Children's verbal creativity. Verbal creativity of preschoolers study of verbal creativity of creative activity

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An adult, raising a child, must subtly and tactfully support the children's initiative. This will allow the child to control himself and his behavior, think and fantasize, build an imaginary situation and be aware of his actions. Such interaction contributes to the learning of creativity, since creativity itself can only develop in individual individuals.

Questions of creativity, its development and manifestation in man have worried the minds of prominent people for many years of the formation of human history.

Even Aristotle in the 4th century BC. emphasized the innovative and authorial nature of the scientific and artistic creativity. The development of new knowledge is based on a person’s own activity, and therefore, according to Aristotle, it is so important to teach children creativity, the ability to observe and understand people, their experiences from an early age. Arguing that the imprint of the creator's personality lies on his works, Aristotle not only gave examples of how various artists interpret the same plots in different ways, but also proved the need for the development of independence, activity and individuality in raising children, because otherwise, outstanding scientists and creators will never come out of them.

The nature of creativity is studied by philosophers, psychologists and educators who study certain aspects of creative thinking and personality, based on the specifics of their sciences.

So, in the philosophical dictionary the following definition of creativity is given: “Creativity is a process human activity creating qualitatively new material and spiritual values. In philosophy, creativity is the ability of a person to create (on the basis of cognition of the laws of the objective world) a new reality that satisfies diverse social needs from the material delivered by reality, which has arisen in labor. In the process of creativity, all the spiritual forces of a person take part, including imagination, as well as the skill acquired in training and practice, which is necessary for the implementation of a creative idea.

In pedagogical science, creativity is defined as “an activity aimed at creating a social significant product influencing the transformation of the environment”.

The value of the child's creativity is limited to the creation of something new for himself, and this determines the value of creativity for the formation of personality.

Describing the creativity of children, the famous didacticist I.Ya. Lerner identified the following features creative activity:

1- independent transfer of previously acquired knowledge to a new situation;
2 - vision of a new function of the subject (object);
3 - vision of the problem in a standard situation;
4 - vision of the structure of the object;
5 - ability to alternative solutions;
6 - combination earlier known ways activities in a new one.

I. Ya. Lerner argues that creativity can be taught, but this teaching is special, it is not like how knowledge and skills are taught. At the same time, creativity is impossible without the assimilation of certain knowledge and mastery of skills and abilities.

Creativity, according to teachers, should be understood as the process of creating images of a fairy tale, story, game, etc., as well as ways, ways of solving problems (graphic, game, verbal, musical).

The psychology of creativity explores the process, the psychological mechanism of the act of creativity, as a characteristic of the individual. In psychology, creativity is studied in two directions:

1 - as a mental process of creating a new one,
2 - as a set of personality traits that ensure its inclusion in this process.

Imagination is a necessary element of creativity, creative activity of a person. It is expressed in the mood of the image of the products of labor, provides the creation of a program of behavior in cases where the problem situation is characterized by uncertainty.

Imagination, or fantasy, is one of the higher cognitive processes in which the specific human nature of activity is clearly revealed. Imagination allows you to imagine the result of human labor even before it begins.

Imagination, fantasy is a reflection reality in new unexpected unusual combinations and connections.

Describing the imagination from the point of view of its mechanisms, it must be emphasized that its essence is the process of transforming ideas, the creation of new images based on existing ones.

The synthesis of representations in the processes of imagination is carried out in various forms:

§ agglutination - "gluing" various parts, qualities;
§ hyperbolization - an increase or decrease in an object and a change in the number of parts of an object or their displacement;
§ sharpening, emphasizing any signs;
§ schematization - representations from which the image of fantasy is constructed merge, differences are smoothed out, and similarities come to the fore;
§ typification - highlighting the essential, repeating in homogeneous facts and embodying them in a specific image.

In psychology, it is customary to distinguish between active and passive imagination. In the case when fantasy creates images that are not brought to life, outlines programs of behavior that are not implemented and often cannot be implemented, passive imagination manifests itself. It can be intentional or unintentional. Images of fantasy, deliberately caused, but not connected with the will aimed at bringing them to life, are called dreams. Unintentional imagination manifests itself when the activity of consciousness, the second signal system, is weakened, when a person is temporarily inactive, in a semi-drowsy state, in a state of passion, in sleep (dreams), with pathological disorders of consciousness (hallucinations), etc.

active imagination can be creative and recreative. Imagination, which is based on the creation of images that correspond to the description, is called recreative. Creative imagination involves the independent creation of new images that are realized in original and valuable products of activity. Arising in labor creative imagination remains an integral part of technical, artistic and any other creativity, taking the form of an active and purposeful operation of visual representations in search of ways to meet needs.

In order to understand the psychological mechanism of imagination and the creative activity associated with it, it is necessary to find out the connection that exists between fantasy and reality in human behavior. L.S. Vygotsky in his work “Imagination and Creativity in Childhood” identifies 4 forms of connection between imagination and reality.

The first form is that every creation of the imagination is always built from elements taken from reality and contained in the previous experience of man. Imagination can create more and more degrees of combination, combining first the primary elements of reality, then again combining images of fantasy (mermaid, wood goblin, etc.). Here we can single out the following regularity: "the creative activity of the imagination is directly dependent on the richness and diversity of a person's previous experience, because this experience is the material from which fantasy constructions are created."

The second form are more complex connection between the finished product of fantasy and some complex phenomenon of reality. This form of communication becomes possible only through someone else's or social experience.

The third form is an emotional connection. Fantasy images provide an inner language for a person’s feelings “This feeling selects the elements of reality and combines them into such a connection that is conditioned from the inside by our mood, and not from the outside, by the logic of these images themselves.” However, not only feelings affect the imagination, but imagination also affects the feeling. This influence can be called "the law of the emotional reality of the imagination."

The fourth form lies in the fact that the construction of fantasy can be something essentially new, which has not been in human experience and does not correspond to any really existing object. Having taken on a material embodiment, this "crystallized" imagination becomes reality.

L.S. Vygotsky also describes in detail the psychological mechanism of creative imagination. This mechanism includes the selection of individual elements of the subject, their change, the combination of the changed elements into new integral images, the systematization of these images and their "crystallization" in the subject incarnation.

O.M. Dyachenko distinguishes two types or two main directions in the development of imagination. Conventionally, they can be called "affective" and "cognitive" imagination. An analysis of affective imagination can be found in the works of Z. Freud and his followers, where it is indicated that imagination and creativity are an expression of unconscious conflicts that are directly related to the development of innate tendencies.

Cognitive imagination was studied by J. Piaget. In his studies, imagination was associated with the development of the child's symbolic function and was regarded as a special form of representational thinking, which makes it possible to anticipate changes in reality.

O.M. Dyachenko characterizes these types of imagination and the stages of their development during preschool childhood.

Stage I - 2.5-3 years. There is a division of the imagination into cognitive (with the help of puppets, the child plays out some actions familiar to him and their possible options) and affective (the child plays out his experience).

II stage - 4-5 years. The child learns social norms, rules and patterns of activity. Imagination involves a planning process that can be called stepwise. This leads, in turn, to the possibility of directed verbal creativity, when the child composes a fairy tale, stringing events one after another. Cognitive imagination is associated with the rapid development of role-playing, drawing, and construction. But at the same time, without special guidance, it is mainly reproducing in nature.

III stage - 6-7 years. The child freely operates with the basic patterns of behavior and activity.

Active imagination is also aimed at eliminating the received psycho-traumatic influences by varying them many times in the game, drawing and other creative activities. Cognitive imagination is manifested in the child's desire to look for ways to convey processed impressions.

It should also be emphasized that imagination, which is of exceptional importance for the implementation and organization of activities, is itself formed in various types of activities and fades when the child ceases to act. Throughout preschool childhood there is a constant transformation of the child's imagination from an activity that needs external support (primarily on toys) into an independent one. internal activities, allowing for verbal (composing fairy tales, poems, stories) and artistic (drawings, crafts) creativity. The child's imagination develops in connection with the assimilation of speech, and therefore, in the process of communicating with adults. Speech allows children to imagine objects they have never seen before.

Fantasy is an important condition for the normal development of a child's personality; it is necessary for the free expression of his creative potential. K.I. Chukovsky in the book "From Two to Five" spoke about the fantasy of children in its verbal manifestation. He very accurately noticed the age (from two to five), when the child's creativity is especially sparkling. The lack of confidence in the laws existing in the field of language "directs" the child to the knowledge, development, modeling of existing connections and relationships in the world of sounds, colors, things and people.

K.I. Chukovsky defended the right of children to a fairy tale, proved the child's ability to realistically understand the figurativeness of a fairy tale.

Fantasy is a necessary element of creative activity in art and literature. The most important feature of the imagination involved in the creative activity of an artist or writer is its significant emotionality. image, situation, unexpected turn the plot that arises in the writer's head turns out to be passed through a kind of "enriching device", which is the emotional sphere of the creative person.

In any activity, two stages are absolutely necessary: setting the task (goal) and solving the problem - achieving the goal. In artistic creative activity, the idea, by its very essence, is the formulation of the creative task. Literary ideas, despite all their differences, are set in other types of activity. It is about writing piece of art. This task necessarily includes the desire to discover the aesthetic aspect of reality and influence people through their work.

It should be noted that children are quite sincerely involved in literary works and live in this imaginary world. The child's verbal creativity opens up richer possibilities for understanding the world and conveying his impressions, limiting the child's actions to any technical methods.

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. Korotkovskaya, A.E. Shibitskaya and a number of other scientists who developed the topics and types of creative storytelling, techniques and sequence of teaching. Creative storytelling of children is considered as such an activity that captures the personality of the child as a whole: it requires active work imagination, thinking, speech, manifestations of observation, volitional efforts, participation of positive emotions.

Verbal creativity is the most complex view creative activity of the 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. It also requires the ability to come up with a plot, a course of events, a climax and a denouement. 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.

At the heart of verbal creativity, notes O.S. Ushakov, lies the perception of works of fiction, oral folk art, including small folklore forms (proverbs, sayings, riddles, phraseological units) in the unity of content and art form. Verbally, she considers 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 oral compositions- stories, fairy tales, poems. 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).

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. ON THE. 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 a figurative vision of the environment (perception acquires an aesthetic coloring). Art plays a special role in enriching perception. Works of art help the child feel more beautiful in life, contribute to the birth artistic images in his work.

The second stage is the actual process children's creativity When an idea arises, there is a search for artistic means. The process of children's creativity is not very developed in time. The emergence of an idea in a child is successful 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: the search for a composition, highlighting the actions of the characters, the choice of words, epithets. Great importance here they have creative tasks.

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, their interest. Analysis is also needed for the formation of artistic taste.

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.

1. One of the conditions for the success of children in creative activity is the constant enrichment of the experience of children with life impressions. This work may have different character depending on the specific task: excursions, observing the work of adults, looking at paintings, albums, illustrations in books and magazines, reading books.

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, exacerbates moral feelings, and provides excellent examples of the literary language. The works of oral art contain many artistic devices (allegory, dialogue, repetitions, personifications), attract with a peculiar structure, art form, style and language. All this affects the verbal creativity of children.

2. Another important condition for successful teaching of creative storytelling is considered to be the enrichment and activation of the vocabulary. Children need to replenish and activate the dictionary due to the words-definitions; words that help describe experiences, character traits actors. 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.
3. A creative story is a productive type of activity; its end result should be a coherent, logically consistent story. Therefore, one of the conditions is the ability of children to tell a coherent story, to master the structure of a coherent statement, to know the composition of the narrative and description.

Children learn these skills at previous age stages, reproducing literary texts, compiling a description of toys and paintings, inventing stories based on them. Especially close to verbal creativity are stories about one toy, inventing an end and a beginning to the episode depicted in the picture.

4. Another condition is the children’s correct understanding of the “invent” task, i.e. to create something new, to talk about something that actually did not exist, or the child himself did not see it, but “thought it up” (although in the experience of others there could be a similar fact).

The theme of creative stories should be connected with common tasks educating children in the right attitude to life around them, cultivating respect for the 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.

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

The techniques for teaching creative storytelling depend on the skill of the children, the learning objectives, and the type of storytelling.

In the senior group, as a preparatory stage, you can use the simplest trick telling children together with the teacher on questions. A topic is proposed, questions are asked, to which the children, as they are posed, come up with an answer. At the end of the best answers is a story. In essence, the educator "composes" together with the children.

AT preparatory school for a group, the tasks of teaching creative storytelling become more difficult (the ability to clearly build a storyline, use means of communication, and be aware of the structural organization of the text). All kinds of creative stories are used, different teaching methods with gradual complication.

The easiest is considered to be inventing a continuation and completion of the story. The teacher gives a sample that contains a plot and determines the development of the plot. The beginning of the story should interest children, introduce them to the main character and his character, to the environment in which the action takes place.

Auxiliary questions, according to L.A. Penevskaya, are one of the methods of active leadership in creative storytelling, which makes it easier for the child to solve a creative problem, affecting the coherence and expressiveness of speech.

The plan in the form of questions helps to focus the attention of children on the sequence and completeness of the development of the plot. For the plan, it is advisable to use 3-4 questions, more of them leads to excessive detailing of actions and descriptions. What can hinder the independence of children's ideas. In the course of the story, questions are asked very carefully. You can ask what happened to the hero that the child forgot to tell about. You can suggest a description of the hero, his characteristics or how to end the story.

A more complex technique is storytelling according to the plot proposed by the teacher. (The teacher set a learning task for the children. He motivated it, suggested a topic, a plot, named the main characters. Children must come up with content, arrange it verbally in the form of a narrative, arrange it in a certain sequence).

Coming up with a story on an independent developed topic is the most difficult task. The use of this technique is possible if children have elementary knowledge about the structure of the narrative and the means of intratextual communication, as well as the ability to title their story. The teacher advises what a story can be about, invites the child to come up with a name for the future story and make a plan.

Learning to invent fairy tales begins with the introduction of fantasy elements into realistic stories.

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

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

The development of children's verbal creativity under the influence of Russian folk tales occurs in stages. At the first stage, in the speech activity of preschoolers, the reserve is activated. famous fairy tales in order to assimilate their content, images and plots. At the second stage, under the guidance of the educator, the analysis of the scheme for constructing a fairy tale narrative, the development of the plot (repetition, chain composition, traditional beginning and ending) is carried out. Children are encouraged to use these elements in their own writing. The teacher turns to the methods of joint creativity: he chooses a topic, names the characters - the heroes of the future fairy tale, advises the plan, starts the fairy tale, helps with questions, suggests the development of the plot. At the third stage, the independent development of fairy tale narration is activated: children are invited to come up with a fairy tale based on ready-made themes, plot, characters; choose your own theme, plot, characters.

In Gianni Rodari's The Grammar of Fantasy. "Introduction to the Art of Storytelling" talks about some ways to make up stories for kids and how to help kids make up their own stories. The recommendations of the author of the book are also used in kindergartens in Russia.

The most common technique is the game "What would happen if ...", where children are asked to find a solution to a certain situation.

"Old games" - games with notes with questions and answers. It begins with a series of questions that outline in advance a certain scheme, the end of the story.

Sample questions:

§ Who was that?
§ Where is it?
§ What have you been doing?
§ What did you say?
§ What did the people say?
§ How did it all end?

The children's answers are read aloud as a continuous story.

"Nonsense Technique" - writing absurdities, fables, "distortions" in two lines.

"Creating a limerick" is a variant of organized and legitimized nonsense. The structure of a limerick might be as follows:

1. Choosing a hero.
2. His characteristic.
3, 4. Realization of the predicate (performing some action).
5. The final epithet characterizing the hero.

The use of these techniques will successfully affect the development of verbal creativity of preschoolers.

:The article shows the importance of the organization of verbal creativity in a modern preschool institution. The subject of the research is the process of development of verbal creativity of older preschoolers by means of composing fairy tales about animals. The goal is to describe the content of the work aimed at the effective development of the verbal creativity of preschoolers. Verbal creativity is considered in a narrow sense - the creation of their own fairy tales by preschoolers. The basis of verbal creativity of older children is determined. preschool age - folklore(Russian folk tale about animals). The advantage of using children's fairy tales about animals in order to develop children's verbal creativity is shown. Outlined the data diagnostic technique to identify the level of development of the ability to compose fairy tales by preschoolers; the analysis of children's creative works is given; the causes of errors and omissions are indicated. The content of the work on the development of children's verbal creativity is presented in three stages: replenishment of children's knowledge with new fairy tales; compositional and linguistic analysis of fairy tales; the process of children creating their own fairy tales. Pedagogical techniques are listed, with the help of which the development of verbal creativity of older preschoolers is realized. The sequence of gradual introduction of types of creative work in the classroom for the development of speech with preschoolers is described. The author used the author's techniques known in the methodology, but their own interpretation is offered. In the given example of a fragment of the lesson, the verbal activity of preschoolers is shown: the selection of words according to the meaning, the characterization of the hero, the determination of the sequence of actions, the continuation of the story. Examples of children's creative works are given. The materials of the article can be used by methodologists and practicing teachers in educational process preschool organization.

writing fairy tales

fairy tales about animals

verbal creativity

senior preschooler

1. Tannikova E.B. The formation of speech creativity in preschoolers (teaching the composition of fairy tales). - M.: TC Sphere, 2008. - 45 p.

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

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

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

5. Litvintseva L.A. Fairy tale as a means of educating a preschooler. The use of storytelling techniques. - St. Petersburg: CHILDHOOD-PRESS, 2010. - 144 p.

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

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

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

Questions of the development of verbal creativity of preschoolers form the basis of the process of education and upbringing. In the Federal State Educational Standard for Preschool Education (FSES DO), the educational area " Speech development”, which includes the formation of the ability to compose fairy tales through the following components: be able to speak as a means of communication and culture, have an active vocabulary, grammatically correct monologue speech, know works of children's literature. E.B. Tannikova, I.V. Gurova, O.S. Ushakova and others. In their research, they quite widely revealed the possibilities of using a fairy tale in the system of educating preschoolers N.A. Nikolaev, L.A. Litvintseva and others.

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

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

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

Tales about animals are fertile material for the development of verbal creativity. Tales about animals are widely used in the circle of children's reading. As you know, these fairy tales are small in volume. They have a small number of heroes (2-4), one plot action is considered. The duration of the action is indicated by a system of repetitions, although repetitions are optional in this type of tale. In these fairy tales, certain qualities of character are assigned to each hero: cowardice - a hare, cunning - a fox, greed - a wolf, etc. Such tales are characterized by the convergence of mutually exclusive phenomena that violate the usual ideas, which creates fiction: the wolf cuts wood, bakes pancakes; the hare is crying, etc. From the point of view of composition, a fairy tale can be built as one plot action ("The Fox and the Black Grouse", "The Sheep, the Fox and the Wolf"), several actions ("The Fool the Wolf", "The Old Bread and Salt is Forgotten") or a series of repetitive episodes (" Teremok").

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

In this article, we will demonstrate the content of the work, which, in our opinion, will contribute to the development of the verbal creativity of preschoolers through the creation of fairy tales. Before starting specialized training, we propose to conduct a diagnostic examination of the ability to compose fairy tales in preschoolers. Direct learning takes place in three stages. At the first stage, it is necessary to activate the stock of famous Russian folk tales in the speech activity of children and continue to enrich this stock. The main methods of work will be listening, telling and retelling fairy tales. At the second stage, under the guidance of the educator, an analysis of the principles of the traditional construction of a fairy tale narrative, the development of the plot takes place: repetition, chain composition, the technique “from large to small” and “from small to large”, traditional beginnings and endings. It is also necessary to draw the attention of children to the language basis of the fairy tale (constant epithets, repetitions, an abundance of action words). The teacher encourages children to use these techniques in their own compositions. At the third stage, the collective and independent writing of a fairy tale is activated. The teacher offers the children tasks with gradual complication: continue the fairy tale that has been started, come up with a fairy tale on the topic and characters; independently choose a theme, characters, plot, etc.

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

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

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

Results of the study and their discussion. An analysis of the ending of a fairy tale invented by children showed that 70% of children of senior preschool age composed the ending of the proposed fairy tale on leading questions; a fairy tale at the beginning of the plot turned out. In most of the works, the tale is extremely poor in content, "schematic"; continued as planned, but not completed. The fairy tales composed by the children did not have a denouement, the children mostly used the stories they knew without adding anything new to them, we will give an example of continuing the text of the fairy tale: And the hare immediately went home. A hare was waiting for him at home, they ate, went to bed.

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

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

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

The formation of the ability to compose fairy tales in preschool children must begin with the creation of optimal conditions that contribute to the most complete disclosure of the creative potential of the personality of a preschool child. At the first stage of teaching older preschoolers to compose a fairy tale, we accumulated artistic material. We introduced children to fairy tales included in the children's reading circle. We have created conditions for favorable verbal creativity of children, organized interaction different types artistic activity. We used a technique - listening to fairy tales in a recording. The music accompanying the fairy tale, the songs of its characters helped the children to listen to the music, to think about the character of the characters, to enjoy the tenderness and melodiousness of the folk language. Viewing, subsequent analysis of cartoons, work with individual fragments, in our opinion, enriched the vocabulary of children, contributed to the formation of coherent speech (dialogue and monologue), developed the phonetic-phonemic, prosodic aspects of speech. For example, we asked the children to watch the cartoon The Snow Maiden (1958), share their impressions, come up with options for the development of a different storyline of the cartoon or a different ending.

At the last stage, we will dwell in more detail, because. it is he who is the longest in time in our experiment. We started developing the ability to compose fairy tales in older preschoolers with a technique - inventing a continuation of a fairy tale.

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

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

Composing a fairy tale on a topic proposed by the teacher (without a plan). The fulfillment of this task gives a great impetus to creative imagination and independence of thought: the child acts as an author; he himself chooses the content of the tale and its form. We proposed a topic: "Compose a fairy tale about bears." Let us give an example of a composed fairy tale.

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

Play games with toys. Traditionally, in a preschool educational organization, the technique of staging fairy tales is used. This technique is effective, firstly, from the point of view of the development of speech, since children, by memorizing the replicas of characters, memorize words-definitions, words-clarifications, words-actions; secondly, from the point of view of the development of verbal creativity. In the dramatization game, preschoolers often add their own statements, use the vocabulary characteristic of fairy tales.

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

Once upon a time there was Sharik. Somehow the Fox came to the village. She saw a puppy and said: “I came to visit Petushka, I cooked porridge for him.” The ball answers her: “I won’t let the Cockerel go with you, you will deceive him and eat him.” The fox began to persuade him, Sharik agreed and said, "I'll go with you." The Cockerel called Sharik, they came together to the Fox. She cooked liquid porridge and treats it. The cockerel pecked, pecked, remained so hungry. The ball lapped, lapped, and did not eat. The fox began to ask for a visit to them, but they did not invite her.

Making up a story based on a series of pictures. Glukhov V.P. believes that compositions based on pictures are of great importance for the development of independent speech skills. A series of pictures contribute to learning how to compose an essay and help to understand the sequence of events that display individual, key moments in the plot action. They develop the skill of analyzing a visually depicted plot, the ability to recreate a plot situation based on a comparison of the content of individual pictures.

At the lesson, the children were asked to compose a fairy tale based on a series of pictures "Smart Hedgehog" (plot by N. Radlov). The pupils were shown a series of color pictures of medium format (4 pictures). The pupils placed the pictures on the typesetting canvas in the desired sequence. At the beginning of the lesson, preschoolers were asked to complete the sentence with the word they needed in meaning: the Hedgehog found a bunch of ... (apples) in the forest. He began to wear them home one at a time ... (one). / He was tired of ... (run, mess around). The hedgehog climbed on ... (tree, apple tree) and jumped on ... (apples). / Apples strung on ... (thorns, needles). Then the children recreated the initial situation based on the content of the pictures on the questions: the Hedgehog's house is visible in the distance; he stocks up for the winter; he treats guests with apples, apple compote and jam.

Composition of a cognitive fairy tale about animals. We used the game "Tell me more precisely." The purpose of this game is to develop the accuracy of word usage in children. The teacher begins to tell a fairy tale and asks the children to help pick up words when he stops. For example: Once upon a time there was a Squirrel and a Squirrel. Squirrel says: "I'm the most important!". What can be Belka? What can she do? (Red, nimble, fluffy. The squirrel lives in the forest, in a hollow. She can collect supplies for the winter, jump from tree to tree ...) The little squirrel listened and said: "I'm important too!" What can be Belchonok? What can he do? (White, dexterous, nimble ...), etc. As you can see, the selected material allows you to compose a scientific and educational fairy tale about animals. This type of fairy tale is found in the program preschool. The ability to compose a fairy tale of this type will depend on how much the children have theoretical knowledge about a particular animal.

Writing a fairy tale by analogy. This type of composition is quite difficult for preschoolers, so we took the fairy tale "Gingerbread Man" as a basis. All children are very familiar with this work. We analyzed the tale on the questions: Who was the main character? How did Kolobok appear? Why did it happen that he ended up in the forest? Who did he meet? After that, the teacher explained that we would make up a similar fairy tale, where the hero would be ... (Donut, or Cheesecake, or Damn). He must meet with animals ... (Gopher, Squirrel, Hedgehog, etc.). The teacher offers to choose heroes-animals on their own. At the end of the protagonist's tale, someone has to eat. A fairy tale must teach something, what can be instructive in our fairy tale? The teacher listens to the answers of preschoolers and offers to compose a fairy tale by analogy. Let's give the beginning of the resulting fairy tale: Once upon a time there was a mother and daughter, they once baked a cheesecake. They put her to study on the window, and she came to life and ran away. It rolls along the path, rolls, and towards it ...

The main task of the educator is that preschoolers have the opportunity to learn how to express thoughts orally. The teacher can name the heroes of the fairy tale or the topic, after which he invites the children to think (what could happen to this hero?) And speak out. The experience of observing preschoolers shows that at first they do not know what to say, and then from total number presenting thoughts and images, it is difficult for them to choose one topic and organize their thoughts. The selection of words, phrases for many children takes a lot of time, they get tired and lose interest in work. The teacher needs to give a few words (helper words) for children to choose. To streamline the actions of the characters and organize the plot, it is advisable to use schemes, models. When children learn to continue the story they have begun, to supplement the well-known fairy tale with new events, they can begin to create their own original fairy tale. To this end, it is better to set as the main characters of the tale such animals that are rarely used in traditional stories, for example: a sheep, a squirrel, etc. As you know, the images of a fox, a hare, a wolf will return preschoolers to already known plots.

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

Conclusions. Thus, the set of measures proposed by us to develop the ability of children of senior preschool age to compose fairy tales can help increase interest in verbal creativity. Taking into account the syncretic nature of children's creativity, we suggested that children improvise, play with the plot of a fairy tale-game, using language means to convey the character and mood of the character in specific situations. We believe that the content of this complex can be used in practical activities preschool teachers.

Bibliographic link

Slon O.V. DEVELOPMENT OF VERBAL CREATIVITY IN CHILDREN OF THE OLDER PRESCHOOL AGE (BY THE MATERIAL OF RUSSIAN FOLK TALES ABOUT ANIMALS) // Modern problems of science and education. - 2018. - No. 4.;
URL: http://science-education.ru/ru/article/view?id=27858 (date of access: 02/26/2019). We bring to your attention the journals published by the publishing house "Academy of Natural History"

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MINISTRY OF EDUCATION OF SCIENCE AND RF

FEDERAL STATE BUDGET EDUCATIONAL INSTITUTION OF HIGHER EDUCATION

"BASHKIR STATE UNIVERSITY" (BASHGU)

INSTITUTE OF LIFELONG EDUCATION

FINAL CERTIFICATIONWORK

On the topic:"Formation of verbal creativity in children of senior preschool age"

Completed:

Student of retraining courses

"Pedagogy and psychology

preschool education"

Platonova Anna Yurievna

G. Ufa2016

Introduction

ChapterI. Theoretical foundations of the formation of verbal creativityamong older preschoolers in the psychological and pedagogical literature

1.1 The concept of creativity, children's verbal creativity and the study of the problems of its formation by psychologists and teachers

1.2 The concept of connected speech, its main forms and characteristics of connected statements

1.3 Fairy tale genre - as a factor in the development of children's verbal creativity

Chapter I Conclusions

ChapterII. Formation of verbal creativity in children of senior preschool age in the process of writing fairy tales

2.1 Studying the level of development of verbal creativity in children 5-6 years old

2.2 The formation of verbal creativity in the process of writing fairy tales by children

Chapter II Conclusions

Conclusion

Bibliography

INTRODUCTION

The relevance of research

Preschool age is a unique period when the foundations of all future human development are laid. That is why the main goal of education is the comprehensive harmonious development of the individual.

The development of personality is closely connected with the formation of creativity, knowledge of the surrounding world and mastery of the native language.

The child learns to think creatively, improves his thinking, learning to create.

At present, society constantly feels the need for people who are able to think outside the box, act actively, and find original solutions to any life problems. All of these qualities are characteristic of creative individuals.

Creativity itself is a complex activity and there are different trends in the nature of the emergence of children's creativity.

In some cases, creativity is seen as the result of the child's inner emerging forces. The formation of creative abilities is reduced to a spontaneous moment. With such a view, there is no need to teach children to draw, sculpt, they themselves strive for self-expression, freedom, creating compositions from strokes, spots. Supporters of this direction do not interfere in the process of the formation of the artistic abilities of the child.

In other cases, the source of children's creativity is sought in life itself, in appropriate pedagogical conditions, which are a guarantee of active influence on the development of children's creativity. Proponents of this view believe that abilities are formed gradually, in the process of vigorous activity children, taking into account the individual characteristics of the child. coherent speech verbal fairy tale creativity preschooler

Verbal creativity - part general development creative abilities of preschoolers in different types of artistic activities:

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

Familiarization with different genres literary works, specific features, the understanding of which is aggravated in the visual and theatrical activities. That contributes to the development of creative imagination.

At preschool age, creativity manifests itself in various types of artistic activity (visual, musical, motor, game and speech).

A lot of scientifically based works and methods of honored teachers and psychologists are devoted to this: N.A. Vetlugina, L.S. Vygotsky, A.V. Zaporozhets, N.S. Karpinskaya, N.P. Sakulina, S.L. Rubinstein and others. The problem of development artistic word were devoted to the work of teachers - practitioners O.S. Ushakova, F.A. Sokhina, O.M. Dyachenko and others.

Many researchers (N.S. Karpinskaya, L.A. Penevskaya, R.I. Zhukovskaya, O.S. Ushakova, L.Ya. Pankratova, A.E. Shibitskaya) directed their efforts to studying the nature of creative manifestations of children in literary activity, as well as on the search for ways to form the creative abilities of the child. These studies have shown that the development of artistic creativity is closely related to the development of cognitive and personal characteristics of a preschooler. A folk tale plays a huge role in the formation of creativity, which enriches the world of spiritual experiences of the child, helps him to feel the artistic image and convey it in his writings.

A fairy tale for a child is not just fiction, fantasy, it is a special reality. Creating fairy tales is one of the most interesting types of verbal creativity for children.

The development of verbal creativity is a multicomplex, multifaceted process and depends, first of all, on the general speech development of children; the higher its level, the more freely the child manifests himself in writing fairy tales and stories.

Object of study: the process of formation of creativity in children 5-6 years old.

Subject of study: verbal creativity of children 5-6 years old on the material of fairy tales.

Purpose of the study: study of the development of verbal creativity of children 5-6 years old, the formation of a sustainable interest in creativity in children.

Research objectives

1. Selection and study of psychological and pedagogical literature on the problem of the development of verbal creativity in preschool children.

2. The study of the content and artistic form of Russian folk tales and their perception by children.

Methodological basis research is the theory of the development of imagination and children's verbal creativity, formulated in the works of L.S. Vygotsky, N.A. Vetlugina, O.M. Dyachenko, N.P. Sakulina, as well as the works of psychologists and teachers on the problem of the development of coherent speech - O.S. Ushakova, S.L. Rubinstein, F.A. Sokhina, A.V. Zaporozhets.

Research methods:

§ analysis of literature in the field of psychology and pedagogy,

§ pedagogical experiment,

§ conversations, observation of children,

§ analysis of products of children's creativity.

Theoretical and practical significance of the work

The conducted research can be used when working on the development of coherent speech in children, as well as in the process of forming children's literate oral speech and fostering interest in independent verbal creativity.

Organization of the study

The final certification work consists of an introduction, two chapters, a conclusion, a list of references.

CHAPTERI. THEORETICAL FOUNDATIONS OF THE FORMATION OF VERBAL CREATIVITY IN OLDER PRESCHOOL CHILDREN IN PSYCHOLOGICAL AND PEDAGOGICAL LITERATURE

1.1 The concept of creativity, children's verbal creativity and the study of the problems of its formation by psychologists and teachers

Questions of creativity, its development and manifestation in man have worried the minds of prominent people for many years of the formation of human history.

Even Aristotle in the 4th century BC. emphasized the innovative and authorial nature of scientific and artistic creativity. The development of new knowledge is based on a person’s own activity, and therefore, according to Aristotle, it is so important to teach children creativity, the ability to observe and understand people, their experiences from an early age. Proving that the imprint of the creator's personality lies on his works, Aristotle not only gave examples of how different artists interpret the same subjects in different ways, but also proved the need to develop independence, activity and individuality in raising children, because otherwise, outstanding scientists and creators will never come out of them.

The nature of creativity is studied by philosophers, psychologists and educators who study certain aspects of creative thinking and personality, based on the specifics of their sciences.

So, in the philosophical dictionary the following definition of creativity is given: "Creativity is a process of human activity that creates qualitatively new material and spiritual values." In philosophy, creativity is the ability of a person to create (on the basis of cognition of the laws of the objective world) a new reality that satisfies diverse social needs from the material delivered by reality, which has arisen in labor. In the process of creativity, all the spiritual forces of a person take part, including imagination, as well as the skill acquired in training and practice, which is necessary for the implementation of a creative idea.

In pedagogical science, creativity is defined as "an activity aimed at creating a socially significant product that has an impact on the transformation of the environment."

The value of the child's creativity is limited to the creation of something new for himself, and this determines the value of creativity for the formation of personality.

Describing the creativity of children, the famous didacticist I.Ya. Lerner identified the following features of creative activity:

1- independent transfer of previously acquired knowledge to a new situation;

2 - vision of a new function of the subject (object);

3 - vision of the problem in a standard situation;

4 - vision of the structure of the object;

5 - ability to alternative solutions;

6 - combining previously known methods of activity into a new one.

The psychology of creativity explores the process, the psychological mechanism of the act of creativity, as a characteristic of the individual. In psychology, creativity is studied in two directions:

1 - as a mental process of creating a new one,

2 - as a set of personality traits that ensure its inclusion in this process.

Imagination, fantasy is a reflection of reality in new unexpected, unusual combinations and connections.

Describing the imagination from the point of view of its mechanisms, it must be emphasized that its essence is the process of transforming ideas, the creation of new images based on existing ones.

The synthesis of representations in the processes of imagination is carried out in various forms:

§ agglutination - "gluing" of various parts, qualities;

§ hyperbolization - an increase or decrease in an object and a change in the number of parts of an object or their displacement;

§ sharpening, emphasizing any signs;

§ schematization - representations from which the image of fantasy is constructed merge, differences are smoothed out, and similarities come to the fore;

§ typification - highlighting the essential, repeating in homogeneous facts and embodying them in a specific image.

active imagination can be creative and recreative. Imagination, which is based on the creation of images that correspond to the description, is called recreative. Creative imagination involves the independent creation of new images that are realized in original and valuable products of activity. The creative imagination that arose in labor remains an integral part of technical, artistic and any other creativity, taking the form of an active and purposeful operation of visual representations in search of ways to satisfy needs.

The second form is a more complex connection between the finished product of fantasy and some complex phenomenon of reality. This form of communication becomes possible only through someone else's or social experience.

O.M. Dyachenko characterizes these types of imagination and the stages of their development during preschool childhood.

III stage - 6-7 years. The child freely operates with the basic patterns of behavior and activity.

It should also be emphasized that imagination, which is of exceptional importance for the implementation and organization of activities, is itself formed in various types of activities and fades when the child ceases to act. Throughout preschool childhood there is a constant transformation of the child's imagination from an activity that needs external support (primarily on toys), into an independent internal activity that allows for verbal (composing fairy tales, poems, stories) and artistic (drawings, crafts) creativity. The child's imagination develops in connection with the assimilation of speech, and therefore, in the process of communicating with adults. Speech allows children to imagine objects they have never seen before.

K.I. Chukovsky defended the right of children to a fairy tale, proved the child's ability to realistically understand the figurativeness of a fairy tale.

Fantasy is a necessary element of creative activity in art and literature. The most important feature of the imagination involved in the creative activity of an artist or writer is its significant emotionality. An image, a situation, an unexpected turn of the plot that occurs in the writer's head turns out to be passed through a kind of "enriching device", which is the emotional sphere of a creative person.

In any activity, two stages are absolutely necessary: setting the task (goal) and solving the problem - achieving the goal. In artistic creative activity, the idea, by its very essence, is the formulation of the creative task. Literary ideas, despite all their differences, are set in other types of activity. It's about writing a work of art. This task necessarily includes the desire to discover the aesthetic aspect of reality and influence people through their work.

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. Korotkovskaya, A.E. Shibitskaya and a number of other scientists who developed the topics and types of creative storytelling, techniques and sequence of teaching. 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.

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. It also requires the ability to come up with a plot, a course of events, a climax and a denouement. 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.

At the heart of verbal creativity, notes O.S. Ushakov, lies 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. Verbally, she considers 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 relationship between the perception of fiction and verbal creativity, which interact on the basis of the development of poetic hearing, is noted.

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 a figurative vision of the environment (perception acquires an aesthetic coloring). Art plays a special role in enriching perception. Works of art help the child to feel more beautiful in life, contribute to the emergence of artistic images in his work.

The second stage is the actual process of children's creativity, when an idea arises, a search for artistic means is underway. The process of children's creativity is not very developed in time. The emergence of an idea in a child is successful 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: the search for a composition, highlighting the actions of the characters, the choice of words, epithets. Creative tasks are of great importance here.

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.

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

2. Another important condition for successful teaching of creative storytelling is considered to be the enrichment and activation of the vocabulary. 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.

3. A creative story is a productive type of activity; its end result should be a coherent, logically consistent story. Therefore, one of the conditions is the ability of children to tell a coherent story, to master the structure of a coherent statement, to know the composition of the narrative and description.

The theme of creative stories should be connected with 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.

The techniques for teaching creative storytelling depend on the skill of the children, the learning objectives, and the type of storytelling.

In the older group, as a preparatory stage, you can use the simplest method of telling children together with the teacher on questions. A topic is proposed, questions are asked, to which the children, as they are posed, come up with an answer. At the end of the best answers is a story. In essence, the educator "composes" together with the children.

In a preparatory school group, the tasks of teaching creative storytelling become more complicated (the ability to clearly build a storyline, use means of communication, and be aware of the structural organization of a text). All kinds of creative stories are used, different teaching methods with gradual complication.

Learning to invent fairy tales begins with the introduction of fantasy elements into realistic stories.

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

The development of children's verbal creativity under the influence of Russian folk tales occurs in stages. At the first stage, the stock of known fairy tales is activated in the speech activity of preschoolers in order to assimilate their content, images and plots. At the second stage, under the guidance of the educator, the analysis of the scheme for constructing a fairy tale narrative, the development of the plot (repetition, chain composition, traditional beginning and ending) is carried out. Children are encouraged to use these elements in their own writing. The teacher turns to the methods of joint creativity: he chooses a topic, names the characters - the heroes of the future fairy tale, advises the plan, starts the fairy tale, helps with questions, suggests the development of the plot. At the third stage, the independent development of fairy tale narration is activated: children are invited to come up with a fairy tale based on ready-made themes, plot, characters; choose your own theme, plot, characters.

The most common technique is the game "What would happen if ...", where children are asked to find a solution to a certain situation.

"Old games" - games with notes with questions and answers. It begins with a series of questions that outline in advance a certain scheme, the end of the story.

Sample questions:

§ Who was that?

§ Where is it?

§ What have you been doing?

§ What did you say?

§ What did the people say?

§ How did it all end?

The children's answers are read aloud as a continuous story.

"Nonsense Technique" - writing absurdities, fables, "distortions" in two lines.

"Creating a limerick" is a variant of organized and legitimized nonsense. The structure of a limerick might be as follows:

1. Choosing a hero.

2. His characteristic.

3, 4. Realization of the predicate (performing some action).

5. The final epithet characterizing the hero.

The use of these techniques will successfully affect the development of verbal creativity of preschoolers.

1.2 The concept of connected speech, its main forms and characteristics of connected statements

Speech is one of the central, most important mental functions. Psychologists and psycholinguistics consider speech as a process of generating and perceiving an utterance, as a type of specifically human activity that provides communication.

The development of speech in preschool childhood (mastery of the native language) is a process that is multifaceted in nature. So, this process is organically connected with mental development, because the advanced thinking of a person is speech, language - verbal-logical thinking. The relationship between speech development, language acquisition and mental, cognitive development indicates great importance language for the development of thinking.

At the same time, the relationship between the speech and intellectual development of the child must also be considered in the opposite direction - from intellect to language. This approach can be conditionally designated as an analysis of the language function of the intellect, that is, elucidation of the role of intellect, mental activity in language acquisition.

E.I. Tikheeva in her work “The Development of Children's Speech” states that “sensations and perceptions are the first step in understanding the world, developing speech is based on sensory representations. The organs of external senses are an instrument of knowledge and, in the development of a child's speech, they play the most important role. The correct perception of objects is the main mental work of the child. The sensory and speech development of the child takes place in close unity, and work on the development of speech cannot be separated from work on increasing the senses and perceptions.

Speech rebuilds all mental processes: perception, thinking, memory, feelings, desires, and so on. Mastering speech allows the child to control himself and his behavior, think and fantasize, build an imaginary situation and be aware of his actions. Speech has such a magical effect due to the fact that it frees the child from situationality and from the pressure of the objective environment. Unlike any other signal or any vocalization, a word is a sign that always carries a universal meaning, including not just a specific object, but a thought, image, concept. Mastering the language, the child masters the sign system, which becomes a powerful tool for thinking, self-management, and, above all, communication.

The close connection between the speech and intellectual development of children appears especially clearly in the formation of coherent speech, that is, meaningful, logical, and consistent speech.

Coherent speech is understood as a detailed presentation of a certain content, which is carried out logically, consistently and accurately, grammatically correct and figuratively.

In the methodology, the term "coherent speech" is used in several meanings:

1. Process, activity of the speaker;

2. Product, result of this activity, text, statement;

3. The name of the section of work on the development of speech.

Additionally, how the terms "statement", "text" are used synonymously.

The utterance is a speech activity, and the result of this activity: a certain speech product, more than a sentence. Its core is the meaning (T.A. Ladyzhenskaya, M.R. Lvov).

“Text” is used in the methodology as a synonym for the word “statement” in its second meaning (“the result of speech activity”), more often in relation to a written statement (text of an article, text of presentation, text analysis, etc.). We can note two interrelated, but non-identical aspects of the text - coherence and integrity.

Coherent speech is inseparable from the world of thoughts, the coherence of speech is the coherence of thoughts. Coherent speech reflects the logic of the child's thinking, his ability to comprehend the perceived and correctly express it. By the way a child builds his statements, one can judge the level of his speech development.

Connected speech is a single semantic structural whole, including interconnected and thematically united, complete segments.

In his article "On the Tasks of Speech Development" F.A. Sokhin wrote: “In order to coherently talk about something, you need to clearly present the object of the story (subject, events), be able to analyze, select the main properties and qualities, establish different relationships (causal, temporal) between objects and phenomena.” In addition, it is necessary to be able to select the words most suitable for expressing a given thought, build simple and complex sentences, use a variety of means to connect individual sentences and parts of an utterance.

The main function of connected speech is communicative. It is carried out in two main forms - dialogue and monologue. Each of these forms has its own characteristics that determine the nature of the methodology for their formation.

Dialogic speech is a particularly vivid manifestation of the communicative function of language. The main feature of the dialogue is the alternation of the speaking of one interlocutor with listening and subsequent speaking of another person. Oral dialogic speech takes place in a specific situation and is accompanied by gestures, facial expressions, and intonation. Speech may be incomplete, abbreviated, sometimes fragmentary. The dialogue is characterized by: colloquial vocabulary and phraseology multiplicity, reticence, abruptness; simple and complex incoherent sentences; short-term reflection. The coherence of the dialogue is provided by two interlocutors. Dialogic speech is marked by involuntariness, reactivity.

Monologue speech is a coherent, logically consistent statement that proceeds for a relatively long time, not designed for an immediate reaction from the audience. It has an incomparably more complex structure, expresses the thought of one person, which is unknown to the listeners. The statement contains a more complete formulation of information, it is more detailed. In a monologue, internal preparation is necessary, a longer preliminary consideration of the statement, concentration of thought on the main thing. The monologue is characterized by: literary vocabulary, expansion of the statement, completeness, logical completeness, syntactic formality, the coherence of the monologue is provided by one speaker.

The two forms also differ in motives. Monologue speech is stimulated by internal motives, and its content and language means are chosen by the speaker himself. Dialogic speech is stimulated not only by internal, but also by external motives.

Monologue speech is a more complex, arbitrary, more organized type of speech, and therefore requires special speech education.

Coherent speech can be situational and contextual. Situational speech is associated with a specific visual situation and does not fully reflect the content of thought in speech forms. It is understandable only when taking into account the situation that is being described. The speaker makes extensive use of gestures, facial expressions, and demonstrative pronouns.

In contextual speech, unlike situational speech, its content is clear from the context itself. The complexity of contextual speech lies in the fact that it requires the construction of an utterance without taking into account the specific situation, relying only on linguistic means.

In most cases, situational speech has the character of a conversation, and contextual speech has the character of a monologue.

Connected speech performs the most important social functions: helps the child establish connections with other people, determines and regulates the norms of behavior in society, which is a decisive condition for the development of the child's personality.

Features of the development of coherent speech were studied by L.S. Vygotsky, S.L. Rubinstein, A.M. Leushina, F.A. Sokhin and other scientists in the field of psychology.

In mastering speech, L.S. Vygotsky, baby goes from part to whole: from a word to a combination of two or three words, then to a simple phrase, even later to complex sentences. The final stage is a coherent speech, consisting of a series of detailed sentences.

The study of A.M. Leushina, which reveals the patterns of development of coherent speech of children from the moment of its occurrence. She showed that the development of speech goes from mastering situational speech to mastering contextual speech, then the process of development of these forms of speech proceeds in parallel.

The formation of coherent speech, the change in its functions depends on the content of the conditions, forms of communication of the child with others.

The formation of coherent speech in young children and the factors of its development were studied by E.I. Tiheeva, G.L. Rozengarp-Pupko, N.M. Aksarina.

The methodology for conducting a conversation with children is set out in the works of E.I. Tiheeva and E.A. Flerina, distinguishes between the classifications of conversations, from the target setting and the method of conducting.

The role of a generalizing conversation and the methodology for conducting it are reflected in the fundamental research of E.I. Radina, where the principles of selecting content for conversations, the structure of the conversation and methods of activating the speech and thinking of children are revealed.

The questions of the formation of a monologic form of coherent speech were developed by V.V. Gerbovoy, O.S. Ushakova, V.I. Yashina, E.A. Smirnova, N.O. Smolnikova.

They give a characteristic of connected statements. Coherent utterances of children can be characterized from different points of view: according to the function, the source of the utterance, the leading mental process on which the child relies.

Depending on the function, four types of monologues are distinguished: description, narration, reasoning and contamination. At preschool age, predominantly contaminated statements are observed, in which elements of all types can be used with a predominance of one of them.

Description is a characteristic of an object in statics. The description highlights a general thesis that names the object, then comes the characteristic of essential and secondary features, qualities, actions. The description ends with a final phrase expressing an evaluative attitude towards the subject. When describing, lexical and syntactic means are important, aimed at defining the object, its features. Therefore, epithets, metaphors, comparisons are used. The description is characterized by the listed intonation.

In kindergarten, children describe pictures, toys, objects, interiors, natural phenomena, people.

Narration is a coherent story about some events. Its basis is a story that unfolds over time. Narrative serves to tell about the developing actions. The material in it is presented on the basis of those semantic connections that are suggested life situation. The sequence of events is determined by their actual course. In narrative monologues, means are used that convey the development of an action: aspect tense verb forms; vocabulary denoting time, place, mode of action; words to connect sentences.

Preschool children compose stories on a visual basis and without relying on visualization.

Reasoning is a logical presentation of the material in the form of evidence. The reasoning contains an explanation of a fact, a certain point of view is argued, the causal relationships of the relationship are revealed. In reasoning, two main parts are obligatory: the first is that which is explained or proved; the second is the explanation or proof itself. In its structure, a thesis (usually an initial sentence), a proof of the thesis put forward, and a conclusion-conclusion are distinguished. The discussion uses various ways expressions of causal relationships, subordinate clauses with the conjunction "because", verb phrases, nouns in genitive case with the prepositions "from, with, because of", introductory words, the particle "because" and unionless bond, as well as the words: here, for example.

Preschool children master the simplest conversational style reasoning.

In kindergarten, children are taught two main types of monologues - independent storytelling and retelling. They differ from each other in that in the first case, the child selects the content for the utterance and draws it up independently, while in the second case, the material for the utterance is a work of art.

Retelling is meaningful reproduction literary image in oral speech. When retelling, the child conveys ready-made author's content and borrows ready-made speech forms.

A story is an independent detailed presentation by a child of a certain content. In the methodology, the term “story” is traditionally used to denote various types of monologues independently created by children (description, narration, reasoning, contamination).

Depending on the source of the statement, monologues can be distinguished:

1. For toys and objects,

2. According to the picture,

3. From experience,

4. Creative stories.

Storytelling through toys and pictures. Toys, objects, and pictures are excellent materials for teaching different types of utterances, as they suggest the content of speech. When describing, children rely on the perception of visual material, isolate the characteristic features of objects and phenomena. Often the description also includes a story about the performed or possible actions with a toy or object, about how these things appeared in the child. In narrative monologues, children convey a certain plot suggested by a picture, ready-made game situation created with the help of toys, and also come up with a story based on a picture, going beyond the one shown in the picture, or on toys (one or more). In storytelling using toys and pictures, children learn to select subject-logical content for descriptions and narratives, acquire skills, build a composition, link parts into a single text, selectively use language means.

Narrative from experience is based on ideas obtained in the process of observation, as well as various types of activities, and reflects the experiences and feelings of the child. In monologues, the skills of narration, description, and reasoning are formed from collective and individual experience.

Creative stories are stories about fictional events. Creative storytelling in the methodology is understood as an activity, the result of which is the invention of fairy tales by children, realistic stories with self-created images, situations, logically constructed, clothed in a certain verbal form. A realistic story reflects objects and phenomena existing in nature, although they have not been encountered in the child's personal experience. Fairy tales most often define themselves as a reflection of the artistic experience accumulated by children in the perception and retelling of folk and literary tales. Children can also make up stories. Creative writings can be not only narrative, but also descriptive.

Depending on the leading mental process on which the "childish" story is based, the story can be:

1. The story by visual, tactile or auditory perception is descriptive and leads the child to reasoning. Children talk about those objects or phenomena that they perceive at the moment. The content of texts created by children is determined by the objects and phenomena themselves, and visually perceived signs and qualities facilitate the choice of appropriate linguistic means. To this species stories include descriptions of toys, paintings, natural objects, natural phenomena. In storytelling by perception, it ensures the unity of sensory, mental and speech development.

2. Narrative from memory is a story from experience, about what has been experienced, perceived earlier. This is a more complex activity than storytelling by perception. It relies on arbitrary memory.

3. Imaginative storytelling is children's creative stories. From a psychological point of view, the basis of creative stories is creative imagination. In new combinations, children use representations stored in memory, previously acquired knowledge.

Any connected monologue statement is characterized by a number of features:

1) Integrity (the unity of the theme, the correspondence of all micro-themes of the main idea);

2) Structural design (beginning, middle, end);

3) Connectivity (logical connections between the sentence and parts of the monologue);

4) The volume of the statement;

5) Smoothness (lack of long pauses in the process of storytelling).

To achieve the coherence of speech, a number of skills are needed, namely: the ability to understand and comprehend the topic, to determine its boundaries; select necessary material; arrange the material in the correct sequence; use the means of the language in accordance with the literary norms and tasks of the utterance; construct speech intentionally and arbitrarily.

1.3 Fabulousgenre -as a factor in the development of children's verbal creativity

Verbal creativity is a dual process: the accumulation of impressions in the process of cognition of reality and their creative processing in verbal form.

One of the factors determining the development of children's verbal creativity should be recognized as the influence of folklore.

For centuries, Bashkir folklore has played and is playing a great educational role in the life of the peoples of Bashkortostan. IN AND. Baimurzina notes that folk pedagogy is fully reflected in oral folk art.

K.Sh. Akhiyarova believes that the folk pedagogical culture of the Bashkir people is made up of elements of folk art: fairy tales, legends, myths, legends.

The concept of "children's folklore" entered science relatively recently. Children's folklore developed directly with folk pedagogy. With children's folklore, every nation prepares its children from the day they are born for working life.

Firstly, "children's folklore" has an educational impact on the child's personality, forms artistic abilities, mental properties necessary for such a complex process as verbal creativity, creates the prerequisites for its occurrence; Second, it has a direct effect on verbal activity child, develops educated speech, determines the structure and style, nourishes it with its material, gives images, develops coherent speech, equips it with a way to build a narrative. Studying the properties of folklore, one should dwell on the fairy tale, that form of the epic genre, to which the children's composition is closest of all.

A fairy tale is a very popular genre of oral folk art, a genre of epic, prose, plot. The old name of the tale "fable" indicates the narrative nature of the genre. The subject of the story in it are unusual, amazing, and often mysterious and strange events, while the actions have an adventurous character.

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The development of imagination and verbal creativity in children of senior preschool age

MBDOU "Child Development Center - Kindergarten No. 178"

city of Cheboksary, Chuvash Republic

Verbal creativity is the most complex type of creative activity of a child. 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, children master complex forms of coherent speech, a vocabulary is developed, and they have the opportunity to act according to plan. From a previously reproductive, mechanically reproducing reality, the imagination turns into a creative one.

In older preschool age, the emotional and expressive function of speech is significantly enriched and complicated. The child learns the meaning of words expressing an emotional state, emotional attitude to objects and phenomena, learns the meaning of words associated with emotional experiences, understands the meaning of words denoting socially significant characteristics of a person. At this age, the assimilation of words by a child occurs with a deeper and clearer difference in signs, objects and phenomena.

One of the manifestations of creative imagination is children's verbal creativity. There are two types of vocabulary.

Firstly, these are the so-called new formations in inflection and word formation (children's neologisms). Secondly, this writing is an integral component of artistic and speech activity.

We all know that children love to compose fairy tales, stories, poems, fantasize, there is a tendency to "obvious absurdities", "shifters". In "shifters", fables, the child, through imagination, "breaks" the connections between objects and phenomena, their permanent signs, “distracts” from them, and then connects them into new combinations, “enters” the depicted circumstances, selects speech means to build a coherent statement.. Thus, the stereotypically formed associations are "loosened", thinking and imagination are activated. In a word, verbal creativity is understood as the productive activity of children, which arose under the influence of works of art and impressions from the surrounding life and is expressed in the creation of oral compositions - fairy tales, stories, poems, fables, rhymes, etc.

With the help of verbal creativity, the child experiments with words and sentences, tries to change something, come up with something - in a word, create. He is interested in this activity, as it allows him to become more fully aware of his capabilities and replenish his luggage with something new. Verbal creativity enriches and develops thought, makes it more logical and figurative. The feeling of joy and satisfaction from what has been achieved, emotional tension make the creative process itself attractive. Children's word creation is the most complex type of creative activity of a child.

According to many scientists, the verbal creativity of older preschoolers can be developed, taking into account the following factors:

One of the factors influencing the development of verbal creativity is the enrichment of children's experience with impressions from life in the process of purposeful observation of the surrounding reality. Observation of the work of adults, natural phenomena, forms can be different: watching movies, looking at paintings, albums, illustrations in books and magazines, etc. (In the process of observing nature, we note the aesthetic side, highlight the beauty of the natural world, note the colors. It’s good if, in parallel, we introduce how the authors describe nature in their works, what expressions and words they use).

An important factor is the enrichment of literary experience, the reading of various books, especially of a cognitive nature, which enrich children with new knowledge and ideas about people's work, about the behavior and actions of children and adults, this deepens moral feelings, 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.

Another important condition for successful teaching of creative storytelling is considered to be the enrichment and activation of the vocabulary at the expense of definition words;

words that help describe experiences, character traits of characters.

For example, observing a winter landscape, children, with the help of a teacher, give various definitions of the qualities and conditions of snow: white, like cotton wool; slightly bluish subtree; 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 snow fell for the last time - white, fluffy - and everything fell on roofs, on trees, on children, in large white flakes”).

Another condition is the children’s correct understanding of the “invent” task, i.e. to create something new, to talk about something that actually did not exist, or the child himself did not see it, but “thought it up” (although in the experience of others there could be a similar fact). 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.

The development of poetic hearing, the ability to distinguish between genres, understanding their features, the ability to feel the components of an artistic form and realize their functional connection with the content.

To develop verbal creativity, it is effective to use techniques that stimulate creativity, imagination and interest in children:

inventing the end of a fairy tale begun by the teacher, its beginning or middle,

composing using a subject-schematic model, a picture (this is a little more difficult, because the child must act on a certain algorithm).

an essay on the topic using reference words-mnemonic tables.

Creative storytelling according to a literary model - with the replacement of heroes, scenes or with inventing a new plot with the same heroes and others.

Usage didactic games on the development of fantasy, imagination (“Funny rhymes.” Pick up a rhyme Candle - ... stove; pipes - ... lips; racket - ... pipette; boots - pies, etc. "Revive the object." This game involves giving objects of inanimate nature 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?

What is furniture thinking?

Fairy tale collage. Any heroes of fairy tales are chosen (Vasilisa the Beautiful, Baba Yaga, Serpent Gorynych and Boy-with-a-finger) for independent composition of a fairy tale (you can use any magic tool in a fairy tale that leads questions to combine fragmentary episodes into a single composition.)

Write a story about an unusual creature. (A butterfly that had transparent wings, but she wanted to have multi-colored wings, like her girlfriends).

the use of proverbs, sayings (Until recently, it was believed that it was difficult for preschoolers to understand figurative meaning proverbs and sayings. However, studies have shown the inconsistency of this thesis. In order to help children understand the figurative meaning of small folklore, a fairy tale was selected, where moral education was revealed with the help of an appropriate saying. For example, to the fairy tale “Teremok” “Mitten” the saying was chosen: “In cramped quarters, but not offended”, to the fairy tale “Zayushkina’s hut” the saying “Do not have a hundred rubles, but have a hundred friends”).

Thus, the development of verbal creativity is a complex and dependent process that appears in direct connection with the development of mental processes, requiring the active work of imagination, thinking, speech, manifestations of observation, volitional efforts, and the participation of positive emotions.

People say: "Without imagination, there is no consideration."

Albert Einstein considered the ability to imagine 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 the very beginning. early childhood. Let the children "reinvent their own bicycles". Who did not invent bicycles in childhood, he will not be able to invent anything at all. Fantasizing should be fun! 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.

Verbal creativity is an effective means of developing a creative personality.

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

/V.A. Sukhomlinsky/

The theme of this work “Fairy tale as a source of development of verbal creativity in children of senior preschool age” was chosen by me not by chance.

At present, the requirements of the educational system for the speech development of children have increased. By the time they leave preschool, children must reach a certain level of speech development, since perception and reproduction teaching materials, the ability to give detailed answers to questions, to express one's thoughts independently - all these and other actions require a sufficient level of speech development.
An analysis of the literature on this issue showed that, despite the variety of methodological developments on the development of verbal creativity in preschoolers, nevertheless practical material not enough.
Children meet with a fairy tale in books, in cinema, theater, on a television screen. They forget about everything and plunge into the lives of heroes. They draw from them a lot of amazing knowledge: the first ideas about time and space, about the relationship of man with nature, with the objective world; in a fairy tale, brilliant examples of the native language appear - all this is a necessary and favorable material for writing your own fairy tales.

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

Based on the foregoing, the goal and objectives were set for the development of verbal creativity of older preschoolers in the process of familiarization with Russian folk tales.

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

Educational tasks contribute to the mastery of children with a certain amount of knowledge, skills and abilities for their comprehensive development:

Development of interest in artistic culture by getting acquainted with the domestic literary heritage, familiarizing children with Russian folk tales.
Attracting the attention of children to oral folk art through riddles, folk games, proverbs, sayings, etc.
The study of natural phenomena, animal images and flora. Development of research skills.
Familiarization of children with Russian folk arts and crafts through the formation of their various artistic and creative abilities.
Development monologue speech, communication skills.
Enrichment of children's vocabulary, raising their interest in the word, love for their native language and pride in its richness.
Assistance in the development of such mental processes as perception, imaginative thinking, creative imagination, memory.
The development of acting abilities through the interpenetration of various types of art - music, literature, theater.

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

Increasing the level of creativity (creative organization) of the process of education and training, their awareness and purposefulness.
Admiration for the creativity of the Russian people; opportunities for children to understand that they are part of this great people.
Development of an emotionally positive attitude towards objects of aesthetic content.
Education of a friendly attitude, the desire to communicate with each other, the ability to behave in a peer group.
Raising the ability to respect the results of child labor.
The formation of an emotionally positive attitude towards nature in each child.
The development of a child's sense of self-confidence, in their abilities, the realization of their capabilities, perseverance in achieving goals.
Development of the child's creative potential, his artistic observation through the study of the literary heritage.

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

The nature of the work carried out made it possible to develop a cycle of classes “ABC of a fairy tale”, mnemonic tables “Fairy tales”, didactic games, select various methods for composing fairy tales and test this material, describing the best ways to develop the verbal creativity of preschoolers in this work.

Our work was based on the following principles:

The principle of accessibility and integrity of the knowledge acquired by the child (selection of artistic material for various types of folk art: musical, artistic and speech, arts and crafts, subject to their close relationship).
The principle of integrating work based on folk art with various directions educational work and activities of children (acquaintance with the outside world, speech development, various games, etc.).
The principle of an individual approach to children; taking into account their individual preferences, inclinations, interests, level of development.
The principle of careful and respectful attitude to children's creativity.
The principle of consistency and consistency, which ensures the relationship of the concepts being studied.
The principle of visibility; the predominant use of a model approach to learning, i.e. the possibility of representing concepts in the form of material and graphical models that provide a visual-effective and visual-figurative nature of learning.
The principle of strength of acquired knowledge.
Educational character of education.

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 them 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. Therefore, the system of work with preschool children on the development of verbal creativity included:

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

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

Until recently, it was believed that it is difficult for preschoolers to understand the figurative meaning of proverbs and sayings. However, studies by F. Sokhin and other authors have shown the inconsistency of this thesis. In order to help children understand the figurative meaning of small folklore, a fairy tale was selected, where moral education was revealed with the help of an appropriate saying. For example, to the fairy tale “Teremok” “Mitten” the saying was selected: “In cramped quarters, but not offended”, to the fairy tale “Zayushkina’s hut”, the saying “Do not have a hundred rubles, but have a hundred friends”, to the fairy tale “Fox with a rolling pin” - “What you sow is what you reap”, etc. .

For a number of works of literary heritage, not only lexical, but also pictorial material was selected. For effective assimilation the sequence of events, taking into account the speech skills of children, methodological techniques were determined. Were made reference diagrams - mimic tables, reflecting a particular fairy tale and containing a black and white or color designation of the heroes of the fairy tale, their actions, objects and natural phenomena. These included “Turnip”, “Ryaba Hen”, “Gingerbread Man”, “Teremok”, “Mitten”, “Masha and the Bear”, “Tops and Roots”, “Snow Maiden and Fox”, “Fox with a rolling pin”, “Zayushkina hut ”, “Three bears”, “Winter hut for animals”, “Cockerel and bean seed”, “Visiting the sun”, “Fear has big eyes”, “Cat, rooster and fox”, “Wolf and seven kids”, “Fox - sister and grey Wolf”, “Cockerel and millstones”, “At the command of a pike”, “Geese-swans”, “Tiny-Khavroshechka”.

This is not accidental, because the results of recent psychological and pedagogical research have shown that it is more useful for a preschooler to offer not only an illustration, but it is also necessary to show various directions: abstract, comical, schematic, realistic, etc. All this material provides significant assistance in the development of children's verbal creativity, because. clarity and clarity of their execution allows you to keep in memory a large number of information and more flexible modeling of the plot.

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

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

Fairy tales contribute to the enrichment of children with knowledge about the world around them, and influence moral education. Children learn to see the relationship between different types of art. They develop acting and artistic abilities, creative imagination, logical memory; also develops children's activity, research skills, observation, curiosity and other abilities. Thus, fairy tales are an excellent source of plots, examples for writing your own story.

Literature.

Alekseeva M.M., Yashina V.I. Speech development of preschoolers. – M.: “Academy”, 1998.
Bolsheva T.V. Learning from a fairy tale: The development of thinking of preschoolers with the help of mnemonics. – Teaching aid. - St. Petersburg: CHILDHOOD-PRESS, 2001.
Korotkova E.P. Teaching preschool children storytelling. – M.: Enlightenment, 1982.
Mikhailova A. Let's try to compose fairy tales. // Preschool education, 1993, No. 6.
Propp V.Ya. Historical roots fairy tale. - Ld, 1986.
Rodari J. Fantasy Grammar: An Introduction to the Art of Storytelling. - M., 1978
Fairy tale as a source of children's creativity. / Nauch. hands Lebedev Yu.A. - Vlados, 2001.
Tukhta L.S. Write a fairy tale. // Newspaper "Primary School", 1996, No. 46.
Fesyukova L.B. Education fairy tale: To work with children of preschool age. - Kharkov: Folio, 1996.
Fesyukova L.B. From three to seven: Book. for dads, moms, grandparents. - Kharkov: Folio; Rostov n / a: Phoenix, 1997.

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