There are two opposite points of view: talent is the maximum degree of health, talent is a disease.

If we proceed from the fact that creativity is a process, then a genius is a person who creates on the basis of unconscious activity, who is able to experience the widest range of states due to the fact that the unconscious creative subject is out of control of the rational principle and self-regulation.

Representatives of depth psychology and psychoanalysis (here their positions converge) see the main difference between a creative personality and a specific motivation. Let us dwell only briefly on the positions of a number of authors, since these positions are reflected in numerous sources.

L.S. Vygotsky calls creative activity such activity of a person that creates something new, whether it is created by creative activity, some thing of the external world or a certain construction of the mind or feeling, living and manifesting itself only in the person himself. If we look at the behavior of a person, at all his activities, we can easily see that in this activity two main types of actions can be distinguished. One type of activity can be called reproducing, or reproductive: it is most closely associated with our memory, its essence lies in the fact that a person reproduces or repeats previously created or developed behaviors or resurrects traces of previous impressions.

In addition to reproducing activity, it is easy to notice another kind of this activity in human behavior, namely, combining or creative activity.

L.S. Vygotsky argues that any such activity of a person, the result of which is not the reproduction of impressions or actions that were in his experience, but the creation of new images or actions, will belong to this second kind of creative or combining behavior. The brain is not only an organ that preserves and reproduces previous experience for us, but it is also an organ that combines, creatively processes and creates new positions and new behavior from the elements of this previous experience. If man's activity were limited to a mere reproduction of the old, then man would be a being turned only to the past, and would be able to adapt to the future only insofar as it reproduces the past. It is the creative activity of a person that makes him a being, facing the future, creating it and modifying its present.

Thus, creative activity is impossible without mastering reproductive activity.

Creative activity is the highest degree of cognitive activity, which leads to the development of the personality of a younger student. We assume the presence of 3 levels of development of creative activity of younger students in the Russian language lessons. High (creative) level - implies a high development of cognitive processes, verbal imagination, creative imagination, creative thinking, high independence in solving exercises. Average (reproductive-creative) level - cognitive processes in the region of average indicators, verbal and creative imagination at a low level, independence manifests itself in familiar situations. Low (reproductive) level - cognitive activity at a low and medium level, does not seek to show independence, in most cases follows the instructions of the teacher.

The development of creative activity involves the development of creative thinking. Most scientists distinguish the following criteria for creative thinking.

Thinking productivity is the ability to generate as many ideas as possible in response to a problem situation. For example, we invite the child to come up with and draw as many stories on one topic as possible; decorate the sails of identical yachts in different ways; find similarities between objects, etc. - the more ideas a child is able to develop, the higher the productivity of his thinking.

Originality of thinking - the ability to put forward new unexpected ideas that differ from the widely known, banal ones. Most specialists in the field of creative psychology consider this characteristic to be the main indicator of creative abilities. In the solution process, unusual, original ideas should be supported and encouraged.

Flexibility of thinking - the ability to quickly and easily find new strategies for solving, establish unusual associative connections, move in thinking and behavior from phenomena of one class to others, often far in content. Let's take as one of the illustrations the task of drawing clouds over the good wizard's castle. The highest flexibility of thinking will be observed in a situation where all the silhouettes of these clouds resemble objects from different spheres. For example: one cloud resembles an animal; the other is a plant; the third is a person; the fourth is a bird; fifth - fish; the sixth is an armchair; seventh - portfolio, etc.

The ability to develop an idea - success in creativity is not only for those who can create new ideas, but also for those who are able to creatively develop existing ones. This ability is clearly manifested in the detailing of the completed drawing, in the ability to fill a composed, own story with interesting details and details, in the degree of penetration into the problem being solved. This quality usually indicates a high level of overall mental development of the child.

The development of creative activity primarily depends on a sensitive, tactful teacher, on his creative potential. The problem of creativity occupies a large place in pedagogical activity. An advanced teacher, developing the creative abilities of students, in search of the most appropriate methods of teaching and education, is himself a creator and innovator. The creativity of the teacher covers different aspects of his activity - building a lesson, conversations, working on organizing a team of students in accordance with their age and individual characteristics, designing the personality of students, developing a strategy and tactics of pedagogical activity in order to optimally solve the problems of the comprehensive development of the child. The task of each teacher is to form cognitive activity in all students, to notice any creative manifestations of students, to create conditions for the development of creative abilities in the classroom and in extracurricular activities.

Thus, the analysis of psychological and pedagogical literature allowed us to consider the creative activity of a schoolchild as the highest degree of cognitive activity, which has some features: subjective nature, dependence on the degree of development of reproductive activity.

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

V. A. Molyako distinguishes the following main types of creative activity: scientific and logical; technical and constructive; figurative and artistic; verbal and poetic; musical and motor; practical and technological; situational (spontaneous and reasonable).

The psychologist presents the manifestation of creative search according to the following criteria: reconstructive creativity; combinatorial creativity; creativity through analogies.

It seems possible to fix the manifestation of intelligence by: understanding and structuring the initial information; task setting; finding and designing solutions; forecasting decisions (development of ideas for solutions), hypotheses.

As it seems to the researcher, the dynamics of decision and creative activity in general will be most exhaustively determined by the following main types: slow; fast; superfast.

The levels of achievements can be determined by the tasks that the subject sets for himself, or by the successes themselves, here V.A. Molyako identifies three conditions: the desire to surpass existing achievements (to do better than it is); achieve top class results; to realize the most important task (maximum program) - on the verge of fantasy.

In terms of emotional response to the performance of activities, enthusiasm, the author distinguishes three types: inspirational (sometimes euphoric); confident; doubting.

Thus, V.A. Molyako offers a structure that describes various types of giftedness in a rather diverse way, their dominant characteristics, and the peculiarity of combinations of the most important qualities. It is easy to understand that everything that relates to general creative talent is directly related to various types of special talent - scientific, technical, artistic, etc.; it goes without saying that in this case we are dealing with the manifestation of certain dominant qualities, features that characterize the specifics of creativity in a particular area of ​​human activity.

Thus, in the philosophical and psychological sciences, creativity is seen as an act of the unconscious, where the decisive role is assigned to intuition, and as an activity. Adhering to the second point of view, we believe that creativity is primarily an activity, which in turn can be social, labor, creative, etc.

Imagination plays a huge role in the development of creative activity. L.S. spoke about this. Vygotsky in his work "Imagination and Creativity in Childhood": "The main direction in the development of children's imagination is the transition to an increasingly correct and complete reflection of reality on the basis of relevant knowledge and the development of critical thinking. A characteristic feature of the imagination of a younger student is his reliance on specific objects. So, in the game, children use toys, household items, etc. without this, it is difficult for them to create images of the imagination. In the same way, when reading and telling a child, he relies on a picture, on a specific image. Without this, the student cannot imagine, recreate the described situation.

In this case, we are dealing with a creative process based on conjecture, intuition, independent thinking of the student. The psychological mechanism of activity itself is important here, in which the ability to solve non-standard, creative mathematical problems is formed.

Successful formation of creative thinking in younger schoolchildren is possible only on the basis of the teacher taking into account the main features of children's creativity and solving the central tasks in the development of creative thinking.

Levin V.A. the main distinguishing features of children's creativity were accurately noticed: children's fiction is boring, and the child does not critically relate to it; the child is a slave to his poor imagination. The main factor determining the creative thinking of a child is his experience: the creative activity of the imagination is directly dependent on the richness and diversity of a person's past experience. As mentioned above, the most important task here is the formation of creative thinking. In order to form in students the ability to creatively solve mathematical problems, it is necessary, first of all, to take care of developing their mathematical outlook, of creating a real sensory basis for imagination.

A feature of the creative thinking of schoolchildren is that the child is not critical of his product of creativity. The children's idea is not guided by any ideas, criteria, requirements, and therefore is subjective.

The development of creative thinking is inseparable from the formation of performing skills and abilities. The more versatile and perfect the skills and abilities of students, the richer their imagination, the more real their ideas.

The above cognitive processes play a huge role in the development of creative activity of younger students. Therefore, in order to productively develop the creative activity of a younger student, it is necessary to develop his cognitive processes.

The scientist-teacher S.A. writes about the features of the development of creativity and creative activity. Smirnov.

The repeated manifestation of the child's creativity in various situations results in the accumulation of experience in creative activity. It is designed to ensure that the child is ready to search for solutions to new problems, to creatively transform reality. The specific content of the experience of creative activity and its main features are as follows: independent transfer of knowledge and skills to a new situation; seeing a new problem in a familiar situation; vision of the structure of the object and its new functions; independent combination of known methods of activity into a new one; finding different ways to solve the problem and alternative evidence; building a fundamentally new way to solve the problem, which is a combination of known .

The indicators of schoolchildren's creativity can be considered those that are highlighted in the characteristics of creativity by psychology: novelty, originality, detachment, departure from the template, breaking traditions, surprise, expediency, value.

A distinctive feature of the creative activity of children is the subjective novelty of the product of activity. According to its objective meaning, the "discovery" of the child can be new, unusual, but at the same time be carried out at the direction of the teacher, according to his idea, with his help, and therefore not be creativity. And at the same time, the child can offer a solution that is already known, used in practice, but thought of it on his own, without copying the known.

We consider the experience of creative activity of younger schoolchildren in a dual capacity: as a process and as a result of activity, ensuring the inclusion of students in the creation of a subjectively new one based on the application of acquired knowledge, practical skills and the actualization of personal functions in various situations. At the same time, our research is limited to the study of literary creative activity and the definition of pedagogical conditions for the development of the personality of younger students.

In our work, we relied on the ideas of Ponomarev Ya.A.: “The creative nature of the child will always find a way out for self-expression. The only thing left for the teacher is to predict and provide those pedagogical conditions in which the creative gift of the student is most fully realized” [65].

There are all the prerequisites for the introduction of a younger student into literary creativity. Firstly, he has developed a plot-role-playing game and a dramatization game in which he is the author, the hero, and the actor. And when the viewer is included in this work, the author begins to focus on him. The tasks of the game will begin to change to artistic and communicative ones. Secondly, the younger student is still in many ways a "pioneer", he has a sense of novelty and surprise in relation to the world around him.

Following the purpose and objectives of our thesis work, we will also consider the views of different authors on the concept of "creative thinking", on the indicators that characterize this thinking.

"Creative thinking It is imagination-based thinking. It creates new ideas, a new way of looking at things. It connects certain objects or images in a way that they have not been connected before. It is endless and varied. ". Gin A.A..

"Creative thinking- the process of creating something new that is of interest to individuals, groups, organizations or society "Sidorchuk A.A.
"Creative thinking - the ability to look at a problem from the outside. Creative thought is insight, insight, a moment of inspiration that reveals the right solution ”J. Gilford ..
"Creative thinking- the creation of a new one that did not exist before” Levin V.A.

"Creative thinking- the ability to look at the world in a way different from how others see the world. The ability to express and convey to these others one's perception of the surrounding world" Godefroy J.

"Creative thinking- look at the same thing that is in front of the eyes of all other people, but think a little differently” Volkov V.P. 17].

"Creative thinking- learning something new. An integral part of the intellect ”B. Bogoyavlenskaya.

"Creative thinking- the ability to find fundamentally new, unique solutions. Sometimes a creative solution is the result of a reorganization of long-known facts into a new scheme, and sometimes it is a completely new thought. Vygotsky L.S.

Imagination, as a necessary component of thinking, has long attracted the attention of researchers. The first and most significant research in this area was made at the end of the nineteenth century by the French psychologist, the founder of experimental studies of higher mental processes, Théodule Ribot. His work "Experience in the Study of Creative Imagination" laid the foundation for the understanding and significance of the role of imagination in the general psychology of thinking. In the future, this topic was developed by many domestic and foreign psychologists. However, the relevance of this issue is constantly increasing, since in modern society an individual is required not just the usual “correct” thinking, but creative thinking, in which the ability to solve a known problem using previously unknown methods is used to the greatest extent. But a creative way of thinking is not possible without a developed imagination, without the ability to receive information, by mentally constructing the missing objects and events. Therefore, today, more than ever, a developed imagination is the first and most necessary condition for the formation of effective thinking of a modern person. The value and role of imagination in meeting the primary needs of man.

Assistance to the child in the development of his imagination (thinking) is the basis for the successful formation of his creative thinking style in the future, with which he will enter adulthood. And vice versa - if the child is not helped to develop his imagination, it may be likely that he will form and consolidate stereotypical, timid, and non-creative thinking, which will limit his actions in his future, independent life. It follows, for example, that it is not desirable to give full and exhaustive answers to the child's questions. When everything becomes clear and understandable to him, he does not include his imagination in the work and therefore does not develop creative thinking, which is so necessary in adulthood. That is why it is much more useful to read a book than to watch the same story from a video. In the first case, it is necessary to turn on your imagination in order to present the heroes of the plot, in the second case, this work is missing. Information should be given to the child in such a way that there are some gaps and understatements in it. This gives him the opportunity to think for himself and thereby support and develop the imagination. Of course, such a teaching method should be methodologically competent and have its own levels of complexity and special techniques.

Probably, the reason is the same - having bright natural gifts in one form of activity for their success in their school years, they did not need to develop their imagination. However, as they grew older, the number of necessary forms of activity inevitably increased, and in many of them a fair amount of imagination was already required, which, alas, was absent.

From the foregoing, it is clear that imagination is necessary not only for the complete and successful satisfaction of the primary needs of a person, but it is also the basis for the formation of effective, creative thinking, which determines the quality of life. At the same time, the quality of life increases as a higher type of imagination is formed.

Imagination types. Research by modern scientists has revealed the following types of imaginations:

• 1. Construction or reproduction.
• 2. Combining.
• 3. Creative.

The constructive imagination uses mainly the memory or past experience of a person. This type of imagination allows you to restore in memory the entire object or the entire event in which a person took part or for which he has sufficient information, based on a part of an object or one fragment of an event.

At the same time, an important role in this type of imagination is played by association, that is, the connection between individual representations, in which one of the representations causes another.

The constructional type of imagination is a fairly common imagination and is used by the majority of people. The greatest development of this type of imagination is observed in people of art - artists, artists, musicians, who, in order to build an artistic image, need to constantly recall the corresponding plot or object from their memory.

Combining imagination - is associated with the ability of a person to combine previously known, but different in purpose, objects or events into a single whole, while obtaining a new result that is not inherent in individual objects. For example, mentally connecting the sled and the propeller of the aircraft, we get an aerosleigh - a vehicle that moves along the earth's surface, leaning on the air. Combining the morning dawn and a blossoming rosebud into a single whole, the artist fills his picture with a high meaning of life and love.

This type of imagination is most characteristic of scientific experimenters who, receiving various data, are forced to combine them in order to understand and explain the event under study. The same type of imagination is used by engineers, developers of new technologies and technical systems, the most prominent writers, poets and musicians.

In understanding problematic situations, combining imagination is more effective than restoring one, since it allows you to systematically and in interconnection analyze existing and future events in order to make the right decision.

A creative type of imagination that requires the highest level of fantasy. Unlike the previous two, where single ready-made knowledge or the combination of several well-known knowledge is used, the creative type of imagination creates knowledge itself. This is the highest and most complex type of imagination, with the help of which a new, previously unknown object with previously unknown properties is generated (created) and which does not have a prototype.

For example, the creation of a camera required at one time the greatest imagination, since not a single object or object was known that would perform the function of fixing a light beam with fixing an image. The same applies to the invention of a device for recording and reproducing sound (tape recorder), a device for transmitting images (TV), aircraft, rockets, lasers and many other objects.

The creative type of imagination is inherent in outstanding scientists, inventors and science fiction writers. The typical owners of the third type of imagination are the science fiction writers Jules Verne, Herbert Wales, Alexander Belyaev, Stanislav Lemm and many others. It was they who first, using their imagination, put forward the ideas of controlling thoughts at a distance, a time machine, artificial diamond production, television, artificial muscles, organ transplants, a submarine, a helicopter and much more. Today we see that most of these ideas have become a reality, new knowledge, but at the time of their creation there was nothing like it - all this was just a figment of the imagination.

It should be noted that as the level of imagination increases, so does the level of thinking, which becomes more efficient, productive and creative. In addition, a developed imagination helps to develop and maintain the senses - hearing, sight, smell, touch, taste. . For example, some composers, having lost their hearing, continued to compose music that sounded in their imagination. Sculptors, having lost their eyesight, continued to create statues striking with the perfection of form and the frozen plasticity of graceful movements. All this became possible only because these people had the highest level of imagination, combining all its types.

From what has been said, it is clear how important it is to develop imagination in children, which is a necessary condition for satisfying their primary needs and creating the prerequisites for a happy life.

An important stage in the psychodiagnostics of a person's creative abilities was the work of the American psychologist J. Gilford, who identified two types of thinking: convergent (sequential, logical, unidirectional) and divergent (alternative, retreating from logic). Most psychodiagnostic tests of creativity are focused on identifying divergent thinking abilities. These tests do not require a certain number of answers. There are no right and wrong solutions in them, the degree of their compliance with the idea is assessed, the search for non-trivial, unusual and unexpected solutions is encouraged and stimulated.

In foreign psychology, divergent creative thinking is more often associated with the term "creativity". In the 60s of the XX century. The impetus for the allocation of this type of thinking was the information about the lack of a connection between intelligence and the success of solving problem situations. It was found that the latter depends on the ability to use information given in tasks in different ways at a fast pace. This type of thinking J. Gilford, N. Marsh, F. Haddon, L. Cronbach, E.P. Torrens called creativity and began to study it independently of intelligence - as thinking associated with the creation or discovery of something new.

To determine the level of creativity, J. Gilford singled out 16 hypothetical intellectual abilities that characterize creativity.

Among them:

fluency of thought - the number of ideas that arise per unit of time;

flexibility of thought - the ability to switch from one idea to another;

originality - the ability to produce ideas that differ from generally accepted views;

curiosity - sensitivity to problems in the surrounding world;

ability to develop a hypothesis;

unreality - the logical independence of the reaction from the stimulus;

fantastic - complete isolation of the answer from reality in the presence of a logical connection between the stimulus and the reaction;

the ability to solve problems, that is, the ability to analyze and synthesize;

the ability to improve an object by adding details; etc .

Among the creators of theories and tests of creativity for children, the most famous is another American psychologist who devoted his whole life to this problem. This is Paul Torrance. Creativity studies were started by him in 1958, but long before that they were prepared by his practical work as an educator and psychologist with gifted children and adults.

Creativity was defined by E. P. Torrens as a process of emergence of sensitivity to problems, lack of knowledge, their disharmony, inconsistency, etc.: fixing these problems; search for their solutions, hypotheses; testing, changing and retesting hypotheses; And. finally, the formulation and communication of the result of the decision (1974). In order to more accurately define what creativity is, Torrens considered at least about fifty formulations.

As a result, he settled on the definition of creativity as a natural process, which is generated by a strong human need to relieve tension that arises in a situation of uncertainty or incompleteness. Considering creativity as a process makes it possible to identify both the ability to be creative and the conditions that envelop and stimulate this process, as well as evaluate its products (results).

E.P. Torrance identifies four main parameters that characterize creativity:

ease - speed of execution of text tasks;

flexibility - the number of switches from one class of objects to another in the course of responses;

originality - the minimum frequency of a given response to a homogeneous group;

accuracy of tasks.

Guilford developed a battery of tests to diagnose creativity (10 tests for verbal creativity, 4 for non-verbal creativity). Let's give examples of some tasks for creativity: test "ease of word usage" (write as many words as possible containing the letter "o"); test of "fluency of ideas" (write as many words as you can denoting objects, phenomena that can be white); test for "flexibility of ideas, flexibility of use of objects" (indicate as many different ways as possible to use a tin can); test for "composing images" (compose as many different images as possible using a set of shapes: triangle, square, circle, trapezoid).

There are three approaches to the problem of developing creative thinking:

• 1) genetic, assigning the main role of heredity;
• 2) environmental, whose representatives consider external conditions to be the decisive factor in development;
• 3) genotype - environmental interaction, whose supporters distinguish different types of adaptation of the individual to the environment, depending on hereditary traits.

In our work, we will adhere to the 3rd approach, according to which the development of creativity proceeds according to the following mechanism: on the basis of general giftedness, under the influence of the microenvironment and imitation, a system of motives and personal properties (nonconformism, independence, self-actualization motivation) is formed, and general giftedness is transformed into actual creativity.

However, there are several directions in this approach. V.N. Druzhinin, V.I. Tyutyunina and others consider it necessary for the development of creative thinking: the absence of regulation of subject activity, more precisely, the absence of a model, regulated behavior; the presence of a positive model of creative behavior; creating conditions for imitating creative behavior and planning manifestations of aggressive and destructive behavior; social suppression of creative behavior.

They highlight the connection between the conditions and everyday life of the individual and the level of creative thinking achieved by him. The idea is that the same aspects of the situation that lead to learning are conducive to the development of creative thinking: repetition and reinforcement. And the stage of imitation is a necessary link in the development of a creative personality.

Bono E. The development of creative thinking is not reduced to the accumulation of experience, but is presented as a structural change in the operational composition. Development (in the framework of the theory of J. Piaget) is interpreted as the emergence of a balanced structure or balancing (the emergence of a cognitive conflict). Creative thinking develops through processes similar to "balancing" and triggered by the occurrence of cognitive conflict.

Molyako V.A. developed a developmental method based on social interaction. The idea of ​​social learning is that we are able to learn by observing the behavior of other people and accepting its pattern. Patterns of creative behavior can convey a certain approach to solving problems, to determining the search area.

Thus, there are two directions of the problem of development of creative thinking:

• 1) the influence of the conditions of education and everyday life;
• 2) conducting a developmental experiment.

Development takes place in the process of education and upbringing. It is formed in the process of interaction with the world, through mastering the content of material and spiritual culture, art in the process of learning. Therefore, it is possible to talk about a special, purposeful formation of creative thinking, about a systemic formative impact.

The analysis of the problem of the development of creative abilities will largely be determined by the content that we will invest in this concept. Very often, in everyday consciousness, creative abilities are identified with abilities for various types of artistic activity, with the ability to draw beautifully, compose poetry, write music, etc. What is creativity really? Many researchers reduce the problem of human abilities to the problem of a creative person: there are no special creative abilities, but there is a person with a certain motivation and traits. Indeed, if intellectual giftedness does not directly affect the creative success of a person, if in the course of the development of creativity the formation of a certain motivation and personality traits precedes creative manifestations, then we can conclude that there is a special type of personality - a “Creative Person”.

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

There are three main approaches to the problem of creativity. They can be formed in the following way.

1. As such, there are no creative abilities. Intellectual giftedness acts as a necessary but not sufficient condition for the creative activity of an individual. The main role in the determination of creative behavior is played by motivations, values, personality traits (A. Tannenbaum, A. Olokh, D. B. Bogoyavlenskaya, A. Maslow and others). Among the main features of a creative personality, these researchers include cognitive giftedness, sensitivity to problems, independence in uncertain and difficult situations.

The main one is the concept of D. B. Bogoyavlenskaya, which introduces the concept of creative activity of the individual, believing that it is due to a certain mental structure inherent in the creative type of personality. Creativity, from the point of view of Bogoyavlenskaya, is a situationally unstimulated activity, manifested in the desire to go beyond the limits of a given problem. A creative personality type is inherent in all innovators, regardless of the type of activity: test pilots, artists, inventors.

• 2. Creativity (creativity) is an independent factor, independent of intelligence(J. Gilford, K. Taylor, G. Gruber, Ya. A. Ponomarev). In a softer version, this theory says that there is a slight correlation between the level of intelligence and the level of creativity. The most developed concept is E. P. Torrance's "theory of the intellectual threshold".
• 3. A high level of intelligence implies a high level of creativity and vice versa. There is no creative process as a specific form of mental activity. This point of view was and is shared by almost all experts in the field of intelligence (D. Wexler, R. Weisberg, G. Eysenck, L. Theremin, R. Sternberg and others).

Weisberg argues that creative thinking is diagnosed by the quality of the product, not the way it is obtained. Any cognitive process, from his point of view, is based on past knowledge and entails their transformation in accordance with the requirements of the task.

Recently, Sternberg's concept has become widespread. According to Sternberg, intelligence is involved both in solving new problems and in automating actions. In relation to the external world, intellectual behavior can be expressed in adaptation, choice of the type of external environment or its transformation.

The creative possibilities of a person are not directly and directly related to his ability to learn, they are not always reflected in intelligence tests. On the contrary, creativity can be stimulated not so much by the diversity of existing knowledge, but by receptivity to new ideas that break established stereotypes. Creative solutions often come at a moment of relaxation, distracted rather than intense attention, although prepared by the previous persistent search. An example of such an "insight" is the discovery by D. I. Mendeleev of the periodic system of elements in a dream after 15 years of hard and hard work.

Nemov R.S. considering the problem of abilities, defines them in a narrower sense, saying that abilities are something that does not come down to knowledge, skills and abilities, but explains (provides) their rapid acquisition, consolidation and use in practice.

One of the theories of abilities that we considered in our work belongs to B. M. Teplov. In his work “Problems of Individual Differences”, he considers abilities primarily as individual psychological differences between people. Giving a definition of abilities, B. M. Teplov believes that it should include three features. First, abilities are understood as individual psychological characteristics that distinguish one person from another; no one will talk about abilities where it is a question of properties in respect of which all people are equal.

Secondly, abilities are not generally called individual characteristics, but only those that are related to the success of an activity or many activities.

Thirdly, the concept of "ability" is not limited to the knowledge, skills or abilities that a given person has already developed.

Understanding abilities as such individual psychological characteristics that are related to the success of this or that activity, B. M. Teplov raises the question that the successful implementation of any type of human activity can be ensured not by a separate ability, but only by that peculiar their combination, which characterizes this person. Moreover, these individual abilities, according to B. M. Teplov, are not just adjacent and independent of each other, but each of them can change, acquire a qualitatively different character, which depends on the presence and level of development of other abilities.

BM Teplov puts forward the thesis that successful creative performance of an activity can be achieved in psychologically different ways. “There is nothing more lifeless and scholastic than the idea that there is only one way to successfully carry out any activity. These methods are infinitely varied, as diverse as human abilities are," he emphasizes. It is in man that these conditions have a social character. Emphasizing the connection of abilities with certain properties of higher nervous activity, he warned against their identification: “... one should not try to reduce even individual, simplest elements of abilities to individual properties of the nervous system ... Human abilities are formed according to specific psychological patterns, and not embedded in properties nervous system".

The cited statements of B.M. Teplova are of great importance for understanding abilities. The main ones that will be taken into account in our work are: the position on the role of activity in the development of abilities (which, nevertheless, did not receive sufficient development in his works); understanding of abilities as individual psychological characteristics related to the success of any type of activity; the idea of ​​a qualitative difference in the abilities of different people and of the difference in the ways that individuals can use when performing the same type of activity, as well as the conclusion that it is impossible to go directly from the analysis of individual abilities to the question of the possibility of successful performance by a given person of one or another other activity.

The problem of abilities received fundamental theoretical and practical development in the works of S. L. Rubinshtein, primarily in terms of the development, formation of abilities, and later in terms of revealing their psychological structure.

In his first works, S. L. Rubinshtein understood abilities as suitability for a certain activity. He believed that the main indicators that make it possible to judge abilities are the ease of assimilation of a new activity, as well as the breadth of the transfer of the ways of perception and action developed by an individual from one activity to another. Ability, according to S. L. Rubinshtein, is a complex synthetic formation of personality.

He believed that abilities are based on "hereditarily fixed prerequisites for their development in the form of inclinations", which refers to the anatomical and physiological features of the human neuro-cerebral apparatus. At the same time, he wrote that, "developing on the basis of inclinations, abilities are nevertheless a function not of inclinations in themselves, but of development, in which inclinations enter as an initial moment, as a prerequisite." S.L. Rubinshtein, a clearer methodological understanding of inclinations is outlined than that of B. M. Teplov.

S. L. Rubinshtein, like B. M. Teplov, believes that abilities are not limited to knowledge, skills and abilities. Analyzing their relationship, the author writes about the mutual conditionality of these concepts: on the one hand, abilities are a prerequisite for mastering knowledge and skills, on the other hand, abilities are formed in the process of this mastery. For the whole problem of abilities, the author’s position that “as a person really masters the methods of generalization, inference, etc., on the basis of a certain system of knowledge, he not only accumulates certain skills, but develop certain abilities.

Abilities develop on the basis of various psychophysical functions and mental processes. Rubinstein is already talking about the role of psychophysical functions. Later, developing the approaches of Teplov and Rubinshtein, Shadrikov V.D. used the concept of “functional system” to define the concepts of “abilities” and “giftedness” from the standpoint of psychophysical functions Rubinstein several times defines abilities in a different light. Defining ability in terms of development, Rubinshtein outlines the duality of the approach in defining abilities: “It (ability) is a complex synthetic formation that includes a number of qualities without which a person was not capable of any activity, and properties that are only in the process in a certain way. organized activities are developed.

Thus, unlike Teplov, B.M. Rubinshein S.L., along with the activity approach, also refers to the personal approach in determining abilities, when a person is considered not only as being formed in the process of activity, but also predetermining the nature of this activity.

For S. L. Rubinshtein, activity is the basis for the development of abilities. He believes that human abilities are “first of all, the ability to work, to learn. In labor, training, they develop.

The problem of abilities received a more detailed and consistent development in the work of S.L. Rubinstein "Being and Consciousness".

The author, in contrast to other existing points of view, connects abilities not with the specific nature of human activity, but with the development of mental processes: thinking, perception, etc. He writes: “... the mental process turns into ability, as connections , which determine its course, are "stereotyped". As a result of this stereotyping, the mental process, as such, ceases to appear in a visible way, leaves consciousness: in its place, on the one hand, a new “natural ability” remains - in the form of a stereotyped system of reflex connections, on the other hand, a product of what has become thus invisible mental process, which now seems to be unknown as a product of the ability connected with it.

This means that the natural component of the ability is not only innate inclinations, but also the natural qualities or characteristics of a person in their development and improvement. They acquire the "appearance" of the ability under the influence of a certain way the emerging conditions of life and activity of the individual. The natural component, being included in the composition of abilities, in this capacity is subject to further development depending on social conditions.

At the same time, Rubinstein believes that natural ability is “not just a possibility, but a real ability”, this is what “is obtained by a person in his communication with the world”.

Socially developed knowledge and methods of action influence the development of the mental properties of the individual. However, the transformation of these properties into an ability (for example, thinking - into a developed thinking ability, simple perception - into artistic creativity, etc.) is possible only under certain conditions of the individual's activity.

The idea of ​​social conditioning of the development of abilities does not remove the question of abilities as a natural formation. S.L. Rubinstein wrote: “However, on the basis of the dependence of a person’s capabilities on the social methods of his activity mastered by him, it is by no means possible to conclude that his abilities are independent of the same for everyone. They are only expressed in different ways and combined in different ways.

Psychologists identify criteria for the development of creative abilities, in particular, Simanovsky A.E. proposed in the practice of teaching and nurturing creative abilities at school to rely on the following criteria:

Feeling new

The ability to transform the structure of an object

Focus on creativity

criticality

And as indicators he proposed, respectively

Ability and desire for knowledge

Positive self-esteem, self-confidence and abilities

The development of a sense of beauty, the desire to realize their abilities and capabilities

Possession of the ability to reflect, evaluate and self-evaluate.

An analysis of the psychological and pedagogical literature on the problem of abilities, creative abilities, consideration of approaches to the problem of developing abilities, creative abilities made it possible to highlight the provisions that are important for our study.

We found out that the essence of abilities is not limited to knowledge, skills and abilities, but the concepts of knowledge, skills, skills and abilities are mutually dependent: on the one hand, abilities are a prerequisite for mastering knowledge and skills, and on the other hand, in the process of mastering skills and knowledge, development takes place. abilities.

The main indicators that make it possible to judge the level of development of abilities are the ease of assimilation of a new activity, as well as the breadth of the transfer of the ways of perception and action developed by the individual from one activity to another.

The development of abilities takes place in ascending order, or, as S.L. Rubinstein, “in a spiral”: first, the possibilities are realized, while the possibilities represent the abilities of the same level, as a result of which opportunities for further development open up, i.e. to develop higher level skills.

Abilities are divided into general and special. In modern domestic psychology, abilities are distinguished from the point of view of psychophysiological functionality, highlighting mental, motor, mnemonic, speech and creative.

Creativity refers to a group divided into educational and actual creative abilities. At the same time, creative abilities are understood as those that determine the process of creating objects of spiritual and material culture, the production of new ideas, discoveries and inventions. In other words, creative abilities determine the process of individual creativity in various areas of creative activity.

After analyzing the definition of the essence of some creative abilities, we came to the conclusion that creativity is indeed a complex synthetic concept. The level of their development must be determined by the general criteria of focus on creativity, a sense of novelty, criticality and flexibility of thinking (the ability to transform the structure of an object, the ability to overcome functional fixedness).

DEVELOPMENT OF CREATIVE ABILITIES OF JUNIOR SCHOOLCHILDREN IN THE LESSONS AND OUTSIDE TIME.

• Introduction.
• Creative games in the classroom.
• Literary creativity.
• Creative tasks for the development of individual abilities.
• How do I develop creativity outside of school hours.
• Literature.

Introduction.

Do you want your children to be

able and talented?

Then help them make the first

steps on the steps of creativity,

but... don't be late and helping...

think for yourself.

B.P. Nikitin

School is a world of youth, hopes and joy, where the soil for creative activity is most favorable and where the spiritualizing search for reason and goodness does not fade away. Being in constant search, trying to be creative in the educational process, I, as a teacher, want to see in each of my students a future singer, artist, writer, artist or just a kind, loving person. From the very first days of training, I try to create an atmosphere of creation and creativity in the children's team, I help to reveal the abilities of each of my students. To do this, literally from the first days I teach my first-graders, with a single theme for all, to complete tasks in their own unique version, thereby developing independence, activity, initiative, i.e. qualities that accompany creativity and determine the development of creative abilities.

This cannot be said to be a smooth process. At first, problems and difficulties arise due to the fact that not every child is open to creativity, for example, due to underdevelopment of attention and imagination. In order to correct these shortcomings and activate the work of all children (even the weakest), I try to introduce into the lesson such forms of work that would not only develop, encourage creativity, but would be accessible and interesting to everyone. The task of the teacher is not to look for, but to think about improving all the teaching methods and techniques aimed at active creative learning, to choose those that are capable of giving the greatest and most lasting results with the least effort.

How to teach a child to learn, how to “bring” a student to creativity?

We must not miss a single opportunity to reveal the abilities of our students. Each teacher, based on the experience and individual characteristics of students, can make a large list of techniques and methods. I found the answer to this and many other questions in the use of problem-based learning technology.

At the heart of the conscious act of teaching lies the ability of a person to productive (creative) imagination and thinking. Moreover, with a low level of development of these processes, neither successful learning nor successful self-learning is possible. But it is they who determine the development of the creative potential of the individual. The success and confidence in learning depends on how the teacher can help to reveal the individual abilities, qualities and talents of each. Problem-developing learning helps to take a fundamentally important step towards the formation of learning motives and cognitive interests.

This technology helps to increase the learning motivation of schoolchildren, their cognitive interest, it turns even the most shy, withdrawn children into active, self-confident and self-confident students. This technology allows the teacher to reduce the time for studying many topics, and devote the freed time to “immersion” in the subject. Constant systematic work on this technology will help improve learning outcomes (after all, self-acquired knowledge is more durable!).

Where to start? From creating a problem situation in the lesson! Try to go through this stage with your students, and I'm sure you won't be able to stop there! Learning tasks serve as a didactic tool that ensures the development of students' thinking in the process. If a learning task creates a problematic situation, then it is called problematic. The functions of cognitive tasks are diverse. They help the student comprehend the educational material, consolidate the knowledge gained, develop the qualities necessary for research activities, master the techniques of thinking, and learn to apply knowledge in a new situation. But the concept of "problem situation" cannot be considered in isolation from the child. If he does not understand the task, cannot isolate the unknown and perform the necessary mental operations, then the task is not problematic for him. It is not so even if he easily copes with it, using the methods of action already known to him. Therefore, to create a problem situation, it is necessary to take into account its structural composition, that is, all its components: the need to perform such an action, in which there is a cognitive need for a new, unknown method or condition of action; the unknown, which should be revealed in the problem situation that has arisen; the student's ability to complete the assigned task, to analyze the conditions and discover something new. When including problematic tasks in the lesson, two points should be paid attention to.

1. Knowledge can be offered to students in the form of a sample known to the teacher, which the student must remember and reproduce, and then work out the appropriate skills and abilities. I will give a number of examples of creating a problem situation in mathematics lessons.

For example, in the lesson “Written addition of the form 45 + 23” (second grade), the task is proposed as follows:

• Can you add two digit numbers?
• Add the numbers 45 and 23 using the mental calculation technique. How will you reason?
• Did you know that there is such a form of notation in which units are always added first, and only then tens? In addition, this form of notation saves time on calculations and takes up less space.
• Do you want to know what this record is?

2. In another case, the student is included in the activity, the process of which he needs to master new knowledge and he himself or with the help of the teacher "discovers" the new.
For example, in the lesson “Addition within 20 with a transition through a dozen” (second grade), the teacher offers the task:

Find the unknown number of the second equality using
top line examples:

9 + 3 = 12 6 + 8 = 14

9 + 2=... 7 + 8 = ...

• How else can you solve the examples of the second line?(Using a numerical segment, using an addition table)
• Is it possible to use the listed methods, for example, when shopping in a store? Why?(We have dealt with such examples before, but in a life situation there is neither an addition table nor a numerical segment)

How to be in such a situation?(Find a new way to solve)Thus, the problem task is a necessary component of the learning process, the purpose of which is to develop the student's thinking. Performing a motivational function, problem tasks allow you to repeat previously acquired knowledge, prepare students for learning new material and formulate a problem, the solution of which is associated with the "discovery" of new knowledge.

You can start studying the topic “Dividing a sum by a number” with the following task:

Guess what rule the expressions are written in each column. Calculate their values:

54: 9 63: 7 78: 8

(36+ 18): 9 (49+14): 7 (24+ 48): 8

36:9 + 18:9 49:7+14:7 24:8 + 48:8

On the one hand, the task is clear to students and they can begin to complete it. On the other hand, it is associated with the study of something new, which is not yet known to students. The task only prepares students for the "discovery" of this new one. In the context of new knowledge, it becomes possible to repeat previously studied material. Of course, not all students can, after completing this task, independently formulate the property of dividing a sum by a number. Therefore, students are invited to write down columns of expressions according to the same rule for cases 36: 4, 48: 6, etc. Awareness of the mode of action allows students to independently represent the numbers 81, 72, 45 as the sum of two terms, each of which is divisible by 9 (new task).

It would seem that the mode of action is clear. But you can offer students a task that confronts them with a new problem.

How are the expressions in each pair similar? What is the difference?
(24+48):8 (42+14):7 (36+18):9

(22+50):8 (40+16):7 (34+20):9

Analyzing pairs of expressions, students find that in the first expression of each pair, you can use an open method of action, but not in the second expression.

The problems do not end there, and students are offered the following task.

Which of these numbers can be written as the sum of two terms, each of which is divisible by 6, and which cannot: 36, 48, 52, 28, 24, 38, 56, 6?

The task again creates a problem situation in which all the necessary components are present.

When creating a problem situation, the teacher must remember that if the task is formulated without taking into account the knowledge of students, their age characteristics, this will necessarily lead to a loss of motivation for learning. Only a problem situation correctly created by the teacher ensures the intellectual development of students, instills in them strong-willed qualities, independence, activates and develops the emotional sphere and imagination.

If you take the time to master the skills of creating problem situations, you will be rewarded with the fact that the desire to understand a new problem will appear even in those students from whom you did not expect it.

Creative games in the classroom.

One of the most fertile forms of creativity has been and remains the game.Psychologists define play as a leading activity in preschool age. In it, the child is activated as a person, through the game he learns the world. At primary school age, the role of the leading activity passes to teaching, to educational activity. This transition should not be abrupt, so game techniques can be successfully applied throughout the entire education in elementary school. Another thing is that the game should correspond to the age of the children, be exciting and, most importantly, promote mental and spiritual development, i.e. must be creative.

In the primary grades of the modern school, one of the effective methods that actively influence the cognitive activity of students, their emotional sphere, is a creative game. It contributes to the creation of an emotional mood among schoolchildren, causes a positive attitude towards the activities performed, improves overall performance, makes it possible to repeatedly repeat the same material without monotony and boredom, and achieve its lasting assimilation.

The game is a familiar activity for children of primary school age. They are actively involved in an interesting game, distributing roles in it among themselves. they try to achieve the best results, rejoice in victory, are upset because of defeats. Children live for play. The teacher needs to widely use this interest, put it at the service of the educational process, develop the creative potential of each student in the game.

It should be noted that a teacher who is creative in his work sees in the student not only an object of influence, but also a partner, an ally in the creative process. But it is the game that can help create an atmosphere of partnership and mutual respect in the classroom, strengthen the child’s faith in their own strengths, give them a taste of victory, both personal and collective.

The use of creative play in elementary school lessons helps, to one degree or another, to remove a number of difficulties associated with memorizing the material, to study and consolidate the material at the level of emotional awareness, which undoubtedly contributes to the development of cognitive interest in subjects. It is also important that creative play in the classroom contributes to the enrichment of students' vocabulary and broadens their horizons. It carries a huge emotional charge, solves not only general educational and developmental tasks, but also brings up the qualities of a creative person: initiative, perseverance, purposefulness, the ability to find a solution in an unusual situation.

Didactic and creative games have common roots, since the methods of their preparation and conduct are similar: the presence of certain visual and handout materials, dividing children into groups or teams, setting a game task, identifying the winner or winners.

To teach a child to think independently, to defend his point of view is the main task of a creative game.

Its effectiveness largely depends on the emotional attitude of the teacher to the course of the game, on the interest in its results. In addition, not all students learn the rules at the same time, so the teacher can help them during the game.

However, this help should be as hidden as possible from other students, so that everyone - both the weak and the strong - has the impression of the equivalence of their participation. The task of the teacher is to create a situation of success for each child, to help him open up to the fullest.

Any creative game can be used repeatedly. In order for interest in it not to decrease, it can be modified by replacing equipment (new objects, pictures, symbols are introduced) or by introducing new rules. It is also useful to involve the students themselves in this process: let them show their imagination and change the game, or maybe create a new one, they will play not only in the classroom, but also outside of school hours.

I will give a number of examples of such creative games in Russian lessons

language.

1. Task: write letters into the cells so that you get a word (according to the given rules).

First, you need to give each student the opportunity to come up with their own words, encouraging each new option.(tank, brother, barrel, brotherand etc.). Then you can complicate this game by asking the children to select words for only one part of speech, or on a given topic, or on some spelling rule, etc. When this game is fully mastered by children, you should move to a new, more difficult level.

(Lamp, paw, ray, lemon and etc.)

(Stork, vase, crane, tire and etc.)

It is impossible to even imagine how many such games children can come up with. The main thing is that none of them go unnoticed. The most interesting ones can be included in the lesson, others can be hung out in the classroom in a conspicuous place, let the children play after school hours, in a more free environment.

The next type of such a multifaceted creative game in Russian language lessons can be the game "Extra Word". The essence of this game is that from a number of words, students first need to remove one “extra word”, substantiating their answer, then from the remaining words one more, then one more, until two or three “necessary words” remain. This game is useful in that students involuntarily have to compare the proposed words according to various criteria: lexical meaning, composition, grammatical features, etc., which leads to the development of the listed concepts.

The teacher can play this game repeatedly when studying any topic and at any stage of the lesson, the main thing is that it matches the goals and fits organically into the structure of the lesson.

Another example of creative play is creating your own font or code. The simplest option is to simply duplicate each letter of the Russian alphabet with your own icons and encrypt your text with these "letters". A more complex option involves changing some fundamental feature of the letter, for example, depicting a capital letter with the same icon as a lowercase letter, but with a dash at the top.

The most difficult version of this game, schoolchildren are given a text encrypted in an unknown way from a literary work.

Knowing the text, students must solve the cipher, and then use the guessed font to write down the text that they themselves will compose.

And what a scope for children's imagination opens up a game for inventing their own words, necessarily motivated, i.e. related to real words. For example, when studying the topic: “Compound words”, you can invite children to come up with their own words, continuing the series, then determine the meanings of the selected words: samolet, dump truck, scooter ... (self-carrier, self-propelled, self-jumping and etc.)

Or, when studying the topic “Proper Names”, ask the children to come up with their own nicknames for animals, displaying their appearance or habits:goat Bodula. rooster Screamer, dog Layushka, horse Swift-footed, lamb Curly and etc.

Literary creativity.

Of all forms of creativity, literary, verbal creativity is characteristic of school age. It is well known that at an early age all children go through several stages of drawing.

Drawing is a typical creativity of an early age. At this time, children draw willingly, sometimes not awakened by any of the adults; sometimes the slightest stimulus is enough for a child to start drawing. At this time, drawing is a favorite pastime of children. The creative forces of the child focus on drawing is not accidental. It is drawing that provides the child with the easiest way to express what he owns. By the beginning of school age, love and interest in drawing begins to wane, and for many children it disappears altogether. It is very important not to miss this moment and arouse in children an interest in drawing. Very often in the classroom I give the children assignments: draw an illustration for a passage they like, draw environmental signs that you would put in your own school, village, etc. (see appendix). The child draws and at the same time talks about what he draws. Another method of developing literary creativity is theatricalization. The child dramatizes and composes the verbal text of his role.

The child's "unconstrained word", open dialogue in the classroom, free thought are indispensable conditions for children's creativity. The lessons of reading, the world around us, Cuban studies are suitable for an open dialogue. In the first years of schooling, a child learns to navigate in a speech stream, to distinguish between sounds and letters, to distinguish text from a set of sentences, and acquires the skills of correct and conscious reading. Acquaintance with reading begins with the first literacy lessons, in which I use different poetic material. For example:

Look at the gate:

Why is it not the letter I?

Between two straight boards

One lay down.

V. Stepanov

T turned into an antenna

And I found myself on the roof.

A. Shibaev

With the help of counting rhymes, tongue twisters and tongue twisters, students get acquainted with the concept of "rhyme".

Sha-sha-sha-

Mom is washing the baby.

Ta - ta - ta -

Our house is clean.

The students are able to do the creative tasks proposed below for the selection of rhymes.

In our house on the window

Sitting gray ... ________

Bear cries and roars:

Asks the bees to give ...

With great pleasure, students complete the task in which they need to continue the poem, for example:

Continue lines:

Spring, spring outside

Spring days!

Such tasks help to identify children who are prone to intellectual creative work, capable of versification.

A properly organized reading process includes the work and creativity of the reader: while reading, he actively reacts to the actions of the characters, evaluates them, compares them with his own actions and actions, recreates them in his imagination, participating in co-creation.

Reading activity involves the correct organization of perception, memorization and reproduction of the text being read. And how the process of working with the text is carried out: purposefully or spontaneously, creatively or formally, whether it awakens emotions and an active attitude to what is being read, depends on what the reader will become.

At present, the most developed methodological direction in teaching reading is the formation of correct reading activity in students. Correct reading activity is "a three-stage process of purposeful individual comprehension and development of books by children (before reading, in the process of reading, after reading)".

First, preparation for the perception of the text is carried out. It is in the nature of a preliminary orientation. Students read key words and phrases, the title of the work, the last name of the author, written on the board, look at the illustrations and make assumptions about the content of the text.

Work in the process of reading is aimed at comprehending the text at the level of content. The text is read in sentences, paragraphs, parts. In the course of reading, clarifying questions are asked for initial perception and understanding of what is read.

At the third stage of working with the text, it is necessary to achieve understanding at the level of meaning. Here the ability to understand, remember and reproduce what is read is formed. With the help of these skills, a deep, full perception of the work is carried out. Students also perform creative tasks - illustration, word drawing, inventing a continuation, compiling a filmstrip, staging.

Such a “three-step process” of working on a work allows you to build a reading lesson in such a way that the identification of knowledge and learning merge into a single process, and the study of the new is based on already known knowledge, based on the life experience of a small reader.

As the reading experience accumulates, students more actively enter into a dialogue with the teacher and with each other.

Coming into contact with the work of poets and writers, joining the great works, students learn to love and understand what they read. And the love of reading is the beginning of the development of one's literary abilities.

Discovering the secret of the living Russian language, performing creative tasks, students gain the first experience of literary creativity and versification.

Literary, verbal creativity is characteristic of primary school age. Its meaning is important for the child himself, and not for literature, it is necessary for the development of the powers of the little author. Children's literary creativity can be stimulated and directed from outside. The best stimulus is such an organization of the life of students that creates needs and opportunities for children's creativity. This is facilitated by a free atmosphere in the school and classroom, trust and respect on the part of the teacher, providing students with independence, attention to the interests of each student, to his inclinations, health, versatile development and abilities.

Creative compositions, presentations.

I give a special place in the educational process to work on essays, since I believe that this is an invaluable material not only for the development of students' written speech and the formation of literacy, but also for the formation of the personality as a whole (creative thinking, emotional and volitional spheres). Essays on various subjects allow you to view the dynamics of growth in the development of students' creative abilities, to learn not only the inner world of the child, but also his interests, the degree of his observation, are an indicator of the overall development of the child. When working on an essay, I never give children a ready-made sample, so the compositions of all children are different, and when analyzing, I focus the attention of children on the best works, on vivid expressions, comparisons. I never read unsuccessful essays in class, but work with children individually.

In school essays, narrative, description, reasoning are distinguished. Compositions in elementary grades are rarely kept in the pure genre of narration, description and reasoning. Most often, in elementary school, essays are mixed works.

The story tells about successive events connected with each other. The works of this genre may have a plot, in which case they are close to stories of the literary genre.

Narration is the most mobile, lively and therefore the most accessible genre of compositions for children (“A walk in the forest”, “What I see from the window”, etc.). The essence of the description is to indicate the signs of objects or phenomena.

The purpose of the description is to give the most complete, accurate information about the subject, phenomenon (“In the forest in autumn”, “My cat”, etc.).

Reasoning is a coherent text in which judgments, comparisons, examples are used to prove a statement, leading to conclusions (“What do I dream of becoming”, “If I were a magician”, etc.)

Children write various essays: description, reasoning, compose fairy tales, etc. The subjects of the compositions are diverse: For example: “Letter to the Governor”, ​​“Journey of a snowflake”, “Why do we need toys”, “This is a great word - mother”, “I love my land”, etc.

The role of composition in elementary school is immeasurably great. What has been done in the lesson to teach children to express their thoughts correctly and sensibly, to argue and prove, to defend their opinion in various life situations? This question should always, at all lessons, be faced by every creatively working teacher.

The development of the skill of independent creative work is the task of a teacher in elementary school. This creative process includes the stage of teaching presentation in the lessons of the Russian language and reading. There are a number of conditions that it is useful for the teacher to fulfill:

• Presentation training is carried out using the necessary visualization and technical teaching aids to create an appropriate atmosphere for creative work;
• In grade 2, read the text more slowly, and in grade 4, read at normal speed, reading the text not 3 times, but two;
• Maintain an atmosphere of goodwill and trust;
• Create a non-judgmental climate of relationships (compare work!).

An indicator of the overall development of the child are also essays, research papers of students in various subjects. I form the research activity of students starting from the 1st grade. Children choose the topics of research papers on their own, with ready-made papers they perform in the classroom and after school hours.

In order to carry out a full-fledged educational process, I have created a lot of diverse didactic material in all subjects: handouts for group and individual work in the lessons of the Russian language and mathematics, tasks for the development of speech, logical thinking, memory, attention, multi-level tasks for lessons, tests for subjects, cards for vocabulary work, collected the best essays and research papers of students.

In each lively and direct story, statement, essay, children's inquisitiveness, curiosity, love for the world around them, simplicity and sincerity are reflected. This is how a new person, a personality, is formed, and my task is not to let this spark die out.

Creative tasks to reveal the individual abilities of students.

Success and confidence in learning depends on how the teacher can help to reveal the individual abilities, qualities and talents of each child. Here the children themselves can be of great help if they know more about themselves, about the peculiarities of their attention, memory about the ability to communicate. In solving this problem, I am helped by a set of creative tasks that require an individual solution, the ability to realize my “I”. They can be performed on all subjects. Here are some of them.

1 task.

Do you remember where you had to watch animals?

• Now let's play the Animal Theatre. Imagine some kind of animal and try to portray it: here it moves, here it listens, eats, drinks, makes its own sounds. (One student portrays, the rest try to find out what kind of animal it is, substantiating their assumptions.)
• Now let's think about how the habits of wild animals (animals) differ from the habits of domestic animals? (Children justify their observations.)
• Can you draw your favorite animal and give it a name? Who has pets at home?

At home, it is proposed to observe the habits of domestic animals or the habits of animals in the zoo in order to describe them in detail in a week.

2 task.

Let's share our thoughts with each other. Tell me what you feel or imagine when you hear the words day and night. (Children's answers are heard.)

Now let's get on with the work. Draw pictures if you like. We will call one "Day", the other - "Night".

Day Night

• Now let's see what you got. (Exchange of drawings, discussion of them.)

• What colors did you choose? Why?
• And now let's play. Match the group of words that come to your mind when you hear the word day Night)! (You have 1 minute to think.)
• Let's see what you got? Who wants to read or speak? (Read the options.)

Who managed to write down (or say) more words? It remains for us to remember what sounds you hear during the day? And at night? (Then everyone is given a piece of paper with a picture of a blot.)

What animal does she look like? Is it possible to draw it to some animal?

The guys write their stories-assumptions - about an animal that resembles a blot.

3 task.

Almost every day you hear the words water, air. How are they similar? Do they have something in common? What is the difference? How can you draw them?

Children draw, then the drawings are discussed. The brightest ones are selected.

What sounds do they affect you? Tell, share with others.

Now close your eyes and try to imagine that you are in the water, what do you feel? (Children's answers.) And when there is air around you, what do you feel? Try to talk or write about your feelings.

What is water like? What is air like?

__________________ ____________________

__________________ _____________________

Close your eyes and imagine that you have hot air in the palm of your hand. Why does it come out? Now tell me, how would you feel if ice water was running down your back?

Children share their feelings.

When are air and water harmful to humans?

Various versions and hypotheses are discussed.

• Now remember what you hear when a bicycle tire or ball chamber goes down? What's happening? (Children's stories are heard.)
• Where does a person use water, what is air needed for? What do they serve us?

Such tasks help to reveal individual abilities, help the child to open up and show creativity.

Conclusion.

Children's creativity is inexhaustible, the nutrient medium is a sense of mystery that one so wants to unravel. In order to awaken creativity in children, you need to create this nutrient medium, sow the seeds of creativity in the souls of children, and they will certainly give excellent shoots. It is necessary to become a comrade and friend for your students, since command methods do not work, here the effect is achieved on the basis of dedication. The main stimulus of creativity is the great joy that it gives to both the student and the teacher.

Every child has abilities and talents. Children are naturally curious and eager to learn. All it takes for them to show their talents is smart guidance from adults.

The problem of developing creative abilities is multifaceted and difficult. Creativity is understood as something that does not come down to knowledge, skills, but explains their rapid acquisition, consolidation and use in practice.

Conditions for the effective development of creative abilities of younger students.

• Choice situations are created, the learning process includes tasks that are performed taking into account the imagination;
• Co-creation is organized in the children's team from the whole manifestation and development of the creative abilities of everyone;
• Technologies for the development of creative thinking are used;
• The diagnostic results are systematically monitored.

Every child has different kinds of gifts. Of course, not all children have the ability to compose, imagine, invent. And yet, the talents of each person can be developed. Incentives are needed for their development.

Ways to stimulate creativity.

• providing a favorable atmosphere;
• goodwill on the part of the teacher, his refusal to criticize the child;
• enrichment of the child's environment with a wide variety of new objects and stimuli for him in order to develop his curiosity;
• encouraging the expression of original ideas;
• providing opportunities for practice;
• using a personal example of a creative approach to solving problems;
• giving children the opportunity to actively ask questions.

The importance of developing the creativity of a younger student, his ability to take initiative, invention, and independence in solving any educational problem is now obvious to everyone. Correlating the process of creativity and learning, obviously, we need to talk about creating such conditions that would contribute to the emergence and development of all trainees' qualities and inclinations, usually singled out as characteristic features of a creative personality. The effectiveness of the school is determined by the extent to which the educational process ensures the development of the creative abilities of students, prepares them for life in society.

Thus, we can conclude that every child has creative abilities. It is individual - psychological characteristics that distinguish one person from another. The creative potential of our society depends on how developed they are, since the formation of a creative personality today acquires not only a theoretical meaning, but also a practical meaning. Knowledge of teachers, what is meant by the creative abilities of students, will expand the boundaries of their manifestation in children.

List of used literature:

1. Ataev. L. V. Creativity is the basis of pedagogical activity. / Primary school (plus before and after), No. 1 2005

1. Bogoyavlenskaya D.B. Paths to creativity. M., 1981
2. Borzova V.A., Borzov A.A. Development of creative abilities in children. Samara, 1994
3. Bylevskaya VN Development of creative abilities of junior schoolchildren. Primary school, 1990, No. 5
4. Wenger L.A. Pedagogy of abilities. M., 1983
5. Vygotsky L.S. Imagination and creativity in childhood. M., Education, 1992
6. Lvova Yu. L. To develop the gift of creativity. Kyiv, 1987
7. Lyashko T.V., Sinitsina E.I. Through play to creativity. Obninsk, 1994
8. Maksimov Yu.V. "Spring of Creativity". M., 1986
9. Matyushkina A.M. Development of creative activity of schoolchildren. M., 1991

1. Nechaeva N.V. Organization of literary creativity. Krasnoyarsk, 1993

Collection output:

DEVELOPMENT OF CREATIVE ABILITIES OF YOUNGER STUDENTS

Kondratieva Nika Valerievna

post-graduate student of FSBEI HPE “Chuvash State Pedagogical University named after I.I. AND I. Yakovlev, Russian Federation, Cheboksary

E- mail: nikpnd@ gmail. com

THE DEVELOPMENT OF CREATIVE ABILITIES OF YOUNGER SCHOOLCHILDREN

Kondratyeva Nika

postgraduate studyChuvash State Pedagogical University I.J. Yakovlev», Russia, Cheboksary

ANNOTATION

The article is devoted to the actual problem of the development of creative abilities and creative thinking of younger schoolchildren. In the course of its writing, an analysis of the points of view of scientists, teachers and psychologists was carried out, and ways to solve this problem were developed. The article will be useful to students of pedagogical universities, psychologists, primary school teachers, leaders of creative circles, methodologists. The development of the creative abilities of younger students is an important aspect of pedagogical activity and an important component of the harmonious development of children of this age.

ABSTRACT

The article is dedicated to the actual problem of development of creative abilities and creative thinking of younger schoolchildren. In the course of writing was hold a detailed analysis of the points of view of scientists, educators, psychologists regards to development of creative abilities, were developed the solutions to the problem. Article will be relevant and useful for future teachers, psychologists, teachers of junior classes, art classes’ leaders and methodologists that make up the program of training of younger schoolchildren.

Keywords: Creative skills; personality; development; elementary school pedagogy; psychology of younger schoolchildren; development problem.

keywords: creativity; personality; development; pedagogy of primary school; psychology of younger students; the problem of development.

The development of a child's personality begins from infancy, but conscious socialization and personal adaptation begins at the age of 2-3, when the baby begins to actively explore the world. During this period, the main authorities are the parents. It is the parents who lay the first foundations for the socialization of children and develop their creative abilities, as well as prepare them for communication in preschool institutions - kindergartens and circles. The next period of development of the child's personality is the period from 3 to 7 years. At this time, a preschooler attends a kindergarten, communicates with his peers, another authority that influences the child’s worldview, in addition to parents, becomes a teacher, so specialists in preschool institutions should take this into account and use such a method of raising children and developing creative abilities in order to productively and correctly prepare child to school. The third period of development of children is from 7 to 12 years. At this time, the main personal characteristics are laid, which will further affect adolescent development and overcoming the so-called "difficult age". In our opinion, this is the most important period in the development of creative abilities.

Creativity can be described as the activity of a child, as a result of which something new is created, which characterizes its creator from an unexpected side, and also allows you to acquire new knowledge and apply previously acquired knowledge.

Many researchers, such as V. Zenkovsky, D.N. Nikandrov, Z.I. Ravkin, V.A. Slastenin and some others, come to the conclusion that creativity and creative abilities are organically inherent in children's nature, since the child "invariably strives for creativity, using all the means available to him" .

There are a large number of points of view of researchers on the problem of developing the creative abilities of younger students.

For example, V.I. Andreev, G.S. Altshuller, M.I. Makhmutov, T.V. Kudryavtsev, A.M. Matyushkin, E.I. Mashbits, A.I. Uman, A.V. Khutorskoy and some others argue that the creative abilities of primary school children can be developed by creating problem situations, in the process of performing creative tasks, as well as developing personal orientation.

Children from early school age should show independence, develop thinking, self-realization. Teachers and parents should in every possible way encourage the initiative of the child, and also guide him, but not with orders, but with friendly advice, remembering that they are already indisputable authorities for children at this age. In the future, the development of such qualities will greatly help in the further socialization of a schoolchild, a teenager.

The strategy of modern education is to give "the opportunity for all students, without exception, to show their talents and all their creative potential, which implies the possibility of realizing their personal plans and interests" .

Vygotsky L.S. in his writings, he claims that the basis of any creative activity is experience. To do this, parents, teachers of elementary grades should in every possible way encourage the child in his independent knowledge of the world around him, of course, under strict unobtrusive guidance. As L.S. Vygodsky, teachers are responsible for the development of creative abilities of younger students, they must stimulate the development of creative abilities, direct development in the right direction, and also create an environment that requires creative abilities, but at the same time provides opportunities for their manifestation.

Creativity needs to be developed, giving complete freedom of action, without insisting on the obligatory manifestation of them. A creative approach to solving a particular problem should be encouraged and supported in every possible way. As L.S. Vygotsky, it is important to direct pedagogical work towards the development of the imagination of younger students, since this quality will be necessary in the further development of the child's personality and his active socialization in society.

Academician L.V. Zankov also gave not the last place to creativity in the educational program for younger students. In his works, he argued that it was necessary to teach younger students music, fine arts, literary reading, and in every possible way to develop and encourage their creative abilities. At the same time, it is necessary to encourage children to independently search for information, create a positive emotional and creative mood in the classroom, and also, with the help of art, teach subjects that, it would seem, have nothing to do with creativity, for example, mathematics. This is possible with the help of special textbooks and didactic materials in which you can draw, come up with problems yourself with your favorite characters of younger students, give an answer to the question of the problem by coloring objects or their images. A child of primary school age acquires knowledge, but at the same time acquires the skills of independent thinking, creative perception of surrounding objects, and also develops his creative abilities. Psychologists and teachers should teach younger students critical, creative thinking, independence.

The problem of developing the creative abilities of younger schoolchildren was considered not only by domestic, but also by foreign scientists, in particular D. Reznulli and H. Passov.

D. Reznulli in his writings develops the idea that the curriculum of younger students should contain all aspects in order to develop the creative abilities of students. In particular, take into account the needs and desires of each child individually, focus on the individual abilities of younger students, and also not limit their need for a more detailed study of a particular issue of interest to them.

The American scientist H. Passov, who developed not a single curriculum, paid special attention to the children's abilities for creativity and creative thinking, and also provided for the development of the creative abilities of younger students through the school curriculum. It is necessary to encourage every manifestation of creativity in any subject, as well as the desire to learn new things, initiative and independent thinking.

The creative abilities of younger students differ from the creative abilities of older students and adults. For younger students, creativity is part of the creation of personality, the development of aesthetic concepts and perception, as well as a means of self-expression.

Creativity determines the character of children, develops in them independence, dedication to what they love. As a result of creative activity, speed of reaction, resourcefulness, and originality of thinking develop.

At the same time, however, younger students in their creative activities are often guided by what they have already read in books, seen in films or in life - as their parents and peers do, so teachers and parents need to be an example of creative behavior for their students and children of primary school age.

The choice of certain life phenomena, characters, lines of behavior by children of primary school age is reflected in their creative activity, therefore, by analyzing the reflection in drawings, in verbal or dance creativity, one can judge the psychological and creative development of a younger student.

Scientists A.G. Gogoberidze and V.A. Derkunskaya note that creativity allows the child to discover himself, new in himself. They considered the results of the application of creative abilities as the results of expressing the inner world of a younger student, his values. Thus, the child opens his inner world to others.

According to E.I. Nikolaev, the manifestation of creative abilities depends on the individual qualities of students, as well as the originality of the activity in which one can show creative abilities.

ON THE. Vetlugin and T.G. Kozakova argued that creativity and creative abilities should develop freely, but under the reasonable, sensitive guidance of teachers and parents. The creative abilities of younger schoolchildren should and can develop only in a free atmosphere, without coercion, on the principles of interest and independence of the child. At the same time, for primary school age, in addition to the subjective side of creative activity, which manifests itself in the form of knowledge of properties and relations in the objective world, procedural or plot-role-playing games, productive activities such as drawing, designing, the child’s independent setting of cognitive and research tasks, the formulation hypotheses, independent search for their solutions.

Scientists A.N. Luca, V.T. Kudryavtsev, V. Sinelnikov and others distinguish the most significant creative abilities inherent in, among other things, younger students:

· creative imagination;

the ability to see the whole before the particular;

the ability to apply previously acquired skills in new conditions;

Flexibility of thinking

the ability to visualize the general trend or pattern of development of an integral object, before a person has a clear idea about it and can fit it into a system of strict logical categories;

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

The ability to independently choose an alternative;

· Ability to generate ideas.

However, creativity develops only within the framework of children's activities, so it is necessary to encourage the participation of younger students in various creative teams or any other activity related to creativity.

However, in modern educational institutions, in particular in schools, the individual abilities of each student are not always taken into account, and the curriculum is calculated for the “average student”, so the creative abilities of some younger students simply do not develop.

There are many programs designed for the development of children with learning difficulties or intellectual disabilities, but there are practically no implemented programs designed and developing creatively developed, gifted children who have a high level of development of creative abilities.

All training should be based on taking into account the individual abilities, personal characteristics of each child, and also develop the creative thinking of younger students, thereby preparing them for further independent decision-making in adolescence and adult life.

Studies by psychologists and educators show that in the absence of programs for the individual development of younger students, creative abilities may not develop or even be lost due to the wrong approach to the development of the child's personality. As a result, this can lead to problems in the socialization of the child, as well as the lack of one's own opinion. A talented, creative person must be developed and supported in everything.

The experience of foreign studies and the practice of early detection of giftedness in children and students indicate the need to create a special state program that ensures the intensive development of research and the use of accumulated practical experience in identifying gifted and talented younger students and developing their creative abilities.

As a result, we can conclude that the development of creative abilities of younger students is an important aspect of pedagogical activity and education of children of this age. They must become active, independent, be able to make decisions, be creative in solving problems, which is necessary for further successful socialization in society.

Bibliography:

1. Altshuller G.S. Find an idea: Introduction to the theory of inventive problem solving / G.S. Altshuller. 2nd ed., add. Novosibirsk: Science. Sib. otd., 1991. - 225 p.
2. Andreev V.I. Pedagogy: textbook. course for creative self-development / V.I. Andreev. 2nd ed. Kazan: Center for Innovative Technologies, 2000. - 608 p.
3. Aikina L.P. Essence and specificity of creative abilities of younger schoolchildren // World of science, culture, education. - 2011. - No. 5 (30). - pp. 6-8
4. Vygotsky L.S. Imagination and creativity in childhood: a psychological essay / L.S. Vygotsky. M.: Enlightenment, 1991. - 93 p.
5. Gogoberidze A.G. Theory and methods of musical education of preschool children / A.G. Gogoberidze, V.A. Derkunskaya. M.: Academy, 2005. - 320 p.
6. Zankov L.V. Selected pedagogical works / L.V. Zankov. 3rd ed., supplement. M.: House of Pedagogy, 1999. - 608 p.
7. Zenkovsky V.V. Psychology of childhood / V.V. Zenkovsky. M.: Academy, 1996. - 346 p.
8. Kudryavtsev V.T. Diagnosis of creativity and intellectual readiness of children for developing school education / V.T. Kudryavtsev. M.: RINO, 1999.
9. Matyushkin A.M. Problem situations in thinking and learning / A.M. Matyushkin. M., 1972. - 168 p.
10. Nikolaeva E.I. Psychology of children's creativity / E.I. Nikolaev. St. Petersburg: Piter, 2010. - 232 p.
11. Leites N.S. Psychology of giftedness in children and adolescents / N.S. Leites. M.: Academy, 1996. - 416 p.

“It is precisely the human treasures of the soul that begin where a person is included in the world of moral thoughts and feelings.”

Professor L.I. Ruvinian

Working for many years at school, I always think about how to make reading lessons in elementary school solve one of their main tasks - the development of a small student into a great reader. It is necessary to change the teaching methods, the system of preparation for the lesson. And, first of all, the teacher needs to change himself, ready not only to teach children, but also to learn himself. For a number of years I have been introducing children to poetry, teaching them to compose poetry.

In the first grade, at literacy lessons, I introduce students to rhyme, learn to select a rhyme, play various games: “Complicated - Awkward”, “Guess to rhyme”, “Suggest a rhyme”. At reading lessons, we discuss why the writer writes poetry, what secrets he uses, how to learn to discover these secrets himself and how to teach this to his comrades.

Pupils have been trying to compose poems on various topics under the general heading: “I will teach, and you continue ...” for three years.

In 2001, the first collection of poems was released under the title: “Poetic Notebook”, which included poems by children of their own composition.

I would like to cite the students' statements, their personal appeal to what is happening, those events that spiritually enrich the child's personal experience, his emotional world.

Our speech creativity develops through the game with the word. Working with the word enriches the vocabulary, contributes to the development of creative imagination, fantasy. If we compose verses ourselves, we can easily understand other verses. Through poetry, we learn to understand the emotions, feelings, thoughts of another person, i.e. his spiritual world. In working with a word, we learn to understand its beauty, brightness, accuracy. These lessons contribute to the development of love for the native language, our speech becomes more expressive, figurative, vivid, accurate. We become kinder, learn to experience and empathize.

Parents' comments:

My child became more interesting internally, it became more interesting to communicate with him. He began to read more, to join fiction. He became kinder, more sociable. He made many friends, he became interested in learning about everything around him. The lessons of speech creativity contribute to the moral and aesthetic development of schoolchildren through the improvement of their linguistic thinking, speech culture.

For a number of years I have been teaching a literature course: G.N. Kudina, Z.N. Novlyanskaya "Literature as a subject of the aesthetic cycle".

The main task of the “theorist” is the “discovery” of the law of artistic form and ways of creating an artistic image as a means of working in the poetry of the “reader” and “author”.

The main concept is the concept of “point of view”. It is owned by someone who practically knows how to find in the author's and express in his own artistic text the points of view of narrators and heroes. Students are given a specific creative task and given the direction of the movement of children to solve this problem. The difficulty is that children do not assume a different point of view, far from each other - human and animal. First, a collective etude is created. Children are invited to tell on behalf of the dog about the medal received at the exhibition. Homework: write a story on behalf of the animal so that the hero could tell (if he could talk, how he looks at the world, how he sees it, what worries him). The students from the point of view of the animal tried to solve this problem.

Examples of compositions "Whose eyes".

Hello! Xp-Xp. I am Chapa the hedgehog. Why is that my name? Because when I walk on the carpet, I make chap - chap with my feet. I like milk, apples and other sweets. My house is under the bed of my mistress Sveta. I love the hostess. Come visit me! Xp-Xp.

Chernov Yu.

Hello, I'm a giraffe. I'm still small, only as tall as my mother's leg. I'm covered in orange spots, and I have funny horns on my head. Although I am still small, but if I came from Africa to your city, I could look into the window on the ground floor. But my dad is above all animals. He is five and a half meters tall. He is from Africa, probably, all your Krasnoyarsk is visible! Okay, I ran to eat the leaves, bye.

Konin E.

“The world through the eyes of a teapot”:

"I'm a kettle"

I am a teapot. I was bought yesterday. I feel like the king of the whole tea set. I have something no one else has. My shiny nose is so sparkling, and there is nothing to say about the pen. She is also very beautiful. One day, an awkward hand dropped me to the floor, and my nose and half of my pen flew off. And then my brothers and sisters called me a cripple. They threw me into the street. The boys kicked me and tore off the other half of the handle. Now I have nothing, but my memories are with me. And no one can take them away from me.

Malyshev J.

"The world through the eyes of a saucepan":

The students were challenged to come up with a story and describe it from the point of view of the pan.

Hello! I am an old pot, decrepit and rusty. The hostess cooked soups in me for 6 years. She loved me very much and loves me now. But suddenly the next day the hostess went to the store for a new pan. I thought they would throw it away. But the hostess did not throw me away, she cooked soup in me for the last time. And when I saw the new pan, I was very upset. The new pot asked me to teach her how to cook delicious dishes. And now we are standing together, on the same shelf, clean and shiny, we have become good friends.

Filippenko T.

Hey! My name is pot. They cook food in me. Most often, potatoes are boiled in me. Everyone loves my potatoes. And I also have a girlfriend. Her name is cover. They close me to her when they cook something. Okay. Bye! It seems that something will be cooked in me again.

Rybkin I.

In 2004, the collection “First Steps in Literature” was published, which included both poems and essays by each student.

These lessons are designed to teach children directly - to listen emotionally, to be “infected” with emotions, to experience and empathize.

One of the main tasks of primary literary education is the actual artistic development of the student. The content of this development is, at primary school age, the child's movement from playing with art to communicating with art.

Let's hope that "First Steps into Literature" is only the beginning of the creative path of each child, and everyone has their own great creative path to the World of Literature!

Creativity is not a new subject of study. The problem of human abilities has aroused great interest of people at all times. The analysis of the problem of the development of creative abilities will largely be determined by the content that we will invest in this concept. Very often, in everyday consciousness, creative abilities are identified with abilities for various types of artistic activity, with the ability to draw beautifully, compose poetry, write music, etc. What is creativity really?

Obviously, the concept we are considering is closely related to the concept of "creativity", "creative activity". The opinions of scientists about what is considered creativity are contradictory. In everyday life, creativity is usually called, firstly, activity in the field of art, secondly, design, creation, implementation of new projects, thirdly, scientific knowledge, the creation of the mind, fourthly, thinking in its highest form, beyond the limits of what is required to solve the problem that has arisen in already known ways, manifesting itself as imagination, which is a condition for mastery and initiative.

"Philosophical Encyclopedia" defines creativity as an activity that generates "something new, never before." The novelty resulting from creative activity can be both objective and subjective. Objective value is recognized for such products of creativity, in which still unknown laws of the surrounding reality are revealed, connections between phenomena that were considered unrelated to each other are established and explained. The subjective value of creative products takes place when the creative product is not new in itself, objectively, but new for the person who first created it. These are for the most part the products of children's creativity in the field of drawing, modeling, writing poems and songs. In modern studies of European scientists, "creativity" is defined descriptively and acts as a combination of intellectual and personal factors.

So, creativity is an activity, the result of which are new material and spiritual values; the highest form of mental activity, independence, the ability to create something new, original. As a result of creative activity, creative abilities are formed and developed.

What is "creativity" or "creativity"? So, E. P. Torrens understood creativity as the ability to a heightened perception of shortcomings, gaps in knowledge, disharmony. In the structure of creative activity, he singled out:

• 1. perception of the problem;
• 2. search for a solution;
• 3. the emergence and formulation of hypotheses;
• 4. hypothesis testing;
• 5. their modification;
• 6. finding results.

It is noted that such factors as temperament, the ability to quickly assimilate and generate ideas (not to be critical of them) play an important role in creative activity; that creative solutions come at a moment of relaxation, distraction of attention.

The essence of creativity, according to S. Mednik, is in the ability to overcome stereotypes at the final stage of mental synthesis and in the use of a wide field of associations.

D.B. Bogoyavlenskaya singles out intellectual activity as the main indicator of creative abilities, which combines two components: cognitive (general mental abilities) and motivational. The criterion for the manifestation of creativity is the nature of the person's performance of the mental tasks offered to him.

I.V. Lvov believes that creativity is not a surge of emotions, it is inseparable from knowledge and skills, emotions accompany creativity, inspire human activity, increase the tone of its flow, the work of a human creator, give him strength. But only strict, proven knowledge and skills awaken the creative act.

Thus, in its most general form, the definition of creative abilities is as follows. Creativity is the individual psychological characteristics of the individual, which are related to the success of any activity, but are not limited to the knowledge, skills and abilities that have already been developed by the student.

Since the element of creativity can be present in any kind of human activity, it is fair to speak not only about artistic creativity, but also about technical creativity, mathematical creativity, etc. Creativity is an amalgamation of many qualities. And the question of the components of human creativity is still open, although at the moment there are several hypotheses concerning this problem.

Many psychologists associate the ability to creative activity, primarily with the peculiarities of thinking. In particular, the well-known American psychologist J. Gilford, who dealt with the problems of human intelligence, found that creative individuals are characterized by the so-called divergent thinking. People with this type of thinking, when solving a problem, do not concentrate all their efforts on finding the only correct solution, but begin to look for solutions in all possible directions in order to consider as many options as possible. Such people tend to form new combinations of elements that most people know and use only in a certain way, or form links between two elements that at first glance have nothing in common. The divergent way of thinking underlies creative thinking, which is characterized by the following main features:

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

A well-known domestic researcher of the problem of creativity A.N. Luk, based on the biographies of prominent scientists, inventors, artists and musicians, highlights the following creative abilities:

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

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

• 1. Imagination realism - a figurative grasp of some essential, general trend or pattern of development of an integral object, before a person has a clear idea about it and can enter it into a system of strict logical categories. The ability to see the whole before the parts.
• 2. Supra-situational - transformative nature of creative solutions, the ability, when solving a problem, not just to choose from alternatives imposed from the outside, but to independently create an alternative.
• 3. Experimentation - the ability to consciously and purposefully create conditions in which objects most clearly reveal their essence hidden in ordinary situations, as well as the ability to trace and analyze the features of the "behavior" of objects in these conditions.

Scientists and teachers involved in the development of programs and methods of creative education based on TRIZ (theory of inventive problem solving) and ARIZ (algorithm for solving inventive problems) believe that one of the components of a person’s creative potential is the following abilities:

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

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

The activation of creative activity is achieved, according to A. Osborne, due to the observance of four principles:

• 1) the principle of exclusion of criticism (you can express any thought without fear that it will be recognized as bad);
• 2) encouraging the most unbridled association (the wilder the idea, the better);
• 3) requirements that the number of proposed ideas be as large as possible;
• 4) recognition that the ideas expressed are not anyone's property, no one has the right to monopolize them; each participant has the right to combine the ideas expressed by others, modify them, “improve” and improve.

D.N. Druzhinin believes that in order to intensify creative activity, it is necessary:

• 1) the lack of regulation of subject activity, more precisely, the absence of a model of regulated behavior;
• 2) the presence of a positive model of creative behavior;
• 3) Flexibility in thinking and acting. creating conditions for imitating creative behavior and blocking manifestations of aggressive and deductive behavior;
• 4) social reinforcement of creative behavior.

The creative activity of the student increases his involvement in the educational process, contributes to the successful assimilation of knowledge, stimulates intellectual efforts, self-confidence, and fosters independence of views. M.N. Skatkin considers separate ways of activating creative activity:

• 1) problematic presentation of knowledge;
• 2) discussion;
• 3) research method;
• 4) creative work of students;
• 5) creating an atmosphere of collective creative activity in the classroom.

In order to successfully activate the creative activity of schoolchildren, the teacher needs to see the effectiveness and productivity of his work. To do this, it is necessary to monitor the dynamics of the manifestation of the creative activity of each child. The elements of creativity and interaction of the elements of reproduction in the activity of a schoolchild, as well as in the activity of a mature person, should be distinguished according to two characteristic features:

• 1) by the result (product) of activity;
• 2) according to the way it proceeds (process).

It is obvious that in educational activity the elements of students' creativity are manifested, first of all, in the peculiarities of its course, namely, in the ability to see the problem, to find new ways to solve specific practical and educational problems in non-standard situations.

Thus, we can conclude that creative activity is activated in a favorable atmosphere, with benevolent assessments from teachers, and encouragement of original statements. An important role is played by open-ended questions that encourage students to think, to search for a variety of answers to the same questions of the curriculum. It is even better if the students themselves are allowed to ask such questions and answer them.

Creative activity can also be stimulated through the implementation of interdisciplinary connections, through an introduction to an unusual hypothetical situation. In the same direction, questions work, when answering which it is necessary to extract from memory all the information available in it, to creatively apply them in the situation that has arisen.

Creative activity contributes to the development of creative abilities, an increase in the intellectual level.

Thus, by creativity we understand the totality of the properties and qualities of a person necessary for the successful implementation of creative activity, allowing in the process of it to perform the transformation of objects, phenomena, visual, sensual and mental images, to discover something new for oneself, to seek and make original, non-standard solutions .