Classification of fantasy games for preschoolers, methodological work. Card index of games to develop imagination and artistic and creative abilities
Fantasy game using TRIZ elements
Children's play is a creative activity that is not aimed at the final product. Unlike drawing and modeling, children do not create anything in play.
The need for play is inherent in humans. Play differs from any other activity precisely in that it is based on fantasy. This is a special life, and everyone in the game pretends to be someone they are not.
Currently, in preschool pedagogy, there are several classifications of preschooler games and many types of children's games. Each type of game has its own content, its own characteristics, performs its own functions in the development of the child, etc.
Recently, in pedagogical literature and practice, such a type of game as fantasy games has begun to stand out.
The experiment carried out by scientists is indicative: an unusual iron object with buttons and levers was placed in a kindergarten. When the children saw such a device, they immediately began to explore its capabilities. They pressed the buttons: the device either hummed, then rang, then spewed steam, then splashed water. This study lasted 3-4 days. Then the children began to perform various repetitive actions with the device: carry it, move it, sit down, stand on it, etc. Gradually, individual game actions were formed and, finally, role-playing games were born: for example, children became astronauts, and the device was turned into a lunar rover, etc.
After two weeks, mass interest in the unusual content began to fade.
This example shows that play and creativity have much in common: they require relative freedom and independence; They allow you to actively express your own attitude to the world and gain satisfaction from the process of creation.
The game develops children's creative abilities. To improve them, parents and teachers should:
- Encourage playful experimentation with objects (a carpet can become a raft, a house or a horse).
- In addition to toys, offer boxes, cardboard, bars, balls, etc.
- Support the child’s creative efforts when creating new plots, game actions, and rules.
TRIZ – theory of solving inventive problems. Target TRIZ – not just to develop children’s imagination, but to teach them to think systematically, with an understanding of the processes taking place, to cultivate in children the qualities of a creative personality, capable of understanding the unity and contradiction of the world around them, to solve their problems, the development of such qualities of thinking as flexibility, mobility, the development of search activity, desire for novelty and speech development.
Let's look at some gaming techniques that contribute to the development of children's imagination (we start using middle group kindergarten).
1. Increase - decrease
Here's your magic wand. You can enlarge whatever you want.
Who would feel good? Badly?
So that you reduce it?
I give it to you magic wand and for 15 minutes I enlarge my nose (legs). What's good about this?
2. Adding one or more properties to one person
Technique:
- select several arbitrary objects of animate or inanimate nature (fish, electric lamp, clock, etc.)
- we form 3 – 4 of their properties or qualities
- We endow a person with these qualities.
For example:
The Pisces man swims well, shines, sparkles, is silent, can fulfill wishes, is flexible.
Pencil Man – draws, sharp; black when sad; colorful when happy.
A book man can be wise, funny, sad, scary.
3. Coloring People and Colors
If you make people in St. Petersburg multi-colored, what color will the good people be? Why?
Smart? Healthy? Sad? Cheerful?
4. Drawing come to life
Everything you draw now will come to life. What will you draw?
5. Exclusion of certain human qualities
The man is not sleeping. What's good? What's bad? (can read, work; does not rest)
The man has lost weight. (wherever I want, I fly there)
The man lost the pain. (fearless, will go into a burning house)
6. Transforming a person into any object
Transform and look at the world through his eyes.
Oak
What does the oak tree think? How does he feel? What could he see?
I have lived for 300 years and watch you as you fuss. I saw a cat walking on a chain around me.
"Nonexistent Animal"
Progress of the game: If the existence of a hammerhead fish or a needle fish is scientifically proven, then the existence of a thimble fish is not excluded. Let the child fantasize: “What does a panfish look like? What does a scissorfish eat and how can a magnet fish be used?”
"Make up a story"
Goal: to develop children's creative imagination.
Progress of the game: invite children to look at the pictures in the book and invite them to come up with new events together.
"Continue drawing"
Goal: to develop children's imagination, fine motor skills hands
Progress of the game: a simple figure (eight, two parallel lines, square, triangles standing on top of each other) must be turned into part of a more complex pattern. For example, from a circle you can draw a face, a ball, a car wheel, or glasses. It is better to draw (or offer) options one by one. Who is bigger?
"Blot"
Goal: to develop children's creative imagination.
Material: sheets of paper with blots on them.
Progress of the game: the famous Rorschach test is built on this principle.
Children must figure out what the blot looks like and finish drawing it. The one who names the most items wins.
"Revitalization of objects"
Goal: to develop children's creative imagination.
Progress of the game: imagine yourself as a new fur coat; lost mitten; a mitten that was returned to the owner; a shirt thrown on the floor; shirt, neatly folded. Imagine: the belt is a snake, and the fur mitten is a mouse. What will be your actions?
“It doesn’t happen like that! »
Goal: to develop children's creative imagination.
Progress of the game: the participants in the game take turns telling some incredible story, short or long. The winner is the player who manages to come up with five stories, upon hearing which the listeners will exclaim: “That doesn’t happen!” "
"Draw the mood"
Goal: to develop children's creative imagination.
Progress of the game: This game can be used if the child is in a sad mood or, conversely, very cheerful, as well as some other, the main thing is that he is in some kind of mood. The child is asked to draw his mood, depict it on paper in any way.
"Drawings continued"
Goal: to develop children's creative imagination.
Material: paper, watercolor paints
How to play: Place a red dot in the center of the sheet of paper. We invite the next person to continue the drawing.
"New purpose of the item"
Goal: to develop children's creative imagination.
How to play: The guys sit in a circle. The presenter launches some object (an old iron, an umbrella, a pot, a bag, a newspaper). Everyone comes up with a new purpose for this item. For example, an iron can be used as a weight or a tool for cracking coconuts. The winner is the one who comes up with the most incredible uses for this item.
An object can “walk” in a circle while new purposes are invented for it.
Game “What are clouds like?”
Children look at cards with clouds of different shapes and guess objects or animals in their outlines. At the same time, they note that clouds are different not only in color, but also in shape.
The teacher draws attention to the fact that when there are a lot of clouds in the sky, they look like an aerial city with towers and domes.
Game "The portrait spoke."
Target. Continue to get acquainted with children's portraits, learn to compose a coherent story.
Move. The teacher invites the child to choose a reproduction of a painting with a child’s portrait and tell about himself on behalf of the character in the painting
Game "Guess the mood."
Target. Learn to describe a person's mood by facial expression.
Move. The teacher depicts fear, delight, sadness, joy on his face. Children determine the mood. Then the children independently complete the teacher’s task, conveying their mood with their facial expressions: joy, thoughtfulness, sadness, etc.
Game. "Guess and go around."
Target. Teach children to identify by ear and restore in memory a three-dimensional or planar object. Find an object and test yourself by examination - go around this object.
Move. The teacher names the words, and the children say whether the object is three-dimensional or flat. At the same time, they must show this with their hands (if it is three-dimensional, their hands seem to hug the object, if it is planar, their hands show it with movements along the plane of the table.
Game "Find the flaw in the portrait."
Target. Learn to see the missing parts of a face in a portrait. Continue to get acquainted with the portrait genre and its features.
Move. Children are given images of the same face with different defects (no eyelashes, eyebrows, nose, pupils, lip line, upper or lower lips, iris, ears). The teacher suggests identifying the missing parts and completing them with graphite material - a black felt-tip pen.
Game "Make a still life."
Target. Strengthen children's knowledge about still lifes.
Move. 1 task. Children are given planar images of inanimate and living nature. Children compose a still life, selecting images unique to this genre, and give their work a name.
Task 2. It is proposed to create a still life from various objects (dishes, food, flowers, toys, as well as a background for the still life). Children draw up a still life, explain why they took objects of a certain type, and give the work a name.
Game "Find the picture on the palette."
Target. To develop in children artistic perception, the ability to see and analyze the color scheme of a picture, the relationship of its color palette (cold, warm, contrasting) and find a picture in which the mood corresponding to the palette sounds.
Move.
1st task. The teacher alternately shows the children palettes with cold, warm and contrasting colors and asks them to find paintings painted with these color combinations. Children explain their choice. Game "Waves".
Move. The players sit down, forming a circle. The adult suggests imagining that they are swimming in the sea, plunging into the gentle waves, and depicting these waves as gentle and cheerful. The training ends with “swimming in the sea”: one of the players stands in the center of the circle, waves come up to him one by one and gently stroke the swimmer. When all the waves have stroked him, he turns into a wave, and the next swimmer takes his place.
Game. "Game Storm"
To play, you need a large piece of cloth so that you can cover the children with it.
Move. The teacher says: “It’s a disaster for a ship that finds itself at sea during a storm: huge waves threaten to capsize it, the wind throws the ship from side to side. But the waves in a storm are a pleasure: they frolic, compete with each other to see who can rise higher. Let's imagine that you are waves. You can hum joyfully, raise and lower your arms, turn around different sides, change places.
Game "What's gone?"
Target. Develop observation skills. Attention.
Move. The teacher covers in the picture some detail of clothing, an object, or the object itself, and the children must guess what is missing from the picture.
Game "Sculptor and Clay".
Target. To consolidate children's knowledge about sculptures and the profession of a sculptor.
Move. The teacher invites the children to divide into two teams - one sculptors, the other clay. Sculptors must “sculpt” some kind of figure and talk about it. Then the children change places. The teacher reminds that clay cannot talk.
Game "Find the Emotion".
Target. Learn to select pictures based on their mood.
Move. The teacher gives children pictograms with emotions and displays reproductions of paintings of different genres and moods, and then offers to choose a pictogram for each reproduction. Children justify their choice and tell what emotions they experience when looking at the picture.
Game-exercise “Describe your neighbor”
Target. Learn to look at a person carefully and give a verbal portrait.
Move. The teacher invites the children to look at each other carefully and describe their neighbor. You can use the frame technique: one child is invited to pick up a frame or hoop, draw a portrait, and everyone else describe this living picture.
Exercise. "Waves of the Storm"
Target. Teach how to show “waves” with your hands with different amplitudes of movement: the first waves can be depicted while sitting. Children, together with the teacher, show the height of the waves - each wave; called by the words “first shaft”, “second shaft”........ “ninth shaft”.
Before the exercise, I. Aivazovsky’s painting “The Ninth Wave” is examined.
Plastic sketch “Alyonushka”
Target. Continue to introduce children to the fairy-tale genre of painting. Show the mood conveyed by the artist in the painting, as well as the pose and emotional state
Move. If desired, the child depicts the pose of the girl depicted in the picture and her mood, and then offers his own version of her further actions.
Game “Find bright and faded colors in nature”
Goal: To teach children to find color contrasts in the surrounding nature and name them.
Move. The teacher invites all children to go to the window and find bright and faded colors in objects, plants, and natural phenomena in the Landscape from the Window
Game based on the painting “I go, I see, I tell myself.”
Target. Immersion in the plot of the picture. The feeling of its details as parts of a whole composition.
Move. You can start like this: As I go, I see in the painting “Rye”...Then the child tells what he would see if he entered the space of the painting.
State budget preschool educational institution kindergarten No. 1 combined species of the Vyborg district of St. Petersburg.
Methodological development fantasy games based on the poem by K. I. Chukovsky “Once upon a time there lived a man with crooked legs”
Oleinik Oksana Pavlovna.
Educator.
Saint Petersburg
Introduction.
The world of children's fantasy is diverse and endless. It is from dreamers that great writers, sculptors, artists, and designers grow. If there were no fantasy and imagination, then science would not develop. Without imagination, not a single schoolchild could master a single subject, since he would not be able to operate with abstract concepts in his head and construct images.
When a child is born, he does not yet have an imagination. The older a child gets, the more time adults devote to games and special exercises to develop imagination, the more the ability to fantasize and the ability to create develops.
When imagining, the child himself creates any plot he wants, including a fairy tale, any situation, any problem, and solves it himself in any way he wants. When solving real problems, the child is not looking for just any solution, but for a real, serious, feasible solution. In both cases, he creates, but with fantasy there is more freedom, since there are no prohibitions from physical laws and much knowledge is not required. That is why it is better to begin the development of children’s thinking with the development of imagination.
At the age of 4-5 years, the imagination becomes creative - the plots of games, drawings, and fictional stories become richer and more diverse. The child writes stories, creates new characters, looks for ways to realize his creative ideas, and comes up with new games. But it is still difficult for children to fantasize without acting. To fantasize, children need to act.
At the age of five, a child can already fantasize mentally - inventing extraordinary stories, fantastic animals, fairy-tale plots. At this age, the foundations of creative imagination begin to be laid.
How to help a preschooler develop his creative imagination. There are many different ways. One of them is a game.
Game best view activities for preschoolers who develop creative imagination. Children should play as much as possible. Play is a special form of activity that occupies a central place in a child’s life. The game differs from any other activity precisely in that it is based on fantasy.
Fantasy games contain elements of other games. Characteristic feature fantasy games is the ability to adapt any object for games: a spool of thread, sticks, strings, a handkerchief, ribbon, etc. In fantasy games, every object instantly changes its meaning: a handkerchief or string turns into a man, an ordinary paper boat into a fantastic vehicle , which can move without water.
A fantasy game based on the poem by K. I. Chukovsky “Once upon a time there lived a man with crooked legs.”
Target: Development of fantasy, imagination, speech creative abilities, motivation for independent creative activity.
Tasks:
Promote development game plot around a fictional character, development of imagination.
To develop creative thinking in children, the ability to find their own solutions, and put forward hypotheses.
Activate children’s explanatory, evaluative speech in activities
Cultivate emotional readiness to participate in various types activities, readiness to interact with each other, the desire to complete what was started.
Implemented educational areas: Socialization, communication.
Integration of educational areas:
Reading fiction, knowledge, artistic creativity, work.
Materials used: A box with the inscription “Surprise” (a handkerchief inside), an audio recording of the song “Surprise”, a d\i “Build a path”, several sheets of A4 paper connected together, paints, water, paint brushes, a paper boat, feathers, wheels, sail, gingerbread, trays, toothpicks, strings.
Preliminary work:
Reading the works of K.I. Chukovsky and other children's writers; dramatization of fairy tales, poems, dialogues; d/i “Think of the end of the story”, “What would happen if...”
Stages of forming joint activities:
Introduction to the game.
The appearance of the character.
Traveling with a little man.
D/i “Build a path.”
Drawing a river.
Vehicle design.
Construction of a gingerbread house.
Making rope men.
An approximate course of a fantasy game.
A box with the inscription “Surprise” hangs from the ceiling, and an audio recording of the children’s song “Surprise” plays.
Children, today is an unusual day for us. Because what awaits us...
Children read the word written on the box.
What is a surprise? – What surprise do you think awaits us?
The teacher removes the box and examines its contents with the children - a handkerchief.
Here's our surprise! Do you like him? Why? “If only we could bring this handkerchief to life, if you and I were wizards.” Who could we turn the handkerchief into? - Let us kind of revive him, and we will succeed... (the teacher makes a little man) - Who is this? – Once upon a time there lived a man with crooked legs. And he walked all day along the crooked path. - Let's, guys, make a path for the little man. What should it be like?
Didactic game “Build a path”. In front of the children is a table consisting of single-color geometric shapes. Children are asked to use counters to cover only certain shapes (for example, trapezoids).
We have a good crooked path along which our little man will walk, and we will help him.
Once upon a time there lived a man with crooked legs. And he walked all day along the crooked path. And beyond the crooked river...
What should we have after the crooked path? How to make a crooked river?
Children at the end of the path notice paints, brushes, and paper. They begin to draw the river.
We have a wonderful river. But it seemed to me that our little man was sad. Why do you think? - How can he get across the river? “We have nothing to build a bridge.” What else can you think of?
The children notice a bag near the river with the inscription “Take me” and take out a paper boat, feathers, wheels, and a sail. Listen to children's suggestions.
Crossing the river by boat is too easy. Today you and I are a little bit magicians. And wizards’ boats can not only float, but also... (fly) - How to make a flying boat? Attach the feathers. – It turned out to be a flying boat. What if the weather is bad? What if, after a drought, the river became shallow or disappeared altogether? Attach the wheels.
We got a real flying vehicle, very unusual. And if we attach a sail to it (we attach the sail), and everyone blows on the sail together (everyone blows on the sail), then the boat will also move on its own.
An unusual vehicle should have an unusual name. We have a boat, a car, a sailboat, and it can even fly. What name will we come up with for our vehicle?
Listen to children's options.
Now our autoboat is ready to set off across the river. Let's blow together and cross again. “And beyond the crooked river...” What could be behind the crooked river? Where is our little man rushing to?
Of course, everyone in the world needs a home, and our little man too. But at home, then no. What to do?
That's right, a house needs to be built. But from what? Our little man is extraordinary and his house must be unusual. What could a house be made of?
The children notice a surprise box with the inscription “open me” and find gingerbread cookies and toothpicks in it.
What will we build a house from?
Children wash their hands and then begin to build a house, fastening the gingerbread cookies together with toothpicks.
We have a magnificent, unusual and delicious house for a crooked little man. Do you think he'll like it?
What's good about this house?
What's bad?
Guys, we thought of everything, but we forgot something very important, without which our little man would be sad. What have we forgotten?
Every person, even an unusual one, needs friends. What kind of friends can our little man have?
Come on, we'll make them out of strings.
Children, as shown by the teacher, make little people, then come up with names for them, talk about their character, hobbies, and act out dialogues between the little people.
References:
Vygotsky L.S. "Imagination and creativity in childhood."
Kravtsova E. E. “Let’s awaken the wizard in a child.”
Simanovsky A. E. “Development of creative thinking in children.”
Role-playing games, in which the child unfolds the plot, taking on one or another role. The game flourishes at the age of 3-5 years. Then the role-playing game gives way to other types of games.
Director's games, in which the development of a plot with many roles occurs through the roles transferred by the child to the toys. In such a game, the child speaks on behalf of different toys, moves them and at the same time comments on what is happening in the game. At first, director's play appears as an individual activity of the child. Its earliest manifestations occur in the 3rd year of life. By older preschool age, directing play becomes a joint activity of children.
Fantasy game (dream game) built on imagination. This game is accompanied by monologues and dialogues of the characters, comments. Fantasy play takes place primarily in speech. The product of imagination can be associated with both external and internal “to oneself” speech of the child. Fantasy play appears in older children school age.
Integrated games include in gameplay other types of activities (drawing, design, manual labor) to implement game tasks. Such games belong to older preschoolers; not only the process is important to them, but also the result.
Improvisational sketch games – These are games in which children, at the suggestion of the presenter, publicly improvise on a given topic or plot.
Theatrical games, improvisational and dream games are called “frontier games” (L.S. Vygotsky, A.N. Leontiev): the child manifests himself as an author, actor, spectator - there is a shift in motive from the process of the game to its result.
Each age has its own games. By the end of preschool age they appear games with rules. The child successfully moves on to playing with rules only if the plot-role-playing and director's games have fully demonstrated their potential.
Games can be classified by location in pedagogical process kindergarten (L.A. Wenger, N.Ya. Mikhailenko, N.A. Korotkova, S.L. Novoselova):
amateur (independent) games arise on the initiative of the children themselves;
games organized by adults for the purposes of training, education or correction are regulated by the tasks set by the adult.
As an example, consider role-playing game structure. Under expanded view role-playing game understand the state of the game at the time of full development, which it takes for a child of senior preschool age.
The structural components of a role-playing game are the role, plot, content, rule, game actions, game and real relationships, substitute objects, an imaginary situation, and a play partner.
Role. The role that the child takes on during the game, d.B. Elkonin calls the unit of the game, its center. The role unites all aspects of the game.
An important question that arises in this regard can be formulated as follows: “What are the conditions under which a child can take on a role?” When answering this question, three circumstances should be taken into account. Firstly, the child takes on the role only if the sphere of reality, which is reflected in the plot of the game, is already familiar to the child. The main source from which children draw the plots of their games is reality. Familiarity with it is the main condition for the emergence of a plot-based role-playing game.
The child plays only in the store because only this side of reality is familiar to him. Because the only place he goes with his mother, leaving the confines of his apartment and his apartment, is the store.
Secondly, acquaintance with this reality must take place in such a way that a person and his activity stand at the center of it. An excursion to the zoo is described in one of the works of D.B. Elkonina. The children did not play at the zoo when they returned to the group. Then a second attempt was made to take the children to the zoo, during which the children’s attention was drawn to human activities, to the types of work that he carries out as a zoo worker. The changes made to the content of the excursion led to the desired result. The children began to play in the zoo.
Thirdly, as a result of this acquaintance, the child developed a positive emotional attitude towards the activities of an adult. E. Platner, a German researcher, draws attention to situations when, in a kindergarten, children are introduced to the world of professions. This all happens in a real situation and looks like this: a woman comes to the group with an ironing board and linen that she must iron. If, as E. Platner points out, she grumbles dissatisfied while doing work, if she frowns and talks about how hard everything is and how uninteresting everything she does is, then none of the children will ever want to be an “ironer.” or "ironer". The situation will look completely different if the “ironer” who comes to the group is in a good mood.
Game actions. Children realize the roles taken on by adults and the relationships between them through game actions. The role cannot be fulfilled without appropriate actions. That is why the child is a cashier (station manager, bartender), D.B. emphasizes. Elkonin that he sells tickets, announces the departure of the train, gives permission to the driver, sells cookies, etc. The role and the actions associated with it determine all other aspects of the role-playing game: pieces of paper become money and tickets to fulfill the role of passengers and cashier.
Having taken on the function of an adult, the child reproduces his activity in a very generalized way, in a symbolic form. Game actions- these are actions free from the operational and technical side, these are actions with meanings, they are of a figurative nature.
Game and real relationships. During the game, two forms of relationship between children are identified.
Play relationships are determined by roles, because for the playing children themselves, the main thing is to fulfill the role they have taken on.
Real relationships also occupy a special place in the structure of a role-playing game. Their place will change as children move from junior to middle school age, and from there to senior preschool age. More and more they are giving way to gaming relationships. And if at primary school age they constantly interfere with the course of the game, then at older preschool age such interference is impossible. Game relationships completely subjugate the real relationships of children.
At the same time, when starting a game and distributing roles, children naturally treat each other not as this or that character, but as comrades, D.B. draws attention. Elkonin. During the game, when the relationships between children are determined by the roles they take, they nevertheless do not cease to treat each other as playmates. As D.B. says Elkonin. they do not lose the real plan of relationship with each other. The child continually breaks out of his role and becomes himself for a few seconds. For example, the “seller” may suddenly change his emphatically polite tone in dealing with customers and beg the children: “Don’t take everything, otherwise I won’t have anything left in the store.”
Researchers attach great importance to real collective relationships in the game. Children at play represent a team connected by real connections, acting towards the implementation of a single plan.
In play, children more easily coordinate their actions, obey and yield to each other, since this is part of the content of the roles they have taken on. But subordination and coordination of actions are determined not only by the role, but also by the real relationships that arise between children in the play group. These real relationships within the playing group require each player to perform their roles well and correctly. As children learn to do their role functions, these demands, coming directly from the collective and revealed in the direct instructions of its members, are increasingly being curtailed. But even when they are not outwardly expressed, they are invisibly present in every collective game.
Substitute items. Children use various kinds of objects in their play. These are not only toys, objects that are small copies of objects in the adult world (spoons, spatulas, forks, etc.), but also substitute items. These are multifunctional items. And, according to D.B. Elkonin, children, as a rule, prefer to use unshaped objects in play, to which no action is assigned.
According to L. S. Vygotsky, the transfer of meaning from one object to another is limited by the possibilities of showing action. The process of replacing one object with another is subject to the rule: you can only replace an object with which you can reproduce at least a drawing of the action.
Rules. In the game, notes D.B. Elkonin, for the first time a new form of pleasure appears that a child experiences - the joy that he acts as the rules require. The game is not a world of absolute freedom and arbitrariness, notes D.B. Elkonin. It has laws and rules. They are similar to the laws and rules that exist in reality. Any role-playing game is a game with rules that exist within the role that the child takes on.
The presence of rules in any role-playing game is most clearly manifested in cases where the rule of role-playing behavior comes into conflict with the child’s immediate desires that arise during the game
With age, notes D.B. Elkonin, stability in obedience to the rule invariably increases. Nevertheless, there are naturally changing relationships between the role and the rule associated with it. D.B. Elkonin formulated the development of games in the following formulation: development games are on from games with an extensive system of actions and hidden roles and rules behind them, to games with a collapsed system of actions, with clearly defined roles, but hidden rules, and, finally, to games with open rules and hidden roles behind them.
An imaginary situation. The essence of an imaginary situation is the transfer of meaning from one object to another. On this occasion A.N. Leontiev writes that the birth of an imaginary game situation occurs as a result of the fact that in the game objects, and therefore operations with these objects, are included in actions that are usually carried out in other subject conditions and in relation to other objects. Game item retains its meaning, the child knows its properties, the method of possible use, possible action with it is known. This is what forms the meaning of a given object. However, in gameplay the meaning is not simply concretized. For example, a child knows the meaning of a stick. However, in the game, operations with a stick are included in a completely different action than the one to which they are adequate. Therefore, the stick, while retaining its meaning for the child, at the same time acquires a completely different meaning for him in this action. For example, a stick takes on the meaning of a horse for a child.
So, there is a real action, a real operation and real images of real objects, but at the same time the child acts with a stick as with a horse. As a result, a situation arises where game operations seem to be inconsistent with the action. Gaming Operations inadequate for action. But in the game the action does not pursue this task: after all, its motive, as A.N. emphasizes. Leontiev, lies in the action itself, and not in its result.
Having built such a series of arguments, A.N. Leontyev solves a rather important problem from his point of view. He tries to prove the reality of the game action, thereby showing that there are no fantastic elements in the psychological premises of the game. This evidence is extremely important in deciding the place of play among other activities. It is the real nature of play actions that gives it enduring significance among the types of activities that determine child development.
The game really introduces the child into a world of adults that is so attractive to a child, a system of relationships that exists in this world. Elementary work also presupposes close contact between a child and an adult. However, the possibilities of these contacts are limited due to the insufficient capabilities of the child himself. A child enters the world of an adult in an activity called the perception of a fairy tale. However, this entry is not real. It exists only in the imagination of a child.
The share of imagination in a child’s visual activity is also great. The educational activity of a preschool child has not yet developed, and therefore there is no opportunity yet to talk about its significance in mental development child.
Plot. Under the story D.B. Elkonin understands that sphere reality, which children reflect in their games. The plots are quite diverse. There are several classifications of games based on plot. They are described in sufficient detail in the works of D. B. Elkonin. However, as the analysis shows, they all fit into a three-member classification. Thus, we can talk about three groups of games: games with plots based on household topics: games with production subjects: games with socio-political stories.
TO first group include games in the family, hairdresser, etc.
Second group represent construction, agricultural, etc. games.
Third group make up war games.
Time makes its own adjustments to the plots of children's games. Some of them, being popular at one historical time, are replaced by others, the plots of which are put on the agenda by life.
Despite the fact that some stories occur throughout preschool childhood, writes D.B. Elkonin, a certain pattern is emerging in their development. here we can talk about at least three lines of game development within one plot. The development of plots goes from everyday games to games with industrial plots and, finally, to games with socio-political plots. Such a sequence by D.B. Elkonin associates it with the expansion of the child’s horizons and his life experience, with his entry into the increasingly deeper content of the lives of adults. The development of plots occurs not only along the line of covering ever new spheres of reality, but also along the line of diversity of forms of play within one group of plots.
For younger schoolchildren, games with everyday themes are very monotonous (mainly family games). For older preschoolers, they become more and more diverse (games of buffet, hairdresser, hospital, kindergarten, etc.). However, D.B. Elkonin draws attention to the fact that the determining influence on the variety of game plots is exerted by educational work with children. Thus, the results of a number of studies on this issue have shown that play does not arise and develop spontaneously. For its emergence and development, three conditions are necessary: the presence of various impressions from the surrounding reality; the presence of various toys and educational aids and frequent communication of the child with adults.
The third line of plot development role playing games concerns increasing the stability of games with the same plot. Younger preschoolers quickly and easily move from one plot to another. For middle and older children, the same plot plays out over a longer period of time. Referring to the data of A.P. Usova, D.B. Elkonin emphasizes that for three- and four-year-old children the duration of play is only 10-15 minutes, for four- and five-year-olds it is 40-50 minutes, and for older preschoolers games are observed that last from several hours to several days.
The content of the game is what is highlighted by the child as the main point of adult activity reflected in the game. The content of children's games develops from games in which the main core is the objective activity of people, to games that reflect relationships between people, and finally, to games in which the main content is obedience to the rules of social behavior and social relations between people.