Topic l Vygotsky creativity and imagination. Abstract on the work of L.S. Vygotsky Imagination and creativity in childhood. Material from Daschess

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Vygotsky L.S.

Imagination and creativity in childhood. St. Petersburg: SOYUZ,

1997, 96 p.
LR No. 070223 dated 06.02.92. ISBN #5-87852-033-8
This book by the famous Russian psychologist L. S. Vygotsky examines the psychological and pedagogical foundations for the development of the creative imagination of children.

Teachers and parents will find in the book a lot of useful information about the literary, theatrical and visual arts of preschoolers and younger students.

Head of Editorial Board A. N. Drachev
Original layout by K. P. Orlova
ICF "MiM - Express",

Cover design, 1997

CHAPTERI
CREATIVITY AND IMAGINATION
We call creative activity such activity of a person that creates something new, whether it is created by creative activity, some thing of the external world, or a certain construction of the mind or feeling, living and manifesting itself only in the person himself. If we look at the behavior of a person, at all his activities, we can easily see that in this activity two main types of actions can be distinguished. One type of activity can be called reproducing, or reproductive; it is connected in the closest way with our memory; its essence lies in the fact that a person reproduces or repeats previously created and developed methods of behavior or resurrects traces of previous impressions. When I remember the house where I spent my childhood, or distant countries I once visited, I reproduce traces of those impressions that I received in early childhood or during travel. Just as exactly, when I draw from nature, write or do something according to a given model, in all these cases I reproduce only what exists in front of me, or what I have learned and worked out before. In all these cases, the common thing is that my activity does not create anything new, that its basis is a more or less exact repetition of what was.

It is easy to understand what great significance this preservation of his former experience has for the whole life of a person, how much it facilitates his adaptation to the world around him, creating and developing permanent habits that are repeated under the same conditions.

The organic basis of such reproducing activity or memory is the plasticity of our nerve matter. Plasticity is the property of a substance, which consists in its ability to change and retain traces of this change. Thus, wax in this sense is more plastic than, say, water or iron, because it is easier to change than iron, and better retains a trace of change than water. Only both of these properties, taken together, form the plasticity of our nervous substance. Our brain and our nerves, which have great plasticity, easily change their finest structure under the influence of various influences and retain a trace of these changes if these excitations were strong enough or repeated often enough. Something similar happens in the brain to what happens to a sheet of paper when we fold it in the middle; a trace remains at the place of inflection - the result of the change made and the predisposition to repeat this change in the future. Now it is worth blowing on this paper, as it will bend in the very place where the trace was left.

The same thing happens with the track left by a wheel on soft ground: a rut is formed, which fixes the changes made by the wheel and facilitates the movement of the wheel in the future. In our brain, strong or frequently repeated excitations produce a similar blazing of new paths.

Thus, our brain turns out to be an organ that preserves our previous experience and facilitates the reproduction of this experience. However, if the activity of the brain were limited only to the preservation of previous experience, a person would be a creature that could adapt mainly to the usual, stable environmental conditions. Any new and unexpected changes in the environment that were not encountered in the previous experience of a person, in this case, could not cause a proper adaptive reaction in a person. Along with this function of preserving past experience, the brain has another function, no less important.

In addition to reproducing activity, it is easy to notice another kind of this activity in human behavior, namely, combining or creative activity. When I picture in my imagination a picture of the future, say, the life of a person under a socialist system, or a picture of the distant past of the life and struggle of prehistoric man, in both these cases I do not reproduce the impressions that I once happened to experience. I do not just renew the trace of the former stimuli that reached my brain, I have never actually seen either this past or this future, but I can have my own idea about it, my image, my picture. Any such activity of a person, the result of which is not the reproduction of impressions or actions that were in his experience, but the creation of new images or actions, will belong to this second kind of creative or combining behavior. The brain is not only an organ that preserves and reproduces our previous experience, it is also an organ that combines, creatively processes and creates new positions and new behavior from the elements of this previous experience. If man's activity were limited to a mere reproduction of the old, then man would be a being turned only to the past, and would be able to adapt to the future only insofar as it reproduces this past. It is the creative activity of a person that makes him a being, facing the future, creating it and modifying its present.

This creative activity, based on the combining ability of our brain, psychology calls imagination or fantasy. Usually, imagination or fantasy does not mean exactly what is meant by these words in science. In everyday life, imagination or fantasy is called everything that is unreal, that does not correspond to reality, and that, therefore, cannot have any serious practical significance. In fact, imagination, as the basis of all creative activity, manifests itself equally in all decisively aspects of cultural life, making artistic, scientific and technical creativity possible. In this sense, everything that surrounds us and that is made by the hand of man, the whole world of culture, in contrast to the world of nature, is all a product of human imagination and creativity based on this imagination.

“Every invention,” says Ribot, “large or small, before becoming stronger, being realized in fact, was united only by imagination, a construction erected in the mind through new combinations or ratios.

The vast majority of inventions are made by unknown people, only a few names of great inventors have survived. Imagination always remains, however, by itself, no matter how it manifests itself: in an individual person, or collectively. In order for the plow, which at first was a simple piece of wood with a fired tip, to change from such a simple hand tool to what it is now after a long series of modifications described in special writings, who knows how many imaginations had to work on it? In the same way, the dull flame of a knot of resinous wood, which was a crude primitive torch, leads us through a long series of inventions to gas and electric lighting. All objects of everyday life, not excluding the most simple and ordinary, are, so to speak, crystallized imagination.

Already from this it is easy to see that our ordinary idea of ​​creativity also does not fully correspond to the scientific understanding of this word. In the usual view, creativity is the lot of a select few people, geniuses, talents who created great works of art, made great scientific discoveries or invented some kind of improvement in the field of technology. We readily recognize and easily recognize creativity in the activities of Tolstoy, Edison and Darwin, but it usually seems to us that this creativity does not exist at all in the life of an ordinary person.

However, as already mentioned, this view is incorrect. Compared by one of the Russian scientists, just as electricity acts and manifests itself not only where there is a majestic thunderstorm and dazzling lightning, but also in a light bulb of a pocket lantern, so it is true that creativity actually exists not only where it creates great historical works, but also wherever a person imagines, combines, changes and creates something new, no matter how small this new thing may seem compared to the creations of geniuses. If we take into account the presence of collective creativity, which combines all these often insignificant grains of individual creativity, it becomes clear what a huge part of everything created by mankind belongs precisely to the nameless collective creative work of unknown inventors.

The vast majority of inventions are made by no one knows who, as Ribot rightly says about this. The scientific understanding of this issue leads us, therefore, to look at creativity more as a rule than as an exception. Of course, the highest expressions of creativity are still available only to a few selected geniuses of mankind, but in everyday life around us, creativity is a necessary condition for existence, and everything that goes beyond the limits of routine and contains at least an iota of new owes its origin to the creative process of man.

If creativity is understood in this way, then it is easy to see that creative processes are revealed in all their strength already in early childhood. One of the very important questions of child psychology and pedagogy is the question of creativity in children, the development of this creativity and the significance creative work for the overall development and maturation of the child. Already at a very early age, we find creative processes in children, which are best expressed in the games of children. A child who, sitting on a stick, imagines that he is riding a horse, a girl who plays with a doll and imagines herself to be its mother, a child who in play turns into a robber, into a Red Army soldier, into a sailor - all these playing children provide examples the most genuine, the most genuine creativity. Of course, in their games they reproduce a lot of what they saw. Everyone knows what a huge role imitation plays in children's games. The child's games very often serve only as an echo of what he saw and heard from adults, and yet these elements of the child's former experience are never reproduced in the game in exactly the same way as they were presented in reality. A child's play is not a simple recollection of what he has experienced, but a creative processing of the experienced impressions, combining them and constructing from them a new reality that meets the needs and inclinations of the child himself. Just as precisely, the desire of children to write is as much an activity of the imagination as is play.

“A boy of three and a half years,” says Ribot, “seeing a lame man walking along the road, he cried out:

Mom, look what a leg this poor man has!

Then the novel begins: he was sitting on a high horse, he fell on a large stone, he hurt his leg painfully; I need to find some powder to cure her.”

In this case, the combining activity of the imagination is extremely natural, familiar to the child from previous experience, otherwise he could not have created it; however, the combination of these elements already represents something new, creative, belonging to the child himself, and not simply reproducing what the child had the opportunity to observe or see. It is this ability to create a structure from elements, to combine the old into new combinations, and this is the basis of creativity.

With full justice, many authors point out that the roots of such creative combination can be seen even in the games of animals. Animal play is also very often a product of motor imagination. However, these rudiments of creative imagination in animals could not receive any stable and strong development under the conditions of their life, and only man developed this form of activity to its true height.

CHAPTERII
IMAGINATION AND REALITY
However, the question arises: how does this creative combining activity take place? Where does it come from, what is it conditioned by, and what laws does it obey in its course? Psychological analysis of this activity indicates its enormous complexity. It does not arise immediately, but very slowly and gradually, it develops from more elementary and simple forms to more complex ones, at each age level it has its own expression, each period of childhood has its own form of creativity. Further, it does not stand alone in human behavior, but it turns out to be directly dependent on other forms of our activity, and in particular on the accumulation of experience.

In order to understand the psychological mechanism of imagination and the creative activity associated with it, it is best to start by clarifying the connection that exists between fantasy and reality in human behavior. We have already said that the worldly view, which separates fantasy and reality by an impenetrable line, is wrong. Now we will try to show all four main forms that connect the activity of the imagination with reality. Finding this out will help us understand the imagination not as an idle pastime of the mind, not as an activity hanging in the air, but in its vital function.

The first form of connection between imagination and reality is that any creation of imagination is always built from elements taken from reality and contained in the previous experience of man. It would be a miracle if the imagination could create from nothing, or if it had other sources for its creations than previous experience. Only religious and mystical ideas about human nature could attribute the origin of the products of fantasy not to our previous experience, but to some extraneous, supernatural force. According to these views, the gods or spirits inspire people with dreams, the ideas of their works for poets, and the Ten Commandments for legislators. Scientific analysis of the most remote and most fantastic constructions, for example, fairy tales, myths, legends, dreams, etc., convinces us that the most fantastic creations are nothing but a new combination of such elements that have been gleaned from ultimately out of reality and subjected only to the distorting or processing activity of our imagination.

The hut on chicken legs exists, of course, only in a fairy tale, but the elements from which this fabulous image is built are taken from the real experience of a person, and only their combination bears the trace of a fabulous, i.e., not corresponding to reality, construction. Let's take for example the image of the fairy-tale world, as Pushkin draws it:

“At the seaside, there is a green oak, a golden chain on that oak, and day and night the scientist cat keeps walking around the chain. He goes to the right - he starts the song, to the left - he tells a fairy tale. There are miracles: a goblin wanders there, a mermaid sits on the branches; there on unknown paths are traces of unseen animals; a hut there on chicken legs stands without windows, without doors.

One can follow the whole passage word by word and show that only the combination of elements is fantastic in this story, and the elements themselves are drawn from reality. An oak tree, a golden chain, a cat, songs - all this exists in reality, and only the image of a learned cat walking on a golden chain and telling fairy tales, only a combination of these elements is a fairy tale. As for the purely fabulous images that appear further, like a goblin, a mermaid, a hut on chicken legs, they also represent only a complex combination of some elements prompted by reality. In the image of a mermaid, for example, there is an idea of ​​a woman with an idea of ​​a bird sitting on branches; in a fairy hut, the idea of ​​chicken legs - with the idea of ​​a hut, etc.

Thus, the imagination always builds from the materials given by reality. True, as can be seen from the above passage, the imagination can create ever newer and newer degrees of combination, combining first the primary elements of reality (cat, chain, oak), then combining images of fantasy a second time (mermaid, goblin), etc., and so on. etc. According to the last elements, from which the most distant fantastic representation is created, these last elements will always be the impressions of reality.

Here we find the first and most important law to which the activity of the imagination is subject. This law can be formulated as follows: the creative activity of the imagination is directly dependent on the richness and diversity of a person's previous experience, because this experience is the material from which the constructions of fantasy are created. The richer the experience of a person, the more material that his imagination has at his disposal. That is why the imagination of a child is poorer than that of an adult, and this is due to the greater poverty of his experience.

If you trace the history of great inventions, great discoveries, you can almost always establish that they were the result of a huge experience accumulated before. It is from this accumulation of experience that all imagination begins. The richer the experience, the richer, other things being equal, the imagination must be.

After the moment of accumulation of experience, “begins,” says Ribot, “a period of maturation or incubation (incubation). With Newton, it lasted 17 years, and at the moment when he finally established his discovery in calculations, he was seized with such a strong feeling that he had to entrust the care of finishing this calculation to someone else. The mathematician Hamilton tells us that his method of quaternions, completely ready, suddenly presented itself to him when he was at Dublin Bridge: "At this moment I received the result of 15 years of labor." Darwin collects materials during his travels, observes plants and animals for a long time, and then reading a random book by Malthus strikes him and finally determines his teaching. Similar examples are abundantly found in cases of literary and artistic creations.

The pedagogical conclusion that can be drawn from this is the need to expand the experience of the child if we want to create a sufficiently strong foundation for his creative activity. The more the child has seen, heard and experienced, the more he knows and learned, the more elements of reality he has in his experience, the more significant and productive, other things being equal, the activity of his imagination will be.

Already from this first form of connection between fantasy and reality it is easy to see to what extent it is wrong to oppose them to each other. The combining activity of our brain is not something absolutely new in comparison with its preserving activity, but only a further complication of this first. Fantasy is not opposed to memory, but relies on it and arranges its data in more and more new combinations. The combining activity of the brain is ultimately based on the same thing - the preservation in the brain of traces of previous excitations, and the whole novelty of this function comes down only to the fact that, having traces of these excitations, the brain combines them into combinations that have not been encountered in its actual experience. .

The second form of connection between fantasy and reality is another, more complex connection, this time not between the elements of a fantastic construction and reality, but between the finished product of fantasy and some complex phenomenon of reality. When, on the basis of the study and stories of historians or travelers, I compose for myself a picture of the Great French Revolution or the African desert, then in both cases the picture is the result of the creative activity of the imagination. It does not reproduce what I perceived in my previous experience, but creates new combinations from this experience.

In this sense, it is entirely subject to the first law, which we have described above. And these products of the imagination consist of modified and reworked elements of reality, and a large stock of previous experience is needed so that these images can be built from its elements. If I didn’t have an idea of ​​waterlessness, sandiness, vast expanses, animals that inhabit the desert, I could not, of course, create the very idea of ​​​​this desert. If I didn't have a lot of historical ideas, I would just as not be able to create in my imagination a picture of the French Revolution.

The dependence of the imagination on previous experience is revealed here with exceptional clarity. But at the same time, there is something new in these constructions of fantasy, which distinguishes them very significantly from Pushkin's fabulous passage that we have analyzed above. Both the picture of the sea with a learned cat, and the picture of the African desert, which I have not seen, are equally constructs of the imagination, created by combining fantasy from elements of reality. But the product of the imagination, the very combination of these elements, in one case is unreal (fairy tale), in the other case the very connection of these elements, the very product of fantasy, and not just its elements, correspond to some kind of reality. It is this connection between the final product of the imagination and this or that real phenomenon that represents this second or higher form of connection between fantasy and reality.

This form of communication becomes possible only through someone else's or social experience. If no one had ever seen or described the African desert and the French Revolution, then it would be completely impossible for us to have a correct idea of ​​it. Only because my imagination does not work freely in these cases, but is guided by someone else's experience, acts as if on someone else's orders, only because of this can the result that is obtained in the present case, i.e., that the product of the imagination coincides with reality. In this sense, imagination acquires a very important function in the behavior and development of a person, it becomes a means of expanding a person’s experience, because he can imagine what he has not seen, can imagine, from someone else’s story and description, what is in his immediate personal experience was not, he is not limited by the narrow circle and narrow limits of his own experience, but can go far beyond, assimilating someone else's historical or social experience with the help of imagination. In this form, imagination is an absolutely necessary condition for almost all human mental activity. When we read a newspaper and learn about a thousand events that we have not directly witnessed, when a child is studying geography or history, when we simply learn from a letter about what is happening to another person - in all these cases our imagination serves our experience.

There will be a dual and mutual dependence of imagination and experience. If in the first case imagination is based on experience, then in the second case experience itself is based on imagination.

The third form of connection between imagination and reality is the emotional connection. This connection manifests itself in two ways. On the one hand, every feeling, every emotion tends to be embodied in certain images corresponding to this feeling. Emotion thus possesses, as it were, the ability to select impressions, thoughts, and images that are consonant with the mood that possesses us at a given moment. Everyone knows that in sorrow and joy we see everything with completely different eyes. Psychologists have long noticed the fact that every feeling has not only an external, bodily expression, but also an internal expression, which is reflected in the selection of thoughts, images and impressions. They called this phenomenon the law of double expression of feelings. Fear, for example, is expressed not only in pallor, in trembling, dryness in the throat, altered breathing and heartbeat, but also in the fact that all impressions perceived at this time by a person, all thoughts that come into his head are usually surrounded by a feeling that owns him. When a proverb says that a frightened crow of a bush is drinking, it means precisely this influence of our feelings, which colors the perception of external objects. Just as people long ago learned to express their inner states by means of external impressions, so also the images of fantasy serve as a morning expression for our feelings. A person marks grief and mourning in black, joy in white, calmness in blue, rebellion in red. The images of fantasy also provide an inner language for our feelings. This feeling picks up the individual elements of reality and combines them into a connection that is conditioned from within by our mood, and not from without, by the logic of these images themselves.

Psychologists call this influence of the emotional factor on the combining fantasy the law of the general emotional sign. The essence of this law is that impressions or images that have a common emotional sign, i.e., produce a similar emotional effect on us, tend to unite with each other, despite the fact that there is no connection either by similarity or contiguity between these images do not exist. It turns out a combined product of the imagination, which is based on a common feeling, or a common emotional sign that unites heterogeneous elements that have entered into a relationship.

“Representations,” says Ribot, “accompanied by the same affective state of reaction, are subsequently associated with each other, affective similarity connects and links dissimilar representations. This is different from association by contiguity, representing repetition of experience, and from association by similarity, in an intellectual sense. Images combine mutually not because they were given together before, not because we perceive relations of similarity between them, but because they have a common affective tone. Joy, sadness, love, hatred, surprise, boredom, pride, fatigue, etc., can become centers of attraction, grouping representations or events that do not have rational relations with each other, but are marked by the same emotional such or label: for example, joyful, sad , erotic, etc. This form of association is very often represented in dreams or dreams, i.e., in such a state of mind in which the imagination enjoys complete freedom and works at random, at random. It is easy to understand that this overt or covert influence of the emotional factor should contribute to the emergence of completely unexpected groupings and represents an almost limitless field for new combinations, since the number of images that have the same affective imprint is very large.

As the simplest example of such a combination of images that have a common emotional sign, we can cite the usual cases of the convergence of any two different impressions that have absolutely nothing in common with each other, except that they evoke similar moods in us. When we call blue a cold tone and red a warm tone, we bring together the impression of blue and cold only on the grounds that they evoke similar moods in us. It is easy to understand that fantasy, guided by such an emotional factor, the internal logic of feeling, will represent the most subjective, most internal kind of imagination.

However, there is also an inverse relationship between imagination and emotion. If, in the first case we have described, the senses influence the imagination, then in the other case, the reverse, the imagination influences the feeling. This phenomenon could be called the law of the emotional reality of the imagination. The essence of this law is formulated by Ribot as follows.

"All forms of creative imagination," he says, "include affective elements." This means that any construction of fantasy inversely affects our feelings, and if this construction does not correspond to reality in itself, then the feeling it evokes is still an active, really experienced feeling that captures a person. Imagine the simplest case of an illusion. Entering a room at dusk, the child mistakenly takes the hanging dress for a stranger or a robber who has climbed into the house. The image of a robber created by the child's fantasy is unreal, but the fear experienced by the child, his fright are completely real, real experiences for the child. Something similar happens with every decidedly fantastic construction, and it is precisely this psychological law that should explain to us why works of art created by the imagination of their authors have such a strong effect on us.

The passions and destinies of fictional characters, their joys and sorrows disturb, excite and infect us, despite the fact that we know that we are not faced with real events, but a fiction of fantasy. This happens only because the emotions with which artistic fantastic images infect us from the pages of a book or from the stage of the theater are completely real and are experienced by us truly seriously and deeply. Often a simple combination of external impressions, such as a piece of music, evokes in a person who listens to music a whole complex world of experiences and feelings. This expansion and deepening of feeling, its creative restructuring, constitutes the psychological basis of the art of music.

It remains to be said about the fourth and final form of connection between fantasy and reality. This last form is closely related in one way to the one just described, but in another it differs essentially from it. The essence of this latter lies in the fact that the construction of a fantasy can be something essentially new, which has not been in human experience and does not correspond to any really existing object; however, being embodied outside, having taken on a material incarnation, his “crystallized” imagination, having become a thing, begins to really exist in the world and influence other things.

Such imagination becomes reality. An example of such a crystallized or embodied imagination is any technical device, machine or tool. They are created by the combining imagination of man, they do not correspond to any pattern existing in nature, but they reveal the most convincing, effective, practical connection with reality, because, having incarnated, they have become as real as other things, and exert their influence on the environment around them. world of reality.

Such products of the imagination have gone through a very long history, which, perhaps, should be outlined in the most concise schematic way. We can say that in their development they described a circle. The elements from which they are built were taken by man from reality. Inside a person, in his thinking, they have undergone complex processing and turned into products of the imagination.

Finally, having incarnated, they again returned to reality, but they returned already with a new active force that changes this reality. Such is the full circle of the creative activity of the imagination. It would be wrong to believe that only in the field of technology, in the field of practical influence on nature, the imagination is able to describe such a full circle. Similarly, in the area of ​​emotional imagination, that is, subjective imagination, such a full circle is possible, and it is very easy to trace it.

The fact is that just when we have before us a full circle described by the imagination, both factors - intellectual and emotional - turn out to be equally necessary for the act of creativity. Feeling, like thought, drives human creativity. “Every dominant thought,” says Ribot, “is supported by some need, aspiration, or desire, i.e., an affective element, because it would be sheer nonsense to believe in the permanence of any idea, which, by assumption, would be in a purely intellectual state. , in all its dryness and coldness. Any dominant feeling (or emotion) must be concentrated into an idea or into an image that would give it flesh, a system, without which it remains in a vague state. Thus, we see that these two terms - the dominant thought and the dominant emotion - are almost equivalent to each other. to each other because both contain two inseparable elements and indicate only the predominance of one or the other.

The easiest way to convince yourself of this is again on the example of artistic imagination. Indeed, what is a work of art for? Doesn't it affect our inner world, our thoughts and feelings, just as technical tools affect the external world, the world of nature? We will bring the simplest example, from which it is easy for us to understand in the most elementary form the action of artistic fantasy. An example is taken from Pushkin's story "The Captain's Daughter". This story describes the meeting of Pugachev with the hero of this story, Grinev, on behalf of whom the story is being told. Grinev, an officer who was captured by Pugachev, persuades Pugachev to resort to the mercy of the empress, to lag behind his comrades. He cannot understand what drives Pugachev. Pugachev smiled bitterly:

No, he answered, it is too late for me to repent. There will be no pardon for me. I will continue as I started. How to know? Perhaps it will succeed! Grishka Otrepiev, after all, reigned over Moscow.

Do you know how he ended up? They threw him out of the window, stabbed him, burned him, loaded a cannon with his ashes and fired him!

Listen, - said Pugachev with some wild inspiration. - I'll tell you a fairy tale that an old Kalmyk woman told me as a child. Once an eagle asked a raven: “Tell me, raven-bird, why do you live in this world for three hundred years, and I’m only thirty-three years old?” - "Because, father, -

The raven answered him, - that you drink living blood, and I eat carrion. The eagle thought: let's try and we eat the same way. Fine. The eagle and the raven flew. Here they saw a pale horse. They went down and sat down. The raven began to peck and praise. The eagle pecked once, pecked again, waved its wing and said to the raven: “No, brother raven, than to eat carrion for three hundred years, it’s better to drink living blood once, and then what God will give!” - What is the Kalmyk fairy tale?

The tale told by Pugachev is a product of imagination and, it would seem, imagination, completely devoid of connection with reality. The talking raven and eagle could only appear in the fantasy of an old Kalmyk woman. However, it is easy to see that in some other sense this fantastic construction proceeds directly from reality and affects this reality. But only reality is not external, but internal - the world of thoughts, concepts and feelings

The man himself. They say about such works that they are strong not with external, but with internal truth. It is easy to notice that in the images of a raven and an eagle. Pushkin presented two different types of thought and them, two different attitudes to the world, and what could not be clear to oneself from a cold, dry conversation - the difference between the point of view of the layman and the point of view of the rebel - this difference was imprinted with perfect clarity and with great force of feeling in the mind of the speaker through the tale.

The tale helped to clarify the complex everyday attitude; her images, as it were, shed light on a vital problem, and what cold prose speech could not do, the fairy tale did with its figurative and emotional language. That is why Pushkin is right when he says that a verse can hit the hearts with unknown force, that is why in another poem he also speaks about the reality of an emotional experience caused by fiction: “I will shed tears over fiction.” It is worth remembering what effect it has on public consciousness some work of art, in order to make sure that here the imagination describes the same full circle as when, when it is embodied in a material tool.Gogol composed The Government Inspector, the actors played him in the theater, and the author and works of fantasy, and the play itself, played out in a dream, laid bare with such clarity all the horror of Russia at that time, with such force ridiculed the foundations on which life rested and which seemed unshakable, that everyone felt, and the tsar himself, who was present at the first performance, more all that the play contains the greatest threat to the order that she portrayed.

“Everyone got it today, and I got it the most,” Nikolai said at the first performance.

Artistic works can produce such an impact on the public consciousness of people only because they have their own internal logic. The author of any work of art, like Pugachev, combines fantasy images not in vain, not in vain, not arbitrarily piling them up on top of each other, by chance, as during a dream or a senseless daydreaming. On the contrary, they follow the internal logic of the developed images, and this internal logic is conditioned by the connection that the work establishes between its own world and between the outside world. In the tale of the raven and the eagle, the images are arranged and combined according to the laws of the logic of the then two forces that met in the person of Grinev and Pugachev. A very curious example of such a full circle, which describes a work of art, is given in his confessions by L. Tolstoy. He talks about how he got the image of Natasha in the novel War and Peace.

“I took Tanya,” he says, “rework with Sonya, and Natasha came out.”

Tanya and Sonya are his sister-in-law and wife, two real women, from the combination of which the artistic image originated. These elements taken from reality are combined further not according to the free whim of the artist, but according to the internal logic of the artistic image. Tolstoy once heard the opinion of one of the readers that he acted cruelly with Anna Karenina, the heroine of his novel, forcing her to throw herself under the wheels of a passing train. Tolstoy said:

“This reminds me of an incident with Pushkin. One day he said to one of his friends:

Imagine what a trick Tatyana thought up with me, she got married. I never expected this from her.

I can say the same about Anna Karenina. In general, my heroes and heroines sometimes do things that I would not want. They do what they have to do in real life and how it happens in real life, and not what I want.

We find this kind of recognition among a number of artists who note the same internal logic that governs the construction of an artistic image. In an excellent example, Wundt expressed this logic of fantasy when he said that the thought of marriage can suggest the thought of burial (the union and separation of the bride and groom), but not the thought of a toothache.

So in a work of art we often encounter distant and externally unrelated features, but, however, not extraneous to each other, like the thought of a toothache and the thought of marriage, but connected by internal logic.

Annotation for chapter 1. Creativity and imagination.

L.S. Vygotsky defines creative activity as “the activity of a person that creates something new, whether it is created by creative activity, some thing of the outside world, or a well-known construction of the mind or feeling, which lives and is found only in the person himself” [p. 3].

Vygotsky says that all human activity can be divided into two types, which have their own characteristics: reproducing, or reproductive, and combining, or creative.

Reproducing activity is the preservation of the previous experience of a person, ensuring its adaptation to the usual, stable environmental conditions. This activity is based on the plasticity of the human brain, which is understood as the ability of a substance to change and retain traces of this change.

The result of creative or combining behavior is not the reproduction of impressions or actions that were in the experience of a person, but the creation of new images or actions. The brain not only preserves and reproduces the previous experience of a person, but it also combines, creatively processes and creates new positions and new behavior from the elements of this previous experience. Creative activity makes a person “a being turned to the future, creating it and modifying its present”.

It is this creative activity, based on the combining ability of the brain, that is called imagination or fantasy in psychology. Imagination is the basis of all creative activity and manifests itself in all aspects of cultural life and makes artistic, scientific and technical creativity possible. Therefore, the worldly definition of imagination is not correct, as everything that does not correspond to reality and cannot have any serious practical significance.

Creativity is not the lot of only a few chosen people, geniuses who created great works of art, made great scientific discoveries or invented some kind of improvement in the field of technology. Creativity exists wherever a person imagines, combines, changes and creates something new, no matter how small this new thing may seem. A huge part of everything created by mankind belongs to the unification of many grains of individual creativity.

Undoubtedly, the highest expressions of creativity remain the prerogative of geniuses, but creativity is a necessary condition for the existence of a person in the everyday life around us, the existence of everything that goes beyond the routine.

Creative processes are revealed already in early childhood - in the games of children, which always represent the creative processing of experienced impressions, their combination and the construction of a new reality from them that meets the needs and inclinations of the child himself. It is the ability to create a structure from elements, to combine the old into new combinations, that is the basis of creativity.

The roots of creative combination can also be found in the games of animals, which are often a product of motor imagination, but these are only the beginnings of creative imagination, which have received their high development only in humans.

Annotation for chapter 2. Imagination and reality.

L.S. Vygotsky notes that creative activity does not arise immediately, but slowly and gradually, developing from simpler forms to more complex ones, and in each period of childhood it has its own form and then turns out to be directly dependent on other forms of our activity.

The essence of the first form lies in the fact that any creation of the imagination is always built from elements taken from reality and contained in the previous experience of man.

A scientific analysis of the most fantastic constructions (fairy tales, myths, legends, dreams, etc.) convinces us that the most fantastic creations are a new combination of such elements that were drawn from reality and subjected to distorting or processing imagination. Examples of this are a hut on chicken legs, a mermaid, a learned cat who tells fairy tales.

The imagination is able to create new and new combinations, combining first the primary elements of reality (cat, chain, oak), then again combining images of fantasy (mermaid, goblin), etc. The last elements out of which the most distant fantastic representation is created will always be the impressions of reality.

Proceeding from the latter, Vygotsky formulates the law: the creative activity of the imagination is directly dependent on the richness and diversity of a person's previous experience, because this experience is the material from which fantasy constructions are created. This means that the richer the experience of a person, the more material his imagination has. That is why a child's imagination is poorer than that of an adult, despite his apparent external wealth.

From this Vygotsky draws the conclusion that in order to create a solid foundation for a child's creative activity, it is necessary to expand his experience.

Therefore, combining activity is only a further complication of preserving activity. Fantasy relies on memory, arranging its data in new combinations.

The essence of the second form is the connection between the finished product of fantasy and some complex phenomenon of reality.

Explaining this situation, Vygotsky gives an example when, according to the stories of historians or travelers, one can imagine a picture of the Great French Revolution or the African desert. Here, the creative activity of the imagination does not reproduce what was perceived in the previous experience, but creates new combinations from this experience, modifying and processing the elements of reality, based on existing ideas.

Thanks to this, imagination becomes a means of expanding a person's experience, because he can imagine what he has not seen, he can go far beyond his own experience, assimilating someone else's historical or social experience with the help of imagination. Here experience relies on imagination.

The essence of the third form lies in the emotional connection between the activity of the imagination and reality.

This connection, on the one hand, is manifested in the fact that every emotion seeks to be embodied in images that correspond to this particular feeling, “picking up” impressions, thoughts and images that are consonant with the momentary mood that owns us. Every feeling has not only an external expression, but also an internal one, which is reflected in the selection of thoughts, images and impressions, which is the law of the double expression of feelings. The images of fantasy serve as an inner expression of our feelings, give the inner language of our feelings.

Feeling picks up individual elements of reality and combines them into such a connection, which is conditioned from within by our mood, by the logic of the images themselves. Given this feature, psychologists have identified the law of a common emotional sign, when impressions or images that have a common emotional sign, i.e. producing a similar emotional impact tend to unite with each other without any obvious connection by similarity or contiguity.

But, on the other hand, there is also a feedback - when imagination affects feelings. This is called the Law of Emotional Reality of Imagination. Any construction of fantasy affects feelings: the construction itself may not exist in reality or may not correspond to it (as in illusions), but the feeling it causes is really experienced by a person, captures him.

Those emotions that are caused by artistic fantastic images from books or a theatrical production are completely real and are experienced truly deeply and seriously. Psychological basis this is the expansion, deepening and creative restructuring of feeling.

The fourth form is that fantasy, having been embodied in things, begins to really exist.

The construction of fantasy can be something completely new, not in the experience of a person and not corresponding to a really existing object, but, embodied in things, it begins to really exist and act on other things (various technical devices, machines or tools).

Such products of the imagination go through a certain circle of their development: first, elements taken from reality undergo complex processing and turn into products of the imagination, after which they are embodied and return, in this way, to reality, but already as a new active force that changes this reality.

Such a circle can be described by the imagination. And here, for the act of creativity, both the intellectual and emotional factors are involved, because. human creativity is driven by both thought and feeling, where thought gives the feeling flesh and consistency.

Vygotsky also notes that works of art can have an impact on the public consciousness of people due to the fact that they have their own internal logic. Fantasy images are not combined randomly, as in dreams or dreams, but follow their internal logic, which is determined by the connection established by the work between one's own and the outside world.

In works of art, distant and outwardly unrelated features are often combined, but not extraneous to each other, but connected by internal logic.

Annotation for chapter 3. The mechanism of creative imagination.

The creative process includes three main stages: the accumulation of material, the processing of accumulated material (dissociation and association of impressions) and the combination of individual images, bringing them into a system, building a complex picture.

The accumulation of material includes external and internal perception, which is the basis of creativity. This is what the child sees and hears.

The processing of the accumulated material includes the dissociation of perceived impressions and association.

In the process of dissociation, the impression, as a complex whole, is divided into parts, individual parts stand out predominantly in comparison with others and are preserved, others are forgotten.

The ability to isolate individual features of a complex whole is important for all human creative work on impressions. Dissociation is followed by a process of change, a process of exaggeration and minimization of individual elements of impressions, which is characteristic of the imagination of both children and adults.

Exaggeration, due to the child's interest in the outstanding and extraordinary, causing a feeling of pride associated with the imaginary possession of something special, allows the child to practice operating with quantities that were not in his experience. And this operation with quantities - smaller or larger - allowed mankind to create astronomy, geology, physics, chemistry.

Association is a union of dissociated and changed elements, occurring on a different basis and taking various forms from purely subjective to objectively scientific.

The course of the listed processes (stages) of creative imagination depends on several basic psychological factors.

The first factor is the human need to adapt to the environment. Vygotsky writes: “Creativity is always based on incapacity, from which needs, aspirations, and desires arise” [pp. 23-24].

It is the needs or desires that set in motion the process of imagination and provide material for its work.

Among other obvious factors, Vygotsky refers to experience, needs and interests in which these needs are expressed, combinatorial ability and exercise in this activity, the embodiment of products of the imagination in a material form, technical skill, traditions, etc.

Another, less obvious, but important factor is the environmental factor. Outwardly, it seems that the imagination is guided only by the feelings and needs of a person, does not depend on external conditions and is conditioned by subjective reasons. But the psychological law says that the desire for creativity is always inversely proportional to the simplicity of the environment. An invention or scientific discovery appears only after the creation of the necessary material and psychological conditions. Creativity is a historically successive process, where each subsequent form is determined by the previous ones. That is why there are more different inventors in the privileged classes.

Annotation for chapter 4. Imagination in a child and a teenager.

The activity of creative imagination depends on a number of different factors that take on a different form at different age periods: the experience, environment and interests of the child differ from those of an adult.

There is an opinion that a child has a richer imagination than an adult, and that as the child develops, the power of fantasy and imagination decline. This was served by the following representations: children's fantasy is undemanding and unpretentious, in contrast to the fantasy of an adult; the child lives more in a fantasy world, he is characterized by a love of fairy tales, exaggeration and distortion of real experience.

However, it is known that the child's experience is poorer, his interests are simpler, more elementary, relations with the environment do not have the complexity, subtlety and diversity as in an adult. Consequently, the imagination of a child is poorer than that of an adult. It develops during the development of the child and only in the adult reaches its maturity.

The imagination begins to mature as it approaches maturity: in adolescence, a powerful upsurge of the imagination and the beginning of the maturation of fantasy are combined. Vygotsky says that there is a close relationship between puberty and the development of the imagination. In a teenager, his accumulated experience is summed up, permanent interests mature, and the activity of his imagination receives its final form against the background of general maturation.

The basic law of the development of the imagination is formulated by Vygotsky as follows: the imagination goes through two periods in its development, separated by a critical phase.

In childhood, the development of the imagination and the development of reason are very different, and it is precisely the independence of the child's imagination from the activity of the mind that is an expression of the poverty of the child's fantasy. A child can imagine much less than an adult, he trusts the products of his imagination and controls them less, he has a poorer character of combinations of elements of reality, their quality and variety. The child has only two forms of connection between imagination and reality: the reality of the elements and the reality of the emotional basis of the imagination. Other forms develop only over the years.

The turning point in the development of the imagination is adolescence, after which imagination and reason are closely connected. The activity of the imagination adapts itself to rational conditions and becomes mixed. However, for many, creative imagination declines under the influence of the "prose of life", but it does not disappear completely, but becomes an accident.

The critical period in the development of the imagination coincides with adolescence. Here imagination is transformed from subjective to objective. The reason for this from a physiological point of view is the formation of an adult organism and an adult brain, and from a psychological point of view, the antagonism between the “subjectivity of the imagination and the objectivity of rational processes”, i.e. "instability and stability of the mind." Like the critical age itself, the imagination during this period is characterized by a fracture, destruction and the search for a new balance. Manifestations of the activity of the imagination of childhood curtail under the influence of a critical attitude towards the products of this activity: most adolescents stop drawing, they lose interest in naive games of an earlier age, fantastic tales and stories. On the other hand, literary creativity becomes a form of activity of the imagination - the writing of poems and stories, which is stimulated by a strong rise in subjective experiences, a deepening of intimate life, the formation of one's inner world, and eventually also declines under the influence of the same critical attitude. Thus, the critical phase is characterized by the rise and deep transformation of the imagination.

There are two types of imagination in the critical phase:

1. plastic, or external, which uses the data of external impressions, builds from elements borrowed from the outside, and
2. emotional, or internal, building from elements taken from within. The first can be considered objective, and the second - subjective.

Vygotsky points to the dual role of imagination in human behavior, expressed in the fact that it can both lead and lead a person away from reality; it can be a source of great theories, or it can repel reality, inclining to accept their fantasies as proven truths.

When asked about the dependence of the activity of the imagination on giftedness, Vygotsky answers that from a psychological point of view, creativity as the creation of something new is a normal and constant companion of child development and is inherent in everyone to a greater or lesser extent. Moreover, there is a rule according to which geeks lose their talent as they mature. Of course, giftedness and talent are manifested at an early age, but these are only the makings of a future genius, from which it is still very far from truly great creativity.

Annotation for chapter 5. "The torments of creativity."

It is difficult to create, because the need for creativity does not always coincide with its capabilities, which gives rise to a painful feeling of suffering. Creativity is often associated with the experience of the simultaneity of the desire to express one's feeling in a word, to infect another person with it, and the feeling of the impossibility of doing this.

It is the desire of the imagination for embodiment, as its most important feature, that is the basis and driving principle of creativity.

The imagination strives to become creative: active, active and transforming what the activity of this imagination is aimed at; his constructions aspire to be realized.

Vygotsky shares dreaminess and creative imagination: “In its normal and complete form, will ends in action, but in indecisive and weak-willed people, hesitation never ends, or the decision remains unfulfilled, unable to be realized and confirmed in practice. Creative imagination in its full form seeks to externally confirm itself in such a way that exists not only for the creator himself, but also for all others. On the other hand, with pure dreamers, the imagination remains in their inner sphere in a poorly processed state and is not embodied in an artistic or practical invention. Daydreaming is the equivalent of weak will, and dreamers are incapable of displaying creative imagination” [p. 35]. Here, daydreaming is compared with lack of will, and creative imagination with will.

An ideal, as a building of a creative imagination, is a vital force only when it guides the actions and deeds of a person, strives for embodiment. Thus, the formation of the imagination has a general meaning, which is reflected in all human behavior.

The annotation for chapters 1-5 was made by Surova Irina Vladimirovna

Annotation for chapter 6 Literary creativity at school age.

L.S. Vygotsky, starting to consider literary creativity, compares it with drawing. Drawing is a typical art of young children and especially preschool children. It is staged and in most children interest in it weakens by the beginning of school age. Its place begins to be occupied by new, verbal or literary creativity, which dominates, especially during puberty in a teenager.

The development of written language lags behind the development of oral speech in children. The reason for this lies mainly in the varying degrees of difficulty of both means of expression for the child. When a child faces a more difficult task (using written language), he copes with it at a lower level, showing the features of speech characteristic of a younger age.

Difficulties in written speech, first of all, appear due to the fact that it has its own laws, which differ from the laws of oral speech, which are not sufficiently accessible to the child.

During the transition to writing, younger students do not have an internal need for writing, i.e. the child often does not understand why he needs to write. Therefore, the development of children's literary creativity immediately becomes much easier and more successful when the child writes on a topic that is internally understandable for him and encourages him to express his own inner world in words.

L.S. Vygotsky quotes Blonsky and Tolstoy, who describe how, from their point of view, written literary creativity should be developed in children. Blonsky advises choosing the most suitable types of literary works for children, namely: notes, letters, short stories. Summarizing the recommendations of Blonsky, L.S. Vygotsky emphasizes that the task is to create in the child the need for writing and help him master the means of writing. L.N. Tolstoy, describing his experience of working with peasant children, says: in order to cultivate literary creativity in children, you need to give them only incentives and material for creativity. L.N. Tolstoy suggests using four methods:

• offer the widest choice of topics that are serious and of interest to the teacher himself;
• for samples for children's literary creativity, give only children's compositions;
• while examining children's essays, do not make comments to children about the neatness of the notebook, spelling, and, most importantly, about the construction of sentences and logic;
• the gradual complication of topics should not be in volume, not in content, not in language, but in the mechanism of the matter - the process of composition.

L.S. Vygotsky criticizes L.N. Tolstoy for his idealization of childhood.

According to L.N. Tolstoy, a newly born child is ideal, and any upbringing and training does not develop, but spoils it.

L.S. Vygotsky, on the contrary, considers it wrong to look at the perfection of the nature of the child, and, consequently, the denial of the meaning and possibility of education. Vygotsky is convinced that education in general, and the education of literary creativity in children, in particular, is not only possible, but absolutely inevitable. He emphasizes that Tolstoy himself was engaged in education, directing the process of children's creativity. And he sums up: the right upbringing is to awaken in the child what is in him, to help him develop and direct this development in a certain direction.

L.S. Vygotsky analyzes the creativity of homeless children. The verbal creativity of these children takes for the most part the form of songs sung by the children and reflecting all aspects of their life; it is distinguished by the genuine seriousness of literary speech, the brightness and originality of children's language, real emotionality and concrete imagery.

L.S. Vygotsky considers the connection between the development of literary creativity and the transitional age. At this age, a new factor of puberty, the sexual instinct, becomes very important. Because of this, the previously found equilibrium is violated. A characteristic feature of this age is increased emotionality, increased excitability of the child's feelings. And during this period, it is the word that makes it possible to convey with much greater ease (than drawing) complicated relationship, especially of an internal nature, as well as movement, dynamics, complexity of events.

Speaking about the studies of Giese, Vakhterov and Schneerson, L.S. Vygotsky refers to the concept of the child's agrammatical speech. During this period, the child's speech lacks indications of connections and relationships between objects and phenomena. Stern singles out the era of the appearance of subordinate clauses indicating this connection as the fourth, highest, phase of the development of children's speech.

Vakhterov analyzed children's speech from this side and came to the conclusion that, along with the development of the child, the frequency of using indirect cases also increases. The same is found in terms of the use of parts of speech. All this indicates that by the age of twelve and a half, the child moves to the stage of understanding the relationships that are transmitted by the grammatical form of indirect cases.

The results of studies of children's oral and written speech (Schlag, Gut, Linne, Solovyov, Busemann, Reves, etc.) are given.

Mentioning the advanced development of oral speech (compared to the development of written language), Vygotsky agrees with the conclusions of some authors who distinguish three main eras in the development of children's creativity:

• 3-7 years: oral verbal creativity;
• from 7 years to adolescence: development of written speech;
• the end of adolescence and the period of youth: a literary period.

The superiority of oral speech over written language remains even after the end of the first period, and the transition to written language immediately makes it difficult and discolors children's speech. Australian researcher Linke notes that a 7-year-old child writes as a 2-year-old could speak.

Buseman, highlighting the activity coefficient in the literary work of children, came to the conclusion that oral speech is more active, while written speech is of higher quality. This is also supported by the fact that written language is slower.

Children's collective literary creativity is characterized by the following features:

• combining fantasy
• emotional approach
• the desire to bring the emotional and figurative construction into an external verbal form
• children's creativity feeds on impressions coming from reality

L.S. Vygotsky compares the relation of children's creativity to adult creativity, on the one hand, with the relation of children's play to adult life, on the other.

Based on this analogy, L.S. Vygotsky proposes to develop and stimulate children's literary creativity like a game, namely: to offer children certain tasks and topics that involve the emergence of a number of certain impressions in children.

The best stimulus for children's creativity is such an organization of the life and environment of children that creates the needs and opportunities for children's creativity.

The primary form of children's creativity is syncretic creativity - separate types of art have not yet been divorced in it. This syncretism points to the common root from which all other types of children's art were divided - to children's play. The connection between children's artistic creativity and play, according to Vygotsky, is as follows:

• the child creates his work in one step, rarely works on it for a long time;
• the inseparability of children's literary creativity, as well as games, with the personal experiences of the child

The meaning of children's literary creativity lies in the fact that it contributes to the development of creative imagination, enriches the emotional life of the child. And although this creativity cannot educate a future writer in a child, it helps the child to master human speech.

Annotation for chapter 7. Theatrical creativity at school age.

The closest thing to children's literary creativity is children's theatrical creativity or dramatization. This type of children's creativity is closest to the child for two reasons:

• the drama is based on the action performed by the child himself and, therefore, it is directly related to the personal experiences of the children;
• Drama is rooted in play and therefore is the most syncretic type of children's creativity: literary composition, improvisation, verbal creativity, visual and technical creativity of children, and, finally, the game itself.

From Petrova's point of view, children's dramatic creativity is spontaneous and does not depend on adults. It makes it possible through imitation to understand unconscious spiritual movements (heroism, courage, self-sacrifice). In addition, this form of creativity gives children the opportunity to bring their fantasies into the external plane (which adults do not).

Petrova says that in the process of children's theatrical creativity, the intellectual, emotional and volitional spheres of the child are excited, without undue stress at the same time of his psyche.

L.S. Vygotsky, pointing out that children's theatrical creativity should not be reduced to the reproduction of adult theater, speaks of the importance of the very process of children's creativity in any of its forms - it is necessary that children create, create, exercise their creative imagination and its implementation. This point of view stands in contrast to the idea of ​​many educators that this form of creativity contributes to the early development of children's vanity, unnaturalness, etc.

Children's theater cannot be an exact copy of an adult, transferred to children's conditions. The child must understand what he is doing, what he is saying and what all this is for. The highest reward for a child is not the approval of adults, but the pleasure of the process itself, performed for oneself.

In such a form of creativity as dramatization, the effective form of depiction through one's own body is most in line with the motor nature of children's imagination and is therefore often used as a teaching method.

Annotation for chapter 8. Drawing in children's creativity.

Drawing is the predominant type of creativity of a child at an early age. According to various sources, at the age of 10 to 15 years, the period of decline in interest in drawing falls, after which interest increases again, but only among gifted children. Thus, according to Lukens, the drawings of an adult are not much different from the drawings of a child of 8-9 years old.

Kershensteiner, based on data from his systematic experiments, distributed the entire process of developing a child's drawing into 4 stages, without taking into account the stage of doodles.

1. First step. Scheme. The drawings of this period are characterized by:

• schematic: A person is depicted as a cephalopod;
• drawing from memory, not from nature;
• the image in the drawing of details that are important, in the opinion of the child, but not always necessary;
• x-ray image method;
• inconsistency and implausibility of the details of the picture.

Selley says that children at this stage in the development of drawing are more symbolists than naturalists. In their drawings, children single out only the most important (in their opinion) features and limit themselves to depicting them. Psychologists agree that at this stage the drawing is a graphic story about the depicted object.

2. Second stage. An emerging sense of form and line. The child gradually begins not only to list the specific features of the object, but also to convey the formal relationships of the parts. Characteristics of this stage are:

• mixture of formal and schematic images;
• more details;
• more believable details;
• no passes.
• However, this stage cannot be strictly distinguished from the previous one.

3. The third stage. True image. Here the scheme disappears, and the drawing takes on the form of a silhouette, or contours. The drawings still lack plasticity, perspective, but the image is already real. Children rarely go beyond this stage without additional training. This happens from the age of 11, when a certain percentage of children with certain abilities begins to stand out.

4. The fourth step. plastic image. Separate parts of the object are depicted convexly with the help of light and shadow, a perspective appears, movement is transmitted.

It would seem that drawing from observation should be easier than from memory. But it turned out, after analyzing all 4 steps of the drawing, that this is not so. Professor Bakushinsky, a researcher of children's drawings, explains this as follows. At the first stage, the motor-tactile form and the same method of orientation come to the fore in perception. During this period, the action is more important than the result, and this action is distinguished by a strong emotional coloring. The role of vision in the mastery of the worlds is growing more and more and subjugates the motor-tactile apparatus. In the new period, the child is again interested in the process, but now it is the process of contemplating the surrounding world.

The fourth stage develops in children, according to Kershensteiner, who are either gifted, or trained, or living in a favorable environment. And this is no longer a spontaneous, spontaneously arising activity of children. This is creativity associated with certain skills and abilities.

The data of Levinshtein's research are given.

Vygotsky emphasizes that the development of children's art, like any other creativity, should be free, not forced and optional.

At a transitional age, a child is not satisfied with a drawing made somehow, he needs certain skills. This is a twofold problem - on the one hand, it is necessary to cultivate creative imagination, and on the other hand, the very process of translating what is conceived on paper needs a special culture. Any art requires a certain technique, and the more complex this technique, the more interesting it is for children. Thus, a love for work develops in children and adolescents.

Children's creativity manifests itself wherever it is possible to direct the interest and attention of children to a new area in which a person's creative imagination can manifest itself.

In conclusion, L.S. Vygotsky emphasizes the importance of setting pedagogical work on the development and exercise of the child's imagination, which are one of the main forces in the process of preparing him for the future.

An annotation for chapters 6 - 8 was made by a student Georgievskaya E.A.

Chapter I. Creativity and Imagination 3

Chapter II. Imagination and reality 8

Chapter III. Creative Imagination Mechanism 20

Chapter IV. Imagination in a child and adolescent 26

Chapter V. "The Torments of Creativity" 33

Chapter VI. Literary creativity at school age 36

Chapter VII. Theatrical creativity at school age 61

Chapter VIII. Drawing in childhood 66

Appendix 79

Afterword 87

Conclusion

AFTERWORD

Peru, the outstanding Soviet psychologist L.S. Vygotsky (1896-1934) owns both serious scientific works (for example, "Thinking and Speech"), and several popular science works (for example, "Pedagogical Psychology").

Brochure “Imagination and creativity in childhood. Psychological essay" - "the bottom of them. Its first edition dates from 1930, the second - 1967. Why was there a need for a third edition? This is due to the following circumstances. First of all, with the fact that this brochure outlines ideas about imagination and creativity that are still not outdated in science. These ideas, illustrated by intelligible examples, are presented clearly and simply, which allows the general reader to easily assimilate their rather complex content. At the same time, in recent years, the interest of the reading public, and above all teachers and parents, in the peculiarities of children's imagination and creativity has sharply increased. And finally, there are few books in our popular scientific psychological literature that, combining the depth of content with the vividness of presentation, can satisfy such an interest. I hope that L.S. Vygotsky can do it.

It should be said that in its text the author used numerous factual material available from other psychologists, however, the peculiarity of the interpretation of the psychological nature of imagination and creativity given in the brochure is internally connected with the original theory of the mental development of the child, created by L.S. Vygotsky in the late 1920s. It was thanks to this theory that the name of its author then became famous all over the world. Its main ideas became the foundation of L.S. Vygotsky, to which many prominent Soviet and foreign scientists belong. One of the main such ideas is connected with the assertion of the creative nature of human activity in general and the child in particular. Several chapters of the brochure are devoted to a thorough analysis of the features and mechanism of imagination as an important mental ability of a person, its connection with creativity. First of all, L.S. Vygotsky elaborately substantiates the following propositions, which are very important for psychology and pedagogy.

The first position consistently reveals the importance of imagination for a person to carry out creative activity, which manifests itself in all aspects of his cultural life. “In this sense,” writes L.S. Vygotsky, “everything that surrounds us and that is made by a human hand, the whole world of culture, in contrast to the world of nature, is all a product of human imagination and creativity based on this imagination” (p. 5 of this edition).

The second provision is aimed at showing the presence of creativity in the everyday life of all people: creativity is a necessary condition for their existence. “And everything that goes beyond the limits of routine and that contains at least an iota of the new owes its origin to the creative process of man” (p; 7). If creativity is understood, then it can be found in a person already in the earliest childhood, although, of course, the highest expressions of creativity are inherent only in a certain part of people.

The third provision is connected with the characteristics of the connections between imagination (or fantasy) and reality. L.S. Vygotsky convincingly shows that any image, no matter how fantastic, has certain features of reality, is based on a person's experience, and reflects his emotional mood. Moreover, a significant part of the images of the imagination finds its substantive embodiment in machines, tools and in the works of people's spiritual culture.

In the fourth position, the psychological mechanism of creative imagination is described in detail. This mechanism includes the selection of individual elements of the subject, their change (for example, exaggeration, understatement), the combination of the changed elements into new integral images, the systematization of these images and their "crystallization" in the subject incarnation. The well-known "torments of creativity" are precisely connected with the desire of images of the imagination to be embodied. “This is the true basis and driving principle of creativity,” writes L.S. Vygotsky (p. 34).

All these provisions still retain their scientific significance. At the same time, it should be noted that thanks to the logical and psychological research carried out in recent decades, the understanding of the general nature of imagination has been clarified. To those of its features that were described by L.S. Vygotsky added such a new essential feature as a person’s grasping the integrity of some object in the form of imagination before revealing its parts. Thanks to this feature of the imagination, a person can create, for example, plans for his mental and objective actions, carry out various types of experimentation, etc. Based on the ideas outlined above, L.S. Vygotsky traces in his pamphlet the development of the imagination in childhood, its manifestations in the literary, theatrical and fine arts of schoolchildren. At the same time, it is emphasized that at each age level, imagination and creativity have their own specific features, closely related to the volume and nature of the child's everyday and emotional experience.

Yes, in preschool age the level and characteristics of the child's imagination are primarily determined by his play activity. “The game of a child,” writes L.S. Vygotsky, - is not a simple recollection of the experienced, but a creative processing of the experienced impressions, combining them and building a new reality out of them that meets the needs and inclinations of the child himself" (p. 7). Modern research shows (see the works of D.B. Elkonin, N.Ya. Mikhailenko; S.L. Nososelova and others) that the play of preschool children, especially if it is carried out with the skilful guidance of adults, contributes to the development of their creative imagination which allows them to come up with and then implement ideas and plans for collective and individual actions.

Creativity and the need for creation arise in preschoolers due to their play activities. Since, in our opinion, the essence of a person's personality is associated with his need and ability to create, then the personality begins to develop at preschool age.

L.S. Vygotsky draws very subtle psychological distinctions between the characteristics of the creative imagination in children and adolescents, showing the deep originality of the latter's imagination. This dispels the widely held belief that a child has a richer imagination than an adult. In fact (since the level of imagination depends on the depth and breadth of a person's experience), this mental ability is developed to a greater extent in an adult than in a child.

L.S. Vygotsky resolutely objects to the fact that creativity is the lot of the elite: “If we understand creativity in its true psychological sense, as the creation of something new, it is easy to come to the conclusion that creativity is the lot of everyone to a greater or lesser extent, it is also a normal and constant companion of a child’s development” (p. 32). From this conclusion, formulated by our wonderful psychologist, comes a sublime and optimistic pedagogical idea related to the education of children's creative abilities. And the following remark by L.S. Vygotsky: "Typical features of children's creativity are best revealed not on child prodigies, but on ordinary normal children" (p. 32).

A significant part of the brochure under consideration is devoted to the problems of artistic creativity of schoolchildren. Considering the peculiar features of their literary creativity, L.S. Vygotsky specifically notes that the child must “grow up” to him, acquire the necessary personal inner experience, therefore only adolescents can observe serious manifestations of literary creativity. The judgment of L.S. is interesting. Vygotsky about the great importance that it has for the development of the imagination of adolescents and their emotional sphere (see p. 61).

Agreeing with L.S. Vygotsky that inclusion in literary creativity requires important psychological prerequisites, it can be noted that, in accordance with new research materials (see the works of Z.N. Novlyanskaya, G.N. Kudina and others), a significant part of these prerequisites can appear in children as early as the primary school age, and not in adolescence, however, with the use of special means of introducing these children into the realm of literature.

Of great interest are the statements of L.S. Vygotsky about the expediency of proper pedagogical support for the theatrical creativity of schoolchildren, about its internal connection with acts of motor dramatization, with the objective Embodiment of images of the imagination (see pp. 62, 64, etc.). Analyzing the question of “fading” of fine art in adolescence, L.S. Vygotsky rightly connects the possibility of its preservation among adolescents with their mastery of the culture of pictorial representation (see p. 78). Original are his views on the need for resolute support at school for everything that contributes to the development of technical creativity in children, making a serious contribution to the development of their imagination (see pp. 77-78).

Psychological essay about childish imagination and creativity, written by L.S. Vygotsky more than 60 years ago, retains its cognitive potential, which is expedient for our teachers and parents to master. A careful reading of this essay will support in them the desire to organize such an upbringing of children, which will primarily be aimed at developing their creative imagination - the psychological core of the personality. “The creation of a creative personality,” wrote L.S. Vygotsky, - aspiring to the future, is prepared by creative imagination, embodied in the present” (p. 79). One cannot but agree with these words.

Full member of the USSR APN V.V. Davydov

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IN human behavior in his activities, we can easily see two main types of actions. One type of activity is reproducing reproductive. Associated with memory. Its essence lies in the fact that a person reproduces or repeats previously created and developed methods of behavior or resurrects traces of previous impressions. My activity does not create anything new, its basis is a more or less exact repetition of what was. The brain is an organ that preserves previous experience and facilitates the reproduction of this experience.

In addition to reproducing activity, it is easy to notice combining or creative activity. Any activity of a person, the result of which is not the reproduction of impressions or actions that were in his experience, but the creation of new images or actions, will belong to this second kind of creative or combining behavior.

This creative activity, based on the combining ability of our brain, is called imagination or fantasy by psychologists. In everyday life, fantasy is called everything that is not real, that does not correspond to reality. In fact, everything that surrounds us and that is made by human hand, the whole world of culture - all this is a product of human imagination.

Creative processes are found in full force already in early childhood. And best expressed in games. The desire of children to write is as much an activity of the imagination as a game.

Chapter 2. Imagination and reality.

In order to understand the psychological mechanism of imagination and the creative activity associated with it, it is best to start by clarifying the connection that exists between reality and fantasy in human behavior.

The first form of connection between imagination and reality is that any creation of imagination is always built from elements taken from reality and contained in the previous experience of man.

Imagination always consists of materials given by reality, but it can create more and more degrees of combinations, combining first the primary elements of reality, secondarily combining images of fantasy, etc., but the last element will always be impressions of reality.

The creative reality of the imagination is directly dependent on the richness and diversity of a person's previous experience, because this experience is the material from which constructions are created.

fantasies. The richer the experience of a person, the more material that his imagination has at his disposal.

If we want to create a solid foundation for the creative activity of the child, it is necessary to expand his experience. The more the child has seen, heard, experienced, the more he knows and learned, the more productive will be the activity of his imagination.

The second form of connection between fantasy and reality is another, more complex connection between the finished product of fantasy and some kind of complex phenomenon of reality. This form of communication becomes possible only through someone else's or social experience. In this case, the imagination acquires a very important function in the behavior and development of a person, it becomes a means of expanding the experience of a person, because. he can imagine what he has not seen. In this form, imagination is an absolutely necessary condition for almost all human mental activity.

The third form is the emotional connection. Impressions or images that have a common emotional sign, i.e. that produce a similar emotional effect on us tend to unite with each other, despite the fact that no connection exists there. It turns out a combined product of the imagination, which is based on a common feeling that unites heterogeneous elements that enter into a relationship.

The fourth form lies in the fact that the construction of fantasies can be something essentially new, not in the experience of a person, and not corresponding to any really existing object; however, being embodied outside, having taken on a material incarnation, this crystallized imagination, having become a thing, begins to really exist in the world and influence other things. Such imagination becomes reality.

Vygotsky continues his thought: “We will try to show all four main forms that connect the activity of the imagination with reality.” ibid.

He argues that the first and simplest form of connection between imagination and reality lies in the fact that any creation of the imagination is always built from elements taken from reality and contained in the previous experience of man. And here he discovers the first and most important law to which the activity of the imagination is subject: “the creative activity of the imagination is directly dependent on the richness and diversity of a person’s previous experience, because this experience is the material from which the constructions of fantasy are created” ibid.

Vygotsky believes that a child's imagination is poorer than that of an adult, and this is due to the poverty of his experience. He argues that the imagination does not carry out any own perception or act of creating reality, in the sense of creating matter or the material of its images, but only composes and combines the contents of a person's already existing experience.

This position has sometimes provoked criticism, the essence of which can be reduced to the following question: Isn't "viewing" a dream or mentally operating with "finished" products of the imagination (new ideas, constructions, artistic products, etc.) a real and real human experience? Is not imagination itself an experience? And, consequently, is not the imagination in this case a source of some contents also for itself? Is the imagination of a child really “poorer” than that of an adult, and in what specific sense does Vygotsky say this?

It should be noted that Vygotsky himself notes: “It turns out that there is a dual and mutual dependence of imagination and experience. If in the first case the imagination rests on experience, then in the second the experience itself rests on the imagination” ibid. Speaking of the "fourth form of connection between imagination and reality," he directly points out that when the products of the imagination enter life as technical or artistic objects, experience begins to rely on them and operate with them, and the initial relationship between fantasy and experience is, as it were, reversed.

Vygotsky develops his idea of ​​various connections between imagination and reality (reality) as follows: “The second form of connection between fantasy and reality is a more complex connection, not between elements of a fantastic construction and reality, but between a product of fantasy and some complex phenomenon of reality” ibid.

He explains his idea: on the basis of the study and stories of historians or travelers, one can form a picture of the French Revolution or the African desert, and in both cases the picture is the result of the creative activity of the imagination. It in no sense reproduces what was perceived by the subject in the previous experience, but is created from this experience thanks to fundamentally new combinations of the contents of this experience. If a person did not have many historical ideas, he could not create in his imagination a picture of the French Revolution.

“And a picture of the sea with a learned cat<у Пушкина>, and the picture of the African desert, which I have not seen, is equally the construction of the imagination. But the product of the imagination, the combination of these elements, in one case is unreal (fairy tale), in the other case the connection of these elements, the very product of fantasy, and not just its elements, correspond to some kind of reality. It is this connection between the final product of the imagination and this or that real phenomenon that represents this second or highest form of connection between fantasy and reality,” ibid, Vygotsky believes.

He believes that only because the imagination does not work freely in these cases, but is guided by someone else's experience, and only because of this can such a result be obtained: the product of the imagination in a certain sense "coincides with reality." In this regard, imagination is considered by him as something that acquires a very important function in human behavior and development: it becomes a means of expanding human experience. Thanks to him, he can imagine what he has not seen, can imagine from someone else's story and description what was not in his direct personal experience.

Thus, a person is not limited by the narrow circle and narrow limits of his own experience, but can go far beyond them, assimilating someone else's historical or social experience with the help of his imagination. In this form, imagination is an absolutely necessary condition for almost all human mental activity.

The third form of connection between imagination and reality is the emotional connection. This connection manifests itself, according to Vygotsky, in two ways.

First, in states of grief or joy, we see everything with completely different eyes. When they say that a frightened crow is afraid of a bush, they mean the influence of our feelings, coloring the perception of external objects. For example, a person marks grief and mourning in black, joy in white, calmness in blue, rebellion in red, although in different cultures this may be somewhat different. Feeling picks up the individual elements of reality and experience and combines them into a connection that is conditioned from within by our mood, and not from without, by the logic of these images themselves.

Further, Vygotsky quotes the French psychologist T. Ribot: “Representations,” says Ribot, “accompanied by the same affective state of reaction, are subsequently associated with each other, affective similarity connects and links dissimilar ideas to each other.<…>The images are combined mutually, not because they were given together before, not because we perceive relations of similarity between them, but because they have a common affective tone” ibid.

Impressions, or images that have a common emotional sign, tend to unite with each other, despite the fact that there is no connection between these images, either by similarity, or by contiguity, or by any other logic.

Vygotsky reinforces Ribot's thesis and states: “Joy, sadness, love, hatred, surprise, boredom, pride, fatigue, etc., can become centers of attraction, grouping representations or events that do not have rational relationships with each other, but are marked by the same emotional sign or label: for example, joyful, sad, erotic, and others” ibid.

Thus, the connection between imagination and reality can be represented:

1) as a connection between creativity and its material,

2) as a certain degree of correspondence of the products of the imagination to practical or mythological and artistic social experience,

3) as a relation to the reality of the "united affect", that grouped complex of contents, which was formed in connection with the general "emotional tone".

Here Vygotsky turns to the question of the relationship between sleep and fantasies uncontrolled by the intellect and reality. Dream and fantasy are considered by him as purely "emotional imagination".

A very interesting point in the topic is the appeal of L.S. Vygotsky to psychoanalytic topics. Although we cannot afford a lengthy exposition of this attempt here, we note that Vygotsky, in his notebooks, put it this way: “Freud considers consciousness in the light of the doctrine of the unconscious; we are the unconscious in the light of the doctrine of consciousness. Neither rediscover America, nor regard it as undiscovered; ..its facts and theories must be restructured into a new whole” Ot. According to Zavershneva E.Yu. Vygotsky vs. Freud: on rethinking psychoanalysis

from the point of view of cultural-historical psychology

about http://psyjournals.ru/files/84995/kip_2016_n4_zavershneva.pdf.

Speaking of dreams, Vygotsky believed that unity according to the main emotional tone is very often presented in dreams or in daydreams because the imagination in a dream enjoys complete freedom and works at random, “haphazardly.” The explicit or hidden influence of the emotional factor contributes to the emergence of completely unexpected groupings of impressions and sensations and provides an almost limitless space for new combinations.

In a certain respect, sleep and similar states and processes can be considered as vestiges of "natural", natural "imagination". It is known that animals in their sleep “run” and make other movements, growl and purr, as experiments show, their eyeballs move, pupils expand and contract. There is reason to believe that many animals are quite capable of dreaming. This is an example of "natural imagination", which in its cultural and higher forms must be mediated, tooled and symbolically reworked. Probably, the game is a way (or one of the ways) of such processing and mediation.

However, it should be borne in mind that even sleep in humans is also largely culturally mediated. It does not flow like a mechanical or natural series of associations. It no longer exists outside of language, signs, outside of mental functions specific to a person. However, it is not controlled by the intellect and consciousness, the imagination operates in a dream according to its own laws, and in a certain respect it opposes the socially productive, "useful" imagination.

In The Imagination and Creativity of the Adolescent, Vygotsky writes: “The most essential feature of fantasy in adolescence is its bifurcation into subjective and objective imagination. Strictly speaking, fantasy is formed for the first time only in the transitional age.<…>The child does not yet have a strictly defined function of imagination” Vygotsky L.S. Imagination and creativity in childhood. - St. Petersburg: SOYUZ, 1997. - 96 p. chapter I.). http://pedlib.ru/Books/7/0060/70060-1.shtml.

Speaking of "subjective" and "objective imagination", Vygotsky notes the dual role of imagination in human behavior. It can both lead and lead a person away from reality.<...>Departure into daydreaming, flight into an imaginary world often turns the strength and will of a teenager away from the real world.<...>this dual role of the imagination makes it a complex process, which becomes extremely difficult to master.ibid

According to Vygotsky, a teenager's fantasy seems to be divided into two channels. On the one hand, it becomes at the service of the emotional life, needs, moods, feelings that overwhelm the teenager. The child does not hide his game, the teenager hides his fantasies and hides them from others. The teenager hides them as the most intimate secret and is more willing to confess his misdeeds than to reveal his fantasies.

Along with this channel of fantasy, which primarily serves the emotional sphere of the adolescent, his fantasy also develops along another channel—objective creativity. Wherever in the process of understanding or in the process of practical activity it is necessary to create some new concrete construction, a new image of reality, fantasy comes to the fore as the main function.

After all, even in the lives of adults and respected people, some of the most important discoveries were made in a dream. For example, it is known that D.I. Mendeleev saw his now famous table of elements in a dream, and Friedrich Burdakh dreamed of the idea of ​​blood circulation. The largest mathematician of India, Srinivasa Ramanujan, claimed that all his discoveries came to him in a dream from the Hindu goddess Namagiri. In his dreams, she wrote the equations herself. The Soviet aircraft designer Oleg Antonov saw in a dream and after waking up he sketched the shape of the tail of the giant Antey aircraft.

“It would be wrong to think that both channels in the development of fantasy during the transitional age diverge sharply from each other. On the contrary, both the concrete and abstract moments and the subjective and objective functions of phantasy often occur in adolescence in a complex intertwining with each other. Objective expression is painted in bright emotional tones, but subjective fantasies are often observed in the field of objective creativity. As an example of the convergence of both channels in the development of the imagination, we could point out that it is in fantasies that the teenager first gropes for his life plan. , 1984. - T. 4. - S. 217-219., - notes Vygotsky.

Finally, Vygotsky comes to the fourth form of connection between fantasy and reality, different from the three listed:

“The construction of a fantasy can be something essentially new, which has not been in the experience of a person and does not correspond to any really existing object; however, being embodied outside, having become a thing, it begins to really exist in the world and act on other things. Such imagination becomes reality. Any technical device, machine or tool can serve as examples of such a crystallized, or embodied, imagination. Vygotsky L.S. Imagination and creativity in childhood. - St. Petersburg: SOYUZ, 1997. - 96 p. chapter I.). http://pedlib.ru/Books/7/0060/70060-1.shtml

In this passage, Vygotsky gives one of the formulations that clarify the idea of ​​the unity of affect and intellect: “The desire of the imagination for embodiment is the true basis and driving principle of creativity. Any construction of the imagination, based on reality, tends to describe a full circle and become reality ... The fact is that it is precisely when we have a full circle in front of us, described by the imagination, that both factors - intellectual and emotional - turn out to be equally necessary for the act creativity."

Of course, the specifics of various types of imagination were addressed, in addition to L.S. Vygotsky, and many other authors.

There are, for example, classifications of types of imagination that claim to be more detailed than L.S. Vygotsky, systematic: “Imagination is divided into passive and active, involuntary and voluntary ... Active imagination includes artistic, creative, recreating and anticipatory” Krutetsky V. A. Psychology: A textbook for students of ped. schools.-- M .: Enlightenment, 1980 ..

It is well known that the analysis of cognitive and emotional imagination is devoted to the work of many authors, and, of course, not only J. Piaget and T. Ribot, whom L.S. mentions from time to time. Vygotsky in his works.

Introduction 3

1. Creativity and imagination 5

2. Theatrical creativity at school age 8

3. Drawing in children's creativity. 9

Conclusion 13

References 14

Introduction

The relevance of research. Today, as time shows, it is not enough to be “filled” with knowledge, to be good performers. Time requires people who are able to think outside the box, creative, capable of growth. After all, a creative person adapts more easily to rapidly changing conditions of life and production, is able to determine the direction of his activity, find original solutions, and ensure his economic independence.

Therefore, one of the very important issues of child psychology and pedagogy is the question of imagination and creativity in children, the development of this imagination and creativity, and the importance of creative work for the overall development and formation of the child.

L.S. Vygotsky in his work “Imagination and Creativity in Childhood” notes that there is an opinion that childhood is considered the time when fantasy is most developed, but as the child develops, his fantasies decline. But it is not so. Psychological research shows that a child's imagination develops gradually, as he accumulates certain experience. All images of the imagination, no matter how bizarre, are based on the ideas and impressions that we receive in real life. In other words, the greater and more varied our experience, the greater the potential of our imagination.

That is why the imagination of a child is in no way richer, but in many respects poorer than the imagination of an adult. He has more limited life experience and therefore less fantasy material. Less diverse are the combinations of images that he builds. It’s just that sometimes a child explains in his own way what he encounters in life, and these explanations sometimes seem to us, adults, unexpected and original.

At the same time, imagination plays a more important role in the life of a child than in the life of an adult. It manifests itself much more often and is much easier to break away from reality. With its help, children learn about the world around them and themselves.

The purpose of the study: to study the work of L.S. Vygotsky "Imagination and creativity in childhood"

Conclusion

Where an adult has known everything for a long time, a child sees a lot for the first time, discovers something new, interesting, exciting his thoughts and feelings.

New strong impressions from the phenomenon of reality can be combined in the child's imagination in the most incredible combinations, and what is unacceptable for an adult to combine, the child easily combines into a bright and original image.

Creativity cannot be taught. But this does not mean that it is impossible for the educator, the teacher to promote his education and manifestation.

The most important condition for the manifestation of creativity, L.S. Vygotsky believes, is that activity in the child’s imagination almost never arises without the help and participation of adults. The younger student learns not so much from the teacher as with him. Thus, the freedom of creativity is ensured by the joint activity of the student and teacher. The mission of the teacher is to inspire the student with confidence in his abilities and abilities, understanding of his aspirations and confidence in success.