Composing creative story, the child must independently think through its content, structure it logically, and put it into a verbal form that corresponds to this content. Such work requires a large vocabulary, compositional skills (the ability to come up with a plot, climax, denouement), and the ability to accurately, entertainingly and expressively convey your idea. The child masters all these skills in the process of systematic learning, through constant exercises,
There are different options for creative storytelling.
Coming up with a continuation and completion of the story. The teacher tells the beginning of the story, its plot, and the main events and adventures of the heroes are invented by the children. For example, the teacher reads the unfinished story “How Mishcha Lost his Mitten” by L.A. Penevskaya (see: Reader for older children preschool age. M., 1981), after which he asks the children questions: “Do you think Misha found his mitten? How did this happen? Who helped him? Think and talk about it.” Questions spark children's creative imagination. However, the teacher needs to make sure that plausible, real situations are invented and that the stories do not repeat one another. If the stories turn out to be monotonous, he should invite the children to think about what else could have happened to Misha’s mitten, suggest various options (“Maybe the mitten got caught in a bush? Maybe the puppy dragged it away?”).
Themes for children's stories can be either realistic (“What Happened to Yura”, “An Incident in the Forest”, etc.) or fairy tales (“How an Adult Hedgehog Helped a Hedgehog”, “Teddy Bear on a Walk”, “Hare’s Birthday”, etc. etc.). Let's give an example.
The teacher says: “Today you and I will come up with the fairy tale “The Hare’s Birthday.” I'll start, you continue. The hare came out into the clearing in the morning with his drum and began to beat it loudly. The animals heard the noise and ran out into the clearing. And the hare tells them: “Friends, today is my birthday. I invite you all to my holiday.” Then you come up with ideas: who came to the hare, what gifts he prepared. Just don't repeat each other. There are many animals. A squirrel, fox, wolf, hedgehog and other animals could come to the hare. And they prepared different gifts.”
Olya. The squirrel jumped into her hollow and thought about what she could give the bunny. Maybe a nut? It's so delicious. She took the bag and began collecting nuts. I chose the largest, most beautiful ones. The keychain went to the hare, and many guests had already gathered there. She treated everyone to nuts. And the hare treated her to a carrot.
Sasha. The hedgehog came to his hole and thought about what to give the hare. The hare does not eat mushrooms. He went to collect leaves and flowers. Selects the most beautiful ones. He made a beautiful bouquet, stuck it on his back and carried it. Zs’yats looks - the bouquet comes to him on its own. At first he was scared, and then he saw that it was a hedgehog rushing towards him. He was delighted and put the bouquet on the table.
Coming up with a story or fairy tale according to the teacher’s plan requires greater independence, since the plan outlines only the sequence of storytelling, and children will have to develop the content independently.
L.A. Penevskaya suggests drawing up a plan in a natural conversational form. For example, for the fairy tale “The Adventures of a Hedgehog,” the teacher gives the following plan: “First, tell how the hedgehog got ready for a walk, what interesting things he saw on the way to the forest, and figure out what happened to him.” In the future, when children learn to compose stories according to the proposed plan, there will be no need for it.
Coming up with a story on a topic proposed by the teacher (without a plan) gives an even greater impetus to creative imagination and independent thought. The child acts as the author and chooses the content and its form. She formulated it herself
The theme should emotionally prepare children to write a story. Some stories can form a series and be united by one theme, for example, a series of stories about Lena: “Lena’s new dress”, “What toy did Lena like in kindergarten", etc. Children learn to visually and figuratively describe objects, convey the feelings, mood and adventures of the characters, independently come up with an interesting ending to the story (Recommendation by E. P. Korotkova.)
You can offer children topics for inventing fairy tales about animals: “The Fox’s Birthday,” “How a Hare Walked in the Forest,” “The Adventures of a Wolf,” etc.
The most difficult type of storytelling is coming up with a story or fairy tale on a independently chosen topic. Here, success largely depends on how the teacher is able to interest children, create an emotional mood in them, and give impetus to their creative imagination. This type of creative storytelling can sometimes be carried out under the motto “Who will come up with the most interesting fairy tale.”
It is very important to teach children to evaluate stories and fairy tales invented by their comrades, to see both positive and negative sides stories. The teacher gives a sample assessment, for example: “I liked Olya’s fairy tale. It interestingly describes the adventures of a squirrel and her friends. Olya told her tale expressively. She calls the squirrel very well - “red fur coat”.
The teacher needs to pay attention to both the interesting, entertaining content of the story and the verbal form in which it is conveyed; monitor how children are independent creative activity use learned words and expressions.
Most difficult for children descriptive stories about nature. Learning this type of storytelling occurs gradually, under the influence of the teacher’s precise instructions. So, before telling about a specific time of year (“Spring”, “My favorite time year"), you need to invite the children to talk first about the weather, then about plants and trees, about what happens to animals at this time of year, how children play and adults work. You can suggest, for example, the following float: 1) How is spring different from winter? 2) What is the weather like in spring? 3) What happens to trees and bushes in spring? 4) How do birds and animals live in spring? 5) What do people do in the gardens and gardens?
At the initial stage of training creative storytelling about nature, it is useful to draw the attention of preschoolers to the sequence of transmission of content in the story. As children master the ability to write a clear and consistent story, you can give them the opportunity to decide for themselves the issue of plan and sequence of presentation.
Of particular interest are creative stories based on comparisons of natural phenomena (“Winter and Summer”, “River
autumn and spring", "Winter and summer in the forest"). Such topics create ample opportunities not only to diversify the content of the story, but also to use various grammatical and syntactic structures, in particular common and complex sentences.
Storytelling sessions can include short verbal exercises related to the topic of the lesson.
For example, at the beginning of a lesson devoted to storytelling on the theme “Spring,” the teacher gives the children the task of choosing epithets and comparisons, thereby helping them master basic means artistic expression.
Activities of this type can begin with a riddle about the time of year (an illustration can be considered). Next, the teacher suggests coming up with definitions for the word sky: “What is it like in the spring? (Blue, cloudless, blue, friendly, joyful, sunny.) And on a rainy day? (Gloomy, gray, black, inhospitable, low, etc.) Then the word sun is suggested (bright, warm, clear, cheerful, red, golden, ruddy). Children come up with comparisons for the word brook (a brook winds like a snake; it rings like a bell; as if a snake is crawling in the grass). After that, they make up stories about spring.
Of course, children do not immediately transfer the learned means of artistic expression into their writings, but comparisons, epithets, and interesting phrases will gradually appear in their stories.
It’s very good to make an album of children’s stories, give him interesting name, invite the children to draw illustrations for each story. This will be a good impetus for development children's creativity. Teaching storytelling has an impact on all aspects of the speech development of preschoolers, on their speech preparation for further education at school.
Creative stories
| Parameter name | Meaning |
| Article topic: | Creative stories |
| Rubric (thematic category) | Lectures and articles |
When composing a creative story, the child must independently think through the content, which must be logically structured and put into the correct verbal form corresponding to that content.
In order to compose a good story, you need to know the composition (composition, climax, denouement), have a large vocabulary, be able to construct the content in an interesting and entertaining way, accurately and expressively convey your idea.
A child can learn the ability to coherently express his thoughts and compose stories only through systematic training, through constant exercise. There are different options for creative storytelling.
Coming up with a continuation and completion of the story. The teacher tells the beginning of the story, the plot, and the main events and adventures of the characters are invented by the children. An example is the unfinished story by L. A. Penyevskaya “How Misha Lost His Mitten” (see: Reader for children of senior preschool age. M., 1976). The teacher asks the children questions: “Did Misha find his mitten?” How did this happen? Who helped him?ʼʼ This gives impetus to the creative imagination of children. However, it is necessary to direct it so that children create believable, life situations. If the stories are composed monotonously, you should talk about what else could have happened to Mishina’s mitten, that is, offer different options (it must have gotten caught in a bush or a puppy dragged it away, etc.).
A prerequisite is to remind children not to repeat their friend’s plot and come up with their own version. The themes of the stories are very diverse: “What happened to Yura”, “How Volodya helped Lenochka”, “An incident in the forest”. This should also be a fairy tale: “The Adventures of a Hare”, “What the Hedgehog Told Me in Secret”.
Coming up with a story or fairy tale according to the teacher’s plan requires greater independence, since the plan outlines only the sequence of storytelling, and the children will have to develop the content independently.
L.A. Penevskaya suggests drawing up a plan in a natural, conversational form. For example, in inventing the fairy tale “The Adventures of a Hedgehog,” the teacher gives the following plan: “First, tell us how the hedgehog got ready for a walk, what interesting things he saw on the way to the forest, and figure out what happened to him.” In the future, when children learn to compose stories according to the proposed plan, there will be no need for it.
Coming up with a story on a topic proposed by the teacher (without a plan) gives an even greater impetus to creative imagination and independence of thought; the child acts as the author, independently choosing the content of the story and the form. The very formulation of the topic should emotionally prepare children to write a story. Some stories may be united by the same theme, for example, a series of stories about Lena. “Lena’s new dress”, “What toy did Lena like in kindergarten”, etc. Children learn to visually and figuratively describe objects, convey the feelings, mood and adventures of the characters, and independently come up with an interesting ending to the story. (Recommendation by E.P. Korotkova.)
You can give various topics and for inventing fairy tales about animals: “The Fox’s Birthday,” “How a Hare Walked through the Forest,” “The Adventures of a Wolf,” etc.
The most difficult type of storytelling is inventing a story or fairy tale on a independently chosen topic. Here, success largely depends on how the teacher is able to interest children, create an emotional mood in them, and give impetus to their creative imagination. This type Creative storytelling can sometimes be carried out under the motto “Whoever comes up with the most interesting fairy tale.”
It is very important to teach children to evaluate stories and fairy tales invented by their comrades, to see the positive and negative sides of the stories. For this purpose, the teacher gives a sample assessment, for example, says: “I liked Olya’s fairy tale.” It interestingly describes the adventures of a squirrel and her friends. Olya told her tale expressively. She calls the squirrel very well - “red fur coat”.
It is necessary to pay attention to the interesting, entertaining content of the story, and to the verbal form in which this content is conveyed, and to carefully monitor how children use the learned words and expressions in independent creative activities.
Descriptive stories about nature are the most difficult for children. This type of storytelling is taught gradually, under the influence of the teacher’s precise instructions. So, before telling about a specific time of year ("Spring", "My favorite time of year"), you need to invite children to talk first about the weather, then about plants and trees, about what happens to animals at that time of year, how children play and adults work. You can propose, for example, the following plan: 1) How is spring different from winter? 2) What is the weather like in spring? 3) What happens to trees and bushes in spring? 4) How do birds and animals live in spring? 5) What do people do in the gardens and gardens?
At the initial stage of teaching creative storytelling about nature, it is useful to draw the attention of preschoolers to the sequence of conveying content in the story. As children master the ability to compose a clear and consistent story, you can give them the opportunity to decide for themselves the question of the plan in the sequence of overlay.
Of particular interest are creative stories built on the comparison of natural phenomena (Winter and Summer, River in Autumn and Spring, Winter and Summer in the Forest). Such topics provide ample opportunities not only to diversify the content, but also to use different grammatical and syntactic structures, in particular common and complex sentences.
Storytelling sessions can include short verbal exercises related to the topic of the lesson.
For example, at the beginning of a lesson devoted to storytelling on the topic “Spring,” the teacher gives the children the task of choosing epithets and comparisons, thereby helping them master basic means of artistic expression.
Lessons of this type can begin with a riddle about the time of year (an illustration should be considered). Next, the teacher suggests coming up with definitions for the word sky: “What is it like in spring?” (Blue, cloudless, blue, friendly, joyful, sunny). And on a rainy day?ʼʼ (Gloomy, gray, black, inhospitable, low, etc.). Next, the word sun is suggested (bright, warm, clear, cheerful, red, golden, ruddy). Children come up with comparisons for the word brook (a brook winds like a snake; it rings like a bell; as if a snake is crawling in the grass). After that they make up stories about spring.
The rooks have arrived (story by Zhenya R.)
The rooks have arrived. They pick at the ground with their beaks, look for worms, and collect twigs. They began to build a nest. Everyone is working: some carry grass, some carry twigs. Rooks have a lot of trouble in the spring!
Naughty cubs(story by Serezha K.)
When the bear woke up in the spring, her cubs were swarming in her den. The bear cleared away the snow and took them for a walk. The cubs ran after her, jumping, round, like lumps. The she-bear led them to a birch tree and began to dig a hole and gave them a sweet root. Oh, and it was delicious! The next day the cubs ran alone. We found a root, but the wrong one, not tasty at all. Mom returned and spanked them: “Oh, you fools!”
Crystal ringing (story by Katya V.)
It was a hot day in spring. The icicles fell on the ice and rang loudly and cheerfully. And in the evening the icicles froze, they became longer and longer. And in the morning they fell again loudly and cheerfully. And all day in the spring you could hear the crystal ringing!
Friendship between birch and grass (story by Sveta N.)
There was snow, and then the bright sun warmed up, and the snow melted, and a blade of grass grew near the birch tree. And when the wind rose, the blade of grass began to whisper to the birch tree. She told her: “I’m so glad it’s warm!” I will grow!ʼʼAnd the birch tree said that when May comes, she will put on her smart a green dress.
How the trees wake up (story by Natasha O.)
The spring sun warmed up and woke up the stream. It flowed like a snake and woke up all the trees. They began to say: “It’s so good that spring has come!” Thanks to the stream for waking us up!ʼʼ
Of course, children do not immediately transfer the learned means of artistic expression into their writings, but comparisons, epithets, and interesting phrases will gradually appear in their stories.
It’s very good to make an album of children’s stories, give it an interesting title, and invite the children to draw illustrations for each story. This will be a good impetus for the development of children's creativity. Teaching storytelling has an impact on all aspects of the speech development of preschool children, on their speech preparation for further education at school.
Creative stories - concept and types. Classification and features of the category "Creative stories" 2017-2018.
The opportunity to develop creative speech activity arises in older preschool age, when children have a sufficiently large stock of knowledge about the world around them, which can become the content of verbal creativity. Children master complex forms of coherent speech and vocabulary. They have the opportunity to act according to plan. The imagination turns from reproductive, mechanically reproducing reality into creative (L. S. Vygotsky).
L. S. Vygotsky, K. N. Kornilov, S. L. Rubinshtein, A. V. Zaporozhets consider creative imagination as a complex mental process inextricably linked with the life experience of a child. Creative imagination in preschool childhood has the greatest plasticity and is most easily amenable to pedagogical influence.
Issues of the formation of children's verbal creativity were studied by E. I. Tikheeva, E. A. Flerina, M. M. Konina, L. A. Penevskaya, N. A. Orlanova, O. S. Ushakova, L. M. Voroshnina, E. P. Korotkova, A. E. Shibitskaya and a number of other scientists who developed the topics and types of creative storytelling, techniques and sequence of teaching.” Children's creative storytelling is considered as a type of activity that captures the child's personality as a whole: it requires the active work of imagination, thinking, speech, observation, volitional efforts, and the participation of positive emotions.
Verbal creativity is the most complex type of creative activity of a child. There is an element of creativity in any children's story. Therefore, the term “creative stories” is a conventional name for stories that children come up with themselves. The peculiarities of creative storytelling are that the child must independently come up with content (plot, imaginary characters), based on the topic and his past experience, and put it into the form of a coherent narrative. It also requires the ability to come up with a plot, a course of events, a climax and a denouement. No less difficult task- convey your idea accurately, expressively and entertainingly. Creative storytelling is somewhat akin to real storytelling. literary creativity. The child is required to be able to select individual facts from existing knowledge, introduce an element of fantasy into them and compose a creative story.
The basis of verbal creativity, notes O.S. Ushakova 1, is the perception of works of fiction, oral folk art, including small folklore forms (proverbs, sayings, riddles, phraseological units) in the unity of content and artistic form. She views verbal creativity as an activity that arises under the influence of works of art and impressions of surrounding life and expressed in the creation of oral compositions - stories, fairy tales, poems.
The relationship between the perception of fiction and verbal creativity, which interact on the basis of the development of poetic hearing, is noted.
Children's verbal creativity is expressed in various forms: in writing stories, fairy tales, descriptions; in writing poems, riddles, fables; in word creation (creation of new words - new formations).
For teaching creative storytelling special meaning has an understanding of the peculiarities of the formation of artistic, in particular verbal, creativity and the role of the teacher in this process. N.A. Vetlugina noted the legitimacy of extending the concept of “creativity” to the child’s activities, delimiting it. the word "childish". She identified three stages in the formation of children's artistic creativity 1.
At the first stage, experience is accumulated. The role of the teacher is to organize life observations that influence children's creativity. The child must be taught to visualize the surroundings (perception acquires an aesthetic coloring). Art plays a special role in enriching perception. Works of art help a child to feel more keenly the beauty in life and contribute to the emergence artistic images in his work.
The second stage is the actual process of children's creativity, when an idea arises, a search begins artistic means*. The process of children's creativity is not very developed in time. The emergence of a child’s idea is successful if an attitude towards new activity, (let's come up with a story)] The presence of a plan encourages children to search for means of its implementation: searching for composition, highlighting the actions of the characters, choosing words, epithets. Great importance have here creative tasks. At the third stage, new products appear. The child is interested in its quality, strives to complete it, experiencing aesthetic pleasure. Therefore, an analysis of the results of creativity by adults and his interest are necessary. Analysis is also necessary for the formation of artistic taste." Knowledge of the peculiarities of the formation of children's verbal creativity makes it possible to determine pedagogical conditions essential for teaching children creative storytelling.
Let us recall that the basis of creative storytelling is the process of processing and combining ideas that reflect reality, and the creation on this basis of new images, actions, situations that did not previously have a place in direct perception. The only source of combinatorial activity of the imagination is the world. Therefore, creative activity is directly dependent on the richness and diversity of ideas and life experiences that provide material for fantasy.
1. One of the conditions for children’s success in creative activity is the constant enrichment of children’s experience with impressions from life* This work may have different character depending on the specific task: excursions, observing the work of adults, looking at paintings, albums, illustrations in books and magazines, reading books. Thus, before describing nature, systematic observations of seasonal changes in nature and reading literature describing natural phenomena. Reading books, especially educational ones, enriches children with new knowledge and ideas about the work of people, the behavior and actions of children and adults, deepens moral feelings, and provides excellent examples of literary language. Works of oral folk art contain many artistic techniques (allegory, dialogue, repetition, personification), and attract attention with their unique structure, artistic form, style and language. All this has an impact on children’s verbal creativity.
2. To others an important condition Successful teaching of creative storytelling is considered to be the enrichment and activation of the vocabulary."Children need to replenish and activate their vocabulary through definition words; words that help describe experiences and character traits of the characters. Therefore, the process of enriching the experience of children is closely related to the formation of new concepts, new vocabulary and the ability to use the existing stock of words. Thus, observing the winter landscape, children, with the help of the teacher, give various definitions of the qualities and conditions of snow: white as cotton wool; slightly bluish under the tree; sparkles, shimmers, sparkles, shines; fluffy, falls in flakes. These words are then used in children's stories (“It was in winter, in last month winter, in February. When last time snow fell - white, fluffy - and everything fell on the roofs, on the trees, on the children, in large white flakes").
3. Creative storytelling is a productive type of activity; its end result should be a coherent, logically consistent story. Therefore, one of the conditions is the ability of children to tell a coherent story, master the structure of a coherent statement, and know the composition of the narrative and description.-
Children learn these skills at previous age stages by reproducing literary texts, writing descriptions of toys and paintings, and inventing stories based on them. Particularly close to verbal creativity are stories about one toy, inventing the end and beginning of the episode depicted in the picture.
4. Another condition is the children’s correct understanding of the task of “inventing”, i.e., creating something new, talking about something that didn’t actually happen, or the child didn’t see it himself, but “invented it” (although in the experience of others, similar fact could be).
Themes of creative stories should be connected with the general tasks of instilling in children a correct attitude towards life around them, instilling respect for elders, love for younger ones, friendship and camaraderie. The topic should be close to the children’s experience (so that a visible image arises from the imagination), accessible to their understanding and interesting. Then they will have a desire to come up with a story or a fairy tale."
Topics for storytelling can be with specific content: “How a boy found a puppy”, “How Tanya looked after her sister”, “A gift for mom”, “How Santa Claus came to the Christmas tree in kindergarten”; “Why the girl cried”, “How Katya got lost in the zoo.” When children learn to come up with a story with specific content, you can complicate the task - offer a story on an abstract topic: come up with a story “About a funny incident”, “About a terrible incident” like “Fear has big eyes”, “About an interesting incident”.
In the methodology of speech development, there is no strict classification of creative stories, but conditionally we can distinguish the following types: stories of a realistic nature; fairy tales; descriptions of nature. A number of works highlight the writing of stories by analogy with a literary model (two options: replacing heroes while preserving the plot; changing the plot while preserving the heroes). Most often, children create contaminated texts because it is difficult for them to give a description without including action, and the description is combined with plot action.
It is better to start learning creative storytelling by inventing stories of a realistic nature (“How Misha lost his mitten”, “Gifts for Mom on March 8th”). It is not recommended to start learning by inventing fairy tales, since the peculiarities of this genre lie in unusual, sometimes fantastic situations, which can lead to false fantasy.
The most difficult task is to create descriptive texts about nature, since it is difficult for a child to express his attitude towards nature in a coherent text. To express his experiences related to nature, he needs to own big amount generalized concepts, to a greater extent be able to synthesize.
Teaching Techniques Creative storytelling depends on children's skills, learning objectives, and type of story.
IN senior group as preparatory stage you can use the simplest method children talking with the teacher about questions. A topic is proposed, questions are asked, to which the children come up with an answer as they pose them. At the end, a story is compiled from the best answers. Essentially, the teacher “composes” together with the children.
For example, on the topic “What happened With girl,” the children were asked the following questions: “Where was the girl? What happened to her? Why did she cry? Who consoled her? The instructions were given to “make up” a story. If the children were at a loss, the teacher prompted (“Maybe she was at the dacha or got lost on a noisy city street”).
In order to develop creative skills, the following technique is recommended: children inventing a continuation of the author's text. So, after reading and retelling L. Tolstoy’s story “The Grandfather Sat Down to Drink Tea,” the teacher suggests continuing it. Shows how you can come up with an ending by giving your own example.
IN school preparatory group the tasks of teaching creative storytelling become more complicated (the ability to clearly build a storyline, use communication tools, realize structural organization text). All types of creative stories and different teaching methods with gradual complication are used.
Below we will consider the features of using teaching techniques depending on the type of story.
As in the older group, work with children begins With inventing realistic stories. It is considered the easiest coming up with a continuation and completion of the story. The teacher gives a sample that contains the plot and determines the path for the development of the plot. The beginning of the story should interest children, introduce them to the main character and his character, and the setting in which the action takes place. E.I. Tikheeva recommended giving a beginning that would provide scope for the children’s imagination and provide an opportunity for the development of the storyline in different directions. Let's give example 1.
Vasya loved to walk in the forest, pick strawberries, and listen to birds singing. Today he went out early and went especially far. The place was unfamiliar. Even the birches were somehow different - thick, with hanging branches. Vasya sat down to rest under a large birch tree, wiped his sweaty brow and wondered how to find his way home. A barely noticeable path led to the right, but Vasya did not know where it went. Some kind of descent began straight ahead, and to the left there was a dense forest. Where to go?
Children must figure out how Vasya got out of the forest.
Additional questions according to L.A. Penyevskaya, they are one of the methods of actively guiding creative storytelling, making it easier for the child to solve a creative problem, affecting the coherence and expressiveness of speech.
Plan in the form of questions helps to focus children's attention on the consistency and completeness of the plot development. For a plan, it is advisable to use 3-4 questions; a larger number of them leads to excessive detail of actions and descriptions, which can inhibit the independence of a child’s plan. During the storytelling process, questions are asked very carefully. You can ask what happened to the hero that the child forgot to tell about. You can suggest a description of the hero, his characteristics, or how to end the story.
A more complex technique is storytelling based on the plot proposed by the teacher. For example, the teacher reminds that March 8 is coming soon. All children will congratulate their mothers and give them gifts. He further reports: “Today we will learn to come up with a story about how Tanya and Seryozha prepared a gift for their mother for this day. Let's call the story: “A gift to mom.” We will record the best stories." The teacher set a learning task for the children, motivated it, suggested a theme, a plot, and named the main characters. Children must come up with content, formalize it verbally in the form of a narrative, and arrange events in a certain sequence. At the end of such a lesson you can draw Greeting Cards for moms.
A system of classes for teaching storytelling based on ready-made stories was developed by E.P. Korotkova. It offers a series of stories on topics that are close and accessible to children, interesting techniques that activate the imagination: description of the character, reliance on the image of the main character when composing the story (describe him and the situations in which he participated more fully), etc.
Coming up with a story on a topic of your own choosing- the most difficult task. The use of this technique is possible if children have basic knowledge about the structure of the narrative and means of intratextual communication, as well as the ability to title their story. The teacher advises what you can come up with a story about (about an interesting incident that happened to a boy or girl, about the friendship of animals, about a hare and a wolf). Invites the child to come up with a name for the future story and make a plan (“First, say what your story will be called, and briefly - what you will talk about first, what in the middle and what at the end. After that, you will tell everything.”)
Skill training make up fairy tales begins With introducing elements of fantasy into realistic plots.
For example, the teacher begins the story “Andryusha’s Dream”: “Dad gave the boy Andryusha a bicycle “Eaglet”. The baby liked it so much that he even dreamed about it at night. Andryusha dreamed that he went traveling on his bicycle.” Where Andryusha went and what he saw there, the children must come up with an idea. This sample in the form of the beginning of a story can be supplemented with explanations: “Something unusual can happen in a dream. Andryusha could go to different cities and even countries, see something interesting or funny.”
At first, it is better to limit fairy tales to stories about animals: “What Happened to the Hedgehog in the Forest,” “The Adventures of the Wolf,” “The Wolf and the Hare.” It is easier for a child to come up with a fairy tale about animals, since observation and love for animals give him the opportunity to mentally imagine them in different conditions. But a certain level of knowledge about the habits of animals, their appearance. Therefore, learning the ability to invent fairy tales about animals is accompanied by looking at toys, paintings, and watching filmstrips.
Reading and telling short stories and fairy tales to children helps to draw their attention to the form and structure of the work, to emphasize interesting fact, revealed in it. This has a positive effect on the quality of children's stories and fairy tales.
An example of a fairy tale by Tanya (6 years 7 months): “The Magic Wand.” Once upon a time there was a bunny, he had a magic wand. He always said magic words: “Magic wand, do such and such.” The wand did everything for him. The fox knocked on the hare’s door and said: “Can I come to your house, otherwise the wolf kicked me out.” The fox deceived him and took away his wand. The hare sat under a tree and cried. The rooster is walking: “Why are you crying, bunny?” The hare told him everything.
The rooster took away magic wand from the fox, brought it to the bunny, and they began to live. That’s the end of the fairy tale, and whoever listened, well done.” 1
The development of children's verbal creativity under the influence of Russian folk tale happens in stages. At the first stage, the stock of well-known fairy tales is activated in the speech activity of preschoolers in order to assimilate their content, images and plots. At the second stage, under the guidance of the teacher, an analysis of the scheme for constructing a fairy tale narrative and plot development (repetition, chain composition, traditional beginning and ending) is carried out. Children are encouraged to use these elements in their own writing. The teacher addresses the techniques joint creativity: chooses a topic, names the characters - the heroes of the future fairy tale, advises the plan, begins the fairy tale, helps with questions, suggests the development of the plot. At the third stage, the independent development of a fairy tale narrative is activated: children are asked to come up with a fairy tale based on ready-made themes, plot, characters; choose your own theme, plot, characters 2.
As mentioned above, the most complex look children's essays is description of nature. The following sequence of learning to describe nature is considered effective:
1. Enrichment of children's ideas And impressions about nature in the process of observation, learning the ability to see the beauty of the surrounding nature.
2. Deepening children's impressions of nature by looking at artistic paintings and comparing the beauty of what is depicted with living reality.
3. Teaching children to describe natural objects by representation.
4. Learning the ability to describe nature, generalize one’s knowledge, impressions gained during observations, looking at paintings, listening to works of art.
Help for children is provided by a model teacher. Let's give an example.
“I really like autumn. I like to look at and collect yellow leaves of maple and birch, red leaves of sedge, and light green leaves of willow and poplar in bouquets. And when the wind blows, I like how the leaves fall from the trees, circle in the air, and then quietly fall to the ground. And when you walk on the ground, on such a carpet of autumn leaves, you can hear it rustling gently.” (N.A. Orlanova).
The miniature descriptions are interesting (O. S. Ushakova). For example, after a short conversation about spring and vocabulary exercises, children are asked to talk about nature in spring.
Examples of exercises: “How can you say about spring, what kind of spring? (Spring is red, hot, spring is green, warm, sunny.) What grass is in spring? (Green, tender ant-grass, whispering grass, soft, ant-grass, dewy, silky grass, soft like a blanket.) What kind of apple tree can there be in the spring? (Snow-white, fragrant, blooming, pale pink, white as snow, tender).”
Children's verbal creativity is not limited to stories and fairy tales. Children also compose poems, riddles, fables, and counting rhymes. Counting rhymes are popular and ubiquitous among children - short rhyming poems that children use to identify leaders or assign roles.
The desire for rhyme, the repetition of rhymed words - not only counting rhymes, but also teasers - often captivates children, becomes a need, and they develop a desire to rhyme. Children ask to be given words to rhyme, and they themselves come up with words that are consonant with them (thread - there is a snail in the pond; house - a catfish lives in the river). On this basis, poems appear, often imitative.
Children's verbal creativity sometimes manifests itself after lengthy reflection, sometimes spontaneously as a result of some kind of emotional outburst. So, a girl on a walk runs to the teacher with a bouquet of flowers and excitedly reports that she came up with the poem “Cornflower”.
A special role in mental and speech development children play riddles. Systematic introduction of children to literary and folk riddles, analysis of artistic means of riddles, special vocabulary exercises create conditions for children to independently compose riddles.
The formation of poetic verbal creativity is possible with the interest of teachers and the creation of the necessary conditions. E.I. Tikheeva also wrote that living word, a figurative fairy tale, a story, an expressively read poem, a folk song should reign in kindergarten and prepare the child for further deeper artistic perception.
It is useful to keep records of children's compositions and compose homemade books from them, which children enjoy reading many times. Such books complement children's drawings on essay topics well.
The Storyteller Game was born in preschools in Reggio Emilia, Italy. Children take turns going up to the dais and telling their friends the story they have made up. The teacher writes it down and the child carefully makes sure that he doesn’t miss or change anything. Then he illustrates his story with a large drawing.
This example is taken from Gianni Rodari’s book “The Grammar of Fantasy. Introduction to the art of inventing stories" (M., 1978). It talks about some ways to create stories for children and how to help children write their own. The book’s author’s recommendations are also used in Russian kindergartens.
Verbal creativity is expressed in various forms of stories, fairy tales, poems, riddles, fables, word creation. This requires children to actively work with imagination, thinking, speech, observation, volitional efforts, and the participation of positive emotions. Children are required to be able to come up with a plot, a course of events, a climax and a denouement. They are required to be able to select individual facts, introduce elements of fantasy into them and compose a creative story.
The term “creative stories” is a conventional name for stories that children come up with themselves, because... There is an element of creativity in any children's story.
The peculiarities of creative storytelling are that the child must independently come up with content (plot, imaginary characters), based on the topic and his past experience, and put it into the form of a coherent narrative. It also requires the ability to come up with a plot, a course of events, a climax and a denouement. An equally difficult task is to convey your idea accurately, expressively and entertainingly. Creative storytelling is to some extent akin to real literary creativity. The child is required to be able to select individual facts from existing knowledge, introduce an element of fantasy into them and compose a creative story.
Verbal creativity O.S. Ushakova considers it as an activity that arises under the influence of works of art and impressions from the surrounding life and is expressed in the creation of oral essays, stories, fairy tales, poems (perception of works of fiction, oral folk art, including small folklore forms (proverbs, sayings, riddles , phraseological units)).
The relationship between the perception of fiction and verbal creativity, which interact on the basis of the development of poetic hearing, is noted.
In the methodology of speech development, there is no strict classification of creative stories, but the following types are conventionally distinguished: stories of a realistic nature; fairy tales; descriptions of nature. A number of works highlight the writing of stories by analogy with a literary model (two options: replacing heroes while preserving the plot; changing the plot while preserving the heroes).
Options for creative storytelling according to Loginova V.I., Maksakov A.I., Popova N.I. /3.126/:
- 1. coming up with a sentence and completing a story (the teacher tells the beginning of the story, its plot, events and characters are invented by the children) realistic or fairy-tale;
- 2. coming up with a story or fairy tale according to the teacher’s plan (greater independence in the development of content), Penevskaya L.A. suggests drawing up a plan in a natural conversational form;
- 3. coming up with a story on a topic proposed by the teacher (without a plan). The child acts as the author, chooses the content and form, the topic should be emotionally motivating, some stories can be combined into a series based on themes.
F. Sokhin (6 p141) identifies various options for creative stories:
- 1. Coming up with a continuation and completion of the story. The teacher tells the beginning of the story, its plot, and the main events and adventures of the characters are invented by the children. An example is the unfinished story by L. A. Penyevskaya “How Misha Lost His Mitten” (Anthology for children of senior preschool age. M., 1976). The teacher asks the children questions: “Did Misha find his mitten? How did this happen? Who helped him? This sparks children's creative imagination. However, it must be directed so that children create believable, real-life situations. If the stories are written monotonously, you should talk about what else could have happened to Misha’s mitten, that is, offer different options (maybe she got caught in a bush or was dragged away by a puppy, etc.).
- 2. Coming up with a story or fairy tale according to the teacher’s plan requires greater independence, since the plan only outlines the sequence of storytelling, and the children will have to develop the content independently.
- 3. Coming up with a story on a topic proposed by the teacher (without a plan) gives an even greater impetus to creative imagination and independence of thought; the child acts as the author, independently choosing the content of the story and its form.
- 4. The most difficult type of storytelling is inventing a story or fairy tale on a independently chosen topic. Here, success largely depends on how the teacher is able to interest children, create an emotional mood in them, and give impetus to their creative imagination. This type of creative storytelling can sometimes be carried out under the motto “Who will come up with the most interesting fairy tale.”
Most often, children create contaminated texts because it is difficult for them to give a description without including action, and the description is combined with plot action.
preschooler creative storytelling learning
Federal Agency for Education
State educational institution
"Solikamsk State Pedagogical Institute"
Department of Pedagogy and Private Methods
Methodology for teaching creative storytelling
Performed:
4th year student
FZO Afanasyev
Daria Sergeevna
Checked:
Senior Lecturer
departments of pedagogy and
private methods
Kruzhkova
Lyubov Georgievna
Solikamsk, 2009
INTRODUCTION
I Teaching preschoolers creative storytelling
1.1. Requirements for teaching creative storytelling methods
1.2 Techniques for teaching creative storytelling
II Conclusion
List of used literature
INTRODUCTION
Issues of the formation of children's verbal creativity were studied by E.I. Tikheyeva, E.A. Flerina, M.M. Konina, L.A. Penevskaya, N.A. Orlanova, O.S. Ushakova, L.M. Voroshnina, E.P. Korotkova, A.E. Shibitskaya and a number of other scientists who developed the topics and types of creative storytelling, techniques and sequence of teaching.
According to Vikhrova N.N., Sharikova N.N., Osipova V.V. The peculiarity of creative storytelling is that the child must independently come up with content (plot, imaginary characters), relying on the topic from his past experience and putting it into a coherent narrative /2.26/.
The opportunity to develop creative speech activity arises in older preschool age, when children have a fairly large stock of knowledge about the world around them. They have the opportunity to act according to plan. According to the definition of L.S. According to Vygotsky, their imagination turns from reproductive, mechanically reproducing reality into creative.
L.S. Vygotsky, K.N. Kornilov, S.L. Rubinshtein, A.V. Zaporozhets consider creative imagination as a complex mental process inextricably linked with the life experience of a child. Creative imagination in preschool childhood has the greatest plasticity and is most easily amenable to pedagogical influence.
Children's creative storytelling is considered as a type of activity that captures the child's personality as a whole: it requires the active work of imagination, thinking, speech, observation, volitional efforts, and the participation of positive emotions.
ITeaching creative storytelling to preschoolers
1.1 Requirements for teaching creative storytelling methods
Verbal creativity is expressed in various forms of stories, fairy tales, poems, riddles, fables, word creation. This requires children to actively work with imagination, thinking, speech, observation, volitional efforts, and the participation of positive emotions. Children are required to be able to come up with a plot, a course of events, a climax and a denouement. They are required to be able to select individual facts, introduce elements of fantasy into them and compose a creative story.
The term “creative stories” is a conventional name for stories that children come up with themselves, because... There is an element of creativity in any children's story.
The peculiarities of creative storytelling are that the child must independently come up with content (plot, imaginary characters), based on the topic and his past experience, and put it into the form of a coherent narrative. It also requires the ability to come up with a plot, a course of events, a climax and a denouement. An equally difficult task is to convey your idea accurately, expressively and entertainingly. Creative storytelling is to some extent akin to real literary creativity. The child is required to be able to select individual facts from existing knowledge, introduce an element of fantasy into them and compose a creative story.
O.S. Ushakova considers verbal creativity as an activity that arises under the influence of works of art and impressions from the surrounding life and is expressed in the creation of oral compositions, stories, fairy tales, poems (perception of works of fiction, oral folk art, including small folklore forms (proverbs, sayings, riddles, phraseological units)).
The relationship between the perception of fiction and verbal creativity, which interact on the basis of the development of poetic hearing, is noted.
For the methodology of teaching creative storytelling, understanding the peculiarities of the formation of artistic, in particular verbal, creativity and the role of the teacher in this process is of particular importance. The pedagogical conditions for teaching creative storytelling are:
1. enriching children’s experience with impressions from life;
2. enrichment and activation of the vocabulary;
3. children’s ability to tell a coherent story, master the structure of a coherent statement;
4. children’s correct understanding of the task to come up with.
ON THE. Vetlugina in the formation of children's artistic creativity identified three stages /1,345/:
At the first stage, experience is accumulated: the teacher organizes the acquisition of life observations that influence children's creativity, teaches an imaginative vision of the environment, and the role of art is important.
The second stage is the actual process of children's creativity (an idea arises, the search for artistic means is underway). Setting up a new activity is important (we’ll come up with a story, creative tasks). The presence of a plan encourages children to search for composition, highlighting the actions of the characters, choosing words and epithets.
At the third stage, new products appear (its quality, its completion, aesthetic pleasure). Analysis of the results of creativity by adults, their interest.
The basis of creative storytelling is the process of processing and combining ideas that reflect reality, and the creation on this basis of new images, actions, situations that did not previously have a place in direct perception. The only source of combinatorial activity of the imagination is the surrounding world. Therefore, creative activity is directly dependent on the richness and diversity of ideas and life experiences that provide material for fantasy.
One of the conditions for children’s success in creative activities is the constant enrichment of children’s experience with impressions from life. This work can have a different nature depending on the specific task: excursions, observing the work of adults, looking at paintings, albums, illustrations in books and magazines, reading books. Thus, before describing nature, systematic observations of seasonal changes in nature and reading literature describing natural phenomena are used.
Reading books, especially educational ones, enriches children with new knowledge and ideas about the work of people, the behavior and actions of children and adults, deepens moral feelings, and provides excellent examples literary language. Works of oral folk art contain many artistic techniques (allegory, dialogue, repetition, personification), and attract attention with their unique structure, artistic form, style and language. All this has an impact on children’s verbal creativity.
A condition for successful teaching of creative storytelling is considered to be the enrichment and activation of vocabulary. Children need to replenish and activate their vocabulary through definition words; words that help describe experiences, character traits characters. Therefore, the process of enriching children’s experience is closely related to the formation of new concepts, new vocabulary and the ability to use the existing vocabulary.
Creative storytelling is a productive activity; its end result should be a coherent, logically consistent story. One of the conditions is the ability of children to tell a coherent story, master the structure of a coherent statement, and know the composition of the narrative and description.
Children learn these skills in previous age stages, reproducing literary texts, composing descriptions of toys and paintings, and inventing stories based on them. Particularly close to verbal creativity are stories about one toy, inventing the end and beginning of the episode depicted in the picture.
Another condition is the children’s correct understanding of the “invent” task, i.e. create something new, talk about something that didn’t actually happen, or the child didn’t see it himself, but “invented it” (although in the experience of others a similar fact could exist).
Options for creative storytelling according to Loginova V.I., Maksakov A.I., Popova N.I. and others /3,126/:
1. coming up with a sentence and completing a story (the teacher tells the beginning of the story, its plot, events and characters are invented by the children) realistic or fairy-tale;
2. coming up with a story or fairy tale according to the teacher’s plan (greater independence in the development of content), Penevskaya L.A. suggests drawing up a plan in a natural conversational form;
3. coming up with a story on a topic proposed by the teacher (without a plan). The child acts as the author, chooses the content and form, the topic should be emotionally motivating, some stories can be combined into a series based on themes.
In the methodology of speech development, there is no strict classification of creative stories, but the following types can be roughly distinguished: stories of a realistic nature; fairy tales; descriptions of nature. A number of works highlight the writing of stories by analogy with a literary model (two options: replacing heroes while preserving the plot; changing the plot while preserving the heroes). Most often, children create contaminated texts because it is difficult for them to give a description without including action, and the description is combined with plot action.
It is better to start learning creative storytelling by inventing stories of a realistic nature.
1.2 Techniques for teaching creative storytelling
Techniques for teaching creative storytelling depend on children's skills, learning objectives, and type of story.
In the older group, as a preparatory stage, you can use the simplest technique of telling children together with the teacher about questions. Essentially, the teacher “composes” together with the children.
In the school preparatory group, the tasks of teaching creative storytelling become more complex (the ability to clearly build a storyline, use means of communication, and be aware of the structural organization of the text). All types of creative stories and different teaching methods with gradual complication are used.
As in the older group, work with children begins with inventing realistic stories. The easiest thing is considered to be coming up with a continuation and completion of the story. The teacher gives a sample that contains the plot and determines the path for the development of the plot. The beginning of the story should interest children, introduce them to the main character and his character, and the setting in which the action takes place. E.I. Tikheyeva recommended giving a beginning that would provide scope for the children’s imagination and provide an opportunity for the development of the storyline in different directions.
Ancillary questions, according to L.A. Penevskaya, are one of the methods of actively guiding creative storytelling, making it easier for the child to solve a creative problem, affecting the coherence and expressiveness of speech.
A plan in the form of questions helps to focus children's attention on the consistency and completeness of the development of the plot. For a plan, it is advisable to use 3-4 questions; a larger number of them leads to excessive detail of actions and descriptions, which can inhibit the independence of a child’s plan.
During the storytelling process, questions are asked very carefully. You can ask what happened to the hero that the child forgot to tell about. You can suggest a description of the hero, his characteristics, or how to end the story. Next - a story based on the plot proposed by the teacher. Children must come up with content, formalize it verbally in the form of a narrative, and arrange events in a certain sequence.
A system of classes for teaching storytelling based on ready-made stories was developed by E. P. Korotkova. She offers a series of stories on topics that are close and accessible to children, and interesting techniques that activate the imagination. Coming up with a story on a self-selected topic - the teacher advises that you come up with a story about interesting case, which happened to a boy or girl, about the friendship of animals, about a hare and a wolf. Invites the child to come up with a title for the future story and make a plan.
Learning the ability to invent fairy tales begins with introducing elements of fantasy into realistic plots.
Reading and telling short stories and fairy tales to children helps to draw their attention to the form and structure of the work, and to emphasize the interesting fact revealed in it. This has a positive effect on the quality of children's stories and fairy tales.
As mentioned above, the most difficult type of children's essays is the description of nature. The following sequence of learning to describe nature is considered effective:
1. Enriching children's ideas and impressions about nature in the process of observation, learning the ability to see the beauty of the surrounding nature.
2. Deepening children's impressions of nature by looking at artistic paintings and comparing the beauty of what is depicted with living reality.
3. Teaching children to describe natural objects by representation.
4. Learning the ability to describe nature, generalize one’s knowledge, impressions gained during observations, looking at paintings, listening to works of art.
Children's verbal creativity sometimes manifests itself after lengthy reflection, sometimes spontaneously as a result of some kind of emotional outburst. Systematic introduction of children to literary and folk riddles, analysis of the artistic means of riddles, and special vocabulary exercises create the conditions for children to independently compose riddles. E.I. Tikheyeva wrote that a living word, a figurative fairy tale, a story, an expressively read poem, a folk song should reign in kindergarten and prepare the child for further deeper artistic perception /1,130/.
The traditional method of teaching storytelling from a picture recommends using as the main teaching method a teacher’s story sample, proposed by T.A. Sidorchuk, N.N. Khomenko. /4.24/:
Stage 1 “Determining the composition of the picture”
To encourage children to identify and name objects in the picture, the “spyglass” technique is used. Rule: point the telescope at one object and name it.
To determine the details of one object, the techniques “Auction”, “Hunt for Details”, “Who is the Most Attentive”, etc. are used. These games are aimed at activating the attention of children.
When teaching classification skills, the technique of grouping according to a given characteristic is used: man-made, natural, functional, the presence of a certain color, shape, etc. The classification group is designated by a general word.
Children model identified objects using diagrams, letters, pictures, colors and other means of designation. To do this, use a board or sheet of paper on which the models are arranged in a similar way to the composition of a painting.
Stage 2 “Establishing relationships between objects in the picture”
The following creative tasks are offered:
the “Unite” wizard came and united two objects (the teacher points to two objects). The wizard asks to explain why he did this. PR: games with the picture “Cat and Kittens”.
“Looking for friends” - find objects that are related to each other relative position. PR: “The kittens are friends with each other, because the children of the same mother are cats and love to play together.”
“Looking for enemies” - find objects that are “not friends” with each other. PR: “The balls are not friends with the basket, because they rolled out of it and don’t want to be there.” Note: assessing the relationships between objects is subjective.
Stage 3 “Description based on the possible perception of objects in the picture by different senses”
The technique of “entering the picture”: the teacher encourages children to describe possible sensations and invites them to listen more carefully, inhale smells, taste, touch with their hands, etc. Creative tasks are given.
Stage 4 “Compiling riddles and metaphors from the picture”
Teaching children how to write riddles goes from the semi-active stage (the teacher and the children create a common riddle) to the active stage (the child himself chooses the object and model of the riddle). In this case, the child can use a mixed model. To teach children how to write riddles, it is necessary to master the models in the following sequence.
1. Together with the children, select the object depicted in the picture.
2. An object is selected together with the children. His actions are indicated. 3. An object is selected. 4. A part is selected in the object. The number of such parts is determined.
The teacher himself creates metaphors and offers to guess them. A question is asked to the children: “Who or what am I talking about in the picture?”
Stage 5 “Transformation of objects in time”
To teach children to compose fantasy stories with the transformation of objects in time, the technique of moving through time (“Time Machine”) is used.
A specific object of the picture is selected and its present is described. Next, it is suggested to think about who or what he was in the past and what will happen to him in the future (distant or near).
Stage 6 “Description of the location of objects in the picture”
To teach children spatial orientation in a picture, games are used: “Yes-No”, “Living Picture”.
The “Yes-No” game is organized as follows: the leader guesses an object in the picture, and the children use questions to determine its location. The found object “comes to life” and finds a place on the stage (three-dimensional space). The child’s task is to describe the object in place in the picture, and then on the stage.
The compositional model of the painting on stage is gradually being built.
Stage 7 “Composing stories on behalf of different objects”
Before teaching a child to compose creative stories in the first person, it is necessary to carry out creative tasks that have the following content:
“I’ll tell you a character trait, and you tell me the opposite.”
“Show through action and facial expressions the change in your feelings.”
“Turn into someone or something. Describe your feelings."
To learn how to compose creative stories on behalf of any object in a picture with a predetermined characteristic, the technique of empathy is used. It consists in the fact that the child imagines himself as an object and “enters” his emotional state, conveying his character traits. Going detailed description his condition, relations with the outside world and the problems that have arisen. The teacher should encourage children to solve the problems of the characters in the picture.
Stage 8 “Semantic characteristics of the picture”
The preparatory stage includes in-depth work on children's understanding of proverbs and sayings and learning to explain them from the point of view of the child's experience.
Children’s comprehension of the content of the picture is structured as a game “Explain why the picture is called that?” Its organization is based on the “Catalog” method. The teacher prepares pieces of paper on which various proverbs and sayings are written. A rule is introduced: pull out the note, read the text (read by the teacher or children who can read), explain why the picture was called that?
The next game is “Find the most successful title of the picture.” The child is asked to remember several proverbs and sayings, choose one or two that are most appropriate to the content of the picture, and explain his choice. Particular attention is paid here to logical connectives in the text. The result is a story - a reasoning.
Stage 9 “Composing fantasy stories”
To teach children to compose stories based on a picture, the game technique “A wizard came to visit...” is used. Wizards are invited:
Enlarge-Decrease Wizard (the child selects an object and its properties and performs a fantastic transformation of them).
Wizard of Division-Combination (the selected object is split into parts and mixed up in structure, or exchanges its parts with other objects).
Wizard of Revival-Petrification (the selected object or part of it becomes mobile or, conversely, loses the ability to move in space).
Wizard I Can Do Everything - I Can Only (an object is endowed with unlimited capabilities or is limited in its properties).
Wizard Reverse (a property of an object is identified and changed to the opposite).
Wizard of Time (this wizard is multifunctional and involves the transformation of time processes: Wizard of Acceleration-Deceleration, wizard of Reverse Time, wizard of Time Confusion, wizard of Time Stop, Time Machine, Mirror of Time).
Stage 10 “Compiling fairy tales of a moral and ethical nature”
Invite the children to compose a fairy tale based on the picture.
Determine and name the place where the events will unfold. Name the heroes of the fairy tale. Endow selected objects with human properties or character traits.
Invite the children to make a speech sketch regarding the beginning of the fairy tale (who lived and where, what he was like).
Announce an event (the appearance of an unusual object, a natural phenomenon) that leads to conflict situation.
Continued compilation of the text as a description of the attitude of the fairy tale heroes to the case according to their personal characteristics. Discussion of the opinion of each hero. Proclamation of morality as a wise object. A description of how to resolve a conflict situation based on this morality.
Coming up with a title for a fairy tale.
Stage 11 “Composing rhyming texts based on the picture”
The work must be built in a certain sequence.
First, the children play the game “Folds and Folds”, in which nouns, adjectives, and verbs are selected that rhyme with each other and correspond to the content of the picture.
The teacher then encourages the children to form two-line rhyming phrases.
At the last stage, a complete rhymed text is created based on the content of the picture in accordance with the proposed algorithm.
During classes on speech development, conduct lexical exercises with children on selecting signs and actions in order to activate adjectives and verbs in speech.
It is advisable to return to rhyming texts composed by children in order to modify them.
Algorithm of mental actions when composing rhyming texts
Selecting an object, determining its properties, actions and location of events.
Selection of words that rhyme with each other.
Work on algorithms for creating rhyming text.
At the conclusion of the work expressive reading text.
Analysis of the picture as an integral system
The problem of teaching gifted preschoolers creative storytelling becomes really solvable if the teacher, when presenting any new picture, practices mental operations children to analyze the picture as an integral system, and its objects as components this system.
Model of working with a painting as an integral system
Identification of objects depicted in the picture.
Establishing relationships between objects.
Characteristics of objects (the experience of perceiving objects by different senses is activated).
Description of what is depicted in the picture by means of symbolic analogy (comparison, metaphor).
The idea of objects throughout the entire time of their existence (before the moment of depiction in the picture and after).
Description of the location of objects in the picture.
Introducing yourself in the picture as one of the objects.
Search for the polysemy of the meaning of the plot of the picture.
Composing creative texts using techniques for fantastically transforming objects in a painting.
Creation of moral and ethical fairy tales based on those depicted in the picture.
Compiling rhyming texts based on the content of the picture.
Basic operations of analyzing a painting object
Selecting the main (possible) function of the object. Listing the elements and parts that make up an object. Designation of a network of relationships between a given object and other objects depicted in the picture.
Performance possible changes of a given object in time. Identification of object characteristics, selection of objects with similar characteristics.
For children to more effectively master algorithms for organizing creative speech activity based on a picture, it is advisable to carry out the games and creative tasks described below.
IIConclusion
To successfully master the school curriculum, a kindergarten graduate must develop the ability to coherently express his thoughts, build a dialogue and compose short story on a specific topic. But in order to teach this, it is necessary to develop other aspects of speech: expand lexicon, bring up sound culture speech and form a grammatical structure. All this is the so-called “standard” that a child should have when entering school.
In practice preschool education speech tasks are solved in specially organized classes on speech development, which, as a rule, are complex in nature. We tried to resolve the contradiction that arose using game methods of teaching storytelling from a picture, including the method of composing riddles by A.A. Nesterenko, as well as adapted methods for developing imagination and elements of the theory of solving inventive problems (TRIZ). With this approach, the result is quite guaranteed: the ability to compose a creative story based on a picture against the background sustainable interest preschool child to this type of activity. In order for preschoolers to more fully understand what is depicted in the picture, it is necessary to teach them basic techniques system analysis selected object. Training is carried out in a playful way.
You can use such games starting from middle group. Games are turned on in parallel with working with the picture as a whole. The time and number of them depend on the capabilities of the children and the teaching goals of the teacher.
List of used literature
1. Alekseeva M.M., Yashina V.I. Methods of speech development and learning native language preschoolers - M.: Academy, 1998 - 400 p.
2. Vikhrova I.N., Sharikova N.N., Osipova V.V. Correction of speech and fine motor skills through drawing with strokes // Preschool pedagogy, 2005 - No. 2 -24-28p.
3. Loginova V.I., Maksakov A.I., Popova M.I. and others. Development of speech in preschool children - ed. F.A. Sokhina - M.: Education, 1984 - 223 p.
4. Sidorchuk T.A., Khomenko N.N. Technologies for the development of coherent speech - M.: Academy, 2004 - 304 p.
5. Tikheyeva E.I. Speech development of children (early and preschool age) - M.: Education, 2003
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