Come up together - a joint fantasy

The famous Russian writer Andrei Bely describes in his memoirs how he played with his friend as a schoolboy:

"I used to start improvising, how I got together at the gymnasium( I describe some episode), and suddenly I interrupt myself:

- Runs up the stairsfrightened Kedrin. .. Well, now you, Sergei!

Seryozha, picking up the plot, removes it before the disaster:

- Here it opened - that's what: Kazimir Klementevich is leading our school under the school. .. You, Borya!

Throwed, like a ball plot;"The

of course, such free improvisations are not up to the preschoolers, but here the principle that an adult can use in a joint game with a child is important to us:" throwing a plot, like a ball "from one participant in the game toto another. A fairy tale is also needed for us to facilitate the game - it allows us to determine the moments of "throwing the ball"( the moments of transition from one semantic block to the next, that is, from one story event to another) and sets at least an approximately general direction for the plot's deployment.

We will back this explanation with an analogy. .. with chess. When you start playing the game with a partner and you have the first move, you are faced with a fairly wide range of actions, but it is still limited by the functionality of the figures. You make a move, suggesting a possible partner response. He responds, but not at all as you expected( although he is also guided by the rules), and thereby makes adjustments to your original intent. But you can either make him change the plan or take the proposed tactics.

The same principle is used to build a game with a child in inventing fairy tales. Partners on the game - you and your child - act in turn. Instead of a chessboard in front of you a semantic field of fairy tales. Everyone is free to choose the content of his move( the next story event), but he is limited by the sequence of the semantic blocks of the fairy tale( these are the rules of your game).Moreover, the specific content of the event, proposed by one of the participants, each time makes adjustments to the original intent of the partner. Through a gradual stringing of concrete events( mutually assimilated, coordinated by the participants) a common fairy tale unfolds.

But there is a significant difference - in this game only you clearly know the rules for the deployment of a fairy tale plot;the child, as we have already said, only feels them intuitively( although, as far as the exercise goes, one can go on to isolate the fairy-tale scheme for himself).

To begin with, you can simply transform a child's famous story-telling fairy-tale texts.

Here Moussya chose the hero - Emelya. I explain to her how we will play:

- Ok, let's think of Emel. Only not as in the fairy tale "By the Pike's Command," but slightly differently. We will tell in turn. First I'm a piece, and then you'll continue. And then again I am.

Inventing a similar, but still different story, makes the child highlight story events and realize that the storyline can unfold in different ways, as there is a constant comparison of the new story with the already known ones.

I start a fairy tale:

- I sent Father Yemelyu some firewood to cut into the forest.

- No, first for water, - corrects Musya.

- It's in that fairy tale for the water, but for us, let's first go to the forest.

- Emelya came to the woods for firewood and sees that the wolf is sitting with a broken paw and can not escape. Now come on, Musya.

- I do not know what kind he was-good or bad. -Musya is indecisive. - Come on, you're a little more!

- All right! Connected it to Emelya and says: "I'll take you to the city and go to the zoo."And the wolf to him in reply: "Let go of me, Emelya, I will help you to fulfill any desire."Now you tell me more, Musya!

Musya again objects:

- There the pike was magic, not the wolf.

- We think differently, "I recall.

At first the child will still follow the text known to him. Then the adult in his next "piece" should introduce another change in comparison with the fairy tale taken as a basis:

- And the king of this state very much wanted to see the living elephant and threw a cry: "Who will bring me a living elephant, will receive a half-kingdom!" Hearing about it, Emelya decided to go to Africa for the elephant. But he did not know how to get there. And then you, Musya!

The change of the narrator should first be determined by the adult - at the moment of transition to the next semantic "piece".If a child has an invention and he consistently develops the previous event, you can give him the opportunity to tell more. If you see that he has a hitch, he can not move on( a sign of this - not only a long pause, but the repetition of what he just said, or your previous "piece"), ask the child to pass the "move"you:

- Come on, I'll tell you a little further.

In such cases, it is necessary to transfer the "move" to the child, having already set the next story event, it will be easier for him to deploy than to choose himself. For example, after describing the hero's difficulties, you can hint at a possible way out:

- And then he met a good sorceress. And then you!

But even if the child is active, do not completely quit the game. Do not forget that the joint creation, in addition to activating the child's imagination, has another important goal: to teach the child to coordinate the idea with the partner, and this is possible only through constant clashes of ideas and the development of a common storyline.

The child does not immediately begin to take into account the intention of the partner in his story. When you first start playing the "notion", you discover that often in your next "piece" of narrative the child completely does not take into account your previous fragment, as if telling your tale regardless of you. Children generally inherent in the assumption that their intentions( in this case, the idea of ​​a fairy tale) are open to others - if they make up a fairy tale, then an adult should know what they will tell. At such moments it is very important to demonstrate to the child his own misunderstanding, to point out to him the semantic discrepancy:

- Wait, Moussya, it was different for me. We are the one, we invent a common fairy tale, but it turns out that you have your own, and I have mine. I did not tell you that. ..

Repeat your fragment and ask the child to continue it. It may be that it interferes with the realization of the child's design, and then a reaction of this kind arises:

- And I want not so. It was not like that. It is not right!

Do not all agree with the child and immediately change the story in favor of his intentions. If this is the case, he will never learn to hear another person, treat him as a being who has his own intentions and intentions. Imagine that you are his peer, and try to gently insist on your own, present your rights to an equal partnership:

- But we're coming up with it together. It's unfair if it's just the way you want it to be.

Gradually the child will learn to adapt to the partner and influence his plan by planning the further course of the plot events. Already at the very beginning of the story he will offer you:

- And give, then he will meet. .. And then it will happen. ..

Your right to accept these proposals or not, but he informed you of his idea.

Often children, inventing a fairy tale, do not change the next story event, and they introduce it from another fairy tale known to them, as if they take it ready. At first, such combination of fairy tales( if it is meaningful) is not bad, but when the child has already mastered the game, an adult can remind him of what fairy tale this "piece" is, and suggest to think differently.

Adult can, according to several well-known fairy tales, come up with a child 2-3 stories, more and more different from the original story. If the child has already begun to manage the change of the narrator himself, he has "advanced" the planning of further plot events, he easily leaves the finished text, including in the plot not only fabulous but quite realistic details, combining those and others( especially the characterswith typical fairy-tale characters appear realistic, - the ways of their actions and tasks, which are put before them).This means: the child has learned to unfold the plot( he felt it as a movement of events) and you can already move from inventing fairy tales to more complex tasks.

Now joint creation can be set up by the adult a little differently: through the suggestion as a theme of an unusual combination of characters( "Let's think of a story about Pinocchio and. .. a kindergarten teacher"), through the character's placement in unusual conditions( "Let's think of history as if Snusmukgot into the Flower City ").Such plotting provides a lot of freedom for the imagination of the participants, but also requires more of his work than creating a fairy-tale like a fairy tale.

D. Rodari calls such problems on inventing fantasy binomes. He offers them for independent activity to schoolchildren. In preschool children they can be used only in joint activities with an adult.

Themes for playing the "notion" can be gleaned by watching the child's independent play. The adult can highlight habitual, faked subjects, favorite characters with which the child is identified in the game. Further games in the "notion" can be built on loosening up, transforming these subjects. In the center of the story can be a favorite character of the child or he himself along with the adult:

- Come on as if we went to the moon. Flew there in the rocket. And there stands some unknown spacecraft. And then you tell me!

History can be built and as a continuation of the book read and liked by the child( for example: "Let's think up what happened afterwards with Dunno. ..").

As you can see, the choice of thematic content for the game in the "notion" is very wide, but each time it should be interesting and relevant for the child. In general, it is better to provide a choice of topic to him( in the end, an adult can direct it to the necessary channel during the game).

Inventing without samples may seem like an adult heavy test - after all, it remains the only support for the child( it should guide and correct the child's intention).And on what to rely on the adult? After all, there are no more tales. In fact, the adult only in the formulation of the game problem for the child abandons the fairy tale scheme. For himself, he can still use it, somewhat generalizing. For example, it may look like this: the emergence of a task before the hero of history - the obstacles to solving it - obtaining a means of overcoming obstacles( perhaps, someone's help) - overcoming these obstacles - solving the problem. As in a fairy tale, any block can be multiplied. The most general scheme of the plot, which is offered by literary critics, is as follows: the possibility of an action( events) - the actualization of an offense( event) -final.

Game in the "notion" with the child takes an adult a little time-10-20 minutes( this is enough for one story).At the same time, mom can not break away from household chores( cook dinner, iron clothes).

You can play in the "notion" not only with the child, except for the mother, it can include both the father and the older child. It's good to attract your child's buddies, with whom he often plays. But it is better, if the participants are not more than four, - children can not wait long for their turn to speak.

When playing with a child, it should be borne in mind that children's stories do not have an end, they are not closed. Therefore, it makes no sense to limit the child to the logical end of the story( to invent the story to the end).The child often wants to continue it, to involve the beloved hero in new events and adventures. Therefore, if he himself does not wish to move on to another topic( "I want to invent another story now"), you just need to point out the lack of time, the need to tackle another matter and move the continuation of the story to another time:

- Let's think of another,and what happened next - next time.

You will see that the next day the child will look forward to this game;an adult does not even need to burden his memory, the child will accurately reproduce the content invented the day before( or even a few days ago) of history. Such a game quickly becomes a very attractive activity for the child.

Musei and I( who will soon be 6 years old) have for many days come up with the continuation of her favorite tale "The Wizard's Hat".One of her characters - Snusmukrik-at the end of the book goes on a journey and parted with friends. This is a bit of a sad ending, and Musia with pleasure continued the tale of the story of how Snusmukrik traveled, forcing him to meet friends again, etc. Summer interrupted our game. A few months later, Musya, meeting with me, reminded:

- We have not thought of Snusmurik for a long time. Let's go further!

And when I complained about the employment, Musya said with regret:

- Well, when you are free, will we think up? But you want to start a new story!

Completing the description of the game in the "notion", it should be said that it requires an adult tactfulness and sense of proportion. It is important not to underestimate the child's possibilities, but also not to suppress it with his erudition and superiority of knowledge. This applies to both the choice of the theme of the game, and the very behavior of the adult. The adult should not forget that he plays with the child for the purpose of its development and that it is not necessary to use this situation as an occasion for self-affirmation.