteristics of creative potential as originality and genius are determined mainly by genetics, then the need for its development and full implementation is formed exclusively in the process of social adaptation, under the influence of exogenous socio-cultural factors: “the needs of the human individual are not genetically inherent in him. Only the necessity and the possibility of the formation of certain needs can be considered as given a priori. The first is ultimately determined by the direction of development

humanity as a generic community, the second - by mutual correspondence, "docking" of man and the world, their potential complementarity "

1.3. Practical psychology in creativity

When developing psychotechnics that develop creative abilities, one can use well-known psychophysical and physiological exercises used in opera singing, various ceremonies and rituals, breathing exercises and practical psychology.

These primarily include ritual movements, sounds and chants, which were used and used in various cult rituals. Such movements and acoustic influences are one of the ways to simultaneously activate the subconscious and superconscious, which gives a good positive effect on the physical and mental levels. The effect is evidently due to the restoration and activation of the mechanisms of the spatio-temporal organization of the brain, including interhemispheric interaction, cortico-visceral relations, and the functions of subcortical structures. The mechanism of stimulation by sounds and chants of cooperative processes in various parts of the brain may be based on the excitation of resonant oscillations in local homogeneous fluid cell systems of the brain at the frequencies of the harmonics of oscillations of air media in the hearing aid, in the facial and frontal sinuses, and also in the air column in the trachea. By varying the way of singing (laryngeal-nasal or chest) and, accordingly, the frequency range of sound (vowel letters - high frequencies, consonants letter - low frequencies), one can arbitrarily change the areas of brain activation. In the first case, vibrations of structures in the frontotemporal regions of the brain will be preferentially stimulated, and in the second, in the occipital and cerebellar.

Thus, by coordinating a certain rhythm of movement and a special method of chanting, correction and

reformatting the energy-informational state of the brain, which is fixed at the subconscious level and contributes to the process of activating the superconscious.

Respiratory exercises, in addition to the positive somatic effect, develop endogenous respiration and strengthen the blood supply system of the brain. Of particular importance in psychotechnics are exercises with the examination of graphic and pictorial images, which contain either harmonious ornaments or a specially selected combination of colors. Psychological experiments show that such exercises contribute to the "transfer" of the brain to a state of "thoughtlessness", in which the brain activity switches from the left to the right hemisphere and the intuitive component of creativity is strengthened. Since the right hemisphere is mainly responsible for painting, the work notes that professional and educational drawing, and especially in a state of "thoughtlessness", contributes to the development of a person's creative abilities.

2. TECHNOLOGY OF SUPERCONSCIOUSNESS

Guided by the above data and relying on polyfunctional methods of teaching the skill of an actor, we have developed a technology for the formation and activation of creative intuition (superconsciousness), as the basis of complex psychotechnics, which develops creative abilities along with the need for spiritual and intellectual self-improvement. The technology with the conditional name "superconsciousness" has been tested for a long time and introduced into the educational process at the Institute of Theater Arts named after P.M. Ershova with the aim of developing students-actors and persons studying in the framework of additional education, the ability to creative (innovative) activities.

3. 1. Key practical techniques of "superconsciousness" technology

As physiological parameters that enhance the activity of areas of the brain involved in the formation of the axes - cognitive and

superconsciousness, as well as the temporal zones of the right and left hemispheres were selected: breathing; rhythmic movement; sound and word. The consistency and harmony of the action of the triad - breathing, movement and sound, passing into a word, then into speech at the initial stage of training was achieved by establishing a sensory-psychological (energy-informational) contact between a student and a teacher. This is especially true for talented adolescents, whose creative inclinations suggest the presence of increased sensitivity to the motivating spiritual and physical factors of the socio-cultural environment.

Key practical techniques of psychotechnics included the following complexes.

2.1.1. Respiratory-dynamic complex.

The teacher lowers his hands freely along the body and instructs the student to breathe according to the pattern: a calm inhalation through the nose and a long full exhalation through the mouth (exhalation is 3-4 times longer than a calm inhalation). The teacher breathes in the same way. The teacher stands behind the student and puts his hands on his shoulders and so controls the alternating movements of the student - bends back and forth, turns left and right. Tilts and turns are made at the maximum possible angle and are repeated 3-4 times. During bends and turns, the student's legs should remain motionless with closed feet.

After that, the student for 3-5 minutes makes free movements in place with closed-open eyes, trying to work softly, without tension, reaching a state like "thoughtlessness". Then the teacher, pushing the student with his right hand in the area of the seventh-eighth thoracic vertebrae, directs his movement in a circle with a diameter of 3-7 m. Starting from the second circle, the student "breaks away" from the teacher and jogs in a circle 34 times. After the end of jogging, the teacher instructs the student's hands to improvise rotational-swinging movements in time with breathing, which

last at least 5 minutes. Then, without stopping hand movements, the student, under the control of the teacher's hands lying on his lower back, begins to make lateral tilts of the body to the right and left in time with the movement of the arms and with an increasing amplitude up to the maximum possible angle. With an increase in the amplitude of the inclinations, the student's legs are gradually and naturally included in the improvisational movement, alternately lifting off the floor. After four or five bends, the teacher puts his right hand on the back of the student's head with his palm and, with a light, smooth movement, sets the movements of the head in antiphase to the movement of the torso. When the student's torso moves to the left, his head should move to the right and vice versa. The student continues to improvise with the whole body for about 5 minutes.

To identify the neurophysiological effects of the technology of superconsciousness, we used a computer technique for analyzing the electrical activity of the brain "Synchro-EEG", developed by N.E.Sviderskaya. Studies have shown that a complex of dynamic breathing exercises activates the work of the temporal zones of both hemispheres and increases the activity of the occipital region of the right hemisphere of the student's brain.

2.1.2. Vocal-dynamic complex

The teacher gives the command to slow down the improvisational movements, without reducing their amplitude, and close your eyes. Then the teacher gives the command to start singing the letters "m" and / or "n" with closed lips. Singing should begin at a minimum volume, without tension, with a long full exhalation through the nose. In this case, the rhythms of improvisational movement, breathing and singing must coincide. With the end of the exhalation, the movements of the student's whole body do not stop. With the transition from one improvisational movement to another, the tonality of the singing changes. The change in tonality from high to low is determined by the magnitude of the amplitude of complex movements of the trainee's body. Singing at minimum volume should last at least 2 minutes. Then, at the command of the teacher, the student, keeping these conditions of singing, sings arbitrary sounds

and their arbitrary combinations for 2 minutes, after which the teacher gives the command to gradually increase the singing volume and the amplitude of the improvisational movements to the maximum. In the process of singing, the student can open and close his eyes, guided by his own feelings.

At the command of the teacher, the student, after completing the improvisational movements, bends his hands on a calm breath through his nose so that their open palms are at the level of his chest and are turned up. Then the student, at the command of the teacher, begins to repeat arbitrary meaningless phrases after him, copying his movements. Examples of phrases dictated by the teacher are, for example, the following: "matero fa", "moski miwa khan", "late farsto huva", etc. In this case, the student must emphasize the stress in the pronounced arbitrary phrases. Gradually, the teacher, and, following his example, the student, reduce movements to gestures. The joint pronunciation of arbitrary phrases by the teacher and the student with simultaneous gesticulation should last 2 minutes, after which the teacher stops talking and gesticulating, and the student continues to do it independently for at least 5 minutes. This is necessary in order for the student to move the dominant of the movement into a subdominant and be replaced by the dominant of speech, which has no semantic content. In the process of independent pronunciation of arbitrary phrases by the student, simultaneously with gesticulation, a state of synchronism of breathing, movement and speech of the student sets in.

Neurophysiological control showed that the complex 3.1.2. activates the motor center of speech (Broca's center) of the left hemisphere and increases the activity of the frontal-temporal region of the right hemisphere and the occipital regions of both hemispheres of the student's brain, which makes it possible for him to correlate the sequence and combination of articulations of sound-speech syntagmas with body movements, facial expressions and gestures. The principle of correlation of verbal and bodily expressive means is actively used in acting and oratory. Note that the frontal

the region of the right hemisphere and the occipital region of the left hemisphere of the brain are the focuses of the superconscious axis.

2.1.3. Logical-semantic complex

The teacher gives the command to repeat the program-request after him aloud, for example: "I want to know what the straight line is." The student becomes aware of new information by combining the cognitive activity of the left hemisphere with the activity of the right hemisphere of the brain, and interpreting it with hand movements and / or sounds and / or speech. The forms of interpretation of this information can be different: drawing, poem, prose, musical study,

plastic movement, singing, speech, scientific and technical information, etc., including their combinations. The specific form of reproduction is assigned to the student by the teacher. During the reproduction of new information, the student can open or close his eyes, guided by his own feelings.

In the process of comprehending and reproducing information through arbitrary forms, the frontotemporal lobe of the left hemisphere is activated in the student and the state of synchronicity of breathing, movement and speech achieved in paragraph 3.1.2 is maintained. An increase in focus in the anterior regions of the left hemisphere may be evidence of conditions for an increase in the controlling function of consciousness. The activity of the temporal lobe of the left hemisphere indicates the inclusion in the work of the sensory center of speech (Wernicke's center), which is responsible for understanding the meaning of the information received. The moment the student comprehends the meaning of the received information, which is the answer to the program-request, is the moment of the onset of insight. The activation of the axis of superconsciousness and the cognitive axis at the moment is a prerequisite for achieving a state of creative insight. In the act of enlightenment, the controlling function of consciousness is preserved, weakening and giving way to other layers of the psyche - both the subconscious and the superconscious.

2.2. Results of approbation of technology of superconsciousness

Neurophysiological, psychological and medical control of the psychosomatic state of students studying with the use of superconsciousness technology has shown not only its safety for health, but also made it possible to identify a tangible health-improving effect of the technology in persons who had problems with intellectual and mental development. Continuous monitoring of the progress of pupils and students and the assessment of specialists of the level of creative abilities of students in the artistic fields (painting, literature, music, dance, theater) indicate that students who have mastered the technology of superconsciousness have acquired and developed the following abilities and qualities:

Accelerated mastery of professional knowledge, skills, and skills and successfully apply them in practice;

They achieve a state of creative enlightenment without any particular difficulty, thanks to which they easily master new knowledge, artistic and technological ways of solving educational and creative problems;

They are enthusiastically engaged in creative, experimental, research and innovation activities;

Learn the skills of scientific and combinatorial thinking, artistic ingenuity and innovation;

When creating an artistic product, realism and convention are harmoniously combined;

Works of authorship abound with non-standard solutions and are filled with philosophical content, they use various means of expression in conveying meanings, while creating their own "language" of artistic expression through a symbol, sign, metaphor (Fig. 1-4);

The need for creative activity as a means of self-improvement becomes the spiritual core of the individual, determining his worldview and social behavior;

Students who received training using the technology of superconsciousness could later use it on their own, as well as play the role of a mentor teaching technology to other students.

Rice. 1. Drawings of students of different ages: 1 - Flight of the Spirit (Sasha, 8 years old); 2 - Wind of Fate (Nastya, 11 years old); 3 - Source of inspiration (Svetlana, 22 years old); 4 - Power of Mind

(Alexander 41 years old)

Rice. 2. Works of Alexandra, 2nd year, acting faculty: 1 - Unity of space and time; 2 - Birth of thought; 3 - Career ladder; 4 - Quirks of reflection;

5 - Unity and struggle of opposites.

Rice. 3. Works of 1st year students, acting faculty. Vitaly: 1 - Comedy; 2 - Tragedy;

and Catherine: 4 - Death of Antigone

Rice. 4. Works of Natalia, 3rd year, acting faculty: 1 - Chamomile; 2 - Eternity, tenderness and emptiness; 3 - Creators; 4 - Growth

3. CONCLUSION

Based on the results obtained, it can be concluded that the technology of superconsciousness, forming the need for cognition, increases the creative and spiritual-intellectual potential of the student and leads to a reduction in the time of his professional training without loss of quality. It follows from this that in order to train qualified personnel who are able to think heuristically, generate productive ideas and create an original product, it is necessary to use pedagogical techniques and technologies that contribute to the activation of all three levels of the psyche (consciousness, subconsciousness and superconsciousness).

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Dashchinskaya Tamara Nikolaevna, Rector of the Institute of Theater Arts named after P.M. Ershova

Dashchinsky Vitaly Evgenievich, Senior Lecturer of the Department of Actor's Mastery

Institute of theatrical art named after P.M. Ershova Russia, 111401, Moscow, Novogireevskaya st., 14-A [email protected] ru

DATA ABOUT THE AUTHORS

Dashchinskaya Tamara Nikolaevna, Rector of Institute of Theatrical Arts. P.M. Ershova

Dashchinskiy Vitaliy Evgen'evich, Senior teacher of Chair of skill of the actor

Institute of Theatrical Arts. P.M. Ershova

Russia, 111401, Moscow, St. Novogireevskaya., 14-A

[email protected] ru

Reviewer:

Taratynova Galina Vasilievna, candidate psychological sciences, Associate Professor, Head of the Laboratory "Psychology of Creativity" of the Institute of Theater Arts named after P.M. Ershova

Creativity is a fusion of many qualities. And the question of the components of human creativity is still open, although at the moment there are several hypotheses regarding this problem. Many psychologists associate the ability for creative activity, first of all, with the peculiarities of thinking. In particular, the famous American psychologist Guilford, who was engaged in the problems of human intelligence, found that so-called divergent thinking is characteristic of creative individuals. People with this type of thinking, when solving a problem, do not concentrate all their efforts on finding the only correct solution, but begin to look for solutions in all possible directions in order to consider as many options as possible. Such people tend to form new combinations of elements that most people know and use only in a certain way, or to form connections between two elements that at first glance have nothing in common. The divergent way of thinking is at the heart of creative thinking, which is characterized by the following main characteristics:

1. Speed - the ability to express the maximum number of ideas (in this case, it is not their quality that is important, but their quantity).
2. Flexibility - the ability to express a wide variety of ideas.
3. Originality - the ability to generate new non-standard ideas (this can manifest itself in answers, decisions that do not coincide with generally accepted ones).
4. Completeness - the ability to improve your "product" or give it a finished look.

Famous Russian researchers of the problem of creativity A.N. Luke, based on the biographies of prominent scientists, inventors, artists and musicians, distinguishes the following creative abilities.

1. Ability to see the problem where others do not see it.
2. The ability to curtail mental operations, replacing several concepts with one and using symbols that are more and more information-capacious.
3. Ability to apply the skills acquired in solving one problem to solving another.
4. The ability to perceive reality as a whole, without splitting it into parts.
5. Ability to easily associate distant concepts.
6. Ability of memory to issue necessary information at the right moment.
7. Flexibility of thinking.
8. Ability to choose one of the alternatives for solving a problem before checking it.
9. Ability to incorporate newly perceived information into existing knowledge systems.
10. The ability to see things as they are, to distinguish the observed from what is introduced by the interpretation.
11. Ease of generating ideas.
12. Creative imagination.
13. Ability to refine details, to improve the original concept.

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

1. Relism of imagination is a figurative grasp of some essential, general tendency or pattern of development of a common object, before a person has a clear concept of it and can fit it into a system of strict logical categories.
2. Ability to see the whole before the parts.
3. The over-situational - transformative nature of creative solutions the ability to solve a problem not only to choose from the alternatives imposed from the outside, but to independently create an alternative.
4. Experimentation - the ability to consciously and purposefully create conditions in which objects most vividly reveal their essence hidden in ordinary situations, as well as the ability to trace and analyze the features of the "behavior" of objects in these conditions.

Scientists and educators involved in the development of programs and methods of creative education based on TRIZ (the theory of inventive problem solving) and ARIZ (an algorithm for solving inventive problems) believe that the following abilities are one of the components of a person's creative potential.

1. Ability to take risks.
2. Divergent thinking.
3. Flexibility in thinking and acting.
4. The speed of thinking.
5. Ability to express original ideas and invent new ones.
6. Rich imagination.
7. Perception of the ambiguity of things and phenomena.
8. High aesthetic values.
9. Developed intuition.

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

Speaking about the formation of abilities, it is necessary to dwell on the question of when, from what age should the creative abilities of children be developed. Psychologists call various periods from one and a half to five years. There is also a hypothesis that it is necessary to develop creativity from the very beginning. early age... This hypothesis is confirmed in physiology.

The fact is that a child's brain grows especially quickly and "matures" in the first years of life. This is ripening, i.e. an increase in the number of brain cells and anatomical connections between them depends both on the diversity and intensity of the work of already existing structures, and on how much the formation of new ones is stimulated by the environment. This period of "ripening" is the time of the highest sensitivity and plasticity to external conditions, the time of the highest and broadest opportunities for development. This is the most favorable period for the beginning of the development of the entire diversity of human abilities. But the child begins to develop only those abilities for the development of which there are stimuli and conditions for the "moment" of this maturation. The more favorable the conditions, the closer they are to optimal, the more successful development begins. If maturation and the beginning of functioning (development) coincide in time, go synchronously, and conditions are favorable, then development proceeds easily - with the highest possible acceleration. Development can reach its greatest height, and the child can become capable, talented and ingenious.

However, the possibilities for the development of abilities, having reached their maximum at the "moment" of maturation, do not remain unchanged. If these opportunities are not used, that is, the corresponding abilities do not develop, do not function, if the child does not engage in the necessary activities, then these opportunities begin to be lost, degraded, and the faster, the weaker the functioning. This fading away of opportunities for development is an irreversible process. Boris Pavlovich Nikitin, who has been dealing with the problem of the development of children's creative abilities for many years, called this phenomenon NUVERS (Irreversible Fading of Opportunities for Effective Development of Abilities). Nikitin believes that NUVERS has a particularly negative effect on the development of creative abilities. The gap in time between the moment of maturation of the structures necessary for the formation of creative abilities and the beginning of the purposeful development of these abilities leads to a serious difficulty in their development, slows down its pace and leads to a decrease in the final level of development of creative abilities. According to Nikitin, it was the irreversibility of the process of degradation of development opportunities that gave rise to the opinion about the innateness of creative abilities, since usually no one suspects that opportunities for the effective development of creative abilities were missed in preschool age. And the small number of people with high creative potential in society is explained by the fact that in childhood only very few found themselves in conditions conducive to the development of their creative abilities.

From a psychological point of view, preschool childhood is a favorable period for the development of creative abilities because at this age children are extremely inquisitive, they have a great desire to learn about the world around them.

And parents by encouraging curiosity, imparting knowledge to children, involving them in various activities, contribute to the expansion of children's experience. And the accumulation of experience and knowledge is a necessary prerequisite for future creative activity. In addition, the thinking of preschoolers is more free than that of older children. It has not yet been crushed by dogmas and stereotypes, it is more independent. And this quality must be developed in every possible way. Preschool childhood is also a sensitive period for the development of creative imagination.

Introduction

The relevance of research. The development of a person's creative abilities is one of the most important problems of society. This problem has acquired particular urgency in recent decades in connection with the socio-economic transformations in the country. The changes taking place in the life of society, associated with a change in the economic system, new market relations, orient the education system towards training the younger generation capable of self-determination in a rapidly changing, dynamic world.

The education system is also changing in response to changes in social life. According to the new educational paradigm, the school was faced with the task of developing the creative activity of students, forming their ability to independently acquire and apply knowledge. In this regard, at present, the attention of teachers is focused on the search and implementation of effective ways to develop the creative abilities of students. In a modern school, the creative development of the personality, the development of a culture of thinking and intelligence is a side process that depends on the activity of the student himself, and not on the actions of the teacher.

Promoting the goal of personal development, considering subject knowledge and skills as a means of achieving them, are reflected in state documents. The "Concept for the modernization of Russian education for the period up to 2010" focuses on the development of the creative abilities of students, the individualization of their education, taking into account the interests and inclinations for creative activity. One of the fundamental principles of updating the content of education is its personal orientation, which presupposes reliance on the subject experience of students, the actual needs of each student. In this regard, the question of organizing active cognitive and creative activity of students, contributing to the accumulation of creative experience of primary schoolchildren, as a basis, without which the self-realization of the individual at the subsequent stages of continuous education becomes ineffective, has become acute.

Today, the problem of finding means for the development of thinking abilities associated with the creative activity of primary schoolchildren, both in collective and in individual forms of education, is urgent.

The absolutization of the technological content of human life has largely suppressed and continues to suppress human nature, reduced social life to purely technological processes, formalized human society and brought them to information exchange and information technology, reduced education, reducing it to teaching and learning, removed human life from circulation. culture, its universals such as faith, conscience, love, tolerance, etc. From here comes the escalation of aggression and social alienation at all levels of social life, including school. Meanwhile, the child, as a phenomenon, is capable of his own multidimensional creative disclosure and creative self-realization. After all, it is the younger schoolchild who to a much greater extent retained the traits of sensitivity for the development of imagination and creative abilities. The reading lesson is of particular importance in this respect. At the center of a literary reading lesson is a work of art as a product of creativity.

The relevance of the topic of this study is, therefore, due to the acute need of society for creatively developed, "creative" people and the actual weak methodological provision of modern primary school with didactic material for the development of creative abilities of primary schoolchildren in reading lessons.

Such scientists and teachers as G.N. Kudin, Z.N. Novolyanskaya, L.E. Streltsova, N. D. Tamarchenko, D.B. Elkonin, A.M. Matyushkina, A.V. Zaporozhets and others. This problem has always worried. It is especially typical for our state, in which long years free-thinking, creative people were oppressed and infringed on their rights. Now the political system of the country has steadily changed, there are all opportunities for educating talents. To implement these ideas, a didactic renewal of the educational process, the creation of a qualitatively new system for the development of a creative personality is necessary. "Immersion in creativity" should be ensured by a competent combination and alternation of forms, methods and techniques for organizing children's creative activities at each stage of education, taking into account their age and individual characteristics, adherence to the principles of accessibility. Thus, the relevance is dictated by the question of the development of creative technologies for teaching, developing and educating the younger generation.

But how can this be achieved? What problems can arise on the way to the goal? What are the features of creative education? This study aims to address these issues.

The problem of the research is to find ways to resolve the contradiction between the demands of society and the passivity of the majority of schoolchildren existing in practice in relation to this issue.

The object of the research is the development of the creative abilities of a primary school student in a reading lesson.

The subject of the research is effective methods of developing the creative abilities of primary schoolchildren in reading lessons.

The purpose of this work: to study the essence and mechanisms of creative abilities, on the basis of which to develop and test a set of methodological techniques, tasks and exercises aimed at developing creative abilities in younger schoolchildren in literary reading lessons

Research objectives:

Based on the goal, the following tasks were outlined:

Based on the analysis of psychological and pedagogical literature, consider the basic definitions of the concepts of "creativity", "ability", identify the essence of creative abilities, their components, age characteristics of younger students; to determine the conditions and main directions of the development of creative abilities in the lessons of the Russian language.

Determine the initial level of development of creative abilities among students in the class.

Based on the analysis of the results obtained, develop and experimentally test the compiled complex that contributes to the development of creative abilities in literary reading lessons.

Experimentally check the effectiveness of the developed complex for the development of the creative abilities of primary schoolchildren.

The novelty of the work: the main directions of the development of the creative abilities of primary schoolchildren are determined on the basis of the analysis of psychological and pedagogical literature; a model of the step-by-step development of students' creative abilities was created, diagnostic techniques used at the ascertaining stage; developed a set of exercises and tasks aimed at developing the creative abilities of students

The hypothesis of the research lies in the assumption that if effective methods of developing creative abilities are applied in the reading teaching system, it is possible to educate a creative personality, develop children's imagination and perception, and instill a love of beauty, which will increase motivation in learning, under certain conditions:

If the techniques are selected in accordance with the age characteristics and capabilities of children;

If a set of classes has been drawn up using effective techniques for developing the creative abilities of a younger student.

Methods: observation, questioning, pedagogical experiment; interview.

The practical significance lies in the possibility of using this work as a methodological aid.

Stages of work:

Study and analysis of literature, the formation of research problems and hypotheses;

Analysis of the problem in real practice, development of practical measures;

Implementation and Analysis;

Generalization, registration of work.

The structure of the work consists of: introduction, two chapters, consisting of three sections, conclusion, bibliography and appendix.

Chapter 1. Development of the creative abilities of a primary school student as pedagogical problem

1 The essence of the concept of "creativity"

In order to reveal the essence of creative abilities, their structure and characteristic features, taking into account the lack of a single generally accepted approach, we will consider the basic concepts necessary for this. Pivotal in our research are the concepts of "creativity" and "ability".

Today in the philosophical, psychological, pedagogical literature, there are various approaches to the definition of creativity. The main difficulty is connected, first of all, with the absence of a direct, operational, psychological content of this concept; this can explain the use until now of the definition of creativity only by its product - the creation of a new one. Philosophers define creativity as a necessary condition for the development of matter, the formation of its new forms, together with the emergence of which the very forms of creativity change. The Philosophical Encyclopedia defines creativity in this way: “Creativity is an activity that generates something new, which has never been before” (49,237).

The psychological dictionary interprets creativity as “an activity, the result of which is the creation of new material and spiritual values ... It presupposes that a person has abilities, motives, knowledge and skills, thanks to which a product is created that is distinguished by novelty, originality, and uniqueness” (39,150).

Pedagogy defines creativity as “ higher form activity and independent human activity. Creativity is assessed according to its social significance and originality (novelty) ”(45, 132).

In fact, creativity, according to G.S. Batishcheva is "the ability to create any fundamentally new opportunity" (5, 13).

Creativity can be viewed in various aspects: the product of creativity is what is created; the process of creativity - how it was created; the process of preparing for creativity - how to develop creativity.

Creative products are not only material products, but also new thoughts, ideas, solutions. Creativity is the creation of something new on different levels and scales. Creativity characterizes not only socially significant discoveries, but also those that a person makes for himself. Elements of creativity are also manifested in children in play, work, educational activity, where there is a manifestation of activity, independence of thought, initiative, originality of judgments, creative imagination.

From the point of view of psychology and pedagogy, the process of creative work itself, the study of the process of preparing for creativity, the identification of forms, methods and means of developing creativity are especially valuable. Creativity is purposeful, persistent, strenuous work. It requires mental activity, intellectual abilities, strong-willed, emotional traits and high performance.

According to foreign authors, creativity is: "... a fusion of perceptions carried out in a new way" (McCallar), "the ability to find new connections" (Kyubi), "... the emergence of new works" (Murray), "the activity of the mind, leading to new insights "(Gerard)," transformation of experience into a new organization "(Taylor) (58, 34).

The American scientist P. Hill defines creativity as "a successful flight of thought beyond the unknown" (28, 36). Of all foreign concepts and theories, humanistic psychology is the closest in its positions to the views of the majority of Russian psychologists who study creativity. Its representatives (A. Maslow, K. Rogers) believe that creativity is the ability to deeply understand one's own experience, it is self-actualization, self-expression, strengthening oneself through the realization of one's inner potential (28).

It is not possible, within the framework of this study, to consider the views on the subject of defining the concept of creativity of even our most famous psychologists - they all differ so much from each other, so much the subject of study is complex and multifaceted. Let's note the most fundamental positions.

ON THE. Berdyaev in his work "The Meaning of Creativity" defines creativity as the freedom of the individual, and the meaning of creativity - the emotional experience of the presence of a contradiction and the search for ways to resolve it (58). IN AND. Strakhov characterizes creativity through the unity of labor and talent, highlighting, respectively, two aspects: activity and associated with the creative abilities of a person (57). The Soviet psychologist A. Mateiko believes that the essence of the creative process lies in the reorganization of existing experience and the formation of new combinations on its basis (9). According to E.V. Ilyenkov, creativity is a dialogue, even because, having no decided result, it is a subject-subject search (52). And further, many researchers have associated creativity with dialogue, with the presence of a situation of uncertainty, problematicity, with the resolution of real contradictions. In the interpretation of Ya.A. Ponomarev, creativity is viewed as "interaction leading to development" (37). Creativity manifests itself, develops and improves in activity under the influence of motivational and need-based attitudes, which constitute the basic properties of a person, the basis of her life position (G.S. Altshuller, Sh.A. Amonashvili, L.S. Vygotsky) (1; 2; 13 ).

L. S. Vygotsky said that the highest expression of creativity is still available only to a select few geniuses of mankind, but in the everyday life around us, creativity is a necessary condition for existence. Everything that goes beyond the routine and in which at least a fraction of the new is, owes its origin to the creative process of man (13).

The phenomenology of creativity can be divided into three main types, which correspond to the types of creativity:

Incentive-productive - the activity can be productive, but this activity is each time determined by the action of some external stimulus.

Heuristic - the activity takes on a creative character. Having a fairly reliable way of solving, a person continues to analyze the composition, structure of his activities, compares individual tasks with each other, which leads him to the discovery of new original, outwardly more ingenious ways of solving. Each found regularity is experienced as a discovery, a creative find, a new, "own" way that will allow you to solve the set tasks;

Creative - independently found empirical regularity is not used as a decision, but acts as new problem... The found patterns are subject to proof by analyzing their original genetic basis. Here the action of the individual acquires a generative character and increasingly loses the form of a response: its result is broader than the original goal. Thus, creativity in the narrow sense of the word begins where it ceases to be only an answer, only a solution to a predetermined problem. At the same time, it remains both a solution and an answer, but at the same time there is something “beyond that” in it, and this determines its creative status.

Currently, scientists distinguish two levels of ability:

reproductive (rapid assimilation of knowledge and mastery of certain activities according to the model),

creative (the ability to create a new original with the help of independent activity).

The same person may have different abilities, but one of them may be more significant than the others. On the other hand, have different people the same abilities are observed, but differing from each other in terms of the level of development.

As a result of experimental research, among the personality's abilities, a special kind of ability was identified - to generate unusual ideas, deviate in thinking from traditional schemes, and quickly resolve problem situations. This ability has been called creativity (creativity).

Creative abilities are not directly related to the level of general and special abilities, which are a real means of successful implementation of activities, but they do not unequivocally determine the creative potential of a person. Their contribution is realized only when it is refracted through the motivational structure of the personality, its value orientations, i.e. there are no creative abilities that exist in parallel with general and special ones (division of IQ and creativity by Guilford) (28). At the same time, the creative potential of a person is not the result of a purely quantitative growth of abilities. From the point of view of D.B. Epiphany, there is the ability to carry out situationally non-stimulated productive activity, i.e. ability for cognitive activity. Its manifestation is not limited to the sphere of mental labor professions and characterizes the creative nature of any type of labor (6).

The concept of creativity (from the Latin Creatio - creation, creation) is often used as a synonym for creativity. We will accept this point of view in our work.

P. Torrens describes creativity in terms of thinking as “the process of feeling difficulties, problems, gaps in information, missing elements, bias in something; constructing guesses and formulating hypotheses concerning these shortcomings, evaluating and testing these guesses and hypotheses, the possibility of revising and testing them, and, finally, generalizing the results ”(15, 243).

K. Taylor, like J. Guildford, considers creativity not as a single factor, but as a set of different abilities, each of which can be represented to a different degree (28).

J. Renzulla also understands creativity as features of personality behavior, expressed in original ways of obtaining a product, achieving a solution to a problem, new approaches to a problem from different points of view (58).

S. Mednik views creativity as a process of redesigning elements in new combinations that meet the requirements of utility and some special requirements. In his opinion, the more distant areas are taken from the elements of the problem, the more creative is the process of its solution (16).

F. Barron understands creativity as the ability to bring something new into experience, and M. Wallach - the ability to generate original ideas in the context of solving or posing new problems (58).

Based on the foregoing, at least three main approaches to the essence of creative (creative) abilities can be distinguished:

As such, there is no creative ability. Intellectual giftedness is a necessary but insufficient condition for the creative activity of a person. The main role in the activation of creative behavior is played by motivations, values, personality traits (A. Tannenbaum, A. Olokh, A. Maslow, etc.). Among the main features of a creative personality, these researchers include cognitive giftedness, sensitivity to problems, independence in uncertain and difficult situations.

The procedural-activity approach of D.B. Epiphany. Creativity is seen by her as the activity of the individual, which consists in the possibility of going beyond the given. It presupposes the coincidence of motive and purpose, that is, enthusiasm for the object itself, absorption in activity. In this case, the activity is not suspended even when the original task is completed, the original goal is realized. We can say that there was a development of activity at the initiative of the personality itself, and this is creativity.

Creativity is an independent factor, independent of the intellect (J. Guildford, K. Taylor, G. Gruber, Ya.A. Ponomarev). In a milder version, this theory claims that there is little relationship between intelligence and creativity.

A high level of intelligence development implies a high level of creative abilities and vice versa. The process of solving creative problems is the interaction of other processes (memory, thinking, etc.). Such a solution to the problem corresponds to one of the approaches identified by V.N.Druzhinin: there is no creative process as a specific form of mental activity, creative abilities are equated with general abilities. This point of view is shared by almost all specialists in the field of intelligence (F. Galton, D. Wexler, R. Weisberg, G. Eysenck, L. Termen, R. Sternberg, etc.).

The concept of "creativity" can be defined on the basis of the provisions of such researchers as V.N. Myasishchev, A.G. Kovalev, N.S.Leites, K.K.Shatonov, S.L. Rubinshtein, V.A. Krutetsky, A.N.Luk, T.I. Artemiev, V.I. Andreev and others (3; 7; 17; 20; 22; 25; 28; 30; 37; 41).

Creativity is a set of individual personality traits that determine the possibility of successful implementation of a specific type of creative activity and determine the level of its effectiveness. They are not limited to the individual's knowledge, skills and abilities. Creative abilities are manifested in interest, striving and emotional attitude to creativity, as knowledge, the level of development of logical and creative thinking, imagination, independence and perseverance in creative search and provides the creation of a subjectively new in a particular area.

2 Components of creativity

Creativity is a fusion of many qualities. The question of the components of human creativity is still open, although at the moment there are several hypotheses regarding this problem.

Creativity falls into three main groups:

) abilities related to motivation (interests and inclinations);

) abilities associated with temperament (emotionality);

) mental capacity.

R. Sternberg (58) indicates that the process of creativity is possible with three special intellectual abilities:

a synthetic ability to see problems in a new light and avoid habitual ways of thinking;

analytical ability to assess whether ideas are worth further development;

a practical-contextual ability to convince others of the value of an idea.

If an individual has too developed analytical ability to the detriment of the other two, then he is a brilliant critic, but not a creator. Synthetic ability, not supported by analytical practice, generates a lot of new ideas, but not substantiated by research and useless. Practical ability without the other two can lead to brightly presented, but "bad" ideas. For creativity, the independence of thinking from stereotypes and external influences is required.

Creativity, from the point of view of Sternberg, presupposes the ability to take reasonable risks, the willingness to overcome obstacles, internal motivation, tolerance (tolerance) to uncertainty, the willingness to resist the opinions of others.

The well-known Russian researcher of the problem of creativity A.N. Luke (25), based on the biographies of prominent scientists, inventors, artists and musicians, distinguishes the following creative abilities:

) the ability to see the problem where others do not see it;

) the ability to curtail mental operations, replacing several concepts with one and using symbols that are more and more information-capacious;

) the ability to apply the skills acquired in solving one problem to solving another;

) the ability to perceive reality as a whole, without splitting it into parts;

) the ability to easily associate distant concepts;

) the ability of memory to give out the necessary information at the right moment;

) flexibility of thinking;

) the ability to choose one of the alternatives for solving the problem before checking it;

) the ability to incorporate newly perceived information into existing knowledge systems;

) the ability to see things as they are, to distinguish the observed from what is introduced by the interpretation;

) ease of generating ideas;

) creative imagination;

) the ability to refine details, to improve the original concept.

Candidates of psychological sciences V.T. Kudryavtsev and V. Sinelnikov (20), based on a wide historical and cultural material (history of philosophy, social sciences, art, individual spheres of practice), identified the following universal creative abilities that developed in the process of human history:

) the realism of imagination - a figurative grasp of some essential, general tendency or pattern of development of an integral object, before a person has a clear concept of it and can enter it into a system of strict logical categories;

) the ability to see the whole before the parts;

) the over-situational-transformative nature of creative solutions; the ability to solve a problem not only to choose, but to independently create an alternative;

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

Educational scientists and practitioners G.S. Altshuller, V.M. Tsurikov, V.V. Mitrofanov, M.S. Gafitulin, M.S. Rubin, M.N. Shusterman (14; 16; 17; 20; 30; 48; 53; 54), who develop programs and methods of creative education based on TRIZ (theory of inventive problem solving) and ARIZ (algorithm for solving inventive problems), consider that one of the components the creative potential of a person is made up of the following abilities:

) the ability to take risks;

) divergent thinking;

) flexibility in thinking and acting;

) speed of thinking;

) the ability to express original ideas and invent new ones;

) rich imagination;

) the perception of the ambiguity of things and phenomena;

) high aesthetic values;

) developed intuition.

IN AND. Andreev (3) proposed a structural model that makes it possible to single out the following enlarged components (blocks) of a person's creative abilities:

Motivational and creative activity and personality orientation;

Intellectual and logical abilities of a person;

Intellectual-heuristic, intuitive abilities of a person;

Worldview personality traits that contribute to creative activity;

The ability of the individual to self-government in educational and creative activities;

Communicative and creative abilities of the individual;

The effectiveness of creative activity.

In our opinion, the methods of these scientists are more suitable for children of senior school age. Therefore, let us consider what abilities have been identified by other scientists.

L.D. Stolyarenko (43) identified the following abilities that characterize creativity: plasticity (the ability to produce many solutions), mobility (quick transition from one aspect of the problem to another, not limited to one single point of view), originality (the product of unexpected, non-trivial, non-trivial solutions).

The famous American psychologist D. Guilford (28) identified 16 such intellectual abilities. Among them: fluency of thought (the number of ideas that arise in a unit of time), flexibility of thought (the ability to switch from one idea to another), originality (the ability to generate new non-standard ideas), curiosity (sensitivity to problems in the world), the ability to develop a hypothesis , fantastic (complete isolation of the answer from reality in the presence of a logical connection between the stimulus and the reaction), completeness (the ability to improve one's "product" or give it a finished look).

The problem was further developed in the works of P. Torrens (58). His approach is based on the fact that the abilities that determine creativity include: ease, which is assessed as the speed of the task, flexibility, assessed as the number of switchings from one class of objects to another, and originality, assessed as the minimum frequency of occurrence of a given response in a homogeneous group. ... In this approach, the criterion for creativity is not the quality of the result, but the characteristics and processes that activate creative productivity: fluency, flexibility, originality and thoroughness in the development of tasks. According to Torrens, the maximum level of creative achievement is possible with a combination of a triad of factors: creativity, creativity and creative motivation.

In psychology, it is customary to associate the ability for creative activity, primarily with the peculiarities of thinking. Creative thinking is characterized by associativity, dialecticism and consistency.

Associativity is the ability to see connections and similarities in objects and phenomena that at first glance are not comparable. Dialectic thinking allows us to formulate contradictions and find a way to resolve them. Another quality that forms creative thinking is consistency, i.e. the ability to see an object or phenomenon as an integral system, to perceive any object, any problem comprehensively, in all the variety of connections; the ability to see the unity of interconnections in the phenomena and laws of development. The development of these very qualities makes thinking flexible, original and productive.

A number of scientists (15; 27; 37; 55; 57; 58) are based on the connection of creative thinking with associations. S. Mednik notes that thinking is considered the more creative, the more distant are the ideas between which associations arise, they must, in turn, meet the requirements of the task and be characterized by usefulness. The paths of creative decisions based on associations are: intuitive foresight, finding similarities between individual elements (ideas), and mediating some ideas by others.

Creativity embraces a certain set of mental and personal qualities that determine the ability to be creative. One of the components of creativity is the ability of the individual. Many of the researchers identify motivation, values, and personality traits of an individual in creative behavior. Under the influence of motivation, the indicators of creativity increase.

K.M. Gurevich, E.M. Borisova (1) note that there are points of view on the motivation of creativity as a desire to take risks, to check the limit of one's capabilities and how to try to realize oneself in the best way, correspond to one's capabilities as much as possible, perform new, unusual types of activity, apply new methods of activity.

A.M. Matyushkin (30) believes that achievement motivation is necessary for creativity. According to Ya.A. Ponomarev (36), creativity is based on the global irrational motivation of a person's alienation from the world. The peculiarities of the motivation of a creative person are seen by him in satisfaction not so much by the achievement of the result of creativity, as in the process itself, the desire for creative activity.

There is also a special approach that links IQ and creativity on a completely different basis. According to this approach, presented by M.A. Vollakh and N.A. Kogan (28), the personality traits of a schoolchild depend on a different combination of intelligence and creativity levels.

In our study, we were of the opinion that for the optimal manifestation of creative abilities, the cognitive and motivational spheres of a person should interact as an organic whole.

It is impossible not to take into account the social environment in which the personality is formed. Moreover, it must be actively formed. Therefore, the development of creative abilities depends on what opportunities the environment will provide for realizing the potential that each person has to varying degrees. All environment should promote the development of creativity. V.N. Druzhinin notes that "the formation of creativity is possible only in a specially organized environment" (17,231). For example, M. Volakh and N. Kogan (28) speak out against strict time limits, an atmosphere of competition and the only criterion for the correct answer. In their opinion, for the manifestation of creativity, a relaxed, free environment, ordinary life situations, when the subject can have free access to additional information on the subject of the task, is needed.

D.B. Epiphany (7.64) singled out a unit for measuring creative abilities called "intellectual initiative." She sees it as a synthesis of mental abilities and the motivational structure of the personality, manifested in "the continuation of mental activity beyond what is required, beyond the solution of the problem that is posed to the person."

The analysis of psychological and pedagogical literature on the problem of the development of creative abilities showed that a unified approach to the assessment of creative abilities has not yet been developed. Despite the difference in approaches to their definition, researchers unanimously single out the creative imagination and the qualities of creative thinking (flexibility of thought, originality, curiosity, etc.) as mandatory components of creative abilities. The criterion is the creation of a new product, as well as the realization by a person of his own individuality, while it is not at all necessary to create some kind of product, etc. Almost all approaches emphasize such an important distinctive feature of creativity as the ability to go beyond a given situation, the ability to formulate own purpose.

Based on the analysis of various approaches to the problem of the development of creative abilities, we highlight the main directions in the development of the creative abilities of primary schoolchildren: the use of methods of organizing and motivating creative activity, the development of imagination and the development of the qualities of thinking.

3 Basic conditions for the development of creative abilities of primary schoolchildren

The successful development of creative abilities is possible only when certain conditions are created that are conducive to their formation. In the psychological and pedagogical literature, such conditions are:

Changing the role of the student. A fundamental change in the role of an elementary school student in the lesson, according to which he should become an active participant in knowledge, having the opportunity to choose, satisfy his interests and needs, and realize his potential. In the process of performing creative tasks, personal-activity interaction between students and a teacher is necessary. Its essence lies in the continuity of direct and reverse impact, the awareness of interaction as co-creation.

Comfortable psychological environment. Creation of a comfortable psychological environment conducive to the development of abilities: encouragement and stimulation of children's desire for creativity, faith in the strength and capabilities of schoolchildren, unconditional acceptance of each student, respect for his needs, interests, opinions, exclusion of comments and judgments. Negative emotions (anxiety, fear, self-doubt, etc.) negatively affect the effectiveness of creative activity, especially in children of primary school age, since they are characterized by increased emotionality. A favorable psychological climate is also important in the student collective, which reigns in the event that an atmosphere of benevolence, care for everyone, trust and exactingness is created.

Creation of intrinsic motivation for learning. The need for internal motivation for learning with a focus on creativity, high self-esteem, self-confidence. Only on their basis is the successful development of creative abilities possible. Then the cognitive need, the child's desire, his interest not only in knowledge, but also in the search process itself, emotional upsurge will serve as a reliable guarantee that a greater tension of the mind will not lead to overwork, and will go to the child to the benefit.

Correct pedagogical assistance to the child. Unobtrusive, intelligent, friendly help (not prompting) from adults. You cannot do something for a child if he can do it himself. You cannot think for him when he himself can think of it.

Combination of various forms of work. The optimal combination of frontal, group, individual forms of work in the lesson, depending on the goals of the creative task and its level of complexity. The preference of the collective and group forms is due to the fact that a joint search allows you to combine the knowledge, skills, abilities of several people, contributes to an increase in the intensity of reflection, which plays an important role in the process of creating a new one. In the process of reflection, the student is aware not only of creative activity as such, but also of himself in creativity (his needs, motives, opportunities, etc.), which allows him to adjust his educational path.

Intersubject. In the process of solving creative problems, as a rule, it is necessary to use knowledge from different fields. And the more difficult the task, the more knowledge should be applied to solve it.

Creation of a situation of success. Creative assignments should be given to the entire class. When they are done, only success is assessed. The teacher must see individuality in each child. Do not prepare creative assignments personally for the brightest students and offer them instead of the usual assignments that are given to the whole class.

Self-reliance on a creative task. The child's independent solution of tasks requiring maximum effort, when the child reaches the "ceiling" of his capabilities and gradually raises this ceiling higher and higher. Complex, but feasible for children, creative tasks are needed, which stimulate interest in creative activity and develop the corresponding skills.

A variety of creative tasks, both in content and in the forms of their presentation, and in the degree of complexity. The optimal combination of creative and ordinary educational tasks contains rich developmental opportunities, ensures the work of the teacher in the zone of proximal development of each of the students.

Consistency and consistency in the development of creative abilities of primary schoolchildren. The episodic nature of creative exercises and assignments provided for by any elementary education program does not contribute to the activation of the creative activity of students, therefore, it does not effectively affect the development of the creative abilities of children.

Based on the studied literature on the topic, in this work we tried to determine the main directions and methods for the development of such important components of creative abilities as motivation, creative thinking and imagination in primary school age. We have developed a system, i.e. an ordered set of various creative tasks focused on cognition, creation, transformation and use in a new quality of objects, situations, phenomena aimed at developing the creative abilities of schoolchildren in the educational process.

1.4 Development of creativity in literary reading lessons

The development of the creative abilities of junior schoolchildren in literary reading lessons is a problem that I have been working on for the second year. Summarizing the studied literature, for solving this problem, I consider it important and necessary - the activity, initiative, creative search of the teacher himself. Creativity is a complex phenomenon, complexly conditioned by many social pedagogical and psychophysiological prerequisites. Teaching creativity is, first of all, teaching a creative attitude to work. Labor is the most important source of the formation of cognitive activity, without which there is no creative personality. The style of teaching lessons also contributes to the development of creative abilities: a creative, friendly microclimate, an atmosphere of respect and cooperation between the teacher and students, attention to each child, encouragement of even the slightest success. In the lesson, children should receive not only knowledge and skills, but also general development. The teacher must create conditions for the manifestation of the creative abilities of students, master tactics, technology, i.e. with a specific program of creative exercises, which would include the activation of the main components of creativity: emotions, imagination, figurative thinking... For creative lessons, you need a feeling of confidence that your non-standard finds will be noticed, accepted and correctly evaluated. Many students feel embarrassed when showing their work. “I did it badly” - sometimes such assessments correspond to reality, the true situation, but often they conceal a different content: the child is sure that the work is done well, but he lowers his impression of it, hoping that the teacher will still notice and be surprised how successfully the task was completed. The teacher's attitude to the results of children's creativity is a very broad topic. It is necessary to take a careful attitude towards what is created by children, to abandon criticism, to choose a position of acceptance, value attitude towards the creativity of students. When the relationship of trust and openness between teachers and students is consolidated, it is possible and necessary to compare the completed assignment with the set creative task.

Creativity is creation, it is an activity, the result of which is the creation of new material and spiritual values. In education, creativity is usually associated with the concepts of "ability", "intelligence", development.

In particular, in order to solve developing learning goals, I organize a systematic, purposeful development and activation of creative activity in a system that meets the following requirements:

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

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

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

In accordance with these requirements, my classes include four sequential stages:

) warm-up;

) development of creative thinking;

) performing developmental partial search tasks;

) solving creative problems.

These tasks are given to the whole class. When they are done, only success is assessed. Such tasks are not evaluative, but educational and developmental in nature. Such work creates a spirit of competition, concentrates attention, develops the ability to quickly switch from one type to another.

The main condition for creative work is the organization of interaction between children and adults in accordance with the principles of humanistic psychology:

) Admiration for each student's idea is similar to admiration for the first steps of a child, suggesting:

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

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

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

) Creation of a climate of mutual trust, valuelessness, acceptance of others, psychological safety.

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

To equip children with means of creative self-expression, this program uses various materials: literary works, problem situations, drama of situations invented by children, conflict situations from life and literature, entailing the ability to recognize and express their own emotional states, react differently to one and the same situation.

Chapter 2. Experimental research of effective methods for the development of creative abilities of primary schoolchildren

1 Criteria and tools for diagnosing the level of development of creative abilities of primary schoolchildren

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

Cognitive criterion, with the help of which knowledge, ideas of younger schoolchildren about creativity and creative abilities, understanding of the essence of creative tasks are identified.
Motivational - need-based criterion - characterizes the student's desire to prove himself as a creative person, the presence of interest in creative types of educational tasks.
Activity criterion - reveals the ability to originally perform tasks of a creative nature, activate the creative imagination of students, carry out the thinking process outside the box, figuratively.

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

Table 1

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

CriteriaIndicatorsMeasuresCognitive1.Knowledge of the concept of "creativity" and operating with it. 2. Presence of ideas about creativity and creativity. Testing Method "Typesetter". Motivational-need-1 .. Attitude to creative exercises. 2. Development of creativity. 3. Striving for self-expression, originality. Observation. Methodology "Make a story about a non-existent animal" Activity 1. Proposal of new solutions in the process of educational activity. 2. Manifestation of non-standard, creativity, originality of thinking. 3. Participation in collective creative activity Observation Method of problem situations. Three Words Technique

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

creative ability literary development

table 2

Levels of development of creative abilities of primary schoolchildren

Criteria High level Medium level Low level Cognitive Has a sufficient level of knowledge, good speech development. Has an insufficient level of knowledge, concepts, ideas; average speech development. has a low level of knowledge, fragmentary, poorly mastered concepts, poorly developed speech. personality. The student is passive, does not seek to show creativity. Active. Shows originality, imagination, independence when performing tasks. Shows originality, non-standard when performing tasks. But the teacher's help is often required. He cannot create and make unusual images, decisions; refuses to perform creative tasks

Characteristics of the levels of creative abilities of primary schoolchildren

1.High level.

Students show initiative and independence in their decisions, they have developed a habit of free self-expression. The child shows observation, quick wits, imagination, high speed of thinking. Students create something of their own, new, original, unlike anything else. Teacher work with students who have high level consists in the application of those techniques aimed at developing their very need for creative activity.

2. Intermediate level.

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

3.Low level.

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

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

The research was carried out during 2010-2011. and went through 3 stages in its development:

The ascertaining experiment.

Formative experiment (experimental group).

Control experiment.

At the first stage (October 2010), a theoretical analysis of the research problem was carried out, its tasks, goals, hypothesis were determined, and an ascertaining experiment was carried out.

At the second stage (November - December 2010-2011), a formative experiment was carried out in the experimental group.

At the third stage (April 2011), a control experiment was carried out and the results of the study were systematized.

Experimental work to study the development of creative abilities of primary schoolchildren was carried out in the 3rd grade of the Gladchikhinsky primary general education school (experimental group) and in the 4th grade of the Gladchikhinsky primary comprehensive school (control group).

One of the tasks of the experimental work was to determine the initial level of development of the creative abilities of students in grades 3-4 participating in the experiment.

2 Revealing the level of development of creative abilities in primary schoolchildren (ascertaining experiment)

The purpose of the ascertaining experiment: revealing the level of development of creative abilities in children of the control and experimental groups.

The ascertaining experiment was carried out in accordance with the criteria, indicators and measuring instruments presented in Table 1.

"Typesetter" technique

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

The diagnostic data obtained during the first ascertaining experiment are presented in tables 3, 4, 5, in Fig. 1, 2,3.

Table 3

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

Levels Grade High Medium Low Experimental 20% 40% 40% Control 20% 40% 40%

Methodology "Make a story about a nonexistent animal"

The child is given a piece of paper and asked to come up with a story about an unusual fantastic animal, that is, about one that has never existed and does not exist anywhere else (you cannot use heroes of fairy tales and cartoons). The task is given 10 minutes. The quality of the story is assessed according to the criteria and a conclusion is made about the general level of development of creative abilities.

Table 4

Distribution of students in the experimental and control classes according to the motivational-need criterion (the first ascertaining experiment)

Levels Grade High Medium Low Experimental 20% 60% 20% Control 40% 60%

Three Words Technique

Words for work: birch, bear, hunter.

Evaluation of results:

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

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

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

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

score - meaningless combination of words (white birch, cheerful hunter, clubfoot bear).

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

Table 5

Distribution of students in the experimental and control classes according to the activity criterion (the first ascertaining experiment)

Levels Grade High Medium Low Experimental 80% 20% Reference 20% 60% 20%

The level of development of mental operations in students of the control group at the initial stage of the experiment.

No.F.I. students Cognitive criterion Motivational-need criterion Performance criterion 1Anya G. low-medium-low 2 Artem A. medium-high-high 3 Andrey I. low-medium-medium 4 Zhenya K. medium-medium-medium 5 Misha I. high-high-high

Table 9

The level of development of creative abilities among students of the experimental group at the initial stage of the experiment.

No.F.I. students Cognitive criterion Motivation-need criterion Activity criterion 1 Katya B. low low low 2 Irina B. high high average 3 Nastya O. middle middle middle 4 Kirill Z. middle middle middle 5 Sergei G. low middle middle

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

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

3 A system of exercises that contribute to the development of creative abilities of primary schoolchildren in literary reading lessons

By the system I mean the sequential inclusion of creative tasks: from simple to complex. Firstly, it is the education in students of qualities that serve as prerequisites for creative activity: observation, sociability, speech and general activity, well-trained memory and speed of recall, intelligence, the habit of analyzing and comprehending facts. For creativity, you need will, the ability to overcome your laziness and objective difficulties, activity in all matters and, first of all, in knowledge. At the same time, the prerequisites for creativity are the world of emotions, the ability to get carried away, developed cognitive interests, imagination. Secondly, the self-expression of the individuality, the personality of the student through creativity. A wide variety of types of essays serve for self-expression: reviews of books read and watched performances, drawing frames of an imaginary film or filmstrip as read. Thirdly, these are elements of student research activities.

The optimal condition for the intensive development of the creative abilities of schoolchildren is the planned, purposeful presentation of them in a system that meets the following requirements:

cognitive tasks should contribute to the development of mental properties of the individual - memory, attention, thinking, imagination;

tasks should be selected taking into account the rational sequence of their presentation: from reproductive ones, aimed at updating existing knowledge, to partial search ones, focused on mastering generalized methods of cognitive activity, and then to creative ones proper;

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

According to Vygotsky: “There is one basic fact that very convincingly shows that a child must grow up to literary creativity. Only at a very high level of mastery of speech, only at a very high level of development of the child's personal inner world, literary creativity becomes available. This fact lies in the lag in the development of children's written language from oral speech. " It is the lessons of literary reading, starting from the first days of a child's stay at school, that contribute to the development of oral and written speech, as well as the development of the creative abilities of schoolchildren, since the student in the educational process of learning tries to take the position of a researcher, a creator. The goal of the teacher is to bring the personality of each student into the development mode, to awaken the instinct of cognition.

The development of creativity through literary activity will be successful if the following conditions are met:

use a set of methodological techniques aimed at developing creative potential;

foreign literary material should be based on the knowledge of children in the field of domestic literature, then we will teach them to respect their culture and enrich their horizons;

to carry out the continuity between the initial and senior step learning.

The course of literary reading involves the involvement of all schoolchildren in creative activity, and not only reading. Depending on the inclinations and inclinations, each child can express himself in creativity in different ways: as a writer, critic, illustrator, reader, actor.

Since creative activity presupposes the presence of literary and creative skills in children, a special system of exercises and tasks is needed, which made it possible to form the ability to perform creative tasks step by step.

Depending on the type of creative activity, 3 groups of methods and techniques can be distinguished, which are aimed at stimulating the creative activity of younger students and the development of creative abilities in literary reading lessons:

Verbal deployment of images of the work.

Theatrical creative activity.

Fine creative activity.

Verbal deployment of images of a work in literary reading lessons

When working with literary texts, the main method will be creative reading, the direction of which is expressed primarily in the desire to make reading an act of co-creation with the creator of the text. Another side of this method is the development of the ability for creative self-expression in the process of interpreting what has been read while performing various works of a creative nature with text. The purpose of this method is to activate artistic perception both at the beginning of the study of the work and after analysis. The images created by fantasy during reading are the result of the reader's creative activity and stimulate verbal creativity. It can be represented by expressing impressions about what you read, recollecting a similar incident from your life, inventing a continuation, verbal drawing of pictures, creative retelling. Creative reading is the basis for the formation of a high artistic taste and is driven by curiosity. Methodological techniques that ensure the implementation of the creative reading method: expressive reading, commented reading, creative assignments, posing an educational problem in the classroom.

Great importance is attached to the development of expressive reading, since expressiveness, based on a thoughtful analysis of the text, contributes to a deep understanding of the work, episode, phrase, and also contributes to the development of creative reading.

What do you need to know and be able to in order to learn to read expressively?

It is necessary to master the technique of expressive speech, i.e. voice, breath, diction.

To be able to define for oneself the task of reading, i.e. understand exactly what feelings and thoughts we want to convey to the audience.

To be able to use intonation means of expressiveness in strict accordance with the reading task.

Observe the laws of the genre - works of different genres are read in different ways, you cannot use the same means of speech expression when reading a fable, a humorous story, etc.

In order for students to read expressively, they need help in choosing and using means of artistic expression (metaphors, epithets, personification, comparison) and means of sound expressiveness (voice, intonation, tempo, pauses, melody, logical stress).

So, studying the topic "Tongue twisters", I offer students exercises for developing voice strength (we read loudly, even louder, quieter, even quieter), the choice of intonation, logical stress.

The main means of speech expressiveness is intonation. When reading a work of fiction, intonation arises after comprehending the text, understanding the author's intention and intention, a conscious attitude towards the characters, their actions and events. Here are some tasks:

convey in the text joy, indignation, pride, sadness;

read a sentence with different intonations.

The guys work with pleasure, try different intonation colors and choose for themselves the one that is closer to them in meaning or which is easier to convey. Thus, each student reads the same work with a different feeling inherent only in his current mood or desire to acquaint his comrades with his intonational find.

You can hold a competition "Who with a large number of shades of intonation can read the same word (phrase)" or the game "I will not give it!" I ask the children to dream up and say: "Give me a toy," as rain, thunder, a bird could say. Then answer: “I won’t give it!”, Using the voices of the same characters.

There must be an expressive reading of an adult - this is a kind of theater of one actor, which with its play (intonation, pauses, placement of accents) facilitates the work of school readers, helps them discover new depths and shades in the text. Expressive reading can be carried out both by the teacher himself and by a professional reader (in writing); it is also possible to listen to recordings of performances.

Expressive reading of the children themselves (by heart or from a book) is a kind of report to the teacher, class, and oneself about their understanding of the text, its interpretation, practically performed by the child not only for himself, but also for others. This work can be done in the form of a reading competition.

A literary work is the art of words, so from the first grade I use such a creative task as working on an artistic word, its meaning and form. The word allows the children to realize the world of their feelings and teaches them to "mark" with this sense of the word, therefore it is necessary to develop in children the "sense of the word" - the basis of literature as a form of art. To identify the expressive possibilities of the word, children perform special creative tasks. They have to answer orally and in writing to seemingly strange questions: “What moods arise in me when I hear“ noise ”,“ rustling ”,“ babble ”? What I feel, imagine when the word "wave" sounds, etc. Thus, the child touches one of the deepest secrets of literary creativity: that amazing phenomenon when a work “grows” from the “grain” of a single word, which is unusual, individually sounded and evoked a whole range of feelings.

When working with children, I use the "Literary Experiment" technique. The purpose of this technique is to give children material for comparison, to draw their attention to the author's choice of word. We observe how the text sounds without the author's word, how has it changed? Further, children find this or that expression in other texts, come up with their own examples, and then use these expressive means in their own speech.

An effective technique for understanding and finding artistic means is when we do not replace the word, but “turn on” the imagination: “The rain was drumming on the roof” - as you imagine.

To educate attention to the word, I suggest that the children compose a crossword puzzle based on the work they have read, or I use ready-made crosswords.

In the system of creative tasks, the game "Confusion" occupies a special place. This is a creative word game, a word game, as M. Gorky said. The essence of the game is as follows. On the blackboard or on separate pieces of paper are written out interspersed, separated by commas, the words of several aphoristic sayings. Children need to carefully read the words, think and try to isolate from all the words those that will make up familiar aphorisms. You can attract not only proverbs, but also sayings, riddles, various examples of children's folklore.

It is possible to use the following tasks in the work on the word:

The “Connections” task teaches you to compose as many questions as possible by connecting two subjects. For example, a ruler is a book, a hat is a bridge, a newspaper is a camel, straw is a TV, an iron is a tram. Questions should be unusual or funny.

Assignment "Definition"

Cards are given out with the words: bus, apple, lake, chamomile, dandelion, etc. It is proposed to talk about your object within one minute so that everyone understands what the speaker means. You can not call your word and gesticulate with your hands.

Assignment "Parade of Home Creative Achievements"

Given words: telephone, circus, Kindergarten, cake, etc.

One group should provide a paradoxical interpretation of each word, while the other determines the best interpretation of the words.

Reception "Mosaic"

The class is divided into groups and each group is asked to ask questions about a given passage of text.

Reception "Associative riddles"

Much attention in the lessons is paid to folklore, especially working with proverbs, riddles, Russian folk tales, as well as with epics and legends. Working on riddles is an exercise in self-development thinking, quick wits, imagination. They teach children to speak brightly, figuratively, simply. Lessons using riddles are interesting and do not tire students, providing them with useful exercises for the mind. When composing a riddle, children get the opportunity to concentrate their attention on a specific, realistically perceived or imagined object. Another feature of this genre: a riddle is a form of poetic creativity, it is always a short work, which is essential for younger students when a small text is available for them to write. Work in the lesson is carried out in several stages: guessing riddles, observation, actually composing riddles, at first collectively, then independently. The goal of the last stage is to teach how to use the algorithm for composing associative riddles. The work is carried out according to the table, which is filled in in the course of composing the riddle.

What does it look like? -… What is the difference? - ...

Proverbs and riddles are used in creative works to consolidate the concept of "consonance" or "rhyme". Children willingly and successfully clothe their riddles in rhyming form.

You can offer the guys to turn into scientists-folklorists and give an assignment for research: guess which riddle is older?

One of the most rewarding ways to encourage students to be creative is to work with a proverb.

Types of creative works with a proverb:

Collective compilation of an instructive oral story according to a proverb.

Choose a fairy tale to which the proverb fits.

Determine which proverb expresses the main idea of the tale.

Competitions: “Expert in Russian Proverbs”, “Expert in Small Genres of Russian Folklore”.

From the first lessons of literacy and listening in the first grade, tasks of a creative nature are gradually included, requiring independent activity of students: highlighting and reading individual episodes, characterizing heroes, comparing heroes, their speech, actions. Such types of literary and creative activities, in which the student can introduce an element of creativity, reflect their emerging individual taste, help to better understand the image of the hero, his thoughts and actions. The structure of the work on the work is as follows: the author - the literary text - the reader. I teach to express the "point of view" of the author, heroes and reader. Working with the text, children determine "by whose" eyes one or another phenomenon of life is seen. Different interpretations are possible, sometimes even unexpected, because they are creative. The variability of answers is an indicator of creative reading work, the birth of individual ways of reading.

Creative retelling is the transformation of a text with the aim of rethinking it. There are two types of creative retelling: retelling according to an altered plan and changing the face of the narrator. Imaginary storytelling and storytelling on behalf of the reader require transforming the form of the text, activating the vocabulary of students and using words from the text of the work. Creative tasks include a concise and detailed retelling.

You can carry out:

a competition of speakers, while teaching to put oneself in the place of another, to see the world through the eyes of others, to understand it. It is necessary to imagine yourself in the place of the hero of the work and tell about yourself;

game "Journalists"

Those who want to play the role of the heroes of the work, we invite you to sit under the tree of wisdom. The rest of the children are journalists. Their task is to ask an interesting, unusual question to the heroes. The task of the "heroes" of the work is to give a complete, good answer.

game "Philosophical table"

Introduce yourself as philosophers and talk about the work and express your thoughts. (You can prove and defend your point of view at a round table)

From the first lessons of reading, I use a lot of poetic material: riddles, poems about letters, rhymes, collections of poetic dialogues, varying degrees of difficulty, phrases. At primary school age, children show great interest in versification. But before you start rhyming yourself, you need to be able to read poetry, observe their construction, artistic features, learn to see pictorial means (comparisons, epithets, metaphors, personifications) that help to understand feelings and experiences. With the help of special exercises, students learn to rhyme words, add rhymed lines. These are exercises like this:

add syllables to words (mu-, pro);

finish the phrase;

come up with a rhyme for the word (ray - ...);

connect rhyming words;

catch a rhyme (come up with a word that rhymes with a given);

the game "Syllabic auction" - the winner is the one who calls the word last (lamella, rock, arc);

come up with a funny phrase, each word of which begins with the same letter, with the same word: for example, Pyotr Petrovich Petukhov caught a quail bird, went to sell, asked for half a dollar, received half;

the game "The fourth extra" (spoon, porridge, midge, basket);

the game "Burime" - to finish writing a poem using rhyming words;

restore the scattered poem;

add a poem at its beginning: “The ducks are leaving the pond,

Fly far south ...

game "Who will pick up more rhymes"

Titmouse - water - birds

game "Add-ons"

Where did the sparrow eat?

At the zoo near ...

"One line competition" Given the first line of the poem, we come up with an ending and determine the most successful option.

To develop the creative abilities of children, I use the methodological technique proposed by T.D. Zinkevich-Evstigneeva, - an interpretation of a fairy tale.

Interpreting the work, each student has the opportunity to express himself creatively, acting in a new role.

Here are examples of some of the assignments.

). Describe the character of the protagonist before meeting ... and after.

). Tell the plot of a famous fairy tale on behalf of the characters or objects - “participants in the events”.

). Tell a fairy tale so that the heroes become antiheroes (evil - kind, greedy - generous, etc.)

Compose a fairy tale on given 1-2 subjects that are usually not typical for characters in fairy tales (for example, a drop of rain, an entrance door, a grain from a spikelet, etc.).

). Plot forecasting. A pause hearing is proposed.

At a certain stage in the development of the plot, I interrupt the reading and ask the question of how the hero should act in a difficult situation.

Reading pause. Referring to the class:

Come up with a story about how a hedgehog outwitted a hare. (Listen to two or three people).

Listen to the tale to the end and compare the continuation of the tale with your story.

). Telling familiar fairy tales with different sayings.

). Rearrangement of characters within one fairy tale.

). Inclusion of additional characters in the plot of the tale.

). Rearranging characters.

). Comparison of several works is a creative work that has a research character. For example, comparing the beginning of fairy tales. Children from the first grade conduct a research search and come to the conclusion that fairy tales begin in different ways: "Once upon a time ...", "In a certain kingdom ...", "He lived in the world ...", etc.

Writing fairy tales is one of effective techniques for the development of the creative abilities of children, contributes to the self-expression of the younger student. Work on creative processing is carried out throughout the study of fairy tales. “The most important thing is not to frighten off a fairy tale,” N. Dobronravov said. The child is drawn to a fairy tale, because this is the world of his fantasy, these are his first ideas about life. The ability to believe in a miracle, in a dream, is formed in childhood. She helps to look outside the box at life situations, to be creative in solving problems. By listening to and reading fairy tales, a person accumulates a “bank of life situations”. The creative work is the explanation of the main plot lines, the actions of the heroes, comparison with a similar fairy tale. Sukhomlinsky wrote: "Through a fairy tale, fantasy, game, through a unique children's creativity - the right way to the heart of a child." Children are very fond of listening to fairy tales, but, as a rule, they do not know how to compose them. Therefore, before allowing children to write their own fairy tale, at the beginning of the training, it is advisable to use techniques that will help gradually introduce children to the role of "storytellers".

Highlight key words from a fairy tale

To disenchant a fairy tale, you must use these words to remember what it is called, who it is

Collective extraction of key words from a fairy tale.

Self-selection of key words.

Composing a fairy tale based on key words.

Solve "fairy-tale problems" without changing or minimally changing the plot of the fairy tale:

What should be done so that Ivanushka gets drunk, but does not become a kid?

How to make sure that Ryaba's hen's egg doesn't break?

What does Little Red Riding Hood's grandmother need to do so that the wolf doesn't eat her?

To remake a familiar fairy tale, i.e. "Twist the fairy tale", introduce a new hero and develop a new plot:

According to the supporting words, remember the fairy tale, find extra words. Based on the extra words, come up with new interesting actions in a famous fairy tale.

Gingerbread man, hare, wolf, bear, fox, magpie.

Masha, grandfather, grandmother, fox with a rolling pin.

Emelya, pike, stove, buckets, Cinderella.

... "Turning a fairy tale inside out"

This task helps children not only make a parody of a familiar work, but also gives them the opportunity to develop it in any direction.

Compose a fairy tale using the fairy words and expressions of this fairy tale, where:

) Snow White met seven giants in the forest.

) The wolf wanted to eat the kids, but they captured him.

Composing a fairy tale at the beginning or at the end.

A more independent type of work. Children already have the heroes of a fairy tale, the beginning or end of some story, they just need to come up with a sequel. For example, a fairy tale by analogy, a fairy tale and music, a fairy tale based on an initial phrase, adding fairy tales. For example, HK Andersen "The Princess and the Pea" to come up with the life story of one of the peas, M. Prishvin "How a cat and a dog quarreled" to come up with a continuation of the story about the friendship of a cat and a dog (2nd grade of the educational complex "School of the 21st century"). When composing, the use of humor is possible. It stimulates interest and is an effective remedy for relieving tension and anxiety.

Creation of your own original fairy tale.

The most difficult kind of work. All children need to come up with themselves: the name, and the characters, and the plot. You can use this technique:

You need to take the most important word from the name of the tale, write it from top to bottom, a letter above the letter and next to each letter write any word starting with this letter, for example:

K - kikimora

A - amulet

Using these words, you can write a fairy tale, and words that will not be needed can be omitted.

It helps a lot when composing fairy tales, compiling a "fairy dictionary" where children write down beginnings, endings, fairy expressions, vehicles, magic objects.

I actively use the method of fantasizing, which contains the techniques of fantastic hypotheses, inventing fantastic objects.

Reception "Free speech"

Imagine that the characters of your favorite fairy tales have gathered for a fairy-tale conference on the rights of fairy-tale heroes. Each of them goes to the podium and says ... (It is necessary to speak on behalf of fairytale hero favorite fairy tale).

Younger schoolchildren gain experience of creative activity not only in the process of reading and analyzing a work of art, but also in the course of creating their own texts. These can be not only fairy tales, but also stories. Starting from grade 1, children learn to compose stories by analogy with a read work of art.

Techniques for creating your own texts:

Reception "Write a letter"

Students need to write a letter to someone on behalf of the hero of the work, this allows them to put themselves in the place of another, to correlate his thoughts and feelings with their own.

Reception "Writing a fairy tale in a new way"

The children receive pieces of paper on which the characters of their favorite fairy tales are indicated, but at the same time words from our modern vocabulary are included.

Gingerbread man, grandmother, grandfather, wolf, fox, bear, bike, competition.

The guys should write a fairy tale using the proposed words in a modern way. Time for writing a fairy tale is 7 minutes. The group plays the tale in roles.

The method "Drawing up a telegram, instructions, memo" will teach you how to select the most important information from what you read and present it in a concise, concise form.

Reception "Writing in a circle" offers a group form of work. Children need to not only reflect on a given topic, but also coordinate their opinion with the members of the group. Each member of the group has a notebook and a pen, each writes down several sentences on a given topic, then passes the notebook to a neighbor who must continue his thoughts. The notebooks are passed on until each notebook is returned to its owner. (Appendix 3)

The "Essay Writing" technique is a written reflection on a given topic, a prose essay of a small volume and free composition. It expresses individual impressions and thoughts on a specific topic, problem (reflections, reflections on life, on events).

Such type of work as writing a review helps to express your opinion about a book, a play, a painting, etc. I use questions with the help of which the children complete this task:

Did you like the story? Why?

Does the story have interesting descriptions of the characters? And their characters?

Can the story be called original, interesting, unusual?

Explain the title of the story.

You can offer students a spreadsheet that can be used in any lesson when writing reviews.

Pedagogical (creative) workshops

Creative workshops create conditions for the development of the literary and creative abilities of schoolchildren, form an active, self-confident person, creatively related to the matter.

Workshop is a special form of organizing creative activity

students. It helps to develop a researcher, a creator in a child. In the workshop there are no ready-made recipes for behavior, in the workshop there is freedom, choice, activity and a unique celebration of the creativity of each participant. In the workshop, each student is given the opportunity to move towards truth in his own way. The main condition of the workshop is free self-expression, inner independence of the individual, the ability to react in his own way to what is happening. The main goal of the workshop in literary reading lessons is to organize work on the development of coherent speech, to show and convey the ways in which research and analysis of the work work. Creative activity is organized according to the rules:

dialogue in co-creation;

freedom of choice, action;

equality of all participants;

"Improvement" of the space;

lack of evaluation;

the right to make mistakes.

Each participant in the workshop feels the rise of spiritual strength, creative excitement, even inspiration. Most importantly, at the workshops, each student feels his intellectual worth, a communicative need and develops as a person.

The result of a literary reading workshop lesson is the presentation of your vision of the problem, your image in an essay, in colors in a picture, in creative work.

Theatrical creative activity at the lessons of literary reading

Game-dramatization.

To maximize the creative potential of students, to develop interest in the artistic word, I use the technique of dramatization. During dramatization, each student, creating a unique image of this or that hero, shows creativity, because expresses the author's intention in its own way. Depending on the tasks, the degree of activity and independence of the students, several types of dramatization can be distinguished:

analysis of illustrations from the point of view of expressiveness of facial expressions and pantomimics of the heroes depicted on them;

reading a work by roles only with reference to intonation;

reading by roles with a preliminary oral description of the portrait, clothing, poses, gestures and intonation, facial expressions of the characters;

staging "live pictures" to the work;

drafting the script of the performance, oral description of the scenery, costumes, mise-en-scenes;

dramatic improvisations;

detailed dramatic performances.

Working with illustration

Work of an illustrative nature in primary grades should begin with an analysis of book illustrations and paintings. Already in literacy classes, I begin work on illustrations, I draw the attention of children to facial expressions, postures of the characters depicted in the drawings. In order for the students to feel the emotional state of the hero more sharply, I propose the task: “Try to do the same as in the picture. How do you feel about it? Tell us. " The analysis of illustrations is a preparatory stage for a more complex form of dramatization. Introducing children to reading works based on the illustrative material of books contributes to education, develops the mind, imagination, and aesthetic taste. This work is based on the following algorithm:

We find out to which part of the work the illustration is given.

Which part of the text is not illustrated?

What can we draw?

So the work on the illustration can smoothly turn into verbal drawing, when the child draws pictures with words to the work. It is better to start teaching verbal drawing by creating genre (plot) pictures. It should be remembered that the verbal picture is static, the characters on it do not move, do not speak, they seem to "froze", as if in a photograph, and not on the screen. The verbal drawing of the episode occurs in the following order:

an episode for verbal illustration is highlighted;

The place where the event occurs is "drawn";

the characters are depicted;

the necessary details are added;

The contour drawing is "painted".

We often play the game "Revived Picture". Children are given the task to convey as accurately as possible the poses and facial expressions of the characters depicted in the picture. Several "pictures" are presented, the most successful is chosen.

I try to captivate children with dramatization from the first lessons, I reveal its secrets on the example of Russians folk tales"Kolobok", "Teremok". I often use Theater-Impromptu when working with first-graders. This is a form of work that does not require special training for children. Usually I start this work with the tale "The Turnip", since its characters have no replicas. Children are given masks of the heroes of the fairy tale, so the roles are distributed. The voice-over reads the fairy tale, and the child-actors perform everything that is reported by the "voice-over". This form of work helps children to psychologically liberate themselves, to feel confident in their abilities.

You can also stage a fairy tale using puppets. Such work helps the first grader to correct his movements and make the behavior of the doll as expressive as possible, allows him to improve and show emotions. “Puppet theater is the art of objects that come to life from being set in motion by an actor and evoke associations with the life of people,” noted MM. Korolyov.

In his own play, the child, like the creator, revives the doll.

Creative play-dramatization helps children acquire skills for active and creative collective interaction. Unlike the traditional dramatization game, where roles are memorized and scenes are played out according to a specific scenario, creative dramatization game gives scope to children's creativity and freedom of expression. It allows the child to follow his own path in interpreting the plot in the way his experience and fantasy tells him, and in the way he would like to act in the situation he is portraying. The stages of mastering a creative play-dramatization include: sketches, traditional play-dramatization, creative play-dramatization. At the preliminary stage, I use sketches for the development of expressiveness of movements, facial expressions and pantomimes ("The Engine", "The Monkey in the Shop of Mirrors", "Humpty Dumpty", "The Enchanted Child"), as well as for the recognition and expression of various emotional states ("Delicious sweets "," King Borovik is out of sorts "," A very thin child "," A moment of despair ").

). Depict a girl who has lost her doll. She searches everywhere, but cannot find in any way and asks the children: "Has anyone seen my bow?"

). Depict a bunny who rejoices when a boy gives him a carrot and says "thank you."

). Depict a cat and a dog who are angry at each other.

). Depict a small mouse frightened by a cat. She heard a terrible "meow!" and cannot find a secluded spot to hide. You have become the hero of a fairy tale: portray his voice, manner.

In creativity lessons, children act out scenes from selected fairy tales.

Thus, there is not only an analysis of the work, but also the process of co-creation with the author, awareness of the author's position and expression of one's attitude to the actions of the heroes. Children learn to solve contradictions in a fairy tale, predict the development of a plot, observe opposed heroes in new conditions, and make decisions for a hero in conditions of choice.

Stage performance

When staging, children portray heroes with the help of intonation, facial expressions, posture, gesture. I apply the general scheme of work for staging:

Perception of the material to be staged.

Analysis of the work (setting, the image of the characters and their actions).

Setting performing tasks: What should be conveyed by acting out the scene?

The choice of expressive means (how to do it).

Samples (sketches), analysis.

Summing up, its analysis.

Final show, its analysis.

A more complex form of dramatization is reading by roles, accompanied by an analysis of the emotional state and qualities of the characters' character, intonation.

Reading by roles is possible when working on any work in which there are dialogues. An excerpt from the work can also be read. I begin to introduce reading by roles even in literacy classes. I often use this technique when in one actor read at once by two students sitting at the same desk or even a whole row. This allows the greatest number of students to be included in the work in the lesson, removes the fear of reading, and liberates children. The content of the textbooks "Literary reading" by LF Klimanova and others allows you to systematically carry out work on the development of reading roles. In the textbooks of grades 2 - 4, various tasks are regularly used to promote the development of this skill. Starting from grade 3, it is possible to complicate the method of reading by roles, asking students not only to pronounce the words of each character with the desired intonation, but also to show the facial expressions and, if possible, the gestures of the characters. You can use cards: director, prompter, actor. Thus, I teach children to reflect their impressions of the characters in facial expressions, gestures and statements.

One of the important stages of work in a literary reading lesson is the development of facial expressions, gestures, movements. The used pantomime helps to achieve success here, in which the child reveals his feelings and understanding of the image, while experiencing only positive emotions. Pantomime is a form of theater.

Visual creative activity at the lessons of literary reading

Visual creative activity involves the following techniques: - drawing the episode that you liked the most;

drawing a given episode, character, series of drawings;

depicting the mood of an episode, work or character;

drawing up a hand-drawn filmstrip;

application, modeling, making a layout for a book, viewing and discussing illustrations by artists;

drawing up a picture plan.

In the work on the work, I use drawing based on the books I have read. Free associations appear in the drawing. Through color, it is easier for a child to convey his attitude to the characters, to the event that is taking place. This is how a homemade book is assembled. Illustrating one of the episodes is the emotional response of children, reflecting their understanding of the content of the text and their personal attitude to what they read.

Creative activity can develop when working on drawing up a hand-drawn filmstrip. Drawing a storyboard is used for different purposes, because in a general sense, a storyboard is a story or text set out in a sequence of arranged picture frames. Drawing a storyboard can also be more creative if you read a short piece of literature to your children and ask them to independently convey the story or poem content on the storyboard. The children are faced with the task of creating a visual range: they need to imagine both the scene of action and the appearance of the heroes, to depict the objects that appear in the narrative. Each group, creating separate personnel, knows that it is doing part of the overall work of the entire team, which means that it is necessary to take a responsible approach to the task. It takes from 10 to 30 minutes to create frames (provided that the group consists of 2-3 people). When the shots are created, painted, then they are all posted on the blackboard in order of the development of the plot. The appearance of the frame is discussed by the audience, i.e. children decide for themselves whether the created frame reflects their general author's intention, whether the shades are chosen correctly and the mood of the characters is conveyed. The project is protected to some extent. The filmstrip itself is ready. But the filmstrip is accompanied by words. Students, of course, know what text will be behind the scenes. This text is either written under it or is simply remembered by that child (several children), who will then read it. The title of the filmstrip, the author of the text, illustrators are indicated in special credits or simply voiced. When displaying a filmstrip, all frames are not shown at once. In any classroom, you can find a place for such creative activity of students, because they like to be in the role of authors, creators of a new "work" and a new interpretation of the finished text.

Considering the large volume of work, the importance of the work being done, we decided that parents should also get involved in this process. For this purpose, a parent meeting was held with the theme Features of the development of creative abilities of children of primary school age , which spoke about the features of the development of creative abilities. (Appendix 2, p. 38).

So, in addition to the work on the development of creativity in the classroom, the students did a daily exercise in one of the lessons with their parents. The work carried out gave the following results.

4 Checking the effectiveness of the system of work on the development of creative abilities in the lessons of literary reading

In the fourth quarter of the 2010-2011 academic year, I decided to test the effectiveness of the system of work on the development of creative abilities in literary reading lessons.

Objectives of the control study:

identify the results of the work done;

to trace the dynamics of the level of development of creative abilities of students in a given class.

I used the same techniques as in the ascertaining slice stage, changing only the meaning of the assignment:

1. "Typesetter" technique

This is a test - a game to assess non-standard creative thinking, ingenuity, and quick wit of a student. The child is given a word consisting of a certain number of letters. Words are made from this word. This work takes 5 minutes.

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

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

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

Originality of words: 2 - words are unusual, 1 - words are simple, 0 - meaningless set of words. (Example: wheel, ear; forest, face; joke, chick)

Number of letters: 2 - the largest number of letters, all words are named; 1 - not all reserves have been used; 0 - the task has not been completed. Coming up speed: 2-2 minutes, 1-5 minutes. 0 - more than 5 minutes. Accordingly, the high level is 6 points, the average is 5-4 points, and the low is 3-1 points.

Methodology "Make a story about a non-existent bird"

The child is given a sheet of paper and asked to come up with a story about an unusual fantastic bird, that is, about one that has never existed and does not exist anywhere else (you cannot use heroes of fairy tales and cartoons). The task is given 10 minutes. The quality of the story is assessed according to the criteria and a conclusion is made about the general level of development of creative abilities.

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

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

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

Three Words Technique

This is a test game to assess the creative imagination, logical thinking, vocabulary, general development. The students were offered three words and asked them to write as many meaningful phrases as possible, so that they include all three words, and together they would make a meaningful story.

Words for work: flower, field, girl.

Evaluation of results:

points - witty, original phrase;

points - the correct logical combination of words, but in each phrase all three words are used;

points - a banal phrase;

points - only two words have a logical connection;

score - meaningless combination of words.

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

The data obtained during the second ascertaining experiment are presented in tables 6,7,7

Table 6

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

Criteria

Table 7

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

(first and second ascertaining experiment)

Criteria Cognitive Motivational-need-based Activity Level Experiment Forces Forces Forces Forces Forces Forces 20% 40% 40% 40% 60% 20% 60% 20% II20% 60% 20% 40% 60% 20% 60% 20%

Table 8

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

Criteria Cognitive Motivational-need-based Activity Level Experiment FFLF EFI20% 40% 40% 20% 60% 20% 080% 20% II40% 60% 040% 60% 040% 60% 0

The analysis of the results of the second ascertaining experiment in the control and experimental classes showed that the level of development of the creative abilities of primary schoolchildren in the control class, where the formative experiment was not carried out, remained the same. The experimental class shows better results:

A low level of development of creative abilities in the experimental class was not revealed by any criterion, while in the control class it ranged from 20 to 40% according to various criteria.

Students in the experimental class as a whole have a significantly higher level of development of creative abilities than students in the control class.

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

Thus, analyzing the tables, we came to the conclusion that the work we have done is effective. During six months in the experimental class, where the work was carried out daily and in the system, the number of students with a high level of development of creative abilities increased. In the control class, where the work was carried out from time to time, the level of development of creative abilities remained unchanged.

Thus, the results of the control experiment confirmed the reliability of our hypothesis that the development of the creative abilities of primary schoolchildren will be more successful if a complex of creative tasks and exercises in reading lessons is developed and implemented, aimed at developing the literary creativity of schoolchildren.

We will continue special work on the development of the creative abilities of schoolchildren, taking into account the data obtained in the course of experimental work.

Conclusion

Having studied the theoretical foundations of the formation of the creative abilities of primary schoolchildren and identifying the pedagogical conditions for the formation, we made the following conclusions:

) By creative activity, we mean such human activity, as a result of which something new is created - whether it is an object of the external world or the construction of thinking, leading to new knowledge about the world, or a feeling reflecting a new attitude towards reality.

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

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

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

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

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Appendix

Materials for an individual folder

Types of exercises for the development of the creative abilities of children in the lessons of literary reading.

1.Exercises for the development of conscious (lucid) reading.

group - logical exercises.

1.Name it in one word.

Siskin, owl, swallow, swift, rook; Scissors, pliers, hammer, saw, rake; Scarf, mittens, coat, jacket; TV, iron, vacuum cleaner, refrigerator; Potatoes, beets, onions, cabbage; Horse, cow, pig, sheep; Shoes, boots, slippers, sneakers; Linden, birch, spruce, pine; Chicken, goose, duck, turkey; Green, blue, red, yellow;

2.What is common in words and how they differ.

Chalk - stranded, small - crumpled, soap - sweet.

Which word is superfluous and why.

Beautiful, blue, red, yellow; Minute, time, hour, second; Road, highway, path, path; Milk, sour cream, yogurt, meat; Vasily, Fedor, Semyon, Ivanov, Peter; Spruce, pine, cedar, aspen; Onions, cucumbers, carrots, apples; Mushroom, lily of the valley, chamomile, cornflower;

Compose a new word, taking only the first syllable from each of the data.

Ear, company, vase; Cora, bingo, boxer; Milk, spawning, plate;

Exercises to develop fluency in reading.

group - exercises to expand the field of vision.

1.Work on the contemplation of the green point. (On the card, in the picture, we put a green dot and concentrate our gaze on it. At this time, we name the objects on the right, left, above, below)

8 4 722 9 14 18 72 1 53 12 6 23 206 3 921 4 1 25 15 13 11 17 10 8 19 Development of vertical vision: 13 3394 263 22192 3028 311224 67 102127 1435 18116 823 52932 1115 341725 20

.Work on the Schulte table.

Development of the field of view horizontally.

3.Exercises to develop the expressiveness of reading.

1.Reading a word with different shades of intonation.

Reading a phrase with intonation appropriate to a specific situation.
Breathing exercises.
Exercises to develop your voice.
Exercises for diction.
Reading small verses, for example:

Who is on the ice to catch me

We are running in a race.

And it's not the horses that carry me,

Reading in roles, in faces

Tasks for the formation of skills to perceive literary text

"Studying the algorithm for working with artistic text" is responsible for the formation of the conceptual apparatus of schoolchildren, without which it is impossible to feel aesthetic enjoyment of the text, penetration into the artistic world.

Dictionary work. Reading words and explaining their lexical meaning.

Title of the text.

Dividing the text into parts, drawing up a plan.

Determination of the topic of the text, the main idea.

Determining the type of text.

Selection of illustrations for the text.

Based on the illustration, determine the content of the text.

Drawing up a film strip.

Selective reading.

Work on teacher, textbook or student issues.

Reading to prepare for retelling.

. "Missing word" (the teacher reads the text and skips one word, children must insert a word that is appropriate in meaning).

Restoring the logical sequence of the text. Articles from magazines, newspapers are cut into pieces, mixed and given to the student in an envelope.

Restoration of the text (a small text is written in large letters on a sheet, cut into small pieces, 2-3 students restore it).

Tasks for the formation of literary and creative skills of students

They develop the ability to perceive the text in the unity of content and form, create an original text, showing fluency in literary speech.

Building a chain of associations, metaphors, epithets to the proposed word.

Complete the text according to the proposed beginning, come up with your own ending, include new circumstances and, based on the characters, complete the actions of the heroes.

Retelling the text with a specific task.

Drawing up crosswords according to the text.

Quizzes for one large piece or several small ones.

Selection of riddles for words from the text.

Thematic selection of proverbs to the text of the textbook.

Drawing up puzzles to words from the text.

Working with a dictionary of phraseological units.

Tasks teaching techniques of creative fantasy

They contribute to the upbringing of the need for creative activity, aesthetic self-expression and self-improvement.

"Continue the row" (the sky frowns; willow ...; stars ...; autumn ...)

Imagine what he can think about: (a fly on the ceiling, a fish in an aquarium).

What would they say about the same characters, different in character:

Wolf and Little Red Riding Hood - about grandma.

Suggest your hero. Write a story on his behalf. It doesn't matter if truth and fiction are mixed up.

Imagine how a person appears if you look at him through the eyes: cats, dogs, horses.

Come up with a legend about flowers: forget-me-not, chamomile, cornflower.

Create a fantastic animal, draw and explain the details of its appearance, its fantastic abilities.

Assignment "If only" (if I saw in the dark like an owl ...)

... "Inventor" ("Dandelion and Parachute").

Drawing up your own illustrations, sketches for the text and comparing them with those already available.

. "Fantasy" by proverb, picture, sound.

. "Co-creation" (drawing up the image of the hero, drawing up his confession, diary, etc.)

I suggest Dictionary of phraseological units

Phraseologisms enrich vocabulary and creative imagination, increase the level of mental activity.

"Like without hands" (it is difficult to work without something necessary at the moment)

"The mosquito will not undermine the nose" (do any work only perfectly)

"Some in the forest, some for firewood" (to do something out of tune, uneven)

"Who is in that much" (everyone does something, as best he can, in his own way)

"Stone on the heart" (when a person is upset, upset, he feels a heaviness in his chest)

"As if on pins and needles" (to sit - to be in a state of great anxiety)

"Stay with your nose" (stay without what you hoped for)

"With all my heart" (sincerely, cordially, with complete frankness)

"From young to old" (all without distinction of age)

"Postponing" (postpone the execution of something on

indefinitely long time)

"Wait for the weather by the sea" (to be inactive, to be in an inactive

waiting for something)

"Give heat" (give a negative assessment for any action)

"Hit the quick" (excite or offend someone)

"Turning your nose up" (being arrogant or airing)

"Speak your teeth" (cheat, distracting attention from your act

extraneous conversations)

"To sink into the soul" (to make a strong impression on someone)

"Caught by surprise" (appear unexpectedly, causing trouble)

"Roll up your sleeves" (work hard, hard, sparing no effort)

"Where crayfish hibernate" (endure real difficulties or experience

punishment)

"My head is spinning" (someone thinks too much about themselves)

"The mountain from the shoulders" (someone was very worried and finally calmed down)

"Goal like a falcon" (poor, poor man)

"Sit back" (do nothing)

"Drive the dogs" (mess around)

"Tears in three streams" (cry bitterly)

"Filkin's letter" (empty, meaningless piece of paper; not

document with real value)

"Thomas the unfaithful" (a very distrustful person who is difficult

make you believe something or something)

A selection of proverbs for the text of the textbook

The study of proverbs enriches the speech of students, teaches to be attentive to the well-aimed, figurative expressions, analyze their meaning, understand their generalizing nature.

"Every man to his own taste"

"A tree is valued for its fruit, and a man for its labor."

"No one needs work without a mind"

"Nobody likes pride"

"Live not skimp, share with your friends"

"Znayka is running, but Dunno is lying"

"A man gets sick from laziness, but he gets healthier from work"

"It's bad behind a stupid head and legs"

"Live and learn"

"I did it in a hurry, I did it for fun"

"Modesty colors a person"

"Big grew up, but couldn't bear the mind"

"A needle and thread interferes with an inept seamstress."

"There is patience, there is also skill"

"A coward and a cockroach will count as a giant"

"Whoever goes forward, fear does not take him"

"The coward is afraid of his shadow"

"Fear has big eyes - what is not there, and that is what they see"

"A frightened bird and is afraid of a bush"

"Glory to the hero, contempt to the coward"

"Shoots will not grow if they are not warmed with love"

“Don't say 'but! until you harnessed it "

"Don't dig a hole for another, you will get there yourself"

"Live not to be stingy, but share with your friends"

"When the sun is warm, but when the mother is good"

"Who does not work shall not eat"

"Do you like to ride, love to carry sledges"

"What goes around comes around"

"Moscow does not believe in tears"

"There is safety in numbers"

"Having done badly, do not expect good"

"Don't die yourself, but help your friend out"

"Friend is known in trouble"

"Modesty colors a person"

"Amicably - not heavy, but apart - at least give it up"

Various types of exercises develop the creativity of children, and to a greater extent:

reading by role;

verbal drawing;

composing stories;

composing poems;

composition of fairy tales;

dramaturgy;

Exercises, assignments, which the teacher offers, should be colorfully designed, using illustrative material, plot and subject pictures. It is advisable for the teacher to give homework in a differentiated manner. Not all students are the same. You can suggest the following scheme:

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Components of creativity. Components of creativity and their characteristics

Bibliographic reference

annotation scientific article on the sciences of education, the author of the scientific work - Dashchinskaya T.N., Dashchinskiy V.E.

Related Topics scientific works on the sciences of education, the author of the scientific work - Dashchinskaya T.N., Dashchinsky V.E.

The text of the scientific work on the topic "Technology for the development of creative abilities"