Integrated classes for the development of creative abilities of preschoolers. Creative Thinking Exercises Creative Development Classes

A set of games and exercises to develop creative imagination with older children preschool age.

The basis of developmental work on the development of creative imagination with preschool children is creative story games. In their totality, they represent a block of activities aimed at developing creative imagination. Classes are built in an accessible and interesting form using the method of fairy tale therapy.

Developing classes are based on game situations. The plots of stories and fairy tales are united by game characters - fairy-tale heroes invented by children. They “overcome emerging problems and “learn” the techniques of self-regulation and development creativity along with their heroes, traveling through the "magic country". The plots of fairy tales are invented by the children themselves during the lessons. Fairy tales are composed, played out by children together with the leader.

Each theme of the fairy tale is worked out in 1-3 lessons using different methods. The tasks, games and exercises suggested below can be included in the plot of each lesson. The method of presenting the material may vary depending on the characteristics of a particular group of children and on the topic of the lesson.

The structure of creative story games involves the use of each developmental lesson 3-5 combined creative techniques and different methods, including:

fantasizing (based on technologies proposed by J. Rodari);

inventiveness (work with color, form, abstraction - elements of the theory of inventive problem solving);

psycho-gymnastics (development of non-verbal ways of communication, breadth of emotional expressiveness), techniques and methods of self-regulation;

fairy tale therapy (according to the method of T.D. Zinkevich and A.M. Mikhailov);

elements of a group discussion.

For training, you can use: drawings made by children; tape recorder and audio cassettes with music for relaxation; carpet on the floor; toys; material for creative activity(paints, pencils, wax crayons, paper, plasticine, etc.).

The purpose of the lessons is development of imagination and creativity of preschoolers; awareness of one's own creative possibilities; overcoming barriers preventing the actualization of creative resources.

Lesson 1. WE FANTASIZE?

Target: development of the imagination.

Children are invited to perform a series of exercises in a playful way.

"blots"

Materials: a large sheet of paper, paint, a glass of water.

There is an unusual city in the Magic Land. The Dragon Fear-Fight turned all the inhabitants into multi-colored clouds. From time to time it rains in the city, and droplets of different colors fall on the ground. It is necessary to "revive" these droplets.

Children are invited to draw more paint on the brush and drip onto the sheet.

A shapeless spot needs to be completed so that it is clear what it looks like.

The players take turns saying what kind of subject images they see in blots or in its individual parts.

Exercise "Composing a story using individual words"

Material: a set of words.

Children are offered separate words, for example: sun, river, wind, rain. You need to make a related story using these words. Initially, the number of words is limited to 3-4, then gradually increases to 7-10.

The exercise can be carried out with restrictions, for example, come up with a story with words that only begin with the letter A or B, etc.

The game "Colored fairy tales".

Children are invited to come up with, for example, a “pink” or “green fairy tale. As an illustration, a fairy tale by the Latvian writer Imants Ziedonis "The Yellow Fairy" is read.

yellow fairy tale

The sun, like an egg yolk, hung above the earth. And along the rays, chickens walked to the ground, and all of them, of course, were yellow.

The yellow bee flew up to the chicken and began to invite him to her yellow hive. But there is no way for a chicken to get into the hive: the hole is small.

“Okay,” he thought, “there are yellow butterflies flying, I’ll fly with them.” The chicken jumped up, but immediately remembered that he had no wings, some stripes instead of wings. “I will become a chicken,” he dreamed, “I will fly high.”

And the sun shone in the sky like a yellow pancake with such delicious crispy edges. The bees flew from dandelion to dandelion and returned to their yellow hive. It looked like a huge yellow library. The frames are like shelves to the ceiling, and all are filled with honeycombs. And honeycombs look like yellow hexagonal TVs, only yellow honey glitters instead of screens.

To the very horizon, the meadows turned yellow - yellow anemones and primroses bloomed, but most of all there were dandelions. All the hills shone like gold from the fluffy pale yellow caps of these sunny flowers.

Here I myself could not resist, took it and fell into dandelions. Pollinated with yellow pollen.

A yellow cow came up, thought I was a dandelion, and ate me, the yellow one. So there is no way to write more.

Game "If..."

Children are invited to dream up on a wide variety of topics: “If I became invisible” (why would I use this property?”); “If suddenly the toys come to life and talk” (what can they tell about?). As an example, children are read Boris Zakhoder's poem "Song of Toys".

Children love toys. We forgive children

That's what everyone says! I love hurt...

Well, maybe toys That's why, probably,

Don't like guys? Not everyone notices

They love it very much! How toys suffer

Souls in them do not tea! yearn,

Sorry, bored...

What NOT EVERYONE notices! That's why they don't know

We are silent, we don't cry (And they don't want to know!)

When we are abandoned - How faithful and devoted we are

We know we love guys!

What tears Oh, we are not so offended,

They don’t save us from trouble ... When they break us,

You won't see any resentment. How embarrassing

By our appearance - That we are not always understood.

Game "Inventors"

This game is based on the method of focal objects, the essence of which is to transfer the qualities of various objects to the initially selected object. For example, you need to come up with an unusual chair. Children are offered to name two or three words that have absolutely nothing to do with the chair, for example, “cat” and “book”, for which it is necessary to select 3-5 qualitative characteristics. The cat is affectionate, fluffy, multi-colored; The book is interesting, adventurous, thick.

After that, they proceed to the main part of the game - inventing a new chair: all of the above qualities are transferred to the original object and find out: what kind of chair is this? Why is he interesting? Where can it be used?

Target: development of basic mental operations, predictive, practical, divergent types of thinking.

Game "What does it look like?"

Material: at the initial stage of the game, figurative material is needed - a variety of objects ( Pine cone, shell, leaf of wood, piece of fur, etc.). In the future, the game can be played only in a verbal version, that is, without relying on visibility.

Children are asked to answer the question: “What does this or that object look like?” andjustify your answer ("Why?", "What?").

The game can be played in the form of a competition.

Teams are given a condition - whoever names the most number of answer options wins.

Game "What's in common?"

This game is a logical continuation of the previous one.

Material: real items or pictures.

Children are presented (or called) two objects, between which it is necessary to compare according to several criteria. For example, what do an ant and a car have in common? Both can move, carry heavy objects, etc. Or what do an airplane and a pencil have in common? Both leave a trace (a pencil on paper, an airplane on the sky), both are made by human hands, the body of the aircraft resembles the shape of a pencil, etc.

Synectic question-answer game "Magic Slipper"

As synectic methods, you can use the usual ball game, heuristic conversations with a gradual complication of the question-answer game, brain attacks and elements of a problem-model dialogue. Children will have to ““make an invention”.” It should not be so important and useful for adults as it should be in simple and understandable examples of the new use of the most ordinary things, for example, a shoe, a pencil, etc. The "inventions" of children should be connected with everyday life, with household items and all sorts of devices, which are called little tricks and useful little things in our life.

Introducing this game into the learning process, the children are first told a story: “In ancient times, grateful people respectfully called folk craftsmen and craftsmen rozmyslami. Doesn't it sound beautiful, poetic? Razmysl was obliged to think over the problem from all sides, relying not only on all the accumulated experience of his predecessors, but also on his mind, ingenuity, ingenuity, on dream and fantasy.

Yes, the old people knew that it was in the practical activity of the masters that every thing was always done in a slightly new way, not quite the way it used to be. In such a process, a small alteration resulted in something new, which one fine morning became an independent discovery. Even the starry sky has been changed by the human hand: hundreds of artificial satellites of the Earth are spinning in orbits.

Tasks can be created as the game progresses. For example, an evil wizard froze all the roads in the Magic Land, and in order for its inhabitants to walk comfortably, it is necessary to come up with magic shoes that do not slip on the ice.

Game "Resource Analysis"

The search for several "similar" items is carried out by the child in verbal form on the basis of identifying compliance with the functions performed. One and the same object is fraught with many resources, the use of which will depend on the circumstances, where exactly that other potential will play a decisive role. For example, a brick has the following properties: it is solid, brown, porous, heavy. This means that it can be used as a building material, instead of a press, a filter, it can be used to draw, it can be divided into parts. But at the same time, other objects also have these properties: you can draw with charcoal; fabric, cotton wool can serve as a filter; You can share an apple, a sheet of paper, etc.

Numerous resources are contained not only in the subject, but also in the social world. Finding potential in any life situation no less significant in the lives of children than resource analysis. All mental operations are involved in this game: differentiation, analysis, synthesis, understanding, recognition, evaluation, that is, the optimal development of predictive and operational thinking takes place.

Children are offered different situations in which it is necessary to identify as many resources as possible:“Masha spilled jam on the floor. What should she do now? What is the best thing to do?”, “Vanya went for a walk and got lost. What should he do? How to find the way home?”, “Anna broke her mother’s favorite vase. What should she do?”, “In the classroom in kindergarten the teacher scolds Katya for not listening to the explanations and not completing the assignment correctly. What will Katya do? What will she think about?"

Our lesson is over. Thanks to all!

Lesson 3. CREATE, INVENT, TRY!

Target: development of creative imagination.

The achievement of this goal is facilitated not only by individual, but also by group forms of work of children in the classroom.

"Magic Pictures".

Material: pictures with schematic or stylized images.

Children are invited to look at the pictures and come up with names for them. Each time, the images presented to the children are more and more abstract than actually, and the tasks become more complicated. At the same time, children can not only give the names of the drawing, but also make small sketches themselves and offer them to their partners in the game.

Other techniques are also included in the art activity program: reflecting one’s mood in color, depicting one’s color sensations from listening to music, constructing from newspapers and wet paper, non-traditional painting techniques (finger painting, drawing with foam rubber and a hard brush).

To develop imagination and the ability to convey their creative idea, children are read the characteristics of unusual fairy-tale characters (“Rambol”, “Velen”, “Milea”, “Zvugr”, etc.) and are invited to imagine and portray them. In the next lesson, the children beat the actions of the drawn characters, cut them out, and come up with plot scenes.

As part of the work on teaching creative storytelling, children learn to invent fairy tales according to the beginning proposed by adults, change situations borrowed from fairy tales, come up with a new ending to a fairy tale, and compose fairy tales “in reverse”.

Group essay writing.

It is best to start inventing from a well-known fairy tale, changing its end. Gradually, 3-4 additional characters are added for the fairy tale, and so on until the necessary set of characters is involved. When the children have mastered inventing fairy tales, you can start writing blindly. It can be:

Tales inside out.

Any familiar fairy tale is taken, and directly opposite properties are attributed to its heroes. For example, a fairy tale sounds completely different if the wolf in it is kind, and Little Red Riding Hood is evil (“Little Red Riding Hood”); The gingerbread man will not be made of dough, but of resin (“Kolobok”), etc.

Tales backwards.

The storytelling does not begin at the beginning, but at the end. This is a more difficult task, but children cope with it quickly enough. The initial use of the technique involves relying on pictures-illustrations. Gradually, you can move on to storytelling without visual material.

Tales from my own experience.

Children are invited to dream up on this topic, using the "story" of their fairy-tale hero.

A fairy tale with a "change of scene".

The plot of a familiar fairy tale moves to another time and space. For example, Gingerbread man in space, kids and a wolf on a desert island.

"Fairytale Retelling".

An adult begins to tell a fairy tale, somewhat changing its narrative. The child, in the process of perception, is included in the game and independently begins to change the course of events, introduce new characters, etc. For example, the fairy tale "Little Red Riding Hood".

Adult (begins): Once upon a time there was a Yellow Riding Hood.

Child: Not yellow, but red.

Adult: Yes, Red, that's what dad called her.

Child: Not dad, but mom ... etc.

"Salad" from fairy tales.

Birth new fairy tale occurs by combining two or more familiar tales.

Fairy confusion.

First, the children are offered to unravel the tangle of fairy tales: “Once upon a time there was a grandfather and a woman. They had a turnip hen. Grandfather ate, ate, did not eat. Baba ate, ate, did not eat. The turnip rolled on. Rolling, and to meet her hut on chicken legs. “Hut, hut, who lives in the tower? Look out the window - I'll give you a trough ... ”, etc. After the children cope with the task, they are offered to come up with a muddled fairy tale of their own composition.

You can choose any theme for the story. If desired, children can illustrate the content of the invented fairy tale with the help of drawings. The most interesting stories can be played with puppets or roles.

At the end of the lesson, the teacher thanks for the active work.

Lesson 4. WHO IS FASTER? WHO IS MORE INTERESTING?

Target: development of fluency, flexibility and originality of thinking.

The games and tasks included in this activity activate their creative potential in children and contribute to the development of their creativity in general.

"Earth - air - water".

“Now we will throw the ball to each other. The one who throws the ball says one of three words: “air”, “earth”, “water”, and the one who catches the ball says if the word “air” sounds - the name of the bird, in the second case (“earth”) - animal, if it was said "water" - the name of the fish. You need to answer as soon as possible."

The task can be made more difficult by increasing the pace of answers or by offering as answers not only the names of animals, but, for example, vehicles, etc.

"Pros and cons".

“Each of you in turn will offer any, the most incredible situation, for example: imagine that in the morning you suddenly find that you have halved in height.”

After the situation is proposed, everyone, including the child who proposed it, says what they see as pluses and minuses and interesting points in this situation.

"Optimists and Skeptics"

One of the players sets the situation, presenting it as good or bad, and the other refutes this statement, using the phrase "not very".

For example:

It's good that there is a TV at home - you can watch it.

Okay, not really. The eyes may hurt. Well, if the teapot is large, there will be enough tea for everyone.

Okay, not really. Boils for a long time. It's bad that the ice cream is cold - the throat can hurt.

It’s bad, but not very good - the cold is pleasant in summer, etc.

Using the reference phrase “not very”, you can come up with reasoning stories:

A man was walking down the street. Good!

Okay, not really. He fell into the dirt. This is bad!

Bad, but not very good - the mud was curative. He cured his sciatica. This is good!

Okay, not really. The dirt was not washed off, and he became like a Negro. This is bad!

You can tell a familiar tale in this way, for example, "The Three Little Pigs".

Once upon a time there were three pig brothers Nif-nif, Naf-naf and Nuf-nuf. This is good!

This is good, but not very good. Autumn has come, and they have nowhere to live. This is bad!

Bad, but not very good. They decided to build a house for themselves. This is good!

Okay, not really. They didn't know how to build. This is bad! Etc.

The method of inversion has, in addition to developing, educational and correctional purposes. Despite its apparent difficulty, it is very understandable and close to children due to the peculiarities of their mental development - after all, they often like to do the opposite. But in some conflict situations in which the child seeks to show his independence, the adult usually comes out the winner. The victory of the latter is often costly for the child, because it is achieved by suppressing the still weak, immature personality. Genuine educational victories, which are of decisive importance for the future of children, are possible only on a different path - strengthening the independence and initiative of the child, his criticality towards himself, situations, and other people.

"What fell?"

Probably everyone knows such a playful sign: a knife falls - a man will come, a spoon falls - a woman will come. Now we will develop this area of ​​signs. Let's do it this way: when throwing the ball, we will have to say what fell, for example, a coin, a drum, etc. The one who catches the ball talks about who he thinks will come, and in case of questions from others, explains why this is happening. All this must be done as quickly as possible.

In the process of playing the game, unexpected, original ideas are encouraged, as well as manifestations of flexibility in thinking and non-standard interpretations.

Since this lesson is the last in the program, at the end of it, the teacher sums up the general results together with the children, the children share their impressions, talk about the successes of their own and group mates, note the new that they have noticed in their own development.

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

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

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

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

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

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

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

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

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

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

Creativity is, first of all, an attraction to creation. In creativity, a person manifests himself, expresses his inner world. In the process of searching for original solutions, the child develops intellectual and creative abilities (fantasy, imagination, flexibility of thinking, integrity of perception, ease of generating ideas), cognitive and search activity awakens.

Is it possible to teach a child to be creative? How to encourage him to search, awaken the desire to surprise and arouse the interest of others, the desire to differ from others with the help of his original ideas, and also to receive satisfaction from the work done. The exercises presented will help you to solve such questions. These classes stimulate the cognitive activity of students, enable the child to do useful thing with their own hands, as well as to realize their creative potential. The recommended activities are creative in nature, they purposefully orient the child to create something new, unusual, worthy. positive feedback different people.

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To the competition.

STIMULATION OF SEARCH ACTIVITY OF CHILDREN IN THE STUDIO "PEOPLE SMART"

Sergienko Olga Nikolaevna,

additional education teacher of the highest qualification category,

head of the studio "Narodny craftsman" of the Center for Children's Creativity,

Shimanovsk, Amur Region.

Since 1999, I have been the head of the applied crafts studio "Narodny Craftsman".

The studio is for children from 7 to 16 years old.

Main directions studios:

• artistic ceramics
• decorative painting
• golden straw.

In the studio, children get acquainted with the origins of Russian folk culture, artistic folk crafts, their history, master the basics of composition, color science, materials science, the technology of artistic processing of materials and decoration of products, master work on design and research activities.

As the head of the studio for a long time, I had to solve a number of problematic issues. How to keep and support their interest in applied art. How to interest children of different school ages in the creative process. How to bring a child to the fact that it is necessary to set a goal, see it and achieve the goal. And, finally, how to create conditions for the realization of the creative potential of the child. These problematic questions led me to research work on the topic"Stimulation of the search activity of childrenthrough the creation of the author's work ".

This work contributed to the creation of a complex of creative activities for children different ages. One of the presented for the competition is a lesson for children of primary school age "Creativity".

Work in the studio is built using elements of alternative and pedagogical technologies based on personal orientation pedagogical process. When working with children, I adhere to the following beliefs:

• not to forbid, but to direct;
• not manage, but co-manage;
• not to force, but to convince;
• not to command, but to organize;
• not to restrict, but to provide freedom of choice.

A special style of working with children has been developed.

• democratic communication;
• friendly disposition;
• interest in collaborative activities.

The level of communication with the guys is based on the principle:

• confidence;

• partnership;
• cooperation;
• understanding;
• joint search;
• joint choice.

To stimulate the child to work, creativity, it is necessary to evaluate its results. In my work I usesuch forms of activation of the educational process as "Rating" (the experience of teachers in Rybinsk), where points are assigned for each work performed, and the "Table of Mastery Growth", which records the progress of the child's personal growth in development.

Rating - an individual numerical indicator of the achievement of a particular person. The main purpose of such an assessment is to stimulate, motivate the child to work. The pedagogical principle of “openness” of assessment should operate, each assessment is explained.

The Child Mastery Growth Chart demonstrates the progress of children in learning. It reflects the main stages of assigning creative titles to children (student, journeyman, master, master class, craftsman). The system for assessing children's achievements will work if you refer to it constantly.

Various exhibitions and competitions contribute to the formation of children's creative activity. And, as a result, the pupils of the studio are laureates of regional and regional exhibitions. They are winners of regional research conferences, participants of student conferences at BSPU. The studio is a diploma winner of the international exhibition.

CREATIVE SKILLS.

Target: creation of conditions for children to realize the meaning and practical significance of the knowledge gained, which is necessary for the educational process, the result of which will be the production of author's works, research and project activities of students.

Tasks:

• reveal the artistic and creative abilities of children;
• teach children to think about future crafts, look for interesting ideas keyword association method, build a chain of reasoning, find and develop original idea, display it on paper;
• to achieve children's understanding of the advantages of making creative crafts over duplicating the finished product through experimental work;
• to bring children to the realization of the need to increase the level of skill, contributing to the desire for independent control over the process of making crafts and the quality of products;
• develop aesthetic taste, creative and artistic abilities of children.

Planned result:During the experiment, the guys should see the advantage of creative work, understand the process of creativity, feel the importance and complexity of this process. Come to the idea of ​​the need to do the work slowly, in an original way, thinking over every detail. Students should understand that before doing the work, it is necessary to acquire the initial skills in making and further processing products and further improve them. During the discussion of the work performed, children should realistically assess their artistic and creative abilities.

Age of children: 7-9 years.

Lesson duration: 30 minutes.

Conduct form:creative practicallesson with elements of experimentation.

Forms of organization of the educational process:

• frontal;
• individual.

Teaching methods:

• information-receptive (explanation, discussion, listening to music, looking at illustrations, demonstrating products);
• reproductive (performance of the task by children);
• research (search for creative solutions);
• analytical (introspection, highlighting the main thing, conclusion).

Location:study room.

Equipment: magnetic board, tables, chairs, tape recorder with cassettes.

Materials and tools for children:simple pencils, White paper, erasers.

Visual material for the teacher:illustrations, crafts, theses.

Lesson plan.

1. Experiment. Part 1.
2. Explain the process of working on creative products.
3. Experiment. Part 2.
4. Discussion of the results of the experiment.
5. Generalization of the topic.
6. Conclusion.

Course progress.

Throughout the lesson, the teacher pronounces the phrases clearly, at a moderate pace, so that each phrase is assimilated. He changes intonations with his voice, emphasizing important points.

Teacher. Guys, today we have an unusual lesson with the usual theme "Creativity". Why is it unusual, you ask? And its unusualness is that we will conduct an experiment on ourselves in order to reveal our creative abilities, then we will talk with you on this topic and draw conclusions.

Now let's move on to part 1 of the experiment. I suggest you draw a house, housing.

Drawing by children.The teacher puts on a calm melody. Turn off the music before discussing.

Teacher. Show me your work. Show each other. Look carefully at the pictures. What do you see? Yes, you all drew, as I asked, houses. But you have depicted similar houses. Square windows, rectangular doors, triangular roofs, straight walls. Who did you draw for?

Suggested answer. For people.

Teacher. But I did not propose to depict a house for a person. How did it happen that you, when drawing a house, made the work the same as according to the template?

Children. ??? (in bewilderment).

Teacher. The associations that we have with the word "HOUSE" (roof, walls, windows) worked for you. And you, without hesitation, conveyed the first thing that came to your mind. That is, you acted according to the patterns that you learned by observing those around you. It's not bad. It is usually in life to act according to schemes and patterns, it is easier, faster and more familiar.

Clothes are easier to sew according to ready-made patterns. Prepare dinner according to recipes. Make a craft according to the model. This is good. But it might be even better ifdo the work creatively, provided thatacquired knowledge, norms and rules(attaches thesis 1 to the board).

Teacher. See how illustrators do it.Shows pictures of houses. (You can use illustrations from books about Smeshariki).

Teacher. Guess who lives here and why? Pay attention to how the artists worked to create the dwelling. On the shape of the house, windows, doors, roofs.

Teacher. (Explains the principlecreative process).Let's say we decide to draw a house for a bunny. What associations arise with the word "bunny"?

Suggested answer.Long ears, he is fluffy; likes to gnaw carrots, it is orange, cone-shaped; lives in a clearing in a round hole ...

Teacher. Highlight the main words.

Suggested answer.Cone-shaped, orange, round, gnaws, furry, flowers.

Teacher. Create a home for the hare using keywords.

Suggested answer.The house is cone-shaped, orange, the entrance is round, gnawed by teeth, there is a fur rug in front of the entrance, windows in the form of flowers.

Teacher. And now, I propose to proceed to the second part of our experiment. Based on your knowledge of houses, you should try to make something completely new, something that no one else has thought of before. Before drawing housing, think about who you will put in this house. Try to draw it so that it is clear who lives in it. Take your time, think. Try to fully express yourself and your creative abilities. Do your job with zest. And then we will look at your drawings, you will tell us about them, and we will choose the most unusual ones.

The children are doing the task.Some guys find it difficult to complete the task. It is important to notice these children, approach each one individually, and help by asking leading questions (who is your character, what does he look like, what does he like, occupation?). The rest of the guys should not be left unattended (praise, direct the train of thought, suggest).

Discussion of works. The teacher demonstrates the most interesting drawings, the children try to guess who lives in the house. Explain why they chose to do so. The teacher addresses the owner of the drawing: "Is the guess correct?".

Teacher. Addressing the children, asks the 1st key question:

What kind of work was more interesting and difficult for you to do and why?

Suggested answer.Second, becausehad to think.

Teacher. Yes, I agree with you because you thought. Were in search. They were involved in the creative process. Engaged creativity.Attaches the thesis 2 to the magnetic board.Creativity is the joy of insight, it is the awakening of the desire to be different from everyone else, it is the pleasure of overcoming norms and rules, schemes and patterns.And in our work, creative abilities are needed like air for a person.But it’s not enough to just do fun work.

Teacher. Turning to the children, demonstrates crafts, asks the 2nd key question:

Let's look at this craft, what is its advantage, besides the fact that it is interesting?

Suggested answer. She is well made, beautifully painted.

Teacher. It's true, this work is good also because it's done with high quality. Remember that(attaches thesis 3 to the magnetic board)creativity is, first of all, novelty, the ability to do something that has not yet been. Provided that the product is made skillfully, masterfully.

Teacher. (Picks up a pre-prepared craft, admiring, says)good, high quality and unusual work. She evokes emotions. You won't get past this one. It makes you want to pick it up and look at it. A lot of work and time has been spent on it. But what was given for a reason is a hundred times more expensive. Do you agree with me?

I hope that in the future we will create many interesting and exciting works. We will use the knowledge and experience that you have gained today in our further joint work.

Teacher. On this note, I end the lesson, and you guys remember that before you start working, you need to think about it and, making a craft, you need to try very hard to make it interesting and well done.

References.

studied literature.

Magazine "Vneshkolnik" No. 9, 98, Yaroslavl

Magazine "Vneshkolnik" №3, 96., Yaroslavl

Magazines « Research work schoolchildren”, 2003 – 2005

Kalne V.A., Shishlov S.E. Technology for monitoring the quality of education in the "teacher - student" system, M .: Pedagogical Society of Russia, 1999.

Maksimov Yu.V. At the origins of craftsmanship. - M .: Education, 1983

Oparina N., Children's creativity/journal/ № 6, 1999

Supplement to the magazine "Methodist". MASTER CLASS. - Guidelines on the analysis of the lesson of the study group.

Selevko G.K. Modern educational technologies: Tutorial. - M .: People's education, 1998.

Solovieva I.Yu., Vneshkolnik / magazine / No. 1 / 6 /, 1998

Solomennikova OA The joy of creativity. Development artistic creativity children 5-7 years old. Toolkit for preschool teachers, teachers primary school and teachers of additional education. / Ed. Komarova T.S. - M .: IPK and PRNO MO, 2001

Lesson analysis.

The proposed lesson was tested with children of primary, secondary school age, and was also held at the city seminar "Stimulating the creative activity of children in the classroom" for city school teachers. Adults gave answers similar to those of children. And the guys, in the course of the lesson, felt the practical significance of the knowledge gained, which is necessary for further learning. They concluded that a creative approach to business is more difficult, but more interesting, and before starting to make crafts, it is necessary to acquire initial skills and abilities, constantly monitor the quality of the future product and improve it. When children themselves understand this, isn't it wonderful?

The idea of ​​the lesson is that, using a simple example, on their own experience, children will realize the importance, complexity and attractiveness of the upcoming training in the studio. Revealed their artistic and creative abilities. And I managed to solve these problems.

The lesson was not tiring, because it was not overloaded theoretical material. Various methods of activating the interest of children were used. Each work received a correct assessment of the teacher, no one was left without attention.

Analyzing my work, I see some lesson benefits:

Relevance - The teacher clearly explains the creative process in practice. Conversations about creativity, experiments, creative tasks and activities contribute to the search activity of children, self-expression and the realization of their creative potential. And in the complex, creative activities develop the ability to think creatively, find extraordinary, original solutions, the ability to express ideas and bring them to life, which gives the child an advantage in the future.social adaptation.

Need -prepares the ground for a long five-year educational process at the Narodny Craftsman studio. The result of the training is the research activities of children and work on creative projects, vocational guidance.

Modernity -search for original, new solutionsstimulates the cognitive and search activity of children. Develops intellectual ability(the ability to reflect, think, analyze, draw conclusions, highlight the main thing). Develops creative abilities (fantasy, imagination, flexibility of thinking, integrity of perception, ease of generating ideas).

Variation -the lesson, slightly changed, can be timed to any topic, to any type of activity in associations (drawing, working with straws, paper-plastic, etc.), or at school lessons where children are engaged in creative activities.If desired, based on the capabilities of the institution, you can use a multi-projector, computer.

As an example, in the studio "Narodny Craftsman" for middle-aged children involved in ceramics, this lesson is the initial stage of creative work on the topic "Making a house". Stage 2 - practical. The guys sculpt housing with decoration elements with prints of fabrics, stamps. The 3rd part of the creative work is carried out after the craft has dried. Children are working on painting the product. It is important here not to completely paint over the craft, but to strike a balance between maintaining the bright brick color of the clay after firing and ceramic paints. The 4th part of the lesson is devoted to creating a natural composition for the home. Students create a decorative design from stones, shells, sand, earth, living plants (cacti, sedums, fat women, chlorophytums, etc.)

Efficiency -The lesson is good because it is elementary, but effective.

Availability - accessible to children of all ages different levels preparation.

Prospect -creates conditions for further learning and application of the acquired knowledge and skills not only in training, but also in later life.

novelty - children in the course of the experiment see their real abilities for creative activity. They have an incentive to long time to create something new, special, worthy of positive feedback from others.

APPENDIX

for "Creativity"

from a collection of creative activities on ceramics "How to teach creativity"

Compiled by Sergienko O. N.

Foreword

The most effective and efficient form in the development of creativity is the practical participation of children in the creation of products that they themselves mold from clay, paint with a brush. At the same time, participation in the creative process of making art products not only develops the technical skills of working with the material, but also allows you to feel the joy of learning how to make beautiful and useful things, to feel like an artist. Modeling classes contribute to the formation mental abilities children, expand their artistic horizons, form creative attitude to the surrounding world.

In terms of content, modeling classes develop aesthetic and artistic taste, individuality, intuition, bring up organization, discipline and accuracy when working with clay, as well as the ability to plan the creative process by each member of the association. The leader helps to reveal the abilities of children, overcome difficulties in the learning process, support and instill children's interest in modeling.

The purpose of the lessons: to give children the joy of creativity, to introduce clay as an artistic material, its history; show the basic modeling techniques, introduce figurative stylization of clay toys.

Tasks:

• Development of artistic and creative abilities of children and the formation of aesthetic taste;
• Involving children in the art of clay modeling;
• Instilling the necessary knowledge and mastering modeling techniques for children.

Each modeling lesson is built depending on the topic and the specific tasks that the teacher sets for himself.

However, in all classes, 4 parts can be structurally distinguished:

Introductory word. Message about the topic and purpose of the lesson. Conversation or story of the teacher on this topic. Demonstration of toys.

Main part. Explanation of the task, showing how to sculpt. Examination of tables and finished products. A reminder of the basic rules of modeling.

Practical part.Children are working on the product. The teacher observes the work of the children and gives his recommendations in the course of the assignment.

Analysis of the work performed.The teacher individually analyzes the completed work of the children, thanks the children for their efforts and sums up the lesson.

Predicted results

Children should know:

• a brief history of clay;
• clay properties;
• basic methods of clay modeling;
• clay workflow.

be able to:

• knead the clay to the appropriate viscosity;
• sculpt the main details;
• master the basic techniques of clay modeling;
• firmly connect the parts with slip;
• decorate products with stamps;
• consistently and accurately paint clay products;
• organize and clean up workplace.

Topic	Watch	Theoretical part	Practical part
Basic sculpting techniques.		The story about Preparing clay for work (together with children). Materials and tools. Acquaintance with the basic modeling techniques (together with children).	Independent activity of children. Modeling on a free topic in order to identify the artistic and creative abilities of children.
Pendants.		The pagan meaning of amulets. Variety of topics. Demonstration of methods for sculpting a pendant. Decorative design.	Making pendants. Pendant theme options: "Zodiac signs", "Eastern horoscope".
Decorative tiles.		Examination of tables, finished products. Showing the sculpting sequence. Repetition of the basic rules of modeling.	Work on sketches. Sculpting pictures.
Piggy banks-smeshariki.		Demonstration of samples. Showing the sculpting sequence.	Sketch. Piggy bank molding.
Decorative candlestick.		A story about the connection between clay and fire. Demonstration of finished products, a variety of topics. Showing the sculpting sequence.	Candlestick mold.
Creative work.		A talk about creativity. Help in choosing topics.	Creative task. Sculpting on a free topic.

TEARING, ROLLING, JOINING

Target:

Tasks:

Age of children: 7-9 years.

Conduct form: practical lesson.

Location:study room.

Decor: table about the organization of the workplace.

Equipment: table, chairs.

Lesson plan.

1. How clay was useful to man.
2. Preparation of clay for work.
3. Materials and tools.
4. Work analysis.
5. Summary of the lesson.

Lesson progress:

folk parable

Teacher:

He did not have fabric to sew his own clothes. And he walked through the forest, throwing on an animal skin. There were also no dishes. There is nothing to store fresh water, meat, fruits.

Question for children:

Teacher:

Teacher:

The children are testing the clay.

Teacher:

Teacher: slip

Teacher: Clay is a very docile, plastic material, it is a pleasure to work with it. You will surely turn out beautiful and funny products. But first you need to master the techniques of sculpting the basic elements. Many children, when they first see how figurines of animals and birds, various crafts are obtained from a shapeless piece of clay, immediately want to mold something - a dog or a cat, or a horse. But nothing works out for them, although they diligently crushed the clay. It turns out that you need to start with the simplest - learn how to sculpt the parts that make up the product. And then everything will go easily and simply, and the work will bring a lot of joy. Let's you and me, guys, first learn how to sculpt simple details.

Practical part.

Practical part.After the children have practiced in sculpting the main details, the teacher offers them to make a craft.

At the end of the lesson, conduct an individual analysis of children's work and invite them to independently point out shortcomings, note especially successful and interesting work.

Teacher:

PENDANTS

Target: to acquaint children with amulets, symbols of our ancestors, to teach children to sculpt pendants in different ways (optional), to make products neatly, aesthetically, firmly connect parts with slip.

Age of children: 10 - 12 years.

Conduct form:

Location:study room.

Decor: samples of finished products, illustrations of amulets, tables with a step-by-step production of pendants.

Cabinet equipment: tables, chairs.

Clay, board, stacks, cloth, water, slip, foam rubber.

Lesson plan:

1. Message about the topic and purpose of the lesson.
2. Explanation of manufacturing methods.
3. Product molding.
4. Work analysis.

Lesson progress:

Teacher. Clay is such a warm magical material that you want to make something magical out of it. For example, a talisman is a charm. Our ancestors wore such talismans on their clothes, tied to a belt, to a horse harness, in order to protect themselves from trouble, the evil eye. These were images of animals and birds or small objects, such as a knife. Today I suggest you make such a talisman for yourself and for a friend.

Teacher. See what the amulets of the ancient Slavs looked like (shows images of the amulets in the illustrations). The horse was the personification of strength, goodness and beauty, symbolized wealth. The tree was a symbol of life. The image of a bird brought happiness, good luck. The image of the mother was a symbol of fertility. The fabulously outlandish images of a mermaid - a coastline, frightening maned lions - dogs personified the lower underworld, which seemed mysterious and mysterious to a person, and protected people from evil forces. When you sculpt talismans, you can take them as a basis. Or Scandinavian runes. Or Indian sun signs. Very funny, interesting talismans can be invented with images of the signs of the Zodiac. Not for New Years better than a gift than a pendant with the image of an animal - a symbol of the year.

Teacher. Let's take a closer look at the drawings and understand the stages of the suspension.

The teacher explains the process of making crafts using the tables.

Teacher. You can show your imagination and come up with your own options for pendants.

Before starting work, the teacher invites the children to remember the secrets of modeling.

• It is impossible to attach already dry parts to each other.
• When fastening clay parts, it is necessary to lubricate the joints with slip.
• To prevent the clay from drying out, cover it with a damp cloth.
• In order for the craft to be neat, it must be carefully leveled.

At the end of the lesson, the leader analyzes the completed products, focusing on an unusual, original solution to the problem. Gives children the opportunity to look at other children's work.

Piggy Banks-Smeshariki

Target: to teach children to make hollow forms, to continue to develop the ability to roll out a large layer of clay and learn to form it into a ball.

Age of children: 9-10 years.

Conduct form:practical creative occupation.

Location:study room.

Decor:

Cabinet equipment: tables, chairs.

Materials and equipment for children:

Lesson plan:

1. Message about the topic and purpose of the lesson.
2. Demonstration of finished products.
3. Demonstration of manufacturing techniques.
4. Product design.
5. Work analysis.

Course progress.

Teacher.

Teacher.

Teacher. Before you start sculpting, you guys, having shown your imagination, need to draw a sketch of the future work and come up with your piggy bank unusual image.

Teacher.

At the end of the lesson, the teacher corrects the work of the children, tactfully points out the flaws in the product that need to be supplemented or corrected. Concentrates the attention of children on creativity, originality of work.

• Children always have the question “How are we going to take out a newspaper from the piggy bank?”. Do not rush to answer this question, let them try to find a solution on their own.
• Before showing the modeling of the product, you can puzzle the guys with the question: “But how to mold a hollow form?” In order to put forward their own assumptions about the manufacturing technique.
• In a hollow form, it is imperative to make a hole so that it does not burst during firing.

DECORATIVE TILE

Target: to acquaint children with the relief, teach them to sculpt a small panel from a layer of clay, make relief images in different ways (optional), treat the surface of the clay with a damp cloth, firmly connect the parts with slip.

Age of children: 8-10 years.

Conduct form:

Location:study room.

Decor:

Cabinet equipment:

Materials and equipment for children:

The level of knowledge and skills of students:

Lesson plan:

1. Message about the topic and purpose of the lesson.
2. Work on sketches.
3. Sculpting pictures.
4. Work analysis.

Course progress.

Teacher. Do you guys like gifts?

Children. Yes.

Teacher.

Teacher.

Children draw a sketch of the plaque.

Teacher.

• Mark the place for the side and cover with a damp cloth.

Teacher.

The children are doing the work. In the process, the teacher provides the necessary assistance. And now, after the picture is completed, decorate the edge with a side. Use a rod from an old pen to make holes for which you will hang your works on the wall.

• Clay must be carefully crushed, prepared for work.
• At the end of the lesson, discuss each craft separately, invite you to admire the work of other children.
• Clay plates should be evenly rolled out, the edges and the middle of the tiles of the same thickness.
• It is not necessary to remove the tile from the fabric on which it was rolled out.
• Clay plates should dry very slowly (about two weeks) to avoid warping and cracking. To do this, they must be covered with the edges of the damp cloth on which they were rolled out, and put in a plastic bag, from time to time opening it slightly for air access.
• After firing, the clay acquires a beautiful brick color, so it is better to paint the product partially, leaving in some places the natural color of the fired clay, in order to achieve the best artistic solution.
• Decorative tiles can be made without a rim, without smoothing the edge, after rolling the plate. Cracks formed along the edge of the tile create a special decorative effect.

DECORATIVE FIGURED CANDLESTICKS

"DRAGON"

Target:

Age of children: 9-10 years.

Conduct form:practical creative activity.

Location:study room.

Decor:

Equipment:

preliminary workbefore class starts:children are viewing an exhibition of candlesticks made by children. The teacher pays attention to the variety of forms, patterns, originality and decorativeness of the work. Consider with children the design options for candlesticks (decoration, partial painting and full painting, contrasting color combinations, etc.).

Lesson plan:

1. Opening speech.
2. Message about the topic and purpose of the lesson.
3. Explanation, showing.
4. Product molding.
5. Work analysis.
6. Summary of the lesson.

Lesson progress:

Teacher. Man has been familiar with clay for a very long time, from time immemorial. Primitive people dried and fired earthenware in the sun. Then someone guessed to burn the pottery in the fire. Since then, fired clay products have become a part of human life. This is, first of all, the most diverse dishes, lamps, children's toys, cult figurines, beads, buttons and much more.

Teacher.

Teacher.

Children: That is why the Serpent Gorynych is a "fairytale hero" who can spew fire from his mouth.

Teacher. That is, there is a semantic connection: a snake - a candlestick - a candle - fire.

Teacher.

• Blind the legs in the form of small cones, separate the fingers in a stack, connect all the details.

Teacher.

Children perform a three-dimensional figure based on geometric shapes using additional details. If desired, the work is decorated with stamps or a cocktail tube. In the process of work, the teacher provides the necessary assistance.

Teacher. (After the main work is done) Consider what gender the kite will be; age (baby, teenager, adult or elderly); his occupation. Think of a snake character (kind, evil, stupid, funny or sad) and give him a name. Think about what details should be added to the invented image of a snake so that it is expressive. You can make an interesting hairstyle, put on a hat, tie a tie or bow around your neck, etc.

After the work is completed, the teacher analyzes the work of the children, paying attention to the quality of the modeling (so that there are no cracks), the connection of parts, the smoothness of the surface, placing special emphasis on a creative approach to work, on creating the most expressive image. Evaluates work (by points).

The teacher can not only work with tables, but also, while explaining, show how to model a clay candlestick.

Can be offered to children Alternative option- creative work on the manufacture of a candlestick. That is, the child independently or with the help of a teacher comes up with the form of what he would like to fashion the future product. Any shape is suitable for a candlestick: a flower or a fruit; animal or bird; And so on. It can also be a complex composition.

CREATIVE WORK

Target.

Organization of the lesson.Children should have a conversation about creativity. creative work can be organized as an independent activity of children according to a plan, according to a model - with elements of creativity or on any topic to consolidate skills and abilities.

Lesson plan:

1. Work analysis.
2. Summary of the lesson.

Lesson progress:

Teacher.

(asks questions to the children).

Question. What is creativity? (search for curious solutions, creation of a new one).

Question. What is skill?

Question.

Teacher. Skill - professionalism, creativity - the search for something new. Mastery is standards and patterns. Creativity arouses interest, generates controversy. But conscious creativity begins only when knowledge, norms and rules are mastered, when a person has mastered the material with which he is going to work. Creativity is not only admirable. Creativity allows you to achieve more than just a job well done.

Teacher. I propose a small experiment - a contest - draw an apple within 5 minutes.

Children draw.

Teacher. Now tell me who will win, the one who drew the picture (apple) well and correctly or the one who did it especially, with a twist.

Teacher.

Examples: football - athletes are chasing the ball to win, the one who came up with a tactical, new move will have priority. Figure skating (children give an example). Architect, journalist, designer, fashion designer, artist, stylist.

Question. Is there creativity among investigators, teachers, flower growers and gardeners, bus drivers, conductors, bank tellers, sellers, confectioners?

Teacher. What is skill.

Suggested answer.The ability to prepare the material well, Accuracy, strength - the ability to produce a product with high quality, knowledge of the laws of composition, color science, material science. Knowledge of the history of the object and traditional methods of making objects.

Teacher. What is the advantage of a creative approach to business?

Suggested answer.It arouses interest among people, activates disputes, different opinions, an unusual new result arises, causing surprise, amazement.

Teacher. And now, I suggest you make a craft, but in such a way that your creativity and skill are manifested in it.

At the end of the work, the teacher invites one of the children to tell everyone about their work, in what detail creativity was manifested and to analyze the products of other children.

Today we talked about creativity. And today you consciously tried to make your work interesting. You can not only look at your work, but also consider it for a long time. These unusual finds that you used in the craft stop the eye and make your work interesting.

In order not to confuse children with the question of creativity and skill, invite them to reflect on this topic, to speak out, not being afraid to give the wrong answer. You can encourage children to answer questions in this way: “How do you know that the answer is wrong if you didn’t say it out loud, it would be more offensive to keep silent knowing the answer” or ask leading questions. It is necessary to call the guys for a conversation in order to activate their attention, encourage them to think and draw conclusions.

List of used literature.

Aleksakhin N. N. Magic clay: Methods of teaching modeling in a children's circle. – M.: AGAR, 1998

Afanasiev S. P., Komorin S. V. Funny contests for big and small. – M.: AST-PRESS SKD, 2004.

Magic clay. Series "Easy and Simple" / Comp. Lipunova S. - Smolensk: Dankevich E. V., Zhakova O. V. Meet: clay. - St. Petersburg: CRYSTAL, 1998. Rusich, 2001.

Kosminskaya V.B., Khalezova N.B. Fundamentals of fine arts. - Moscow: Education, 1981.

Trzemetskaya Marina. Plasticine is clay. The world of hobbies. - Moscow: RosMEN, 1999.

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Center of children's creativity

G. Szymanowska

"WE TEAR OFF, ROLL OUT, CONNECT"

Target: introduce children to clay, preparing it for work, basic tools and materials.

Tasks:

• introduce the children to the basic techniques of modeling;
• to consolidate the ability to sculpt the main details that make up the product (ball, egg, drop, sausage, ringlet, flagellum, carrot, cake, strip, plastic);
• reveal the artistic and creative abilities of children.

Age of children: 7-8 years.

Conduct form: practical lesson.

Location:study room.

Decor: table about the order at the desktop.

Equipment: table, chairs.

Materials and tools for work:clay, jar of water, foam rubber, board, slip, stacks, stamps.

Lesson plan.

1. How clay was useful to man.
2. Preparation of clay for work.
3. Materials and tools.
4. Acquaintance with the basic techniques of sculpting the main elements.
5. Independent activity of children.
6. Work analysis.
7. Summary of the lesson.

STUDY PROCEDURE:

When God created the earth and man, he had a lot of clay left. God asked the man, "What do you want?" The man thought and answered: "Give me happiness." Then God gave the clay to the man and said: "Mold your happiness yourself."

folk parable

Teacher: A very long time ago, thousands of years ago, a primitive man lived in a cave. He did not have a gun, an axe, or even a knife for hunting. And he went out to fight with a predatory beast with a club and a stone in his hand.

He did not have fabric to sew his own clothes. And he walked through the forest, throwing on an animal skin. There were also no dishes. There was nothing to store fresh water, meat, fruits.

It was difficult for our ancestor to live, but ordinary clay helped him out. There was a lot of it, different - white and black, red and blue, yellow and green. I came across skinny and fat, clean and pebbles and twigs, even edible sometimes met.

How did clay help a person? That's how. From clay, a person made dishes for himself: cups, bowls, pots. He made a dwelling out of clay and moved from a damp cave to a cozy adobe house.

In those ancient times, clay also treated diseases: in the evening, a grandmother will put hot clay plastic on sick, aching bones - in the morning she is already full of strength again.

People made wonderful jewelry from clay: beads, earrings, brooches for beauties, fun toys for children. Tiles were made from clay, on which they wrote.

A lot of time has passed. And today we are drinking tea from a plastic mug, cooking borscht in an enamel pot, playing with a rubber bunny.

Question for children: So, is there no more place for clay in our lives? Is clay found in everyday life?

Children remember products made of clay and give examples.

Teacher: Clay still heals, it is added to various medicines and cosmetics. As before, a good housewife has a pot for porridge, a jug for milk, a salt shaker on the kitchen shelf, and a sonorous whistle is in store for her son or daughter. And everything is made of clay. And such a hostess will plant flowers at home in ceramic pots so that the roots “breathe”.

It can not be in any other way. After all, clay natural material, and each product from it keeps the warmth of the hands of a master who creates beauty. If you try, guys, then your products, made with love and desire, will bring joy to people for many years. Want to learn how to sculpt with clay? Then we get to work.

Teacher:To begin with, we first check the clay: is it suitable for work, is it plastic, is it obedient by the hands of a master? To do this, roll a finger-thick sausage from a small wet piece of clay and bend it into a ring. If the ring is not cracked, or there are very few cracks on the ring, this clay is suitable for work. It does not stick to hands and is easy to mold. If the ring cannot be bent, then the clay is dry, a little water should be added to it and mixed thoroughly.

The children are testing the clay.

3.

Teacher:Clay ready for modeling is best stored in a tightly tied bag. plastic bag. It is convenient to work at an ordinary table, placing a plank or an old record under the product. Turning the board, you can see the products from all sides. The most important tool will be your talented and kind hands. But there are many different useful gizmos that will help you in sculpting.

The teacher demonstrates the tools and explains their purpose (knife, stacks, dies, cutting molds).

Teacher:As you sculpt, you will quickly run into the need to connect clay pieces. For this we need "slip"- clay glue. It is prepared from clay, liquid diluted with water, to the density of sour cream. The slip is thickly smeared on the surface to be glued with a stiff brush. The parts are tightly pressed together. Excess slip is removed with a stack or foam rubber. Dry parts cannot be glued with slip. The finished product must be properly dried. Products are dried slowly for 3-4 days, at an even temperature, in the shade, without drafts. The dried products are fired in a kiln.

4.

Teacher:Clay is a very docile, plastic material, it is a pleasure to work with it. You will surely get beautiful and funny products. But first you need to master the techniques of sculpting the basic elements. Many children, when they first see how figurines of animals and birds, various crafts are obtained from a shapeless piece of clay, immediately want to mold something - a dog or a cat, or a horse. But nothing works out for them, although they diligently crushed the clay. It turns out that you need to start with the simplest - learn how to sculpt the parts that make up the product. And then everything will go easily and simply, and the work will bring a lot of joy. Let's you and me, guys, first learn how to sculpt simple details

Practical part.The teacher demonstrates the manufacture of the main parts (ball, egg, drop, sausage, ring, flagellum, carrot, cake, strip, plastic), and the children repeat.

5.

Practical part.After the children have practiced in sculpting the main details, the teacher offers them:

1. Determine what forms the figures of animals consist of, conditionally break them into parts.
2. From the forms, make a cat figure and draw on a sheet.
3. Blind the craft.

But first, with children, they remember the secrets of modeling.

• It is impossible to attach already dry parts to each other.
• When fastening clay parts, it is necessary to lubricate the joints with slip.
• To prevent the clay from drying out, cover it with a damp cloth.
• In order for the craft to be neat, it must be carefully leveled.

6.

At the end of the lesson, analyze the children's work and point out mistakes, note particularly successful and interesting work.

7.

Teacher:Guys, today you learned how clay was useful to a person. We learned how to prepare clay for work. We learned what materials and tools will be useful to us. Mastered the techniques of sculpting the basic elements. And they showed me what and how you can sculpt.

Games.

Broken phone.

Preview:

Municipal educational institution

additional education for children

Center of children's creativity

Office of Education Administration

Shimanovska

methodological development of the lesson

"DRAGON"

Developed by: Sergienko Olga Nikolaevna,

additional education teacher

Target:To teach children to sculpt objects in a constructive way, to teach them to “revive” objects, to achieve the creation of an expressive image (gender, age, social status).

Children's age:9-10 years old.

Conduct form:practical lesson.

Location:study room.

Decor:a variety of candlesticks, tables or illustrations showing the sequence of sculpting the "Snake Gorynych".

Equipment:pointer, table, chairs, magnetic board.

Material and equipment for work:clay, water, stacks, board, slip, dies.

Methodological advice:before the start of the lesson, the children look at the exhibition of candlesticks made by children. The teacher pays attention to the variety of forms, patterns, originality and decorativeness of the work. Consider with children the design options for candlesticks (decoration, partial painting and full painting, contrasting color combinations, etc.).

PLAN:

1. Opening speech.
2. Message about the topic and purpose of the lesson.
3. Explanation, showing.
4. Product molding.
5. Work analysis.
6. Summary of the lesson.

STUDY PROCEDURE:

Teacher.Man has been familiar with clay for a very long time, from time immemorial. Primitive people dried and fired earthenware in the sun. Then someone guessed to burn the pottery in the fire. Since then, firing clay products have become a part of human life. This is, first of all, the most diverse tableware, a lamp, children's toys, cult figurines, beads, buttons and much more.

After firing, the clay becomes strong, like a stone. Sometimes the fire itself takes part in creativity; during firing, products can settle and deform. By the way, the ancient Japanese treated this property of ceramics with reverence.

Teacher.Clay and fire... They may not part even after firing - in candlesticks and lamps. I suggest you support this idea and mold a candlestick as a hearth for a fire. Today we are blinding a decorative candlestick "Snake Gorynych".

Teacher.Why do you think there is such a theme “Snake Gorynych”?

Children:That is why the Serpent Gorynych is a "fairytale hero" who can spew fire from his mouth. That is, there is a connection between snakes - a candlestick - a candle - fire.

Teacher.Candlesticks can be very different and in the form of a pot and in the form of a tree (the teacher confirms his words by showing works).

Then the teacher draws the attention of the children to the table and explains the sequence of modeling according to it.

1. Roll three thick sausages in the form of carrots (heads) with your palms.
2. Roll up a ball the size of an egg, form a cake (trunk), push a recess in the middle for a candle.
3. Connect the body and heads. Roll up the tail and attach to the body.
4. Fashion the heads, cut the mouths with a stack.
5. Blind the legs in the form of small contests, separate the fingers in a stack, connect all the details.
6. Roll clay into small balls - eyes. Glue them on with glue.

4.

Teacher.And now let's get to work.

Children perform a three-dimensional figure based on geometric shapes using additional details. If desired, the work is decorated with stamps or a cocktail tube. In the process of work, the teacher provides the necessary assistance.

Teacher.(After the main work is done) Think about what gender the snake will be, age (baby, adult or old). Think of a snake character (kind, evil, stupid, funny or sad) and give him a name. Think about what details should be added to the invented image of a snake so that it is expressive. You can make a variety of hairstyles, wear a hat, tie a tie or bow around your neck, etc.

5.

After the work is completed, the teacher analyzes the work of the children, paying attention to the quality of the modeling (so that there are no cracks), the connection of parts, the smoothness of the surface, placing special emphasis on a creative approach to work, on creating the most expressive image. Evaluates work (points).

The teacher can not only work with tables, but also show how to model a clay candlestick.

You can offer children an alternative option - creative work on making a candlestick. That is, the child independently or with the help of a teacher comes up with the form of what he would like to fashion the future product. Any shape is suitable for a candlestick: a flower or a fruit; animal or bird; And so on. It can also be a complex composition. See the attachment for the candlestick option.

Literature.

1. "The world of hobbies", Marina Tremetskaya. Plasticine is clay. M: Rosmen - league, 1999
2. Dozhnevich E.V., Zhakova O.V., Get acquainted: clay - St. Petersburg: Crystal, 1998.
3. Magic clay. - Smolensk: Rusich, 2001.

Preview:

Municipal educational institution

additional education for children

Center of children's creativity

Office of Education Administration

Shimanovska

methodological development of the lesson

Developed by: Sergienko Olga Nikolaevna,

additional education teacher

Target:to acquaint children with relief, to teach children to sculpt a small panel from a layer of clay, to make relief images in different ways (optional), to treat the surface of the clay with a damp cloth, to firmly connect the parts with slip.

Children's age:8-9 years old.

Conduct form:practical creative lesson with the participation of a student of the 4th year of study.

Location:study room.

Decor: finished goods, tables with image different ways sculpting (with the help of a tourniquet, by sticking).

Cabinet equipment:pointer, tables, chairs, magnetic board.

Materials and equipment for children:clay, board, stacks, cloth, water, slip, foam rubber, scissors.

Methodological advice:children should be able to roll out a layer of clay, use slip, be able to make the main parts for panels from clay (balls, petals, flagella, droplets, etc.)

Plan:

1. Message about the topic and purpose of the lesson.
2. Explanation and review of the table, finished products.
3. Work on sketches.
4. Sculpting pictures.
5. Work analysis.

Course progress.

1.

Teacher.Do you guys like gifts?

Children.Yes.

Teacher.Today we will learn how to make a gift - a picture. It can be hung on the wall as a picture for home decoration.

2.

Teacher.But in order for the panel to turn out successful and please you for a long time, you need to start work with a sketch. Think about what shape the product will be: square, rectangular, oval or round. Think about what you would like to depict in the picture. Topics may vary. It can be a decorative pattern, an image of animals and birds, flowers or fruits. You can make pictures on the themes of the underwater world, space, make portraits of your loved ones. Dream up.

3.

Children draw a sketch of the plaque.

4.

After the sketch is completed, the guys do the work simultaneously with the teacher, who accompanies his actions with words.

Teacher.

• Cut out of paper desired shape grounds.
• We roll a ball out of clay, form a cake.
• Lay it on the edge of the fabric and cover with the other edge.
• Take a rolling pin and roll out a layer 6-8 mm thick.
• Put the pattern on the layer, circle with a sharp stick. Cut out the base with a knife. So the base for your plate is ready.
• With a sharp stick, transfer the drawing from the sketch to the plate.

Teacher.Now we make the relief. This can be done in different ways. Let's look at the figures (table). The plaque in figure 1 was made using a tourniquet, which is laid out along the contour of the picture. The plaque in figure 2 is made by sticking on. All details - leaves, petals, vase were molded separately: the leaves are made of flattened drops or carved from a layer of clay; petals - from slightly flattened carrots; the vase is cut out of plastic. Look at picture 3. The picture is called "Fruits". The details for this plaque were made completely - an apple, a pear, parts of a jug, and then divided in half and glued to the base. The picture with this method of execution is embossed, convex.

All parts must be lubricated with slip, then lightly pressed against the surface so that they adhere well to the base.

The children are doing the work. In the process, the teacher provides the necessary assistance. And now, after the picture is completed, decorate the edge with a side so that the picture does not crack when it dries. Use a rod from an old pen to make holes for which you will hang your works on the wall.

5.

At the end of the lesson, the teacher discusses the completed pictures, pays attention to the quality of the work, and the creative approach. Gives children the opportunity to admire the work done.

Methodological advice to teachers.

• Clay must be carefully crushed, prepared for work. At the end of the lesson, it is better to discuss the work, each craft separately or organize an exhibition, offer to admire the work or conduct a comparative analysis, it is better after the pictures are painted with paints.
• After the clay pictures have dried well, they should be painted in the next lesson. Burning is not necessary, because the pictures do not touch the water. And to make the products more durable when kneading clay into water, you can add PVA glue.
• When painting products, you should pay attention to the sequence of painting. First, the products are primed with water-based white paint, then with light paints and dark, bright colors. Or they are partially painted if the product is after firing.

methodological development of the lesson

Age of children: 5-6 years.

Developed by: Sergienko O.N.

teacher of additional

education,

2005

Joint activity (children and parents).

PURPOSE: to learn how to make relief panels, to teach children to sculpt a small panel from a layer of clay, to make relief images in different ways (optional), to treat the surface of the clay with a damp cloth, to firmly connect the parts with slip. Encourage children to collaborate with their parents.

AGE OF CHILDREN: 5-6 years.

VENUE: study room.

DECORATION: finished products, tables depicting different modeling methods (using a tourniquet, using a sticking method).

OFFICE EQUIPMENT: pointer, tables, chairs, magnetic board.

MATERIALS AND EQUIPMENT FOR WORK: clay, board, stacks, cloth, water, slip, foam rubber, scissors.

METHODOLOGICAL ADVICE: children should be able to roll out a layer of clay, use a slip, be able to make the main details for a panel from clay (balls, petals, flagella, droplets, etc.)

PLAN:

1. Message about the topic and purpose of the lesson.
2. Explanation and review of the table, finished products.
3. Work on sketches.
4. Sculpting pictures.
5. Work analysis.

STUDY PROCEDURE:

1. Children are paired with their parents at tables.

Teacher: Do you guys like gifts?

Children: Yes.

Today we will learn how to make a gift - a picture. It can be hung on the wall as a picture for home decoration. But in order for the panel to turn out successful and please you for a long time, you need to start work with a sketch.

Think about what shape the product will be: square, rectangular, oval or round. Think about what you would like to depict in the picture. Talk to your mom and grandma. Topics may vary. It can be a decorative pattern, an image of animals and birds, flowers or fruits. You can make pictures on the themes of the underwater world, space, make portraits of your loved ones. Dream up.

2. Children and parents draw a sketch of the plaque. After the sketch is finished. Children perform work simultaneously with the teacher, who accompanies his actions with words.

• Cut out the desired base shape from paper.
• Roll a ball out of clay, form a cake.
• Lay it on the edge of the fabric and cover with the other edge.
• Take a rolling pin and roll out a layer 6-8 mm thick.
• Put the pattern on the layer, circle with a sharp stick. Cut out the base with a knife. So the base for your plate is ready.
• With a sharp stick, transfer the drawing from the sketch to the plate.
• Now we make the relief. This can be done in different ways. Let's look at the figures (table). The plaque in figure 1 was made using a tourniquet, which is laid out along the contour of the picture. The plaque in figure 2 is made by sticking on. All details - leaves, petals, vase were molded separately: the leaves are made of flattened drops or carved from a layer of clay; petals - from slightly flattened carrots; the vase is cut out of plastic. Look at picture 3. The picture is called "Fruits".
• The children for this plaque were made completely - an apple, a pear, parts of a jug, and then divided in half and glued to the base. The picture with this method of execution is embossed, convex.
• All parts must be lubricated with slip, then lightly pressed against the surface so that they adhere well to the base.
• Children and parents do the work. In the process, the teacher provides the necessary assistance. And now, after the picture is completed, decorate the edge with a side so that the picture does not crack when it dries. Use a rod from an old pen to make holes for which you will hang your works on the wall. At the end of the lesson, the teacher discusses the completed pictures, draws attention to the quality of the work, the creative approach. Gives children the opportunity to admire the work done.

METHODOLOGICAL ADVICE FOR TEACHERS:

• The lesson is held together with parents so that parents can sculpt from clay, get acquainted with some of the secrets of modeling, and feel the joy of working together. That is, parents will be more careful about children's crafts, as a product of labor, creative activity.
• In the course of the lesson, the work is mainly done by children, while parents actively help them. That is, they perform more complex work that requires faster execution (cut out a template, transfer a drawing to a clay plate, make a side, etc.)
• Clay must be carefully crushed, prepared for work. At the end of the lesson, it is better to discuss the work, each craft separately or organize an exhibition, offer to admire the work or conduct a comparative analysis, it is better after the pictures are painted with paints.

• Tables can be replaced with diagrams for each table.
• During the design of the picture, the teacher can offer the children to choose the picture they like and put it on their table as a sample.
• After the clay pictures have dried well, they should be painted in the next lesson. Burning is not necessary, because the pictures do not touch the water. And to make the products more durable, when kneading clay, PVA glue can be added to the water.
• When painting products, you should pay attention to the sequence of painting. First, the products are primed with water-based white paint, then with light paints and dark, bright colors.

BIBLIOGRAPHY:

• Kosminskaya V.B., Khalezova N.B. Fundamentals of fine arts. – M.: Enlightenment, 1981. study room.

  Decor:a variety of piggy banks made by children.

  Cabinet equipment:tables, chairs.

  Materials and equipment for children:clay, board, stacks, cloth, water, slip, foam rubber, newspaper.

  Lesson plan:

  Message about the topic and purpose of the lesson.

  Demonstration of finished products.

  Demonstration of manufacturing techniques.

  Product design.

  Work analysis.

  Course progress.

  1.

  Teacher.Today, according to your wishes, we will sculpt a piggy bank. A piggy bank is a container with a narrow slot for lowering coins for the purpose of accumulation. The piggy bank is a hollow shape. Most often, she is depicted as a pig. There are various assumptions why the piggy bank has such an image. Maybe because she's fat, greedy, acting like a pig - not giving you your own money. Or maybe before you raise a pig, you need to invest a lot of financial expenses in it, but then it will feed the family all winter. After all, the word "save" means - to collect for the future, to store, to acquire saving. What do you think? Where did this unusual image come from?

  2.

  Teacher.Currently, manufacturers have moved away from the tradition of presenting a piggy bank in the form of a pig. Products can be very different in the form of a dog, cat. See what original and unusual piggy banks can be made (demonstrates). Our piggy bank will be in the shape of a ball.

  3.

  Teacher.Before I teach you the technique of making a hollow mold, and you, having shown your imagination, need to create an unusual image for your piggy bank. Think and draw a sketch of your piggy bank

  Teacher.And now let's start sculpting. Crumple up a piece of newspaper into a small ball and secure with duct tape to keep it spherical. Then roll out a large layer of clay, 7mm thick. To do this, you need to put a clay cake on one piece of a damp cloth and cover with another. This is done so that the clay does not stick to the surface of the table and rolling pin. Further, (the teacher demonstrates) it is necessary to put a newspaper ball in the center of the layer and wrap it with a clay layer so that there are no cracks. Level the surface of the clay with a sponge. We have made a hollow mold with you. Now it remains to draw it up and cut a slot for money. When our piggy bank dries, we will burn it, the newspaper will burn and turn into ashes. And it can be easily shaken out with a stick.

  4.

  5.

  At the end of the lesson, the teacher corrects the work of the children, points out the shortcomings that need to be corrected. Concentrates the attention of children on creativity, originality of work.

  Preview:

  CREATIVE WORK

  Target.Development of artistic and creative abilities of children.

  Organization of the lesson.Children should have a conversation about creativity. Creative work can be organized as an independent activity of children according to a plan, according to a model with elements of creativity or on any topic to consolidate skills and abilities.

  Lesson plan:

  Conversation about creativity "Creativity, what is it?"

  Creative task-experiment.

  Creative task "Sculpting a cat."

  Work analysis.

  Summary of the lesson.

  Lesson progress:

  1.

  Teacher.Today we have an unusual lesson, we will talk with you. About creativity.

  (asks questions to the children).

  Tell me why you need creativity? (benefit, knowledge).

  What is the difference between creativity and craftsmanship?

  Teacher.Skill - professionalism, creativity - the search for something new. Mastery is standards and patterns. But conscious creativity begins when the assimilation of knowledge, norms and rules. Creativity is not only admirable. A creative journey allows you to achieve

  more than just a job well done.

  2.

  Teacher.I propose a small experiment-competition - draw an apple within 5 minutes.

  Children draw.

  Teacher.Now tell me who will win, the one who drew the picture (apple) well or the one who did it interestingly with a twist.

  Teacher.Tell me, in what professions is creativity necessary?

  Examples: football - athletes are chasing the ball to win, the one who came up with a tactical, new move will have priority. Figure skating (children give an example). Creative professions: architect, journalists, designers, fashion designers, artists, stylists, but do investigators, teachers, flower growers and gardeners, bus drivers, conductors, bank tellers, sellers, confectioners have creativity?

  Teacher.Give examples of the "pros" and "cons" of just craftsmanship, creativity, and craftsmanship.

  Suggested answer.

  1. Accuracy, good preparation of material, strength, knowledge of the laws of composition, color science, material science. History and traditions.

  2. Fiction, sketch, experiment, workmanship, result.

  Teacher.And now, I suggest you make a cat craft, but in such a way that your creativity and originality are manifested in it.

  3.

  Creative work on products. Children independently choose a topic for work, make a sketch. Discuss work with the teacher. Start working on the product.

  4.

  At the end of the work, the teacher invites one of the children to tell everyone about their work, what their creativity manifested itself in and analyze the products of other children.

  Sculpting technique

  Details

  The size

  Purpose

  other options

  
  

Elisabeth Olaru
Exercises for the development of children's creative abilities

Exercises for the development of children's creative abilities

The game "Reincarnation".

The game is played in a circle, sitting on chairs. One of children received the task to turn into an old lamp. The child must imagine himself as this thing, immerse himself in its world, feel it. "character". On behalf of this thing, the child must compose a story about himself. Having finished his story, the child gives the task to his neighbor.

Music addition: in the course of the story, the child must depict sounds on improvised objects that the object into which he turned into could make.

An exercise"Picture it your way".

Depict as many objects as possible using the plasticity of your body.

Music addition: draw music (color painting). Any musical composition sounds.

An exercise"illustrating a book".

To illustrate, we took a fairy tale "Morozko".

Instruction: "Let's imagine ourselves as artists and we need to make illustrations for this book."

Music addition: during the task, music corresponding to the nature of the fairy tale sounds.

An exercise"Imagine and Hear".

Instruction: “You know that a cow mooes, a dog barks, a door slams, thunder rumbles, a bell rings, a whistle whistles, and so on. You have heard all these sounds more than once, but try using your sound imagination, introduce:

imagine and depict the sound that a pickle makes;

breaking glass, etc.”

Music addition: Make up your own sound and describe it.

An exercise"Fairy Forest".

Instruction: “Imagine that you and I are in a fairy forest. Let's do a composition on the theme "Fairy Forest" from various materials: colored and velvet paper, postcards and various pictures from old magazines, cardboard and the like.

Music addition: during this exercises musical accompaniment sounds "Sounds of nature".

The game "Say it in rhyme".

Read out poem or riddle, and the children in rhyme must finish the word that is appropriate in meaning.

Puzzles:

1. Guess what kind of bird

Afraid of bright light.

Crocheted beak, heeled eyes,

Eared head. It … (Owl).

2. Put on white hats

Today apple trees and spruce,

And cars and houses -

This came to us... (Winter).

3. In winter, there are apples on the branches!

Collect them quickly!

And suddenly the apples fluttered.

After all, this is… (Bullfinches).

4. They are usually for sewing,

I saw them at the hedgehog,

There are on a pine tree, on a Christmas tree

And they call them... (needles).

5. Gnawing firewood is a simple matter!

I ate sawdust

Tree sap drank

Who am I? (Saw).

6. Smelly branches

I brought from the shadows:

Lilac, white

Branches… (Lilacs).

Poem"Pie" D. Kharms.

I wanted to have a ball, I waited until I had the strength,

And guests to yourself ... (called). Then a piece... (bite off).

Bought flour, bought cottage cheese, Then he moved a chair and sat down

Bake crumbly ... (pie, And the whole pie in a minute ... (ate).

Pie, knives and forks are here - When the guests approached,

But something guests ... (do not go). Even crumbs... (not found).

7. He is kinder than everyone in the world,

He heals the sick ... (animals,

He is famous, famous - this is a doctor ... (Aibolit).

8. He loves everyone invariably,

Who would not come to him.

Guessed? This is Gena

This is Gena... (crocodile).

9. The samovar sings, buzzes.

Just by the looks of it... (angry).

Music addition: try to come up with a melody for one of the quatrains. Ask the child to sing it.

The game "Draw".

Each member of the group is given a sheet with 20 cards. Each card is a geometric figure. There are 5 schemes, but each of them is located on the sheet 4 times in different projections. Instruction: “Turn a figurine into any image, picture, plot. To do this, you need to finish it, come up with a name. Images on the cards should not be repeated.

Music addition: an exercise carried out several times. Each time there is music that differs in character from the previous one.

An exercise"Fantastic image".

Instruction: “It is necessary to complete a fantastic image of an animal using various materials: scraps of fabric, leather, foam rubber, unnecessary buttons, ribbons, threads, beads, and so on. The image must be original.

Music addition: in time exercises sounds the work of C. Saint-Saens "Animal Carnival".

An exercise"Journey to a fairy tale".

Instruction: “Take any topic from the suggested ones and compose one of the fairy tales: "Puppy in class", "My friend chipmunk", "Magic Desk". Illustrate your story.

Music addition: the story should be accompanied by playing musical instruments. That is, each action of the characters should be illustrated with the help of sounds.

Related publications:

Decorative and applied arts as a means of developing children's creative abilities Additional education is a condition for personal growth, which forms a system of knowledge, constructs more complete picture peace and help.

Musical and didactic games and exercises for the development of musical and creative abilities of preschoolers Musical director. Hello dear teachers. Allow me to present to your attention continuous educational activities.

Non-traditional drawing techniques as a means of developing the artistic and creative abilities of children"Magic Colors" Project author: Khoptar Vita Mikhailovna. Nizhny Novgorod 2016 “The origins of the abilities and talents of children at the tips.

"Sandography as a means of developing the creative abilities of preschool children" Olga Nikulina. The child lives in a world of all kinds.

The game as a means of developing the creative abilities of children of senior preschool age It is customary to call the game a "childhood companion". In preschool children, it is the main content of life, acts as a leader.

Visual activity in creating conditions for the development of children's creative abilities Visual activity is perhaps the most interesting view activities of preschoolers. It allows the child to express himself.

The formative experiment includes a program of integrative classes aimed at the creative development of children of senior preschool age.

Classes are aimed at activating the creative potential of the child, at the formation of creative abilities, at the development of imagination, perception and other mental processes, at emotional development, at the development of the emotional-volitional sphere, its functions such as self-regulation, introspection, self-esteem, empathy. etc., along the way, imagination, perception, verbal-logical thinking, motor skills develop. The entire program also contributes to speech development children.

The program of integrative classes covers all areas of the mental development of children, but at the same time retains the targeted impact of each lesson on creative activity.

Occupation " Christmas tree"(Cycle "Winter")

• * develop the ability to figurative perception of nature and its transfer in the drawing;
• * select objects for the image in accordance with the plan; with the help of his imagination, express the emotional content of the image with color, line, composition;
• * develop the ability to expressively convey musical images in creative movements;
• * encourage you to decorate the Christmas tree to your liking on certain topic: frosty, dreamy, lonely, perky, cheerful, etc.

If possible, go to the park before class and look at the features of the silhouettes of spruce, pine: some of them are slender, others are lush, others have sadly drooping branches, fourth are impetuous, etc.

New Year is the most magical holiday for children and adults. It is always decorated with coniferous trees: spruce or pine. Each tree has its own character, it must be seen, unraveled and, depending on the clue, decorate a spruce or pine tree in a special way. We recall what kind of coniferous trees we saw in the park, by what signs we singled out one or another character of the tree: the movement of the trunk, the number of branches, their movements up and down and to the sides, their splendor, length, color of the trunk and needles, etc. d.

The teacher invites children to draw a spruce or pine tree in the form of a girl - sad, thoughtful, perky, cheerful, as if spinning in a round dance of Metelitsa. You can think with the children how the trunk, branches can move in this case, what shade of green is better to convey the character of the tree, etc .; how to decorate a spruce or pine tree in one case or another (the color of the toys, their location on the branches), which background to choose ( colored paper for pastel applications). (Drawings of trees of a different nature.)

It is not necessary to focus on conifers in this lesson. You can look more broadly - what are winter trees in general, but the emotional-figurative characteristic of each tree is the main one.

At the end of the lesson, children listen to music of a different nature. The teacher invites students to imagine themselves in the image of a sad or cheerful Christmas tree and give it character through facial expressions and plasticity of movements. Then the children find among the drawings the most expressive in character.

Musical series: D. Kabalevsky, "Waltz"; S. Maykapar, "Waltz";

P. Tchaikovsky, "Waltz" from Sat. "Children's Album"; N. Levy, "Little Waltz"; S. Prokofiev, "Waltz" from Sat. "Children's Music"; L. Boccherini, "Minuet"; F. Chopin, "Polonaise" (A major); D. Shostakovich, "Puppet Dances": "Waltz", "Lyrical Waltz", "Gavot", "Polka", "Romance", "Dance".

Lesson "Composing a bouquet" (Cycle "Me and my environment!")

• * cultivate love and respect for loved ones, express their attitude in actions, stories, drawings;
• * develop the ability to admire natural forms and creatively transform them into decorative ones;
• * continue to develop interest in collective artistic and decorative activities;
• * contribute to the formation of the ability to fantasize when composing compositions;
• * arouse children's interest in mixing paints to obtain light shades colors;
• * continue to teach to distinguish shades of moods in works that are close in emotional content.

Reproductions of paintings depicting bouquets of flowers of different moods: cheerful, joyful, calm, sad, anxious. For example: M. Saryan, "Flowers in Kalaga" and "Blue Flowers"; A. Vasiliev, “ white fabric and cat's paws"; V. Van Gogh, "Sunflowers"; still lifes by A. Kuprin; flower paintings by T. Mavrina, Ukrainian folk artists, etc.

What flowers does your mom like? Find out at home, but so that she does not guess what kind of surprise you are preparing for her along with everyone. From the reproductions of the paintings, the children themselves must choose those that best suit the mood of the upcoming holiday: joyful, cheerful, tender, solemn. Why did you choose these paintings? Pay attention to the format of the picture, color, line, chiaroscuro, composition.

How to make our bouquet cheerful, elegant and festive? Invent and draw flowers of "extraordinary beauty".

The teacher brings a sheet of large format paper (1.5x2) to the lesson for the background with a basket or flower vase drawn on it.

Children think over what mood their bouquet should be - joyfully calm or joyfully solemn. Depending on this, different variants the background and position of the sheet of paper - long side horizontally or vertically.

Then the children draw flowers of "extraordinary beauty", subordinating their shape and color solution the mood of the intended bouquet.

After the drawings are dry, the children cut them out along the contour. The teacher temporarily attaches the flowers to the background with plasticine, discussing with the children how it is more interesting and beautiful to arrange the elements of the overall composition in order to achieve its greatest integrity, color saturation, creating a particular mood; if desired, children can use natural material.

At the end of the lesson, to consolidate the material, you can invite children to listen to musical fragments in which they should feel this or that mood and try to convey with words and gestures the nature of the bouquet that could be drawn to this music. For example, P. Tchaikovsky, "Polka"; E. Grieg, "Arietta"; F. Chopin, "Polonaise" (A major). It is important that in the listened musical passages the children hear different shades joy and were able to see them in reproductions of paintings.

Musical row: I.-S. Bach, "Joke"; P. Tchaikovsky, "Waltz of the Flowers" from the ballet "The Nutcracker"; E. Grieg, "Arietta"; F. Chopin, "Polonaise"; R. Schumann, "Complete happiness."

Classes "In the garden of a good and evil sorceress"

(The cycle "Me and my environment!")

• * continue to expand the horizons and knowledge of children about nature;
• * develop imaginative thinking, the child's imagination when depicting fabulous plants and insects;
• * teach children to create images of plants and insects using graphic means of expression: line, spot, stroke;
• * consolidate the ability to draw with watercolors, learn to combine watercolor and gouache in the drawing;
• * develop spatial representations, compositional skills in the layout of a common panel.

At the lesson, the teacher, together with the children, recalls fairy tales in which there are good and evil characters, for example, a good sorceress and a sorceress, leads the children to the idea that they are both beautiful in appearance, but in their inner content they are different, one brings warmth, goodness to others, and the other - evil, callousness. This is reflected in the fabulous world of animate and inanimate nature that surrounds them, in plants, insects, etc., which are found in the garden of the sorceress and sorceress. So, the garden of the sorceress may surround beautiful flowers, shrubs that let travelers into the garden, but do not let them back out.

In nature, there are plants that, having a delicate smell and beautiful flowers, behave like predators. Attracting the smell of insects, they literally swallow them with the petals of their flowers. For example, sea lilies are one of the most beautiful creatures of nature. The bowl-shaped form of the lily, formed by porous movable rays, often brightly and variegatedly colored, makes these predatory flowers look like beautiful exotic plants. These lilies do not smell - they attract with their appearance.

Some varieties of garden lilies also retained an ominous property - to intoxicate with a strong smell not only animals, but also humans, while having a magnificent view - bright, exotic.

Some species of outwardly very attractive insects and butterflies also have similar destructive properties.

To help children imagine the garden of the sorceress and the garden of the sorceress, we use music. We listen to two fragments: “May. White Nights" by P. Tchaikovsky and "March of Chernomor" from the opera "Ruslan and Lyudmila" by M. Glinka.

And now we will try to describe the gardens of the sorceress and sorceress. According to the children, the garden of the sorceress can be surrounded by beautiful shrubs with bright flowers, which let travelers into the garden, but do not release them back, releasing thorns. Let's come up with a name for them so that their sinister character is reflected in its sound. For example, "shipalzia". One of the children will draw this shrub directly on a large sheet of paper, after selecting the background color and painting over it.

And what plants can grow around the sorceress's garden? What color are they, how do they smell, what is the shape of their flowers and branches? How can they be called? For example, "alalia". Which of the children (2 people) will write a background for the sorceress's garden and depict those plants that grow at its very border?

What plants can grow in both gardens? They can be both real and fictional children, including names and appearances. The same applies to insects and birds inhabiting both gardens.

Next, the children draw their own versions of plants, insects and birds for these gardens, inventing and writing their names next to them. At the lesson, they discuss the drawings and their names, cut out the drawings along the contour and assemble them into the collective compositions "Witch's Garden" and "Sorceress's Garden".

Technique: gouache, watercolor and wax crayons or colored paper, shreds, glue, scissors, collage.

Music line:

fairy garden - P. Tchaikovsky, “May. White Nights”, “Dance of the Dragee Fairy” from the ballet “The Nutcracker” or “December. Christmas time” (at the choice of the teacher);

garden of the sorceress - M. Glinka, "March of Chernomor" from the opera "Ruslan and Lyudmila"; E. Grieg, "Kobold".

Lesson "What do the fish see from the aquarium?"

(The cycle "Me and my environment angling!")

* develop fantasy, figurative memory, imagination, the ability to express one's attitude to what is depicted in the drawing.

When we look at the cozy world of the aquarium, we calm down. Indeed, how beautiful it is: still water, green algae, bizarre stones and grottoes at the bottom, and exquisite in color, graceful in silhouette, fish that slowly swim along the transparent walls freeze for a long time in one position, slightly moving their fins and lips. What do they want to tell us? And how do they see us? How does our world appear to aquarium fish? The background for the conversation and subsequent drawing can serve as a musical fragment "Golden Fish" from R. Shchedrin's ballet "The Little Humpbacked Horse" or "Aquarium" from the suite of C. Saint-Saens "Carnival of the Animals".

Children fantasize about this topic and talk about how it may seem to some fish that the room is also a big aquarium, and the people in it are huge strange fish. Some fish represent us as huge monsters, while others see us through the curved glass of a round aquarium, as in a distorted mirror. Some, probably, are constantly afraid of the appearance of a huge, from their point of view, fluffy cat, which loves to sit near the aquarium for a long time and closely follow the movement of the fish. Let the children think about the possible compositions and talk about them. In the course of the conversation, attention should be paid to the expressiveness of the children's speech, their use of suffixes and prefixes when choosing words to describe their fantasies (“monster”, “extreme”, “appalling”, “tiny”, etc.).

So, you need to imagine in the drawing a twisted, distorted, caricature-funny or some other world outside the walls of the aquarium, emphasize your idea with color, line, shape, composition.

Technique: wax crayons or gouache.

Lesson "Non-existent animals"

(Cycle "Fantastic city")

* develop auditory and musical responsiveness and sensitivity, the ability to imagine, invent new onomatopoeic words, forms in visual activity.

Today we will try our hand at inventing new words and new forms. Let's do it in the form of a game. To make it easier to get involved in the process of invention, creativity, let's try to imagine ourselves (music by D. Shostakovich "Fantastic Dances", Op. 1, No. 2 quietly enters) once again found ourselves in a fantasy country, a wonderland where everything is possible. To get there, we need a guide who would lead us along unknown paths-roads - perhaps cosmic ones - or along enchanted paths. Such a guide will be a magic hat, touching which will help us all to be transported to a wonderland.

The teacher in turn puts on each a funny hat with all sorts of strange decorations or allows everyone to touch its brim. The one who touches the hat immediately closes his eyes and imagines the country in which he found himself.

To understand the unusual nature of our wonderland - a country that does not exist, a country of fantasy and creativity, let's first look at the sky (the end of the musical phrase). The teacher draws the attention of the children to the board - the sky, where the picture is depicted.

"What does it look like?" - asks the teacher. Children answer that the image resembles clouds and rain. Yes, that's right, but in our fantastic country everything is called not in Russian. This drawing depicts "luoma-kuoma-muoma", "God-that-my" and "teepee-ripi-dripi". But what each of these words means, no one knows yet. Let's think about this together. By combining sounds, children must determine that “luoma-kuoma-muoma” is a cloud with soft contour outlines, “God-that-my” is a cloud with broken outlines, and “tipi-ripi-dripi” is rain.

As you can see, in this fantastic wonderland everything is unusual - something is similar to our earthly objects, but something is not. When we tried to hide from the tipi-ripi-dripi, we saw that a “bakoryab” was standing next to us. How might he look? Don't tell anyone about it - let it be our little secret - it's better to draw with wax crayons on paper.

After most of the children complete the drawing, the teacher invites everyone to draw a non-existent, fantastic animal next to the "bakoryab": there is some kind of creature standing on the side, completely different from those animals that are found on Earth. Draw it."

And now we need to come up with a name for our fantastic animal, and such that it necessarily reflects the character of the drawn creature.

And to determine its character, try to correlate the drawing with the music. (M. Schmitz's play "Little Lullaby" sounds.) What is the nature of the melody that has now sounded? Delicate, affectionate. Look at your drawings and show me the ones where, in your opinion, the drawn creature has just such a character. What sounds should be used so that his name turns out to be affectionate, gentle? Children name vowels, melodious sounds and soft consonants. Those children who have a gentle and affectionate animal come up with a name for it on their own, try to remember it, and some can even write it down. The rest work with the teacher further. We are trying to determine the nature of the animal from the following fragment. (The play “March of Barmaley” by S. Slonimsky sounds.) Children say that a prickly, angry, angry character is heard here. Do the painted animals have similar characters? What sounds should be used to make a name for a creature with such a character? Children say that the sounds “zh”, “h”, “r”, “x”, “d”, “sh”, etc. sound angry. Let those children who drew an angry beast try to compose a non-existent name for it using these sounds.

And, finally, we listen to the third musical fragment - S. Prokofiev, the duel scene from the ballet "Romeo and Juliet", "Montagues and Capulets", Op. 75, No. 6. Children say that the character of an arrogant, proud, arrogant creature was heard in the music, therefore the sounds (phonemes) of the name should sound proud, arrogant. They distinguish “e”, “s”, “o”, as well as abruptly pronounced sounds “c”, “n”, “l”, “d”, etc.

The teacher asks the children who believe that the nature of the animals they have drawn did not “fit” into any of the three groups, think about what name he needs to come up with so that it reflects a similar character in sounds and their combinations.

At the end of the lesson - a discussion of the work.

Technique: wax crayons on a white background, it is possible to use simple or colored pencils.

Musical series: D. Shostakovich, "Fantastic Dances", Op. one,

No. 2; M. Schmitz, "Little Lullaby"; S. Prokofiev, "Montagues and Capulets", Op. 75, No. 6; S. Slonimsky, "Barmaley's March"; D. Kabalevsky, "A Terrible Tale".

Cycle "Toy Fairy Tale"

Purpose: development of creative imagination of preschoolers, creation of conditions for the development of creative abilities.

• * develop a sense of color through non-objective painting;
• * excite the imagination, stimulate the desire for improvisation with a color spot;
• * improve the ability to correlate color with the mood of music (joy, sadness);
• * educate children in tolerance;
• * expand the vocabulary of children, help increase the expressiveness of children's speech;
• develop the child's imagination, the ability to move in accordance with the nature of the music.

Lesson "The Magical Adventures of Klyaksa"

The world of childhood is connected with the world of fairy tales, magical adventures. Often these or those adventures can be invented by the children themselves, and we let's all together in this lesson to dispel the spell of the sorceress.

This lesson serves as a kind of diagnostic method for the teacher to identify the creative manifestations of children, their ingenuity, the ability to peer into incomprehensible, at first glance, outlines, to see in them something real or completely different from reality, i.e. in the course of examining - to invent, to fantasize, both by finishing the blot, and mimicry, in a movement that conveys its “character”.

On a separate table next to the teacher's place there is an exemplary workplace, where paints, brushes, a glass of water, napkins for wiping brushes, a palette, paper for drawing are placed in a certain order.

You can bring any paints to this lesson - watercolor, gouache or colored ink.

The lesson begins with a fairy tale.

Once upon a time there was a sorceress who hid living creatures in pieces of wood (branch, glass, ceramics). The outlines of this creature are almost indistinguishable. Perhaps the sorceress made him bend, crouch, take some awkward position to hide him; perhaps this being, which was once real, has become one that does not exist in the world. Each creature under a wooden, stone, clay or glass shell has its own character. And if you touch it with a magic wand, then this creature will immediately wake up and come to life. Let's try to imagine how this enchanted branch could move (the music of E. Grieg "Kobold" sounds); or this funny glass devil-man (performed "Musical Snuffbox" by A. Lyadov).

But the sorceress did not stop there, she bewitched some other creatures in blots. (The teacher shows a large inkblot on a piece of paper fixed on the board.) Let's try to look at it carefully and determine who is hidden in the inkblot. What needs to be finished to make the blot "come to life"? (According to the advice of the children and with their participation, the blot “comes to life.”) Each of you may also have such an unusual creature on a piece of paper. (The teacher puts an inkblot on each child’s sheet, and also quickly puts on some element of a stage costume - a pointed cap with stars, glasses, a mantle, etc., the music of D. Shostakovich “Three Fantastic Dances” sounds.)

Each of you needs to carefully look at the contour, the shape of the blot. It can be tweaked a bit. If the inkblot is not “readable”, you can bend a sheet of paper in half so that it is printed, and once again try to see the contours of the creature hidden in it.

The enchantment of the sorceress no longer works, enchanted creatures do not want to sit in a blot. They are all alive: cheerful or thoughtful, sad or perky - different.

Musical series: E. Grieg, "Kobold"; A. Lyadov, "Musical snuffbox"; P. Tchaikovsky, "Dance of the Fairy Dragee"; E. Grieg, "Dance of the Elves".

Cycle "ordinary miracle"

Purpose: development of creative imagination in the perception of music, painting and poetry.

• * continue to work on the compositional expressiveness of the drawing, through the line, the structural construction of objects, their relative position on a sheet of paper;
• * teach the elements of pictorial drawing of a drawing;
• * continue to master new drawing techniques (monotype);
• * Encourage the creative expression of fantasy;
• * reveal the meaning of the words: dreamy, fantastic, cautious, rough, heavy, sharp;
• * consolidate the concept of "composition".

Lesson "The best"

Children bring items to class that remind them of their mother (jewelry, perfume, knitting, etc.).

The teacher helps the children to look at their mother's things, to feel how warmth and kindness emanates from them. Children talk about their mother using various comparisons.

“And you are the most dear and beloved for mom. What is your mother affectionately calling you? (Children remember what affectionate names their mother calls them.) Mom, like you, does not have the same mood. Listen to the music and tell me what a mother is like and why she can be in such a mood ... ”(The music of R. Schumann“ Little Romance ”sounds - sad, thoughtful, etc.) Children listen to music and find portraits of women among reproductions of paintings where the artist reflected state of mind corresponding to the music. (The music of L. van Beethoven's "Rondo Capriccioso" sounds - joyful, sonorous, sunny, sparkling, bright, lively, etc.) Children listen to music and choose those female portraits in which the artist reflected the state of mind corresponding to the music.

“You know, it seems to me that mothers are like flowers. They are as beautiful as roses, as delicate as violets, and sometimes as fragile as bluebells...”

The teacher invites the children to close their eyes and imagine that they are in the realm of flowers: “Touch the velvet rose petals, soft violet leaves, feel their delicate aroma ... Oh! I pricked myself on the thorns of a rose and... woke up!” When the children open their eyes, they see a series of reproductions of paintings in front of them, which depict still lifes with flowers, or compositions of fresh flowers.

"Each flower has its own music, its own dance." (M. Glinka sounds, "Feeling" - sad, tender, affectionate, thoughtful, trembling, etc.) Children listen to music and find the flower whose "melody" they heard and whose "dance" they presented. The teacher invites the children to imagine themselves as a flower and dance to the music.

I. Strauss' "Waltz in C" sounds (the music is festive, bright, joyful, beautiful, etc.). Children suggest that this melody might suit a rose. F. Schubert's "Waltz" sounds - proud, graceful, subtle, expressive, etc. Children, in accordance with the nature of the music, convey the image of a flower in motion.

The teacher invites the children to make a composition for their mother from flowers and mother's favorite items, to come up with a name for this composition.

Musical series: F. Schubert, "Waltz"; R. Schumann, "Little Romance"; I. Strauss, "Waltz in C major"; M. Glinka, "Feeling".

Reproductions: K. Rozhdestvensky, Girl with a Rake; V. Nechitailo, "Morning", "Xenia"; O. Kiprensky, "Portrait of D. P. Khvostova"; V. Tropinin, "The Lacemaker"; P. Filonov, "Portrait of E. N. Gleboven"; Z. Serebryakova, "Behind the toilet"; K. Petrov-Vodkin, "The Girl at the Window"; V. Serov, "Girl, illuminated by the sun"; A. Ivanov, "Portrait of Victoria Caldoni".

During the lesson, it is advisable to use still lifes depicting flowers or compositions of fresh flowers.

Cycle "What is the sky above me?"

Purpose: the development of emotional and aesthetic responsiveness in the comparative perception of musical and artistic works, the development of creative imagination.

• * develop the ability to feel, see, talk about beauty in painting, music, poetry;
• * encourage creativity when creating artistic images;
• * to develop in children the ability to regulate the intensity of expressive means in color, the sounds of music, speech and its shades.

Lesson "Air City"

Psychological warm-up: music sounds, children sit comfortably on the carpet and imagine clouds floating above them. The teacher asked asks children what clouds they presented. Children describe imaginary clouds: white, round, soft, fluffy, like cotton wool, similar to ... R. Schumann's "Mignon" sounds. Children look at reproductions of paintings that depict different states of the sky. The music sounded gentle, thoughtful, calm, dreamy, so it corresponds to the clouds, light, light, smoothly floating across the sky. The Thunderstorm by Y. Slonov sounds: the music is heavy, gloomy, disturbing, thunderous. Children find reproductions of paintings where the sky matches the mood of the music (pre-stormy, heavy, gloomy, hanging low, and maybe even threatening). The teacher offers the children didactic game"What do clouds look like?" Children look at cards with painted clouds of various shapes and guess the outlines of familiar objects or animals in them. Children note that clouds are different not only in color, but also in shape. The teacher draws attention to the fact that when there are a lot of clouds in the sky, they look like an air city, where there are towers and domes, they are rounded, blurry, and therefore, when depicting them, you can use the technique of drawing with watercolors on wet paper; the colors seem to spread, and the impression of the vagueness of the walls and towers of the city is created. Children reflect their impressions by drawing an air city of their choice. One is built from thunderclouds, and the other is built from light, soft clouds. At the end of the lesson, the children lay out their work so that they get a huge air city, at one end of which there are thunderclouds, and at the other - light clouds.

Musical series: R. Schumann, "Mignon"; M. Glinka, "In Separation"; Y. Slonov, "Thunderstorm"; S. Maykapar, "Clouds are floating."

Reproductions: A. Vasnetsov, Rodina; I. Ostroukhov, "Siverko"; A. Savrasov, "Country Road"; R. Zverkov, Osinki.

Cycle "Winter's Tale"

Purpose: deepening the emotional and aesthetic perception of native nature in the poetic word, music and painting.

• * help children feel the beauty of nature in artistic images (music, painting, poetry), open the way to the imagination;
• * consolidate the ability to use the plastic properties of color (light, transparent, heavy) to convey the character and mood of the artistic image in the drawings;
• * reveal the meaning of the words: light, heavy, cold, warm, blizzard, prickly, the music is spacious, majestic;
• * consolidate the concepts: "landscape", "portrait".

Lesson "Magic Mirrors"

In one fairy-tale state, a king and queen had a baby Which daughter is a princess. In honor of the tiny princess, the parents called all the sorceresses of the kingdom to the ball.

Do you want to know what kind of sorceresses they were? The music will guide you. (A fragment of “The Lilac Fairy” from the ballet “The Sleeping Beauty” by P. Tchaikovsky sounds; the music is kind, gentle, affectionate, dreamy, light, bright, magical.) So, kind, graceful sorceresses came to the ball. Recognize them in the portraits. (Children look at reproductions of paintings.) And if you were good wizards, what would your eyes look like? (Children try to convey kindness, tenderness, participation with their eyes.)

Each sorceress brought a gift to the little princess. (Children fantasize what these gifts could be.) It turns out that they gave a magic mirror. Looking into it, the princess became even more beautiful and kinder. But the king and queen forgot to invite another guest to the ball. Who could it be? (The fragment “Fairy Carabosse” by P. Tchaikovsky sounds - the music is angry, dark, prickly, evil.)

Children guess that this is an evil sorceress, and recognize her in the portraits, convey the unkind look of the sorceress and think of what the sorceress could give to the little princess. The sorceress was terribly angry that she was not invited to the ball along with the others. She also brought a mirror as a gift. But when the princess looked at him, she became angry, cruel, rude, etc. Once, when the little princess was trying on her outfits in front of the mirrors, a misfortune happened, the mirrors broke into small pieces, and they scattered all over the world, flew and turned into drops, and where these drops fell, large, fat blots appeared there.

Children find blots on their sheets of paper, they look like strange, enchanted, motionless creatures. Yes, these are evil and good sorceresses! Children bring them to life: they draw parts of the body, draw facial expressions, giving it expressiveness in accordance with the nature of the image, and then, moving to the music, reproduce in expressive movements the images of an evil and good sorceress (see musical series).

Children "settle" sorceresses in fairy-tale castles, choosing from a variety of castles the one that suits a good or evil sorceress. After the lesson on a walk, the children tell the fairy tale they heard to the kids.

Musical series: P. Tchaikovsky, "Waltz", "Baba Yaga"; V. Selivanov, "Joke"; E. Grieg, "Procession of the Dwarves".

Reproductions: L. da Vinci, "Genevra Den Benchi"; C. Crivelli, "Mary Magdalene"; F. Goya, "Portrait of an Actress"; A. Hanneman, "Portrait of a Woman"; F. Rokotov, "Portrait of A. P. Struyskaya"; D. Levitsky, "Portrait of Ursula Mnishek"; L. Cranach, "Portrait of a Woman"; A. Surikov, "Siberian Beauty".

Cycle "My first books"

Purpose: development of fantasy and imagination with a comparative perception of musical, pictorial and poetic reproductions; development of aesthetic sense, education of empathy.

• * teach to focus on the perception of the artistic image, its character, mood;
• * consolidate the ability to use the expressiveness of color (bright, dull, gloomy), its plastic properties (light, transparent, heavy) when conveying the mood and character and specific features of the artistic image;
• * to create in children a stable motivation for the independent creation of artistic images and verbal creativity.

Lesson "Carnival of animals"

Animals also have holidays: they, like children, love holidays very much, dream about them, cook carnival costumes and even count the days when this long-awaited holiday will come - carnival!

On this day, the jungle wakes up from the chirping of birds, from the squeal of little monkeys, from the clatter of long-legged antelopes that preen themselves by the stream, from the snorting of a young hippopotamus who decided to wash himself on such an occasion. And the graceful panther stretches lazily in its lair, watching from above the bustle of animals.

On this day, an unwritten law operates in the jungle: do not offend the weak! And so the carnival begins! Who sits on a throne in the middle of a wide clearing? (The “Royal March of the Lion” by C. Saint-Saens sounds - the music is proud, powerful, solemn, and the children recognize the lion - the king of animals.) Children examine the lion in books.

Elegant funny animals pass in front of the throne: lazy hippos (D. Kabalevsky, “Dance of the Young Hippo”), mischievous, nimble, funny monkeys (I. Brahms, “Petrushka”), graceful, affectionate antelopes (A. Khachaturyan, “Pear plays on violin"). Children look at the illustrations in the books of the external features of these animals.

But the holiday was suddenly broken by a terrible roar ... (Sounds like "Santa Claus" by R. Schumann.) The children recognize the formidable tiger. All the animals of the jungle know the deceit, the bloodthirstiness of the tiger. Everyone fled in fear, but the king of animals - the lion - stood up for the animals, and the tiger did not dare to disobey him. The carnival continues!

Children draw their favorite moments of a fictional fairy tale and place them on a panel designed by the teacher.

Musical series: D. Kabalevsky, "Dance of a young hippopotamus";

C. Saint-Saens, "Royal March of the Lion" from the series "Carnival of the Animals"; A. Khachaturian, "Pear plays the violin"; I. Brahms, "Petrushka"; R. Schumann, "Santa Claus"; V. Pleshak, "Ballet Divertimento".

Visual row: illustrations from books about animals. Children's toys (animals).

Poetic series: poems about animals.

Lesson "Space travel"

Children find a message to aliens, recorded in musical notation. Children turn to the music director for help, he plays p sending, and the children understand that someone is asking for help. (Sounds fragment "Scene of a thunderstorm" from the ballet K. Karaev "Path of Thunder".)

But the children do not know the exact text, they are helped by a message written with signs-symbols. Children learn that a planet far from Earth in space is in danger. The inhabitants of the planet are asking for help. The children respond to this message and decide to go to the rescue, but they do not have a spaceship, and the children are building it from a colorful geometric mosaic. Children put on spacesuits, helmets and set off on their journey to distant, mysterious stars.

Let's go... But on the way we see a known planet, computers give out information about it. However, computers are unusual, their data is encrypted in music ... (E. Grieg's play "In the cave of the mountain king" sounds - the music is gloomy, alert, creeping, dangerous, prickly, mysterious.)

Children fantasize about what planet they met along the way.

Yes, this is the planet of the Sardauks, people who look like spiders, the planet of gloom and darkness. Here the bright sun never appears, there are never blooming gardens. Children represent the inhabitants of the planet - Sardauks - and move to the music.

We fly further... And again computers give out information about the approach of a new planet... (The Thunderstorm Scene sounds from K. Karaev's ballet - the music is cold, harsh, frozen.) The children tell what planet they met.

This is a planet of cold, ice, the Ice-Reans live here. Children show the inhabitants of this planet with the help of movements, gestures and facial expressions.

And here is another planet... (S. Wolfenzon, "Watch" - warm, sunny, sparkling smiling, joyful.) Children represent the inhabitants of the planet and move to the music.

Yes, this is the planet of the Lensmen, the planet of warmth and sun, joy and fun. The computer reminds that samples of the planets are ready, collected during the space flight with special devices - ornithopters.

Didactic exercise "From what planet?"

Children are offered pieces different materials: coal, flint, multi-colored chalk, glass, sponge, pumice, wax, brick, etc. The guys choose what material the planet of Sardauks, Ice-Reans, Lensmen could consist of and why.

The teacher reminds that the space journey does not end there, but in order not to forget these planets, you need to “photograph” them. Children draw - put their "pictures" on a special "photo paper" (choose paper of the desired tone).

Musical series: D. Kabalevsky, "Rondo-toccata", "Emergency"; K. Karaev, “Scene of a thunderstorm from the ballet “The Path of Thunder”; S. Wolfenzon, "Watch"; E. Grieg, "In the cave of the mountain king."

Reproductions of paintings by abstract artists.

Lesson "On the planet Fantasy"

The space journey continues, but while there is time, let's think about what we can give the inhabitants of another planet. Children offer to give their magic toys, their favorite photos, photos pictures of friends, mom, dad, and maybe a photo of the corner of nature dearest to the heart. The teacher advises the children to prepare photographs of the planet Earth, because the planet appeared on the screens and in the windows, to which we were in such a hurry. Children come up with a name for this planet. Various creatures live on it, not only appearance but also in character. Attention! Attention! All cosmonauts prepare to enter the spare compartment. Prepare to descend to the planet in planetbuses.

Here we are on an unfamiliar, fantastic planet. Everything here is so unusual. Children meet the inhabitants of the planet, each radiates their own music: fast, bold - S. Prokofiev, "Petya's Theme" (from the symphonic fairy tale "Peter and the Wolf"); prickly, cocky - S. Prokofiev, "Play" from the cycle "Fleeting"; kind - I. Brahms, "Petrushka"; clumsy - D. Kabalevsky, "Jumping Champion". Children describe in words the inhabitants of the planet, their character, features.

And then they draw the inhabitants of the planet on paper, “take pictures” so that later they can tell their friends about their adventures.

Musical sequence: S. Prokofiev, "Petya's Theme" (from the symphonic fairy tale "Peter and the Wolf"), "Piece" from the cycle "Fleeting"; I. Brahms, "Petrushka"; D. Kabalevsky, "Jumping Champion".

Cycle "Spring Tale"

Purpose: the formation of an emotionally holistic perception of the surrounding world, works of art.

• * continue to teach to notice the expressive means of a musical, pictorial and poetic artistic image;
• * to consolidate the ability to convey one's attitude to the artistic image, to embody fantastic ideas using various expressive means in the field of fine arts, plastic arts, and verbal creativity.

Lesson "Magic Transformation"

A song from the repertoire of B. Grebenshchikov sounds:

Under the blue sky there is a city of gold

With transparent gates and a bright star.

And in that city there is a garden, where herbs and flowers,

Animals of unprecedented beauty walk there ...

“Morning” by S. Prokofiev sounds and finger warm-up begins.

We found ourselves in a magical garden. The sun's rays gently touch the flower petals, stroke them, the dewdrops slowly roll down the stalk, the flowers shake their beautiful heads and wake up ... They open their eyes wide, as if rejoicing in the sun, a light breeze shakes the corollas of flowers, and they greet each other with a bow. In this wonderful garden there lived a caterpillar. Every morning she woke up and looked at herself in a drop of dew, as in a mirror. What reflection did she see in the droplet? Music will tell you ... (A fragment of S. Prokofiev's "March" sounds - the music is prickly, unpleasant, jerky.) The children tell what the caterpillar was like.

Yes, guys, she was very upset by her ugliness, sat down on the edge of a leaf and wept bitterly ... But one day she ran past, who would you think? (The Hungarian folk melody “Beetles” sounds.) Children determine that the music is light, jumping, funny, mischievous - this is a spider that descended on a cobweb to a flower. The spider felt sorry for the neighbor when she told him about her grief. And he decided to help her. He wove a blanket of silver threads to hide her from prying eyes, wrapped the caterpillar in it and fell asleep. The sorceress-spring found out about this, she touched the silvery cocoon with a magic wand, and the caterpillar woke up from sleep. (The play “The Fluttering Moth” by V. Kikt sounds - light, transparent, light, sparkling.)

Children will learn that this is no longer a caterpillar, but a beautiful butterfly, so similar to spring Flower. “Oh, what a beautiful butterfly, what beautiful wings it has, what a charming outfit, what a wonderful transformation, magical!” the birds chirped, and the flowers shook their heads in surprise. The caterpillar looked around, but there was no one around except for her - it was she who turned into a beautiful butterfly.

Didactic exercise "Magic patch".

Children pick up multi-colored patches for the dress of a caterpillar and a butterfly, lay them out on contour images of butterflies pre-cut from paper. The teacher invites the children to draw butterflies on the fabric, the children transfer a variety of colors of butterflies of their choice.

Musical series: S. Prokofiev, "Morning", "March"; D. Shostakovich, Waltz of the Flowers; V. Kikta, "The Fluttering Moth"; Hungarian folk melody "Beetles" arr. L. Vishkareva.

Lesson "Who lives in the forest?"

The teacher says that the image can be obtained not only by drawing, but also by composing it from parts that are pasted onto paper. Application can be made not only from colored paper, but also from dried leaves, flowers, seeds of trees.

In this lesson, children come up with a fabulous forest creature that does not exist in nature. Someone will take as a basis a maple leaf, in whole or in part. Someone - oblong and pointed willow leaves at the end, and someone - round aspen leaves, etc. It is important that the forest creature invented by the child does not have a real basis. For the application, you need to choose a background color. The color will tell the audience the nature of the forest miracle. Then, when the application is finished, it will be necessary to come up with a name for the forest creature and write it on the back. At the end of the lesson, the "abracadabrics" line up at the demonstration board, and the children come up with different stories about these creatures.

Material for the lesson: white or colored paper, dried natural material, glue.

Lesson "Beyond the mountains, behind the forests ..."

The teacher deliberately distracts the attention of the children so that at that very moment something attractive appears in the group, for example, balloon with envelope etc.

Setting up the children for a pleasant message, the teacher, slowly, examines the discovered object together with the children, listening to their thoughts and conjectures. Tells the kids the words that they do not have enough to express an idea. Finally, it comes to the message to the children.

The teacher reads: Over the mountains, beyond the forests, there is a chest with miracles ...

Again there is a discussion: what miracles, where is that chest and, finally, what kind of plan-map is on the sheet.

As a result of the discussion, it turns out that the path of the children to the treasured chest lies through a certain room. preschool, hall, room of fairy tales, etc.

The children are on their way. Soon, an obstacle appears in front of them in the face of a fairy-tale character, for example, an Old Woman in a headscarf, with a wand. The old woman asks who came to her, where the children are on their way.

“I heard, I heard about the chest,” says the Old Woman, “only finding it is both simple and difficult. Here he is, very close, but magical powers guard the chest. And not everyone is given the strength to win these. Let me give you the first test. I have a magical ball that will lead you to my older sister. She knows more about that chest than I do. But in order for you to get a magic ball, you must be able to persuade me to give it to you. And I'm an old woman intractable. If you can’t beg, persuade me, blame yourself.”

Children independently and with the help of a teacher, repeating her speech patterns, persuade the Old Woman, come up with compliments using a variety of forms of request. Don't rush with hints. The old woman not only listens to the children, but also talks about how some appeals came to her heart, for example, “dear good grandma”, “grandmother-sorceress”, “be kind, dear grandmother”, etc.

Finally, the children get a magic ball, throw it, run after it. The old lady disappears. The ball rolled, rolled and also disappeared, but at the end of the thread the children find another message, and in it is a description of the further path through a certain room.

There the children meet older sister The old women, whom they also beg to give them a ball, prove how much they want to get a chest with miracles.

Children receive a chest from the hands of a sorceress. They say goodbye to her, thank her for the gift, return to the group and examine the outlandish little things found in the chest. The set can be anything: an old candle that burned in the castle of the Sleeping Princess; Feather of Finist-Yasna Sokol; the queen's fan, an ancient coin, a brocade slipper, one or two mysterious unfamiliar objects, and, finally, a book of fairy tales.

Items are considered slowly. The teacher actively participates in the conversation, expressing his thoughts about each subject.

In the future, the children show the treasures of the chest to all adults who are interested in their adventures, who enrich the children with new information about the objects.

At the end, the children compose a collective fairy tale, where all these objects should be present.