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  • Very different roles, role behavior of children

    When a child already owns ways of role-playing, establishes multiple role relationships, easily moves from one role to another in his game, and the adult must take care of activating his imagination, stimulating creativity in his game.

    Of course, the elements of creativity in the game of the child is already there - he selects various deputies instead of missing toys, sometimes displaying amazing ingenuity, uses a wide range of expressive means, recreating this or that role.

    But for the time being he uses the usual role-playing connections, taking them from observations, stories, fairy tales, from a joint game with an adult.

    So far, the adult, playing with the child, in general, was adapting to him - he chose a role, additional in meaning to the role of the child, unfolded the plot as if from within these roles, carefully introducing new story events into the game.

    And how to make the child himself went beyond the usual, he suggested new story events?

    For this you can use very different roles belonging to different semantic "bushes".After all, in order to unite them in a joint game, we must come up with an event that would make them close, embraced with a common meaning.

    The need for combining such different roles in children often occurs in a joint game with a peer, when one child, for example, wants to play a doctor and his partner in a babu-yaga( other examples of such seemingly incompatible roles:driver - Snake Gorynych, mother - a policeman, a teacher - Pinocchio, etc.).How to solve such a problem? I want to play together, and the roles are completely different.

    In fact, the semantic "bush" of the role of a doctor or a chauffeur does not include the role of a woman-yaga. They exist for the child in completely different planes: the first - in real life, and the second - in a fairy tale. How to be? How can you include a woman-yaga in the meaning field of a doctor?

    - It's very simple, - the adult will say, -It is necessary to imagine her getting sick: a woman-yaga - a patient.

    But for a child this is not so simple. To make it look convincing for him, we need to bring into play an event, an incident in which the woman would have to go to the doctor:

    - Come on - as if Serpent Gorynych mistakenly, instead of Ivanushka, hit a woman with a sword. I hit her a little bit. She had to go to the hospital to see a doctor.

    In such cases, one play role as it starts to combine several roles: baba-yaga at the same time and the patient( or maybe just grandmother, if her grandson remained in the hut).

    Depending on the future deployment of the story, this role will act one way or the other. If a woman-yaga came to the hospital, she acts for the child primarily as a patient, if she, after healing, returned to the forest - she is included in the typical role for her with magical, fairy-tale characters.

    Adult, of course, should in the game with the child give him samples of such combined roles. But at the same time, the child's imagination needs to be activated.

    For example, a child offers to play a trip and takes a chauffeur role:

    - And you will be a passenger, Mom!

    This is where my mother should announce her desires:

    - I do not want to be a passenger. I will be a woman-yaga. Here I have a hut here on chicken legs.

    - Well, Mummy! Let's play together. I do not play like that. Well, come on - you'll be a passenger!

    Of course, the child wants to play along with you: a partner is nearby, ready to play, how to be? It is necessary to think of something, because not to abandon the same game. And the child thinks out:

    - Okay, come on - like I was driving through the forest and got lost. And here the hut is on chicken legs.

    Adult can support this move, but can oppose his proposal:

    - Better come on - my stupa broke down. And I had to go to Koshchei. I called a taxi. I called on the phone.

    The game with telephone conversations and a "trip" can turn on further, as the child would like.

    - We came to Koshchei. ..

    - And now come on, as if the driver left, and Baba Yaga is visiting Koshchei. Come on - you are still Koschey. ..

    In the course of the game, it is necessary to designate for the child the moments when the combined role begins to perform one way or another:

    - Baba-yaga is now a taxi passenger. ..

    - And now the woman-yaga has returned to herselfin the hut. ..

    This designation is very important for the further play of the child with a peer. Its use by the child helps mutual understanding of children in their independent joint game.

    The game with the combined roles is a means of developing the child's imagination and imagination( the ability to combine, connect the real and fictional, combine the elements of real experience in a new way, include a wide range of knowledge and impressions in one game story).At the same time, this is a good test of the adult's imagination.

    All the methods of playing the adult with the child described in this chapter contribute to the consequent complication and greater variety of the children's game, and, consequently, to the development of the child in it.

    But each time, using a certain technique, especially the new one, building a game with a child in a new way for him or introducing new content into it, the adult should remember: the game can not use pressure, "push" the child, forcing him to play in a certain way. There can not be a rule "to play this way, not otherwise", "I will not play with you if you do not change roles," etc. You should get off on a dictatorial tone, and the game will lose its appeal for the child,any desire to play with you will be lost. There should be no external prohibitions and obligations. They can appear only from within the game, determined by its content. If you or a child have a role, you must perform the actions that are relevant to her. If you want to enter a new role - set a new event in the game, associating it in meaning with the previous one. Only then will the role change be understood and justified for the child.

    And one more rule for adults: be sensitive to the initiative of the child, his suggestions. Do not play for it. After all, your game with him pursues one goal - to increase his activity, help to master more complex methods of gaming. Therefore, if the child's proposals are at odds with the variant of the plot you invented, discard your version, listen to the child. After all, you can ask new ways, in principle, on any thematic content offered by the child.

    And of course, the game should not forget to read to the child books, fairy tales, drive him to the zoo and the circus, discuss with him what he has read and seen, highlight the meaning of the actions and actions of people( and book heroes) for him, for knowledge and immediate impressions, necessary( although still inadequate) condition of a full story game.