"Let's play as if. .." - play with the child in the notion

Children have a small conflict with adults, and here they are in the "corner", punished. The punishment, of course, is quite symbolic, but still offensively:

"From our shameful angle, we have seen an unfair world. The world was very large, as geography taught, but the place for children in it was not given. All the

were owned by adults in five parts of the world. They controlled history, rode horses, hunted, commanded ships, smoked, made real things, fought, loved, saved, kidnapped, played chess. .. And the children stood in the corners. Adults forgot, probably, their children's games and books, with which they were read out when they were small. They must have forgotten! Otherwise they would allow us to be friends with everyone on the street, climb on the roofs, blather in the puddles. ..

So we both thought, sitting in the corner.

- Let's run away!- suggested Oska. - How come!

- Run, please, who is holding you!. . But where?- I reasonably objected. - All the same everywhere big, and you're small.

And suddenly a dazzling idea struck me in the head. ..

There was no need to run anywhere, it was not necessary to search for the promised land. She was here, beside us. It had only to be invented. I already saw her in the dark. There, where the door to the restroom - palm trees, ships, palaces, mountains. ..

- Oska, the earth!- I cried breathlessly. - Earth! A new game for life!

Oska first of all secured a future for himself.

- Chur, I'll be playing!. . And the machinist! Said Oska.

- And what to play?

- To the country!. . Now every day we will live not only at home, but also as if in such a country. .. "

So describes L. Kassil the birth of" Schwambrania ", which became a country, gradually turning in details, an imaginary history,geography, events, which were transformed into real life events experienced by children.

Indeed, how is the plot of the children's game born and unfolded? At first it is always an unclear, barely outlined internal program that the child intends to implement. But this obscure program is not "thought out" by the preschool child to the end, in details, it immediately begins to be realized, finding its specific form in a variety of gaming activities.

If earlier the objective situation, the experience just experienced was largely led by the child as in the game( it was an imitation of the objective actions of adults, the unfolding of familiar patterns of role behavior), then the older preschooler already has an internal tendency to unite in the plot of the game various events,knowledge, complex combinations of them. However, in the mind of the child, the plot design is still merged with the game actions, it is only partially allocated to them - in the form of the game theme( "I'll play the hospital"), the game role( "I'll play the cosmonaut"), game items around which the game is built(in dolls, in cars).

Not every child independently comes to a complex creative game - a game of events, a connection, a combination of them in the mind, inclusion in various semantic contexts. And if it does, it's usually the end of preschool age. There is no direct relationship between knowledge, the richness of the child's impressions. Often it turns out that the game( its plot) continues by inertia to be built according to the usual schemes, and in the passive baggage of the child there is a rich stock of knowledge and views.

- Playing all the time in the same, - a frequent complaint of the parents.

The play of children of 5-6 years is often a stereotyped repetition of the same 2-3 sequentially unfolding events. It seems that the child has moved in an independent game from associative plots( with different, but quite randomly related events) to plots with logically related events, but they are poor and monotonous. How to return the game to creative liveliness, without returning at the same time the child to "associative" creativity?

It should be noted that the search and deployment of the topic theme are necessary not only for the game, but also for any other creative activity of the child - drawing, modeling, free design. And often it happens that the child says: "I do not know what to draw to( sculpt, build)."

This is where the adult's help is needed.

You can, of course, help the child each time to diversify the familiar, faked subjects, playing with him. In this case, an adult simply connects to a child's game that has already arisen and introduces new story events into it, imposes a child on them.

Let's return to the 5-year-old Musa and her game of street traffic. Not only that the plot of her game is exhausted by repeated repetition of the same events: violation of the rules by one of the drivers of toy cars and the removal of the injured pedestrian on the "first aid" to the hospital, she also for a long time( from day to day) deploys thisplot. Once again, when I join her game, Moussya - "militiaman" offers me to be "chauffeurs" and "first aid".Here one "pedestrian" suffered, the second, the third.

- You know, Moussya, - I say, - it seems to me that soon there will be no one left in the city. Need to come up with something.

Musya thinks about it.

- And let's get it, - she finally decides, - we'll arrange the court, as in the "Wizard's Hat", so that he does not violate the rules anymore.

In Musie's favorite book - "The Wizard's Hat" T. Jansson describes a funny trial of the terrible Morra, which was catching up on some characters. Remembering this episode of the fairy tale, Musya immediately revives and offers:

- Just let's you be the judge, and I - all the rest.

The rest - it's like in a book - guilty, injured, defender and people. The game immediately changes direction. I improvise the behavior of the judge, and Musya with enthusiasm changes the role of violated the rules of the driver, injured pedestrians, defender. The game is interrupted by Moussina's grandmother, who is calling us to drink tea. Since the game is in full swing, we are still a little late."Judge" quickly recognizes the guilt of the "driver" and sentenced him to attend a lecture on the rules of traffic. Musa does not want to finish the game, then I suggest the following event, which can be played during tea drinking:

- Come on - now you are again a policeman and as if you are giving a lecture on the rules of the traffic. And I will be listeners.

- And what will you do? Asks Musya.

- Usually listeners ask questions to the lecturer, - I explain.

We are going to drink tea and continue the game already in the form of a role dialogue lecturing a policeman and dull listeners. At the same time, we clarify a few vague ideas of Musi herself about the rules of traffic.

But since with this "connection" an adult is still the initiator of introducing new events into the storyline, it is the game with an adult who is always coming up with something, updating the game, giving it interest. So, the 6-year-old Roma, after I introduced some variety in his game( he always played in the pilot, and in a joint game we moved from the pilot to the astronauts, traveling to the moon and meeting with aliens from another planet), six months later(!) when we again met, happily suggested:

- Let's play a space trip. We did not finish last time.

Adult becomes, as it were, a supplier of interesting plots, and the child, rather, is their consumer, rather than the creator.

Undoubtedly, such an exercise in a joint game with an adult is more useful than a monotonous game of the child, but it's still better if the child learns to build interesting and diverse game scenes himself.

To do this, it is necessary to allocate for the child the plot itself as a sequence of events, to try to put it in situations where it would consciously operate events and their sequences as an independent material.

Here we will help a special kind of game that an adult can offer a child - a game in the notion.

One of the forms of the plot game, which appears at the end of preschool childhood, is a fantasy game. Many children like to come up with different stories, especially if they have an attentive listener. But simply inventing often returns the child to associative creativity-a stream of fantasy that is not limited in any way, does not find any support, turns into an illogical, insubstantial narrative. Moreover, if such a game is spontaneous, it is only necessary for an adult to bring her to the level of awareness, as the child refuses to continue the activity. In any case,

, most of the children of the sixth and even seventh year of life simply do not take the task of inventing a story( a story, a story).Either the children immediately refuse such an indefinite occupation, or substitute it with retelling( often almost verbatim) of the beloved fairy tale, the story.

When Musa( she is already 5.5 years old) was offered to think up some story( what she wants), she answered:

- No, I do not know how. I'd rather tell you about Mummy Troll.

And almost word for word told the chapter from the book just read.

In addition, apparently, the very form in which an adult made his offer is not entirely successful. After all, to think up a story is already a task, the performance and result of which is likely to be assessed by an adult. The activity takes on the character of compulsion, and this is not a game for the child.

Let's try to change our proposal in the form, shifting the focus to the process of activity, without fixing the child on the possible result:

- Moussya, let's play a new game - come up with it together.

- Come on, - willingly agrees Musya. - And you will? And about what we will invent?

- What do you want?

Moussya thinks for a minute:

- About Emelya. And how is it to come up together?

So, the hero of history was determined. But how to be further, will not the invention again become a paraphrase( now the fairy tale "By the Pike's Command")?

It turns out that childhood fantasy needs, on the one hand, activation, and on the other - in some supports structuring and guiding it. Since we are going to deploy the game in the speech plan( that is, we take the child away from the external object supports), we need semantic bearings that would direct the deployment of the story in a certain direction, but at the same time provide enough imagination and activate it.

Can not such a support be the story pictures or a series of pictures? It turns out that the pictures - the support is too rigid. If this is one story picture - the child will describe the event, it depicted( or even simply list the items depicted).After this event, the narrative will not unfold. If it is a series of pictures depicting successive events - this is a ready-made plot, which you just need to retell. Therefore, plot pictures are not the best way to activate the child's imagination.

Perhaps, in search of semantic supports for inventing, we will again have to turn to the tale.