Report "games that develop fantasy and verbal creativity in preschool children." Children's verbal creativity

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

For the development of coherent monologue speech, it is necessary to form ideas about the composition of the story, the ability to link sentences and parts of the statement together, to use a variety of lexical and stylistic means. However, the concept of "verbal creativity" is much broader than "creative storytelling", as it includes active writing, inventing fairy tales, stories, poems, riddles, scenarios, not only in the classroom, but also in free self-study. activities.

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DEVELOPMENT OF VERBAL CREATIVITY OF PRESCHOOL CHILDREN

E.Yu.Galochkina - teacher

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

One of the priority areas of pedagogical science at the present stage is the study of the creative activity of the child, the search for ways to form it. Studies by psychologists (L.S. Vygotsky, B.M. Teplov) and teachers (N.A. Vetlugina, N.P. Sakulina, E.A. Flerin, Dybina O.V., Tanina L.V.) prove that creative activity meets the needs and abilities of the child, is accompanied by the activity of his emotional and intellectual forces.

In studies devoted to the problem of verbal creativity, folklore, in particular, a folk tale (M.M. Konina, L.M. Pankratova, O.I. Solovieva, etc.) .). The authors note the obvious influence of individual elements of the fairy tale on the composition of children. At the same time, the studies note that the correspondence of the specifics of folk tales to the peculiarities of children's perception does not yet ensure the positive impact of folklore on the development of children's verbal creativity. statements (violation of the structure of the narrative, limited use of stylistic means). The psychological prerequisites that determine the possibilities of children in the field of speech creativity, on the one hand, and the difficulties that arise when constructing a fairy tale narrative, on the other hand, are a problem that arises when organizing work with children to develop the verbal creativity of preschoolers.

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

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

Enriching the experience of children;

The richness of the dictionary and the ability to use it;

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

Children's correct understanding of the "think up" task.

The dynamics of the development of children's creativity under the influence of learning is traced in her study by S.K. Alekseeva. She justifies the following learning sequence:

Stage 1: To teach children to subordinate their experience to a certain plan, to draw children's attention to the compositional linguistic features of stories (enriching the life and literary experience of the child, familiarizing with linguistic means of expression, analyzing the compositional structure of the work);

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

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

Stage 4: Improve children's ability to combine and

transform the received ideas and perceptions, describe

action in the sequence of its development of a logical connection.

For the development of creative activity of children, it is necessary to create special pedagogical conditions:

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

b) carrying out special creative tasks that develop the theatrical abilities of children (combining movements with expressiveness of speech, facial expressions and gestures);

c) the active participation of children in the preparation of the script and the preparation of performances.

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

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

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

activities.

An example of a literary text from the standpoint of the structural and semantic unity of content and form is a folk fairy tale.

Numerous researchers of folk tales (V.A. Bakhtina, N.M. Vedernikova, R.M. Volkov, N.V. Novikov, A.I. Nikiforov, E.V. Pomerantseva and others) as a hallmark of a fairy tale call it a magical-fantastic beginning. The unity of the magical and the fantastic makes the fairy tale especially attractive to a children's audience. A peculiar combination of real and fictional is the content of a fairy tale.

The style of a fairy tale is a single system of interrelated techniques and means. Traditional language forms are the subject of study of folklore phraseology. Among the typical means of fairy tale poetics are, first of all, stable verbal formulas, traditional formulas, poetic clichés, which are an important element in the construction of fairy tales of this type (sayings, beginnings, endings) and performing various functions in the narrative.

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

The traditional poetic means of a fairy tale also include: the use of synonyms "with that, the wedding was played in a good way, in a good way" and paired combinations of words expressing one concept "let's go with bread and salt to meet, maybe we will make peace", the use of antonyms "not much , no little time has passed" or amplification "willy-nilly had to agree", the use of general language proverbs and sayings "the pike is sharp, but don't eat the ruff from the tail", the use of various comparisons "Ivan sat on the wolf. The wolf ran like an arrow"; lexical and syntactic turns that form parallel syntactic constructions “It is written on the pillar: “To go on the right road - you will not see good, and to go on the left road - you will not be alive.”

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

In her opinion, "the development of children's verbal creativity goes along the line of qualitative growth under the influence of the quantitative accumulation of new fairy-tale images."

The folk tale traditionally belongs to the circle of "children's reading" and is one of the genres most beloved by children. A fairy tale has a huge impact on the moral and aesthetic development of a preschooler. A colorful, romantic image of the fairy-tale world, the idealization of positive characters, an obligatory happy ending, fascination combined with instructiveness - all this evokes a vivid aesthetic reaction in children, contributes to the development of aesthetic feelings. A fairy tale embodies the high ideals of the people, their wisdom. The dynamics of a fairy tale requires intellectual tension, a comparison of facts and events in the assimilation of the semantic line of the plot, i.e. stimulates cognitive activity.

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

Criteria

1. Features of the perception of a fairy tale

Name of essential features

Determining the content of a fairy tale

Highlighting Structural Parts of Text

Preservation of language means of expression

2. Features of verbal creativity

Ability to subordinate the storyline to a common theme

The use of techniques for revealing the images of characters and features of the plot of a fairy tale

Ability to use different types of sentences

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

Using expressiveness

3. Determination of the development of coherent speech

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

Ability to use different types of communication between sentences

Use of different types of offers.

First task. In order to determine the features of the perception of a fairy tale in the unity of its content and artistic form, the fairy tale "Sister Alyonushka and brother Ivanushka" was proposed.

Second task. To identify the level of verbal creativity, the situation "Continue the tale" was proposed.

Third task. Determining the level of development of coherent speech was carried out on the example of the fairy tale "Geese-swans".

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

The incorrect answers of the children consisted in the indistinguishability of a fairy tale and a story.

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

Children's understanding of the content of a fairy tale was determined by identifying the ability to recognize the theme of this statement. During the survey, not a single case of a high level of understanding of the content was identified, requiring the child to have elementary skills in analyzing the work. Based on the diagnostic results,levels of children's perception of folk tales.

I level (high).Determine the genre of the story. Call it essential features. Summarize the content of the story. They see the boundaries of the structural parts of the text. They strive to preserve the language means of expression.

II level (intermediate).They correctly define the genre of a fairy tale, but in the order of argument they put forward both its essential and formal features. Determine the topic of the story. Often they experience difficulties in isolating the main parts of the composition. Use additional language tools.

III level (low).They find it difficult to determine the genre of the work and to identify the distinguishing features of a fairy tale. They do not understand the content of the work. They do not see the boundaries between the plot, the development of actions and the denouement of a fairy tale. Do not single out the means of expressiveness of the tale.

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

Criteria for the analysis of retellings children have become traditional indicators in the methodology of speech development:

1. Understanding the topic
2. Scope and grammar of the utterance
3. Vocabulary of the utterance
4. Means of communication
5. Structural organization of each part
6. Fluency and independence of presentation.

The data obtained made it possible to determine the followinglevels of coherent speech of preschoolers.

I (high). Generalized determine the topic of the statement and correctly reproduce its content. Use different types of sentences, there are no grammatical errors. They use their exact word substitutions, a variety of ways to link between sentences. Correctly frame the statement. Independently retell the text without pauses.

II (medium). Determine the topic of the speech. Minor deviations from the text are allowed. Limited use of complex sentences, single grammatical errors are possible. Refer to individual means of language expressiveness. Communication methods are not diverse. In case of difficulty, use a small number of pauses and need additional questions.

III (low). Do not define the topic of the speech. Events are schematically conveyed without using expressive means. They make grammatical errors. When the content is transmitted, the compositional integrity is violated. They do not know how to retell the text on their own (they pause, repeat, need hints).

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

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

Fluency is the ability to generate more ideas expressed in verbal formulations or drawings.

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

Originality is the ability to come up with an idea.

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

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

I (high). Subordinate the storyline to a common theme. The techniques of revealing the images of characters and the features of the plot of a fairy tale are used in an original way in the essay. They turn to the traditional figurative and expressive means of a fairy tale.

II (medium). They try to stick to the chosen topic, inaccurate selection of the title. They use individual elements of a fairy tale in essays with an independent plot and simple content. They find it difficult to structure the narrative (one of the parts of the composition is missing).

III (low). They mostly adhere to the topic, but find it difficult to disclose it, there is no name. They schematically convey the events of the narrative or retell a well-known fairy tale without change.

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

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

Fantasy is a prerequisite for a person's creative activity, which is expressed in the construction of an image or a visual model of its results in cases where information is not required (pure fantasy) or it is not enough. An example of this can be disparate archival sources, on the basis of which the writer creates an integral work, supplementing possible links through his own imagination, and also making a vivid impression as far as possible with his talent.

The world of children's fantasy is huge and diverse. Without fantasy and imagination, we would not have developed science, and we would have remained in the Stone Age. The first dreamer was a man who managed to see a digging stick in a simple stone and moved the whole civilization forward. And what about the Russian dreams of folk storytellers about a flying carpet and a self-propelled stove, embodied in the construction of a spaceship and a car? Without imagination, a modern student would not have mastered a single subject, because he would not be able to construct images in his head and operate with abstract concepts.

The development of fantasy in children occurs at preschool age, and its active development begins after 2.5-3 years, but preparations are still underway until this age. How much a child's imagination will be developed depends on the period of life he has lived from 1 to 3 years. At this time, the kids are not yet playing, but are studying the properties of objects, and close people should help in this.

The next stage in the development of fantasy continues from 3 to 7 years, and at this age Her Majesty the Game is at the head. And for kids, it is in the game that attention, perception, memory, intelligence, and imagination develop. Here, in the development of the imagination, role-playing games are important, in which several people participate. The game must be treated very carefully, because it is considered the leading activity between the ages of 3 and 7 years.

The development of fantasy in children also depends on the items needed for joint games. But the overabundance of toys in stores, which are very realistic today, unfortunately, interfere with the development of children's imagination. Yes, these toys are attractive and beautiful, but they are not capable of awakening the imagination due to the fact that they are “completely ready to use”. And parents complain that the baby quickly loses interest in them.

A child needs simplicity for fantasy, for its development there must be semi-finished products - sticks, pieces of paper, pieces of iron, pieces of matter, pebbles. Make it a rule once and for all not to throw away things belonging to him without the knowledge of the child. It wouldn’t even occur to you that a car without wheels is a “secret” installation that can lie in a box for months, but the baby still remembers it and, if he doesn’t find it, he will be very upset.

Verbal creativity is one of the types of children's creativity, which allows the child to show the level of his speech activity, the ability to creatively, expediently, correctly use the language in various situations of life. It is of great importance for the child as a means of cognition and self-knowledge, cultural development, its self-expression and self-realization.

In research, verbal creativity is defined as the artistic activity of children, which arose under the influence of works of art, as well as impressions from the surrounding life, and is expressed in the creation of oral compositions.

The development of verbal creativity of preschoolers is an integral part of the overall development of their creative abilities in various types of artistic activity and affects the cognitive and emotional-volitional spheres of the child.

The development of verbal creativity is carried out initially in speech activity, it is significantly enriched due to the subsequent inclusion in theatrical and visual activity: the speech of children becomes more expressive, figurative, emotionally enriched. In addition, verbal creativity affects the development of various artistic abilities of the child: visual and theatrical (the ability to create a stage image that matches the content of the performance, the preparation of scenery, costumes, etc.).

Work on the formation of verbal creativity is carried out on the basis of the development of the child's artistic imagination, his communication skills and the development of all aspects of his speech (lexical, grammatical, phonetic).

The starting point for the development of verbal creativity is the formation of a holistic perception of literary works in the unity of their content and artistic form.

Using the method of contamination of different literary works develops the child's imagination, the ability to create scripts based on them and then stage performances.

The relationship of different types of artistic activity of children (speech, visual, musical, theatrical) enriches the child's creative abilities, helps to correlate the artistic image resulting from the perception of works of art and the creation of their own compositions.

N. Kudykina notes that a large role in the development of children's verbal creativity should be assigned to the purposeful pedagogical influence of an adult, his educative leadership, which organizes the child's creative process. Leadership is expressed in creating conditions for the formation of verbal creativity, in determining the leading, most effective methods, in finding various pedagogical techniques and in their rational combination with the method used. It also needs work in two main areas:

1) on the general enrichment of the child's speech;

2) to improve speech in its aesthetic function, including verbal and non-verbal means of expression.

In the work on enriching the speech of children, the leading method is the independent reproduction of the text from memory (retelling). For the development of the expressive side of speech, it is necessary to create conditions that allow the child to express their emotions, feelings, desires to speak publicly.

Modern studies of this issue allow us to talk about the wide educational possibilities of theatrical activities. By participating in it, children get acquainted with the world around them in all its diversity through images, colors, sounds, and correctly posed questions make them think, analyze, draw conclusions and generalizations. In the process of working on the expressiveness of the characters’ replicas, their own statements, the child’s vocabulary is imperceptibly activated, the sound culture of his speech and its intonation structure are being improved. The role played, the remarks made put the child in front of the need to express himself clearly, clearly, understandably. He improves dialogic speech, its grammatical structure.

In the temporary requirements for the content and methods of work in a preschool educational institution, a special section “Child development in theatrical activities” is highlighted, in the criteria of which it is emphasized that the teacher is obliged to:

Create conditions for the development of children's creative activity in theatrical activities (encourage performing creativity, develop the ability to freely and liberatedly hold on during a performance, encourage improvisation through facial expressions, expressive movements and intonations, etc.);

Introduce children to theatrical culture (introduce the device of the theater, theatrical genres);

To ensure the relationship of theatrical with other activities in a single pedagogical process;

To create conditions for joint theatrical activities of children and adults.

The content of the theatrical classes includes:

a) watching puppet shows and talks on them;

b) dramatization games;

c) acting out various fairy tales and dramatizations;

d) exercises for the formation of expressiveness of performance (verbal and non-verbal);

e) exercises for the social and emotional development of children.

It should be emphasized that theatrical classes should simultaneously perform cognitive, educational and developmental functions and in no way be reduced to preparing performances. Their content, forms and methods of conducting should simultaneously contribute to the achievement of three main goals:

1. development of speech and skills of theatrical and performing activities;

2. creating an atmosphere of creativity;

3. social and emotional development of children.

Theatrical activity is the most effective means of developing the verbal creativity of older preschool children. Since the theatrical activity of children is a type of artistic activity, including the performance of one's own or the author's intention in dramatizations, dramatization games, in productions of various types of theater. It is theatrical activity that makes it possible to most fully realize the main areas of work on the development of verbal creativity: public, most expressive independent reproduction of a previously perceived or composed text of a work of art by a child.

For the effective development of verbal creativity, as a type of children's creativity, conditions are necessary that are determined for the development of children's creativity in general. Accordingly, the process of development of verbal creativity in theatrical activities of children of senior preschool age requires compliance with the following pedagogical conditions:

Selection of literary works, taking into account the possibility of stage implementation of their content;

Carrying out special creative tasks that develop the theatrical abilities of children (combining movements with the expressiveness of speech, with facial expressions and gestures).

The mastery of coherent oral speech, the development of fantasy, imagination and the ability for literary creativity is the most important condition for high-quality preparation for school. An important component of this work is: the development of figurative speech, the cultivation of interest in the artistic word, the formation of the ability to use the means of artistic expression in an independent statement. A number of games and exercises contribute to the achievement of these goals, we will consider some of them.

The game "increase - decrease".

Here is a magic wand for you, it can increase or decrease whatever you want. What would you like to increase and what would you like to decrease?

Here's how the kids respond:

I would like to reduce the winter and increase the summer.

I would like to extend the weekend.

I want to increase the raindrops to the size of a watermelon.

Let's complicate this game with additional questions:

What would you like to increase and what would you like to decrease? Why do you want to increase or decrease?

Children's answers:

I want to enlarge the candy to the size of the refrigerator so that I can cut off the pieces with a knife.

Let your arms temporarily become so long that you can get an apple from a branch, or say hello through the window, or get a ball from the roof.

If the trees in the forest are reduced to the size of grass, and the grass to the size of a match, then it will be easy to look for mushrooms.

If it is difficult for a child to fantasize independently, offer to fantasize together, ask him auxiliary questions.

The game "Relive the object."

This game involves giving the objects of inanimate nature the abilities and qualities of living beings, namely: the ability to move, think, feel, breathe, grow, rejoice, multiply, joke, smile.

What living creature would you turn a balloon into?

What do your shoes think?

Gift game.

Children stand in a circle. One is given a box with a bow in his hands and asked to pass it to his neighbor with warm words: “I give you a hare”, or “I give you a goat, his horns have not grown yet”, or “I give you a big candy, “There is a cactus in the box, don't prick."

The game "Change the character of the character."

Come up with a fairy tale with such an incredible plot: the fox has become the most rustic in the forest, and all the animals deceive her.

Zoo game.

Participants of the game receive a picture without showing them to each other. Everyone should describe their animal, without naming it, according to this plan:

1) appearance.

2) where does he live?

3) what does it eat?

The game "Different eyes".

Describe the aquarium from the point of view of its owner, and then, from the point of view of the fish that swim there, and the owner's cat.

Game Describe the situation.

The participants of the game are given the same plot pictures. They are invited to describe the situation from the point of view of its various participants, whose interests may be opposite. For example, from the point of view of a fox and a hare, a bear and bees.

The game "Think up a sequel."

Read the beginning of the fairy tale and ask them to think of how the events in the fairy tale will develop, how it will end.

Game "How lucky I am."

How lucky I am, says the sunflower, I look like the sun.

How lucky I am, says the potato, I feed people.

How lucky I am, - says the birch, - they make fragrant brooms out of me.

Game "Choose a metaphor".

Metaphor is the transfer of the properties of one object (phenomenon) to another on the basis of a feature common to both objects. For example, "speaking of waves", "cold look".

Explain which properties in the above metaphors and to whom are transferred.

Soft character. Cheeks are burning. Drowned in twos. Keep in tight grip. Turned green with anger. Annoying as a fly. Hardworking as a bee.

Autobiography game.

I will present myself as an object, thing or phenomenon, and on its behalf I will tell a story. Listen carefully to me and by asking leading questions, find out who or what it is about.

"I am in every person's house. Fragile, transparent. I die from a careless attitude, and it becomes dark not only in my soul ... (light bulb)".

Game "Funny rhymes".

Match the words with rhymes.

Candle - stove; pipes - lips; racket - pipette; boots - pies, etc.

People say: "Without imagination, there is no consideration." Albert Einstein said that the ability to imagine is higher than knowledge, because he believed that without imagination it is impossible to make discoveries. A well-developed, bold, controlled imagination is an invaluable property of original non-standard thinking.

Children subconsciously learn to think in the game. This should be used and developed imagination and fantasy from early childhood. Let the kids "reinvent their own bikes". Who did not invent bicycles in childhood, he will not be able to invent anything at all. Fantasy - should be interesting. Remember that the game is always immeasurably more productive if we use it to put the child in pleasant situations that allow us to perform heroic deeds and, while listening to a fairy tale, see our future full and promising. Then, enjoying the game, the child will quickly master the ability to fantasize, and then the ability to imagine, and then to think rationally.

The starting point for understanding the essence of verbal creativity is the concept of "creativity". Creativity in a broad sense is the most important socially significant type of human spiritual and practical activity, the content of which is a purposeful change in the objective world. A.L. Wenger notes that children's creativity is a form of activity and independent activity of the child, during which he deviates from the model and stereotype, experiments, modifies the world around him, creates something new for others and for himself.

I. A. Kirshin says that verbal creativity is a complex type of creative activity of a child, is considered as an activity that arises under the influence of the perception of works of art and manifests itself in the creation of successful combinations - stories, fairy tales, poems. Verbal creativity is understood as a dual process of accumulation of impressions in the process of pedagogical activity and their creative processing into the language of verbal signs.

According to O. S. Ushakova, verbal creativity is a productive activity that arises under the influence of a work of art and impressions from the surrounding life and is expressed in the creation of oral compositions.

L.I. Bozhovich, A.V. Zaporozhets, A.N. Leontiev, E.A. Medvedeva, N.A. Selyanina, R.M. Chumicheva, D.B. Elkonin, U.V. Ul’enkova note that Among the types of artistic creative activity, verbal creativity occupies a special place as a vital, communicative and social-personal function, which is formed in the process of activity under the influence of the environment, including the artistic one.

According to researchers L.M. Gurovich, N.I. Lepskaya, O.N. mysteries and untruths.

The basis of verbal creativity, notes O. S. Ushakova, is the perception of works of fiction, oral folk art, including small folklore forms (proverbs, sayings, riddles, phraseological units) in the unity of content and artistic form. The relationship between the perception of fiction and verbal creativity, which interact on the basis of the development of poetic hearing, is noted. The verbal creativity of children is expressed in various forms: in writing stories, fairy tales, descriptions; in the composition of poems, riddles, fables; in word creation (creation of new words - neoplasms).

Let us dwell on the psychological and pedagogical foundations of the verbal creativity of preschool children. The formation of the creative activity of children is traditionally considered by psychologists in connection with the development of the imagination. According to the idea of ​​​​L. S. Vygotsky, generally accepted in domestic science, imagination begins to develop in the game, and then continues its development in other types of activity: in constructive, visual, musical, literary and artistic.

Promotes the manifestation of creativity and figurative thinking of a preschooler. It provides freshness, unconventional children's perception of the world, contributes to the development of imagination and fantasy. A. V. Zaporozhets repeatedly in his works emphasized that the figurative nature of children's thinking should be considered as a virtue and developed precisely at preschool age, since it underlies the creative activity of artists, writers, designers, etc.

The perception of works of art and verbal creativity are linked together through poetic hearing. So, O. S. Ushakova believes that the basis of verbal creativity is the perception of works of fiction, oral folk art, including small folklore forms (proverbs, sayings, riddles, phraseological units) in the unity of content and artistic form. At the same time, poetic hearing should be understood more broadly, as referring to the perception of any works, not only the poetic genre. “Poetic ear is the ability to feel the expressive means of artistic speech, distinguish genres, understand their features, as well as the ability to recognize the connection between the components of an artistic form and the content of a literary work.”

So, for the active and successful participation of the child in verbal creativity, a psychological platform is needed in the form of developed imagination, thinking, perception.

Tatyana Kozlova
Features of the development of verbal creativity in children of senior preschool age

preschool age called the period of intense development of creative child's possibilities. Formation creative activities are considered in close connection with development all mental processes, and above all with development of creative imagination, suggesting novelty, uncertainty of the cognizable situation and an unlimited variety of possible ways to resolve it.

There are different opinions about the origins of creativity of children. Some researchers consider creation the result of the internal self-generating forces of the child and that an adult should not interfere in his creative process. Others consider sources creativity surrounding life, art. The authors recognize the intuitiveness and originality of the artistic creativity of children, but consider it necessary to have a reasonable influence of the teacher.

A-priory, creativity is activity, as a result of which a person creates a new, original, showing imagination, realizing his plan, independently finding means for its implementation. It is characterized by two main indicators: it must be of social value and give a completely new product.

It is believed that it is completely childish creation does not meet these criteria. It is the initial step in development of creative activity. artistic creation child cannot be carried out without the participation of an adult who helps him create and assumes the functions of a critic and partly a creator. IN development of children's creative abilities Education and training play a leading role. And only with the right pedagogical guidance and training creative the child's activity can reach a relatively high level.

Children's creative activity has no artistic value for others, however, in social and pedagogical terms, it is important for the child. Since in his creativity the child actively discovers new things for himself and about himself.

Creative activity meets the needs and abilities of the child, accompanies him with emotional and intellectual activity, and ensures the formation ways of unified creative cognition.

One of the varieties creative activities of children is literary or verbal creativity.

baby verbal creativity are compositions and improvisations. This type of activity satisfying One of the most important needs of a child is self-expression.

Verbal creativity- the most difficult type creative child's activities. Element creativity is in every children's story. Therefore the term « creative stories» - short story title that children make up themselves (the plot, the course of the event, the climax and interchange) . The child must independently come up with the content (plot, imaginary characters, based on the topic and his past experience.

At the core verbal creativity lies the perception of works of fiction, oral folk creativity in the unity of content and artistic form. Verbal creativity is considered as an activity arising under the influence of works of art and impressions from the surrounding life and expressed in oral compositions.

A special role in the development of verbal creativity is given to the ability to make a coherent statement. It turns out with the child whether he has the experience of compiling a story (fairy tales, whether he responds with desire to the proposal to come up with an essay, whether he can logically build a plot and structure it structurally, what lexical means he will use in his statement. These indicators are criteria development of verbal creativity: the ability to perceive works of fiction, development connected monologue, creative essay.

IN development children's art creativity is divided into three stages. The first stage is the accumulation of experience. On the second - the actual process of children's creativity, directly related to the emergence of the idea, with the search for artistic means. At the third stage, a new product is created.

At the core creative storytelling is the process of processing and combining ideas that reflect reality, and the creation on this basis of new images, actions, situations that had no place before in the direct perception of the child. The source of the combinatorial activity of the imagination is the surrounding world. That's why creative activity depends on the richness and diversity of the child's ideas and life experience.

Studying features of the development of children's verbal creativity allows you to define pedagogical conditions, conducive to verbal creativity.

The personality of a teacher with professional skills, human charm, ability to create which has a positive effect on child's creativity.

Development imagination - a kind of reflection of reality, which consists in the creation of new images and ideas based on existing ideas.

Development of observation.

Education industriousness.

Learning in the classroom.

Complex problem solving development speeches in the classroom for teaching storytelling.

Enrichment and activation vocabulary through definition words, helping to describe the experiences, character traits of the characters; with the formation of new concepts, new dictionary and the ability to use the available stock words.

Skill tell children coherently, own the structure of a coherent statement, know the composition of the narrative and description.

Correct understanding of the task by children "come up with", i.e. to create something new, to tell about what actually did not exist.

Development poetic ear - ability to distinguish between genres, understanding them features, the ability to feel the components of an artistic form and realize their functional connection with the content.

Interaction of different types of artistic activity (music, painting, literature, theater).

The development of verbal creativity is possible, if at each lesson to acquaint children with the content and artistic form of the work, draw their attention to figurative words and expressions, characteristics, mood, dialogues of characters, description of facial expressions and gestures of heroes.

This is directed creative tasks: clarify understanding of the meaning of figurative words and expressions; include in the story of impromptu dialogue new (different) intonation; perform plastic sketches depicting the hero; come up with unusual endings for well-known fairy tales; combine plots of works of different genres; select synonyms, antonyms, definitions that characterize the characters, their mood, state, actions and deeds; dramatization of the most interesting passages of works; development of stage skills, performance (repetition) replicas of heroes; scenery drawing and conditions in which the heroes of a literary work acted; correlating the content of the text with the nature of the musical work.

Thus, it follows from the above that creative speech activity, expressed in the creation of oral compositions, is successfully carried out in senior preschool age and under the influence of special education, important condition which is the choice of means.

Department of Education of the city of Sevastopol

State budget educational institution

vocational education

city ​​of Sevastopol "Sevastopol Pedagogical

college named after P.K. Menkov"

Department of preschool education

Course work

Subject: "The formation of verbal creativity in older children in the process of learning to compose stories

description of nature"

Supervisor

Taranenko Svetlana

Mikhailovna

Teacher

__________________________

signature

"____" ______________ 2017

Student group DO-14-1z

Ivanova Alevtina

Andreevna

___________________________

signature

"____" ______________ 2017

Sevastopol 2017

CONTENT

INTRODUCTION……………………………………………………………………. ..3

Chapter 1. Theoretical foundations for the formation of verbal creativity in preschoolers…………………………………………………………………….........7

1. The development of creative abilities in preschool children in the process of getting to know nature………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………

2. The role of nature in the development of the creative abilities of older children

preschool age…………………………………………………………….9

Chapter 2. Development of verbal creativity in older preschoolers……….15

1. Features of children's verbal creativity in older preschoolers…………………………………………………………………………….15

2. The essence and methodology of teaching descriptive stories about nature ...... 18

Conclusion……………………………………………………………………...24

References……………………………………………………………..25

INTRODUCTION

The development of imagination is one of the leading lines in the mental development of a preschool child. In addition to the ability to transform images, impressions, which is recognized as the main mechanism for the functioning of the imagination, an important role in its development is played by the assimilation of speech. L. S. Vygotsky noted that speech frees the child from his immediate impressions, makes it possible to imagine an object that he has not seen, and think about it.

One of the manifestations of creative imagination is children's verbal creativity. There are two types of word creation (A. G. Tambovtseva, L. A. Wenger, etc.), these are the so-called neoplasms

inflection and word formation (children's neologisms). And second, this

writing is an integral component of artistic and speech activity. In the latter case, verbal creativity is understood as the productive speech of children that arose under the influence of works of art,

impressions from the surrounding life and expressed in the creation of oral

compositions - fairy tales, stories, poems, etc. . The creation of compositions implies the ability to modify, transform memory representations and create new images and situations on this basis, determine the sequence of events, establish connections between individual events, "enter" the depicted circumstances, select speech means to build a coherent statement.

According to V.T. Kudryavtsev, children's word creation is valuable not only for the development of speech, but also for mastering the native language. The scientist assures that children's linguistic experiments are a universal mechanism for "entry" into culture.

The issues of the formation of children's verbal creativity were studied by E.I. Tiheeva, E.A. Flerina, M.M. Konina, L.A. Penevskaya, N.A. Orlanova, O.S. Ushakova, L.M. Voroshnina, E.P. Korotkova, A.E. Shibitskaya and a number of other scientists who developed the topics and types of creative storytelling, techniques and sequence of teaching.

According to Vikhrova N.N., Sharikova N.N., Osipova V.V. The peculiarity of creative storytelling is that the child must independently come up with content (plot, imaginary characters), based on the topic, his past experience and wrapping it in a coherent narrative. The possibility of developing creative speech activity arises at the senior preschool age, when children have a sufficiently large stock of knowledge about the world around them. They have the opportunity to act according to the plan.

L.S. Vygotsky, K.N. Kornilov, S.L. Rubinstein, A.V. Zaporozhets consider creative imagination as a complex mental process, inextricably linked with the life experience of the child. Creative imagination in preschool childhood has the greatest plasticity and is most easily amenable to pedagogical influences.

Creative storytelling of children is considered as a type of activity that captures the personality of the child as a whole: it requires active work of imagination, thinking, speech, manifestation of observation, strong-willed efforts, participation of positive emotions.It is creative storytelling that brings the child closer to the level of monologue speech that he will need to move on to a new leading activity - study, since it provides great opportunities for the child to independently express his thoughts. The conscious reflection in speech of various connections and relations between objects and phenomena plays an important role in the development of verbal and logical thinking, contributes to the activation of knowledge and ideas about the environment. To teach how to compose a descriptive story about nature means not only to arouse his interest in what he is talking about, but also to help the child understand, feel the beauty of the object or phenomenon being described, and thereby arouse in him the desire to find the necessary words and expressions to convey it. in his speech.

Even K. D. Ushinsky emphasized the role of nature in the development of logical thinking and coherent speech. He considered the logic of nature the most useful, accessible and visual for the child. It is the direct observation of the surrounding nature “... that will constitute those initial logical exercises of thought on which logic depends, i.e. the truth of the word itself, and from which logical speech and understanding of grammatical laws will then follow by itself. The process of cognition of nature in all its diversity contributes to the understanding and use in coherent speech of various grammatical categories denoting names, actions, qualities and helping to analyze an object and phenomena from all sides.

At present, the high social significance of the development of verbal creativity in children makes us take a different look at the issues of education and training in kindergarten, the relevance and necessity of compiling developmental classes for the development of creative abilities in children.

The pedagogical impact on children is becoming increasingly important, that is, the creation of conditions and the use of various methods, techniques and forms of organizing work to develop the creative abilities of preschoolers in the process of getting to know nature.

It follows from this that children should be specially taught to talk about nature:

1. Give them sufficient knowledge to make a relatively complete and accurate story about any object or natural phenomenon;

2. To develop the ability of children to formulate their thoughts, imagination, thinking, manifestation of observation;

The relevance of the topic is related to the problem of the child mastering the skills of verbal creativity in the speech of a preschooler. The shortest way to emotionally liberate a child, relieve constriction, teach feeling and artistic imagination is the path through the game, fantasizing, writing and creating a holistic system for teaching verbal creativity.

Object of study: verbal creativity of children of senior preschool age in the description of nature

Subject of study: the formation of verbal creativity in the process of learning to compose stories based on the description of nature.

Research objectives:

Features of the development of verbal creativity in children of senior preschool age.

The development of creative abilities in preschoolers in the process of getting to know nature;

The role of nature in the development of children's creative abilities;

To study ways of developing coherent speech based on familiarization with nature, enrichment and activation of the vocabulary on this issue.

Teaching children about nature.

Methodical techniques that prepare children for compiling descriptive stories about nature.

The purpose of the course work:

The study of methods and techniques for teaching children to compose stories about nature.

Chapter 1. Theoretical foundations for the formation of verbal creativity in preschoolers

1. Development of creative abilities in preschool children in the process of getting to know nature.

It is known that teaching children creative storytelling is a gradual and rather complex process. It proceeds most successfully under the guidance of teachers and parents who help children master these skills, both in specially organized classes and in the process of everyday life. Preschoolers at an older age have access to creative storytelling about events from the surrounding life, about relationships with friends, on topics from personal experience, inventing stories, fairy tales.

Creative storytelling of children is considered as an activity that captures the personality of the child as a whole. It requires active work of the imagination, thinking, speech, manifestation of observation, strong-willed efforts, participation of positive emotions. It is creative storytelling that brings the child closer to the level of monologue speech that he will need to move on to a new leading activity - study, since it provides great opportunities for the child to independently express his thoughts. The conscious reflection in speech of various connections and relations between objects and phenomena plays an important role in the development of verbal and logical thinking, contributes to the activation of knowledge and ideas about the environment. To teach how to compose a descriptive story about nature means not only to arouse his interest in what he is talking about, but also to help the child understand, feel the beauty of the object or phenomenon being described, and thereby arouse in him the desire to find the necessary words and expressions to convey it. in his speech.

The ability to compose creative stories independently, while observing all the necessary norms (literacy, structure, integrity, etc.), is, according to the definition of A. M. Leushina, "the highest achievement of the speech development of a preschooler." When compiling a story, the child's speech should be meaningful, detailed, logical, consistent, coherent, competent, lexically accurate, phonetically clear.

ON THE. Vetlugina noted thatin his work "the child discovers something new for himself, and for others - something new in himself" .

The possibility of developing creative speech activity arises at the senior preschool age, when children have a sufficiently large stock of knowledge about the world around them, which can become the content of verbal creativity. Children master complex forms of coherent speech, vocabulary. They have the opportunity to act according to the plan. “Imagination from a reproductive, mechanically reproducing reality - turns into a creative one,” this is due to the acquired ability of children to operate with their ideas, generalize, analyze, and conclude.

L. S. Vygotsky, K. N. Kornilov, S. L. Rubinstein, A. V. Zaporozhets consider creative imagination as a complex mental process, inextricably linked with the life experience of the child. Creative imagination in preschool childhood has the greatest plasticity and is most easily amenable to pedagogical influences.

Verbal creativity is the most complex type of creative activity of a child. There is an element of creativity in any children's story. Therefore, the term "creative stories" is a conventional name for stories that children come up with on their own. Features of creative storytelling lie in the fact that the child must independently invent content (plot, imaginary characters), based on the topic and his past experience, and clothe it in the form of a coherent narrative. An equally difficult task is to accurately, expressively and entertainingly convey your idea. Creative storytelling is to some extent akin to real literary creativity. The child is required to be able to select individual facts from the available knowledge, introduce an element of fantasy into them and compose a creative story.

Another important condition for successful teaching of creative storytelling is considered to be the enrichment and activation of the vocabulary. A fairly rich and varied vocabulary is the basis for the development of coherent speech, consisting of correctly composed sentences. Children need to replenish and activate the dictionary due to the words-definitions; words that help describe experiences, character traits of characters. Therefore, the process of enriching the experience of children is closely related to the formation of new concepts, a new vocabulary and the ability to use the available vocabulary. For the development of coherent speech, it is very important to teach how to make sentences of different types. A.N. Gvozdev repeatedly emphasized this and attached great importance to mastering the syntax of complex sentences, since they "provide exceptionally" a variety of opportunities for expressing connections and relationships of thoughts. The transfer of knowledge about nature requires the mandatory use of complex sentences. Thus, observing a winter landscape, children, with the help of an educator, give various definitions of the qualities and conditions of snow: white, like cotton wool; slightly bluish under the tree; sparkles, shimmers, sparkles, glitters; fluffy, falling in flakes. Then these words are used in the children's stories: “It was in winter, in the last month of winter, in February. When the last snow fell - white, fluffy - and everything fell on the roofs, on the trees, on the children, in large white flakes.

2. The role of nature in the development of creative abilities of children of senior preschool age.

Nature at all times served as the content of fine art. N. E. Rumyantsev, a famous Russian teacher, wrote that nature is “eternally alive, renewing, great in its diversity ... it is always a living spring of poetic creativity.” V. A. Sukhomlinsky wrote: “The world surrounding the child is, first of all, the world of nature with an unlimited wealth of phenomena, with inexhaustible beauty. Here in nature, the eternal source of children's mind and creativity. K. D. Ushinsky wrote: “A beautiful landscape has such a huge educational influence on the development of a young soul, with which it is difficult to compete with the influence of a teacher.”
. Nature surrounds the child from an early age, is one of the main means of aesthetic education of children.The beauty of nature does not leave indifferent even the smallest children.

The diversity of the surrounding world, objects of nature allows the educator to organize interesting, useful, cognitive activities for children. Aesthetic perception is provided by direct, "live" communication of children with nature. In the course of games, observations, labor, children get acquainted with the properties and qualities of objects and natural phenomena, learn to notice their change and development. They develop curiosity. Observation of the beauty of nature - sunrise and sunset, spring drops, flowering gardens and much more - a source of artistic impressions that knows no bounds. Acting on the emotions of the child with its beauty - the perfection of form, varied and (depending on the time of day, year, lighting) changeable color, nature evokes aesthetic feelings. The aesthetic perception of nature evokes in children a feeling of careful, caring attitude towards plants, animals, the desire to care for and care for them. This enables the teacher to develop students' logical thinking, voluntary attention, and most importantly, creative abilities. The expansion of ideas about the world of nature occurs in preschoolers every day, in direct educational activities, on walks, during observations. For the formation of creative abilities in children, it is necessary to use various expressions, comparisons, epithets, which can be found in poetic works, during the moments of observation, because the pictures of nature inspired many poets and writers. Also, the works of landscape painters help the child to know the beauty, truth, goodness. Colorful images of works of landscape painting teach children to fantasize, they have a desire to create something similar themselves. When introducing children to nature, it is important to give them the right ideas about the life of animals, plants, the beauty of their appearance in an interesting, accessible form. Animals attract the attention of children with their habits, mobility, habitat, and what they are connected with humans. It is necessary to show children the diversity of the animal world, to allow them to observe and study animals (on the street, in the zoo, at home). Some guys have pets at home, and, of course, they are happy to draw them and talk a lot about them. This always evokes a positive response from them, and also helps to clarify their knowledge about the objects of nature and a positive attitude towards it.

Nature is a source of knowledge, and knowledge of various natural phenomena is closely related to mastering the art of speech.N.F. Vinogradova argues that nature with all the variety of forms, colors, sounds is the richest source for the development of the preschooler's vocabulary and aesthetic experiences of the child.Children always and everywhere in one form or another come into contact with nature. Green forests and meadows, bright flowers, butterflies, beetles, birds, animals, moving clouds, falling snow flakes, streams. Even puddles after rain - all this attracts the attention of children, pleases them, provides rich food for their development.In the process of contemplating nature, the child has the opportunity to correctly determine the size of an object, its shape, symmetry, colors, their harmonious combination and contrast of colors, or disharmony, determine the shades of color at different degrees of illumination at different periods of the day, season, etc. But a child can do all this only if his dictionary contains the corresponding names of objects, objects and phenomena, as well as the formation of the corresponding ideas.

Even K. D. Ushinsky emphasized the role of nature in the development of logical thinking and coherent speech. He considered the logic of nature the most useful, accessible and visual for the child. It is the direct observation of the surrounding nature “... that will constitute those initial logical exercises of thought on which logic depends, i.e. the truth of the word itself, and from which logical speech and understanding of grammatical laws will then follow by itself. The process of cognition of nature in all its diversity contributes to the understanding and use of coherent speech of various grammatical categories denoting names, actions, qualities and helping to analyze an object and phenomena from all sides.

Nature gives the richest, emotional experience to children.“Nature is not only a great teacher, but also a great educator. Beauty in nature is limitless and inexhaustible. Therefore, nature is the source of creativity. Beauty in nature has been and remains the subject of its artistic development. Therefore, great artists have always been the discoverers of beauty in the world around us.

Interest in nature also needs to be nurtured. Showing children what and how to observe in animals and plants, drawing their attention to their appearance, movements, habits, the educator forms not only knowledge about nature, but also the attitude of children to it.

The ability to see nature is the first condition for education through nature. It is achieved only through constant communion with nature. To feel yourself a part of the whole all the time, you have to be in relationship with this whole. That is why the harmony of pedagogical influences requires constant communication with nature.

In direct contact with nature, along with observation, curiosity develops.

The child must be taught to see nature. After all, looking is not the same as seeing. Far from everything that is imprinted in the retina of the eye is perceived, but only what attention is focused on. We see only when we are aware. Children need to be taught to see. This means not only to show, but also to describe verbally. For example, describe the colors and shades of the sunset sky and dawn, describe the shape of the clouds and their color, describe the starry sky and the moon, show all this. If the inhabitants of high floors can see the sky from a window or balcony, then others will see it when they go out into the courtyard. The sky is extremely varied and always beautiful. To contemplate it every day, throughout life, cannot get bored, just as it cannot get tired of breathing. On the contrary, every day such contemplation, even for a few minutes, refreshes the soul. You also need to “see” snowfall or rain, or a thunderstorm. There should always be flowers in the house, for which the child looks after, observes and whose beauty rejoices. Cities have trees, boulevards, squares, parks. And here you need to teach children to “see” trees, flowers, shrubs: to notice the features and shades of petals, leaves, to observe how buds swell and bloom or leaves begin to turn yellow, how flowers bloom and seeds ripen. It is necessary that the child choose a tree in the immediate environment that seems to him the most attractive, and watch his withering and winter sleep. Let him treat his beloved tree as a friendly creature - visit him, notice new shoots, help him.

The main task in the development of creative abilities by means of nature is the awakening in children of an emotional attitude towards it. Emotional attitude to nature helps to make a person higher, richer, more attentive. Nature is one of the factors influencing the development and formation of creative abilities. It is an inexhaustible source of impressions and emotional impact on a person. In people's lives, nature occupies a significant place, contributes to the formation and development of creative skills.

A large role in the development of the creative abilities of preschoolers by means of nature belongs to the teaching staff of the kindergarten. The most efficient workflow is:

Direct perception of nature;

Organized observation of nature during walks and excursions.

Observation of the surrounding reality has a profound impact on the comprehensive development of the child's personality. In the process of observation, the child includes all analyzers: visual - the child sees the size, color of the object under study; auditory - the child hears the sound of the wind, the splash of water in the river, the sound of raindrops, the rustle of leaves, the murmur of the stream - all this is charming for the child's hearing. The taste allows you to subtly distinguish between the sweet taste of honey and the salty taste of sea water, the taste of spring water. The sense of touch is the child's second eye. Feeling objects of nature, the child feels all the roughness of the bark of trees, grains of sand, scales of cones. Smells also excite the child's imagination. To develop observation in children is the task that confronts educators.

In the work on the development of creative abilities by means of nature with children of preschool age, the educator must be well aware of the characteristics of this age. Children of this age have a great desire for independence, creativity. They want to see everything, to discover everything themselves. This interest encourages children to be active. But its direction in relation to nature can be different.

Chapter 2. The development of verbal creativity in preschoolers.

1. Features of children's verbal creativity in older preschoolers.

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

The concept of "verbal creativity" can be applied to any case of creativity associated with the word. At the same time, it refers to two, although related, but still fundamentally different areas: creativity in speech and creativity in language.

In pedagogical research devoted to the problem of the formation of verbal creativity, it is proved that creative speech activity is successfully carried out at senior preschool age under the influence and as a result of special education, an important condition for which is the choice of means (L.M. Voroshnina, E.P. Korotkova, N. A. Orlanova, O. N. Somkova, E. I. Tikheeva, O. S. Ushakova, E. A. Flerina and others).

At the heart of verbal creativity, O. S. Ushakova notes, “is the perception of works of fiction, oral folk art, including small folklore forms (proverbs, sayings, riddles, phraseological units) in the unity of content and artistic form. She considers verbal creativity as an activity that arises under the influence of works of art and impressions from the surrounding life and is expressed in the creation of oral compositions, stories, fairy tales, poems.

The verbal creativity of children is expressed in various forms: in writing stories, fairy tales, descriptions; in the composition of poems, riddles, fables; in word creation (creation of new words - neoplasms).

For the methodology of teaching creative storytelling, understanding the features of the formation of artistic, in particular verbal, creativity and the role of the teacher in this process is of particular importance.

N. A. Vetlugina noted the legitimacy of the extension of the concept of "creativity" to the activities of the child, delimiting it with the word "childish". In the formation of children's artistic creativity, she singled out three stages.

The first stage is the accumulation of experience. The role of the teacher is to organize life observations that affect children's creativity. The child must be taught to visualize the environment.

The second stage is the actual process of children's creativity, when an idea arises, a search for artistic means is underway. The emergence of a plan in a child passes if an attitude to a new activity is created (let's think of a story). The presence of a plan encourages children to search for means of its implementation: searching for a composition, highlighting the actions of the characters, choosing words. Creative tasks are of great importance here.

At the third stage, new products appear. The child is interested in its quality, strives to complete it, experiencing aesthetic pleasure. Therefore, it is necessary to analyze the results of creativity by adults, his interest. Knowledge of the features of the formation of children's verbal creativity makes it possible to determine the pedagogical conditions necessary for teaching children creative storytelling.

Since the basis of creative storytelling is the process of processing and combining representations that reflect reality, and the creation on this basis of new images, actions, situations that did not previously have a place in direct perception. The only source of combinatorial activity of the imagination is the surrounding world. Therefore, creative activity is directly dependent on the richness and diversity of ideas, life experience, which provide material for fantasy.

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

This work can be of a different nature depending on the specific task: excursions, observing the work of adults, looking at paintings, albums, illustrations in books and magazines, reading books. So, before describing nature, systematic observations of seasonal changes in nature and reading literature describing natural phenomena are used.

Reading books, especially of a cognitive nature, enriches children with new knowledge and ideas about people's work, about the behavior and actions of children and adults, deepens moral feelings, and provides excellent examples of the literary language. The works of oral folk art contain many artistic devices (allegory, dialogue, repetitions, personifications), attract with a peculiar structure, artistic form, style and language. All this affects the verbal creativity of children.

Creative storytelling is a productive activity, the end result of which should be a coherent, logically consistent story. Therefore, one of the conditions is the ability of children to coherently tell, to master the structure of a coherent statement, to know the composition of the narrative and description.

The theme of creative stories should be related to the general tasks of educating children in the right attitude to life around them, cultivating respect for elders, love for the younger, friendship and camaraderie. The topic should be close to the experience of children (so that a visible image arises on the basis of imagination), accessible to their understanding and interesting. Then they will have a desire to come up with a story or a fairy tale.

Creative stories can be conditionally divided into the following types: stories of a realistic nature; fairy tales; descriptions of nature.

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

In the process of learning coherent speech, children master the ability to compose stories of various types. E.P. Korotkova distinguishes factual, creative, descriptive and plot stories.
Teaching the native language, in particular teaching creative storytelling, is one of the main tasks of preparing for school. A lot of research has been done on the formation of coherence, imagery and other qualities of monologue speech - different types of storytelling, including creative. O.I. Solovieva, E.I. Radina, V.A. Ezikeyeva, E.G. Baturina, Yu.S. Lyakhovskaya, G.A. Tumakova, V.V. Research in preschool pedagogy has developed general ideas about the areas of work for the development of creative storytelling among preschoolers.

Creative stories require the child to be able to modify his existing experience, to create from this material relatively new (for the child-narrator himself) images and situations. Moreover, creative stories can also be based either on a visual basis (come up with events with the characters of the picture that go beyond the limits depicted; come up with a fairy tale about a toy squirrel and a hare that the child holds in his hands), or on a verbal basis (come up with a story on a topic suggested orally"How Seryozha helped Natasha").
Children show great interest in independent composition. At the same time, it is necessary to create certain conditions for the development of creative speech skills of children:
- compiling various types of creative stories;

In the older group - inventing a continuation and end to the story, stories by analogy, stories according to the teacher's plan, according to the model;

In the preparatory group - stories, fairy tales on a topic proposed by the teacher, modeling a story;

Identification of the child's individual abilities for creative speech activity.

One of the important methodological issues of teaching creative storytelling is the choice of plots. The plot can be approved if it makes children want to come up with a story, a fairy tale with a clear compositional construction, with the inclusion of elementary descriptions in them, if they correspond to the child’s experience, the level of his speech development, affects moral and aesthetic feelings, activates the imagination, deepens interest in speech activity.

2. The essence and methodology of teaching descriptive stories about nature.

The ability to talk about nature is formed in children gradually. For this, it is necessary to specifically teach children to talk about nature:

It is necessary to give the child the necessary knowledge that will help to compose a relatively complete and accurate story about any object or natural phenomenon;

To develop the ability of children to formulate their thoughts and present their information as logically and consistently as possible.

N.F. Vinogradova offers several types of stories that are taught to children to describe nature. This sequence of types of stories provides a gradual complication of work with children.

1. A plot story based on direct perception or labor in nature (“How we arranged a flower garden”, “Who dined in the bird canteen”);

2. A plot and descriptive story based on the generalization of knowledge gained as a result of conversations, reading books, looking at paintings (“How animals live in winter”, “What happened to the foxes”).

3. A descriptive story based on a comparison of different seasons (“Forest in spring and winter”);

4. Descriptive story about the season as a whole "Why I love summer";

5. Descriptive story about a separate object or natural phenomenon

("Bouquet of daisies") .

The least difficulty for children is descriptive stories built on a comparison of different seasons. Children describe objects and phenomena that they have repeatedly observed on excursions and walks. To compose such a story, you can use landscape paintings by famous artists, for example: I. Shishkin “Morning in a Pine Forest”, the teacher can offer the task: “Tell me what would be drawn in the picture if the artist wanted to depict the evening.”

A plot story about nature based on direct perception or labor is available to children of the fifth or sixth year of life, since it should reflect specific situations familiar to them. Such a story, following the example of a teacher, is already possible in the middle group of kindergarten.

The most difficult of all stories about nature is a descriptive story about a single object or natural phenomenon. Children in such descriptions often list the features and properties of the object, and not their attitude to the described object.Compiling plot stories about nature is much easier for children than compiling descriptive ones. Therefore, the process of learning to talk about nature is different from learning about other topics.

To teach a child to compose a descriptive story about nature means not only to awaken him to what he is talking about, but also to help him understand, feel the beauty of the described object or phenomenon and thereby arouse in him the desire for the necessary words and expressions to convey in his speech.

Descriptive storytelling is one type of creative storytelling.

In order to teach children how to compose a descriptive story about nature, it is necessary to develop the expressiveness and figurativeness of children's speech, to develop the ability to convey their attitude to what they are talking about.

A kind of impetus to educating the expressiveness of children's speech is the vivid diverse impressions of the world around them. Watching the pictures of nature together with the educator, listening to his explanations, necessarily figurative, expressive, children perceive this beauty. She makes them think and then talk. The role of the teacher is very important here.

N. A. Vetlugina noted that in her work “the child discovers something new for himself, and for others - something new about himself.” .

Mastering figurative speech by children should not be limited to the accumulation of epithets in their dictionary, and the ability to compose syntactically complex sentences. It involves the ability to choose the right, bright word in the context, insert homogeneous members, isolation, comparison into your story. The selection of a figurative word or expression is a necessary condition for the correct and deep characterization of an object or phenomenon. Emotional attitude, noted B. M. Teplov, is brought up from small things: from elementary “likes”, “dislikes”, “pleasant”, “unpleasant” to mastering a whole range of aesthetic assessments.

N. A. Vetlugina identified 3 stages for the development of the expressiveness of children's speech:

1. Tasks that give an orientation to new ways of action for children: compose, invent, change. At this stage, children act together with the teacher, independently applying only elements of creative actions.

2. Tasks that force children to find new combinations based on old, already known solutions;

3. Tasks, performing which the children themselves plan their activities from beginning to end, choose artistic means.

O. S. Ushakova suggested using lexical exercises for the selection of epithets, metaphors, comparisons, synonyms and antonyms, which help children feel the beauty of the verse, compare non-poetic and poetic language, and develop their poetic ear. Also, one of the types of creative tasks is the compilation of stories by children - sketches about nature and natural phenomena.

V.A. Sukhomlinsky called such works "small works about nature." He taught children to feel nature and convey their impressions in speech.

The story-etude is a short story on the proposed topic, a kind of verbal sketch. The purpose of these stories is to develop the figurativeness and accuracy of the language, to develop the ability to characterize an object or phenomenon in a few sentences, to find the most expressive words to describe it.

Conventionally, stories - sketches are divided into groups:

A story is an etude compiled during an observation, an excursion;

Story - a sketch about one or more objects of nature, compiled during a conversation;

A story is a sketch about one or more objects of nature, the compilation of which takes place as an independent lesson.

Compiling stories - sketches arouses children's interest in the language. They always willingly learn to “invent beautiful stories”, they are happy to pick up figurative expressions, insert them into colloquial speech.

Purposeful work, in the course of which the acquaintance of children with nature is used to develop their logical thinking and coherent speech, leads to the fact that the stories of older preschoolers become accurate, clear, rich enough and linguistically diverse, emotional. Children master all kinds of descriptive storytelling about nature.

As the knowledge of children expands, generalizing words appear in their stories (“rooks are the first spring birds”), participles and participles (“babbling brooks”, “blooming spring nature”), vivid epithets and comparisons (“dandelion, like the sun, green sky and lots and lots of sunshine. All this speaks of the development of the ability to use the means of language creatively enough to express one's thoughts and feelings.

The development of the imagery of the language is helped by the child's attraction to rhymed speech. In this regard, in older groups it is advisable to give tasks more often: “Come up with a riddle”, “Together we will come up with poems”. So, in the classroom, considering any objects, the teacher makes riddles about them, and then invites the children to come up with riddles themselves.

Such activities develop the creative imagination of children. As K. D. Ushinsky said, logical thought in the soul of a child grows together with a poetic image, the development of the mind goes hand in hand with the development of feelings, logical thought finds a poetic expression for itself. Children's interest in a well-aimed, bright word, as it were, is focused.

With the thoughtful work of the educator, the intonations of the child's speech and their posture during the story change noticeably. The teacher should teach children, speak expressively, address all listeners. Along with the enumerative and narrative intonations typical of children's speech, intonations of reasoning, joy, admiration, and surprise appear. In the process of learning, the nature of the behavior of children-listeners changes: they are attentive, focused, critical. When evaluating the stories of comrades, their requirements for the content of the story, its reliability, and clarity become more complicated (“I invented everything, it doesn’t happen like that”, “You won’t understand anything from him, he’s in a hurry”). Children make sure that the answer corresponds to the task of the teacher (“You were told“ tell ”, and you said one word”).

All this indicates that the learning process has a positive effect not only on the content and form of a children's story, but also on the attitude of children to the story itself: gradually, preschoolers develop a sense of the word and develop a love for their native language.

CONCLUSION

Knowledge of the features of the formation of children's verbal creativity makes it possible to determine the pedagogical conditions necessary for teaching children creative storytelling. It is known that the basis of creative storytelling is the process of processing and combining representations that reflect reality, and the creation on this basis of new images, actions, situations that have not previously taken place in direct perception. The only source of combinatorial activity of the imagination is the surrounding world. Therefore, creative activity is directly dependent on the richness and diversity of ideas, life experience, which provide material for fantasy. One of the conditions for the success of children in creative activity is the constant enrichment of the experience of children with impressions from life.

Communication with nature contributes to the development of creative speech activity of preschoolers. Learning, observing nature and its phenomena, the child develops observation and curiosity, vocabulary is replenished. Watching nature, watching pictures of nature together with the teacher, listening to his explanations, obligatory figurative, expressive, children perceive this beauty. Along with this, verbal creativity develops, which is expressed in various forms: writing stories, fairy tales, descriptions; writing poems, riddles, fables; word creation (creation of new words - neoplasms).

There is a direct relationshipbetween the development of children's speech and their creativity. Creativity itself is inconceivable without mastering the child, the richness of the language in which he speaks and thinks. The baggage of knowledge in children should correspond to the characteristics of preschool age.

The development of creative speech activity occurs at the senior preschool age, when children have a sufficiently large stock of knowledge about the world around them, which can become the content of verbal creativity. But in order for the child to express his thoughts and feelings, it is necessary to constantly enrich and activate the vocabulary.From this we conclude thatverbal creativity arises and develops where there is a purposeful management of this activity, where all the conditions for this activity are created.

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