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"fantasy play as a means of developing imagination and children's creativity." Workshop for teachers Topic: “Games that develop imagination and verbal creativity in preschool children Workshop for parents

Inna Tarkhanova
Master class for teachers “Games that develop imagination and verbal creativity in preschool children”

Master class for teachers

Subject: « Games, developing imagination and verbal creativity in preschool children»

Target: get acquainted with techniques aimed at development of imagination and verbal creativity, contributing to the improvement of coherent speech."

Tasks:

Activate knowledge teachers about the importance of development coherent speech in preparation for school;

Teach game techniques development of imagination and verbal creativity;

Continue to develop the skills of conscious, adequate and effective assistance to children;

Expand skill teachers in the implementation of acquired knowledge and skills for individual correctional work with children.

An important part of this work is: development of figurative speech, nurturing interest in the arts word, formation of the ability to use means of artistic expression in independent statements.

A preschooler, due to his age specificity - seeker. His attention is always directed to what interests him. And interest is accompanied by positive emotions.

The desire to improve the quality of preparation for school has led to the creation of exciting children means and forms of education - games ( For example: didactic games, constructors, toys - transformers, games - activities, etc..)

How to find the line where the game ends and serious intellectual work begins? How compatible are these concepts?

The search for answers to the questions posed encourages the use of modern innovations in preschool education are those methods and technologies that are not only effective, but also exciting.

One of these technologies is games to develop imagination and verbal creativity. To your attention, I would like to invite you to play games and feel like children

Game "increase - decrease".

Here's a magic wand, it can increase or decrease anything you want. One team will talk about what they would like to increase. And the other team talks about what they would like to reduce. And the third command decreases and increases.

(Answers from adults).

Here's how the children responded:

I would like to reduce winter and increase summer.

I would like to extend the weekend.

I want to enlarge raindrops to the size of a watermelon.

I want to enlarge the candy to the size of a refrigerator so that I can cut off pieces with a knife.

Let your arms temporarily become so long that you can get an apple from a branch, or say hello through a window, or get a ball from the roof.

If a child finds it difficult to independently fantasizing, suggest dream up together, ask him supporting questions.

A game "Bring the Object to Life"

This game involves giving inanimate objects the abilities and qualities of living beings, namely: the ability to move, think, feel, breathe, grow, rejoice, reproduce, joke, smile.

What living creature would you turn a balloon into? (Answers from 1 team)

What are your shoes thinking? (Answers teachers 2 teams)

What does furniture think about? (Answers teachers 3 teams)

A game "Change your character's personality".

Come up with a fairy tale with such an incredible plot: The fox has become the most simple-minded in the forest, and all the animals deceive her. (Teachers give your answers) (recording children)

"Different Eyes"

Describe the aquarium from the point of view of its owner, and then from the point of view of the fish that swims there and the owner’s cat.

A game "Present"

Adults stand in a circle. One is given a box with a bow in his hands and asked to give it to his neighbor and say, so that he wants to give: “I’m giving you a bunny,” or “I’m giving you a big candy,” etc.

“Hug an unprecedented animal”

Each of the participants games must portray how he "hugs" some animal, and the rest guess this animal.

All of the above games help:

- develop creative imagination and communication skills preschool children;

enrich lexicon;

Make the child’s speech more colorful and emotional.

"Using finger games for development of coherent speech in children 3-4 years old»

Finger games- This is a dramatization of any rhymed stories or fairy tales using your fingers.

Finger games develop a child's brain, stimulate speech development, Creative skills, fantasy. The better the fingers and the entire hand work, the better the child speaks. Scientific research has shown that the level development children's speech is directly dependent on the degree of formation of fine movements of the fingers. The more active and precise the baby’s finger movements, the faster he begins to speak.

Finger gymnastics according to three principles: “I hear you. I see. I do".

A positive effect on internal organs, a tonic, immunostimulating effect - that’s it.

Stimulation of mental functions and speech are two.

A charge of positive emotions is three.

There are a large number of points on the hands, by massaging which you can influence the internal organs.

Thus, massaging the thumb increases brain activity. The index finger is connected to the stomach, the middle finger to the intestines. Massaging the ring finger has a positive effect on the functioning of the liver and kidneys, and the little finger has a positive effect on the functioning of the heart.

The main requirement in games with the hand, its hand, fingers, we must equally care about development of right and left hands. Thanks to finger games, the child receives a variety of sensory impressions, he develops attentiveness and ability to concentrate. Such games form good relationships between children, as well as between adults and children.

"Orange"

We shared an orange (fist - "orange" in front of.)

There are many of us (the left hand is spread out - this is "We".)

And he's alone (we turn our gaze to the fist.)

This slice is for kittens (bend one finger.)

This slice is for ducklings (bend the other finger.)

This slice is for the snake (bend the third finger.)

This slice is for siskin (bend the fourth finger.)

This slice is for the beaver (bend the fifth finger.)

And for the wolf, the peel (shake with a brush with relaxed fingers, like a peel.)

The wolf is angry - trouble

Run away in all directions (we hide our hands behind our backs.)

To keep your nervous system calm, to improve your mood, then this Japanese finger gymnastics is for you!

1. Find the central point of the palm with your eyes, press it once with your thumb. Change hands (20 times).

2. Starting with the index finger, one by one, we connect all fingers with the thumb, forming a “circle”. We start with the left hand.

Hand work promotes mental calm;

Prevents development fatigue in the brain centers (Chinese custom of sorting walnuts in your hands)

Promotes a calming effect (Japanese merchants rub their hands when serving annoying customers)

Dear colleagues, if at least once a day you you will perform these exercises, then your nervous system will become calm, because it has long been noted that all diseases are from nerves, take care of them! Health to you and your children!

Nadezhda Gureeva
The importance of fantasy games for the development of imagination in preschoolers

1. THE IMPORTANCE OF GAMES FOR THE DEVELOPMENT OF IMAGINATION IN CHILDREN

Modern children have the ability to play very poorly developed. Play has been replaced by other, adult activities. According to age-related re-odization, the specifics of each age period and the conditions for a full-fledged mental development associated with age neoplasm. For preschoolers it's psychological neoplasm manifests itself in function imagination. Since the main activity for preschoolers remains a game, then the question will be relevant for this period development fantasy through different types of games.

“Play generates joy, freedom, contentment, peace in oneself and around oneself, peace with the world.” Friedrich Froebel.

One of the founders of Russian psychology, L. S. Vygotsky, said that the basis of the game is an imaginary or imaginary situation. Imaginary the situation occurs where there is a divergence between the visual field and the semantic field.

In director's games, by playing out situations associated with unpleasant experiences, reasoning out loud, the child learns to more adequately evaluate the events being displayed, acquires the opportunity to take someone else's point of view, comprehend it, which leads to a softening of the emotional reaction, to a greater understanding of the situation.

Psychological analysis of various types of games has shown that each of them has different meaning to form individual components imagination. Thus, the subject environment mainly develops in the initial forms of director’s play, where the child organizes various toys and objects into a single plot. The child’s past experience receives the greatest realization in a role-playing game, when all his life impressions are played out. Finally, a special internal position is formed first in a figurative role-playing game, and then receives its intense development in director's department.

2. CREATION OF AN OBJECT-GAME ENVIRONMENT THAT FACILITATES DEVELOPING IMAGINATION IN CHILDREN

Our team pays special attention to this, since in a subject environment a child grows, acts, creates, and therefore the subject environment should be multifunctional, not restraining the child’s flight of imagination.

Homemade dolls, dolls on gloves, mittens,

Boxes (caves, huts, tunnels, flying saucers, spaceports,

Homemade Velcro badges,

A portable playroom with small dolls, a house, scraps of fabric, balls, whetstones,

Outfits: capes (multifunctional - musketeer, princess, scarves of different sizes, pieces of fabric of different colors,

Collections: feathers, fans, colored ribbons, belts, belts.

Waste material: flexible hose, tubes, wheel, plastic lids, machine parts, egg molds, foam rubber, jars.

Material for arranging space: curtains with loops at the ends, with a pattern that can designate - cafe, restaurant, hospital.

Magic wand, chest,

Panels, maps with magical countries, fabulous caves, countries of clouds, color spots with removable images of heroes and things,

Homemade books: "The Story of One Thing", "The Living Refrigerator", "Shoes at the Ball", "The Kingdom of Mirrors and Mirrors".

2. GAMES, TASKS AND EXERCISES FOR DEVELOPMENT OF IMAGINATION

In our kindergarten for development of imagination the following games, exercises, assignments are given:

"Unfinished Drawing".Exercise: invite your child to think about what this picture looks like and complete it.

"Guess who am I".Progress of the game: children depict an object using gestures or sounds (locomotive, kettle, samovar, dog, cat).Exercise: the child needs to guess what kind of object it is.

"Decorate the word".Exercise: invite the child to choose as many definitions for this word as possible (autumn, house, winter, summer, grandmother, flower, mother, game, etc.)

"Using Items".Exercise: the child must list all possible uses of this item. Options: pencil, newspaper, piece of paper, book, brush, stool, shovel, lid.

"Imagine".Tasks: the child must imagine and depict how he threads a needle; how he blows out the candles on a birthday cake; a clock with a pendulum that strikes; depict and voice a cuckoo clock, a motorcycle; a hairdresser who does a hairstyle; little fisherman, surgeon during operation.

"Make a proposal".Exercise: make a sentence using the names of the objects shown in the pictures.

"Compiling images of objects".Tasks: using geometric shapes, the child must draw a person’s face, draw a house and other objects.

"Make a riddle".Tasks: Invite your child to make up a riddle about an umbrella. Hints: what the item looks like (on a mushroom, on a top, on a bell); What is the difference (inedible, does not spin, protects from rain);mystery: like a mushroom, but you can’t eat it, like a top, but it doesn’t spin, like a bell, but it will protect you from the rain.

"What will happen".Exercise: Invite your child to answer the proposed question in detail. For example: what will happen if all the fairy-tale heroes come to life?; what would happen if all animals started speaking with a human voice? ; what happens if it rains continuously? And etc.

We wish all teachers to create and imagine, because only such a teacher can understand a child and make his life interesting!

Role-playing games, in which the child unfolds the plot, taking on one or another role. The heyday of the game occurs 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 preschool age.

Integrated games include other types of activities (drawing, design, manual labor) into the game process 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 role-playing and director's games have fully demonstrated their potential.

Games can be classified according to their place in the pedagogical process of 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 an expanded view of the 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 it 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 fulfill their role functions, these demands, coming directly from the team and found in the direct instructions of its members, are more and more 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. Every 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: the development of games goes from games with an expanded 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 rules. 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. The game object retains its meaning, the child knows its properties, the method of possible use and possible actions 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. Game operations are 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 the mental development of the 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 educational work with children has a decisive influence on the variety of game plots. 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 development of the plots of role-playing games concerns increasing the stability of games based on the same plot. Younger preschoolers quickly and easily move from one story 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.

Game - fantasy

as a means of developing children's imagination and creativity.

Kutuzova Lidia Alexandrovna,

educational psychologist, MBU d/s No. 147 “Sosenka”

The beautiful awakens the good. In aesthetic and mental education, the common object of cognition and development is the child’s surrounding world. Art, nature, everyday life, and relationships between people have aesthetic values. Meeting the beautiful things in life and art develop an aesthetic sense in children. In the process of aesthetic perception, first under the influence of an adult, then independently, the child makes generalizations, associations and comparisons arise, aesthetic evaluations and judgments appear. This is how evaluative attitudes towards the environment arise, and on its basis, aesthetic artistic taste is formed.

L.S. Vygotsky believed that the basis of all creative activity is imagination, namely, the ability to combine impressions received either from real life experience or from literature and works of art.

In recent years, a sad trend has emerged - the games of older preschoolers are becoming primitive and aggressive, their content and form are impoverished and monotonous. Children 5-6 years old, when playing, imitate the actions and voice of the chosen character, but the game images they create are usually inexpressive, devoid of vivid emotional manifestations, and are often aggressive. Traditional plots of the games “Mothers and Daughters”, “Hospital”, “Barbershop”, “Shop” include two or three interconnected situations. Children's literary experience is practically not included in game plots; it is mainly boys who bring their impressions of animated series (robots, transformers) into the game. Adults, primarily teachers, are able to help children and teach them a lot.

One of the forms of transferring gaming experience is fantasy play, joint activity of children and adults.

Joint fantasy play develops imagination, creativity, and enriches the emotional life of children. In such a game it is necessary to be able to combine various events, coordinating individual plans in the overall plot. A story-based game is not characterized by strict adherence to a plan. This reveals its specific features - optionality, freedom of choice of actions. The overall plot is made up of proposals from the participants during the game.

Such games allow an adult, being a partner of children, to unobtrusively stimulate them to combine and coordinate various plot events.

The most convenient plots for such activities are the plots of fairy tales that have a general plot scheme and sequence of events:

1- a desire to have some object is discovered (or its loss), as a result of which the hero of the fairy tale is sent (or leaves himself) for it;

2 - the hero meets with the “donor” (owner) of the magic remedy and to receive it passes a test (for kindness, ingenuity, dexterity, resourcefulness, etc.);

3- the hero receives from the “donor” a magical remedy or a magical assistant, with the help of which he reaches the desired object;

4- the hero discovers an enemy in whose hands the desired object is, and passes the main test (fights with the enemy or solves difficult tasks given by him);

5- the hero defeats the enemy and receives the desired object;

6- the hero returns home and receives a well-deserved reward.

The teacher needs the above scheme for transforming fairy tales in order to develop a make-believe game and change a familiar plot.

We decided to make the central character of the fantasy game the Little Man, an unusual soft toy that is not like any of the fairy-tale characters familiar to children.

AND
The toy is made of soft, pleasant to the touch material. The Man’s hands are made on a wire frame, the position of the eyebrows and mouth can also be changed so that the Man’s face expresses different feelings: joy, sadness, surprise, interest, anger, fear in accordance with the game situation and the hero’s mood.

A map of a fairy-tale country with traditional objects reflecting the key points of the plot (road, palace of the positive hero and castle of the anti-hero, obstacle river, forest, mountains) has been developed. The map helps the hero move through time and space. Working with such a map makes it easier to play fantasy games, helps children organize games themselves, and better remember what they have invented. All events in the game unfold around the Human hero and are connected by a storyline.

At the beginning of the game, the teacher gives a “reference point”, talks about what events will take place in it, describes in detail the emotional state of the characters, their experiences, the children, together with the teacher, depict what the main character - the Man - looks like at different moments of the fairy tale (facial expressions, postures, gestures).

Example. At the beginning of the journey, the Little Man goes to the fairyland of Laughter. Children come up with what the inhabitants of this country look like, what the names of the country’s cities are (for example, Khokhotansk), its streets, what the capital looks like, the palace in which the rulers live, etc. Residents of the country of Laughter told the Little Man sad news: The evil wind stole the young princess Smile (description of the princess: what did the princess look like?, How did her kindness manifest itself?).

Our brave Little Man goes in search of the princess in the kingdom of the Evil Wind.

The teacher gradually involves children in developing the plot, examines the map with the children (for example, “a river on the hero’s path”, “Evil Wind Castle”) and helps the children with questions: “What could the name of the river in a magical land be?”, “What kind of water is in it?” ?”, “What did she become after the tricks of the Evil Wind?” and so on.

As the game progresses, the children's literary experience is brought into play; for example, they are asked to remember that in fairy tales there are always magical helpers (What kind of helper heroes are there in fairy tales?, How do they help the hero?, What tests do they come up with?).

Finally, the Man got to the Evil Wind Castle, but in order to get there, he must complete the task of the guards (for example, without paper and paints, draw a portrait of the Evil Wind in just words, describe the castle and its surroundings, what can be seen inside the castle).

Particular attention should be paid to developing the ability to create an image of a character and the ability to describe familiar emotional states. For this purpose, musical works are used (for example, Chopin “Nocturne” to discuss the emotional state of “sadness”, P.I. Tchaikovsky “New Doll” - to discuss the emotional state of “joy”, E. Grieg “In the Cave of the Mountain King” - “fear” " etc.).

At almost every stage of the fantasy game, as the final part of the lesson, you can use drawing in any technique, including “magic paints”, which include gouache, PVA glue, and coarse salt. When dry, such drawings will sparkle mysteriously.

At the first stages of the game, the teacher describes in detail to the children the events, the emotional state of the characters, and their experiences. After some time, you can invite children to use pictogram chips that depict the main emotions of the Man. Children need to figure out what happened, why the hero has such a face, and describe in detail new events in the lives of the heroes.

Fantasy game, according to D.P.N. N.Ya. Mikhailenko, K.P.N. ON THE. Korotkova contributes to the formation of monologue speech in preschoolers, namely, to children’s mastery of its most complex type - a creative story. This type of game unchains children’s imagination, develops speech skills and skills in the field of composing, inventing stories, stories, and fairy tales.

The desire to come up with a story or fairy tale, the hero of which is a toy, encourages the child to choose the right words, grammatically formulate them into coherent statements, and clearly, clearly, and intonationally expressively tell the listeners in order to involve them in the game. To do this, you need to have well-developed monologue speech, which today is the exception rather than the rule for a preschooler.

Using fantasy games, the following tasks are solved:: the ability to combine events proposed by the child himself and other participants in the overall plot of the game; the formation of gaming skills in a joint game between an adult and children, where the adult is a playing partner; independent children's play, in which the adult is not directly involved, but only provides the conditions for it.

List of used literature

1. Vygotsky L.S. Imagination and creativity in childhood. St. Petersburg: Soyuz 1999 305 p.

2. Kudryavtsev V.T. Child’s imagination: nature and development, // Psychological Journal. 2001. №5.p.57

3. Kravtsova E . A. Awaken the wizard in your child. M.: Education, 1996.

4. Mikhailenko N., Korotkova N. Organization of story-based games in kindergarten M.: Linka-Press, 2009. - 96 p.

Kalinichenko A.V. Miklyaeva Yu.V., Sidorenko V.N. Development of play activity of preschoolers: Methodological manual. – M. Iris-press, 2004.

5. Mukhina V.S. Age-related psychology. M.: Nauka, 2007. 258s

6. Subbotina L.Yu. Children's fantasies: Developing children's imagination. Ekaterinburg: U-Factoria, 2005. 192p.

7. Smirnova E.I. Modern preschooler: features of play activities. // Preschool education. 2002. - No. 4. - P. 70 – 74

9. Fantasy: Chubchik in the land of Laughter.//Betrothal.-1997.-No. 4

"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 pan fish look like? What does a scissor fish eat and how can a magnet fish be used?”

"Make up a story"