Theoretical foundations of the formation of verbal creativity in older preschoolers in the psychological and pedagogical literature. Verbal creativity of children of senior preschool age in psychological and pedagogical research

Children's verbal creativity

The basis of verbal creativity is the perception of works of fiction, oral folk art, including small folklore forms (proverbs, sayings, riddles, phraseological units) in the unity of content and art form.

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).

In the formation of children's artistic creativity distinguish three stages.

At the first stage experience is being accumulated.

The role of the educator is to organize life observations that influence children's creativity. The child must be taught a figurative vision of the environment.

Second phase - the actual process of children's creativity, when an idea arises, there is a search for artistic means.

At the third stagenew 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.

Pedagogical conditions, needed to teach children about creative storytelling.

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

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

Another important condition for successful teaching of creative storytelling is taken fromread enrichment and revitalization of the vocabulary.

One of the conditions- the ability of children to communicate coherently,own the structure of a coherent statement, know the composition of the narrative and description. Creative storytelling is a productive activity, end result it should be a coherent, logically consistent story.

Another condition iscorrect understanding by children of the task “to come up with”,those. 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.

Topics for storytelling can be with specific content: “How the boy found a puppy”, “How Tanya looked after her sister”, “A gift for mom”, “How Santa Claus came to the Christmas tree in kindergarten”, “Why did the girl cry”, “How Katya lost in the zoo.

There is no strict classification of creative stories in the methodology of speech development, but the following types can be conditionally distinguished: stories realistic character; fairy tales; descriptions of nature. In a number of works, writing stories by analogy with a literary model 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, since it is difficult for them to give a description without including an action in it, and the description is combined with the plot action.

It is better to start teaching creative storytelling by inventing stories of a realistic nature (“How Misha lost his mitten”, “Gifts for mom by March 8”). It is not recommended to start learning with inventing fairy tales, since the features of this genre are in unusual, sometimes fantastic situations, which can lead to false fantasy.

Most difficult task is the creation of texts of a descriptive nature about nature, since it is difficult for a child to express his attitude to nature in a coherent text. In order to express his feelings related to nature, he needs to master large quantity generalized concepts, to a greater extent be able to synthesize.

Techniques for teaching creative storytelling depend on the skills of the children, the learning objectives, and the type of storytelling.

In the senior group as preparatory phase 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.

For example, on the topic “What happened to the girl”, the children were asked the following questions: “Where was the girl? What happened to her? Why did she cry? Who comforted her? The order was given to "make up" a story. If the children found it difficult, the teacher prompted (“Maybe she was in the country or got lost on a noisy city street”).

For the purpose of development creative skills recommended such a technique as inventing by children the continuation of the author's text. So, after reading and retelling the story of L. Tolstoy “The grandfather sat down to drink tea”, the teacher suggests continuing it. Shows how you can come up with an ending by giving your own pattern.

In the group preparatory to school, 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 the text). All kinds of creative stories are used, different teaching methods with gradual complication.

Below we consider the features of using teaching methods depending on the type of story.

As in the older group, work with children begins with inventing realistic stories. 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. E. I. Tikheeva recommended giving a beginning that would provide scope for the imagination of children and make it possible for the development of the storyline in different directions. Let us give an example (FOOTNOTE: From the study of L. A. Penevskaya).

Vasya was very fond of walking in the forest, picking strawberries, listening to birds singing. Today he left early and went particularly far. The place was unfamiliar. Even the birch trees were somehow different - thick, with hanging branches. Vasya sat down to rest under a large birch tree, wiped his sweaty forehead and thought about how to find his way home. A barely noticeable path led to the right, but Vasya did not know where it was going. Some kind of descent began straight ahead, and to the left was a dense forest. Where to go?

Children must figure out how Vasya got out of the forest.

Auxiliary questions, according to L. A. Penevskaya, are one of the methods of 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 lead to excessive detailing of actions and descriptions, which can hinder the independence of the children's idea.

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. For example, the teacher reminds that March 8 is coming soon. All children will congratulate their mothers, give them gifts. Then he says: “Today we will learn to come up with a story about how Tanya and Seryozha prepared a gift for mom for this day. Let's call the story: "Gift for Mom." Best Stories we'll write it down." The teacher set a learning task for the children, motivated her, 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 events in a certain sequence. At the end of this lesson, you can draw Greeting Cards for moms.

E. P. Korotkova developed a system of classes for teaching storytelling based on ready-made stories. She offers a series of stories on topics close and accessible to children, interesting tricks that activate the imagination: a description of the character, reliance on the image of the main character when compiling a story (to more fully describe him and the situations in which he participated), etc.

Coming up with a story on your own chosen 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 you can think of a story about (about an interesting incident that happened to a boy or a girl, about the friendship of animals, about a hare and a wolf). Invites the child to come up with a name for the future story and make a plan (“First, tell me what your story will be called, and briefly - what will you talk about first, what in the middle and what at the end. After that, tell everything”).

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

For example, the teacher gives the beginning of the story “Andryusha’s Dream”: “Papa gave the boy Andryusha the Eaglet bicycle. The kid liked it so much that he even dreamed at night. Andryusha dreamed that he went to travel on his bicycle. Where Andryusha went and what he saw there, the children must come up with. This sample in the form of the beginning of the story can be supplemented with explanations: “Something unusual can happen in a dream. Andryusha could go to different cities and even countries, see something interesting or funny.”

At first, it is better to limit fairy tales to stories about animals: “What happened to the hedgehog in the forest”, “The Adventures of the Wolf”, “The Wolf and the Hare”. It is easier for a child to come up with a fairy tale about animals, since observation and love for animals give him the opportunity to mentally imagine them in different conditions. But 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.

Reading and telling children short stories, fairy tales helps to draw their 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.

An example of Tanya's fairy tale (6 years 7 months): "Magic wand". Once upon a time there was a bunny, he had a magic wand. He always said the magic words: "Magic wand, do this and that." The wand did everything for him. The fox knocked on the hare and said: “You can go to your house, otherwise the wolf kicked me out.” The fox deceived him and took the wand away. The hare sat under a tree and cries. There is a rooster: “What are you, bunny, crying for?” The hare told him everything.

The rooster took the magic wand from the fox, brought it to the bunny, and they began to live together. That's the end of the tale, and whoever listened - well done.

The development of children's verbal creativity under the influence of Russian folk tales occurs in stages. At the first stage, the stock of 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 compositions. 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 according to ready-made themes, plot, characters; choose your own theme or subject. As mentioned above, the most difficult type of children's writings is the description of nature. The following sequence of learning to describe nature is considered effective:

1. Enrichment of children's ideas and impressions of nature in the process of observation, teaching the ability to see beauty surrounding nature.

2. Deepening children's impressions of nature by examining art paintings and comparing the beauty of the depicted with living reality.

3. Teaching children to describe the objects of nature according to the presentation.

4. Teaching the ability to describe nature, summarize your knowledge, impressions received during observations, looking at pictures, listening works of art.

Helping children is provided by a model educator. Let's take an example.

“I really like autumn. I like to consider and collect yellow leaves of maple and birch, red leaves of black speck, light green leaves of willow and poplar. And when the wind blows, I like how the leaves break off the trees, circle in the air, and then quietly fall to the ground. And when you walk on the ground, on such a carpet of autumn leaves, you can hear it gently rustling. (N. A. Orlanova).

Descriptions-miniatures (O. S. Ushakova) are interesting. For example, after a short conversation about spring and lexical exercises, children are invited to talk about nature in spring.

Examples of exercises: “How can you say about spring, what kind of spring? (Spring is red, hot, spring is green, warm, sunny.) What is the grass in spring? (Green, tender grass-ant, grass whispers, soft, grass-ant, dewy, grass-silk, soft, like a blanket) What can be an apple tree in spring? (Snow-white, fragrant, blooming, pale pink, white like snow, tender).

Children's verbal creativity is not limited to stories and fairy tales. Children also compose poems, riddles, fables, counting rhymes. Popular and ubiquitous in the children's environment there are counting rhymes - short rhymed poems that children use to determine the leaders or distribute roles.

The desire for rhyme, the repetition of rhyming words - not only counting rhymes, but also teasers - often captivates children, becomes a need, they have a desire to rhyme. Children ask to give them words for rhyming, and they themselves come up with consonant ones (a thread - there is a snail in the pond; a house - a catfish lives in the river). On this basis, poems appear, often imitative.

The verbal creativity of children sometimes manifests itself after lengthy reflections, sometimes spontaneously as a result of some kind of emotional outburst. So, a girl on a walk runs to the teacher with a bouquet of flowers and announces excitedly that she came up with the poem "Cornflower".

Riddles play a special role in the mental and speech development of children. The systematic acquaintance of children with literary and folk riddles, the analysis of the artistic means of riddles, special vocabulary exercises create conditions for children to independently compose riddles.

The formation of poetic verbal creativity is possible with the interest of teachers and the creation of the necessary conditions. Even E. I. Tikheeva wrote that a living word, a figurative fairy tale, a story, an expressively read poem, a folk song should reign in the kindergarten and prepare the child for further deeper artistic perception.

It is useful to keep records of children's compositions and make homemade books from them, reading which children listen to with pleasure many times. Such books are well complemented by children's drawings on the themes of essays.

In the preschool institutions of the city of Reggio Emilia (Italy), the "Game of the Storyteller" was born. Children take turns climbing the dais and telling their comrades a story they have made up. The teacher writes down, the child carefully monitors that he does not miss anything and does not change. Then he illustrates his story with a large drawing.

This example is taken from Gianni Rodari's book "Grammar of Fantasy. Introduction to the art of storytelling” (M, 1978). It talks about some ways to make up stories for children and how to help children make up their own stories. The recommendations of the author of the book are also used in kindergartens in Russia.

Department of Education of the city of Sevastopol

State budgetary educational institution

vocational education

city ​​of Sevastopol "Sevastopol Pedagogical

college named after P.K. Menkov"

Department of preschool education

Course work

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

description of nature"

Supervisor

Taranenko Svetlana

Mikhailovna

Teacher

__________________________

signature

"____" ______________ 2017

Student group DO-14-1z

Ivanova Alevtina

Andreevna

___________________________

signature

"____" ______________ 2017

Sevastopol 2017

CONTENT

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

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

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

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

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

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

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

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

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

References……………………………………………………………..25

INTRODUCTION

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

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

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

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

impressions from surrounding life and expressed in the creation of oral

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Research objectives:

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

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

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

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

Teaching children about nature.

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

Target term paper:

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

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

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

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

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

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

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

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

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

Verbal creativity is the most complex 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. Not less than difficult task- accurately, expressively and entertainingly convey your idea. Creative storytelling is to some extent related to the present literary creativity. The child is required to be able to select individual facts from the available knowledge, introduce an element of fantasy into them and compose a creative story.

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

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

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

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

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

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

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

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

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

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

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

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

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

Direct perception of nature;

Organized observation of nature during walks and excursions.

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

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

Chapter 2. The development of verbal creativity in preschoolers.

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

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

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

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

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

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

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

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

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

The second stage is the actual process of children's creativity, when an idea arises, a search for artistic means is underway. The emergence of a plan in a child passes if an attitude to a new activity is created (let's think of a story). The presence of a plan encourages children to search for means of its implementation: searching for a composition, highlighting the actions of the characters, choosing words. 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, his interest. Knowledge of the features of the formation of children's verbal creativity makes it possible to determine the pedagogical conditions necessary for teaching children creative storytelling.

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

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

This work 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. So, before describing nature, systematic observations of seasonal changes in nature and reading literature describing natural phenomena are used.

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

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

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

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

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

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

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

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

V preparatory group- stories, fairy tales on the topic proposed by the educator, modeling the story;

Revealing individual abilities child to creative speech activity.

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

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

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

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

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

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

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

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

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

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

5. Descriptive story about a separate object or natural phenomenon

("Bouquet of daisies") .

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

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

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

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

Descriptive storytelling is one type of creative storytelling.

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

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

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

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

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

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

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

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

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

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

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

Conventionally, stories - sketches are divided into groups:

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

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

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

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

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

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

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

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

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

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

CONCLUSION

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Features of the manifestation of verbal creativity

at senior preschool age

The problem of developing the creativity of the younger generation is now increasingly attracting the attention of philosophers, psychologists, and educators. Society is constantly in need of creative people who are able to act actively, think outside the box, find original solutions to any life problems.

Verbal creativity is a complex process associated with the overall development of the child (O.S. Ushakova, F.A. Sokhin, N.N. Poddyakov, O.M. Dyachenko, N.V. Gavrish, O.N. Somkova, etc. ). There is a direct relationship between the development of children's speech and their creativity. Creativity itself is unthinkable without mastering the richness of the language in which the child speaks and thinks.

Verbal creativity is an integral part of the overall development of the creative abilities of preschoolers in various activities:

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

introduction to different genres literary works, their specific features introduces the child into the world artistic images, the understanding of which is deepened in the pictorial and theatrical activities, which contributes to the development of creative imagination, as well as educates the ability to use a variety of language means when creating your own compositions;

the development of verbal creativity of older preschoolers is a multifaceted and multifaceted process. It depends on the general speech development of children: the higher this level, the more freely the child manifests himself in composing works.

Literary creativity is a two-pronged process: the accumulation of impressions in the process of cognizing reality and their creative processing in verbal form. The verbal creativity of children can be expressed in different forms:

In word creation, i.e. in the creation of new words, neologisms;

In composing poems;

In writing your own stories and fairy tales;

In creative retellings.

Children need to be prepared for self-expression through creativity. Children must be taught to compose poems, riddles, fairy tales, stories. Children's texts help to trace the process of children's verbal creativity and their individuality.

Most scientists note that not all children have the ability to compose immediately and not every child seeks to show his "masterpiece". The problem of verbal creativity of preschoolers has not yet been sufficiently fully and deeply studied by preschool pedagogy.

Purpose of the study is to study the features of the manifestation of verbal creativity in children of older preschool age.

Object of study- verbal creativity and features of its manifestation. The subject of the study is the psychological and pedagogical conditions for the manifestation of verbal creativity in children of senior preschool age.

Research hypothesis there was an assumption that the manifestation of verbal creativity will depend on a number of psychological and pedagogical conditions:

From inclinations, from the inclination of children to activity;

From the personality of the teacher (environment of interests, intellect);

From the activities of the teacher with children (games, classes, observations, etc.);

From the conditions of upbringing in the family (hobbies, communication, communication between generations);

From the experience of the child (theater, literature, TV, CD / DVD, etc.);

From a differentiated approach to the child's personality.

The study was conducted on the basis of MDOU No. 157 in Murmansk. 15 children took part in the experiment senior group at the age of 5 to 6 years.

The purpose of the ascertaining experiment: to identify the features of the manifestation of verbal creativity in children of older preschool age.

reveal the ability of children to compose various works: a riddle, a fairy tale, a song, a poem;

to reveal the dependence of the features of the manifestation of verbal creativity on the inclinations and inclinations of children;

to determine the general level of verbal creativity of older preschoolers.

The ascertaining experiment consisted of two series of tasks: conversation with children; supervision of children during the month.

Let us give an example of observations.

Morning. Dasha R. took the theatrical "Teremok", hid all the heroes of the fairy tale and decided to make riddles for Nastya, who had just entered the group. “Red-haired, with a long ponytail, a beautiful girl, walks, deceives everyone, sister. Hitralya she" (fox). “She digs minks, she loves cheese very much. A beautiful princess girl. She is so cute, she says “wee-wee” ”(mouse).

“Grey walks, eats calves, he eats pigs, and for dinner he can gobble up a calf with cow" (Wolf). “Clumsy, loves honey, can raise a huge house. He himself is handsome and rich ”(bear). “The green princess is jumping in the swamp. She is a talker. He croaks (he speaks softly, lowering his head under the table). And she has beautiful little things on her fingers ”(frog). “He jumps and waits for my riddles, a nice guy. He is afraid of the fox and quickly runs away through the grass, something like an ant ”(hare).

Nastya did not guess all the riddles, maybe she didn’t wake up, maybe she found it difficult. Dasha laughs and says: “Oh, you, Nastya, thoughtless your head!"

Evening. In the game, the girls built toys in a round dance and Dasha says: “This is how they danced, they were great and workers! I ask: “What does the word “workers” mean? “This means that they worked hard and together,” Dasha answered.

Classes on visual activity. Dasha painted an aquarium, beautiful fish. I started drawing algae and probably forgot what they are called. “And here I will have such enslavement».

In the salt dough modeling class, Dasha asked me to look at my book. Seeing a salt shaker in it, he says: “Let's blind the same sunflower!.

Dasha has the best developed fantasy in the group, she composes with pleasure, invents a lot in games. For example, he never gets bored on the street, because he comes up with games with any objects (fallen leaves, sticks, boxes, grass, seeds, shells), presenting them different heroes. Mom, dad, grandparents always approve of Dasha's games and "miracles", treat creativity with respect, not considering stupidity. So, for example, once in the winter, on an evening walk, Dasha made a little snow maiden, and did not want to say goodbye to her. Mom allowed the Snow Maiden to settle at home. We read a fairy tale to the children: “Ivanushka said this, cried and went home.” Sasha Sh. asks: “What is svasi? In your own, in yours, in yours.

Independent activity. Anya M. draws and says: “But here I need a leathery color” (skin color). She also draws the mayor, the mayor's wife and a little girl. He explains: “And this is a meritska” (daughter of the mayor).

An analysis of the observation allows us to conclude that verbal creativity was manifested mainly by those children who have innate inclinations, a propensity for activity, as well as whose parents accept Active participation in the development of the creative abilities of their children.

To implement the first task of the study, the children were offered 4 tasks: compose a riddle; invent a fairy tale come up with a song compose a poem. Let us give examples of the verbal creativity of children. Mystery Dashi R. “He looks like an octopus and a jellyfish, lives in the sea, but not a fish. It is delicious, they eat it and sell it in the store ”(squid).

Story Oli R. On the topic "Teapot, coffee pot and fish, or a tale of friendship":

“There was a new kettle. He had no friends, so it was boring. But one day the owners bought a coffee maker. Only the coffee maker disliked the teapot, because she imagined she was the best and loved only herself. Then they bought different fish: two crucians, a red cap and a gold one. And why did they bring an evil cat. He ate all the fish except the golden one and was punished. The teapot made friends with the fish. And the coffee maker is broken. So she needs it! You need to take care of your friends! End" (meaning coffee maker, but pronounced cafearka). Poem Sasha Sh. “A girl went out for a walk, pinching fresh grass (laughs and explains: for salad). And behind her is a bug, with a mouse on its side.

Histogram 1.

Children's writing levels

The main areas of work with children in the process of formation: classes aimed at the development of verbal creativity. The system of specially selected games. Teaching versification. Work with a picture, a book. Work with the folklore. The interaction of the educator with the specialists of the preschool educational institution.

Games can be played with the whole group, with a subgroup of children and individually. A prerequisite is to conduct games after observing, examining, comparing, etc. The child must accurately represent the subject in question. The inclusion of these activities in everyday life should arouse their constant interest, the desire to fantasize, to experience imaginary situations together with the teacher, adding new details each time. In the course of the work carried out, children and parents began to compose poems, riddles, fairy tales, and nursery rhymes.

“The letter I has always been dear to everyone and everyone. But, we advise, friends, to remember the place of the letter I ”(Katya S.); There was a letter I in the alphabet and there was a very beautiful letter. That letter stood at the end of the alphabet and therefore was very angry ”(Ira P.); “I decided to stand first in the alphabet, and change the letter A with me. I want to be the first! - she said, and displacing A, she took a place there ”; “Watermelon, orange, don’t be called I, because my most important letter! I am a proud, courageous, important me, all the capital letters are my merit! (Daniel S.).

A story about the green eye of a traffic light. “There was one amazing traffic light in the world. He had three eyes: red, yellow, green. Two eyes were obedient, lit up on time and in turn. And the green eye was always naughty. He loved to wink at pedestrians. Because of this, there were troubles on the road. One day, the peephole played a joke on a boy he knew, and he got hit by a car. The boy was taken to the hospital. The green eye was ashamed of his prank. And since then, he stopped being naughty. And now all three eyes light up in turn and on time, and order reigns on the road ”(Karina M. and her mother).

Fairy tale: “Warm spring is now. Our grapes are ripe. A horned horse on the run jumps in the snow in summer. There lived a grandfather and a grandmother. In the spring, their grapes ripened, and not simple, but magical. If you eat such grapes, then horns may grow or snow will fall. Grandfather and woman had a horse. One summer the horse accidentally ate grapes. He grew horns, and it began to snow. He was delighted and began to jump for joy in the snow. Imagine how much fun it was for grandpa and grandma! A survey of parents made it possible to identify examples of children's word creation: "Kepuch"- ketchup, "pokatika"- sausage, "monoki"- tomatoes, "jackal"- wallet, "monky"- pasta, "kufli" ( shoes), "Taratapiki" (slippers), "gunovatik" ( vineyard), "podratik" ( square). Later age: "eastern" ( dance in oriental costume) "pants" ( one trouser leg) "glacier"- refrigerator, "heater"- microwave, "non-spill"- funnel, "manager"- TV remote.

Almost all parents wrote that children compose riddles on their own. For example: "Semicircular, colored" (rainbow); “A bird with a long neck, can swim, walk. The wings are large, the legs have membranes. Tell me who is it? (duck); "What in the sky at night looks like a banana?" (month). Write stories at home. Let us give an example of the tale of Nastya S. “There was a multi-colored butterfly in the same forest. Once in a clearing she met a grasshopper. She told the Grasshopper that she had once seen how children played merrily with a ball. “Come on, blacksmith, play ball with you too! ". The grasshopper answered sadly: "Where can we find such a small ball?" Butterfly offered to play with dandelion, but it was very light. Suddenly, the grasshopper brought a dewdrop, and a fun game began! What a great ball it was! They did not notice how the night fell and appeared in the sky bright Star. "Are you going to sleep?" - asked the star. I had to remove the dewdrop before morning and go to bed.

The writings of the children showed how their artistic associations expanded. They included in their fairy tales, poems images fairytale heroes, came up with different actions of the characters, could develop the plot according to their own logic. The assimilated method of contamination was clearly revealed, the children easily connected the plots of fairy tales. In poetry, children retain melody, conciseness, in stories, the realism of events and figurative language. An analysis of the children's compositions showed that their compositions (riddles, fairy tales, poems, stories) correspond to the chosen genre.

Histogram 2.

Levels of originality of children's compositions

Verbal creativity arises and develops where there is a purposeful management of this activity, where all conditions are created for this activity. It is very important that it is at preschool age that writing becomes a habit, becomes a common thing. Then the desire to communicate, express one's thoughts, argue, defend one's point of view, and most importantly, the desire to create, will not disappear at school.

You can often see that in the families of artists, children also draw, and in the families of poets they write poetry. All this is not accidental, and the point here is not only in genes and heredity, but also in the fact that the child had the opportunity to try this type of creative activity at the most necessary moment for further development - at preschool age. The child has accumulated experience that he was able to combine and apply.

Understanding the creativity of children is impossible without knowing the following points:

preschool age is the age of the child's rapid accumulation of experience, which in turn is necessary as the basis for any creative activity;

the development of the mental characteristics of the child leads to the expansion of his experience, therefore, by developing attention, memory, thinking, sensation, emotions, we increase the child's ability to accumulate practical experience, and this, in turn, will favorably affect the mechanism of creativity;

syncretism of cognitive processes, more advanced physical abilities of the child, “problematic” perception of the world - all these are developmental features that are essential in relation to creativity in preschoolers;

all the features of preschool children indicate that the preschool period involves a high degree of manifestation of creativity and is certainly significant for its development.

The proposed hypothesis that the manifestation of verbal creativity will depend on a number of psychological and pedagogical conditions was confirmed.

In order to help the child successfully develop his speech creativity, to realize the potential of his speech abilities, to encourage the creation of the simplest, most unpretentious stories, fairy tales, and poems, it is necessary to systematically offer children creative exercises. Reading literary works, folklore brings to the consciousness of children the inexhaustible richness of the Russian language, contributes to the fact that they begin to use this wealth in independent activity - verbal creativity. The use of a variety of creative tasks affects the logic of the presentation of children's essays, expands children's understanding of the artistic image.

A.A. Smaga,

L.A. Kharchenko

Features of mastering the grammatical structure of speech

preschool children

Development grammatical structure speech is carried out on the basis of a certain level of cognitive development of the child. So, when forming inflection, the child, first of all, must be able to differentiate grammatical meanings (meanings of gender, number, case, etc.), since before starting to use the language form, he must understand that it means tea.

A.N. Gvozdev identifies five periods of formation of the grammatical structure of speech.

The first period (l year 3 months - l year 10 months) is the period of sentences consisting of amorphous root words, which are used in one unchanged form in all cases. This period is divided into two stages:

The stage of using one-word sentences (1 year 3 months - 1 year 8 months);

The stage of using sentences of several words, mainly two-word sentences (1 year 8 months - 1 year 10 months).

The second period (1 year 10 months - 3 years) is the period of assimilation of the grammatical structure of the sentence, associated with the formation of grammatical categories and their external expression. It is characterized by the rapid growth of different types of simple and complex sentences, in which the members of the sentence are expressed in syntactic means language. Within this period, there are three stages:

The stage of formation of the first forms: number, case, time (1 year 10 months - 2 years 1 month);

The stage of using the inflectional system of the Russian language (inflection) to express syntactic relations (2 years 1 month - 2 years 3 months);

The stage of assimilation of function words for expressing syntactic relations (2 years 3 months - 3 years).

A.N. Gvozdev notes that this period is sharply demarcated from the first period, and the subsequent one does not have sharply defined boundaries.

The third period (3 years - 4 years) - the system of inflections is being mastered. Words acquire grammatical design, the singular and plural appear, opposition of cases, verbs appear tense. In the child’s speech, there are already parts of speech and basic grammatical categories that are already characteristic of the spoken language, but there is still no complete grammatical correctness.

The fourth period (4 years - 5 years) - a new formation appears: a surge in word creation, complex grammatical constructions of sentences appear (complex, complex). Children master the coordination of adjectives with all forms of nouns. By the end of the 5th year, the number of grammatical errors increases.

The fifth period (5 years - 6 years) - word creation fades, the number of grammatical errors decreases. Simple sentences are always grammatically correct. Compound sentences appear, allied and non-union, sentences with a formal-composing connection (then, then, and), sentences with a causal relationship (because), sentences with homogeneous members.

A.N. Gvozdev singled out the characteristic features of the formation of the grammatical structure of speech:

1. The child quite accurately singles out the root, prefix, suffix, ending (morphological structure) in the word, but masters these parts of words intuitively.

2. The child forms words by analogy, using the elements of words when extracting from another word.

3. The initial period of the use of morphological elements is characterized by the relative freedom of their use.

4. The child freely uses the morphological elements of the word, which indicates the independent creation of separate forms, words.

A.G. Arushanova identifies several stages in the assimilation of grammatical means and methods of the language.

1. Understanding the meaning of what was said (focusing on the ending of the noun, to distinguish where there is one object, and where there are many).

2. The use of one or another grammatical means in one's speech, borrowing a grammatical form from the speech of others.

3. Independent formation of the form of a new word by analogy with a familiar one (foals, bear cubs by analogy with the word-form kittens).

4. Assessing the grammatical correctness of one's own and someone else's speech, determining whether one can or cannot say so.

In the speech of preschoolers A.N. Gvozdev notes single examples of isolation (isolated participial phrase; isolated single adjective separated from a noun; clarifying controlled group of words) and gives an example with a rare dividing union"or").

At the senior preschool age, complex sentences with two subordinate clauses appear, while there may be both subordinate and subordinate clauses of different degrees. Children combine simple sentences into complex ones using the unions “when”, “how”, “to”, “if”, “because”, “what”, allied words “who”, “from what”, “which” and etc.

The appearance of grammatically formulated sentences is preceded by the so-called words-sentences, consisting of one word, representing a complete whole and expressing a message. Sentence words can mean actors, animals, serve as a designation of objects or actions. The same word - a sentence can have different meanings. In some cases, these meanings become clear thanks to intonation, in others - only from the situation, and thirdly, thanks to gestures. The use of sentence words, according to the observations of A.N. Gvozdev, occurs approximately at the age of 1 year 3 months to 1 year 8 months.

Describing this stage of development, A.A. Leontiev notes that the word and the sentence are not delimited, more precisely, the equivalent of the sentence is the word that is included in one or another subject situation.

Approximately by the middle of the second year of life, two-word sentences appear in the child's speech. It is their appearance that speaks of the first step in the development of the sentence from the “primary syntactic whole”. An important factor is that the child independently constructs these sentences.

By the age of two, three or four complex sentences appear, which can be considered as the initial stage of mastering the grammatical structure of a sentence. It is connected with the formation of grammatical categories and their external expression. According to A.A. Leontiev, at this time the first complex sentences appear. So, at the age of 1 year 9 months, the child begins to pronounce complex non-union sentences.

The main types of complex sentences are learned by the age of three. Initially they are used without unions, then with unions ( Wake up - I'll give you candy). Children use both coordinating and subordinating conjunctions ( The girl sat on a chair and put on boots. The girl sat down on a chair to put on felt boots.).

As V.I. Yadeshko, the fourth and fifth years of life are a further stage in mastering the system of the native language. In the speech of children, simple common sentences still prevail (57%), but their structure is noticeably more complicated due to the increase in the number of members of the sentence. For the first time there are proposals with homogeneous circumstances, homogeneous additions and definitions. Children also use complex sentences, which make up 11% of the total number of sentences.

The structure of complex sentences also becomes more complicated. It is not uncommon for cases when, before listing homogeneous members in one of the simple sentences that are part of a complex sentence, there is a generalizing word. Among the exact clauses, the most common are additional clauses, clauses of time, reasons, places, comparatives, conditions, less often determinatives, goals, measures and degrees.

In the monologic utterances of older preschool children, there are complex sentences of a complicated type, which consist of three or more simple sentences, united either by a coordinating or a subordinating connection.

G.M. Lyamina notes that up to the age of four, a child easily comments on what he sees, talks about what he will do or has done, but is silent while performing his own actions.

In the fifth year of life, according to G.M. Lyamina, in children there is an increase in the desire and ability to confirm their activity with speech. True, the children's statements in these cases consist of 90% simple sentences. Preschoolers of this age have a great need to explain to each other what they see and know. In these situations, children pronounce as many complex sentences as you will not hear from them even in very cognitively rich classes in their native language.

self-development, self-realization, development all personalities or individual... development productive interactions with the child in the course of solving problems of rehabilitation), psychological-pedagogicalconditions formation, direction of formation ( pedagogical ...

Game library around the family.

Dear parents! You are offered games that will help your child to make friends with the word, teach you to tell, find interesting words, and possibly make your child's speech richer and more diverse.

These games can be interesting and useful for all family members. They can be played on weekends, holidays, weekday evenings, when adults and children gather together after another working day.

While playing with the word, take into account the mood of the Child, all the possibilities and abilities.

Play with the Child as equals, encourage his answers, rejoice in the successes of small victories!

"ONLY Merry Words".

It's best to play around. One of the players determines the topic. It is necessary to name in turn, for example, only funny words. The first player says: "Clown". Second: Joy. Third "Laughter", etc. The game moves in a circle until the words run out.

You can change the subject and name only green words (for example, cucumber, Christmas tree, pencil, etc.), only round ones (for example, clock, bun, wheel, etc.)

"PODBERISLOVO".

The child is invited to pick up words denoting signs for any subject, object, phenomenon. For instance,winter,which?(cold, snowy, frosty).snow, what? (white, fluffy, soft, clean)

"WHO CAN DO WHAT?"

The child is invited to pick up as many action words as possible for any subject, object. for instanceWhat can a cat do? (purr, arch its back, run, jump, sleep, scratch, lap).

"AUTOBIOGRAPHY".

In the beginning, one of the Adults takes the leading role and introduces himself as an object, thing or phenomenon, and tells the story on his behalf. The rest of the players must listen carefully and, through leading questions, find out who or what they are talking about. The one of the players who guesses this will try to take on the role of the Leader and reincarnate in some object phenomenon.

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

"MAGIC CHAIN".

The game is played in a circle. One of the Adults names a word, for example, "honey",asks the player standing next to him what he imagines when he hears this word?

Then one of the family members answers, for example, "bee". The next player after hearing the word"bee", must name a new word that is similar in meaning to the previous one, for example,"pain"etc. What can happen?Honey - bee - pain - red cross - flag - country - Russia - Moscow.

"WORD BALLS".

Children and an adult play in pairs. An adult throws balls to a child at the same time pronounces the word, say, "quiet". The child must return the balls to say the word with the opposite meaning"loud". Then the players switch roles. Now the child is the first to pronounce the word, and the adult selects a word with the opposite meaning for it.

"FUNNY RHYTHMS".

The players must match the words with rhymes.

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

" IF SUDDENLY …".

The child is offered some unusual situation, from which he must find a way out, express his point of view.

for instance , If suddenly on Earth disappear:

* all-buttons; * all-knives; * all-matches; * all books, etc.

What will happen? How can this be replaced? The child can answer: "If suddenly all the buttons on the Earth disappear, nothing terrible will happen, because they can be replaced: with ropes, Velcro, buttons, a belt, etc." You can offer the Child and other situations, for example,if I had:

* living water; * flower - seven-flower; * carpet - plane, etc.

Didactic games for the development of verbal creativity

2. "Let's tell a story together"

3. "Magic Glasses"

4. "Casket with fairy tales"

5. "Magic Pipe"

6. "Help Kolobok" (1 option)

7. "Help Kolobok" (2 option)

8. "Let's play Turnip"

9. "An old fairy tale in a new way"

10. "Invent an Unusual Creature"

11. "Magic Tree"

12. "Who came to the New Year's carnival?"

13. "Magic Items from a Miraculous Pouch"

14.

15. "Nonsense"

16. "Transformations"

17. "How to escape from the sorcerer?"

18. "Make up a story"

19.

20.

21. "Pantomime"

22. "Fix the mistake"

1. Lotto "Journey through Russian folk tales"

(for children from three years old)

Target:Arouse in children the need for communication, develop visual attention.

Equipment:6 large lotto sheets with the image of 6 fairy tale characters, 36 small cards with the same images.

The second part of the game is carried out as follows: the child is given a lotto sheet, then the leading player chooses one of the small cards, placed face down, and shows the image, names the character. The child who has the lotto sheet with this image takes a small card and covers the image on a large card. The winner is the one who first closes all the images on the loto sheet.

2. "Let's tell a story together"

(for children from three years old)

Target:Continue to develop verbal communication skills in children, strive to ensure that children enter into genuine communication, i.e. act emotionally.

Equipment:Pictures depicting successive episodes of fairy tales.

3. "Magic Glasses"

(for children from five years old)

Target:Development of creative speech skills, creative imagination; mastery of the concept of time.

4. "Casket with fairy tales"

(for children from four years old)

Target:The development of coherent speech, fantasy, creative thinking.

Equipment:8 - 10 different figures, box.

Content: The facilitator offers to randomly take out the figures from the box. We need to figure out who or what this object will be in a fairy tale. After the first player has said 2-3 sentences, the next player takes out another item and continues the story. When the story is over, the items are put together and the story begins. new story. It is important that each time you get a complete story, and that the child in different situations come up with different variants actions with the same object.

5. "Magic Pipe"

(for children from four years old)

Target:vocabulary development, imagination, cognitive function; the development by the child of the opposite character traits of fairy-tale characters.

Equipment:A magazine or piece of paper rolled up into a tube.

Content: The host shows the “magic pipe” and says that if you look at a fairy-tale character through it, he will change his character traits, for example, to the opposite ones. The host asks the kid to look through the pipe at the heroes and tell how they have changed.

6. "Help Kolobok" (1 option)

(for children from four years old)

Target:development of coherent speech, creative imagination, thinking, memory; determining the sequence of events.

Equipment:Cards with a plot from the fairy tale "Gingerbread Man" (made from two baby books - one card for each plot).

Content: The host reminds the child of the fairy tale "Gingerbread Man", shows the cards. Then the pictures are mixed, the child pulls out any of them and continues the story from the place to which the picture corresponds.

If the child did well, invite him to tell the story in reverse order, as if the tape had been rolled back. If possible, show on the VCR what this means.

7. "Help Kolobok" (2 option)

(for children from five years old)

Target:Education of good feelings; development of imagination, creative thinking, coherent speech.

Equipment: Fairy tale "Kolobok", cards made from two baby books, multi-colored circles: yellow (Kolobok), gray (wolf), white (hare), brown (bear), orange (fox).

Content: The host asks the children to remind him of the fairy tale about Kolobok, using pictures or multi-colored circles. Ask the kids to think of a way to save Kolobok. Let the children come up with what will happen to Kolobok if he escapes from the fox, with whom he will be friends, where his house will be. These and other leading questions will help your child come up with an interesting story.

8. "Let's play Turnip"

(for children from five years old)

Target:Development of speech and creative imagination; learning to symbolically play the plot; color designation of the heroes of a fairy tale; assimilation sequence of events.

Equipment:Mugs: yellow (turnip), green (grandmother), brown (grandfather), Content: The facilitator tells a tale-confusion. Starts with "Turnip", includes characters from other fairy tales. The child will notice mistakes and, as a result, retell "Turnip".

At first, you can allow the use of hint pictures. When the child has answered, ask him to come up with some kind of fairy tale with these new characters. Children who successfully completed the task come up with stories from two or three sentences, notice almost all the mistakes.

9. "An old fairy tale in a new way"

(for children from four years old)

Target:Development of coherent speech, imagination, creative thinking.

Equipment:fairy tale "Three Bears", circles denoting bears (brown different sizes), red circle (girl).

Ask the child to come up with a "fairy tale in reverse":

a) the bears got lost and got to the girl. What would they do?

b) the bears turned out to be kind, but the girl is evil. How would they behave?

The host offers to play a new fairy tale with the help of circles.

You can use other stories as well.

10. "Invent an unusual creature"

(for children from five years old)

Target: The development of word creation, imagination, the ability to analyze and distinguish between real and fantasy images; expanding horizons.

Equipment:Set of cards with a picture various items, plants, birds, animals, flowers, heroes of fairy tales, etc.

Content: Give the child two cards at once. Let the kid come up with a character that combines the properties of two characters at once. For example, when adding animals of a dinosaur and a pig, we get other non-existent animals: a pigosaurus or a dinin. Thus, you can add different words (oak + rose = oak forest, dragonfly + goat = dragonfly, etc.). Do not limit the imagination of the baby, however, as well as your own! Properties can be taken from various plants, birds, animals, objects, etc., as long as the source is named.

11. "Magic Tree"

(for children from three years old)

Target:Expansion of the volume of the dictionary and horizons; development of creative speech skills, the ability to guess riddles.

Equipment:Wood made of cardboard with picture pockets; a set of images of objects on the studied lexical topic.

Pictures are laid out in front of the children. An adult makes a riddle about one of the objects shown in the picture. A child who correctly guesses the riddle looks for the corresponding image and “hangs” this picture on the “Wonder Tree”.

Complication (for children from five years). Invite the children to come up with new properties of the objects placed on the "magic tree": "Try to think of what magical property the object on our magic tree will have."

12. "Who came to the carnival?"

(for children from four years old)

Target: Expansion of the volume of the dictionary and horizons; development of figurative memory, verbal creativity.

Equipment:Image of a Christmas tree with pockets around the tree for "fairytale characters"; a set of fairy-tale characters from the studied fairy tale.

Complication.After all the characters "take" their places, the children are invited to come up with the content of the conversation of fairy-tale characters. “Try to think of what fairy-tale characters will talk about at the New Year's carnival.”

13. "Magical items from a wonderful bag"

(for children from five years old)

Target:Expansion of the volume of the dictionary, development of tactile perception, clarification of ideas about the features of the subject; development of creative thinking, verbal creativity.

Equipment:Smartly designed bag, small toys.

Content:Previously, children get acquainted with toys: consider, name, highlight their qualities. The first player puts his hand into the bag, gropes for one toy, recognizes it and calls it: “I have a cup.” Only after these words can the child pull the toy out of the bag, examine it, show it to all the children and talk about its new magical qualities.

Complicated option : before taking an object out of the bag, it is necessary to determine its shape (round, oblong), the material from which the object is made (rubber, metal, plastic, wood), surface quality (smooth, rough, cold, slippery).

14. "Make up a riddle about a magical animal"

(for children from four years old)

Target:Development of creative thinking, the ability to compose descriptive stories about animals; clarification of ideas about the actions of animals.

Equipment:Object pictures, tokens, a reference diagram for describing animals.

Low level of difficulty. Children are given subject pictures (4 pieces each). One player chooses and "guesses" any picture from the four. An adult asks him questions about the animal: “What animal is in size, color, where does it live?” “What kind of wool, ears, tail?” “What can an animal do?” The child who guessed the animal replies: “The animal is small, gray, lives in the forest, can jump. The wool is thick, the ears are long, the tail is short.” Questions are asked until one of the players guesses which animal is guessed. A chip is given for a correct answer.

Medium difficulty level. The game uses 4 pictures. Questions to the player are asked by the children in turn. “What color is the animal?”, “What size?” etc. Children play without the participation of an adult.

High level of difficulty. An adult distributes more than 4 pictures to each participant. The child talks about the peculiarities of the hidden animal (“comes up with a riddle”) on his own.

Complication (for older preschoolers). Invite the children to think of what magical actions the animals will have. "Try to think of what magical action an animal can perform."

15. "Nonsense"

(for children from four years old)

Target:Development of the ability to distinguish between reality and fantasy fiction; clarification of ideas about the subject, natural phenomena.

Equipment:The same black-and-white plot pictures depicting absurdities (by the number of children), colored pencils.

Low level of difficulty. Each child is given a black and white picture of nonsense. Children look at the picture. The adult invites the children to name what is shown incorrectly in the picture. Then the adult offers to color with colored pencils only those images that correspond to the truth, which may actually be.

Medium difficulty level. Children compete to see who can see the most and name the absurdities. A variant of using the help of an adult is the presence of reference words indicating an error and the correct option. In accordance with the named pair of words, the children find an error in the picture. At the end of the task, the children color what is shown in the picture correctly.

High level of difficulty. Children complete the task without the help of an adult. Pointing out the absurdities, they give the correct options. After that, the children color what is shown correctly in the picture.

16. "Transformations"

(for children from four years old)

Target:Development of the ability to highlight the essential features of objects.

Equipment:Kaleidoscope, subject pictures (cup, cap, jug, bottle, sofa, chair, armchair).

An adult draws the attention of children to the fact that the presence or absence of certain details in an object is important sign, by which we recognize this object and call it one word or another.

17. "How to escape from the sorcerer?"

(for children from five years old)

Target:development of coherent speech, imagination, creative thinking.

Equipment:a set of small toys or subject pictures of 8-10 pieces (substitutes can be used later).

After that, the child is invited to combine the objects into a single plot. If the child understood the task, then he can immediately be given a set of toys or pictures.

If the child experiences any difficulties, it is necessary to help him. For example, take the first two cubes that come across and come up with your own story: “Once a butterfly met a hedgehog, was very surprised and asked him why the hedgehog does not fly. The hedgehog replied that he did not know how to fly, but he knew how to curl up into a ball. And he offered to teach this butterfly. Since then they have become friends."

18. "Make up a story"

(for children from five years old)

Target:Development of understanding and activation of words with a generalizing meaning; development of coherent speech, verbal creativity.

Content:An adult invites the child to come up with a story (story, fairy tale) about vegetables, pets, dishes, transport, etc. An adult gives a sample of the story, helps to come up with a beginning. Stages of plot development (“Once there was a commotion in the village ...”, “One night the toys came to life and ...”). In this game, the child not only consolidates the understanding of generalizing words, but also updates the vocabulary on the topic, develops verbal (verbal) creativity.

19. “It happens - it doesn’t happen” (1 option)

(for children from four years old)

Target:Development of the conceptual aspect of the meaning of words with a generalizing meaning, clarification of their meaning; development of creative thinking.

Complication.Invite the children to come up with a false or true judgment on their own. “Try to come up with a sentence in which there will be truth, i.e. what could be, and a lie, i.e. which cannot be."

Sample speech material:

· fruits grow on trees;

· vegetables grow on bushes;

· jam is made from berries;

· shoes warm the human body in the cold season;

· the store sells products;

· wild animals live in the forest;

· migratory birds fly south in spring;

· furniture is needed for the convenience of a person;

· clothes are worn on the legs;

· puddles are covered with ice in summer, etc.

20. “It happens - it doesn’t happen” (option 2)

(for children from five years old)

Goals:Formation of semantic fields, expansion of the dictionary of antonyms; development of creative abilities.

Sample speech material:

· Thumbelina is taller than Snow White, and Gulliver is shorter than Lilliputians;

· Bird Talker loves to be silent loudly;

· The Snow Queen loves summer because it snows in summer;

· Winnie the Pooh loves honey because it is bitter;

· Papa Carlo is shorter than Pinocchio because he is small;

· Woof the kitten meows loudly, and the cat meows softly;

· The fairy tale "Gingerbread Man" has a happy ending, but the fairy tale "Turnip" does not.

21. "Pantomime"

(for children from five years old)

Target:Formation of semantic fields, expansion of the dictionary of antonyms, development of general motor skills, creative abilities.

Sample speech material:

· bad wolf - good bear;

· a stupid frog is a smart rabbit;

· swift deer - slow turtle;

· a brave lion cub is a cowardly hare;

· strong tiger - weak mouse;

· fat hamster - thin heron;

· a happy person is a sad person;

· straight tree - crooked tree;

· heavy bag - light snowflake;

· cold ice - hot fire.

22. "Fix the mistake"

(for children from five years old)

Target:Formation of semantic fields; consolidation of ideas about fairy-tale characters.

Content:An adult pronounces a sentence in which two objects (objects) are compared. The fallacy of the judgment is that in the first part of the sentence one sign of comparison is indicated, and in the second part - on the other (little granddaughter, old grandmother). The child needs to correct the mistake by offering two correct versions of the judgment. For example: “Chalk is white, and soot is liquid. The first part of the comparison is about color, and the second part is about hardness. It will be correct like this: the chalk is white, and the soot is black, or the chalk is hard, and the soot is soft.

Sample speech material:

· the granddaughter is small, and the grandmother is old;

· Eeyore is big, and Winnie the Pooh is fat;

· The fox is cunning, and the Gingerbread Man is yellow;

· Gulliver is tall and Thumbelina is small;

· The hare is gray, and the cockerel is bold;

· Winnie the Pooh loves honey, and Piglet is pink;

· Thumbelina is light, and the swallow is large;

· Piero has long sleeves, and Malvina has blue hair, and so on.

Elena Alexandrovna Korneva
GDOU kindergarten No. 27 of the administrative district of St. Petersburg
teacher speech therapist