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Creativity is not a new subject of study. The problem of human abilities has aroused great interest of people at all times. However, in the past, society did not have a special need to master the creativity of people. Talents appeared as if by themselves, spontaneously created masterpieces of literature and art: they made scientific discoveries, invented, thereby satisfying the needs of a developing human culture. In our time, the situation has changed radically. Life in the era of scientific and technological progress is becoming more diverse and complex. And it requires from a person not stereotyped, habitual actions, but mobility, flexibility of thinking, quick orientation and adaptation to new conditions, a creative approach to solving large and small problems. If we take into account the fact that the share of mental labor in almost all professions is constantly growing, and an increasing part of the performing activity is shifted to machines, then it becomes obvious that the creative abilities of a person should be recognized as the most essential part of his intellect and the task of their development is one of the most important tasks. in education modern man. After all, all the cultural values ​​accumulated by mankind are the result of the creative activity of people. And how far human society will advance in the future will be determined by the creative potential of the younger generation.

The object of study of this course work is the pedagogical process, namely the process of development creativity v preschool age. Target this study- studying the problem of developing the creative abilities of preschoolers, namely those aspects of it, the knowledge of which is necessary for practical activities in this direction of kindergarten teachers and parents. In the course of our work, we set ourselves the following tasks:

Identification of the main components of creative abilities based on the analysis of literature.

Determination of conditions favorable for the development of children's creative abilities.

Determination of the main directions and pedagogical tasks for the development of creative abilities in preschool age.

Determining the effectiveness of traditional methods of preschool education in relation to the development of children's creative abilities.

Identification of the effectiveness of forms, methods and clamps for the development of creative abilities based on the analysis and generalization of advanced pedagogical experience.

In this course work, we applied the following methods of scientific and pedagogical research.

1. Study, analysis and generalization of literary sources on this topic.

2. Diagnostics of the creative abilities of children.

3. The study and generalization of pedagogical experience in the development of children's creative abilities.

The course work consists of two chapters. In the first chapter, the problem of the components of human creativity is considered, and based on the analysis of various points of view on this problem, an attempt is made to determine the universal creative abilities of a person. This chapter also addresses the question of the optimal timing for the start of the development of children's creative abilities.

The second chapter is devoted to the problems of effective development of creative abilities. It examines the conditions necessary for the successful development of creative abilities, defines the main directions and pedagogical tasks for the development of the creative potential of preschoolers. The second chapter also analyzes the results of diagnosing the creative abilities of preschoolers and proposes a set of measures aimed at optimizing the development of these abilities in preschool institutions.

1. The ability to see the problem where others do not see it.

2. The ability to collapse mental operations, replacing several concepts with one and using symbols that are more and more capacious in terms of information.

3. The ability to apply the skills acquired in solving one problem to solving another.

4. The ability to perceive reality as a whole, without splitting it into parts.

5. The ability to easily associate distant concepts.

6. The ability of memory to give out the right information at the right moment.

7. Flexibility of thinking.

8. The ability to choose one of the alternatives for solving a problem before it is tested.

9. The ability to incorporate newly perceived information into existing knowledge systems.

10. The ability to see things as they are, to distinguish what is observed from what is brought in by interpretation.

11. Ease of generating ideas.

12. Creative imagination.

13. The ability to refine the details, to improve the original idea.

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

1. Relism of the imagination is a figurative grasp of some essential, general trend or regularity in the development of a cedant object, before a person has a clear idea about it and can enter it into a system of strict logical categories.

2. The ability to see the whole before the parts.

3. Supra-situational - transformative nature of creative solutions - the ability, when solving a problem, not just to choose from alternatives imposed from the outside, but to independently create an alternative.

4. Experimentation - the ability to consciously and purposefully create conditions in which objects most clearly reveal their essence hidden in ordinary situations, as well as the ability to trace and analyze the features of the "behavior" of objects in these conditions.

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

1. The ability to take risks.

2. Divergent thinking.

3. Flexibility in thought and action.

4. Speed ​​of thinking.

5. The ability to express original ideas and invent new ones.

6. Rich imagination.

7. Perception of the ambiguity of things and phenomena.

9. Developed intuition.

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

Based on this, it is possible to determine the main directions in the development of children's creative abilities:

1. Development of the imagination.

2. Development of the qualities of thinking that form creativity.

1.3 The problem of optimal timing for the development of creative abilities.

Speaking about the formation of abilities, it is necessary to dwell on the question of when, from what age children's creative abilities should be developed. Psychologists call various terms from one and a half to five years. There is also a hypothesis that it is necessary to develop creative abilities from a very early age. This hypothesis finds confirmation in physiology.

The fact is that the child's brain grows especially rapidly and "ripens" in the first years of life. This is ripening, i.e. the growth in the number of brain cells and the anatomical connections between them depends both on the diversity and intensity of the work of already existing structures, and on how much the formation of new ones is stimulated by the environment. This period of "ripening" is the time of the highest sensitivity and plasticity to external conditions, the time of the highest and broadest opportunities for development. This is the most favorable period for the beginning of the development of the whole variety of human abilities. But the child begins to develop only those abilities for the development of which there are incentives and conditions for the "moment" of this maturation. The more favorable the conditions, the closer they are to optimal ones, the more successfully development begins. If maturation and the beginning of functioning (development) coincide in time, go synchronously, and the conditions are favorable, then development proceeds easily - with the highest possible acceleration. Development can reach its greatest height, and the child can become capable, talented and brilliant.

However, the possibilities for the development of abilities, having reached a maximum at the "moment" of maturation, do not remain unchanged. If these opportunities are not used, that is, the corresponding abilities do not develop, do not function, if the child does not engage in the necessary activities, then these opportunities begin to be lost, degrade, and the faster, the weaker the functioning. This fading of opportunities for development is an irreversible process. Boris Pavlovich Nikitin, who has been dealing with the problem of developing the creative abilities of children for many years, called this phenomenon NUVERS (Irreversible Extinction of Opportunities for Effective Development of Abilities). Nikitin believes that NUVERS has a particularly negative effect on the development of creative abilities. The gap in time between the moment of maturation of the structures necessary for the formation of creative abilities and the beginning of the purposeful development of these abilities leads to a serious difficulty in their development, slows down its pace and leads to a decrease in the final level of development of creative abilities. According to Nikitin, it was the irreversibility of the process of degradation of developmental opportunities that gave rise to the opinion about the innateness of creative abilities, since usually no one suspects that opportunities for the effective development of creative abilities were missed at preschool age. And the small number of people with high creative potential in society is explained by the fact that in childhood only a very few found themselves in conditions conducive to the development of their creative abilities.

From a psychological point of view, preschool childhood is a favorable period for the development of creative abilities, because at this age children are extremely inquisitive, they have a great desire to learn about the world around them. And parents, encouraging curiosity, informing children of knowledge, involving them in different kinds activities, contribute to the expansion of children's experience. And the accumulation of experience and knowledge is a necessary prerequisite for future creative activity. In addition, the thinking of preschoolers is more free than that of older children. It is not yet crushed by dogmas and stereotypes, it is more independent. And this quality needs to be developed in every possible way. Preschool childhood is also a sensitive period for the development creative imagination. From all of the above, we can conclude that preschool age provides excellent opportunities for the development of creativity. And the creative potential of an adult will largely depend on how these opportunities were used.

Chapter 2. Development of creative abilities in preschool age.

2.1 Conditions for the successful development of creative abilities.

One of the most important factors creative development children is to create conditions conducive to the formation of their creative abilities. Based on the analysis of the works of several authors, in particular J. Smith, B.N. Nikitin and L. Carroll, we identified six basic conditions for the successful development of children's creative abilities.

The first step to the successful development of creative abilities is the early physical development of the baby: early swimming, gymnastics, early crawling and walking. Then early reading, counting, early exposure to various tools and materials.

The second important condition for the development of a child's creative abilities is the creation of an environment that is ahead of the development of children. It is necessary, as far as possible, to surround the child in advance with such an environment and such a system of relations that would stimulate his most diverse creative activity and would gradually develop in him precisely that which at the appropriate moment is capable of developing most effectively. For example, long before learning to read, a one-year-old child can buy blocks with letters, hang the alphabet on the wall and call the letters to the child during games. This promotes early reading acquisition.

The third, extremely important, condition for the effective development of creative abilities follows from the very nature of the creative process, which requires maximum effort. The fact is that the ability to develop is the more successful, the more often in his activity a person gets "up to the ceiling" of his capabilities and gradually raises this ceiling higher and higher. This condition of maximum exertion of forces is most easily achieved when the child is already crawling, but is not yet able to speak. The process of knowing the world at this time is very intensive, but the baby cannot use the experience of adults, since nothing can be explained to such a small one. Therefore, during this period, the child is forced more than ever to be creative, to solve many completely new tasks for him on his own and without prior training (if, of course, adults allow him to do this, they solve them for him). The child rolled far under the sofa ball. Parents should not rush to get him this toy from under the sofa if the child can solve this problem himself.

The fourth condition for the successful development of creative abilities is to provide the child with great freedom in choosing activities, in alternating tasks, in the duration of doing one thing, in choosing methods, etc. Then the desire of the child, his interest, emotional upsurge will serve as a reliable guarantee that even more stress of the mind will not lead to overwork, and will benefit the child.

But giving a child such freedom does not exclude, but, on the contrary, implies unobtrusive, intelligent, benevolent help from adults - this is the fifth condition for the successful development of creative abilities. The most important thing here is not to turn freedom into permissiveness, but help into a hint. Unfortunately, hinting is a common way for parents to "help" children, but it only hurts the cause. You can't do anything for a child if he can do it himself. You can't think for him when he can think of it himself.

It has long been known that creativity requires a comfortable psychological environment and the availability of free time, so the sixth condition for the successful development of creative abilities is a warm, friendly atmosphere in the family and the children's team. Adults must create a safe psychological base for the child to return from creative search and his own discoveries. It is important to constantly stimulate the child to creativity, to show sympathy for his failures, to be patient even with strange ideas unusual in real life. It is necessary to exclude comments and condemnations from everyday life.

But creation favorable conditions is not enough to raise a child with a high creative potential, although some Western psychologists still believe that creativity is inherent in the child and that it is only necessary not to prevent him from expressing himself freely. But practice shows that such non-intervention is not enough: not all children can open the way to creation and maintain creative activity for a long time. It turns out (and pedagogical practice proves this), if you choose the appropriate teaching methods, then even preschoolers, without losing the originality of creativity, create works of a higher level than their untrained self-expressing peers. It is no coincidence that children's circles and studios, music schools and art schools are so popular now. Of course, there is still a lot of debate about what and how to teach children, but the fact that it is necessary to teach is beyond doubt.

The upbringing of the creative abilities of children will be effective only if it is a purposeful process, during which a number of particular pedagogical tasks are solved, aimed at achieving the ultimate goal. And in this course work, we, on the basis of studying the literature on this topic, tried to determine the main directions and pedagogical tasks for the development of such critical components creative abilities as creative thinking and imagination in preschool age.

2.2 Development of the qualities of creative thinking.

The main pedagogical task for the development of creative thinking in preschool age is the formation of associativity, dialectics and systemic thinking. Since the development of these qualities makes thinking flexible, original and productive.

Associativity is the ability to see the connection and similarities in objects and phenomena that are not comparable at first glance.

Thanks to the development of associativity, thinking becomes flexible and original.

In addition, a large number of associative links allows you to quickly retrieve the necessary information from memory. Associativity is very easily acquired by preschoolers in a role-playing game. There are also special games that contribute to the development of this quality.

Often, discoveries are born when seemingly incompatible things are connected. For example, for a long time it seemed impossible to fly on aircraft that are heavier than air. To formulate contradictions and find a way to resolve them allows dialectical thinking.

Dialecticity is the ability to see contradictions in any systems that hinder their development, the ability to eliminate these contradictions, to solve problems.

Dialecticity is necessary quality talented thinking. Psychologists have conducted a number of studies and found that the mechanism of dialectical thinking functions in folk and scientific creativity. In particular, the analysis of Vygodsky's works showed that the outstanding Russian psychologist constantly used this mechanism in his research.

The pedagogical tasks for the formation of dialectical thinking in preschool age are:

1. Development of the ability to identify contradictions in any subject and phenomenon;

2. Development of the ability to clearly articulate the identified contradictions;

3. Formation of the ability to resolve contradictions;

And another quality that forms creative thinking is consistency.

Consistency is the ability to see an object or phenomenon as an integral system, to perceive any object, any problem comprehensively, in all the variety of connections; the ability to see the unity of interconnections in the phenomena and laws of development.

Systems thinking allows you to see a huge number of properties of objects, to capture relationships at the level of system parts and relationships with other systems. Systems thinking learns patterns in the development of the system from the past to the present and applies this in relation to the future.

Systematic thinking is developed by correct analysis of systems and special exercises. Pedagogical tasks for the development of systematic thinking in preschool age:

1. Formation of the ability to consider any object or phenomenon as a system developing in time;

2. Development of the ability to determine the functions of objects, taking into account the fact that any object is multifunctional.

2.3 Development of creative imagination.

The second direction in the formation of creative abilities of preschoolers is the development of imagination.

Imagination is the ability to construct in the mind from the elements of life experience (impressions, ideas, knowledge, experiences) through their new combinations to relationships something new that goes beyond the previously perceived.

Imagination is the basis of all creative activity. It helps a person to free himself from the inertia of thinking, it transforms the representation of memory, thereby ensuring, in the final analysis, the creation of a deliberately new one. In this sense, everything that surrounds us and that is made by human hands, the whole world of culture, in contrast to the world of nature - all this is a product of creative imagination.

Preschool childhood is a sensitive period for the development of the imagination. At first glance, the need to develop the imagination of preschoolers may seem reasonable. After all, it is widely believed that the imagination of a child is richer, more original than the imagination of an adult. Such an idea of ​​the vivid imagination inherent in a preschooler existed in the past among psychologists as well.

However, already in the 1930s, the outstanding Russian psychologist L. S. Vygotsky proved that the child's imagination develops gradually, as he acquires certain experience. S. Vygotsky argued that all images of the imagination, no matter how bizarre they may be, are based on the ideas and impressions that we receive in real life. He wrote: "The first form of connection between imagination and reality lies in the fact that any creation of the imagination is always built from elements taken from the activity and contained in the previous experience of man."

From this it follows that the creative activity of the imagination is directly dependent on the richness and diversity of a person's previous experience. The pedagogical conclusion that can be drawn from all of the above is the need to expand the experience of the child if we want to create a sufficiently strong foundation for his creative activity. The more the child has seen, heard and experienced, the more he knows and learned, the more elements of reality he has in his experience, the more significant and productive, other things being equal, the activity of his imagination will be. It is with the accumulation of experience that all imagination begins. But how to convey this experience to the child in advance? It often happens that parents talk with a child, tell him something, and then complain that, as they say, it flew into one ear and flew out of the other. This happens if the baby has no interest in what they are told about, no interest in knowledge in general, that is, when there are no cognitive interests.

In general, the cognitive interests of a preschooler begin to declare themselves very early. This manifests itself first in the form of children's questions, with which the baby besieges parents from 3-4 years old. However, whether such a child's curiosity becomes a stable cognitive interest or whether it disappears forever depends on the adults around the child, primarily on his parents. Adults should in every possible way encourage the curiosity of children, educating love and the need for knowledge.

At preschool age, the development of the cognitive interests of the child should go in two main directions:

1. Gradually enriching the child's experience, saturating this experience with new knowledge about various areas of reality. This causes the cognitive activity of the preschooler. The more aspects of the surrounding reality are revealed to children, the wider the opportunities for the emergence and consolidation of stable cognitive interests in them.

2. Gradual expansion and deepening of cognitive interests within the same sphere of reality.

In order to successfully develop the cognitive interests of the child, parents must know what their child is interested in, and only then influence the formation of his interests. It should be noted that for the emergence of sustainable interests, it is not enough just to acquaint the child with a new sphere of reality. He should have a positive emotional attitude to the new. This is facilitated by the inclusion of a preschooler in joint activities with adults. An adult can ask a child to help him do something or, say, listen to his favorite record with him. The feeling of belonging to the world of adults that arises in a child in such situations creates a positive coloring of his activity and contributes to the emergence of his interest in this activity. But in these situations, the child's own creative activity should also be awakened, only then can the desired result be achieved in the development of his cognitive interests and in the assimilation of new knowledge. You need to ask your child questions that encourage active thinking.

The accumulation of knowledge and experience is only a prerequisite for the development of creative imagination. Any knowledge can be a useless burden if a person does not know how to handle it, select what is needed, which leads to a creative solution to the problem. And this requires the practice of such decisions, the ability to use the accumulated information in their activities.

Productive creative imagination is characterized not only by such features as originality and richness of produced images. One of the most important properties Such imagination is the ability to direct ideas in the right direction, to subordinate them to certain goals. The inability to manage ideas, to subordinate them to one's goal, leads to the fact that the best plans and intentions perish without finding embodiment. Therefore, the most important line in the development of the preschooler's imagination is the development of the orientation of the imagination.

At younger preschooler the imagination follows the object, and everything that it creates is fragmentary, unfinished. Adults should help the child learn not just to fantasize fragmentarily, but to realize their ideas, to create small, but complete works. To this end, parents can organize role play and in the course of this game to influence the child's performance of the entire chain game actions. You can also arrange a collective composition of a fairy tale: each of the players says several sentences, and an adult participating in the game can direct the development of the plot, help the children complete their plans. It is good to have a special folder or album where the most successful drawings, fairy tales composed by a child would be placed. This form of fixation of creative products will help the child to direct his imagination to the creation of complete and original works.

In order to determine the level of development of the creative abilities of children at preschool age, on December 10 and December 15, 2002, we carried out their diagnostics in preschoolers of the “Solnyshko” kindergarten in the SWAD of Moscow. For the study, we used express methods of candidates of psychological sciences V. Kudryavtsev and V. Sinelnikov (see Appendix 1). With the help of these methods, we have compiled an operational ascertaining microsection of the creative development of each child for all its reasons. The criterion for highlighting the grounds is the universal creative abilities identified by the authors: the realism of the imagination, the ability to see the whole before the parts, the supra-situational-transformative nature of creative solutions, children's experimentation. Each of the methods allows you to record the significant manifestations of these abilities and the real levels of their formation in the child.

Having carried out diagnostics, we received the following results (see Appendix 2). The development of realism of imagination in 61.5% of children is at a low level, and in 38.5% of children - on average. The development of such an ability as the supra-situational-transformative nature of creative solutions is at a low level for 54% of children, at an average level for 8%, and at a high level for 38% of children. The ability to see the whole before the parts in 30% of children is developed at an average level and in 70% of children at a high level. Analyzing the obtained results, we can draw the following conclusions and suggestions.

Children in this group have a poorly developed creative imagination. It should immediately be said that this group is engaged in the developmental program "Rainbow", but there is no special work on the development of imagination with children. However, psychologists and educators involved in the analysis of preschool education programs have long been saying that they do not actually contain special measures aimed at the consistent and systematic development of children's imagination. Under these conditions, it develops basically only spontaneously and as a result often does not even reach the average level of its development. This was confirmed by our diagnostics. From all of the above, it follows that in the current conditions in kindergartens it is necessary to carry out special work aimed at developing the creative imagination of children, especially since preschool age is a sensitive period for the development of this process. What form can this work take?

Of course, the best option is the introduction of a special program of classes for the development of children's imagination. Recently, a large number of methodological developments of such classes have appeared. In particular, in our country, the Public Laboratory of Invention Methods has developed a special course "Development of Creative Imagination" (RTI). It is based on TRIZ, ARIZ and development theory technical systems G.S. Altshuller. This course has already been tested in various creative studios, schools and preschool institutions, where it has proven its effectiveness. RTV develops not only creative imagination, but also creative thinking of children. In addition, we can offer a methodology for the development of children's imagination O.M. Dyachenko nor N.E. Verakses, as well as special game trainings of the imagination, developed by the psychologist E.V. stutterer.

If it is not possible to introduce additional classes, then the educator can be offered, on the basis of the program according to which he works, without drastic changes in the form of classes, to use TRIZ elements to develop the creative potential of children. Also, in special classes in music, drawing, design, speech development, children should be given tasks of a creative nature.

It is possible to develop creative imagination not only in special classes. Of great importance for the development of children's imagination is the game, which is the main activity of preschoolers. It is in the game that the child takes the first steps of creative activity. Adults should not just observe children's play, but manage its development, enrich it by including creative elements in the game. At an early stage, children's games are of an objective nature, that is, this is an action with various objects. At this stage, it is very important to teach the child to beat the same object in different ways. For example, a cube can be a table, a chair, a piece of meat, etc. Adults should show children the possibility of different ways to use the same items. At the age of 4-5, a role-playing game begins to take shape, which provides the widest opportunities for the development of imagination and creativity. Adults need to know how and what their children play, how varied the plots of the games they play. And if children play the same "daughters - mothers" or war every day, the teacher should help them learn to diversify the plots of the games. You can play with them, offering to play different stories, take on different roles. The child must first show his creative initiative in the game, plan and direct the game.

In addition, to develop imagination and creativity, there are special games that can be played with children in their free time. Interesting educational games developed by B.N. Nikitin, O.M. Dyachenko and N.E. Veraksa.

The richest source of development of the child's fantasy is a fairy tale. There are many fairy tale techniques that educators can use to develop children's imagination. Among them: "distorting" a fairy tale, inventing a fairy tale in reverse, inventing a continuation of a fairy tale, changing the end of a fairy tale. You can write stories with your children. Speaking about the development of children's imagination with the help of a fairy tale, one cannot but recall the wonderful book by J. Rodari "Grammar of Fantasy".

The diagnostic results also show that many children need to develop such a creative ability as the supra-situational-transformative nature of creative solutions. To develop this ability, children must be presented with various problem situations, solving which they must not only choose the optimal one from the proposed alternatives, but create their own alternative based on the transformation of the initial means. Adults should in every possible way encourage the creative approach of children to solving any problem. The development of the ability under consideration is closely connected with the formation of dialectic thinking. Therefore, games and exercises for the formation of dialectical thinking can be used to develop the ability to be analyzed. Some exercises for the development of dialectical thinking are given in Appendix 4.

The results of diagnosing the creative potential of children revealed a good development of the ability to see the whole before the parts. And this result is natural, because One of the features of children's worldview is its integrity, the child always sees the whole before the parts. However, very soon children lose this ability, because traditional technique preschool education is in conflict with this objective law of knowledge. Since when studying any object or phenomenon, the educator is instructed to first draw the attention of children to its individual external signs and only then reveal its holistic image. However, forcing the analytical trend in the cognitive development of preschoolers can lead to a significant decrease in their creative abilities. There is evidence that fears and other negative experiences in affective children are directly related to their inability to see the whole before the parts, i.e. to capture in individual events the meaning given by the context of the whole situation. Hence the need for the development of systematic thinking in preschoolers. This quality is developed by the correct analysis of systems and special games, some of which are given in Appendix 5.

Speaking about the problem of children's creative abilities, we would like to emphasize that their effective development is possible only with joint efforts on the part of educators preschool institutions as well as from the family. Unfortunately, teachers complain about the lack of proper support from parents, especially when it comes to the pedagogy of creativity. Therefore, it is advisable to hold special conversations and lectures for parents, which would talk about why it is so important to develop creative abilities from childhood, what conditions must be created in the family for their successful development, what techniques and games can be used to develop creative abilities in the family, as well as parents would be recommended special literature on this issue.

We believe that the measures proposed above will contribute to a more effective development of creative abilities in preschool age.

W conclusion

Universal creative abilities are the individual characteristics, qualities of a person that determine the success of his performance of various creative activities. At the heart of human creative abilities are the processes of thinking and imagination. Therefore, the main directions for the development of creative abilities in preschool age are:

1. The development of a productive creative imagination, which is characterized by such qualities as the richness of the produced images and direction.

2. Development of the qualities of thinking that form creativity; such qualities are associativity, dialectics and systemic thinking.

Preschool age has the richest opportunities for the development of creative abilities. Unfortunately, these opportunities are irreversibly lost over time, so it is necessary to use them as effectively as possible in preschool childhood.

The successful development of creative abilities is possible only if certain conditions are created that are conducive to their formation. These conditions are:

1. Early physical and intellectual development of children.

2. Creating an environment that is ahead of the development of the child.

3. The child's independent solution of tasks that require maximum effort, when the child reaches the "ceiling" of his abilities.

5. Smart, friendly help (and not a hint) from adults.

6. Comfortable psychological environment, encouragement by adults of the child's desire for creativity.

But creating favorable conditions is not enough to raise a child with highly developed creative abilities. Purposeful work is needed to develop the creative potential of children. Unfortunately, the traditionally existing system of preschool education in our country contains almost no measures aimed at the consistent systematic development of the creative abilities of children. Therefore, they (abilities) develop mostly spontaneously and as a result, do not reach a high level of development. This was also confirmed by the results of diagnosing the creative abilities of four-five-year-old preschoolers at the kindergarten "Solnyshko" of the SWAD of Moscow. The lowest results were given by diagnostics of creative imagination. Although preschool age is a sensitive period for the development of this component of creative abilities. To correct the existing situation, the following measures can be proposed aimed at the effective development of the creative abilities of preschoolers:

1. Introduction to the program of preschool education of special classes aimed at developing the creative imagination and thinking of children.

2. In special classes in drawing, music, speech development, give children creative tasks.

3. Management by adults of a children's subject and plot-role-playing game in order to develop the imagination of children in it.

4. The use of special games that develop the creative abilities of children.

5. Working with parents.

Annex 1

Methods for diagnosing universal creative abilities for children 4-5 years old (authors: V. Sinelnikov, V. Kudryavtsev)

1. Method "Sun in the room"

Base. Realization of the imagination.

Target. Identification of the child's ability to transform "unreal" into "real" in the context of a given situation by eliminating the discrepancy.

Material. A picture depicting a room in which there is a little man and the sun; pencil.

Instructions for carrying out.

Psychologist, showing a child a picture: "I give you this picture. Look carefully and say what is drawn on it." By listing the details of the image (table, chair, little man, lamp, sun, etc.), the psychologist gives the following task: "That's right. However, as you can see, here the sun is drawn in the room. Please tell me, can it be so or is the artist here what "Messed up something? Try to fix the picture so that it is correct."

It is not necessary for the child to use a pencil, he can simply explain what needs to be done to "correct" the picture.

Data processing.

During the examination, the psychologist evaluates the child's attempts to correct the drawing. Data processing is carried out according to a five-point system:

1. Lack of response, non-acceptance of the task ("I don't know how to fix it", "I don't need to fix the picture") - 1 point.

2. "Formal elimination of inconsistency (erase, paint over the sun) -2 points.

a) simple answer (Draw in another place - "The sun is on the street") -3 points.

b) a difficult answer (to redo the drawing - "Make a lamp out of the sun") - 4 points.

4. Constructive answer (separate the inappropriate element from others, keeping it in the context of the given situation ("Make a picture", "Draw a window", "Put the sun in a frame", etc.) -5 points.

2. Method "Folding picture"

Reason. The ability to see the whole before the parts.

M a t e r i a l. Folding duck cardboard picture with four folds (size 10 * 15 cm)

Instructions for carrying out.

Psychologist, presenting a picture to a child: "Now I will give you this picture. Please look carefully and tell me what is drawn on it?" After listening to the answer, the psychologist folds the picture and asks: "What will happen to the duck if we fold the picture like this?" After the child's answer, the picture straightens out, folds up again, and the child is asked the same question again. In total, five folding options are used - "corner", "bridge", "house", "pipe", "accordion".

Data processing.

During the examination of the child, the psychologist fixes the general meaning of the answers when performing the task. Data processing is carried out according to a three-point system. Each task corresponds to one position when bending the picture. The maximum score for each task is 3 points. In total - 15 points. The following response levels are distinguished:

1. Lack of response, non-acceptance of the task ("I don't know", "Nothing will happen", "It doesn't happen like that") - 1 point.

2. A descriptive answer, listing the details of the drawing that are in or out of view, i.e. loss of image context ("The duck has no head", "The duck is broken", "The duck is divided into parts", etc.) - 2 points.

3. Answers of a combining type: preserving the integrity of the image when the picture is bent, including the drawn character in a new situation (“The duck dived”, “The duck swam behind the boat”), building new compositions (“It was as if they had made a pipe and painted a duck on it”) and etc. - 3 points.

Some children give answers in which the preservation of the integral context of the image is “tied” not to any situation, but to the specific form that the picture takes when folded (“The duck has become a house”, “It has become like a bridge”, etc.) . Such answers belong to the combining type and are also estimated at 3 points.

3. Method "How to save a bunny"

Base. Supra-situational-transformative nature of creative solutions.

Target. Evaluation of ability and transformation of a choice task into a transformation task under the conditions of transferring the properties of a familiar object to a new situation.

M a t e r i a l. Bunny figurine, saucer, bucket, wooden stick. deflated balloon, sheet of paper.

Instructions for carrying out.

A bunny figurine, a saucer, a bucket, a wand, a deflated ball and a sheet of paper are placed on the table in front of the child. Psychologist, picking up a bunny: "Meet this bunny. Once such a story happened to him. The bunny decided to sail on a boat in the sea and sailed far, far from the coast. And then a storm began, huge waves appeared, and the bunny began to sink. Help Only you and I can do a bunny. We have several objects for this (the psychologist draws the child's attention to the objects laid out on the table). What would you choose to save the bunny?"

Data processing.

During the survey, the nature of the child's answers and their justification are recorded. Data are evaluated on a three-point system.

First level. The child chooses a saucer or bucket, as well as a stick with which you can lift the bunny from the bottom, without going beyond a simple choice; the child tries to use ready-made objects, mechanically transfer their properties to a new situation. Rating - 1 point.

Second level. A decision with an element of simple symbolism, when a child suggests using a stick as a log, on which a bunny can swim to the shore. In this case, the child again does not go beyond the situation of choice. Rating - 2 points.

Third level. To save the bunny, it is proposed to use a deflated balloon or a sheet of paper. For this purpose, you need to inflate a balloon ("A bunny on a balloon can fly away") or make a boat out of a sheet. In children at this level, there is a setting for the transformation of the available subject material. The initial task of choice is independently transformed by them into a task of transformation, which testifies to the child's supra-situational approach to it. Rating - 3 points.

4. Method "Plate"

Base. Children's experimentation.

Target. Evaluation of the ability to experiment with transforming objects.

Material. A wooden plank, which is a hinged connection of four smaller square links (the size of each link is 15 * 15 cm)

Instructions for carrying out.

The plank in expanded form lies in front of the child on the table. Psychologist: "Now let's play with such a board. This is not a simple board, but a magic one: you can bend and unfold it, then it becomes like something. Try it."

As soon as the child folded the board for the first time, the psychologist stops him and asks: "What did you get? What does this board look like now?"

Hearing the child's answer, the psychologist again turns to him: "How else can you fold it? What did it look like? Try again." And so on until the child stops himself.

Data processing.

When processing the data, the number of non-repeating responses of the child is evaluated (naming the shape of the resulting object as a result of folding the board (“garage”, “boat”, etc.), one point for each name. The maximum number of points is initially not limited.

Appendix 2

The results of diagnostics of the universal creative abilities of preschoolers (in points)

d / s "Solnyshko" SWAD Moscow group "Joy"

General results of diagnostics of universal creative abilities in the group

Appendix 3

Games for the development of associativity of thinking

Game "What does it look like"

3-4 people (guessers) go out the door, and the rest of the participants in the game agree on which item will be compared. The guessers come in and the presenter begins: "What I thought is like ..." and gives the floor to the one who first found the comparison and raised his hand: For example, a bow can be associated with a flower, with a butterfly, a helicopter propeller, with the number "8 , which lies on its side. The guesser chooses new guessers and offers the next item for association.

"Surreal Game"(drawing in several hands)

The first participant in the game makes the first sketch, depicts some element of his idea. The second player, necessarily starting from the first sketch, makes an element of his image, and so on. to the finished drawing.

"Magic blots"

Before the game, several blots are made: a little ink or ink is poured into the middle of the sheet and the sheet is folded in half. Then the sheet is unfolded and now you can play. Participants take turns talking. What subject images do they see in a blot or its individual parts. Whoever names the most items wins.

Game "Word associations"

Take any word, for example, loaf. It is associated:

With baked goods.

With consonant words: baron, bacon.

With rhyming words: pendant, salon.

Create as many associations as possible according to the proposed scheme.

Associativity of thinking can be developed on the go. Walking with children, you can think together what clouds, puddles on asphalt, pebbles on the shore look like.

Appendix 4

Games for the development of dialectical thinking.

Good-bad game

Option 1. An object indifferent to the child is selected for the game, i.e. which does not cause persistent associations in him, is not associated for him with specific people and does not generate emotions. The child is invited to analyze this object (subject) and name its qualities from the point of view of the child, positive and negative. It is necessary to name at least once what is bad and what is good in the proposed facility, what you like and dislike, what is convenient and not convenient. For example: pencil.

I like that it's red. I don't like that it's thin.

It's good that it's long; it is bad that it is sharply sharpened - you can prick.

It is convenient to hold in your hand, but it is inconvenient to carry it in your pocket - it breaks.

A specific property of an object can also be considered. For example, it is good that the pencil is long - it can serve as a pointer, but it is bad that it is not included in the pencil case.

Option 2. For the game, an object is proposed that has a specific social significance for the child or causes persistent positive or negative emotions in him, which leads to an unambiguous subjective assessment (candy is good, medicine is bad). The discussion proceeds in the same way as in option 1.

Option 3. After the children learn to identify the contradictory properties of simple objects and phenomena, one can proceed to the consideration of "positive" and "negative" qualities, depending on the specific conditions in which these objects and phenomena are placed. For example: loud music.

Well, if in the morning. You wake up quickly and feel refreshed. But it’s bad if at night it interferes with sleep.

One should not be afraid to touch on in this game such categories that were previously perceived by children exclusively unambiguously ("fight", "friendship", "mother"). Children's understanding of the inconsistency of properties contained in any objects or phenomena, the ability to identify and explain the conditions under which certain properties manifest themselves, only contributes to the development of a sense of justice, the ability to find the right solution to a problem in a critical situation, the ability to logically evaluate their actions and choose from many different properties of the object, those that correspond to the chosen goal and real conditions.

Option 4. When the identification of contradictory properties ceases to cause difficulties for children, one should proceed to a dynamic version of the game, in which for each identified property the opposite property is named, while the object of the game is constantly changing, a kind of "chain" is obtained. For instance:

Eating chocolate is good - tasty, but the stomach can get sick;

The stomach hurts - this is good, you can not go to kindergarten;

Sitting at home is bad, boring;

You can invite guests - etc.

One of the possible variants of the game "Good - bad" may be its modification, which reflects the dialectical law of the transition of quantitative measurements into qualitative ones. For example, sweets: if you eat one candy, it is tasty and pleasant, and if you eat a lot, your teeth will ache, you will have to treat them.

It is desirable that the game "Good - Bad" become part of Everyday life child. It is not necessary to set aside time specifically for its implementation. You can play it on a walk, during lunch, before going to bed.

The next stage in the formation of dialectical thinking will be the development in children of the ability to clearly formulate a contradiction. First, let the child select words that are opposite in meaning to the given words. For example, thin - (?) fat, lazy - (?) hardworking, sharp - (?) stupid. Then you can take any pair of words, for example, sharp - dumb, and ask the children to find an object in which these properties are present at the same time. In the case of "sharp - blunt" - this is a knife, a needle, all cutting, sawing tools. At the last stage of the development of dialectical thinking, children learn to resolve contradictions using TRIZ methods of resolving contradictions (there are more than forty in total).

Appendix 5

Systematic thinking

Game "Teremok"

Children are given pictures of various objects: accordions, spoons, pots, etc. Someone is sitting in a "teremka" (for example, a child with a drawing of a guitar). The next child asks to go to the teremok, but can get there only if he says how the object in his picture is similar to the object of the owner. If a child with an accordion asks, then both have a musical instrument in the picture, and a spoon, for example, also has a hole in the middle.

"Collect the figurines"

The child is given a set of small figures cut out of thick cardboard: circles, squares, triangles, etc. (approximately 5-7 figures). 5-6 pictures are made in advance with the image of various objects that can be folded from these figures: a dog, a house, a car. The child is shown a picture, and he puts the object drawn on it from his figures. The objects in the pictures should be drawn so that the child can see which of the figures is where, that is, the picture should be divided into details.

"Rabbits"

A picture is drawn according to any subject - a forest, a yard, an apartment. There should be 8-10 errors in this picture, that is, something should be drawn in a way that does not actually happen. For example, a car with one wheel, a hare with horns. Some errors should be obvious and others not. Children must show what is drawn incorrectly.

Bibliography

1. V. G. Berezina, I. L. Vikent’ev, and S. Yu. Childhood of a creative person. - SPb., 1994.

2. Rich V., Nyukalov V. Develop creative thinking (TRIZ in kindergarten). - Preschool education. 1994 No. 1. pp. 17-19.

3. Wenger N.Yu. The path to the development of creativity. - Preschool education. 1982 No. 11. pp. 32-38.

4. Veraksa N.E. Dialectical thinking and creativity. - Questions of psychology. - 1990 No. 4. pp. 5-9.

5. Vygotsky L.N. Imagination and creativity in preschool age. - St. Petersburg, 1997.

6. Godfroy J. Psychology, ed. in 2 volumes, volume 1. - M., 1992.

7. Dyachenko O.M., Veraksa N.E. What does not happen in the world. - M., 1994.

8. Endovitskaya T. On the development of creative abilities. - Preschool education. - 1967 No. 12. pp. 73-75.

9 . Efremov V.I. Creative upbringing and education of children on the basis of TRIZ. – Penza, 2001.

10. Zaika E.V. A complex of games for the development of imagination. - Questions of psychology. - 1993 No. 2. pp. 54-58.

11. Krylov E. School of creative personality. - Preschool education. -1992 Nos. 7.8. pp. 11-20.

12. Kudryavtsev V., Sinelnikov V. Child - preschooler: new approach to the diagnosis of creativity. -1995 No. 9 pp. 52-59, No. 10 pp. 62-69.

13. Levin V.A. Creativity education. – Tomsk, 1993.

14. Luk A.N. Psychology of creativity. -M, 1978.

15. Murashkovskaya I.N. When I become a wizard. - Riga, 1994.

16. Nesterenko A. A. Land of fairy tales. Rostov-on-Don. - 1993.

18. Nikitin B. Educational games. - M., 1994.

19. Palashna T.N. The development of imagination in Russian folk pedagogy. - Preschool education. -1989 #6. pp. 69-72.

Dyachenko O.M., Veraksa N.E. What does not happen in the world. - M.: Knowledge, 1994, p.123.

Efremov V.I. Creative upbringing and education of children on the basis of TRIZ. - Penza: Unicon-TRIZ, 2001. pp. 38-39.

Vygotsky L.N. Imagination and creativity in preschool age. - St. Petersburg: Soyuz, 1997. p.8.

Nikitin B. Educational games. - M.: 3nanie, 1994.

Dyachenko O.M., Veraksa N.E. What does not happen in the world. - M.: Knowledge, 1994.

The level of development of creative abilities depends on the content and methods of teaching. Using a variety of teaching methods, systematically, purposefully develop mobility and flexibility of thinking in children, teach them to reason, don't cram, but think , draw conclusions, find new original approaches, evidence, etc.

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Development of creative abilities

“Creative thinking is about looking at what everyone sees and thinking about what no one has thought of”

(Albert Szent Gyordi).

The development of students' creative abilities is one of the main tasks of education. A variety of deep and solid knowledge, skills and abilities, stable cognitive interests, curiosity, initiative, maximum determination and perseverance in solving problems - these are all creative prerequisites. The problem of developing the creative abilities of schoolchildren in the learning process is complex and multifaceted.

Thinking is always creative in nature, as it is aimed at discovering new knowledge. The main criterion of creativity is often considered - the originality of thinking - the ability to give answers different from the usual ones, to complete a task with a non-standard solution. The dissimilarity, non-standard, unexpectedness of the proposed solution among other standard solutions - all this gives rise to originality.

The creative nature of thinking is manifested in such qualities as flexibility, originality, fluency, depth of thinking, mobility. All these qualities characterize a creative student. The opposite qualities are inertia, stereotyped, stereotyped, superficial thinking. They allow you to quickly decide standard tasks. Creative abilities are based on general mental abilities. It is not necessary that a high level of development of intellectual abilities implies well-developed creative abilities.

The method associated with the independent search and discoveries of certain truths by schoolchildren is the method of problem-based learning. Problem-based learning teaches children to think independently, creatively, and forms elementary research skills in them.

The development of creative thinking in the problem-dialogical method of teaching is expressed in the fact that the creative activity of children increases in the form of questions. Such training affects the development of the flexibility of thinking in children. Of great importance for the development of search activity is cognitive activity. And this means the need for new information, new impressions, these are positive emotions of joy, interest. Interest contributes to the emergence of creativity and initiative in self-acquisition of knowledge.

To develop the creative abilities of a child means to develop his imagination.

The learning process can proceed with a different application of forces, cognitive activity and independence of schoolchildren. In some cases, it is imitative in nature, in others - search, creative. It is the nature of the educational process that affects its final result - the level of acquired knowledge, skills and abilities.

The development of the creative abilities of schoolchildren cannot occur without setting and solving a wide variety of tasks. The task is the beginning, the initial link of the cognitive, search and creative process, it is in it that the first awakening of thought is expressed.

From my school practice, it has been noticed that questions that require consideration of something from an unusual angle often confuse children. Meanwhile, the German teacher Diesterweg wrote that it is more useful to consider the same subject from ten different sides than the study of ten different subjects from one side.

Of course, to see something in a new way, not like everyone else, and not like you saw before, is not an easy task. But this can be taught if the learning process is directed to the development of the creative abilities of students by a system of cognitive tasks or creative tasks, in the solution of which the children become interested not only in knowledge but in the search process itself. There is no need to prepare creative assignments personally for the most capable students and offer them instead of the usual assignments that are given to the whole class. This way of individualization puts children in unequal conditions and divides them into capable and incapable. Assignments of a creative nature should be given to the whole class. When they are done, only success is measured. In each child, the teacher must see the individuality. The level of development of creative abilities depends on the content and methods of teaching. Using a variety of teaching methods, systematically, purposefully develop mobility and flexibility of thinking in children, teach them to reason,don't cram, but think, draw conclusions, find new original approaches, evidence, etc. Of great importance for the development of creative abilities is the level of development of attention, memory, imagination. It is these qualities, according to psychologists, that are the basis for the development of productive thinking, creative abilities of students and increases creative and search activity.

Different types of tasks affect the development of schoolchildren's thinking in different ways. Creative thinking involves the implementation of unconventional ways of action, the ability to set new goals. For example: to formulate a question to the content of the text, picture, ask an additional question to the answering student or give a creative task when working with the Paint graphics editor in computer science lessons. To form the flexibility of thinking in one lesson, solve problems and examples of various types, moreover, be sure to analyze them and discuss the features of the solution. When solving a new problem, it is necessary to compare it with the old problems, to highlight new elements in it that were not in the problems solved earlier. All this favorably affects the change of methods in solving new problems. The development of non-standard analysis in students is facilitated by tasks such as solving problems, for example, in chemistry, with missing data.

Every child has abilities and talents. Children are naturally curious and eager to learn. In order for them to show their talents, proper guidance their activities in the classroom.

In developmental psychology, three approaches compete and complement each other: 1) genetic, which assigns the main role in determining the mental properties of heredity; 2) environmental, whose representatives consider it a decisive factor in the development of mental abilities external conditions; 3) genotype-environmental interaction, whose supporters distinguish different types of adaptation of an individual to the environment, depending on hereditary traits.

Numerous historical examples: the families of mathematicians Bernoulli, composers Bach, Russian writers and thinkers - at first glance convincingly testify to the predominant influence of heredity on the formation of a creative personality.

Critics of the genetic approach object to a straightforward interpretation of these examples. Two more alternative explanations are possible: firstly, the creative environment created by older family members and their example influence the development of the creative abilities of children and grandchildren (environmental approach). Secondly, the presence of the same abilities in children and parents is supported by a spontaneously developing creative environment that is adequate to the genotype (the hypothesis of genotype-environment interaction).

In a review by Nichols, who summarized the results of 211 twin studies, the results of diagnosing divergent thinking in 10 studies are presented. average value correlations between MZ twins is 0.61, and between DZ twins is 0.50. Consequently, the contribution of heredity to the determination of individual differences in the level of development of divergent thinking is very small. Russian psychologists E. L. Grigorenko and B. I. Kochubey in 1989 conducted a study of MZ and DZ twins (students of 9-10 grades of secondary school) (Grigorenko E. A., Kochubey B. I., 1989). The main conclusion reached by the authors is that individual differences in creativity and indicators of the process of testing hypotheses are determined by environmental factors. A high level of creativity was found in children with a wide range of communication and a democratic style of relationship with their mother.

In this way, psychological research do not confirm the hypothesis about the heritability of individual differences in creativity (more precisely, the level of development of divergent thinking).

An attempt to implement a different approach to identifying hereditary determinants of creativity was made in the works of researchers belonging to the Russian school of differential psychophysiology. Representatives of this trend argue that the basis of general abilities are properties nervous system(makings), which also determine the characteristics of temperament.

Plasticity is considered to be a hypothetical property of the human nervous system, which could determine creativity in the course of individual development. Plasticity is usually measured in terms of variability in EEG parameters and evoked potentials. The classic conditioned-reflex method for diagnosing plasticity was the alteration of a skill from positive to negative or vice versa.

The opposite pole of plasticity is rigidity, which manifests itself in a small variability in the indicators of the electrophysiological activity of the central nervous system, difficulty in switching, inadequacy of the transfer of old modes of action to new conditions, stereotyped thinking, etc.

One of the attempts to identify the heritability of plasticity was made in the dissertation research by S. D. Biryukov. It was possible to identify the heritability of "field dependence-field independence" (the success of the test of built-in figures) and individual differences in the performance of the "Forward and reverse writing" test. The environmental component of the total phenotypic variance for these measurements was close to zero. In addition, the method of factor analysis was able to identify two independent factors that characterize plasticity: "adaptive" and "afferent". The first one is related to the general regulation of behavior (characteristics of attention and motor skills), and the second one is related to the parameters of perception.

According to Biryukov, the ontogeny of plasticity is completed by the end of puberty, while there are no gender differences in either the “adaptive” plasticity factor or the “afferent” plasticity factor.

The phenotypic variability of these indicators is very high, but the question of the relationship between plasticity and creativity remains open. Since psychological research has not yet revealed the heritability of individual differences in creativity, let's pay attention to environmental factors that may have a positive or Negative influence for the development of creative abilities. Until now, researchers have assigned a decisive role to the microenvironment in which a child is formed, and, first of all, to the influence of family relationships. Most researchers identify when analyzing family relationships following options: 1) harmony - inharmony of relations between parents, as well as between parents and children; 2) creative - not creative person parent as a role model and subject of identification; 3) community of intellectual interests of family members or its absence; 4) expectations of parents in relation to the child: the expectation of achievement or independence.

If the regulation of behavior is cultivated in the family, the same requirements are imposed on all children, there are harmonious relations between family members, then this leads to a low level of children's creativity.

It seems that a wider range of acceptable behavioral manifestations (including emotional ones), less unambiguous requirements do not contribute to the early formation of rigid social stereotypes and favor the development of creativity. Thus, a creative person looks like a psychologically unstable person. The requirement to achieve success through obedience is not conducive to the development of independence and, as a result, creativity.

K. Berry conducted a comparative study of the features of family education of Nobel Prize winners in science and literature. Almost all of the laureates came from families of intellectuals or businessmen; there were practically no people from the lower strata of society. Most of them were born in large cities (capitals or metropolitan areas). Among the Nobel laureates born in the USA, only one came from the Midwestern states, but from New York - 60. Most often, Nobel Prize winners came from Jewish families, less often from Protestant families, and even less often from Catholic families.

Parents of Nobel laureates who were scientists were also most often involved in science or worked in the field of education. People from the families of scientists and teachers rarely received Nobel Prizes for literature or the struggle for peace.

The situation in the families of laureate scientists was more stable than in the families of laureate writers. Most scientists emphasized in interviews that they had a happy childhood and an early scientific career that proceeded without significant disruptions. True, it cannot be said whether a calm family environment contributes to the development of talent or the formation personal qualities career-friendly. Suffice it to recall the impoverished and joyless childhood of Kepler and Faraday. It is known that little Newton was abandoned by his mother and he was raised by his grandmother.

Tragic events in the lives of the families of Nobel Prize winners in literature are a typical phenomenon. Thirty percent of literary laureates lost one of their parents in childhood or their families went bankrupt.

Experts in the field of post-traumatic stress, experienced by some people after being exposed to a situation that goes beyond ordinary life (natural or technical disaster, clinical death, participation in hostilities, etc.), argue that the latter have an uncontrollable desire to speak out, to talk about their unusual experiences, accompanied by a feeling of incomprehensibility. Perhaps the trauma associated with the loss of loved ones in childhood is the non-healing wound that forces the writer through his personal drama to reveal the drama of human existence in the word.

D. Simonton, and then a number of other researchers, hypothesized that an environment conducive to the development of creativity should reinforce the creative behavior of children and provide models for imitating creative behavior. From his point of view, socially and politically unstable environment is the most favorable for the development of creativity.

Among the many facts that confirm the crucial role of family-parent relationships, there are the following:

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

2. Less likely to show creativity in children who identify themselves with their parents (father). 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.

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

4. Early death of parents leads to the absence of a pattern of behavior with behavioral restrictions in childhood. This event is typical for the life of both major politicians, prominent scientists, as well as criminals and the mentally ill.

5. For the development of creativity, increased attention to the abilities of the child is favorable, a situation where his 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, where various, inconsistent 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 creativity in a child.

The hypothesis that imitation is the main mechanism for the formation of creativity implies that for the development of a child's creative abilities it is necessary that among people close to the child there is a creative person with whom the child would identify himself. The process of identification depends on relations in the family: not parents can act as a model for a child, but an “ideal hero”, who has creative features to a greater extent than parents,

Inharmonious emotional relationships in the family contribute to the emotional estrangement of the child from, as a rule, uncreative parents, but they do not stimulate the development of creativity by themselves.

For the development of creativity, an unregulated environment with democratic relations and a child's imitation of a creative personality is necessary.

The development of creativity, perhaps, follows 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 (synthesis of giftedness and a certain personality structure).

If we summarize the few studies on the sensitive period of creativity development, then it is most likely that this period falls on the age of 3-5 years. By the age of 3, the child has a need to act like an adult, to “come up with an adult”. Children develop a “need for compensation” and develop mechanisms for disinterested imitation of the activities of an adult. Attempts to imitate the labor actions of an adult begin to be observed from the end of the second to the fourth year of life. Most likely, it is at this time that the child is most sensitive to the development of creative abilities through imitation.

The study by V. I. Tyutyunnik shows that the needs and ability for creative work develop at least from the age of 5. The main factor determining this development is the content of the relationship between the child and the adult, the position taken by the adult in relation to the child.

In the course of socialization, very specific relationships are established between the creative person and the social environment. Firstly, creatives often experience discrimination at school due to the orientation of education towards “average grades”, the unification of programs, the prevalence of strict regulation of behavior, and the attitude of teachers. Teachers, as a rule, evaluate creatives as "upstarts", demonstrative, hysterical, stubborn, etc. The resistance of creatives to reproductive work, their great sensitivity to monotony is regarded as laziness, stubbornness, stupidity. Talented children often become the object of harassment by their teenage peers. Therefore, according to Guilford, by the end of schooling, gifted children become depressed, masking their abilities, but, on the other hand, these children quickly pass the initial levels of intelligence development and quickly reach high levels of development of moral consciousness (according to L. Kohlberg).

The further fate of creatives develops depending on environmental conditions and on the general patterns of development of a creative personality.

In the course of professional development, a professional model plays a huge role - the personality of a professional, on which the creative is guided. It is believed that for the development of creativity, the “average” level of environmental resistance and encouragement of talent is optimal.

However, the environment undoubtedly plays an exceptional role in the formation and manifestation of a creative personality. If we share the point of view that creativity is inherent in every person, and environmental influences, prohibitions, "taboos", social patterns only block its manifestation, we can interpret the "influence" of unregulated behavior as the absence of any influence. And on this basis, the development of creativity at a later age acts as a way to release the creative potential from the "clamps" acquired in early childhood. But if we assume that the influence of the environment is positive and for the development of creativity it is absolutely necessary to reinforce the general giftedness with a certain environmental influence, then the identification and imitation of a creative model, a democratic, but emotionally unbalanced style of family relations, act as formative influences.

Functional cognitive redundancy as the basis of human creativity. The ability to invent new things and translate new ideas into reality is obviously the most important (if not the main) feature that distinguishes humans from higher primates and other highly organized animals.

Few sociobiologists, ethologists, and zoopsychologists doubt that higher apes have the ability to think and the simplest forms of pseudoverbal communication.

Intelligence as the ability to solve actual problems in the mind without behavioral trials is not unique to humans, but no species has created even anything resembling human culture. The elements of human culture - music, books, norms of behavior, technological means, buildings, etc. - are inventions that are replicated and distributed in time and space.

It is important to answer the question: could people physically exist without a cultural environment, if culture is a necessary means of adapting a person to the world, and a human individual outside of culture is doomed to death. "Mowgli", it would seem, are proof of this thesis, but they are "victims" only spiritually, but physically - survive! It can be put differently: culture is not an obligatory “appendage” to humanity, but it arises because an individual cannot exist without producing new objects of culture, just as he cannot stop eating, drinking or breathing. Does this thesis give rise to the idea that the ability to create is inherent in man? Maybe. But in my opinion (and this is a hypothesis!) creativity itself is also a cultural invention. I will try to substantiate this assumption.

For this, a number of theoretical considerations should be given:

1. Man differs from other animals not just in the "level of intelligence", but in the functional redundancy of the cognitive resource in relation to the tasks of adaptation. Simply put, the intellectual abilities of a normal person (“average person”) as a representative of a species exceed the requirements that the natural environment makes of him.

2. With the development of culture and civilization, cultural requirements increase. Associated with the mastery of culture, the requirements for adaptation to the natural environment are reduced. A person is protected from the effects of dangers by "excess" inventions. Functional redundancy in relation to natural adaptation increases, in relation to cultural and social - falls.

3. Many models of behavior, hypotheses, images of the future world remain “unclaimed”, since most of them cannot be applied to regulate adaptive behavior. But a person constantly generates hypotheses that are active and require their implementation.

Each of us, like M. Yu. Lermontov, can say that “in my soul I created a different world and other images of existence”, specifying only that there are many such worlds. Everyone (in the imagination!) could potentially live many different lives, but realizes only one linear, irreversible life path. Time is linear, parallel lives are not given.

Creativity as a way of social behavior was invented by mankind to implement ideas - the fruits of human active imagination. An alternative to creativity is adaptive behavior and mental degradation or destruction as an externalization of a person’s mental activity to destroy one’s own thoughts, plans, images, etc.

How can a person bring his fantasies (“parallel” models of reality) to life, if it requires daily adaptation and implementation of one, the only true option of behavior?

An opportunity for creativity is provided when a person drops out of the flow of solving problems for adaptation, when he is given "peace and freedom", when he is not busy worries about his daily bread or refuses these worries, when he is left to himself - in a hospital bed, in solitary confinement cell in Shlisselburg, at night desk Boldin autumn.

One of the arguments in favor of presenting creativity as a social invention is the data of psychogenetics and developmental psychology.

Studies of the intra-pair similarity of mono- and dizygotic twins by M. Reznikov et al. (Resnikoff M., Domino G., Bridges C., Honeyman N., 1973) showed that the genotype determines only 25% of the dispersion of eleven indicators of creativity.

The development of children's creativity is accompanied by an increase in the frequency of neurosis-like reactions, non-adaptive behavior, anxiety, mental imbalance and emotivity, which directly indicates the close relationship of these mental states with the creative process.

Individuals differ in the level of cognitive functional redundancy (CFI). The lower the redundancy, the more adaptive and satisfied the person should feel. This conclusion is consistent with the results of studies in the field of intellectual adaptation, indicating the presence of a "social optimum" level of intelligence: the most socially adapted and professionally successful people with average (or slightly above average) intelligence. At the same time, there is also evidence of high adaptability and life satisfaction of individuals with below average intelligence and even with moderate oligophrenia.

It has been established that persons with high and ultra-high intelligence are the least satisfied with life. This phenomenon is observed both in Western countries and in Russia.

Fewer individuals satisfy the requirements of cultural adaptation put forward by modern production (understanding this term in broad sense as the production of cultural objects). Hence - the spread and consumption of simplified culture, surrogates such as works of "mass culture", etc., a relative decrease in the number of subjects able to participate in cultural creativity, perceive and understand the meaning of inventions, theories, discoveries. Few people, except for a narrow circle of professionals, can reproduce the recently obtained proof of Fermat's theorem; there are few lovers of belles-lettres who are really able to understand the metaphors of T. Eliot or I. Brodsky.

Creativity is more and more specialized, and creators, like birds sitting on distant branches of the same tree of human culture, are far from the earth and can hardly hear and understand each other. The majority is forced to take their discoveries on faith and use the fruits of their mind in everyday life, not realizing that someone once invented a capillary fountain pen, a zipper, and a video player.

So, cognitive functional redundancy as a property of the psyche is possessed in to varying degrees all normal, without genetic defects leading to a decrease in intelligence, representatives of the human population. But the level of CFI required for professional creativity in most areas of human culture is such that it leaves most people outside of professional creativity. But humanity has found a way out here in the form of "amateurism", "creativity at leisure", a hobby in those areas that are still accessible to the majority.

This form of creativity is available to almost everyone and everyone: both children with lesions of the musculoskeletal system, and the mentally ill, and people tired of monotonous or super-complex professional activity. The mass nature of "amateur" creativity, its beneficial effect on a person's mental health testifies in favor of the hypothesis of "functional redundancy as a species-specific trait of a person."

If the hypothesis is correct, then it explains such important characteristics of behavior creative people, as a tendency to show “above-situational activity” (D. B. Bogoyavlenskaya) or a tendency to excess activity (V. A. Petrovsky).

Review questions

1. What is the role of the unconscious in the creative process?

2. Give the definition of a by-product of activity according to Ya. A. Ponomerev.

3. What is the difference between the operations of convergent and divergent thinking?

4. What is the essence of the concept of "intellectual threshold"?

5. What are the relative contributions of heredity and environment to the development of creativity?

6. List the main features of a creative personality.

7. At what age is the peak of creative productivity of scientists?

8. How is the originality of answers assessed in the Torrens test?

9. What is the essence of the cognitive functional redundancy hypothesis?

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Natalia Bobkova
Development of creative abilities in children

Advice for parents.

« Development of creative abilities in children» .

In life, you can live in different ways,

It is possible in sorrow and in joy.

Eat on time, drink on time

Do stupid things right away.

And maybe so:

Get up at dawn

And, thinking of a miracle,

Reach the sun with your bare hand

And give it to people.

For many years, people have been thinking about how to educate creative personality? What is the secret of success? What is creation?

Creation- a process of activity that creates qualitatively new material or spiritual values. The main criterion that distinguishes creation is the uniqueness of its result. A person can be called creative if he is good developed imagination and fantasy capable of invention, finding non-standard solutions in various situations.

Imagination is the highest mental function inherent only to a person, which allows you to create new images by processing previous experience. It can be recreative - when the image of an object is created according to its description, and creative- when absolutely new images are born.

Creativity is creativity, willingness to create fundamentally new ideas that deviate from traditional or accepted patterns of thinking.

Creative potential is inherent in the child from birth and develops as he grows up. The natural giftedness of the child manifests itself quite early, but the extent to which it will develop creative potential largely depends on the family. Family able to develop or destroy the creative abilities of the child. Therefore, the formation creative personality one of the most important tasks of education.

Usually parents focus on the speech, thinking and memory of the baby, while forgetting about creativity and imagination. Of course, no one argues that all these three points are very important for a child, but completely creativity cannot be ruled out.. His development must necessarily go in one step with all other directions and this is necessary for every child. And let him not become a successful actor or a famous singer in the future, but he will have creative approach to solving certain life problems. And this will help him become an interesting person, as well as a person who will able overcome the difficulties that come his way. And if the baby has even the slightest Creative skills, then it will be much easier for him to study, work and build relationships with others.

Creative personality traits begin to manifest themselves at an early age. And as soon as they are noticed by young parents, you need to immediately pick up this baton and start working with the child. Each period is characterized by its own characteristics in development of the creative potential of kids:

1–2 years: someone moves beautifully to the music, accurately catching its rhythm; some create own paintings; others like to be the center of attention - that's it develop children's creativity according to their interests and natural inclinations;

3–4 years: peak creative activity of kids, and even if it seems to you that the baby does not have anything special, this is still not a reason to abandon classes - on the contrary, you need to turn to exercises and games as often as possible, developing creative abilities;

5–6 years: classes are complicated by new tasks, preparing the preschooler for the further learning process and developing his imagination, fantasy, talents.

The main role of preschool in the process development of creative abilities in children played directly by the parents. Often, many parents dream of seeing their child creative personality, but at the same time they themselves are not and do not even seek to change anything in themselves. Can't grow creative personality without changing their own habitual way of life. Live brightly and richly, constantly develop and improve yourself. This atmosphere is very fruitfully influences the development of a creative personality. And if the parents have certain creativity, then it's just perfect - it can turn out to be a wonderful family creative tandem. Well, if by the will of fate, creativity is not your forte, then it does not matter and you should not be upset in this case. You can still help your beloved child. The main thing is to have a great desire and relevant knowledge in this area of ​​the issue.

1. The world around

Joint discussion with the child about what is happening around on the street, at home, in transport;

Stories about animals and plants;

Explanation of elementary processes occurring around;

Answers to all your baby's questions questions: why, how, why and from where.

2. Educational games

Buy children's desktop educational games;

They should have a lot of useful, not entertainment toys;

They must be age appropriate;

Mosaics and designers - the best option.

3. Drawing

Often Creative skills the child is revealed in visual activity, so he should always have high-quality, comfortable, bright pencils, paints, felt-tip pens at hand;

Spare no papers on this matter;

Never scold a baby for painted walls and stained with paints. clothes: maybe this is the one creative chaos;

First - learn the colors, then - get to know geometric shapes, show how the drawing is created, and then just watch the results.

modeling develops small fingers, children's creativity+ besides, it allows them to show all their wild imagination;

At first, let it be the simplest balls, cakes, sausages, rings;

After that, they will begin to sculpt more complex figures themselves;

Plasticine should be bright and soft.

Books should be selected according to age and interests;

Try to introduce your child to different genres. works: fairy tales, stories, poems;

Take the kids with you to the library;

The book gives a flight of fancy and opens up great opportunities for children's imagination, develops creativity;

Immediately act out scenes from books, read by roles, as creative potential can also be revealed through theatrical activity: Usually this method is liked by children of any age.

From infancy, let's listen to crumbs of classical music and children's songs;

Sing him lullabies for as long as you can;

This develops memory and imaginative thinking.

Develop children's creativity not just occasionally, but everywhere and all the time. Parents should create an environment for their child that will contribute to its development: provide him with tools (paints, plasticine, a designer, etc., praise him for success and patience in achieving certain results. Adults should, within reason, give free rein to children's imagination and not restrain his creative activity.

Creative process is a real miracle - children discover their unique capabilities and experience the joy that creation brings to them. Here they begin to feel the benefit creativity and believe that mistakes are just steps towards achieving the goal, and not an obstacle, as in creativity and in all aspects of their lives. Children are better inspire: "V creativity No the right way There is no wrong way, there is only your own way."

Remember that a lot depends on you, on who will be next to the child at the entrance to the complex and diverse world of beauty.

Let creation bring joy to you and your children!

In developmental psychology, three approaches compete and complement each other: 1) genetic, which assigns the main role in determining the mental properties of heredity; 2) environmental, whose representatives consider external conditions to be the decisive factor in the development of mental abilities; 3) genotype-environmental interaction, whose supporters distinguish different types of adaptation of an individual to the environment, depending on hereditary traits.

Numerous historical examples: the families of mathematicians Bernoulli, Bach composers, Russian writers and thinkers - at first glance convincingly testify to the predominant influence of heredity on the formation of a creative personality.

Critics of the genetic approach object to a straightforward interpretation of these examples. Two more alternative explanations are possible: firstly, the creative environment created by older family members and their example influence the development of the creative abilities of children and grandchildren (environmental approach). Secondly, the presence of the same abilities in children and parents is reinforced by a spontaneously developing creative environment that is adequate to the genotype (the genotype-environment interaction hypothesis).

In a review by Nichols, who summarized the results of 211 twin studies, the results of diagnosing divergent thinking in 10 studies are presented. The average value of correlations between MZ twins is 0.61, and between DZ twins - 0.50. Consequently, the contribution of heredity to the determination of individual differences in the level of development of divergent thinking is very small. Russian psychologists E.L. Grigorenko and B.I. Kochubey in 1989 conducted a study of MZ and DZ twins (students of 9-10 grades of secondary school). The main conclusion reached by the authors is that individual differences in creativity and indicators of the process of testing hypotheses are determined by environmental factors. A high level of creativity was found in children with a wide range of communication and a democratic style of relationship with their mother Gruzenberg S.O. Psychology of creativity. - Minsk, 2005.

Thus, psychological studies do not support the hypothesis of the heritability of individual differences in creativity (more precisely, the level of development of divergent thinking).

An attempt to implement a different approach to identifying hereditary determinants of creativity was made in the works of researchers belonging to the Russian school of differential psychophysiology. Representatives of this trend argue that the basis of general abilities are the properties of the nervous system (inclinations), which also determine the characteristics of temperament.

Plasticity is considered to be a hypothetical property of the human nervous system, which could determine creativity in the course of individual development. Plasticity is usually measured in terms of variability in EEG parameters and evoked potentials. The classic conditioned-reflex method for diagnosing plasticity was the alteration of a skill from positive to negative or vice versa.

The opposite pole of plasticity is rigidity, which manifests itself in a small variability in the indicators of the electrophysiological activity of the central nervous system, difficulty in switching, inadequacy of the transfer of old modes of action to new conditions, stereotyped thinking, etc.

One of the attempts to identify the heritability of plasticity was made in the dissertation research by S. D. Biryukov. It was possible to identify the heritability of "field dependence-field independence" (the success of the test of built-in figures) and individual differences in the performance of the "Forward and reverse writing" test. The environmental component of the total phenotypic variance for these measurements was close to zero. In addition, the method of factor analysis was able to identify two independent factors that characterize plasticity: "adaptive" and "afferent".

The first one is related to the general regulation of behavior (characteristics of attention and motor skills), and the second one is related to the parameters of perception.

According to Biryukov, the ontogeny of plasticity is completed by the end of puberty, while there are no gender differences in either the "adaptive" plasticity factor or the "afferent" plasticity factor.

The phenotypic variability of these indicators is very high, but the question of the relationship between plasticity and creativity remains open. Since psychological research has not yet revealed the heritability of individual differences in creativity, let's pay attention to environmental factors that can have a positive or negative impact on the development of creative abilities. Until now, researchers have assigned a decisive role to the microenvironment in which a child is formed, and, first of all, to the influence of family relationships. Most researchers identify the following parameters when analyzing family relations: 1) harmony - inharmony of relations between parents, as well as between parents and children; 2) creative - non-creative personality of the parent as a role model and the subject of identification; 3) community of intellectual interests of family members or its absence; 4) expectations of parents in relation to the child: the expectation of achievement or independence.

If the regulation of behavior is cultivated in the family, the same requirements are imposed on all children, there are harmonious relations between family members, then this leads to a low level of children's creativity.

It seems that a wider range of acceptable behavioral manifestations (including emotional ones), less unambiguous requirements do not contribute to the early formation of rigid social stereotypes and favor the development of creativity. Thus, a creative person looks like a psychologically unstable person. The requirement to achieve success through obedience is not conducive to the development of independence and, as a result, creativity.

K. Berry conducted a comparative study of the features of family education of Nobel Prize winners in science and literature. Almost all of the laureates came from families of intellectuals or businessmen; there were practically no people from the lower strata of society. Most of them were born in large cities (capitals or metropolitan areas). Among the Nobel laureates born in the USA, only one came from the Midwestern states, but from New York - 60. Most often, Nobel Prize winners came from Jewish families, less often from Protestant families, and even less often from Catholic families.

Parents of Nobel laureates who were scientists were also most often involved in science or worked in the field of education. People from the families of scientists and teachers rarely received Nobel Prizes for literature or the struggle for peace.

The situation in the families of laureate scientists was more stable than in the families of laureate writers. Most scientists emphasized in interviews that they had a happy childhood and an early scientific career that proceeded without significant disruptions. True, it cannot be said whether a calm family environment contributes to the development of talent or the formation of personal qualities that favor a career. Suffice it to recall the impoverished and joyless childhood of Kepler and Faraday. It is known that little Newton was abandoned by his mother and he was raised by his grandmother.

Tragic events in the lives of the families of Nobel Prize winners in literature are a typical phenomenon. Thirty percent of literary laureates lost one of their parents in childhood or their families went bankrupt.

Experts in the field of post-traumatic stress, experienced by some people after being exposed to a situation that goes beyond ordinary life (natural or technical disaster, clinical death, participation in hostilities, etc.), argue that the latter have an uncontrollable desire to speak out, to talk about their unusual experiences, accompanied by a feeling of incomprehensibility. Perhaps the trauma associated with the loss of loved ones in childhood is the unhealed wound that forces the writer through his personal drama to reveal the drama of human existence in the word.

D. Simonton, and then a number of other researchers, hypothesized that an environment conducive to the development of creativity should reinforce the creative behavior of children and provide models for imitating creative behavior. From his point of view, socially and politically unstable environment is the most favorable for the development of creativity.

Among the many facts that confirm the crucial role of family-parent relationships, there are the following:

• 1. As a rule, the eldest or only son in the family has a great chance to show creative abilities.
• 2. Less likely to show creativity in children who identify themselves with their parents (father). 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.
• 3. More often creative children appear in families where the father is much older than the mother.
• 4. Early death of parents leads to the absence of a pattern of behavior with behavioral restrictions in childhood. This event is typical for the life of both major politicians, prominent scientists, as well as criminals and the mentally ill.
• 5. For the development of creativity, increased attention to the abilities of the child is favorable, the situation when his talent becomes the organizing principle in the family Gruzenberg S.O. Psychology of creativity. - Minsk, 2005.

So, a family environment, where, on the one hand, there is attention to the child, and on the other hand, where various, inconsistent 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 creativity in a child.

The hypothesis that imitation is the main mechanism for the formation of creativity implies that for the development of a child's creative abilities it is necessary that among people close to the child there is a creative person with whom the child would identify himself. The process of identification depends on relations in the family: not parents can act as a model for a child, but an “ideal hero”, who has creative features to a greater extent than parents.

Inharmonious emotional relationships in the family contribute to the emotional estrangement of the child from, as a rule, uncreative parents, but they do not stimulate the development of creativity by themselves.

For the development of creativity, an unregulated environment with democratic relations and a child's imitation of a creative personality is necessary.

The development of creativity, perhaps, follows 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 (synthesis of giftedness and a certain personality structure).

If we summarize the few studies on the sensitive period of creativity development, then it is most likely that this period falls on the age of 3-5 years. By the age of 3, the child has a need to act like an adult, to “come up with an adult”. Children develop a “need for compensation” and develop mechanisms for disinterested imitation of the activities of an adult. Attempts to imitate the labor actions of an adult begin to be observed from the end of the second to the fourth year of life. Most likely, it is at this time that the child is most sensitive to the development of creative abilities through imitation.

Intelligence as the ability to solve actual problems in the mind without behavioral trials is not unique to humans, but no species has created even anything resembling human culture. The elements of human culture - music, books, norms of behavior, technological means, buildings, etc. - are inventions that are replicated and distributed in time and space.

Creativity as a way of social behavior was invented by mankind to implement ideas - the fruits of human active imagination. An alternative to creativity is adaptive behavior and mental degradation or destruction as an externalization of a person’s mental activity to destroy one’s own thoughts, plans, images, etc.

One of the arguments in favor of presenting creativity as a social invention is the data of psychogenetics and developmental psychology.

The development of children's creativity is accompanied by an increase in the frequency of neurosis-like reactions, non-adaptive behavior, anxiety, mental imbalance and emotivity, which directly indicates the close relationship of these mental states with the creative process.

It has been established that persons with high and ultra-high intelligence are the least satisfied with life. This phenomenon is observed both in Western countries and in Russia.

Fewer individuals meet the requirements of cultural adaptation put forward by modern production

Creativity is more and more specialized, and creators, like birds sitting on distant branches of the same tree of human culture, are far from the earth and can hardly hear and understand each other. The majority is forced to take their discoveries on faith and use the fruits of their mind in everyday life, not realizing that someone once invented a capillary fountain pen, a zipper, and a video player.

This form of creativity is available to almost everyone and everyone: both children with lesions of the musculoskeletal system, and the mentally ill, and people tired of monotonous or extremely complex professional activities. The mass nature of "amateur" creativity, its beneficial effect on a person's mental health testifies in favor of the hypothesis of "functional redundancy as a species-specific feature of a person."

If the hypothesis is correct, then it explains such important characteristics of the behavior of creative people as the tendency to show “above-situational activity” (D.B. Bogoyavlenskaya) or the tendency to excess activity (V.A. Petrovsky).