INTRODUCTION

Creativity refers to the activity of creating new and original products of social significance.

The essence of creativity is predicting the result of correctly setting up an experiment, creating, through the effort of thought, a working hypothesis close to reality, in what Sklodowska called a sense of nature.

The relevance of the topic is determined by the fact that many researchers reduce the problem of human abilities to the problem of a creative personality: there are no special creative abilities, but there is a person with certain motivation and traits. Indeed, if intellectual talent does not directly affect a person’s creative success, if during the development of creativity the formation of certain motivation and personality traits precedes creative manifestations, then we can conclude that there is a special type of personality - the “Creative Person.”

Creativity is going beyond the given limits (Pasternak’s “above barriers”). This is only a negative definition of creativity, but the first thing that catches your eye is the similarity between the behavior of a creative person and a person with mental disorders. The behavior of both deviates from the stereotypical, generally accepted one.

People do a lot of things every day: small and large, simple and complex. And every task is a task, sometimes more or less difficult.

When solving problems, an act of creativity occurs, a new path is found, or something new is created. This is where special qualities of the mind are required, such as observation, the ability to compare and analyze, to find connections and dependencies - all that together constitutes creative abilities.

The acceleration of scientific and technological progress will depend on the quantity and quality of creatively developed minds, on their ability to ensure the rapid development of science, technology and production, on what is now called the increase in the intellectual potential of the people.

The purpose of this course work is to consider aspects of the development of creative abilities.

Based on the goal, the following tasks can be set:

Describe creativity as a mental process;

Consider the essence of a creative personality and her life path;

Study the development of creative abilities;

Review the basic concepts of creativity.

1. ESSENCE AND IMPORTANCE OF CREATIVITY DEVELOPMENT

1.1 Creativity as a mental process

Most philosophers and psychologists distinguish between two main types of behavior: adaptive (related to the resources available to a person) and creative, defined as “creative destruction.” In the creative process, a person creates a new reality that can be comprehended and used by other people.

Attitudes towards creativity have changed dramatically in different eras. In Ancient Rome, only the material and the work of the bookbinder were valued in a book, and the author had no rights - neither plagiarism nor forgeries were prosecuted. In the Middle Ages and much later, the creator was equated with a craftsman, and if he dared to show creative independence, then it was not encouraged in any way. The creator had to earn a living in a different way: Moliere was a court upholsterer, and the great Lomonosov was valued for his utilitarian products - court odes and the creation of festive fireworks.

And only in the 19th century. artists, writers, scientists and other representatives of creative professions were given the opportunity to live from the sale of their creative product. As A. S. Pushkin wrote, “inspiration is not for sale, but you can sell a manuscript.” At the same time, the manuscript was valued only as a matrix for replication, for the production of a mass product.

In the 20th century the real value of any creative product was also determined not by its contribution to the treasury of world culture, but by the extent to which it can serve as material for replication (in reproductions, television films, radio broadcasts, etc.). Therefore, there are differences in income that are unpleasant for intellectuals, on the one hand, between representatives of the performing arts (ballet, musical performance, etc.), as well as dealers in mass culture and, on the other hand, creators.

Society, however, has at all times divided two spheres of human activity: otium and oficium (negotium), respectively, leisure activity and socially regulated activity. Moreover, the social significance of these areas has changed over time. In Ancient Athens, bios theoretikos - theoretical life - was considered more “prestigious” and acceptable for a free citizen than bios praktikos - practical life.

Interest in creativity, the personality of the creator in the 20th century. connected, perhaps, with the global crisis, the manifestation of man’s total alienation from the world, the feeling that through purposeful activity people are not solving the problem of man’s place in the world, but are pushing its solution even further away.

The main thing in creativity is not external activity, but internal activity - the act of creating an “ideal”, an image of the world, where the problem of alienation of man and environment is resolved. External activity is only an explication of the products of an internal act. The peculiarities of the creative process as a mental (spiritual) act will be the subject of further presentation and analysis.

Highlighting the signs of a creative act, almost all researchers emphasized its unconsciousness, spontaneity, the impossibility of its control by the will and mind, as well as a change in the state of consciousness.

The most common are “divine” and “demonic” versions of attribution of the cause of creativity. Moreover, artists and writers accepted these versions depending on their worldview. If Byron believed that a “demon” possessed a person, then Michelangelo believed that God was guiding his hand: “A good picture approaches God and merges with him.”

The consequence of this is the tendency, observed among many authors, to renounce authorship. Since it was not I who wrote, but God, the devil, the spirit, the “inner voice,” the creator recognizes himself as an instrument of an outside force.

It is noteworthy that the version of the non-personal source of the creative act passes through spaces, eras and cultures. And in our time it is being revived in the thoughts of the great Joseph Brodsky: “The poet, I repeat, is the means of existence of language. The person writing the poem, however, does not write it because he expects posthumous fame, although he often hopes that the poem will outlive him, even if only for a short time. A person writing a poem writes it because his tongue tells him or simply dictates the next line.

When starting a poem, the poet, as a rule, does not know how it will end, and sometimes he is very surprised by what happens, because it often turns out better than he expected, often the thought goes further than he expected. This is the moment when the future of language interferes with the present... The writer of a poem writes it, first of all, because versification is a colossal accelerator of consciousness, thinking, and worldview. Having experienced this acceleration once, a person is no longer able to refuse to repeat this experience; he becomes dependent on this process, just as he becomes dependent on drugs and alcohol. A person who is in such a dependence on language, I believe, is called a poet.”

In this state, there is no sense of personal initiative and no sense of personal merit in creating a creative product; it is as if an alien spirit is invading the person, or thoughts, images, and feelings are being instilled into him from the outside. This experience leads to an unexpected effect: the creator begins to treat his creations with indifference or, moreover, with disgust. A so-called post-creative saturation occurs. The author is alienated from his work. When performing purposeful activities, including work, there is an opposite effect, namely, the “effect of invested activity.” The more effort a person spends on achieving a goal, producing a product, the greater the emotional significance this product acquires for him.

Since the activity of the unconscious in the creative process is associated with a special state of consciousness, the creative act is sometimes performed in a dream, in a state of intoxication and under anesthesia. In order to reproduce this state by external means, many resorted to artificial stimulation. When R. Rolland wrote Cola Breugnon, he drank wine; Schiller kept his feet in cold water; Byron took laudanum; Rousseau stood in the sun with his head uncovered; Milton and Pushkin loved to write while lying on a sofa or couch. Balzac, Bach, Schiller were coffee lovers; drug addicts - Edgar Poe, John Lennon and Jim Morrison.

Spontaneity, suddenness, independence of the creative act from external causes is its second main feature. The need for creativity arises even when it is undesirable. At the same time, the author’s activity eliminates any possibility of logical thought and the ability to perceive the environment. Many authors mistake their images for reality. The creative act is accompanied by excitement and nervous tension. All that remains for the mind is processing, giving a completed socially acceptable form to the products of creativity, discarding the superfluous and detailing.

So, the spontaneity of the creative act, the passivity of the will and the altered state of consciousness at the moment of inspiration, the activity of the unconscious, speak of a special relationship between consciousness and the unconscious. Consciousness (the conscious subject) is passive and only perceives the creative product. The unconscious (unconscious creative subject) actively generates a creative product and presents it to consciousness.

In Russian psychology, the most holistic concept of creativity as a mental process was proposed by Ya. A. Ponomarev (1988). He developed a structural-level model of the central link of the psychological mechanism of creativity. Studying the mental development of children and problem solving by adults, Ponomarev came to the conclusion that the results of the experiments give the right to schematically depict the central link of psychological intelligence in the form of two spheres penetrating one another. The external boundaries of these spheres can be represented as abstract limits (asymptotes) of thinking. From below, this limit will be intuitive thinking (beyond it extends the sphere of strictly intuitive thinking of animals). At the top is the logical (behind it extends the sphere of strictly logical thinking of computers).

Rice. 1.1. Diagram of the central link of the psychological mechanism of the creative act according to Ya.A. Ponomarev

The basis for success in solving creative problems is the ability to act “in the mind,” determined by a high level of development of the internal plan of action. This ability is perhaps the structural equivalent of the concept of “general ability” or “general intelligence”.

Creativity is associated with two personal qualities, namely, the intensity of search motivation and sensitivity to side formations that arise during the thought process.

Ponomarev considers the creative act as included in the context of intellectual activity according to the following scheme: at the initial stage of problem formulation, consciousness is active, then, at the solution stage, the unconscious is active, and consciousness is again involved in selecting and checking the correctness of the solution (at the third stage). Naturally, if thinking is initially logical, that is, expedient, then a creative product can appear only as a by-product. But this process option is only one of the possible ones.

In general, in psychology there are at least three main approaches to the problem of creative abilities. They can be formulated as follows:

1. There are no creative abilities as such. Intellectual talent acts as a necessary, but not sufficient condition for the creative activity of an individual. The main role in determining creative behavior is played by motivation, values, and personality traits (A. Tannenbaum, A. Olokh, D. B. Bogoyavlenskaya, A. Maslow, etc.). These researchers include cognitive talent, sensitivity to problems, and independence in uncertain and difficult situations as the main traits of a creative personality.

Standing apart is the concept of D. B. Bogoyavlenskaya (1971, 1983), which introduces the concept of “creative activity of the individual,” believing that this activity is a certain mental structure inherent in the creative type of personality. Creativity, from Bogoyavlenskaya’s point of view, is a situationally unstimulated activity, manifested in the desire to go beyond a given problem. A creative personality type is inherent in all innovators, regardless of their type of activity: test pilots, artists, musicians, inventors.

2. Creative ability (creativity) is an independent factor, independent of intelligence (J. Guilford, K. Taylor, G. Gruber, Ya. A. Ponomarev). In a “softer” version, this theory states that there is a slight correlation between the level of intelligence and the level of creativity. The most developed concept is the “intellectual threshold theory” of E. P. Torrance: if IQ is below 115-120, intelligence and creativity form a single factor; with IQ above 120, creativity becomes an independent value, i.e. there are no creative individuals with low intelligence, but There are intellectuals with low creativity.

3. A high level of intelligence development implies a high level of creative abilities and vice versa. There is no creative process as a specific form of mental activity. This point of view was and is shared by almost all specialists in the field of intelligence.

There would be special literature on this problem. We believe that the measures proposed above will contribute to more effective development of creative abilities in preschool age. CONCLUSION Universal creative abilities are individual characteristics, qualities of a person that determine the success of his performance of creative activities of various kinds. ...

A lot of interrelated tasks focused on cognition, creation, transformation of objects, situations, phenomena in a new quality and aimed at developing the creative abilities of younger schoolchildren in the educational process. The system of creative tasks includes target, content, activity and result components. Traditional writing assignments in Russian language lessons...

People often talk about the abilities of a person, implying his inclination towards a certain type of activity. At the same time, few people think that this concept is scientific and implies the level of development of this quality, as well as the possibility of its improvement. Not everyone knows what levels of development of abilities exist, how to work to improve them and learn to make the most of them. Meanwhile, it is not enough to have any ability; this quality must be constantly developed if you want to truly achieve success in a certain area.

level of development of abilities

According to the scientific definition, ability is an individual and psychological characteristic of a particular person that determines his ability to carry out a specific activity. Innate prerequisites for the emergence of certain abilities are inclinations that, unlike the first ones, are laid in the individual from birth. It should be taken into account that abilities are a dynamic concept, which means their constant formation, development and manifestation in various fields of activity. Levels of ability development depend on many factors that must be taken into account for continuous self-improvement.

According to Rubinstein, their development occurs in a spiral, which means the need to realize the opportunities provided by one level of abilities in order for a further transition to a higher one to occur.

Types of abilities

The level of development of individual abilities is divided into two types:

Reproductive, when a person demonstrates the ability to successfully master various skills, assimilate and apply knowledge, as well as implement activities according to an already proposed model or idea;

Creative, when a person has the ability to create something new and original.

In the course of successful acquisition of knowledge and skills, a person moves from one level of development to another.

In addition, abilities are also divided into general and special, according to Teplov’s theory. General ones include those that are demonstrated in any field of activity, while special ones are manifested in a specific area.

Levels of ability development

The following levels of development of this quality are distinguished:

Ability;

Giftedness;

Genius.

In order for a person’s talent to be formed, it is necessary that there be an organic combination of general and special abilities, and their dynamic development is also necessary.

Giftedness is the second level of ability development

Giftedness implies a combination of various abilities that are developed at a sufficiently high level and provide an individual with the opportunity to successfully master any type of activity. In this case, the possibility of mastery is specifically implied, since a person, among other things, is required to directly master the necessary skills and abilities for the successful implementation of an idea.

Giftedness can be of the following types:

Artistic, implying great achievements in artistic activity;

General - intellectual or academic, when the levels of development of a person’s abilities are manifested in good results in learning, mastering various knowledge in various scientific fields;

Creative, which involves the ability to generate new ideas and demonstrate a penchant for invention;

Social, providing high identification of leadership qualities, as well as the ability to build constructive relationships with people and the possession of organizational skills;

Practical, manifested in the individual’s ability to use his own intelligence to achieve his goals, knowledge of a person’s strengths and weaknesses and the ability to use this knowledge.

In addition, there are types of giftedness in various narrow areas, for example, mathematical giftedness, literary giftedness, etc.

Talent - a high level of development of creative abilities

If a person who has pronounced abilities in a certain field of activity constantly improves them, they say that he has a talent for it. It is worth considering that this quality is also not innate, despite the fact that many are accustomed to thinking so. When we talk about the levels of development of creative abilities, talent is a fairly high indicator of a person’s ability to engage in a certain field of activity. However, we should not forget that these are nothing more than pronounced abilities that must be constantly developed, striving for self-improvement. No natural inclinations will lead to recognition of talent without hard work on oneself. In this case, talent is formed from a certain combination of abilities.

Not a single, even the highest level of development of the ability to do something can be called talent, since to achieve a result it is necessary to have such factors as a flexible mind, strong will, great ability to work and rich imagination.

Genius is the highest level of development of abilities

A person is called a genius if his activities have left a tangible mark on the development of society. Genius is the highest level of development of abilities that only a few possess. This quality is inextricably linked with the originality of the individual. A distinctive quality of genius, in contrast to other levels of development of abilities, is that it, as a rule, shows its own “profile”. Some aspect of a genius personality inevitably dominates, which leads to the vivid manifestation of certain abilities.

Diagnostics of abilities

Identifying abilities is still one of the most difficult tasks in psychology. At different times, many scientists put forward their own methods for studying this quality. However, at present there is no technique that allows one to identify a person’s ability with absolute accuracy, as well as determine its level.

The main problem was that abilities were measured quantitatively, and the level of development of general abilities was derived. However, in fact, they are a qualitative indicator that must be considered in dynamics. Various psychologists have put forward their own methods for measuring this quality. For example, L. S. Vygotsky proposed assessing through the zone of proximal development. This involved dual diagnosis, where the child solved the problem first with an adult and then independently.

Other methods for diagnosing the level of development of abilities

A person's abilities can manifest themselves at any age. However, the earlier they are identified, the greater the likelihood of their successful development. That is why now in educational institutions, from a very young age, work is required to identify the levels of development of abilities in children. Based on the results of work with schoolchildren, classes are conducted to develop identified aptitudes in a particular area. Such work cannot be limited only to the school; parents should also take an active part in work in this direction.

The methods most widely used for diagnosing abilities, both general and special:

- “Everyer's problem”, designed to assess the focus of thinking, i.e. the extent to which a person can concentrate on the task at hand.

- “Study of memory using the ten-word memorization technique,” ​​aimed at identifying memory processes.

- “Verbal fantasy” - determining the level of development of creative abilities, primarily imagination.

- “Remember and dot the points” - diagnostics of attention span.

- “Compasses” - study of features

- “Anagrams” - definition of combinatorial abilities.

- “Analytical mathematical abilities” - identifying similar inclinations.

- “Abilities” - identifying the success of activities in a particular area.

- “Your creative age”, aimed at diagnosing the correspondence of passport age with psychological age.

- “Your creative potential” - diagnostics of creative capabilities.

The number of techniques and their exact list are determined based on the purposes of the diagnostic examination. At the same time, the end result of the work is not the identification of a person’s ability. Levels of development of abilities must constantly increase, which is why, after diagnosis, work must be carried out to improve certain qualities.

Conditions for increasing the level of development of abilities

One of the most important criteria for increasing this quality is the conditions. Levels of development of abilities must constantly be in dynamics, moving from one stage to another. It is important for parents to provide their child with conditions for the realization of his identified inclinations. However, success depends almost entirely on a person’s performance and focus on results.

The fact that a child initially has certain inclinations does not at all guarantee that they will be transformed into abilities. As an example, we can consider a situation where a good prerequisite for the further development of musical abilities is that a person has fine hearing. But the specific structure of the auditory and central nervous system is only a prerequisite for the possible development of these abilities. A certain structure of the brain does not affect the choice of the future profession of its owner, nor the opportunities that will be provided to him for the development of his inclinations. In addition, thanks to the development of the auditory analyzer, it is possible that abstract-logical abilities will be formed, in addition to musical ones. This is due to the fact that human logic and speech are in close connection with the work of the auditory analyzer.

Thus, if you have identified your levels of development of abilities, diagnosis, development and possible success will depend only on you. In addition to the appropriate external conditions, you must realize that only daily work will transform natural inclinations into skills that in the future can develop into real talent. And if your abilities manifest themselves unusually brightly, then perhaps the result of self-improvement will be recognition of your genius.

For the most accurate understanding of the topic of our research, it is necessary to define the concept of “creativity”. Creativity is defined as human activity that creates new material and spiritual values ​​that have novelty and social significance, that is, as a result of creativity, something new is created that did not exist before. The concept of “creativity” can also be given a broader definition. Soviet philosopher A. Matejko believes that the essence of the creative process lies in the reorganization of existing experience and the formation of new combinations based on it. Creativity is the process of creating a subjectively new thing, based on the ability to generate original ideas and use non-standard methods of activity. In fact, creativity is “the ability to create any fundamentally new opportunity” (G.S. Batishchev).

Many people combine the concepts of “creativity” and “creative activity”, comparing them to each other. These two concepts are considered to be integral components of all creativity. The concept of creative activity usually refers to activities associated with the creation of something qualitatively new.

There are different types of creativity: scientific, technical, artistic, etc. They all have their own specific features, commonalities and differences.

Scientific creativity is “an activity aimed at producing new knowledge, which receives social approval and is included in the system of science,” “a set of higher cognitive processes that expand the boundaries of scientific knowledge.” Creativity in science requires, first of all, the acquisition of fundamentally new socially significant knowledge; this has always been the most important social function of science.

This is the basis of technical progress. Technical creativity as a type of practical activity is a specific social phenomenon. Its specificity is determined by the nature of the technical problem, the solution of which requires a real means, invention or design. Unlike scientific, technical creativity is directly related to the practice of operating existing technical structures in the process of creating and introducing new structures into production. In technical creativity, practical and spiritual aspects of activity are closely intertwined. Practical action is expressed in changing the material of nature during the actual construction of a technical object. Spiritual activity acts as an ideal construction of an object.

Technical creativity involves obtaining new results in the field of technology in the form of technical ideas, drawings, embodied in real technical objects.

Unlike scientific and technical creativity, artistic creativity does not have a direct focus on novelty and is not identified with the production of something new, although originality is usually present among the criteria of artistic creativity and assessments of artistic talent. At the same time, art has never denied the strength and power of scientific methods and used them to the extent that they helped solve the main task of art - the creation of aesthetic values. But at the same time, in art there is always an understanding of superiority over science in the ability to use the power of artistic invention, intuition and fantasy.

Next, you need to define what “abilities” actually are. According to Teplov B.M., “abilities are certain individual psychological characteristics that distinguish one person from another, which do not boil down to the stock of skills and knowledge that a person already has, but determine the ease and speed of their acquisition.” The key to the development of abilities is the concept of “efficiency” - a subtle adaptation of personality traits to the requirements of activity.

Thus, in the most general form, the definition of creative abilities is as follows. Creative abilities are individual characteristics of a person’s qualities that determine the success of his performance of creative activities of various kinds.

Since the element of creativity can be present in any type of human activity, it is fair to talk not only about artistic creativity, but also about technical creativity, mathematical creativity, etc.

In most cases, a creative person is a person who thinks originally, and the result of these thoughts will be non-standard solutions.

But thinking can be both reproductive and creative. Reproductive thinking is a type of thinking in which our memory helps us reproduce existing images and concepts. And creative thinking is the kind of thinking that generates some new, previously unknown material.

This means that creative activity cannot be based on only one type of thinking - reproductive, creative thinking must be present, which is one of the most important components of human creativity.

Let us turn to the works of L. S. Vygotsky, in order to most fully understand creativity as a product of human activity:

“In addition to reproductive activity, it is easy to notice another type of activity in human behavior, namely combining or creative activity.”

By reproducing activity, Vygotsky understood the ability of our brain to preserve and reproduce the experience we already have. And the organic basis of such reproducing activity (or memory) is the plasticity of our nervous substance.

“Any human activity, the result of which is not the reproduction of impressions or actions that were in his experience, but the creation of new images or actions, will belong to this second type of creative or combining behavior.”

Thus, L. S. Vygotsky tells us that creativity cannot be called simply the reproduction of our existing experience, but creativity, in his understanding, is the creation of something completely new, something that we did not yet know.

“This creative activity, based on the combining ability of our brain, psychology calls imagination or fantasy.”

This means that creativity and imagination are inextricably linked in their essence.

The creative imagination, like any other activity, of a child differs from the activity of an adult, because the child goes through different eras of childhood in his growing up. At each period of child development, the creative imagination works in a special way, characteristic of the particular stage of development at which the child stands. Because imagination depends on experience, and a child accumulates experience gradually. But in turn, there is an opinion that a child’s imagination is richer than that of an adult. But this statement is not confirmed by scientific examination. The experience of a child is poorer than that of an adult, interests are simpler, more elementary, poorer, therefore the child’s imagination is not richer, but poorer than that of an adult. As the child develops, imagination also develops, reaching its maturity only in an adult.

O. M. Dyachenko considers the following to be the main criteria for the manifestation of creative imagination in preschool children:

• 1. The originality of children’s performance of creative tasks.
• 2. The use of such restructuring of images, in which images of some objects are used as details for the construction of others.

The ability to create is creativity. In this case, creativity is understood broadly, from the perspective of a personal approach, which allows us to interpret creativity as a developing phenomenon. Research by psychologists and teachers allows us to connect creativity with the development of personality and intellect, with the development of imagination, which has a special form and appearance in a preschool child, which means that the creativity of a preschooler also has a special form.

Thus, it became clear to us that creative activity, in addition to being associated with imagination, is also dependent on creativity.

J. Guilford identified four main parameters of creativity:

• 1) originality - the ability to produce distant associations, unusual answers;
• 2) semantic flexibility - the ability to highlight the function of an object and suggest its new use;
• 3) figurative adaptive flexibility - the ability to change the shape of a stimulus in such a way as to see in it new signs and opportunities for use;
• 4) semantic spontaneous flexibility - the ability to produce a variety of ideas in an unregulated situation. General intelligence is not included in the structure of creativity.

Later, J. Guilford mentions six dimensions of creativity:

• 1) the ability to detect and pose problems;
• 2) the ability to generate a large number of ideas;
• 3) flexibility - the ability to produce various ideas;
• 4) originality - the ability to respond to stimuli in a non-standard way;
• 5) the ability to improve an object by adding details;
• 6) the ability to solve problems, i.e. the ability to analyze and synthesize.

Let us note the main directions of development of creative abilities in children:

• 1. Development of imagination.
• 2. Development of thinking qualities that form creativity.

Of the three types of creativity previously presented to us, children's creativity is reflected only in the artistic. Children of preschool age do not yet know how to count, write, and solve complex problems at all, so we cannot talk about scientific creativity in preschool age. Technical creativity is also not typical for preschool children; their level of development simply does not allow them to do so. Yes, and we understand that we cannot bring children’s inventions to life, because this requires that they be safe for the life of all people, which a preschooler cannot take into account when inventing new technical means.

In modern literature, the analysis of creativity of preschool children is carried out mainly in three directions (N. N. Poddyakov). The first direction involves studying the mechanisms of a child’s creative processing of newly acquired experience, as well as the quantitative and qualitative features of the transformative, combining activities of children in this process. A special place is occupied by determining the role of fantasy in the development of creativity in preschool children. The second direction is the study of the structure of search activity, the formation and change of its main forms, the conditions for the complication and development of this activity, etc. One of the important forms of search activity is children's experimentation. The third direction focuses on the study of problems of interaction and relationship between the creative process and the emotional development of preschool children. Emotions form the basis for the formation of a child’s needs both in the creative process itself and in its final product. The emotional intensity of children's creativity ultimately contributes to the formation of a heuristic personality structure.

Psychologists also claim that the development of creativity qualitatively changes a person’s personality.

L.A. Paramonova identifies the following features of preschooler creativity. Children make many discoveries and create an interesting, sometimes original product in the form of a drawing, design, poem, etc. The novelty of discoveries and products is subjective; this is the first important feature of children's creativity. At the same time, the process of creating a product for a preschooler is almost of paramount importance. The child’s activity is characterized by great emotional involvement, the desire to seek and try different solutions many times, receiving special pleasure from this, sometimes much more than from achieving the final result. And this is the second feature of children's creativity. For an adult, the beginning of solving a problem (recognizing it, searching for approaches) is the most difficult and painful, sometimes leading to despair. A child, unlike an adult, does not experience such difficulties (unless, of course, he is subject to the strict demands of adults). He easily and practically begins indicative, sometimes not even entirely meaningful, activities, which, gradually becoming more purposeful, captivate the child in search and often lead to positive results. And even in a child’s musical creativity there is a simultaneity of composing and performing. And this is the third feature of children's creativity, certainly related to the first two and especially to the second.

N.A. Vetlugina identifies its own characteristics of creative activity and creativity for each period of childhood:

For children from two to three years old, simpler actions are typical. For example, they love to listen to poems and songs. They also tend to draw, sculpt, dance, read poetry and sing, but in artistic classes. And in independent activities, according to Vetlugina, children draw at their own request, and dance and sing together with the teacher. Also, at the holidays that are held in kindergarten, children are simply present and rejoice, but they themselves do not yet participate.

Children from three to four years old are characterized by an interest in creativity, the ability to concentrate, and an understanding of what is being said in poems and songs. They can work both independently and in a team of peers. Sometimes they even begin to draw, dance, sing on their own, without the teacher’s suggestion, but they still do not always actively take the initiative in creative activities. They can already take part in festive matinees and entertainment.

Children from four to five years old are characterized by a correct perception of all works of art and feel the need for independent artistic creativity: drawing, modeling, singing, dancing, reading poetry. Creative abilities are manifested in the following way: they sing small songs clearly, read poetry expressively, successfully depict objects and phenomena in drawings, and model the content of a painting, song, game, drawing, but still with the help of a teacher. On their own initiative, they look at the pictures, color them, and draw them. They actively answer questions during holiday entertainment, if necessary, and show a desire to participate in holiday performances and entertainment.

Children from five to six years old typically show interest in various types of art, striving to learn certain skills and accurately carry out the teacher’s tasks. Correctly represent the content of the lesson (learning to draw, sculpt, etc.). They demonstrate an ear for music and poetry, show a sense of rhythm, feel and distinguish between musical, poetic and prose forms. They show a desire to independently perform a certain role in dramatization and musical plot play. They evaluate the quality of the work of their comrades, receive evaluations from their comrades. They themselves choose a song, a poem, a book, take the initiative in organizing an amateur concert, and repeat at home the most memorable, most interesting songs, dances, and poems from the holiday repertoire.

Children from six to seven years old are characterized by an emotional perception of a work of art. Children willingly engage in all types of artistic activities, giving preference to one of them. They demonstrate the ability to present their lines in a timely manner in a dramatization game, while engaging in visual activities, they bring the idea to the end. They know what is needed for a song to be well sung, a picture to be drawn well, etc. Exactly repeat the movements shown in rhythm classes. Feel and distinguish the form of a musical work, poetic. Show imagination when retelling. They use figurative expressions from fairy tales, songs, and poems. The desire to correctly evaluate one’s own performance. They know various types of entertainment (cinema, theater, circus), express a desire to listen to their favorite works, and can choose, on their own initiative, a familiar melody on a metallophone. Show creative initiative and organizational skills.

The course work deals with artistic and creative abilities. The “artistic coloring” of the abilities manifested in creative activity is given by its “artistic character.” “Artistry” is one of the most important concepts in aesthetics and art history, reflecting the specific feature of art as a form of reflection and knowledge of reality. It is customary to include visual activities with all the variety of its types as artistic activities - directly visual (drawing), decorative (decorative - decoration and design) and design (designing from various materials - natural, waste, paper, etc.) In kindergarten, preschoolers master almost all types of visual arts (drawing, modeling, appliqué) and design.

The main activity of preschool children in which they can show their creative abilities is play. In it, they can think through plots, roles, lines of development of the game, thereby including their imagination and creativity. But in addition to playing, children are engaged in creative activities such as drawing, modeling, singing, and dancing. Mastering these types of creativity indicates to us that the child is developing both creative activity and imagination.

It is especially important when children can think through a role-playing game (senior preschool age) and begin to play it, themselves inventing everything that will happen to them. This will be one of the main indicators of the normal development of children.

During visual arts classes, children learn to display the reality around them, to correctly convey the shape and color of objects. During these classes, the child not only learns to reproduce the objects he sees, but he also learns to think. It is not always possible to draw from life, having a model in front of you, then children begin to remember objects that they have already seen and try to repeat them in drawings, sculptures, and applications. Again, when children draw, they put into the drawing some experiences, emotions associated with what they want to depict. They try to come up with some kind of plot, to determine the meaning of what is drawn, thereby giving the activity a creative character.

Often children try to reproduce in their works something that cannot exist at all, using creative thinking, imagination and, to some extent, creativity. They try to combine parts of individual characters, animals, make trees talk, etc. This is where children's creativity comes into play.

Creativity also takes place in music classes. Often, dance teachers turn on music and provide children with the opportunity to move freely to musical accompaniment. There are so many different and interesting things children do in these types of activities. Often dance performances are made from these same movements that the choreographer saw during the children’s free dance.

The creative thinking of children is very different from that of adults. Differences are found not only in a smaller amount of knowledge and little experience, but also in the absence of many stereotypes that bind people. Therefore, it is worth taking a closer look at the products of children's creativity; sometimes you can find something truly new and unusual there.

Thus, we can say that creativity is one of the most important and interesting topics to study. Creativity and creative activity are integral components of human life; creativity can manifest itself in everything: in rest, in work, in conversation, etc. Children's creativity cannot be expressed in absolutely everything, but it also has its place. Children are first taught creativity, taught types of creative activities, and then, as the child develops and his mental processes, creativity and creative activity begin to manifest themselves, not only in special classes. And children's creativity sometimes has no boundaries. The main types of children's creativity can be considered: choreography, visual, musical creativity, games, writing fairy tales and poems, fantasy. And the development of all of them is possible only under the condition of normal development of the main areas of creative abilities, such as imagination and thinking. But thinking is not reproductive, but creative. Only with the normal development of these areas can we talk about creative abilities. And the inclination to one of the types of creative activity indicates the preference and predisposition of the child. And based on the characteristics of creative activity proposed by N. A. Vetlugina, the following criteria for the development of creative abilities characteristic of each age can be identified:

• 1. interest in creativity and creative activity;
• 2. active participation in organized creative activities;
• 3. independent creative activity;
• 4. And for older children, there is also a manifestation of creative initiative.

The presence of all these criteria in each age period indicates that the development of creative abilities corresponds to normal development. The absence of one of these criteria tells us that it is worth taking a closer look at the development of this child; perhaps the child needs the help of an adult in developing certain prerequisites for creative activity.

The work was added to the site website: 2013-10-27

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Table of contents:
Introduction. 3
Chapter 1. The problem of creativity and creative abilities in modern pedagogy and psychology 5
1.1 The concepts of creativity and creativity. 5
1.2 Components of creative abilities. 6
1.3 The problem of optimal timing for the beginning of the development of creative abilities. 8
Chapter 2. Development of creative abilities in preschool age. 10
2.1 Conditions for the successful development of creative abilities. 10
2.2 Development of creative thinking qualities. 12
2.3 Development of creative imagination. 13
Conclusion. 20
Appendix 1. 22
Appendix 2. 26
Appendix 3. 27
Appendix 4. 28
Appendix 5. 30
Bibliography. 31

INconducting

Creativity is not a new subject of research. The problem of human abilities has aroused great interest among people at all times. However, in the past, society did not have a special need to master people's creativity. Talents appeared as if by themselves, spontaneously creating masterpieces of literature and art: making scientific discoveries, inventing, thereby satisfying the needs of the developing human culture. Nowadays, the situation has changed radically. Life in the era of scientific and technological progress is becoming more diverse and complex. And it requires from a person not stereotyped, habitual actions, but mobility, flexibility of thinking, quick orientation and adaptation to new conditions, a creative approach to solving large and small problems. If we take into account the fact that the share of mental labor in almost all professions is constantly growing, and an increasing part of the performing activity is being transferred to machines, then it becomes obvious that a person’s creative abilities should be recognized as the most essential part of his intelligence and the task of their development is one of the most important tasks in the education of modern man. After all, all cultural values ​​accumulated by humanity are the result of people’s creative activity. And how far human society will advance in the future will be determined by the creative potential of the younger generation.
The object of study of this course work is the pedagogical process, namely the process of development of creative abilities in preschool age. The purpose of this study is to study the problem of developing the creative abilities of preschoolers, namely those aspects of it, the knowledge of which is necessary for practical activities in this direction for kindergarten teachers and parents. In the course of our work, we set ourselves the following tasks:
- Identification of the main components of creative abilities based on literature analysis.
- Determination of conditions favorable for the development of children's creative abilities.
- Determination of the main directions and pedagogical tasks for the development of creative abilities in preschool age.
- Determining the effectiveness of traditional methods of preschool education in relation to the development of children's creative abilities.
- Identification of the effectiveness of forms, methods and pressures for the development of creative abilities based on the analysis and generalization of advanced pedagogical experience.
In this course work we applied the following methods of scientific and pedagogical research.
1. Study, analysis and synthesis of literary sources on this topic.
2. Diagnosis of children's creative abilities.
3. Study and generalization of pedagogical experience in the development of children's creative abilities.
The course work consists of two chapters. The first chapter examines the problem of the components of human creative potential, and based on an analysis of various points of view on this problem, an attempt is made to determine the universal creative abilities of a person. This chapter also addresses the question of the optimal timing for the development of children's creative abilities.
The second chapter is devoted to the problems of effective development of creative abilities. It examines the conditions necessary for the successful development of creative abilities, defines the main directions and pedagogical tasks for the development of the creative potential of preschool children. The second chapter also analyzes the results of diagnosing the creative abilities of preschool children, and proposes a set of measures aimed at optimizing the process of developing these abilities in preschool institutions.

Chapter 1. The problem of creativity and creative abilities in modern pedagogy and psychology

1.1 Concepts of creativity and creativity

Analysis of the problem of developing creative abilities will largely be determined by the content that we will put into this concept. Very often in everyday consciousness, creative abilities are identified with abilities for various types of artistic activity, with the ability to draw beautifully, write poetry, write music, etc. What is creativity really?
It is obvious that the concept we are considering is closely related to the concept of “creativity”, “creative activity”. By creative activity we understand such human activity, as a result of which something new is created - be it an object in the external world or the construction of thinking that leads to new knowledge about the world, or a feeling that reflects a new attitude to reality.
If we carefully consider a person’s behavior and his activities in any field, we can distinguish two main types of actions. Some human actions can be called reproductive or reproductive. This type of activity is closely related to our memory and its essence lies in the fact that a person reproduces or repeats previously created and developed methods of behavior and action.
In addition to reproductive activity, there is creative activity in human behavior, the result of which is not the reproduction of impressions or actions that were in his experience, but the creation of new images or actions. This type of activity is based on creativity.
Thus, in the most general form, the definition of creative abilities is as follows. Creative abilities are the individual characteristics of a person’s qualities that determine the success of a person’s performance of various types of creative activities.
Since the element of creativity can be present in any type of human activity, it is fair to talk not only about artistic creativity, but also about technical creativity, mathematical creativity, etc.
This course work will examine the problem of developing universal creative abilities, which are necessary for the successful implementation of any type of creative activity, regardless of whether it is scientific, artistic, technical, etc.

1.2 Components of creativity

Creativity is a fusion of many qualities. And the question about the components of human creative potential remains 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 characteristics of thinking. In particular, the famous American psychologist Guilford, who studied the problems of human intelligence, found that creative individuals are characterized by so-called divergent thinking. People with this type of thinking, when solving a problem, do not concentrate all their efforts on finding the only correct solution, but begin to look for solutions in all possible directions in order to consider as many options as possible. Such people tend to form new combinations of elements that most people know and use only in a certain way, or to form connections between two elements that at first glance have nothing in common. The divergent way of thinking underlies creative thinking, which is characterized by the following main features:
1. Speed ​​- the ability to express the maximum number of ideas (in this case, it is not their quality that 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.
Well-known domestic researcher of the problem of creativity A.N. Onion, based on the biographies of outstanding scientists, inventors, artists and musicians, identifies the following creative abilities.
1. The ability to see a problem where others do not see it.
2. The ability to collapse mental operations, replacing several concepts with one and using increasingly information-capacious symbols.
3. The ability to apply the skills acquired in solving one problem to solving another.
4. The ability to perceive reality as a whole, without splitting it into parts.
5. The ability to easily associate distant concepts.
6. The ability of memory to provide the necessary information at the right moment.
7. Flexibility of thinking.
8. The ability to choose one of the alternatives to solve a problem before testing it.
9. The ability to incorporate newly perceived information into existing knowledge systems.
10. The ability to see things as they are, to isolate what is observed from what is introduced by interpretation.
11. Ease of generating ideas.
12. Creative imagination.
13. The ability to refine details to improve the original plan.
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 areas of practice), identified the following universal creative abilities that have developed in the process of human history.
1. Realism of the imagination - figurative grasping of some essential, general tendency or pattern of development of a valued object, before a person has a clear concept about it and can fit it into a system of strict logical categories.
2. The ability to see the whole before the parts.
3. The supra-situational - transformative nature of creative solutions - the ability, when solving a problem, not just to choose from alternatives imposed from the outside, but to independently create an alternative.
4. Experimentation - the ability to consciously and purposefully create conditions in which objects most clearly reveal their hidden essence in ordinary situations, as well as the ability to trace and analyze the features of the “behavior” of objects in these conditions.
Scientists and teachers involved in the development of programs and methods of creative education based on TRIZ (theory of solving inventive problems) and ARIZ (algorithm for solving inventive problems) believe that one of the components of human creative potential is the following abilities.
1. Ability to take risks.
2. Divergent thinking.
3. Flexibility in thinking and action.
4. Speed ​​of thinking.
5. The ability to express original ideas and invent new ones.
6. Rich imagination.
7. Perception of the ambiguity of things and phenomena.
8. High aesthetic values.
9. Developed intuition.
Analyzing the points of view presented above on the issue of the components of creative abilities, we can conclude that despite the difference in approaches to their definition, researchers unanimously identify creative imagination and the quality of creative thinking as mandatory components of creative abilities.
Based on this, we can determine the main directions in the development of children’s creative abilities:
1. Development of imagination.
2. Development of thinking qualities that form creativity.

1.3 The problem of optimal timing for the beginning of the development of creative abilities.

Speaking about the formation of abilities, it is necessary to dwell on the question of when and at what age children’s creative abilities should be developed. Psychologists call different periods from one and a half to five years. There is also a hypothesis that it is necessary to develop creative abilities from a very early age. This hypothesis is confirmed in physiology.
The fact is that a child’s brain grows and “ripens” especially quickly in the first years of life. This is ripening, i.e. the growth in the number of brain cells and the anatomical connections between them depends both on the diversity and intensity of the work of existing structures, and on the extent to which 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 incentives and conditions at 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, proceed synchronously, and the conditions are favorable, then development proceeds easily - with the highest possible acceleration. Development can reach its greatest heights, and the child can become capable, talented and brilliant.
However, the possibilities for developing 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 types of activities, then these opportunities begin to be lost, degrade, and the faster the weaker the functioning. This fading of development opportunities is an irreversible process. Boris Pavlovich Nikitin, who has been dealing with the problem of developing the creative abilities of children 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 time gap between the moment of maturation of the structures necessary for the formation of creative abilities and the beginning of the targeted 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 developmental opportunities that gave rise to the opinion that creative abilities are innate, since usually no one suspects that in preschool age opportunities for the effective development of creative abilities were missed. 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, and involving them in various activities, help expand 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 the thinking of older children. It is not yet 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. From all of the above, we can conclude that preschool age provides excellent opportunities for developing creativity. And the creative potential of an adult will largely depend on the extent to which these opportunities were used.

Chapter 2. Development of creative abilities in preschool age.

2.1 Conditions for the successful development of creative abilities.

One of the most important factors in the creative development of children is the creation of conditions conducive to the formation of their creative abilities. Based on an analysis of the works of several authors, in particular J. Smith, B.N. Nikitin and L. Carroll, we have identified six main conditions for the successful development of children’s creative abilities.
The first step to the successful development of creative abilities is the early physical development of the baby: early swimming, gymnastics, early crawling and walking. Then early reading, counting, early exposure to different tools and materials.
The second important condition for the development of a child’s creative abilities is the creation of an environment that advances the development of children. It is necessary, as far as possible, to surround the child in advance with such an environment and such a system of relationships that would stimulate his most diverse creative activities and would gradually develop in him exactly what is capable of developing most effectively at the appropriate moment. For example, long before a one-year-old child learns to read, you can buy blocks with letters, hang the alphabet on the wall, and call out the letters to the child during games. This promotes early reading acquisition.
The third, extremely important, condition for the effective development of creative abilities follows from the very nature of the creative process, which requires maximum effort. The fact is that the ability to develop the more successfully, the more often in his activities a person reaches “the ceiling” of his capabilities and gradually raises this ceiling higher and higher. This condition of maximum effort is most easily achieved when the child is already crawling, but cannot yet speak. The process of learning about the world at this time is very intense, but the baby cannot take advantage of the experience of adults, since it is still impossible to explain anything to such a small child. Therefore, during this period, the child is forced more than ever to engage in creativity, to solve many completely new problems for him on his own and without prior training (if, of course, adults allow him to do this, they solve them for him). The child's ball rolled far under the sofa. Parents should not rush to get him this toy from under the sofa if the child can solve this problem himself.
The fourth condition for the successful development of creative abilities is to provide the child with great freedom in choosing activities, in alternating activities, in the duration of one activity, in choosing methods, etc. Then the child’s desire, his interest, and emotional upsurge will serve as a reliable guarantee that greater mental stress will not lead to overwork and will benefit the child.
But providing a child with such freedom does not exclude, but, on the contrary, presupposes unobtrusive, intelligent, friendly help from adults - this is the fifth condition for the successful development of creative abilities. The most important thing here is not to turn freedom into permissiveness, but help into a hint. Unfortunately, hinting is a common way for parents to “help” their children, but it only hurts the matter. You cannot do something for a child if he can do it himself. You can’t think for him when he can figure it out himself.
It has long been known that creativity requires a comfortable psychological environment and the availability of free time, therefore the sixth condition for the successful development of creative abilities is a warm, friendly atmosphere in the family and children's team. Adults must create a safe psychological basis for the child’s return from creative search and their own discoveries. It is important to constantly stimulate a child to be creative, show sympathy for his failures, and be patient even with strange ideas that are unusual in real life. It is necessary to exclude remarks and condemnation from everyday life.
But creating favorable conditions is not enough to raise a child with high creative potential, although some Western psychologists still believe that creativity is inherent in the child and that one should just not interfere with his free expression. But practice shows that such non-interference is not enough: not all children can open the way to creativity and maintain creative activity for a long time. It turns out (and pedagogical practice proves this), if you select the appropriate teaching methods, even preschoolers, without losing the originality of creativity, create works of a higher level than their untrained, self-expressing peers. It is no coincidence that children's clubs and studios, music schools and art schools are so popular now. Of course, there is still a lot of debate about what and how to teach children, but the fact that it is necessary to teach is beyond doubt.
Nurturing children's creative abilities will be effective only if it represents a purposeful process, during which a number of private pedagogical tasks are solved, aimed at achieving the final goal. And in this course work, based on the study of literature on this topic, we tried to determine the main directions and pedagogical tasks for the development of such important components of creative abilities as creative thinking and imagination in preschool age.

2.2 Development of creative thinking qualities.

The main pedagogical task for the development of creative thinking in preschool age is the formation of associative, dialectical and systematic thinking. Since the development of precisely these qualities makes thinking flexible, original and productive.
Associativity is the ability to see connections and similar features in objects and phenomena that at first glance are not comparable.
Thanks to the development of associativity, thinking becomes flexible and original.
In addition, a large number of associative connections allows you to quickly retrieve the necessary information from memory. Associativity is very easily acquired by preschoolers in role-playing games. There are also special games that help develop this quality.
Often discoveries are born from connecting the seemingly incompatible. For example, for a long time it seemed impossible to fly aircraft that are heavier than air. Dialectical thinking allows us to formulate contradictions and find a way to resolve them.
Dialecticality is the ability to see contradictions in any system that hinder their development, the ability to eliminate these contradictions, and solve problems.
Dialecticality is a necessary quality of talented thinking. Psychologists have conducted a number of studies and found that the mechanism of dialectical thinking functions in folk and scientific creativity. In particular, an analysis of Vygodsky’s works showed that the outstanding Russian psychologist constantly used this mechanism in his research.
Pedagogical tasks for the formation of dialectical thinking in preschool age are:
1. Development of the ability to identify contradictions in any subject and phenomenon;
2. Developing the ability to clearly formulate identified contradictions;
3. Formation of the ability to resolve contradictions;
And one more quality that shapes creative thinking is consistency.
Systematicity is the ability to see an object or phenomenon as an integral system, to perceive any object, any problem comprehensively, in all its diversity of connections; the ability to see the unity of relationships in phenomena and laws of development.
Systems thinking allows you to see a huge number of properties of objects, capture relationships at the level of parts of the system and relationships with other systems. Systems thinking recognizes patterns in the development of a system from the past to the present and applies this to the future.
Systematic thinking is developed through correct analysis of systems and special exercises. Pedagogical tasks for the development of systematic thinking in preschool age:
1. Formation of the ability to consider any object or phenomenon as a system developing over time;
2. Development of the ability to determine the functions of objects, taking into account the fact that any object is multifunctional.

2.3 Development of creative imagination.

The second direction in the formation of creative abilities of preschoolers is the development of imagination.
Imagination is the ability to construct in the mind from elements of life experience (impressions, ideas, knowledge, experiences) through new combinations and relationships something new that goes beyond what was previously perceived.
Imagination is the basis of all creative activity. It helps a person free himself from the inertia of thinking, it transforms the representation of memory, thereby ultimately ensuring the creation of something obviously new. In this sense, everything that surrounds us and that is made by human hands, the entire world of culture, in contrast to the natural world - all this is a product of creative imagination.
Preschool childhood is a sensitive period for the development of imagination. At first glance, the need to develop the imagination of preschoolers may seem reasonable. After all, it is a very common opinion that a child’s imagination is richer and more original than the imagination of an adult. Such an idea about the inherently vivid imagination of a preschooler existed in the past among psychologists.
However, already in the 30s, the outstanding Russian psychologist L. S. Vygotsky proved that a child’s imagination develops gradually, as he acquires certain experience. S. Vygotsky argued that all images of the imagination, no matter how bizarre they may be, are based on those ideas and impressions that we receive in real life. He wrote: “The first form of connection between imagination and reality is that every creation of the imagination is always built from elements taken from activity and contained in man’s previous experience.”
It follows from this that the creative activity of the imagination is directly dependent on the richness and diversity of a person’s previous experience. The pedagogical conclusion that can be drawn from all of the above is the need to expand the child’s experience if we want to create a sufficiently strong foundation for his creative activity. The more a child has seen, heard and experienced, the more he knows and has learned, the more elements of reality he has in his experience, the more significant and productive, other things being equal, will be the activity of his imagination. It is with the accumulation of experience that all imagination begins. But how to convey this experience to a child in advance? It often happens that parents talk to a child, tell him something, and then complain that, as they say, it went in one ear and out the other. This happens if the child has no interest in what he is told about, no interest in knowledge in general, that is, when there are no cognitive interests.
In general, the cognitive interests of a preschooler child begin to manifest themselves very early. This first manifests itself in the form of children's questions with which the baby besieges parents from the age of 3-4 years. However, whether such children's curiosity will become a stable cognitive interest or whether it will disappear forever depends on the adults surrounding the child, primarily on his parents. Adults should encourage children's curiosity in every possible way, fostering a love and need for knowledge.
In preschool age, the development of a child’s cognitive interests should proceed in two main directions:
1. Gradually enriching the child’s experience, saturating this experience with new knowledge about various areas of reality. This causes cognitive activity in the preschooler. The more sides of the surrounding reality open to children, the wider the opportunities for the emergence and consolidation of stable cognitive interests in them.
2. Gradual expansion and deepening of cognitive interests within the same sphere of reality.
In order to successfully develop a child’s cognitive interests, parents must know what their child is interested in, and only then influence the formation of his interests. It should be noted that for the emergence of stable interests, it is not enough to simply introduce a child to a new sphere of reality. He should have a positive emotional attitude towards the new. This is facilitated by the inclusion of the preschooler in joint activities with adults. An adult can ask a child to help him do something or, say, listen to his favorite record with him. The feeling of involvement in the world of adults that arises in the child in such situations creates a positive connotation of his activities and contributes to his interest in this activity. But in these situations, the child’s own creative activity should also be awakened; only then can the desired result be achieved in the development of his cognitive interests and in the assimilation of new knowledge. You need to ask your child questions that encourage active thinking.
The accumulation of knowledge and experience is only a prerequisite for the development of creative imagination. Any knowledge can be a useless burden if a person does not know how to handle it and select what is necessary, which leads to a creative solution to the problem. And for this you need practice in making such decisions, the ability to use accumulated information in your activities.
Productive creative imagination is characterized not only by such features as originality and richness of the images produced. One of the most important properties of such imagination is the ability to direct ideas in the right direction, to subordinate them to certain goals. The inability to manage ideas, to subordinate them to your goal, leads to the fact that the best plans and intentions perish without being realized. Therefore, the most important line in the development of a preschooler’s imagination is the development of the direction of imagination.
In a younger preschooler, the imagination follows the subject and everything he creates is fragmentary and unfinished. Adults should help the child learn not just to fantasize fragmentarily, but to realize his plans, to create, albeit small, but complete works. For this purpose, parents can organize a role-playing game and, during this game, influence the child’s performance of the entire chain of play actions. You can also organize a collective composition of a fairy tale: each of the players speaks several sentences, and the adult participating in the game can direct the development of the plot and help the children complete their plan. It is good to have a special folder or album where the most successful drawings and fairy tales composed by the child would be placed. This form of recording creative products will help the child direct his imagination to create complete and original works.
In order to determine the level of development of children's creative abilities in preschool age, on December 10 and December 15, 2002, we carried out their diagnostics among preschool children from the Solnyshko village in the South-Western Administrative District of Moscow. For the study, we used the express methods of candidates of psychological sciences V. Kudryavtsev and V. Sinelnikov (see Appendix 1). Using these methods, we compiled an operational microsection of the creative development of each child in all its bases. The criterion for highlighting the grounds is the universal creative abilities identified by the authors: realism of imagination, the ability to see the whole before the parts, the supra-situational transformative nature of creative solutions, children's experimentation. Each of the methods allows us to record significant manifestations of these abilities and the real levels of their development in the child.
After conducting the diagnostics, we received the following results (see Appendix 2). The development of realism of imagination in 61.5% of children is at a low level, and in 38.5% of children - at an average level. The development of such an ability as the supra-situational-transformative nature of creative solutions in 54% of children is at a low level, in 8% - at an average level, and 38% of children - at a high level. in 30% of children it is developed at an average level and in 70% of children at a high level. Analyzing the results obtained, the following conclusions and suggestions can be made.
Children in this group have poorly developed creative imagination. It should be said right away that this group is engaged in the Rainbow development program, but special work on developing imagination with children is not carried out. However, psychologists and teachers involved in the analysis of preschool education programs have long said that they actually do not contain special measures aimed at the consistent and systematic development of children's imagination. Under these conditions, it develops mainly only spontaneously and, as a result, often does not reach even the average level of its development. This was confirmed by our diagnostics. From all that has been said above, it follows that under existing conditions in kindergartens it is necessary to carry out special work aimed at developing the creative imagination of children, especially since preschool age is a sensitive period for the development of this process. What forms can this work take?
Of course, the best option is to introduce a special program of classes to develop children's imagination. Recently, a large number of methodological developments for such classes have appeared. In particular, in our country, the Public Laboratory of Invention Methodology has developed a special course “Development of Creative Imagination” (RTI). It is based on TRIZ, ARIZ and the theory of development of technical systems by G.S. Altshuller. This course has already been tested in various creative studios, schools and preschool institutions, where it has proven its effectiveness. RTV develops not only the creative imagination, but also the creative thinking of children. In addition, we can propose a method for developing children's imagination by O.M. Dyachenko nor N.E. Verax, as well as special game-based imagination training developed by psychologist E.V. Stutterer.
If it is not possible to introduce additional classes, then the teacher can be offered, on the basis of the program in which he works, without sudden changes in the form of classes, to use TRIZ elements to develop the creative potential of children. Also, in special classes in music, drawing, design, and speech development, children need to be given creative tasks.
You can develop creative imagination not only in special classes. Play, which is the main activity of preschoolers, is of great importance for the development of children’s imagination. It is in play that the child takes the first steps of creative activity. Adults should not just observe children's play, but manage its development, enrich it, and include creative elements in the game. At an early stage, children's games are objective in nature, that is, they are actions with various objects. At this stage, it is very important to teach the child to play with the same subject in different ways. For example, a cube can be a table, a chair, a piece of meat, etc. Adults should show children the possibility of different ways to use the same objects. At the age of 4-5, a role-playing game begins to take shape, which provides ample opportunities for the development of imagination and creativity. Adults need to know how and what their children play, how diverse the plots of the games they play are. And if children play the same “daughters - mothers” or war every day, the teacher should help them learn to diversify the plots of the games. You can play with them, offering to act out different stories and take on different roles. The child must first show his creative initiative in the game, plan and direct the game.
In addition, to develop imagination and creativity, there are special games that you can play with children in your free time. Interesting educational games developed by B.N. Nikitin, O.M. Dyachenko and N.E. Veraksa.
The richest source for the development of a child’s imagination is a fairy tale. There are many techniques for working with fairy tales that educators can use to develop children's imagination. Among them: “twisting” a fairy tale, inventing a fairy tale in reverse, inventing a continuation of a fairy tale, changing the end of a fairy tale. You can write fairy tales with your children. Speaking about the development of children's imagination with the help of fairy tales, one cannot help but recall the wonderful book by J. Rodari “The Grammar of Fantasy”.
The diagnostic results also show that in many children it is necessary to develop such a creative ability as the supra-situational-transformative nature of creative solutions. To develop this ability, children must be presented with various problem situations, in solving which they must not only choose the optimal one from the proposed alternatives, but, based on the transformation of the original means, create their own alternative. Adults should in every possible way encourage children's creative approach to solving any problem. The development of the ability in question is closely related to the formation of dialectical thinking. Therefore, games and exercises to develop dialectical thinking can be used to develop parsing ability. Some exercises for developing dialectical thinking are given in Appendix 4.
The results of diagnosing the creative potential of children revealed a good development of the ability to see the whole before the parts. And this result is natural, because One of the features of a child’s worldview is its integrity; the child always sees the whole before the parts. However, very soon children lose this ability, because the traditional methods of preschool education contradict this objective law of knowledge. Since when studying any object or phenomenon, the teacher is instructed to first draw the children’s attention to its individual external signs and only then reveal its holistic image. However, forcing the analytical tendency in the cognitive development of preschoolers can lead to a significant decrease in their creative abilities. There is evidence that fears and other negative experiences in affective children are directly related to their inability to see the whole before the parts, i.e. to capture in individual events the meaning given by the context of the overall situation. This implies the need to develop systematic thinking in preschoolers. This quality is developed by correct analysis of systems and special games, some of which are given in Appendix 5.
Speaking about the problem of children's creative abilities, we would like to emphasize that their effective development is possible only with the joint efforts of both preschool teachers and the family. Unfortunately, teachers complain about the lack of proper support from parents, especially when it comes to creativity pedagogy. Therefore, it is advisable to hold special conversations and lectures for parents, which would talk about why it is so important to develop creative abilities from childhood, what conditions need to be created in the family for their successful development, what techniques and games can be used to develop creative abilities in the family, and also special literature on this problem would be recommended to parents.
We believe that the measures proposed above will contribute to more effective development of creative abilities in preschool age.

Zconclusion

Universal creative abilities are individual characteristics and qualities of a person that determine the success of a person in performing creative activities of various kinds. The basis of human creative abilities are the processes of thinking and imagination. Therefore, the main directions for the development of creative abilities in preschool age are:
1. Development of productive creative imagination, which is characterized by such qualities as the richness of the produced images and direction.
2. Development of thinking qualities that form creativity; such qualities are associativity, dialecticity and systematic thinking.
Preschool age has the richest opportunities for the development of creative abilities. Unfortunately, these opportunities are irreversibly lost over time, so it is necessary to use them as effectively as possible in preschool childhood.
The successful development of creative abilities is possible only when certain conditions are created that are conducive to their formation. These conditions are:
1. Early physical and intellectual development of children.
2. Creating an environment that advances the child’s development.
3. The child’s independent solution of tasks that require maximum effort, when the child reaches the “ceiling” of his capabilities.
4. Giving the child freedom in choosing activities, alternating tasks, duration of activities, etc.
5. Smart, friendly help (not advice) from adults.
6. Comfortable psychological environment, encouragement by adults of the child’s desire for creativity.
But creating favorable conditions is not enough to raise a child with highly developed creative abilities. Purposeful work is needed to develop the creative potential of children. Unfortunately, the traditional preschool education system in our country contains almost no measures aimed at the consistent systematic development of children’s creative abilities. Therefore, they (abilities) develop mainly spontaneously and, as a result, do not reach a high level of development. This was confirmed by the results of diagnosing the creative abilities of four- to five-year-old preschoolers at the “Solnyshko” kindergarten in the South-Western Administrative District of Moscow. The diagnostics of creative imagination gave the lowest results. Although preschool age is a sensitive period for the development of this component of creative abilities. To correct the current situation, the following measures can be proposed aimed at effectively developing the creative abilities of preschoolers:
1. Introduction to the preschool education program of special classes aimed at developing the creative imagination and thinking of children.
2. At special classes in drawing, music, and speech development, give children tasks of a creative nature.
3. Management by adults of children’s subject and role-playing games in order to develop children’s imagination.
4. The use of special games that develop children's creative abilities.
5. Working with parents.

Annex 1

Methods for diagnosing universal creative abilities for children 4-5 years old (authors: V. Sinelnikov, V. Kudryavtsev)

1. Method "Sun in the room"
Base. Realization of imagination.
Target. Identifying the child’s ability to transform the “unreal” into the “real” in the context of a given situation by eliminating the inconsistency.
Material. A picture depicting a room in which there is a man and the sun; pencil.
Instructions for carrying out.
Psychologist, showing a child a picture: “I’m giving you this picture. Look carefully and tell me what’s drawn on it.” After listing the details of the image (table, chair, man, lamp, sun, etc.), the psychologist gives the following task: “That’s right. However, as you can see, here the sun is drawn in the room. Please tell me, is it possible that this is the case, or is it the artist here? "Did you get it wrong? Try to correct the picture so that it is correct."
The child does not have to use a pencil; he can simply explain what needs to be done to “correct” the picture.
Data processing.
During the examination, the psychologist evaluates the child’s attempts to correct the drawing. Data processing is carried out according to a five-point system:
1. No answer, non-acceptance of the task (“I don’t know how to fix it”, “The picture doesn’t need to be corrected”) - 1 point.
2. “Formal elimination of inconsistency (erase, paint over the sun) -2 points.
3. Meaningful elimination of inconsistency:
a) simple answer (Draw in another place - “Sun on the street”) -3 points.
b) complex answer (redo the drawing - “Make a lamp out of the sun”) - 4 points.
4. Constructive answer (separate the inappropriate element from the others, keeping it in the context of the given situation (“Make a picture”, “Draw a window”, “Put the sun in a frame”, etc.) -5 points.
2. “Folding picture” technique
Basis: The ability to see the whole before the parts.
Target. Determination of the ability to preserve the integral context of an image in a situation of its destruction.
M a t e r i a l. Folding cardboard picture of a duck with four folds (size 10 * 15 cm)
Instructions for carrying out.
Psychologist, presenting a picture to a child: “Now I’ll give you this picture. Please look carefully and tell me what’s drawn on it?” After listening to the answer, the psychologist folds the picture and asks: “What will happen to the duck if we fold the picture like this?” After the child answers, the picture is straightened out, folded again, and the child is asked the same question again. In total, five folding options are used - “corner”, “bridge”, “house”, “pipe”, “accordion”.
Data processing.
During the examination of the child, the psychologist records the general meaning of the answers when completing the task. Data processing is carried out according to a three-point system. Each task corresponds to one position when bending the pattern. The maximum score for each task is 3 points. Total – 15 points. The following response levels are distinguished:
1. Lack of answer, non-acceptance of the task (“I don’t know”, “Nothing will happen”, “It doesn’t happen”) - 1 point.
2. A descriptive answer, listing the details of the drawing that are in the field of view or outside it, i.e. loss of image context (“The duck has no head”, “The duck is broken”, “The duck is divided into parts”, etc.) - 2 points.
3. Answers of a combining type: maintaining the integrity of the image when bending the drawing, including the drawn character in a new situation (“The duck dived”, “The duck swam behind the boat”), constructing new compositions (“It’s like they made a pipe and drew a duck on it”) and etc. - 3 points.
Some children give answers in which the preservation of the integral context of the image is “tied” not to any situation, but to the specific form that the picture takes when folded (“The duck has become a house”, “It has become like a bridge”, etc.) . Such answers belong to the combining type and are also scored 3 points.
3. Method “How to save a bunny”
Base. .
Target. Assessment of ability and transformation of a choice task into a transformation task in conditions of transferring the properties of a familiar object to a new situation.
M a t e r i a l. Bunny figurine, saucer, bucket, wooden stick. deflated balloon, sheet of paper.
Instructions for carrying out.
In front of the child, on the table there is a bunny figurine, a saucer, a bucket, a stick, a deflated balloon and a sheet of paper. Psychologist, picking up a bunny: “Meet this bunny. Once such a story happened to him. The bunny decided to sail on a boat on the sea and sailed far, far from the shore. And then a storm began, huge waves appeared, and the bunny began to drown. Help "Only you and I can help the bunny. We have several objects for this (the psychologist draws the child's attention to the objects laid out on the table). What would you choose to save the bunny?"

Data processing.
During the examination, the nature of the child’s answers and their rationale are recorded. Data are assessed using a three-point system.
First level. The child chooses a saucer or bucket, as well as a stick with which you can lift the bunny from the bottom, without going beyond a simple choice; the child tries to use objects in their finished form, to mechanically transfer their properties to a new situation. Score – 1 point.
Second level. A solution with an element of simple symbolism, when a child suggests using a stick as a log on which the bunny can swim to the shore. In this case, the child again does not go beyond the choice situation. Score – 2 points.
Third level. To save the bunny, it is suggested to use a deflated balloon or a sheet of paper. For this purpose, you need to inflate a balloon (“A bunny on a balloon can fly away”) or make a boat out of a sheet. For children at this level, there is an orientation toward the transformation of available subject material. They independently turn the original choice task into a transformation task, which indicates the child’s supra-situational approach to it. Score – 3 points.

4. “Tablet” technique
Base. Children's experimentation.
Target. Assessing the ability to experiment with transforming objects.
Material. A wooden plank, which is a hinged connection of four smaller square links (the size of each link is 15*15 cm)
Instructions for carrying out.
The unfolded board lies in front of the child on the table. Psychologist: “Now let’s play with this board. This is not a simple board, but a magical one: you can bend and unfold it, then it becomes like something. Try to do this.”
As soon as the child folds the board for the first time, the psychologist stops him and asks: “What did you do? What does this board look like now?”
Having heard the child’s answer, the psychologist turns to him again: “How else can you fold it? What does it look like? Try again.” And so on until the child stops on his own.
Data processing.
When processing the data, the number of non-repeating responses of the child is assessed (naming the shape of the resulting object as a result of folding the board (“garage”, “boat”, etc.), one point for each name. The maximum number of points is not initially limited.

Appendix 2.

Results of diagnostics of universal creative abilities of preschool children (in points)
d/s "Solnyshko" South-Western Administrative District of Moscow group "Joy"

Children's surnames	Realism of imagination Min 1 point Max 5 points	The ability to see the whole before the parts Min 5 points Max 15 points	Trans-situational-transformative nature of creative solutions Min 1 point Max 3 points	Experimentation
Belyaeva Lyudmila	2	15	1	10
Boroday Vladimir	3	10	1	16
Vakulov Pavel	3	10	3	13
Eliseev Sergey	2	12	3	16
Eremina Alexandra	2	15	3	14
Zhidkikh Stanislav	2	10	1	24
Koltsova Evgeniya	3	15	1	6
Lapina Julia	1	15	1	10
Makarova Anna	2	13	3	13
Nikitin Alexey	3	15	1	17
Prokopova Ksenia	1	14	3	8
Simakova Anastasia	3	15	1	17
Urazova Anna	2	10	2	10

General results of diagnostics of universal creative abilities for the group

Capabilities	Low level	Average level	High level
Realism of imagination	61,5%	38,5%	0%
The ability to see the whole before the parts	0%	30%	70%
Trans-situational-transformative nature of creative solutions	54%	8%	38%

Appendix 3.

Games to develop associative thinking
Game "What does it look like"
3-4 people (guessers) go out the door, and the rest of the game participants agree on which item will be compared. The guessers come in and the presenter begins: “What I guessed is similar to...” and gives the floor to the one who first found the comparison and raised his hand: For example, a bow can be associated with a flower, with a butterfly, with a helicopter rotor, with the number “8” ", which lies on its side. The guesser selects new guessers and offers the next item for association.
"Surreal game"(drawing by several hands)
The first participant in the game makes the first sketch, depicting some element of his idea. The second player, starting from the first sketch, makes an element of his image, etc. until the finished drawing.
"Magic Blots"
Before the game, several blots are made: a little ink or ink is poured into the middle of the sheet and the sheet is folded in half. Then the sheet is unfolded and now you can play. Participants take turns speaking. What object images do they see in the blot or its individual parts? The one who names the most objects wins.
Game "Word Association"
Take any word, for example, loaf. It is associated:
- with bakery products.
- with consonant words: baron, bacon.
- with rhyming words: pendant, salon.
Create as many associations as possible according to the proposed scheme.
Associative thinking can be developed what is called “on the go.” While walking with your children, you can think together about what clouds, puddles on the asphalt, and pebbles on the shore look like.

Development of creative abilities in preschool children.

INTRODUCTION

Creativity is not a new subject of research. The problem of human abilities has aroused great interest among people inall times. However, in the past, society did not have a special need to master people's creativity. Talents appeared as if by themselves, spontaneously creating masterpieces of literature and art: making scientific discoveries, inventing, thereby satisfying the needs of the developing human culture. Nowadays, the situation has changed radically. Life in the era of scientific and technological progress is becoming more diverse and complex. And it requires from a person not stereotyped, habitual actions, but mobility, flexibility of thinking, quick orientation and adaptation to new conditions, a creative approach to solving large and small problems. If we take into account the fact that the share of mental labor is almostall professions is constantly growing, and an increasing part of performing activities is being transferred to machines, it becomes obvious that a person’s creative abilities should be recognized as the most essential part of his intellect and the task of their development is one of the most important tasks in the education of a modern person. After all, all cultural values ​​accumulated by humanity are the result of people’s creative activity. And how far human society will advance in the future will be determined by the creative potential of the younger generation.

The object of study of this work is the pedagogical process, namely the process of development of creative abilities in preschool age. The purpose of this study is to study the problem of developing the creative abilities of preschoolers, namely those aspects of it, the knowledge of which is necessary for practical activities in this direction for kindergarten teachers and parents. During your work, you can set yourself the following tasks:

• Identification of the main components of creative abilities based on literature analysis.
• Determining conditions favorable for the development of children's creative abilities.
• Determination of the main directions and pedagogical tasks for the development of creative abilities in preschool age.
• Determining the effectiveness of traditional preschool education methods in relation to the development of children's creative abilities.
• Identification of the effectiveness of forms, methods and pressures for the development of creative abilities based on the analysis and generalization of advanced pedagogical experience.

In this work, I applied the following methods of scientific and pedagogical research.

1. Study, analysis and synthesis of literary sources on this topic.
2. Diagnosis of children's creative abilities.
3. Study and generalization of pedagogical experience in the development of children's creative abilities.

The work consists of two parts . The first examines the problem of the components of human creative potential, and based on an analysis of various points of view on this problem, an attempt is made to determine the universal creative abilities of a person. In this parts The question of the optimal timing for the beginning of the development of children's creative abilities is also considered.

The second part is devoted to the problems of effective development of creative abilities. It examines the conditions necessary for the successful development of creative abilities, defines the main directions and pedagogical tasks for the development of the creative potential of preschool children. The second part also analyzes the results of diagnosing the creative abilities of preschool children, and proposes a set of measures aimed at optimizing the process of developing these abilities in preschool institutions.

1. The problem of creativity and creativity

in modern pedagogy and psychology

1.1 Concepts of creativity and creativity

Analysis of the problem of developing creative abilities will largely be determined by the content that we will put into this concept. Very often, in everyday consciousness, creative abilities are identified with abilities for various types of artistic activity, with the ability to draw beautifully, write poetry, write music, etc. What is creativity really?

It is obvious that the concept we are considering is closely related to the concept of “creativity”, “creative activity”. By creative activity we understand such human activity, as a result of which something new is created - be it an object of the external world or the construction of thinking,leading to new knowledge about the world, or a feeling reflecting a new attitude towards reality.

If we carefully consider a person’s behavior and his activities in any field, we can distinguish two main types of actions. Some human actions can be called reproductive or reproductive. This type of activity is closely related to our memory and its essence lies in the fact that a person reproduces or repeats previously created and developed methods of behavior and action.

In addition to reproductive activity, there is creative activity in human behavior, the result of which is not the reproduction of impressions or actions that were in his experience, but the creation of new images or actions. This type of activity is based on creativity.

Thus, in the most general form, the definition of creative abilities is as follows. Creative abilities are the individual characteristics of a person’s qualities that determine the success of a person’s performance of various types of creative activities.

Since the element of creativity can be present in any type of human activity, it is fair to talk not only about artistic creativity, but also about technical creativity, mathematical creativity, etc.

This work will examine the problem of developing universal creative abilities, which are necessary for the successful implementation of any type of creative activity, regardless of whether it is scientific, artistic, technical, etc.

1.2 Components of creativity

Creativity is a fusion of many qualities. And the question about the components of human creative potential remains 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 characteristics of thinking. In particular, the famous American psychologist Guilford, who dealt with the problems of human intelligence, found that creative individuals are characterized by so-called divergent thinking /6, 436/.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 underlies creative thinking, which is characterized by the following main features:

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

Well-known domestic researcher of the problem of creativity A.N. Onion, based on the biographies of outstanding scientists, inventors, artists and musicians, identifies the following creative abilities /14.6-36/

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

2. The ability to collapse mental operations, replacing several concepts with one and using increasingly information-capacious symbols.

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

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

5. The ability to easily associate distant concepts.

6. The ability of memory to provide the necessary information at the right moment.

7. Flexibility of thinking.

8. The ability to choose one of the alternatives to solve a problem before testing it.

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

10. The ability to see things as they are, to isolate what is observed from what is introduced by interpretation.

11. Ease of generating ideas.

12. Creative imagination.

13. The ability to refine details to improve the original plan.

Candidates of psychological sciences V.T. Kudryavtsev and V. Sinelnikov, based on broad historical and cultural material (history of philosophy, social sciences, art, individual areas of practice), identified the following universal creative abilities that developed in the process of human history /12, 54-55/.

1. Realism of the imagination is the figurative grasp of some essential, general tendency or pattern of development of an integral object, before a person has a clear concept about it and can fit it into a system of strict logical categories.

2. The ability to see the whole before the parts.

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

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

Scientists and teachers involved in the development of programs and methods of creative education based on TRIZ (theory of solving inventive problems) and ARIZ (algorithm for solving inventive problems) believe that one of the components of human creative potential is the following abilities /9/.

1. Ability to take risks.

2. Divergent thinking.

3. Flexibility in thinking and action.

4. Speed ​​of thinking.

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

6. Rich imagination.

7. Perception of the ambiguity of things and phenomena.

8. High aesthetic values.

9. Developed intuition.

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

Based on this, we can determine the main directions in the development of children’s creative abilities:

1. Development of imagination.

2. Development of thinking qualities that form creativity.

1.3 The problem of optimal timing of development

creative abilities.

Speaking about the formation of abilities, it is necessary to dwell on the question of when and at what age children’s creative abilities should be developed. Psychologists call different terms fromone and a half to five years. There is also a hypothesis that it is necessary to develop creative abilities from a very early age. This hypothesis is confirmed in physiology.

The fact is that a child’s brain grows and “ripens” especially quickly in the first years of life. This is ripening, i.e. increase in the number of brain cells and anatomical connections betweenThey depend both on the diversity and intensity of work of existing structures, and on how much the environment stimulates the formation of new ones. 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 incentives and conditions at 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, proceed synchronously, and the conditions are favorable, then development proceeds easily - with the highest possible acceleration. Development can reach its greatest heights, and the child can become capable, talented and brilliant.

However, the possibilities for developing 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 types of activities, then these opportunities begin to be lost, degrade, and the faster the weaker the functioning. This fading of development opportunities is an irreversible process. Boris Pavlovich Nikitin, who has been dealing with the problem of developing the creative abilities of children 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 time gap between the moment of maturation of the structures necessary for the formation of creative abilities and the beginning of the targeted 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 developmental opportunities that gave rise to the opinion that creative abilities are innate, since usually no one suspects that in preschool age opportunities for the effective development of creative abilities were missed. 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 /17, 286-287/.

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, and involving them in various activities, help expand 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 the thinking of older children. It is not yet 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. From all of the above, we can conclude that preschool age provides excellent opportunities for developing creativity. And the creative potential of an adult will largely depend on the extent to which these opportunities were used.

2. Development of creative abilities in preschool age.

2.1 Conditions for the successful development of creative abilities.

One of the most important factors in the creative development of children is the creation of conditions conducive to the formation of their creative abilities. Based on an analysis of the works of several authors, in particular J. Smith /7, 123/, B.N. Nikitin /18, 15, 16/, and L. Carroll /9, 38-39/,I have identified six main conditions for the successful development of children's creative abilities.

The first step to the successful development of creative abilities is the early physical development of the baby: early swimming, gymnastics, early crawling and walking. Then early reading, counting, early exposure to different tools and materials.

The second important condition for the development of a child’s creative abilities is the creation of an environment that advances the development of children. It is necessary, as far as possible, to surround the child in advance with such an environment and such a system of relationships that would stimulate his most diverse creative activities and would gradually develop in him exactly what is capable of developing most effectively at the appropriate moment. For example, long before a one-year-old child learns to read, you can buy blocks with letters, hang the alphabet on the wall, and call out the letters to the child during games. This promotes early reading acquisition.

The third, extremely important, condition for the effective development of creative abilities follows from the very nature of the creative process, which requires maximum effort. The fact is that the ability to develop the more successfully, the more often in his activities a person reaches “the ceiling” of his capabilities and gradually raises this ceiling higher and higher. This condition of maximum effort is most easily achieved when the child is already crawling, but cannot yet speak. The process of learning about the world at this time is very intense, but the baby cannot take advantage of the experience of adults, since it is still impossible to explain anything to such a small child. Therefore, during this period, the child is forced more than ever to engage in creativity, to solve many completely new problems for him on his own and without prior training (if, of course, adults allow him to do this, they solve them for him). The child's ball rolled far under the sofa. Parents should not rush to get him this toy from under the sofa if the child can solve this problem himself.

The fourth condition for the successful development of creative abilities is to provide the child with great freedom in choosing activities, in alternating activities, in the duration of one activity, in choosing methods, etc. Then the child’s desire, his interest, and emotional upsurge will serve as a reliable guarantee that greater mental stress will not lead to overwork and will benefit the child.

But providing a child with such freedom does not exclude, but, on the contrary, presupposes unobtrusive, intelligent, friendly help from adults - this is the fifth condition for the successful development of creative abilities. The most important thing here is not to turn freedom into permissiveness, but help into a hint. Unfortunately, hinting is a common way for parents to “help” their children, but it only hurts the matter. You cannot do something for a child if he can do it himself. You can’t think for him when he can figure it out himself.

It has long been known that creativity requires a comfortable psychological environment and the availability of free time, therefore the sixth condition for the successful development of creative abilities is a warm, friendly atmosphere in the family and children's team. Adults must create a safe psychological basis for the child’s return from creative search and their own discoveries. It is important to constantly stimulate a child to be creative, show sympathy for his failures, and be patient even with strange ideas that are unusual in real life. It is necessary to exclude remarks and condemnation from everyday life.

But creating favorable conditions is not enough to raise a child with high creative potential, although some Western psychologists still believe that creativity is inherent in the child and that one should just not interfere with his free expression. But practice shows that such non-interference is not enough: not all children can open the way to creativity and maintain creative activity for a long time. It turns out (and pedagogical practice proves this), if you select the appropriate teaching methods, even preschoolers, without losing the originality of creativity, create works of a higher level than their untrained, self-expressing peers. It is no coincidence that children's clubs and studios, music schools and art schools are so popular now. Of course, there is still a lot of debate about what and how to teach children, but the fact that it is necessary to teach is beyond doubt.

Nurturing children's creative abilities will be effective only if it represents a purposeful process, during which a number of private pedagogical tasks are solved, aimed at achieving the final goal. And in this work, based on a study of literature on this topic, I tried to determine the main directions and pedagogical tasks for the development of such important components of creative abilities as creative thinking and imagination in preschool age.

2.2 Development of creative thinking qualities.

The main pedagogical task for the development of creative thinking in preschool age is the formation of associative, dialectical and systematic thinking. Since the development of precisely these qualities makes thinking flexible, original and productive.

Associativity is the ability to see connections and similar features in objects and phenomena that at first glance are not comparable.

Thanks to the development of associativity, thinking becomes flexible and original.

In addition, a large number of associative connections allows you to quickly retrieve the necessary information from memory. Associativity is very easily acquired by preschoolers in role-playing games. There are also special games that help develop this quality.

Often discoveries are born from connecting the seemingly incompatible. For example, for a long time it seemed impossible to fly aircraft that are heavier than air. Dialectical thinking allows us to formulate contradictions and find a way to resolve them.

Dialecticality is the ability to see contradictions in any system that hinder their development, the ability to eliminate these contradictions, and solve problems.

Dialecticality is a necessary quality of talented thinking. Psychologists have conducted a number of studies and found that the mechanism of dialectical thinking functions in folk and scientific creativity. In particular, an analysis of Vygodsky’s works showed that the outstanding Russian psychologist constantly used this mechanism in his research.

Pedagogical tasks for the formation of dialectical thinking in preschool age are:

1. Development of the ability to identify contradictions in any subject and phenomenon;

2. Developing the ability to clearly formulate identified contradictions;

3. Formation of the ability to resolve contradictions;

And one more quality that shapes creative thinking is consistency.

Systematicity is the ability to see an object or phenomenon as an integral system, to perceive any object, any problem comprehensively, in all its diversity of connections; the ability to see the unity of relationships in phenomena and laws of development.

Systems thinking allows you to see a huge number of properties of objects, capture relationships at the level of parts of the system and relationships with other systems. Systems thinking recognizes patterns in the development of a system from the past to the present and applies this to the future.

Systematic thinking is developed through correct analysis of systems and special exercises. Pedagogical tasks for the development of systematic thinking in preschool age:

1. Formation of the ability to consider any object or phenomenon as a system developing over time;

2. Development of the ability to determine the functions of objects, taking into account the fact that any object is multifunctional.

2.3 Development of creative imagination.

The second direction in the formation of creative abilities of preschoolers is the development of imagination.

Imagination is the ability to construct in the mind from elements of life experience (impressions, ideas, knowledge, experiences) through new combinations and relationships something new that goes beyond what was previously perceived.

Imagination is the basis of all creative activity. It helps a person free himself from the inertia of thinking, it transforms the representation of memory, thereby ultimately ensuring the creation of something obviously new. In this sense, everything that surrounds us and that is made by human hands, the entire world of culture, in contrast to the natural world - all this is a product of creative imagination.

Preschool childhood is a sensitive period for the development of imagination. At first glance, the need to develop the imagination of preschoolers may seem reasonable. After allThere is a very widespread opinion that a child’s imagination is richer and more original than the imagination of an adult. Such an idea about the inherently vivid imagination of a preschooler existed in the past among psychologists.

However, already in the 30s, the outstanding Russian psychologist L. S. Vygotsky proved that a child’s imagination develops gradually, as he acquires certain experience. S. Vygotsky argued that all images of the imagination, no matter how bizarre they may be, are based on those ideas and impressions that we receive in real life. He wrote: “The first form of connection between imagination and reality is that every creation of imagination is always built from elements taken from activity and contained in man’s previous experience.”. /5, 8/

It follows from this that the creative activity of the imagination is directly dependent on the richness and diversity of a person’s previous experience. The pedagogical conclusion that can be drawn from all of the above is the need to expand the child’s experience if we want to create a sufficiently strong foundation for his creative activity. The more the child has seen, heard and experienced, the more he knows and has learned, the more elements of reality he has in his experience, themore significant and more productive, other things being equal, will be the activity of his imagination. It is with the accumulation of experience that all imagination begins. But how to convey this experience to a child in advance? It often happens that parents talk to a child, tell him something, and then complain that, as they say, it went in one ear and out the other. This happens if the child has no interest in what he is told about, no interest in knowledge in general, that is, when there are no cognitive interests.

In general, the cognitive interests of a preschooler child begin to manifest themselves very early. This first manifests itself in the form of children's questions with which the baby besieges parents from the age of 3-4 years. However, whether such children's curiosity will become a stable cognitive interest or whether it will disappear forever depends on the adults surrounding the child, primarily on his parents. Adults should encourage children's curiosity in every possible way, fostering a love and need for knowledge.

In preschool age, the development of a child’s cognitive interests should proceed in two main directions:

1. Gradually enriching the child’s experience, saturating this experience with new knowledge about various areas of reality. This causes cognitive activity in the preschooler. The more sides of the surrounding reality open to children, the wider the opportunities for the emergence and consolidation of stable cognitive interests in them.
2. Gradual expansion and deepening of cognitive interests within the same sphere of reality.

In order to successfully develop a child’s cognitive interests, parents must know what their child is interested in, and only then influence the formation of his interests. It should be noted that for the emergence of sustainable interests it is not enoughjust introduce the child to a new sphere of reality. He should have a positive emotional attitude towards the new. This is facilitated by the inclusion of the preschooler in joint activities with adults. An adult can ask a child to help him do something or, say, listen to his favorite record with him. The feeling of involvement in the world of adults that arises in the child in such situations creates a positive connotation of his activities and contributes to his interest in this activity. But in these situations, the child’s own creative activity should also be awakened; only then can the desired result be achieved in the development of his cognitive interests and in the assimilation of new knowledge. You need to ask your child questions that encourage active thinking.

The accumulation of knowledge and experience is only a prerequisite for the development of creative imagination. Any knowledge can be a useless burden if a person does not know how to handle it and select what is necessary, which leads to a creative solution to the problem. And for thisYou need practice in making such decisions, the ability to use accumulated information in your activities.

Productive creative imagination is characterized not only by such features as originality and richness of the images produced. One of the most important properties of such imagination is the ability to direct ideas in the right direction, to subordinate them to certain goals. The inability to manage ideas, to subordinate them to your goal, leads to the fact that the best plans and intentions perish without being realized. Therefore, the most important line in the development of a preschooler’s imagination is the development of the direction of imagination.

In a younger preschooler, the imagination follows the object and that’s it, what he creates is fragmentary, unfinished. Adults should help the child learn not just to fantasize fragmentarily, but to realize his plans, to create, albeit small, but complete works. For this purpose, parents can organize a role-playing game and, during this game, influence the child’s performance of the entire chain of play actions. You can also organize a collective composition of a fairy tale: each of the players speaks several sentences, and the adult participating in the game can direct the development of the plot and help the children complete their plan. It is good to have a special folder or album where the most successful drawings and fairy tales composed by the child would be placed. This form of recording creative products will help the child direct his imagination to create complete and original works.

In order to determine the level of development of children's creative abilities in preschool age, on August 10 and August 15, 2008, I conducted diagnostics for preschoolers at the Solnyshko Municipal Preschool Educational Institution. Tashtyp. For the research, I used the express methods of candidates of psychological sciences V. Kudryavtsev and V. Sinelnikov (see Appendix 1). Using these methods, I compiled an operational microsection of the creative development of each child in all its bases. The criterion for highlighting the grounds is the universal creative abilities identified by the authors: realism of imagination, the ability to see the whole before the parts, the supra-situational transformative nature of creative solutions, children's experimentation. Each of the methods allows us to record significant manifestations of these abilities and the real levels of their development in the child.

After conducting the diagnostics, I received the following results (see Appendix 2). The development of realism of imagination in 61.5% of children is at a low level, and in 38.5% of children - at an average level. The development of such an ability as the supra-situational-transformative nature of creative solutions in 54% of children is at a low level, in 8% - at an average level, and 38% of children - at a high level. The ability to see the whole before the parts is developed at an average level in 30% of children and at a high level in 70% of children. Analyzing the results obtained, the following conclusions and suggestions can be made.

Children in this group have poorly developed creative imagination. It should be said right away that this group is engaged in the developmental program “Childhood”, but special work on the development of imagination with children is not carried out. However, psychologists and teachers involved in the analysis of preschool education programs have long said that they actually do not contain special measures aimed at the consistent and systematic development of children's imagination. Under these conditions, it develops mainly only spontaneously and, as a result, often does not reach even the average level of its development. This was confirmed by the diagnostics I carried out. From all that has been said above, it follows that in existing conditions in kindergartens it is necessary to carry out special work aimed atdevelopment of the creative imagination of children, especially since preschool age is a sensitive period for the development of this process. What forms can this work take?

Of course, the best option is to introduce a special program of classes to develop children's imagination. Recently, a large number of methodological developments for such classes have appeared. In particular, in our country, the Public Laboratory of Invention Methodology has developed a special course “Development of Creative Imagination” (RTI). It is based on TRIZ, ARIZ and the theory of development of technical systems by G.S. Altshuller. This course has already been tested in various creative studios, schools and preschool institutions, where it has proven its effectiveness. RTV develops not only the creative imagination, but also the creative thinking of children. In addition, we can propose a method for developing children's imagination by O.M. Dyachenko and N.E. Verax, as well as special game-based imagination training developed by psychologist E.V. Stutterer.

If it is not possible to introduce additional classes, then the teacher can be offered, on the basis of the program in which he works, without sudden changes in the form of classes, to use TRIZ elements to develop the creative potential of children. Also, in special classes in music, drawing, design, and speech development, children need to be given creative tasks.

You can develop creative imagination not only in special classes. Play, which is the main activity of preschoolers, is of great importance for the development of children’s imagination. It is in play that the child takes the first steps of creative activity. Adults should not just observe children's play, but manage its development, enrich it, and include creative elements in the game. At an early stage, children's games are objective in nature, that is, they are actions with various objects. At this stage, it is very important to teach the child to play with the same subject in different ways. For example, a cube can be a table, a chair, a piece of meat, etc. Adults should show children the possibility of different ways to use the same objects. At the age of 4-5, a role-playing game begins to take shape, which provides ample opportunities for the development of imagination and creativity. Adults need to know how and what their children play, how diverse the plots of the games they play are. And if children play the same “daughters - mothers” or war every day, the teacher should help them learn to diversify the plots of the games. You can play with them, offering to act out different stories and take on different roles. The child must first show his creative initiative in the game, plan and direct the game.

In addition, to develop imagination and creativity, there are special games that you can play with children in your free time. Interesting educational games developed by B.N. Nikitin /18, 25/, O. M. Dyachenko and N.E. Veraksoy /7, 135/.

The richest source for the development of a child’s imagination is a fairy tale. There are many techniques for working with fairy tales that educators can use to develop children's imagination. Among them: “twisting” a fairy tale, inventing a fairy tale in reverse, inventing a continuation of a fairy tale, changing the end of a fairy tale. You can write fairy tales with your children. Speaking about the development of children's imagination with the help of fairy tales, one cannot help but recall the wonderful book by J. Rodari “The Grammar of Fantasy”.

The diagnostic results also show that in many children it is necessary to develop such a creative ability as the supra-situational-transformative nature of creative solutions. To develop this ability, children must be presented with various problem situations, in solving which they must not only choose the optimal one from the proposed alternatives, but, based on the transformation of the original means, create their own alternative. Adults should in every possible way encourage children's creative approach to solving any problem. The development of the ability in question is closely related to the formation of dialectical thinking. Therefore, games and exercises to develop dialectical thinking can be used to develop parsing ability. Some exercises for developing dialectical thinking are given in Appendix 4.

The results of diagnosing the creative potential of children revealed a good development of the ability to see the whole before the parts. And this result is natural, because One of the features of a child’s worldview is its integrity; the child always sees the whole before the parts. However, very soon children lose this ability, because the traditional methods of preschool education contradict this objective law of knowledge. Since when studying any object or phenomenon, the teacher is instructed to first draw the children’s attention to its individual external signs and only then reveal its holistic image. However, forcing the analytical tendency in the cognitive development of preschoolers can lead to a significant decrease in their creative abilities. There is evidence that fears and other negative experiences in affective children are directly related to their inability to see the whole before the parts, i.e. to capture in individual events the meaning given by the context of the overall situation. This implies the need to develop systematic thinking in preschoolers. This quality is developed by correct analysis of systems and special games, some of which are given in Appendix 5.

Speaking about the problem of children's creative abilities, I would like to emphasize that their effective development is possible only with joint efforts on the part of both preschool teachers and the family. Unfortunately, there is often a lack of adequate support from parents, especially when it comes to creativity pedagogy. Therefore, it is advisable to hold special conversations and lectures for parents, which would talk about why it is so important to develop creative abilities from childhood, what conditions need to be created in the family for their successful development, what techniques and games can be used to develop creative abilities in the family, and also special literature on this problem would be recommended to parents.

I believe that the measures proposed above will contribute to more effective development of creative abilities in preschool age.

CONCLUSION

Universal creative abilities are individual characteristics and qualities of a person that determine the success of a person in performing creative activities of various kinds. The basis of human creative abilities are the processes of thinking and imagination. Therefore, the main directions for the development of creative abilities in preschool age are:

1. Development of productive creative imagination, which is characterized by such qualities as the richness of produced images and direction.
2. Development of thinking qualities that shape creativity; such qualities are associativity, dialecticity and systematic thinking.

Preschool age has the richest opportunities for the development of creative abilities. Unfortunately, these opportunities are irreversibly lost over time, so it is necessary to use them as effectively as possible in preschool childhood.

The successful development of creative abilities is possible only when certain conditions are created that are conducive to their formation. These conditions are:

1. Early physical and intellectual development of children.

2. Creating an environment that advances the child’s development.

3. The child’s independent solution of tasks that require maximum effort, when the child reaches the “ceiling” of his capabilities.

4. Giving the child freedom in choosing activities, alternating tasks, duration of activities, etc.

5. Smart, friendly help (not advice) from adults.

6. Comfortable psychological environment, encouragement by adults of the child’s desire for creativity.

But creating favorable conditions is not enough to raise a child with highly developed creative abilities. Purposeful work is needed to develop the creative potential of children. Unfortunately, the traditional preschool education system in our country contains almost no measures aimed at the consistent systematic development of children’s creative abilities. Therefore, they (abilities) develop mainly spontaneously and, as a result, do not reach a high level of development. ThisThe results of diagnosing the creative abilities of five-year-old preschoolers at the Solnyshko kindergarten were also confirmed. The diagnostics of creative imagination gave the lowest results. Although preschool age is a sensitive period for the development of this component of creative abilities. To correct the current situation, from my point of view, the following measures can be proposed aimed at effectively developing the creative abilities of preschoolers:

1. Introduction to the preschool education program of special classes aimed at developing the creative imagination and thinking of children.
2. At special classes in drawing, music, and speech development, give children tasks of a creative nature.
3. Management by adults of children's subject and plot-role-playing games with the aim of developing children's imagination in it.
4. Using special games that develop children's creative abilities.
5. Working with parents.

Annex 1

Methods for diagnosing universal creative abilities for children

1. Method "Sun in the room"

Base. Realization of imagination.

Target. Identifying the child’s ability to transform the “unreal” into the “real” in the context of a given situation by eliminating the inconsistency.

Material. A picture depicting a room in which there is a man and the sun; pencil.

Instructions for carrying out.

Psychologist, showing a child a picture: “I’m giving you this picture. Look carefully and tell me what’s drawn on it.” After listing the details of the image (table, chair, man, lamp, sun, etc.), the psychologist gives the following task: “That’s right. However, as you can see, here the sun is drawn in the room. Please tell me, is it possible that this is the case, or is it the artist here? "Did you get it wrong? Try to correct the picture so that it is correct."

The child does not have to use a pencil; he can simply explain what needs to be done to “correct” the picture.

Data processing.

During the examination, the psychologist evaluates the child’s attempts to correct the drawing. Data processing is carried out according to a five-point system:

1. No answer, non-acceptance of the task (“I don’t know how to fix it”, “The picture doesn’t need to be corrected”) - 1 point.
2. “Formal elimination of inconsistency (erase, paint over the sun) -2 points.
3. Meaningful elimination of inconsistency:

a) simple answer (Draw in another place - “Sun on the street”) -3 points.

b) complex answer (redo the drawing - “Make a lamp out of the sun”) - 4 points.

1. Constructive answer (separate the inappropriate element from the others, keeping it in the context of the given situation (“Make a picture”, “Draw a window”, “Put the sun in a frame”, etc.) -5 points.

2. “Folding picture” technique

Basis: The ability to see the whole before the parts.

M a t e r i a l. Folding cardboard picture of a duck with four folds (size 10 * 15 cm)

Instructions for carrying out.

The teacher, presenting the child with a picture: “Now I will give you this picture. Please look carefully and tell me what is drawn on it?” After listening to the answer, the teacher folds the picture and asks: “What will happen to the duck if we fold the picture like this?” After the child answers, the picture is straightened out, folded again, and the child is asked the same question again. In total, five folding options are used - “corner”, “bridge”, “house”, “pipe”, “accordion”.

Data processing.

During the examination of the child, the teacher records the general meaning of the answers when completing the task. Data processing is carried out according to a three-point system. Each task corresponds to one position when bending the pattern. The maximum score for each task is 3 points. Total – 15 points. The following response levels are distinguished:

1. Lack of response, non-acceptance of the task (“I don’t know”, “Nothing will happen”, “It doesn’t happen like that”) - 1 point.
2. The answer is of a descriptive type, listing the details of the drawing that are in the field of view or outside it, i.e. loss of image context (“The duck has no head”, “The duck is broken”, “The duck is divided into parts”, etc.) - 2 points.
3. Answers of a combining type: maintaining the integrity of the image when bending the drawing, including the drawn character in a new situation (“The duck dived,” “The duck swam behind the boat”), building new compositions (“It’s like they made a pipe and drew a duck on it”), etc. d. - 3 points.

Some children give answers in which the preservation of the integral context of the image is “tied” not to any situation, but to the specific form that the picture takes when folded (“The duck has become a house”, “It has become like a bridge”, etc.) . Such answers belong to the combining type and are also scored 3 points.

3. Method “How to save a bunny”

Base. The supra-situational-transformative nature of creative solutions.

Target. Assessment of ability andtransformation of a choice task into a transformation task in conditions of transferring the properties of a familiar object to a new situation.

M a t e r and a l. Bunny figurine, saucer, bucket, wooden stick. deflated balloon, sheet of paper.

Instructions for carrying out.

In front of the child, on the table there is a bunny figurine, a saucer, a bucket, a stick, a deflated balloon and a sheet of paper. The teacher, taking the bunny in his hands: “Meet this bunny. Once such a story happened to him. The bunny decided to sail on a boat on the sea and sailed far, far from the shore. And then a storm began, huge waves appeared, and the bunny began to drown. Help we can only bunnywe are with you. We have several objects for this (the teacher draws the child’s attention to the objects laid out on the table). What would you choose to save the bunny?"

Data processing.

During the examination, the nature of the child’s answers and their rationale are recorded. Data are assessed using a three-point system.

First level. The child chooses a saucer or bucket, as well as a stick with which you can lift the bunny from the bottom, without going beyond a simple choice; the child tries to use objects in their finished form, to mechanically transfer their properties to a new situation. Score – 1 point.

Second level. A solution with an element of simple symbolism, when a child suggests using a stick as a log on which the bunny can swim to the shore. In this case, the child again does not go beyond the choice situation. Score – 2 points.

Third level. To save the bunny, it is suggested to use a deflated balloon or a sheet of paper. For this purpose you need to inflate the ball (“A bunny on a ball can fly away”) or make a boat out of a leaf. For children at this level, there is an orientation toward the transformation of available subject material. They independently turn the original choice task into a transformation task, which indicates the child’s supra-situational approach to it. Score – 3 points.

4. “Tablet” technique

Base. Children's experimentation.

Target. Assessing the ability to experiment with transforming objects.

Material. A wooden plank, which is a hinged connection of four smaller square links (the size of each link is 15*15 cm)

Instructions for carrying out.

The unfolded board lies in front of the child on the table. Teacher:“Now let’s play with this board. This is not a simple board, but a magical one: you can bend and unfold it, then it becomes like something. Try to do this.”

As soon as the child folds the board for the first time, the psychologist stops him and asks: “What did you do? What does this board look like now?”

Having heard the child’s answer, the psychologist turns to him again: “How else can you fold it? What does it look like? Try again.” And so on until the child stops on his own.

Data processing.

When processing the data, the number of non-repeating responses of the child is assessed (naming the shape of the resulting object as a result of folding the board (“garage”, “boat”, etc.), one point for each name. The maximum number of points is not initially limited.

Appendix 2.

Results of diagnostics of universal creative abilities

Preschoolers (in points)

d\c "Solnyshko" (Tashtyp village)

group "Pochemuchki"

Children's surnames	Realism of imagination Min 1 point Max 5 points	Min 5 points Max 15 points	Min 1 point Max 3 points	Experimentation
			Low level	Average level	High level
Realism of imagination	61,5%	38,5%
The ability to see the whole before the parts
Trans-situational-transformative nature of creative solutions

Appendix 3.

Games to develop associative thinking

Game "What does it look like"

3-4 people (guessers) go out the door, and the rest of the game participants agree on which item will be compared. The guessers come in and the presenter begins: “What I guessed is similar to...” and gives the floor to the one who first found the comparison and raised his hand: For example, a bow can be associated with a flower, with a butterfly, with a helicopter rotor, with the number “8” ", which lies on its side. The guesser selects new guessers and offers the next item for association.

"Surreal game"(drawing by several hands)

The first participant in the game makes the first sketch, depicting some element of his idea. The second player, starting from the first sketch, makes an element of his image, etc. until the finished drawing.

"Magic Blots"

Before the game, several blots are made: a little ink or ink is poured into the middle of the sheet and the sheet is folded in half. Then the sheet is unfolded and now you can play. Participants take turns speaking. What object images do they see in the blot or its individual parts? The one who names the most objects wins.

Game "Word Association"

Take any word, for example, loaf. It is associated:

• with bakery products.
• with consonant words: baron, bacon.
• with rhyming words: pendant, salon.

Create as many associations as possible according to the proposed scheme.

Associative thinking can be developed what is called “on the go.” While walking with your children, you can think together about what clouds, puddles on the asphalt, and pebbles on the shore look like.

Appendix 4.

Games to develop dialectical thinking.

Game "Good - Bad"

Option 1 . An object that is indifferent to the child is chosen for the game, i.e. does not evoke strong associations in him, is not associated with specific people and does not generate emotions. The child is asked to analyze this object (subject) and name its qualities, from the child’s point of view, positive and negative. It is necessary to name at least once what is bad and what is good about the proposed object, what you like and don’t like, what is convenient and not convenient. For example: pencil.

I like that it's red. I don't like how thin it is.

It's good that it's long; the bad thing is that it is sharply sharpened - you can prick yourself.

It is comfortable to hold in your hand, but inconvenient to carry in your pocket - it breaks.

A specific property of an object can also be examined. For example, it is good that the pencil is long - it can serve as a pointer, but it is bad that it does not fit into a pencil case.

Option 2. An object is offered for play that has specific social significance for the child or evokes persistent positive or negative emotions in him, which leads to an unambiguous subjective assessment (candy - good, medicine - bad). The discussion proceeds in the same way as in option 1.

Option 3. After children learn to identify the contradictory properties of simple objects and phenomena, they can move on to considering “positive” and “negative” qualities depending on the specific conditions in which these objects and phenomena are placed. For example: loud music.

It's good if it's in the morning. You wake up quickly and feel refreshed. But it’s bad if at night it prevents you from falling asleep.

One should not be afraid to touch upon categories in this game that were previously perceived by children exclusively unambiguously ("fight", "friendship", "mother"). Children’s understanding of the inconsistency of properties contained in any objects or phenomena, the ability to identify and explain the conditions under which certain properties appear, only contributes to the development of a sense of justice, the ability in a critical situation to find the correct solution to a problem that has arisen, the ability to logically evaluate one’s actions and choose from many different properties of an object that correspond to the chosen goal and real conditions.

Option 4. When identifying contradictory properties no longer causes difficulties for children, one should move on to a dynamic version of the game, in which for each identified property the opposite property is called, while the object of the game is constantly changing, a kind of “chain” is obtained. For example:

Eating chocolate is good - it’s tasty, but it can make your stomach hurt;

A stomach ache is good, you don’t have to go to kindergarten;

Sitting at home is bad, boring;

You can invite guests - etc.

One of the possible options for the game “Good - Bad” could be its modification, reflecting the dialectical law of the transition of quantitative measurements to qualitative ones. For example, candy: if you eat one candy, it’s tasty and enjoyable, but if you eat a lot, your teeth will hurt and you’ll have to treat them.

It is desirable that the game “Good - Bad” become part of the child’s daily life. It is not necessary to set aside special time to carry it out. You can finish playing it while walking, during lunch, before going to bed.

The next stage in the formation of dialectical thinking will be the development in children of the ability to clearly formulate a contradiction. First, let the child select the opposite meanings for the given words. For example, thin - (?) fat, lazy - (?) hardworking, sharp - (?) stupid. Then you can take any pair of words, for example, sharp - dull, and ask the children to find an object in which these properties are present simultaneously. In the case of “sharp - dull” - this is a knife, a needle, all cutting and sawing instruments. At the last stage of development of dialectical thinking, children learn to resolve contradictions using TRIZ methods for resolving contradictions (there are more than forty of them in total).

Appendix 5.

Systematic thinking

Game "Teremok"

Children are given pictures of various objects: accordions, spoons, pots, etc. Someone is sitting in a “tower” (for example, a child with a drawing of a guitar). The next child asks tomansion, but can only get there if he says how the object in his picture is similar to the owner’s object. If a child asks for an accordion, then both of them have a musical instrument in the picture, and the spoon, for example, also has a hole in the middle.

"Collect the figures"

The child is given a set of small figures cut out of thick cardboard: circles, squares, triangles, etc. (about 5-7 figures). 5-6 pictures are prepared in advance depicting various objects that can be folded from these figures: a dog, a house, a car. The child is shown a picture, and he puts together the object drawn on it from his figures. The objects in the pictures must be drawn so that the child can see which of the figures is where, that is, the drawing must be divided into parts.

"Nonsense"

A picture is drawn based on any subject - a forest, a yard, an apartment. There should be 8-10 errors in this picture, that is, something should be drawn in a way that does not actually happen. For example, a car with one wheel, a hare with horns. Some errors should be obvious, while others should be subtle. Children must show what is drawn incorrectly.

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