home

Exercises for the development of creative thinking in adolescents. Training for the development of creativity and creative abilities

The fashionable word today is creativity, or, to put it simply, creative abilities, which contain many qualities and skills. And non-standard thinking, and creative courage, and a sense of humor, and talented lightness. Ah, what a delicious cocktail! Interestingly, is creativity an innate talent or can it be somehow developed in children of preschool and school age? It seems that it is possible! That is what we are going to do now.
Some exercises to develop creativity

"Architect"
Imagine that we, architects, are given the task of creating a project for a house. We write any few words on a piece of paper - these will be the wishes of the client, each of which should be reflected in the project. For example: milk, mouse, mirror, ball. Perhaps the door to our castle will be in the form of a mouse hole, in the courtyard there will be a fountain in the form of a jug of “milk” - tinted water, furniture will be in the form of balls, and the roof will be mirrored! It remains only to draw in detail our imagination. Madness? Certainly! That's what the calculation is: let go of yourself - the freer the better!

"Two pictures"
However, there can be three, four or even ten pictures. The point is small: to find some connection between them and be able to explain it. You can play these: stick various pictures on the cards, all the cards (there should be quite a lot of them) are distributed to the players, and one is placed on the table. Players take turns placing one picture at a time like in dominoes - one to one. One condition is that adjacent pictures must be associated with each other. The child should be able to explain his choice. For example: I will put a bucket next to an apple, because apples can be put there. Or: I will put a picture of the fortress with the bus ticket, because we went on an excursion to the fortress by bus. Etc.

"blots and stains"
The most exciting game is to search for plots and pictures anywhere: in the clouds, in puddles, cracks on the pavement, blots, and even in the outline of pancakes! Blobs and spots can be created independently. And you can complicate the task a little: what would the artist see in this blot? And the fireman?

"10 words"
We take any object and come up with 10 suitable definitions for it. And now vice versa - the 10 most inappropriate. And now 10 adjectives that characterize him and begin with the letters "K", "A" and "M".

"Names"
We imagine ourselves the editors-in-chief of a large newspaper and come up with names for everything: objects, situations, actions, events, as if it were material for the front page of our publication. Let these names be different in style and mood.

"What can you invent from this?"
We take any object, for example, a paper clip, and offer options for non-standard ways of using it. Hook for a Christmas toy? Chain link? Bookmark for a book? Not bad for a start. By the way, it can be straightened if necessary and even cut into pieces if necessary! The more variety you get, the better.

"How to get out of the situation?"
Let's imagine a situation from life - suddenly a shoe is torn during a walk. What to do? There is no shoe shop nearby! Walk barefoot? Option! Nail the sole with small nails? It's also possible. Glue on gum, wrap a handkerchief around, tear off the sole completely - all options are good and suitable. And now you can think of some other situation.

"Make me a camera"
Let's take a look around and think about what, from what material at hand, you can make such a toy? From a box of cream, or maybe from a large mug? You can play this game and vice versa: what does a tennis ball look like, for example? On Christmas decorations and a powder box, on a yellow chicken and a ball of thread - you can continue for a long time.

Creative well-being to everyone, and let your creativity manifest itself in all areas of life!

Games and exercises for trainings on the development of creativity and Creativity (from English create - to create, English creative - creative, creative) - the creative abilities of an individual, characterized by a willingness to create fundamentally new ideas that deviate from traditional or accepted patterns of thinking and are included in the structure of giftedness as an independent factor, as well as the ability solve problems that arise within static systems. According to the authoritative American psychologist Abraham Maslow, this is a creative direction that is innate in everyone, but lost by the majority under the influence of the environment.

Creativity is an activity, the result of which is the creation of new material and spiritual values. Being a cultural and historical phenomenon in its essence, creativity has a psychological aspect: personal and procedural. It assumes that a person has abilities, motives, knowledge and skills, thanks to which a product is created that is distinguished by novelty, originality, and uniqueness. The study of these personality traits revealed the important role of imagination, intuition, unconscious components of mental activity, as well as the personality's need for self-actualization, for revealing and expanding one's creative abilities.

Creativity (from Latin creatio - "creation") is a person's ability to generate unusual ideas, original solutions, deviate from traditional patterns of thinking. Creativity is one of the components of a creative personality and does not depend on erudition. People with a high level of creativity are called creatives.

According to a number of scientists, in the manifestation of creativity, or rather, divergent thinking, which is the basis of creativity, the role of the genetic factor, in contrast to the environmental factor, is small. Among the many facts that confirm the crucial role of family-parent relationships, there are the following:

As a rule, the eldest or the only child in the family has a great chance to show creative abilities.

Children who identify with their parents (father) are less likely to show creativity. On the contrary, if a child identifies himself with the “ideal hero”, then he has more chances to become creative. This fact is explained by the fact that in most children the parents are “average”, uncreative people, identification with them leads to the formation of uncreative behavior in children.

More often, creative children appear in families where the father is much older than the mother.

The early death of parents leads to a lack of a pattern of behavior with a behavioral limitation in childhood, which promotes the development of creativity.

Favorable for the development of creativity is increased attention to the abilities of the child, a situation where talent becomes an organizing principle in the family. So, a family environment where, on the one hand, there is attention to the child, and on the other hand, various uncoordinated requirements are made to him, where there is little external control over behavior, where there are creative family members and non-stereotypical behavior is encouraged, leads to the development of creativity in child.

T.S. Suslova identified the main features characteristic of creative personalities. These are conscientiousness, responsibility, perseverance, a sense of duty, high control over behavior and emotions, decisiveness, enterprise, risk taking, social courage, internal locus of control, and intellectual lability. V.N. Druzhinin (1999) believes that the development of creativity proceeds according to the following mechanism: on the basis of general giftedness, under the influence of the microenvironment and imitation, a system of motives and personal properties (nonconformism, independence, self-actualization motivation) is formed, and general giftedness is transformed into actual creativity, i.e. creativity is a synthesis of giftedness and a certain personality structure.

Low intelligence, neuroticism and anxiety impede the manifestation of creativity.

Target: awareness of creativity in oneself and its development. (Developing the ability of participants to find new non-standard (creative) solutions to problems; establishing communication links within the group.)

Tasks:

Awareness and overcoming barriers for the manifestation and development of creative thinking.

Awareness of the characteristics of the creative environment.

Formation of skills and abilities to manage the creative process.

The effectiveness of psychological training lies in the fact that training methods usually pursue development goals. In the course of classes, the child, gradually getting rid of stress, can reveal his true capabilities. It is necessary to take into account the potential of the child. In this case, the focus is on the "Zone of Proximal Development". It is precisely in the pedagogical and, most of all, in the social sense that it is much more important not what the child demonstrates at the moment, but what should be expected from him in the future. The optimal group size is 8 - 16 people, however, it is also possible to work with groups from 5 to 25 or more participants.

Establish group rules. Group rules are being developed:

speak one at a time;

do not interrupt the one who is speaking;

not use physical force against others;

do not insult anyone, do not tease, etc.

In addition, it is stipulated that in some exercises there will be a “Stop!” (“I am not in this game”).The rules are written on a piece of drawing paper, which constantly hangs on the wall during all subsequent group sessions.

The proposed game exercises are aimed at development and activation of creativity - a system of creative abilities.

The purpose of these exercises is to teach a person to act productively in situations of novelty and uncertainty, relying on their creative potential; navigate in rapidly changing circumstances, make adequate decisions when the initial information for this is incomplete.

What, Where, How

Participants sitting in a circle are shown some unusual object, the purpose of which is not entirely clear (you can even use not the object itself, but its photograph). Each participant, in order, must quickly answer three questions:

What's this?

Where did it come from?

How can it be used?

At the same time, repetition is not allowed, each participant must come up with new answers to each of these questions.

The easiest way to get props for this exercise is not to take whole objects (their purpose is usually more or less clear), but fragments of something - such that it is difficult to understand from them where they came from.

The meaning of the exercise

Discussion

What answers to the questions were remembered by the participants, seem to be the most interesting and original?

Unusual activities

Each of the participants is offered to remember some of his unusual, original action, a strange and not quite explicable from the standpoint of common sense, an act committed over the past one or two months (1-2 minutes are given for reflection). Participants are then asked to briefly describe it and also comment:

In what exactly do they see the unusualness of this action?

What, from their point of view, prompted him?

How do they evaluate this action "in hindsight" - what is it for?

led, was it worth doing?

If there are less than 12 participants in the group, it is advisable to perform the exercise all together; with a larger number of participants, it is better to divide the group into 2-3 subgroups that will work in parallel.

The meaning of the exercise

Discussion

How do unusual actions affect our life - make it brighter, more interesting, more difficult, more dangerous, or change it in some other way? Have the participants recently had situations where they wanted to do something unusual, but something stopped them? If so, what exactly stopped them and how is this assessed "in hindsight" - is it correct that the action was not taken, or would it still be better to do it? Whose unusual actions did the participants want to repeat?

Application of skills

Each of the participants names some sports skill that he owns (for example, snowboarding or rollerblading, pulling himself up on the crossbar, throwing the ball in a precisely given direction, etc.). Then the rest of the participants offer possible options for applying these skills - not only in physical education and sports, but also in other areas of life. The exercise

performed in a general circle.

The meaning of the exercise

Discussion

Participants share their impressions and thoughts about what new skills and ways of applying they are interested.

Training for the development of creativity and creative abilities

Conceptual introduction:

materials: paper, scissors, pencils, models of objects, ball, newspapers.

Stages of work:

I. Stage - warming up

Exercise "Throw the ball"

Goals: verbal and non-verbal communication, brings group members closer. It is aimed at emancipating the members of the group, establishing contacts with each other and finding a quick solution to the problem.

materials: ball.

Time: 2-5 minutes

Procedure: Participants stand in a close circle, they are given a small ball (approximately the size of a tennis ball) and the task is formulated: throw this ball to each other as quickly as possible so that it is in everyone's hands. The facilitator records the time required for this. The optimal number of participants in the circle is from 6 to 8; with more of them, it is advisable to perform the exercise in several subgroups. The exercise is repeated 3-4 times, the leader asks to do it as quickly as possible. When the time costs are reduced to approximately 1 s per participant, the facilitator asks to invent and demonstrate a way in which the ball can be thrown so that it is in the hands of everyone, spending only 1 s for the whole group. Usually, after a while, the participants come up with and demonstrate an appropriate solution. (It consists in the fact that they all put their hands folded in a “boat” above each other and alternately spread their palms to the sides. The ball, falling down, is passed from hand to hand and thus has time to visit each participant). Problem solved!

The psychological meaning of the exercise. Demonstration of how the problem can be solved more effectively with the help of a non-trivial approach to it and how stereotypes prevent this (“to throw means toss up, and then catch”). Cohesion of the group, learning to coordinate joint actions.

Issues for discussion:

What prevented you from immediately seeing a quick way to complete the task, what stereotype was activated in this case?

Who first came up with the idea of throwing the ball, not throwing it up, but dropping it, and what prompted this idea?

What situations, when a stereotypical vision made it difficult to see a simple and non-trivial way of solving a problem, were encountered in the life experience of the participants, and how did you manage to overcome these limitations?

Exercise "Islands" (5-10 minutes)

Target: all participants will be placed on the newspaper. (on the whole, on half of the newspaper, on a third).

materials: newspapers.

Time: 5-10 minutes

Procedure: Participants are divided into groups of 4-6 people and perform tasks at speed.

The meaning of the exercise: Creation of conditions for the implementation and promotion of ideas about how to act in a non-standard situation, group cohesion, physical warm-up. Participants exchange emotions and feelings and voice all their ideas.

II. Stage - Main activity

Freeze Frame Exercise

Target: the development of expression skills, on the other hand, gives the participants the opportunity to look at their attitude to those areas of life that the words concern from a new perspective.

materials: a list of words.

Time: 10 minutes

Procedure: Participants move freely around the audience. At the command of the host, given with a clap of their hands, they stop and demonstrate with the help of facial expressions and pantomime (poses, gestures, body movements) the word that the host calls. The “freeze frame” lasts 8-10 s, after which, after the leader’s repeated clap, the participants again begin to move freely around the room until the next clap sounds and the next word is called. It is advisable to take "freeze frames" with a digital photo or video camera and show the footage to the participants immediately after the exercise.

You can use, for example, such sets of words: time, past, childhood, present, study, future, profession, success; meeting, communication, understanding, friendship, love, family, happiness.

Exercise "Use of objects"

Target: the development of creative intelligence.

materials: paper clip, toothbrush, pencil, match...etc.

Time: 10-15 minutes

Procedure: In two minutes, find as many uses for shoe lace as you can and write them down. This is an exercise that develops creative intelligence for consideration, you can take any other subject.

Issues for discussion:

Was it difficult to come up with a new application for simple and familiar things?

How can your item be used?

What made you think about this exercise?

Exercise "Arch"

Target: the development of creative abilities, the search for a non-standard solution to the problem.

materials: scissors, paper.

Time: 10 minutes

Procedure: Participants unite in teams, receive A4 paper, and they are given the task: to make such an arch so that any of the participants or all in turn can pass through it. Demonstrate as many ways as possible.

Issues for discussion:

Who at first thought it was impossible to complete the exercise?

How often do such situations occur?

Who prompted the solution or is it a collective one?

III. Stage - Completion

Exercise "Creative Life"

Target: to generalize the idea of private traders about their creative abilities and find their creativity.

Time: 7-15 minutes

materials: paper, pens.

Procedure: Participants unite in groups of 5-6 people, receive the task: To form a list of recommendations that will allow them to “make their own lives more creative”, and write them down. The generated recommendations should be realistically implemented by all participants, or at least by the majority of them (that is, they should not imply the presence of any rare abilities, too large material costs, etc.).

Discuss in the group to sort out all the options.

Example:

Exercise regularly;

Master the techniques of meditation and relaxation.

Keep a diary, write stories, poems, songs, write down smart thoughts.

OVERCOMING SPACE

Description of the exercise

Participants are located near one of the walls of the audience and receive the task - everyone to get to the opposite wall in such a way that their feet do not touch the floor (for example, moving by crawling or moving around chairs). Each movement method can only be used once per group. However, those who have already crossed this space can go back and help the remaining participants to cross. They themselves already have the right to move in a normal way,

but those participants whom they help still should not touch the floor with their feet (but they can, for example, be transferred in various ways or “translated” on their hands, holding their legs in weight). Ways of moving, again, should not be repeated.

If the number of participants is less than 13 - 14 people, the exercise is performed immediately by the whole group, with a larger number of them, it is advisable to divide the participants into 2 - 3 subgroups and organize a speed competition between them (the optimal team size is 8 - 10 people; if possible, boys and girls should be evenly distributed among the teams).

The meaning of the exercise

Creation of conditions for the promotion and implementation of ideas about how to act in a non-standard situation, group rallying, physical warm-up.

Discussion

WHAT, WHERE, HOW

Description of the exercise

1. What is it?

2. Where did it come from?

3. How can it be used?

At the same time, repetition is not allowed, each participant must come up with new answers to each of these questions. The easiest way to get props for this exercise is not to take whole items (their purpose is usually more or less

clear), and the fragments of something are such that it is difficult to understand from them where they came from.

The meaning of the exercise

A light "intellectual warm-up" that activates the fluency of the participants' thinking, stimulating them to put forward unusual ideas and associations.

Discussion

What answers to the questions were remembered by the participants?

the most interesting and original?

ORIGINAL USE

Description of the exercise

This exercise involves coming up with as many different, fundamentally feasible ways to use common objects in an original way, such as:

- Paper sheets or old newspapers.

- Sports hoops, dumbbells, etc.

- Bricks.

- Automobile tyres.

- bottle caps.

- Torn tights.

- Burnt out light bulbs.

- plastic bottles.

- Aluminum cans for drinks.

Work is performed in teams of 4 - 5 people, time - 10 minutes. The exercise is most evident when it is possible to give the participants the objects in question and ask them not only to name, but also to show the proposed ways of using them. Presentation of works takes place according to the following scheme: one of the subgroups names or demonstrates one way of using the subject. The naming is worth 1 point, the demonstration - 2 (if the subject is not provided to the participants and, as a result, the demonstration is impossible, then any fundamentally implemented idea is worth 1 point). The next subgroup represents another way, and so on until the ideas are exhausted. The group with the most points at the end wins.

The meaning of the exercise

The exercise provides visual material for discussing the qualities of creative thinking (fluency, originality, flexibility), allows you to train these qualities, move away from stereotypes in the perception of surrounding objects and their usual functions. In addition, it allows you to focus the attention of participants on the distribution of roles in the group when solving creative problems (generators of ideas - performers, leaders - followers).

Discussion

How were the roles distributed within the groups: who put forward ideas and who embodied them; who was the leader and who was the follower? With what personality traits of the participants is such a distribution associated? Do the participants behave in the same way in life as in this exercise?

When the above part of the discussion is completed, it is advisable to talk about the criteria adopted in psychology for evaluating the effectiveness of performing such creative tasks:

Fluency: The number of ideas put forward by each participant.

Originality: the number of ideas that are not repeated in other microgroups.

Flexibility: the variety of semantic categories to which ideas belong. For example, you can make a toy airplane, a boat, or some other similar figure out of paper; in terms of fluency, they are all different ideas, but in terms of flexibility, they all belong to the same category (origami). But if it is proposed to use paper as a tablecloth or seat padding, this is a different category (the covering properties of paper are used). Participants independently evaluate the performance of their subgroups on these parameters, consulting with the facilitator if necessary.

GULLIVER

Description of the exercise

Imagine yourself in the place of Gulliver, who ends up in the country of the Lilliputians (where he is about the size of a three-story house) and in the country of the giants (where he is about the size of a pencil). Can you come up with as many ideas as possible about what items you could use in each of these countries as equipment for various sports (gymnastics, athletics, fencing, town games, weightlifting, skiing, etc.)?

The exercise is performed individually, the time of work is 10 - 12 minutes. Then the participants voice their options, and the leader writes them down.

The meaning of the exercise

The exercise is based on the technique of hyperbolization (representation of familiar objects in an exaggeratedly reduced or enlarged form), which contributes to the emergence of new associations, the development of the ability to perceive familiar things in new, unexpected angles, to pay attention to their properties that are not noticed in everyday life.

Discussion

Where was it easier to imagine yourself in the role of Gulliver - in the country of midgets or giants? What is it connected with? Which of the ideas put forward about the use of items seem most interesting? What unexpected properties of familiar objects are used in them?

METHODS OF ACTION

Description of the exercise

Participants are invited to come up with as many ways of action as possible to resolve any non-trivial situation, for example, from among these:

It is beautiful and original to pack a gift, having only newsprint and adhesive tape.

Open a tin can without a can opener (a more difficult option: using only those items that are in the audience).

Carry a passenger on a bicycle that is not equipped with special devices for this.

Pour gasoline from a barrel with a narrow neck, without tilting it or making a hole in it.

Get from the stairs to the light bulb, which is not reachable by 20 cm.

Seal a hole in the boat using improvised means (the size of the hole is 2x2 cm, there are no special adhesive materials at hand).

The exercise is more dynamic when performed in subgroups of 3-4 people, although individual work is also possible. As for the choice of situations that will become the subject of work, the exercise turns out to be more interesting if at first the facilitator voices 5-6 different options, and then the participants themselves choose 2-3 of them that they would like to work with.

The meaning of the exercise

Training the basic qualities of creative thinking (fluency, flexibility, originality) in situations of finding a way out of unusual situations.

Discussion

First, representatives of each of the subgroups briefly talk about what they propose to do, and then discuss 2 questions:

1. What facilitated the emergence of these ideas, and what made it difficult?

2. Recall similar situations from life, to solve which

did ingenuity help, or ... is it knowledge?

CHEESECAKE

Description of the exercise

You must have seen the sled - cheesecake. This is an inflatable tube from the wheel of a truck, on which a durable cover is put on and handles are attached. A person sits on this camera, grabs the handles and slides down the snow slides. Imagine that you climbed a hill with such a cheesecake, intending to move out of there, but suddenly, already at the top, you saw that the hill was too steep and covered with bumps. It’s scary to ride from it, you can fall and hurt yourself painfully. What decision do you think you will make - to go anyway, despite the fear, or refuse?

Further instructions vary:

1. For those who refuse:

“Well, you are reasonable. And now, please, think of as many ways as possible to roll this cheesecake to a friend left below, so that it does not tip over and fly off the slope to the side.

2. For those who will go: “Well done, you are brave people! Nevertheless, the slide is really steep and dangerous, and no one wants to break their neck. Think of as many ways as possible to go down the hill on this cheesecake in such a way that you have the opportunity to slow down, controlling the speed.

The meaning of the exercise

In addition to modeling the situation for generating ideas, the exercise allows you to enter into a discussion of the problem of risk attitude: are participants ready to find themselves in situations of uncertainty, potentially fraught with unpleasant consequences, what is the reason for their readiness or unreadiness.

Discussion

Example

Here are some descent options:

Sit facing forward, brake with the heels of the feet.

Lie with your stomach on the "cheesecake", slow down with your palms and

feet.

Let the cheesecake go its own way, but group as much as possible to avoid injury in the event of a rollover.

To increase traction with snow, increase the weight: call a friend from below and sit on the "cheesecake" together.

Make a “steering wheel” out of a jacket or scarf by tying them to the handles.

Kneel on the “cheesecake”, put your feet on the back of the snow and use them as a steering wheel and brake.

Take off the jacket and put it under the "cheesecake" - the slip will become worse, the speed will decrease.

Partially deflate the chamber, then the slip will become worse.

Turn the “cheesecake” over: then it will not slide so well and, accordingly, the speed of descent will become less.

Ride on the “fifth point”, putting only your head on the “cheesecake”.

THE EARTH IS ROUND

Description of the exercise

Everyone knows that the earth is round. But what exactly is the meaning of these words? As psychological studies show, many children understand these words in a completely different way than adults expect them to. For example, they believe that the Earth is a flat circle that floats in the sea or floats freely in space. At the same time, when asked what shape the Earth has, they quite reasonably answer “round!”, And this answer does not contradict their ideas about the structure of the world. Think of as many other options as possible, as erroneously as possible, but it is logically consistent to imagine the "roundness" of the Earth. The exercise is performed in subgroups of 3 - 5 people, working time 6 - 8 minutes.

The meaning of the exercise

In addition to developing the ability to generate ideas, the exercise allows you to demonstrate the possibility of ambiguous interpretations and, as a result, the occurrence of errors even when understanding “common truths” that seem obvious.

Discussion

SPORT SUIT

Description of the exercise

Participants, united in subgroups of 3 - 4 people, are invited to make 2 lists:

1. What can be done with a tracksuit.

2. Something that is impossible to do with a tracksuit.

5-7 minutes are allotted for this work, then the lists are announced. After that, it is proposed to come up with ways by which you can turn items from list 2 (“impossible”) into items from list 1 (“possible”). Another 6-8 minutes are allotted for this work.

The meaning of the exercise

Encouraging participants to generate ideas that at first glance go beyond common sense. Demonstration of the relativity of the concepts "possible" and "impossible", their dependence on a number of conditions and assumptions.

Discussion

Representatives from each of the subgroups tell what “impossible” statements they managed to turn into possible ones and in what way. If some statements remained on the list of impossible ones, what is the reason for this, what limitations could not be overcome? Then the participants are invited to give examples of situations from life experience in which at first glance the impossible turned out to be quite possible, and to suggest the rejection of what conventions, assumptions, traditions this was connected with.

SPORTS LETTERS

Description of the exercise

Participants are invited to choose some letter that is often found in the Russian language (approximately from the following set: B, I, K, M, P, R, S, T) and depict it in the form of a little man. After that, they come up with as many words that begin with the chosen letter for sports, various types of exercise, etc., and draw a person (still in the form of a letter) at each of these activities. The exercise is performed individually, on sheets of A3 format, the work time is 8 - 12 minutes. Then an exhibition of the resulting drawings is held.

The meaning of the exercise

The development of both verbal creativity (search for words about sports that begin with a given letter) and the ability to express one’s ideas in an unusual, emphatically strange context (in this case, through drawings of a letter turned into a person and doing different things).

Discussion

What and what exactly seems to be the most interesting in the created drawings?

ARCH

Description of the exercise

Participants are united in 2 - 3 teams, receive A4 paper, and they are given the task: to make an arch from one sheet of such a size that any of the participants can pass through it. The arch should consist of a continuous strip of paper, but the use of any fasteners is not allowed, only scissors are at the disposal of the participants. The method of performing this exercise is not explained to the participants.

If the group is “advanced”, easily coping with creative tasks, then it makes sense to complicate the exercise: ask the participants not just to build such an arch, but to come up with and demonstrate as many ways as possible for this (10 minutes), and arrange a competition between subgroups: who invented more such ways.

The meaning of the exercise

Practicing the skills of generating ideas in teamwork, rallying participants. The exercise is also interesting in that the proposed task usually seems impossible to most participants at first, but then they are convinced that it is not difficult to complete it, they just need to put forward ideas on how to do it. This allows us to demonstrate the conventionality of the concepts of "possible - impossible" and show that one should not immediately abandon the task or call it "stupid" if the solution method does not immediately come to mind.

Discussion

To whom at first it seemed that the exercise was impossible to perform?

Then you were convinced that in fact it is simple, you just need to understand how. How often do we have situations in life when we cannot see a way to do something, because we consider it impossible in principle and do not even try?

FREEZE

Description of the exercise

Participants move freely around the audience. At the command of the host, given with a clap of their hands, they stop and demonstrate with the help of facial expressions and pantomime (poses, gestures, body movements) the word that the host calls. The "freeze frame" lasts 8 - 10 seconds, after which, after repeated clap of the host, the participants again begin to move freely around the room until the next clap sounds and the next word is called. It is advisable to take "still pictures" with a digital camera or video camera and show the footage to the participants immediately after the exercise.

You can use, for example, such sets of words:

Sport, training, youth, victory, medal, fame, career, success.

Meeting, communication, understanding, friendship, love, family, happiness.

The meaning of the exercise

On the one hand, the exercise develops expression skills, on the other hand, it gives participants the opportunity to look at their attitude to those areas of life that words touch from a new perspective.

Discussion

What conclusions did each of the participants make personally for themselves during this exercise and during the observation of other participants?

UNUSUAL NAMES

Description of the exercise

Exercise involves inventing as many unusual, but understandable names for any simple physical exercises as possible. The exercise is best done in subgroups of 3-4 people, although individual work is also possible. The time to discuss the unusual names of one exercise is 4 - 6 minutes, after which the participants voice the proposed options.

The meaning of the exercise

Training in the generation of ideas related to the search for alternatives, the rejection of the most typical options for interpreting objects and phenomena. Demonstration of one of the key principles of creative thinking: any point of view on something is just one of the possible points of view.

Discussion

How great was the variety of proposed names, what features of the exercises formed the basis for them? In what life situations is it useful to abandon the most familiar ways of interpreting known things, and be puzzled by the search for alternative, unusual ways of perceiving them?

Discussion

How the roles of the participants were distributed when putting forward ideas; who took an active position, and who preferred to remain passive?

What is the reason for this, and how typical are the same positions for the participants in other life situations?

To what extent was the flexibility of thinking manifested when putting forward ideas, do they belong to qualitatively different semantic categories, or are the causes and effects put forward fundamentally of the same plan?

What life situations can be likened to this game?

What skills are developed in it and where are they in demand?

INTERPRETATIONS

Description of the exercise

Participants are offered a short, ambiguous description of an interpersonal situation, conflict, or incident, and are then asked to describe the situation through the eyes of various characters, such as:

1. Each of the heroes directly involved in it.

2. A casual observer who happened to be nearby.

3. Journalist.

Depending on what kind of situation is given as an example, the list of these characters can be expanded (for example, the roles of a coach, law enforcement officer, etc. can be added).

Example situations for this exercise:

The pole vaulter, overcoming the bar, pushes the pole back. The height was overcome successfully, but the pole falls directly on the gaping judge, hitting him with all his might in the forehead. The judge is speechless for a few seconds from pain, and then, having come to his senses, decides to disqualify this athlete and remove him from the competition for "unsporting behavior." Describe the situation from the point of view of the athlete, his coach, referee, sports

correspondent, spectator on the podium.

A teenager, wanting to impress a classmate, lit a cigarette during recess right in the classroom. She, seeing this, gave him a slap on the back of the head. In surprise, he dropped his unextinguished cigarette and paid no attention to it. As a result, a fire broke out, the classroom burned out. Describe the situation from the position of the student, his parent, classmate, teacher, fire inspector, who happened to be in the class of another student, the school director, at that time.

The meaning of the exercise

The exercise teaches the way to search for an alternative view of events and phenomena by mentally putting oneself in the place of its various participants, contributes to the development of empathy skills (intuitive understanding of the state of other people, “feeling” into it). In addition, this exercise usually reveals the extremely common error of interpersonal perception, which consists in the fact that when explaining the reasons for the behavior of another person, we overestimate the importance of his personal qualities, but underestimate the impact of the situation in which he finds himself. It is advisable to draw the participants' attention to this fact and recall that, as the results of psychological research show, a person's behavior is actually determined by the qualities of his personality, on average, only 30%, and the remaining 70% - by the characteristics of the situation in which he is.

Discussion

What options for interpreting events seem the most unusual, original? In what life situations is it important to be able to look at events from a new perspective, mentally putting yourself in the place of their other participants? What was paid more attention to when interpreting events - the personality traits of the one who got into them, or the influence of the situation in which he found himself? And how do we tend to explain the reasons for the behavior of other people in real life situations?

LIVE NUMBERS

Description of the exercise

The facilitator calls out various numbers, and each participant demonstrates them with his body. After all the numbers have been shown, the participants unite in triplets and begin to show the three-digit numbers called by the leader (5 - 7 attempts). It makes sense to shoot the resulting "numbers" on an electronic photo or video camera, demonstrate to the participants, collectively choose the one who managed to demonstrate them best, and symbolically reward him with applause.

The meaning of the exercise

Warm-up, development of expressiveness, generation of ideas about ways to convey information with a lack of available means for this.

Discussion

It is enough to exchange emotions and feelings that arose during the exercise.

INCREDIBLE SITUATION

Description of the exercise

Participants are asked to reflect on an imaginary situation that is unlikely or highly unlikely to occur. Their task is to imagine that such a situation did happen, and to offer as many consequences for humanity as possible, to which it can lead. The exercise is performed in subgroups of 3 - 5 people, the time of work is given at the rate of 5 - 6 minutes per situation. Here are some examples of sports-related improbable situations for this exercise:

The Olympic Games will be held as in ancient Greece: they will no longer allow women, and athletes will compete naked.

Doping controls will be waived at all competitions.

The highest sports achievements will not grow, but, on the contrary, will decrease.

All people decide to become professional athletes.

Football banned in Russia

Sports will disappear from people's lives altogether.

There are various options for this exercise. For example, several subgroups may be asked to discuss the same situation. Then the presentation of the results is organized as follows: each of the subgroups in turn gets the floor in order to voice one of the options for the consequences, it is impossible to repeat. If the original ideas of the subgroup have been exhausted, it leaves the game; the team that stays in the game the longest wins. If the subgroups are offered different situations for discussion, then such a competition is not held, instead, representatives of each of the subgroups voice 3-5 ideas that seem to be the most original.

The meaning of the exercise

Training the ability to generate unusual ideas in relation to situations that go beyond ordinary ideas.

Discussion

Which of the proposed ideas are most vividly remembered, seem to be the most creative? Why are these ideas interesting? What contributed to the implementation of this exercise, and what hindered? In what real-life situations is the ability to think about “impossible situations” useful? Can you give examples from your life experience when a seemingly improbable situation becomes real?

GUESS THE CELEBRITY

Description of the exercise

The driver thinks of some famous person (for example, an athlete), who is known to all or the vast majority of participants. It does not have to be a living character, it can be a historical figure. The task of the participants is to guess it. To do this, you can ask the host questions about the hidden person that only mean “Yes” or “No” answers (the answer options are also “I don’t know” or, if the question is unclear or not applicable to the hidden character, “Difficult to answer”). Participants in a circle ask the leader such questions, and when one of them has a version of who is hidden, he can voice it. If the answer is correct, he himself becomes the leader and guesses the next celebrity, if incorrect, he is out of the game until the end of the round. The game usually includes 3 - 4 rounds, but may, if the participants wish, continue longer.

The meaning of the exercise

Teaching the ability to understand information with a lack of initial information, purposefully ask questions to obtain the missing information.

Discussion

What questions turned out to be the most effective for determining the hidden characters? Is it possible to identify any general strategies for guessing these characters?

OPPOSITES

Description of the exercise

Participants are given brief descriptions of several situations and are asked to come up with situations that could be seen as the opposite of those proposed. The exercise is performed in subgroups of 3-4 people, the time of work is determined based on the calculation of 2-3 minutes per situation. Then the representatives of each of the subgroups alternately voice the invented options and argue why they can be considered as opposite to the proposed situations.

For work, you can offer, for example, such situations:

Boxer enters the ring.

The girl goes down the hill on roller skates.

The photojournalist sends pictures from the competition to the editorial office.

Of course, other situations can be proposed, but one should avoid too simple options in which the opposite situations are obvious (for example, “Team A won the match” / “Team B lost it”), and choose those where the opposites are not so obvious or, according to at least they can be distinguished on the basis of different signs.

The meaning of the exercise

Training of thinking "from the contrary" - a way of finding solutions to problems, in which, for a more complete understanding of their essence, their opposite is presented. Development of flexibility in the perception of life situations.

Discussion

What meaning did we put into the concept of “opposite” by doing this exercise? In what situations was it easier to come up with opposite options, and in what situations it was more difficult, what is the reason for this? Give examples of real-life situations where the opposite approach to problem solving can be useful.

SHOW WITH MOVEMENTS

Description of the exercise

Participants are divided into four subgroups, who receive

one word from each list:

Time of day (morning, afternoon, evening, night).

Season (winter, vesta, summer, autumn).

Elements (water, earth, fire, air).

Emotion (fear, anger, interest, resentment).

Age (child, teenager, adult, senior).

Profession (driver, doctor, cook, teacher).

Sports (field hockey, water polo, trampolining, mountain biking).

The easiest way is to distribute the words between the subgroups by drawing lots: write them on small pieces of paper, turn them over and ask the representatives of each of the subgroups to draw out one piece of paper out of every four. The extended leaflets are not shown to other subgroups and are not read out. When the words are distributed, each of the subgroups receives the task: to prepare small dramatic sketches, depicting with the help of movements each of the words they got. 6 - 8 minutes are given for preparation, then the teams alternately demonstrate their sketches, it is impossible to speak at the same time. Representatives of other subgroups, acting as spectators, guess what kind of words they are talking about.

The meaning of the exercise

The development of expressiveness, the ability to convey information with limited available means and to perceive it in conditions of deliberately incomplete data for this, team building.

Discussion

What was easier - demonstrating or guessing the words?

Which sets of words were easier or harder to work with?

What is it connected with? Has there been a distribution of roles in teams in the process of work (generators of ideas, performers, facilitators, etc.); if so, to what extent does the choice of roles reflect the general life position of those who played them? What real life situations can be likened to such an exercise?

PROFESSION SHOW

Description of the exercise

Participants, united in subgroups of 3 - 4 people, are offered lists of several professions. Their task is to prepare small dramatic sketches that would allow the audience to guess what professions they are. Sketches should not include speech or demonstration of well-known attributes of professional activity (like a white hat with a red cross on the doctor's head); professions are shown through facial expressions, movements, interactions of participants with each other. Time for preparation is 12 - 20 minutes, for performances - 1 - 2 minutes for a profession. Each of the subgroups in turn presents their sketches, and representatives of other subgroups, acting at this time as spectators, guess which professions are represented.

Here are examples of job lists for this exercise:

Subgroup 1 Subgroup 2 Subgroup 3 Subgroup 4

Doctor Teacher Salesman Security Guard

Police officer Military officer Judge Lawyer

Pilot Driver Programmer Train driver

Editor Journalist Accountant Governess

Another option is to demonstrate not professions, but various sports.

The meaning of the exercise

The development of artistry, the ability to express information with a lack of funds for this and understand such an expression from other people, team building. In addition, the exercise gives reason to think about what is the content of the work of representatives of various specialties, how much we are guided by real knowledge about their activities, and how much - common stereotypes.

Discussion

What did the sketches reflect to a greater extent: the real content of the work of representatives of the respective professions, or some common stereotypes, purely external impressions about them? Give examples of life situations when people confuse one with the other: for example, they themselves choose a profession based on the external impression of it, without thinking about what the representatives of these professions actually spend most of their working time on.

SPORTS TEAM LOGO

Description of the exercise

Participants, united in subgroups of 4 - 5 people, are offered to come up with and depict the logo of the team playing in the sport chosen by the participants. Working time 15 - 20 min. Participants are invited to follow the stages of the creative process: spend the first 5-7 minutes on putting forward ideas and fixing them (in the form of verbal descriptions or sketches) without critical evaluation, then spend time evaluating the ideas put forward and choosing the most interesting of them, and then - detailing the chosen idea and its embodiment in the form of a full-size image (on an A3 sheet). After that, each of the teams gives a presentation of their logo.

The meaning of the exercise

Demonstration of the specifics of work at various stages of the creative process, development of teamwork skills at each of these stages.

Discussion

Did you manage to maintain such a sequence of stages of the creative process in the course of work? If so, how did this contribute to its effectiveness?

What conditions are most important for productive creativity at each stage? If not, what hindered it? Is it expedient to subordinate any team creativity to the rules, or is it sometimes more useful to let this process "take its own course"?

(NOT) ATHLETIC PERSON

Description of the exercise

Participants take a sheet of paper and receive the following instructions:

“Please lay your sheet horizontally, and divide it in half with a vertical line. And now on the left half of the sheet draw a sports person, and on the right - unsportsmanlike: the way you imagine them. The artistic qualities of the drawing do not matter, the main thing is to express with its help how, from your point of view, sports and non-sports people differ.

6-8 minutes are given for drawing, then the drawings are laid out one under the other (in such a way that a series of images of a sports person is obtained, and in parallel - a series of images of an unsportsmanlike one) and the participants comment in turn which qualities of these characters are reflected in their drawings. The facilitator fixes the named qualities and then, summarizing, once again pronounces those of them that were mentioned most often.

The meaning of the exercise

Awareness by the participants of the stereotypes that exist in their minds about which people are inclined and which are not inclined to sports, and how sports change a person. Demonstration that in the public mind, sportiness is usually perceived in a positive way (beauty, physical health, etc.), and unsportsmanship - in a negative way.

Discussion

What new things did each of the participants learn during this exercise? How, in their opinion, is possible in other words, without using

particle "not", to express the meaning of the phrase "unsportsmanlike person"?

MY REFLECTION

Description of the exercise

Each participant leans back against the wall, where a panel of light wallpaper or 2-3 glued sheets of whatman paper, as high as his height, hangs, and assumes a pose that, in his opinion, reflects his typical emotional state. The partner draws the outline of his body on the sheet with a pencil, after which the participants change roles. When the contours of the body of each participant are outlined, the resulting drawings are painted and, if desired, supplemented with real decorations and details of the clothing of the practitioners. Working time 30 - 40 min, when painting contours

body it is advisable to use watercolor or gouache. At the end of the drawing, each participant is asked to come up with a free-form presentation of their "reflection on the wallpaper" and demonstrate it (2 - 3 minutes per person).

The meaning of the exercise

The development of expressiveness, awareness of one's bodily "clamps" - areas of increased muscle tension associated with both the inability to relax and insufficiently expressed emotions, unfulfilled desires, etc. In addition, the exercise contributes to the adoption of one's bodily appearance.

Discussion

What emotions and feelings arose during this exercise?

How comfortable and natural is the pose shown in the picture?

What emotional state does she reflect that motivates her to accept?

What areas of the body turned out to be highlighted with brighter colors, what is the reason for this?

What new things did you learn about yourself and about other participants during this exercise?

WANT_CAN_SHOULD

Description of the exercise

Participants build collages - pictorial compositions, including clippings from colored newspapers and magazines, drawings, photographs, any small items that were at hand from the participants. Collage theme: "My desires, opportunities and responsibilities." This reflects the personality structure according to E. Berne: "Child (desires) - Adult (opportunities) - Parent (should)".

Usually, the facilitator first draws this personality diagram and briefly comments on it, and then invites the participants to make collages, either adhering to the traditional scheme (three circles one under the other: in the lower desire, in the middle of the opportunity, in the upper obligation), or by coming up with their own version. A simpler modification of the exercise, appropriate when working with younger teenagers, is to focus on one of these components, for example, make a collage on the theme “my dream”.

Working time 25 - 30 minutes, then a presentation is held - an excursion, during which the authors alternately act as guides, presenting their collages.

The meaning of the exercise

The exercise contributes to a more complete awareness of one's desires and capabilities, setting personal and professional goals, and increasing self-esteem.

Discussion

What conclusions did each participant make personally for himself when doing this exercise, what new things did he learn about himself, his desires and capabilities?

Quote in the subject: as the well-known Russian psychologist and psychotherapist M.E. Litvak says, “A person’s happiness lies in the fact that for him“ I want, I can and I must ”have the same content.” To what extent do you agree with this position? Give arguments for and against it.

UNUSUAL ACTIONS

Description of the exercise

Each of the participants is offered to remember some unusual, original action, a strange and not quite explicable from the standpoint of common sense, an act committed over the past one or two months (1 - 2 minutes are given for reflection). Participants are then asked to briefly describe it and also comment:

In what exactly do they see the unusualness of this action?

What, from their point of view, prompted him?

How do they evaluate this action "in hindsight" - what did it lead to, was it worth doing?

The meaning of the exercise

The exercise contributes to the transfer of knowledge and skills related to creativity to the consideration of one's own life, increasing the degree of openness to new life experiences.

Discussion

How do unusual actions affect our life - do they make it brighter, more interesting, more difficult, more dangerous, or change it in some other way? Have the participants recently had situations where they wanted to do something unusual, but something stopped them? If so, what exactly stopped them, and how is this assessed "in hindsight" - is it correct that the action was not taken, or would it still be better to do it? Whose unusual actions did the participants want to repeat?

APPLICATION OF SKILLS

Description of the exercise

The meaning of the exercise

The exercise teaches you how to generate ideas about how to put into practice the resources available to the participants, increases self-esteem, and increases motivation to develop new skills and improve existing ones.

Discussion

Participants share their impressions of the work and thoughts

about what angles of application of skills interested and aroused a desire to put them into practice, as well as about what new skills they wanted to master during the exercise.

MAGIC Binoculars

Description of the exercise

The facilitator asks the participants to relax, take a comfortable position, close their eyes and begins to slowly, measuredly read out the instructions, pausing at the places indicated by dots: “Imagine that magic binoculars fell into your hands. Looking into it, you see what is happening in your future, in a few years. First you look one year ahead... Where are you, what are you doing, who surrounds you?.. Examine this picture in all its details. And now you are looking five years ahead... What do you see? What changes have taken place in your life?.. And now you are looking ten years ahead. What has your life become?.. Where are you, with whom, what are you doing? What changes have occurred during this time with you and around you? ... "

After that, participants are asked to open their eyes, take three sheets of paper, draw two partially overlapping circles on them (like the field of view of binoculars) and depict in them what they imagined in 1, 5 and 10 years (10 - 15 minutes). The exercise is performed individually.

The meaning of the exercise

This is a meditative plan technique that allows you to take a more meaningful look at your life prospects, dreams and goals, as well as move on to a conversation about what steps you need to take to realize them.

Discussion

Each participant demonstrates their drawings and comments on what is depicted on them. If the drawings are positive, reflect goals and dreams (most often this is the case), then the participant shares his thoughts on what he should do to make this future come true, but if something negative is depicted, reflections on whether this can be avoided and if so, how.

CREATIVE LIFE

Description of the exercise

Participants, united in subgroups of 5 - 6 people, receive the task: Formulate a list of recommendations that will allow them to “make their own lives more creative” and write them down. The recommendations formulated should be realistically implemented by all participants, or at least by the majority of them (i.e., do not imply the presence of any rare abilities, too large material costs, etc.).

The meaning of the exercise

Transferring the consideration of creativity problems from the plane of specially modeled situations to the area of everyday, everyday life realities.

Discussion

Sheets on which the recommendations formulated by the teams are recorded are laid out or hung out for all participants to see. Representatives of each of the teams take turns taking the floor to announce their recommendations and briefly comment on exactly how following each of them will make their own lives more creative. As an example and possible material for discussion in the group, a list of such recommendations compiled by specialists in the psychology of creativity is given (L. King, 2005, p. 12

Get regular exercise.

Make sure your diet is varied and balanced.

Master the technique of relaxation and meditation.

Improve your confidence.

Keep a diary, make sketches, write poems, short

stories and songs.

Read fiction that develops the imagination.

Think about alternative uses for objects you encounter in your daily life.

Think about the similarities of dissimilar things.

Take up painting or sculpture.

Visit inspiring places.

Get involved in things you wouldn't normally think about.

Try to be more spontaneous and sociable.

Watch comedies and try to develop your own humorous style.

Listen to classical music.

Try to fulfill your daily routine duties in different ways.

Make new friends and expand your social circle.

Think of yourself as a creative person.

Think of creativity as a way of being.

Emulate that famous creative person you admire.

Learn to ask yourself the question: “What if?”

Don't sit in front of the TV.

Let yourself dream.

Don't be afraid to be wrong or make a mistake.

Don't make hasty judgments.

Be interested in absolutely everything.

Expand your horizons of interests, etc. Warm-up exercise

Close your eyes and imagine a cube, try to turn it with another face, twist it. After you have succeeded in this, try turning the cube into a ball. Rotate the ball for a minute, then open your eyes and begin to perform the proposed exercises. This task will help you tune in to a creative wave, contribute to the birth of various ideas.

Exercise #1

Think of 10 ways to use an empty pen refill and write them down. It is advisable to come up with non-standard options (you can even crazy ones), this will increase the effectiveness of the exercise.

Exercise #2

Using only one square, try to draw a picture (or at least a drawing) that depicts some kind of plot.

Exercise #3

Write down the numbers from 0 to 9 in order and draw various elements to them so that in the end it would be impossible to determine what kind of number is written.

Exercise #4

Try to connect two different objects and write down what useful properties this object will have.

Exercise #5

Take any object, mentally divide it into several parts (3-5) and write down the new properties of each part.

The second set of exercises (imagination development).

To perform these exercises, you just need to close your eyes. If you do not rely on your memory or want to further improve your decisions, also take a piece of paper, a pen to write them down.

Warm-up exercise

Exercise #1

Close your eyes, try to imagine an autumn park. Watch the falling leaves. Do the exercise for 3-5 minutes.

Exercise #2

Close your eyes, try to imagine yourself sunbathing on the beach. Look around, make out the faces of people nearby (if it doesn’t work out, just watch the play of the waves or something else). Do the exercise for 5-10 minutes.

Exercise #3

If people stopped being able to walk and learned to fly. Imagine how life would change.

Exercise #4.1

Write the names of 10 any objects, close your eyes and begin to imagine their images. Hold each image for 5-7 seconds.

Exercise #4.2

Using the images from exercise #4.1, try to manipulate them. First one, then bringing it closer, then moving it away, then try using two, three, and so on all ten together.

to develop the ability to see problems:

≪Look at the world through someone else's eyes.

≪In the morning the sky was covered with black clouds and it began to snow. Large snow

flakes fell on houses, trees, sidewalks, lawns, roads…≫.

After reading the unfinished story, students need to continue

this story, but in several ways: from their own point of view; from the point of view of the pilot going to fly; from the point of view of a hare or a fox in the forest.

≪Make up a story using the given ending.

≪… and the kitten fell asleep peacefully in Masha's arms.

I use exercises aimed at developing the ability to conduct observations in order to identify the problem.

≪One theme, many stories.

It is necessary to come up with and draw as many stories on the same topic as possible. For example: ≪Forest≫, ≪Animals of the native land≫, ≪In the taiga≫, ≪Hunting for animals≫, etc.

≪Story on a given topic.

The theme of the game is announced by the student, going to the board, for example, "Winter". Children

name words related to the topic. The student writes the words on the blackboard and writes a story or fairy tale on an environmental theme.

I successfully apply in the 1st grade the method of constructing fairy tales (according to the method of I.V. Vachkov), which allows to form the communication skills of students for working in a group, contributing to the development of a creative, extraordinary approach to solving a problem. For example, in a circle lesson "We are explorers" In class 1 I use group work. I explain to the children that at the next stage of work they will have to create a creative work - to compose a tale, but with well-known characters.

Why write and tell fairy tales?

What character traits are most often ridiculed in fairy tales? Why are there

characters punished?

- You need, after consulting with your comrades in the group, to choose one of the named negative character traits and use it in your fairy tale.

It may be easier for you to make your choice after you have drawn lots.

draw out cards with the image of fairy-tale characters.

The group has the right to introduce one of its literary heroes by doing

replacement in the proposed set of cards. When selecting, the following condition should be observed: the characters must be well known to children. Female characters: Baba Yaga, Frog Princess, Malvina, Little Red Riding Hood, Little Mermaid, etc., male characters: Santa Claus, Old Man Hottabych, Pinocchio, Karabas-Barabas, etc.

Work takes place in groups of five people. The cards must be shuffled, each group draws 5 cards at random, after 15-20 minutes they must present the name of the fairy tale and play it. After watching the presented fairy tale, it is discussed whether the actors managed to demonstrate the negative character trait of the character and teach him a lesson.

In the next lesson, to complicate the task, I suggest that students

make up a story about their life in the family or in the classroom. In a fairy tale, the student must imagine himself as the main character, depicted in any form, age, appearance. After the children listen to the fairy tale, they are given the opportunity to express their feelings: did they like this fairy tale or not, if so, then what moments, if not, why?__

Introduction

Interest in the problem of imagination as a mental process arose relatively recently at the turn of the 19th and 20th centuries. The first attempts at an experimental study of imagination date back to this time (S.D. Vladychko, V. Wundt, F. Matveeva, E. Meiman, L. L. Mishenko, T. Ribot, L. S. Vygotsky, A. Ya. Dudetsky and etc.). Gradually, aspects of the study of this problem are expanding, new methods are being developed that allow experimental investigation of the function of imagination, questions of the relationship of imagination with other cognitive processes are considered. In science, there is a growing interest in the problem of creativity, and through it, in imagination as an essential component of any form of creative activity.

To create means to create, to take steps into the unknown. The greatest creator we know is nature. And the creative person is only like her. One of the main features of a creative nature is that it does not like clear, simple, unambiguous solutions. That is why it is difficult to define the creator and creativity.

The development of creative abilities, “including the creative imagination of children, is the most urgent problem in Russia, and, perhaps, throughout the world. New economic relations have led to a change in the traditional educational paradigm.

Traditional education is factual, i.e. involves the transfer of ready-made knowledge to students, "as a result of which the student receives the sum of knowledge, skills and abilities. However, it has been proven that ready-made knowledge, facts weaken the internal motivation of the student and lead to the unclaimed potential of the individual. New views on education lie in the purposeful comprehensive development of the creative potential of a person Early diagnosis of children's abilities and their further development in creative activity are necessary conditions for the formation of a full-fledged personality, the disclosure of personal potential, the formation of the qualities of a cultural, spiritually developed and socially active member of society.

Creative skills

Creative thinking - it's just an understanding of the fact that there's nothing particularly good about doing things the way they've always been done.
Roger von Eich.

Creativity is the core of intelligence. Does an idea have to be completely new to be considered creative? Is artistry or aesthetic enjoyment a necessary condition for creativity? Can creativity be the result of detailed, methodical work?

Many psychologists believe that creativity is just an innovative approach to solving a problem. From this perspective, there is nothing extraordinary about creative thinking. It is realized as a consequence of methodical reflections. Other psychologists believe that creativity is an unbridled, uncontrollable process, accompanied by sudden flashes of insight. From this point of view, creativity is mysterious and unpredictable.

Creativity means that you yourself create a certain idea, and do not borrow it from someone else. The creative process can be divided into two phases: research and application. In the exploratory phase, you evaluate and manipulate new ideas. You connect hitherto unrelated matters, create new relationships, look for unusual images. You use your imagination, play with unexpected options, break the rules, allowing ideas to be deposited in the back of your mind. In the application phase, you evaluate and implement your ideas. You see how applicable it is, whether it meets your requirements. And then you translate the idea into action, moving it from the “what if” plane to the “what is” plane. Both phases complement each other. In the generation phase, you think broadly; in the applied phase, you think narrower.

Creation - it's ten percent inspiration and ninety percent perspiration."
Thomas Edison, inventor

The teacher of an ordinary school, squeezed in the grip of an educational plan and increasingly stringent ministerial requirements for universal standardization of education, has few opportunities for his own creativity and for its development in his wards. More such opportunities for the teacher of additional education. To a greater extent, teachers stimulate the creative self-expression of pupils, having in their arsenal clear and fairly rooted orientations towards supporting the natural creative process in children. In the course of professional self-improvement, the teacher needs to develop in himself constructive personal attitudes that help children maintain confidence in their significance, in the interest of their spontaneous ideas and images, in the fact that independent trials and searches are an important and worthy process, useful for self-development of the personality, creative adaptation to the world.

The constructive, that is, supporting and harmonizing the creativity of children, personal orientations of the teacher include the following:

1. Encourage independent thoughts and actions of the child, if they do not harm others;

2. Do not interfere with the child's desire to do, portray something in his own way;

3. Respect the point of view of the pupil, no matter how “stupid” or “wrong” it is - do not suppress it with your “correct” attitude and opinion;

4. To invite children to do more free drawings, verbal, sound, tactile, and taste images, interesting movements and other spontaneous creative manifestations during classes;

5. Non-judgmental in attitude to children's creativity - that is, do not use an explicit system of assessments, discuss individual meaningful moments of these works, do not compare with other children, but only with themselves, with his past experiences;

6. Do not laugh at unusual images, words or movements of the child, as this critical laughter can cause resentment, fear of making a mistake, doing something “wrong” and suppressing the spontaneous desire to experiment and search in the future;

7. Create and play sometimes with children - as an ordinary participant in the process;

8. Do not impose your program of images and actions, manner of image and thinking, your faith, as well. on the contrary, try to understand the logic of the child’s imagination and fit into it:

9. Pay more attention to organizing the creative process of creating something, maintaining this process, rather than results;

10. To develop a sense of proportion in relation to children to any type of creative activity, offering a variety of interesting tasks, psychological warm-ups, ordinary gymnastics and yoga exercises, acupressure, this helps prevent monotony, overstrain and overwork;

11. To maintain in the classroom a predominantly positive emotional tone in oneself and in children, cheerfulness, calm concentration and joy, faith in one's own strengths and in the capabilities of each child, a friendly intonation of voice;

12. To add more variety to classes and study the creative abilities of children, use psychological “creative” methods and tasks, creative games with words, body movements, sounds, visual images, taste, tactile and olfactory sensations, exercises from courses on the development of psychological culture: communication , creative thinking, mental self-regulation, business qualities, self-knowledge and understanding of the laws of the World.

In order to study and develop the creative abilities of children, it is recommended to use the set of simple creative tasks proposed below, the use of which does not require much special training from the teacher. It is enough to try to answer it yourself, consult a psychologist - and good luck! Tasks can be applied in any order, you can make your own changes and additions. The main thing here is to captivate the children with the process of creative play.

The best way to create a good idea is to have a lot of ideas.
Linus Pauline,
physicist, Nobel laureate

THE EXERCISE. What it is?

In most cases, our reflections are aimed at getting one single correct answer. With this “the only right decision” approach, which is introduced into us by tests and quizzes, we get used to thinking in blocks: “yes-no, black-white”, “right-wrong”.

The consequence of this style of thinking is that when looking for new ideas, we often stop at the first answer that satisfies the condition and do not try to move on. The first solution, even if it is not the best one, often blocks our desire to continue searching. We lose the opportunity to find a better solution.

For example, looking at the picture, you can say that these are two circles, and stop there. And you can also think and imagine that this is a scrambled egg, a roll of toilet paper (top view), a sombrero (bottom view), an albino eye, the orbits of Mercury and Venus, a light bulb base, etc. The second picture is a bear climbing a tree. This exercise is very popular with children. If you decide to create something, do not stop searching. It is possible, of course, that nineteen of the twenty ideas you came up with

you can safely send it to a landfill, but remember that Thomas Edison found more than two thousand ways to make an incandescent lamp. If you keep looking, you might find a better solution.

Making connections

The ability to make connections and relationships, sometimes strange and even shocking,
underlies any creative mind depending on the field or discipline.
George J. Seidel,
Writer

THE EXERCISE. What happens when you connect a light bulb to a pen?

Wings and a car? Iron and vacuum cleaner? and etc.

Many creative insights come precisely when a person tries to combine two apparently dissimilar ideas and form something radically new on their basis. Johannes Gutenberg combined the ideas of grape presses and minting coins and created a portable printing press, William Harvey found an analogy between the pump and the human heart and developed the modern theory of blood circulation.

The Wright brothers established the connection between a bird's wing, a bicycle, and an internal combustion engine and were the first to enjoy controlled flight.

In the exercise proposed to you, you can find several connections. For example, think of a pen with a built-in light source for writing in the dark, or imagine a special pen that writes on the glass of a lamp so that a variety of beautiful patterns can be projected. You can imagine a handle that screws into a refill base. What other connections can you find? Children can come up with things that you don’t even think of.

It is very interesting to observe the process of establishing these connections in consciousness. Here you are still looking, and the next moment you have already found an idea. What happened between these two events? Have you experienced an “Aha!” moment? It's the “Aha!” you feel when you find a new idea, like the “Wow!” you feel when you find something interesting. And then and other things happen spontaneously

trigger words

Imagine that your brain is a huge library. And your memories, experiences, ideas are fairy tales, stories, stories, fantasy, plays that are on the shelves. Many works were lost in poorly lit corridors. Ideas are in principle available, but it is difficult to get to the bottom of them.

There are several ways to make your experience library easier to access. One of them is the so-called trigger words, or words that evoke fresh associations. Look up a spelling or explanatory dictionary for words that you associate with the idea you are currently working on.

You can either search until a word flashes before you like a flash of inspiration, or you can open the book at random, point your finger at any line, and forcefully create an association between your idea and the word that hit your finger.

What does this mean for you? An enzyme is a protein substance that regulates biochemical processes. This word may remind you of cells and microbes. So you start imagining a game where some players are "germs" who have to infect some cells, and other players have to protect those cells. This word can make you think of one large cell or an entire organism. Because enzymes aid in chemical reactions but are not used in them, you can imagine a game in which the position of the player does not change, only the environment changes. Another way: you can decide that the word "enzyme" is consonant with the word "razim", and imagine some kind of war game.

THE EXERCISE. What game will you come up with to pour the following words: corridor, prince, lamp, cart, bump? Etc.

Separation and connection

There is another good way to generate ideas. It is called attribute analysis. Attribute analysis creates a list of properties, characteristics, and parameters for the idea you are working on. Then, in order to create a new idea, you begin to change one or more properties at once.

THE EXERCISE. For example, imagine that you are designing a new cup. The list of cup properties states that it should be round, have a handle, be made of a material hard enough to have a stable bottom and not change the taste of the drink.

You are now ready to think in new directions. Target one of the attributes and change it one way or another. For example, let our cup have not one handle, but two, so that it can be held from two sides. If you set the handle inside the cup, you will never get burned again, because it is impossible to take a sip from such a cup without first tasting it with your finger. You can make a pen the size of a cup itself - for those who drink right in hockey gloves.

You can change other settings to make the cup serve specific purposes. Let her have a pointed bottom so that she does not tip over, stuck in the sand on the beach. And you can make the bottom sticky and soft so that the cup does not fall from rolling during a sea voyage. For those who drink too much coffee, you can make a cup with a hole in the middle of the height - the cup will always be half empty. For those who like sweets, you can, using some kind of chemical technology, cover the inside of the cup with sugar. And you can cover the rim of the cup with four substances with different tastes - sweet, bitter, salty and sour - so that you can choose the taste by turning the cup.

Changing the context

THE EXERCISE. Think of twenty ways to use a paper clip, a glass, a balloon, a saucepan, a shoe, etc.

Things acquire meaning depending on their surroundings. For example, in the office, paper clips are used to hold letters, contracts, and other documents together. In the laboratory, the same piece of iron may be part of the wiring that will connect two cables. You can use a paperclip to hastily fix broken glasses, use it to pick the lock.

Changed circumstances may force you to explore new uses for known things. When you travel, a towel becomes a pillow, a sunshade, a sand mask, a skirt, a camera bag, a laundry basket, a back scratcher.

It is impossible to cause the process of creativity at will,
it is impossible to beg him to come down on you, even by giving
vows. In fact, he will come to you sooner when your
the mind rests and the imagination wanders freely.
Morris Klein, mathematician

Improvisation exercises

Warm up

What was your last creative idea?
When was the last time you brought your creative idea to life?
Name five of the most creative things you've done.
Think back to your early childhood.
When was the last time you took a creative risk? And what happened? What bad could happen? And what's good?

Mind Flexibility Test

1. At you have a candle, a box of matches and a box of nails. You must attach the candle to a wooden door so that the candle burns well and gives enough light for reading. Pay attention to how your ideas shape as you think about them.

2. List all possible ways to measure the height of a building using a barometer.

3. You design the cover of a new book. In the morning, you decided to put some kind of advertisement in a place where the president could see it on his way to work. What kind of ad will it be?

4. You know that you will be given a test problem: how to get a tennis ball out of a long, narrow cylinder screwed to the floor. The standard solution is to pour water to make the ball float. But you learned about the content of the task and prepared additional answer options in advance. What exactly? How are you going to get the ball?

Practice creativity

Choose any daily activity that you do regularly: brush your teeth, and come up with ways to make this activity more creative.

Development of metaphorical thinking

1. Fill in the gaps in comparisons and metaphors. Water for the ship is the same as ... for .... barrels. The flower evokes joy, as well as... anger. Faucet for…. the same as ... for the holiday.

Get into Synthesis

An interesting way to get yourself into a state of creativity is to imagine a mixture of different types of perception, that is, to imagine the ability to taste sounds, hear colors, smell sensations. Try to do something like this.

What does the word "fun" smell like? What does the number seven feel like? What does yellow taste like? What is the shape of the environment? What does sunset taste like?

What is the taste of joy?

How do you

Create a team game with two balls? Redesign the human body?

Redesigning the human face? Create a project for a house that does not have straight walls?

Everyday creativity

Every day, take a pose that you have never taken before. Invent a new word every day and come up with a meaning for it.

Come up with a new idea every day. Do mental exercises every day.

Come up with a new way to brush your teeth every day for a month.

Spontaneous illustration

Take a pen and draw something without thinking. Having no idea what you are going to create, press the tip of the pencil to the paper and let it move freely. Do not think about what will work out - what will come out will come out. Make at least fifteen drawings. What will your pencil do?

Dream programming

Sleep is often a source of creative insight, if you want to think about something in a dream, then falling asleep, keep this thought in mind. Instead of holding the mental image right in front of you, let it turn first one side, then the other - so that when you fall asleep, the mental picture appears before you in all its diversity. When you wake up in the morning, remember what you thought about when you fell asleep the night before and try to tell your parents. Throw out thoughts without getting out of bed.

Two minutes to create

Very often, our creative circulation is much more intense when we find ourselves in a hopeless situation, and there is nothing left for us but to be creative.

Do the following exercises.

For two minutes, give your right hand the maximum number of new positions. Now, in two minutes, say the words “tonight” with as many different intonations as possible.
For two minutes, make different shapes from four paper clips, do not allow the paper clips to unbend (draw each picture with long ovals).
There are three fragments in the figure. In two minutes, make as many patterns as possible using only these three fragments.

If you expect the unexpected, you won't find it.
Heraclitus, philosopher

Exercises for the development of creative abilities in children in the classroom:

1. "Design"

a piece of paper for everyone, on which the children take turns sticking their pieces without knowing what the first child intended to depict. The latter will say what happened in the end and compare with what the first one conceived.

2. "Three Words"

The teacher says any three words, for example: cat, ball, plane, each child tries to come up with a sentence using these words. For example: The cat was flying on a plane after the ball.

The cat was playing with a ball on the plane.
On the ball, the cat flew like an airplane. Etc.

3. “Scribble”

Take a pen, put the center of the leaflet, close your eyes, and arbitrarily drive but the leaflet, a continuous line for 15 seconds, then carefully look at what image is visible, select it.

4. “Composing riddles according to the algorithm”

You can compose riddles, describing the signs of the subject according to the table:

Which? What is the same?

Algorithm:

1. Select an object,

2. Fill in the left side of the table by answering the question: “Which one?”

3. Fill in the right side of the table: “What is the same?”

4. Insert linking words “….but not…”

5. "Drawing"

Two children take one pen, put it in the center of the sheet and draw at the same time, something that the teacher told them in their ear is different. And let's see what happened.

6. "Rhyme"

Pick a rhyme for the word. For example: a sheep - a word - a heart.

7. “How can I say otherwise?”

Find as many synonyms as possible for the words:

Stupid: stupid, dim-witted, stupid, dumb-headed, brainless ......
Important: weighty, significant, significant, fundamental ......
Sad: mournful, gloomy, dreary, sad......
Friend: friend, comrade, colleague…
Frightened: gripped by fear, scared, timid, worried .....
Funny: amusing, comical, amusing, hilarious, hilarious, witty....
Attractive: charming, delightful, inviting, alluring, seductive, attractive.....
Self-confident: presumptuous, self-aware of the yen, unceremonious......

8. "A full range of."

Make lists of thirty related words in alphabetical order, for example:

Professions: architect, accountant, doctor...
Cities: Anapa, Baikal, Voronezh.
Musical instruments: accordion, balalaika, cello...
Food: pineapple, bun, grapes...
Trees: acacia, birch, willow....
Animals, etc.

9. " Yes and no "

Guess the hero of the rolling pin by asking questions that can only be answered “Yes or no”, but you cannot ask direct questions (for example - Is this a cat?)

10.“Delicious backpack”

In the backpack were: a sandwich, a ball, a constructor, a spoon, an orange, a cube, a sausage, a felt-tip pen, a nut. List which of edible lay in a backpack.

11.“Tactile Sleeve”

In the bag - sleeve put the figures of the planar cut game "Tangram" or any geometric figures. Children must determine by touch what was in the bag and remember. And now answer the questions:

How many figures were in the sleeve?
How many quadrilaterals? Take out the square.
How many triangles are there? Get the middle one.
How many figurines are left?

12.“Figure”

Circle the geometric figure and draw it so that it turns out to be an animal.

13.“Story by picture”

Prepare different pictures from magazines. Tell the past, present, future of an object or living being.

14.“Solution to an unusual problem”

Think and write what you will do if:

Will all people be as light as feathers?
If animals start talking like people?
If all people can read minds from a distance? And etc.

Helpful Hints

Creativity is a wonderful quality that makes us innovators and thinkers. It is the ultimate goal for that artist who is also imprisoned by each of us.

TIP 1. Don't stop at the first correct solution. Get in the habit of looking a little further and digging a little deeper.

ADVICE 2. Make connections. Use metaphors, comparisons and analogies to generate new ideas. Look for materials outside of your usual areas of interest.

TIP 3. Create - take risks. If you're going to come up with an original idea - original to you - you need to do something completely different from what you usually do. This means venturing into unexplored areas and trying to do something new. Don't be afraid to dress your mind in a hunting suit.

TIP 4. Insights, bursts of inspiration and creative leaps of the imagination can happen anytime and anywhere - in the bath, at dinner, at the moment of awakening. Unfortunately, they often dissipate as quickly as they appear. Be ready to capture them as soon as they appear: sketch a drawing or take notes.

Conclusion

And in conclusion, I would like to pay special attention to the following.

Creative activity is a necessary component of a healthy and harmonious human life. It will be optimally organized

only when it is carried out in moderation, without superfluous efforts and a sharp or prolonged violation of the regimen of classes and rest, i.e. no manic obsession. When chronic and overstressed efforts are not inherent in it, and the rest of life is not crossed out by “one, but fiery passion.”

The upbringing of a creative personality in children presupposes, therefore, the development in them of a focus on the harmonious flow of creative activity, on the self-organization of a harmonious life as a whole. Creativity can indulge and strengthen the personality, the health of the child only with a wise, i.e. among other things, with its diverse and process-oriented pedagogical organization.

In order to study and develop the creative abilities of children, it is recommended to use the proposed set of simple creative tasks, the use of which does not require much special training from the teacher. It is enough to answer yourself or consult a psychologist - and good luck! Tasks can be applied in any order, you can make your own additions and changes. The main thing here is to captivate the children in the process of creative play.

Bibliography

1.Bogdanova, T.G. Diagnostics of the cognitive sphere of the child. [Text]: textbook / T.G. Bogdanova, T.V. Kornilova. - M.: Rospedagenstvo, 1994. - p.62-66

2. Woodjack, T. Mind training. [Text]: exercises for the development of increased intelligence / T. Wudzhek. - St. Petersburg: Publishing house "Peter", 1996.- 229 p.

3. Motkov, O.I. The development of creativity in children. [Text]: / O.I. Motkov. Additional education, - 2008. No. 4 - p.9-13.

4. Savenkov, A.I. Development of creative thinking. [Text]: textbook / A.I. Savenkov - Yaroslavl: Publishing house OOO Development Academy, 2007. - 32p.

5. Sobko, N.V.. The development of the creative imagination of primary school students is an important problem of modern education. [Text]: / N.V.Sobko - Additional education, - 2005. No. 6 - p.9-10.

Creativity - these are the creative abilities of the individual, allowing to create and implement fundamentally new ideas.

The creative component is present in every person from birth. See how relaxed children are in any creative activity. Unfortunately, most of us lose the freedom of creativity under the influence of upbringing and social environment.

Right now, we want to offer some practical exercises that will help you sharpen your mind and increase your flexibility, as well as develop your creativity and further improve your creative thinking.

Exercise #1: "Two Random Words"

Let's quote Steve Jobs as an introduction to this exercise: “Creativity is just making connections between things. When creative people are asked how they did something, they feel a little guilty because they didn't actually do anything, they just noticed. This becomes clear to them over time. They were able to connect different pieces of their experience and synthesize something new. This is because they have experienced and seen more than others, or because they think about it more.”

Now pick up a thick book or an explanatory dictionary. Open on any page and, without looking, poke your finger. Write down the first chosen word. Repeat the action again and choose the second word.

Then try to find something in common between these two words, compare them, analyze, compare, look for relationships. Come up with a story that would connect these two concepts, even the most incredible story.

Exercise number 2: "Association game"

Look around you. What subject caught your eye? Suppose, for the recorder that lies on the table. Now take paper and pen and write down 5 adjectives that best fit your chosen subject.

For example, in our case: voice recorder…

stylish;
functional;
comfortable;
easy;
White.

Happened? Let's continue. Write 5 more adjectives that absolutely do not fit the subject you have chosen. It will be a little more difficult to do this: voice recorder…

emerald;
winter;
fried;
chintz;
wrinkled.

Here's what came to our mind. Dig into your feelings and perceptions of the world around you and find the right definitions. Put in a little more effort, and everything will turn out, the main thing is not to leave the task unfulfilled. Sit and meditate.

Exercise #3: "The Mad Architect"

How do you look at trying on the role of an architect and designing, for example, your country house? Even if you don’t know how to draw at all and remember with horror the school drawing lessons. Believe me, there is nothing to worry about. The ability to draw and draw is not important here. The main thing is the process itself. Have we convinced you? Great, then let's get started.

First, write down any 10 nouns on a piece of paper. Orange, vase, lawn, water, tomato- whatever comes to mind. Imagine that these 10 words are 10 obligatory conditions for the customer for whom you are designing a house.

For example, "Orange"- paint the walls of a country house in orange, "water"- let there be a pond with a waterfall or a small fountain in front of the house, "tomato"- these are red fish in the pond or polka-dot curtains on the windows, etc. Just let your imagination run wild, turn on creativity. Draw and imagine what it would look like in real life.

Exercise number 4: "Hour of silence"

Do not be afraid, take water in your mouth and you will not have to be silent. As the name of the exercise suggests, you will devote only one hour to this task, but at the same time you should not break away from your usual activities and the usual daily routine.

During this time, answer people only general questions using "Yes", "No" And "Do not know". Behave naturally so that no one around you suspects anything strange. No one should get the impression that you are out of your mind, sick or getting up in the morning on the wrong foot. Try it, we are sure you will like it.

Exercise #5: Creativity Test

Believe in yourself and cast away all doubts. Take a sheet of A4 paper and draw these crosses: 6 in height and 9 in length:

Now tune in to the creative wave, take a deep breath and slowly exhale. We take a pen and start turning the crosses into pictures and small sketches, for example, like this:

Finished? And now look at what happened and choose the most successful ones, there will certainly be such ones.

The original task may look different, for example, like this:

Generate thoughts, do not stop there. The more you train your brain, develop your imagination and creativity, the more interesting ideas and solutions will come to you.

Be creative! A phrase from the movie "99 francs" comes to mind: " Creativity is not a craft where you have to justify your salary; it is a trade where your salary justifies you. And the career of a creator is as ephemeral as the career of a TV program director..

A set of classes for the development of creativity "Creators of reality"

Zverugo Polina Nikolaevna, methodologist of the State Educational Institution "Slutsk Center for Children's Creativity"
Description: This complex consists of five lessons, lasting 1 hour 20 minutes, the number of participants: 8-10 people, the age of students: 12-16 years. The presented games and exercises will help develop creative, constructive, non-standard behavior and thinking, the ability to improvise, and spontaneity. Classes can be used to develop the flexibility of thinking, decision making.
Target: development of creativity, non-standard thinking, ability to improvise.
Tasks:
help students to understand the general and personal barriers to creativity and the reasons for their occurrence;
teach techniques to stimulate creativity;
develop creativity, ability to improvise and spontaneity.

Lesson #1

Purpose of the lesson: removal of excessive emotional stress in the group, creation of favorable conditions for the work of the group, development of joint norms and principles of work for this group, development of attention, imagination, originality and expansion of the general outlook of participants about the creative abilities of people.
Acquaintance of participants with the rules of communication in the group:
1. Communication on the principle of "here and now." Be attentive to your thoughts, feelings, actions that arise in you at the moment of interaction. It is necessary for yourself and others.
2. The principle of "I-statements". It means speaking on your own behalf: “I think so”, “I feel so”.
3. The principle of confidentiality - do not take out the personal information of the participants outside the group.
4. Non-judgmental statements. It means not to get personal, but to speak out only through feelings: “I feel angry ...”
5. Openness and sincerity as much as everyone considers possible. It is better to remain silent than to tell a lie.
Exercise "Alliteration of the name"
Target: organization of acquaintance of group members.
Description: Participants take turns saying their name with an adjective starting with the first letter of the name. The next in the circle must name the previous ones, then himself. Thus, each subsequent participant will have to name more and more names with adjectives, this will facilitate memorization and somewhat defuse the situation.
Example: Sergey is strict. Peter is diligent.
Exercise "My name"
Target: formation of cohesion of the group, conditions for self-disclosure of each.
Description: in order to better remember each other, the participants take turns pronouncing their name in a certain way: quietly, loudly, drawn out, affirmatively, surprised, enthusiastically, defiantly, gently, spitefully, disappointedly, thoughtfully.
Exercise "What can I do?"
Target: help participants get to know each other better.
Instruction: “Now we will have the opportunity to continue our acquaintance. Let's do it this way: standing in the center of the circle (to begin with, it will be me) offers to change places (change seats) to all those who have some kind of skill. He calls this skill. For example, I will say: "Change all those who can knit," and all those who can knit should change places. At the same time, the one who stands in the center of the circle will try to take one of the vacant places at the moment of transplantation, and the one who remains in the center of the circle without a place will continue to work. We use this situation to learn more about each other. In addition, one must be very careful and try to remember who changed seats when this or that skill was called. We'll need this a little later."
During the exercise, the teacher encourages participants to name a variety of skills, noting especially original and interesting ones.
After about 8-12 skills have been named, the facilitator stops the exercise and continues the instruction: "Now we will have five minutes, during which everyone will write a story about our group, using the information that you have now learned about each of us."
Reflection:
How are you feeling?
How is your mood?
Isn't it true that we have more in common than differences?
Exercise "Attention"
Target: development of skills to use non-standard methods of solution in the simplest life situations.
Description: All participants in the game are invited to complete the same simple task. By any means, without resorting, of course, to physical influences, try to attract the attention of others. The task is complicated by the fact that all participants in the game are trying to complete it at the same time. It is necessary to determine who succeeded and at what expense. In conclusion, it is calculated who attracted the attention of the largest number of participants in the game.
Reflection:
How easy was this exercise?
How did you manage to attract the attention of other participants?
Exercise "Creative person"
Target: awareness by the participants of the stereotypes that exist in their minds about which people are creative and which are not, and how this manifests itself outwardly.
Description: Participants take a sheet of paper and do the following task: “Please lay your sheet of paper horizontally and divide it in half with a vertical line. On the left half of the sheet draw a creative person, and on the right half a non-creative person: just as you imagine them.
6-8 minutes are given for drawing, then the drawings are laid out one under the other (in such a way that a series of images of a creative person is obtained, and in parallel - a series of images of an uncreative one) and the participants alternately comment on which qualities are depicted in these drawings. The facilitator fixes the named qualities and then, summarizing, once again pronounces those of them that were mentioned most often.
Reflection:
What new things did you learn during this exercise?
How do you think the phrase “uncreative person” can be expressed?
Develop a farewell ritual.

Lesson #2

Purpose of the lesson: the formation of group cohesion, the removal of muscle tension and clamps, the creation of an atmosphere of goodwill in the group, awareness of the barriers to creativity, the development of spontaneity, creativity, the ability to freely operate with verbal thinking.

Greeting game
Target: creating an atmosphere of goodwill and emancipation, a positive emotional state.
Description: each member of the group in turn, without saying to whom he addresses, pronounces some kind of greeting. The rest must guess to whom this greeting is addressed, and call out his name in unison. If different names sound, then the author of the greeting reports the name of the addressee.
Exercise "Air, jelly, stone"
Target: formation of group cohesion, removal of muscle tension and clamps.
Description: The group is located in the form of a circle. The exercise involves alternating tension and relaxation of the whole body. At the command of the host "AIR!" participants try to make their body as "ethereal" as possible, devoid of the slightest tension, almost floating. At the command "JELLE!" participants imagine themselves as jelly on a plate, it sways, vibrates, there is structure in it. And finally, the last command "STONE!" - requires each participant to freeze in the position in which he was caught by this team, straining the whole body to the limit. It is important for the facilitator not only to change commands from time to time, but also to carefully control the course of the exercise, checking the degree of muscle relaxation and tension, maintaining students' interest in studying their bodies and muscle groups involved in the work.
Exercise "Creativity?"
Target: the formation of a general idea of the concept of "creativity" and the allocation of signs of creativity.
Instruction: “Now I invite each of you to take a sheet of paper and draw creativity, as you understand it. You will have enough time to draw, we will wait until everyone has finished their drawings.”
After the participants complete the drawings, everyone talks about their drawing, about how he (a) understands what creativity is.
In the course of the discussion, the teacher invites the participants to ask each other questions, to clarify the content of the statements. After everyone has spoken, the facilitator sums up, listing the main ideas regarding the manifestations of creativity, the conditions for its formation and development.
Exercise "Social Roles"
Target: self-presentation through a social role, teaching non-judgmental judgments, development of spontaneity and creativity.
Description: There is an empty chair in the center. As soon as they are ready, each member of the group sits on it and introduces themselves in any role. These can be roles of one's own or other people, historical roles, from the present or from the future. The presentation of the role lasts 3-5 minutes. After the presentation, the group members ask questions clarifying the roles.
The facilitator draws attention to the fact that the questions are clarifying, not evaluating, supports the participant in the right to choose any role.
After the presentation of each participant, a sociodrama is organized. The topic is set by the host, taking into account the set of roles played. Sample topics: "Life in a new state", "One day with new acquaintances", "Who are we?" etc. Action time 5-10 minutes.
Reflection:
How was the role chosen?
How did you feel interacting with others in this role?
What analogies from reality are brought into the role?
How did the roles of others respond?
Exercise "Amazing story"
Target: development of written speech, creative abilities and the ability to freely operate with verbal thinking, awareness of the barriers to creativity.
Description: Each of the participants writes four letters at the top of the sheet of paper: N G O K. At the signal of the coach, it is necessary to make as many sentences as possible, in which the first word should begin with the letter H, the second with the letter G, the third with O, the fourth - on K. For example, "Nikolai Speaks Very Nicely." Runtime 3 minutes.
After three minutes, the teacher invites each participant to say in turn how many sentences he has written, and then asks everyone to read one of the sentences he wrote, any one of the participant's choice. This may be the proposal that the participant himself considers the most successful. When getting acquainted with the results of the work, the participants discover for themselves the stylistic, content and other opportunities for making proposals that they have not used, which enhances their motivation and positively affects the results of subsequent work.
The facilitator offers to continue writing proposals for another 3 minutes. When the allotted time is up, each participant again reports how many sentences he managed to write and reads out one of them of his choice.
Then the task becomes more difficult: everyone writes a story about the group. The number of words in the sentences that this story will consist of can be any, but the words must begin with the letters NGOKNGOKNGOK, etc. In this case, punctuation marks can be placed anywhere. You have 5 minutes to complete this task. (You can not set the theme of writing a story).
When the work is completed, each participant reads his story. The content of the stories is not discussed, commented on or judged.
Reflection:
Describe your state of mind while doing this exercise?
Have you encountered any difficulties? Why?
Farewell ritual.

Lesson #3

Purpose of the lesson: development of artistic abilities of group members, imagination, speech, the formation of skills and abilities to manage the creative process, the development of flexibility, originality and non-standard thinking.

Exercise "Warm-up"
Target: development of imagination, plasticity, artistry.
Instruction: "Like a baby who has just started walking, like an old man, like a pop singer, like a ballet dancer, like a person who has nowhere to rush, etc."
Exercise "Guess"
Target: development of communication skills and abilities to effectively use non-verbal means of communication.
Description: The teacher has cards in his hands on which the names of objects, states, any concepts are written, for example, sleep, fun, night, spring, pharaoh, accounting, organism, etc.
Instruction: “Now I will pin a card with the word written on it on the back of one of us, let's say Svetlana, and I will do it so that she does not see what is written on it. We can all read the written word, but we will not say anything to Svetlana. Her task is to find out what is written on the card. To accomplish this task, she can call any of us, of her choice, and whoever she names will try, using only non-verbal means, to tell Svetlana what is written on the card.
The guessers should pay attention to how the answer arises, as well as what states they will have during the task, and how they will change. In the course of the task, the guesser can express the hypotheses that arise in him and, as soon as the correct word is called, the coach informs him about it.
Reflection:
Did you have any difficulty in this exercise? Which?
What do you think helped you to give the correct answer?
How did your condition change during the exercise?
Exercise "Impossible"
Target: the development of imagination, speech, the ability to change the picture of the world in such a way as to see in it new signs and opportunities for existence.
Description: Each participant must name something incredible: a thing, a natural phenomenon, an unusual animal, tell a case. The winner is the one who comes up with five such stories in a row, and no one will ever tell him: “It happens!”
Reflection:
Was it hard for you to come up with something incredible? Why do you think?
What hindered the active process of thinking? And what, on the contrary, pushed you to new ideas?
Exercise "At the command of the pike"
Target: development of communication skills, the ability to turn to another person with a request, the ability to understand another.
Description: The driver says: “At the pike’s command, at my will ...” He addresses someone specifically and asks him for something. For example, asks to walk around the room or make a riddle. The one who fulfills the request becomes the leader.
Exercise "Ball of desires"
Target: the formation of skills and abilities to manage the creative process, the development of flexibility, originality and non-standard answers.
Description: The leader throws the ball to the participant and names any object at the same time. The person who gets the ball names three non-standard ways to use this item. For example, when throwing, they said the word "hammer". In addition to its direct purpose, the hammer can be used as a paperweight so that the papers lying on the table do not scatter; you can use a hammer as a handle for a heavy string bag; you can, by tying a twine to it, use it as a plumb line during construction work.
A prerequisite is not to resort to universal ways of using most items, since almost any item can be drawn, touched, smelled, many items can be presented.
Reflection:
Was the exercise difficult? Why?
What conditions arose and how did they change in the course of work?
What motivated you to come up with new ideas?
Farewell ritual.

Lesson number 4

Purpose of the lesson: development of creativity and the ability to think logically and express one's opinion, awareness of the barriers to the manifestation of creativity and the identification of the stages of the creative process, the development of a sense of humor.

Exercise "Stubborn donkey"
Target: warming up the body, the formation of its readiness for work, the activation of the participants in the lesson.
Instructions: “The stubbornness of donkeys is legendary. If the donkey stopped on the road and refuses to go forward, then the owner needs remarkable perseverance, patience, and sometimes physical strength to budge the gray stubborn. Imagine that in your hand you have a rein to which an animal is tied. Try to move him! Loosen the rein from time to time and try again! Keep in mind that a stubborn donkey has enough time and energy. Success!
Exercise "Orange"
Target: development of imagination, the formation of the ability to change the form of the stimulus in such a way as to see in it new signs and opportunities for use.
Instruction: “Let's imagine that this (the teacher shows the ball) is an orange. Now we will throw it to each other, while saying which orange we are throwing. We will be careful: we will try not to repeat the qualities already mentioned, the properties of an orange, and we will make sure that we all take part in the work.
The facilitator begins the work by naming any characteristic of an imaginary orange, for example, "sweet". During the exercise, the teacher encourages the participants to work more dynamically by formulating their statements in a positive way, for example, "Let's work faster."
The facilitator also draws the attention of the group to the moments when there is a transition to another content plane. For example, such characteristics as “yellow”, “orange” sounded, and the next participant says: “Cuban”. In this case, the teacher can say: "A new area has appeared - the country of origin."
Exercise "Cube"
Target: development of creative thinking, awareness of the barriers to creativity.
Description: The presenter has a sheet with a cube in his hands. He asks to look at the picture and say what is shown on it. Participants express their versions. The teacher summarizes by repeating what was said. Usually, this is a drawing, a cube, a geometric figure, several squares, a box, a room, etc. The facilitator says: “We have different opinions about what is shown on this sheet. At the same time, it is obvious that there is nothing on it, except for twelve line segments. How to explain it?
In the process of discussion, group members express ideas about the influence of previous experience on perception, when a structure previously built in the mind is “recognized”.
Depending on the level of the group, the idea can take on different formulations: “we recognize things that we ourselves have given a name (name), while others may not even suspect what this object means to us”, “we were told that such a shape is called a cube , therefore we see it”, etc.
Exercise "Unusual drawing"
Target: development of creativity, awareness of the barriers to its manifestation.
Description: Group members sit in a circle. In a circle are colored pencils, crayons, felt-tip pens, sheets of paper.
Each of the participants takes a sheet of paper and everything that he needs to draw on his sheet of paper. You have 15 seconds to draw. After 15 seconds, everyone passes their sheet to the neighbor on the left. After the participant receives a sheet on which something has already been drawn, he must draw something else, developing the plot in any direction. The work continues until the sheet of each passes in a circle and returns to the "owner".
Exercise "Blitz Tournament"
Target: development of efficiency, the ability to think logically and express one's opinion, the development of a sense of humor.
Description: Everyone writes one question on a piece of paper, folds the piece of paper and puts it in a hat. Then the participants take turns pulling out the sheets, reading the questions and trying to answer them. Other members of the group can also offer their answers. In this case, everyone has the right not to answer.
Farewell ritual.

Lesson number 5

Purpose of the lesson: development of attention, imagination, speed of thinking; participants' awareness of the use of their own creativity, the ability to make non-standard decisions in certain situations.

Exercise "Name the subject"
Target: development of attention, dexterity, speed of thinking.
Instruction: “Now we will throw the ball to each other, and when we throw, we call some color, and when we catch it, we call an object of that color. We will be careful not to repeat those colors and objects that have already been named, and we will give each of us the opportunity to participate in the work.”
Exercise "Your Impression"
Target: development of attention, memory, formation of skills to express one's feelings and attitudes through figurative expressions or phenomena of the surrounding world, providing feedback.
Instruction: “Focus on your neighbor on the right (left). Remember all his manifestations during our work, everything he said, did. Recall the feelings and relationships you had with this person. We will have two minutes for this.”
When two minutes have passed, the teacher continues the instruction: “Now decide which of the descriptions of nature, weather, season that you met in literature or invented by you corresponds to your impressions of this person. When everyone is ready, everyone, in turn, will tell his neighbor the description that has arisen in his mind.
Exercise "First audition for a role"
Target: awareness of the use of one's own creativity, the ability to make non-standard decisions in certain situations.
Description: A chair is placed in the center of the circle - the “presentation chair”. Each member of the group takes turns sitting on this chair, and the rest pretend to be filmmakers who have to shoot a certain film. For the film, of course, you need to choose actors suitable for the performance of a particular role. It is necessary to determine which role, according to the external signs of a person and the characteristics of his behavior, is more consistent with him. Perhaps this is the role of a hero from a famous work: a movie, a TV series, a fairy tale. You can come up with your own script. In this case, the film director must describe what kind of character the person in the “presentation chair” can claim to be: his age, social status, his other characteristics, the duration of the film, etc. The participant sitting on the "presentation chair" does not need to say anything. He only listens to the opinions of others. It is not necessary to say everything about everyone sitting on the “presentation chair”. First of all, say those who already have a clear idea of the possible role of the candidate.
Reflection:
How did you feel sitting on the “presentation chair”?
What roles offered to you by filmmakers caused bewilderment or even protest?
What role would you like to play?
Is it difficult, being a film director, to determine the role that is most suitable for each person?
In what cases was it possible to do this easily enough?
Exercise "Together or Separate?"
Target: development of mindfulness and logical thinking.
Description: One of the participants leaves the room. At this time, the group agrees on a sign on which it could be divided into two subgroups. Initially, this sign should be only visual. Narpimer, in one corner are people who wear glasses, in the other - those who do not have glasses. Or in one group - those who have watches on their hands, in the other - participants without watches ...
After the division has occurred, the player returns to the room, who is invited to analyze the “picture” and, based on what he saw, say what sign formed the basis for the distribution of participants into groups.
At the "advanced" stage, you can try to make a division based on the qualities of character, common interests ...
Exercise "Man from the future"
Target: development of imagination, non-standard and creative thinking.
Description: Within 5 minutes, the participants should be divided into two teams, choose 1 team member and present him as a Man from the Future. For the transformation, you can use a set of items that each team has (a plate, ribbons, adhesive tape, colored pencils, plastic corks, badges). Then each team will introduce their hero, using non-standard answers to the following questions in their defense:
- Where does the main character live?
- What does he like to eat?
- What is his profession?
Work protection.
Farewell ritual.

What else to read

The meaning of life wiki. Meaning of life. What is the meaning of human life /D/Eitenzsinn; /E/ Meaning; / F / Raison; / Esr. / Razon de seg. The ideal representation of a person about his destiny in ...

Communist Party of the Russian Federation Crimean Republican Branch In the early years of the existence of the Russian Federation, the confrontation between President Boris Yeltsin and the Supreme Soviet led ...

Santa Claus calls on the phone Hello friends, I congratulate everyone on the upcoming New Year, do not forget to call Santa Claus or invite him, but how ...

Exercises for the development of creative thinking in adolescents. Training for the development of creativity and creative abilities

Tasks:

Training for the development of creativity and creative abilities

Conceptual introduction:

Stages of work:

I. Stage - warming up

Exercise "Throw the ball"

Issues for discussion:

Exercise "Islands" (5-10 minutes)

II. Stage - Main activity

Freeze Frame Exercise

Exercise "Use of objects"

Issues for discussion:

Exercise "Arch"

Issues for discussion:

III. Stage - Completion

Exercise "Creative Life"

Discuss in the group to sort out all the options.

Example:

Expand your horizons of interests, etc. Warm-up exercise

Exercise #1

Exercise #2

Exercise #3

Exercise #4

Exercise #5

The second set of exercises (imagination development).

Warm-up exercise

Exercise #1

Exercise #2

Exercise #3

Exercise #4.1

Exercise #4.2

Exercise #1: "Two Random Words"

Exercise number 2: "Association game"

Exercise #3: "The Mad Architect"

Exercise number 4: "Hour of silence"

Exercise #5: Creativity Test

What else to read

THE LAST NOTES

Categories