Imagination and fantasy. How to develop imagination and creativity: effective methods and recommendations

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First, let's look at what imagination and fantasy are? These are types of thinking, this is the ability to mentally represent what is not, from what is in memory. In other words, imagination is an active creative process of creating new knowledge (new ideas) from old knowledge. What is the difference between fantasy and imagination? If imagination is the ability to mentally create new ideas and images of possible and impossible objects based on real knowledge, then fantasy is the creation of new, but unreal, fabulous, yet impossible situations and objects, say, but also on based on real knowledge. For example: the winged horse Pegasus, the Dead Head in Pushkin's fairy tale "Ruslan and Lyudmila", the fables of Baron Munchausen, Pinocchio, the Steadfast Tin Soldier - these are fantastic images.

There are several types of imagination:

1. Recreating is the representation of images according to a predetermined description, for example, when reading books, poems, notes, drawings, mathematical signs. Otherwise, this type of imagination is called reproductive, reproducing, remembering.

2. Creative is the independent creation of new images according to one's own design. Children call it "from the head." It is this kind of imagination that will be the subject of our study and development in children.

3. The unmanageable is what is called "violent fantasy", an absurdity, a set of unrelated absurdities.

How is fantasy and imagination different from serious problem solving?

When fantasizing, the child himself creates any kind of plot, including a fairy tale one, any situation he wants, any task he wants, and he solves it in any way he likes. Any solution is acceptable. And when solving real problems, the child is not looking for any, but a real, “adult”, serious, feasible solution. In both cases, he creates, but when fantasizing there is more freedom, since there are no prohibitions on the part of physical laws and no great knowledge is required. That is why it is better to start the development of children's thinking with the development of fantasy.

What is the difference between fantasy and stupidity?

When fantasy is harmful, it becomes stupidity. Stupidity is a stupid, absurd, unnecessary, unreasonable, wrong, harmful, inappropriate act or statement that does not honor the one who committed it. Of course, one must take into account the age of the person, the conditions and goals of the act.

Is all fantasy good? There is a general criterion for assessing the quality of all affairs on Earth - this is an increase in goodness in the world.

The classic carrier of fantasy is a fairy tale.

How is fairy tale different from science fiction? In science fiction, technically feasible situations, elements or processes are considered, and in a fairy tale any. It should be noted that there is no sharp boundary between fantastic and real solutions either. For example, what was considered a fantasy in the time of Jules Verne is now an everyday reality. G. A. Altshuller calculated that out of 108 (!) ideas-forecasts of J. Verne, 99 (90%) were implemented. H.G. Wells has 77 out of 86, Alexander Belyaev has 47 out of 50.

When a child selflessly tells fables with his participation, he does not lie, in our usual sense, he composes. He doesn't care if it's real or not real. And this should not be important to us, what is important is that the child's brain works, generates ideas. However, you should still pay attention to what the child dreams of. If he talks all the time about his non-existent friends, about tender parents or about toys, then maybe he suffers, dreams about it and thus pours out his soul? Help him immediately.

Why develop fantasy and imagination?

They say: "Without imagination, there is no consideration." A. Einstein considered the ability to imagine higher than knowledge, because he believed that without imagination it is impossible to make discoveries. K. E. Tsiolkovsky believed that a cold mathematical calculation is always preceded by imagination.

Sometimes in everyday life fantasy and imagination are understood as something empty, unnecessary, lightweight, having no practical application. In fact, as practice has shown, a well-developed, bold, controlled imagination is an invaluable property of original non-standard thinking.

It is difficult for children to think "according to the laws", but if they are taught to fantasize and not be criticized for it, then children fantasize easily and with pleasure, especially if they are also praised.

Apparently, this is how children subconsciously learn to think - in the game. This should be used and developed imagination and fantasy from early childhood. Let the children "reinvent their own bicycles". Who did not invent bicycles in childhood, he will not be able to invent anything at all.

How to develop fantasy and imagination in children?

There are three laws for the development of creative imagination:

1. The creative activity of the imagination is directly dependent on the richness and diversity of a person's previous personal experience.

Indeed, every imagination is built from real elements; the richer the experience, the richer the imagination. Hence the consequence: we must help the child to accumulate experience, images and knowledge (erudition), if we want him to be a creative person.

2. You can imagine what you yourself have not seen, but what you have heard or read about, that is, you can fantasize based on someone else's experience. For example, you can imagine an earthquake or a tsunami, although you have never seen it. Without training, it is difficult, but possible.

Ways to develop fantasy and imagination

We list the main ways to develop fantasy and imagination, and then consider the methods for developing creative imagination. Ideally, if the child himself wants and will develop his imagination and imagination. How to achieve this?

1. Generate motivation!

2. Convince that fantasizing is not shameful, but very prestigious and useful for the child personally. They don't understand this yet. Need a game and vivid emotions. The logic of children is not yet strong.

3. Fantasizing should be interesting. Then, having fun, the child will quickly master the ability to fantasize, and then the ability to imagine, and then to think rationally. Preschoolers are not interested in reasoning, but in events.

4. Make children fall in love with you (attraction). On this “wave of love”, they trust you more and are more willing to obey.

5. By your own example. In early childhood, kids copy the behavior of adults, it’s a sin not to take advantage of this. You are an authority for a child.

at a tender age (2-6 years) - fairy tales, fantastic stories;
in adolescence (7-14) - adventure fantasy novels (Jules Verne, Belyaev, Conan Doyle, Wells);
in youth and in adulthood - solid science fiction literature (Efremov, Strugatsky, Azimov, etc.).

Teach children to admire a good fantasy.

7. Stimulate fantasy with questions. For example: “What happens if you grow wings. Where would you fly?

8. Put children in difficult situations. Let them think and find a way out. Here, for example, is a classic task: children ended up on a desert island, how to survive?

9. Throw interesting stories to children and ask them to make stories, fairy tales, stories based on them.

10. Teach the following techniques for developing imagination and fantasizing.

Using the techniques below does not eliminate the need to think. Techniques “not instead of”, but “to help” fantasy, techniques indicate the direction of thinking. Knowledge of fantasy techniques leads children to mastering "adult" methods of resolving contradictions and solving inventive problems.

Techniques for the development of fantasy and imagination

Children know quite a lot of phenomena and laws of nature (for example, that all objects fall down, that heavy objects sink, liquids spill and do not have their own shape, water freezes, wood, paper, a candle burn). This knowledge is quite enough to fruitfully fantasize, but children do not know how to fantasize, that is, they do not know the techniques of fantasizing.

Most of the techniques of fantasizing are associated with changing the laws or natural phenomena. Everything can be changed: any law of animate and inanimate nature, any social law, the law can act in reverse, completely new laws can be invented, some existing laws can be excluded, laws can be forced to act or not act at will, temporarily, periodically or unpredictably; you can change any living creature: people (all people have become honest!), animals, plants.

Below are 35 fantasy techniques:

1. Increase - decrease.

This is the simplest technique, it is widely used in fairy tales, epics, and fantasy. For example, Thumbelina, Thumb Boy, Gulliver, Lilliputians, Gargantua and Pantagruel. You can increase and decrease almost everything: geometric dimensions, weight, height, volume, wealth, distances, speeds.

It can be increased indefinitely from actual sizes to infinitely large and can be reduced from real to zero, that is, until complete destruction.

Here are conversation games for mastering the "increase - decrease" technique.

1.1. They say to the child: “Here is a magic wand for you, it can increase or decrease whatever you want. What would you like to increase and what would you like to decrease?

- I would like to reduce vocal lessons, and increase my free time.
I would like to reduce my homework.
I want to enlarge the candy to the size of a refrigerator so that I can cut off pieces with a knife.
— I want to increase the raindrops to the size of a watermelon.

1.2. Complicate this game with additional questions: “And what will come of this? Where it leads? Why do you want to increase or decrease?”

- Let your arms become so long for a while that you can get an apple from a branch, or say hello through the window, or get a ball from the roof, or, without getting up from the table, turn off the TV.
- If the trees in the forest are reduced to the size of grass, and the grass to the size of a match, then it will be easy to look for mushrooms.
- If it is difficult for a child to fantasize independently, offer to fantasize together, ask him auxiliary questions.

1.3. What will happen if our nose lengthens for a while?

- It will be possible to smell the flowers in the flower bed without leaving the house; it will be possible to determine what delicious dishes the neighbors are preparing;
"That's good, but what's wrong with that?"
- There will be nowhere to put such a long nose, it will interfere with walking, riding in transport, it will even be uncomfortable to sleep, and in winter it will freeze. No, I don't need that nose.

Invite the child to say what is good and what is bad if we increase or decrease something. Who will be good and who will be bad? This is a moral analysis of the situation.

1.4. Tell me, what will be good and what will be bad for you personally and others if the magician enlarges you 10 times? If the child finds it difficult to guess, help him with additional questions.

What size will you be then?
- How many kilograms will you weigh?

What will happen if your height decreases by 10 times?
- Agree, it would be great if you could change your height at will. For example, you are late for school: you increased the length of your legs or the frequency of your steps and quickly reached school, and then made your legs of normal length. Or another case. We have to cross the river, but there is no bridge nearby. No problems!
- I will be 15 m high! This is the height of a five-story building!

Regarding weight, this is a tricky question. Usually answer: 10 times more. In fact, if you keep all the proportions of the body, then the weight will increase 1000 times! If a person weighed 50 kg, he would weigh 50 tons! I will run faster than a car. I will be strong, and no one will dare to offend me, and I will be able to protect anyone. I can carry huge weights. I wonder what? Usually a person can lift half their weight. Then I can lift 25 tons! This is good. What will be bad?

I won't fit in the class. You will have to sew huge clothes and shoes. It will be very difficult to feed me. If we assume that a person eats 2% of his weight per day, then I need food weighing 1 ton. I won't fit on any bus. Even down the street I have to walk, bending under the wires. I will have nowhere to live.

2. Adding one or more fantastic properties to one person or many people (as fragments or blanks of future fantastic works).

The technique of this kind of fantasizing is similar to the method of focal objects:

a) select several arbitrary objects of animate and/or inanimate nature;
b) formulate their properties, qualities, features or character traits. You can come up with new properties "from the head";
c) the formulated properties and qualities endow a person.

For example, an eagle was chosen as an object (“property donor”). Eagle qualities: flies, excellent eyesight, feeds on rodents, lives in the mountains.

- Man can fly like an eagle. It can be added: it can fly in the stratosphere, in near and far space.
- A person has super-acute eagle vision, for example, he sees cells of living tissues without a microscope, crystal lattices of metals, even atoms, he sees without a telescope and better than through a telescope, the surface of stars and planets. He sees through walls, walks down the street and sees what is happening in the houses, and even penetrates through the walls himself, like an X-ray.
- Man eats eagle food - rodents, birds.
— The man is covered with feathers.

Continue fantasizing with this method, taking as an initial object: a light bulb, a fish (remember an amphibian man), a watch, glasses, a match, suspended animation (a sharp slowdown in life processes is very convenient: there is no money for food or nowhere to live - you fall into suspended animation) or the reverse of hibernation (a sharp increase in vital processes, a person does not know fatigue, moves with incredible speed, such a person will make a wonderful illusionist, or a runner, or an invincible fighter).

2.1. Come up with sense organs that a person does not have, but could be.
For example, it would not be bad to feel the presence of radiation in order to protect yourself from it. Generally speaking, we feel it if we suffer from radiation sickness.
It would not be bad to feel nitrides and nitrates and other contaminants. There is a wonderful and rare feeling - this is a sense of proportion, not everyone has it.
It would not be bad to feel when you make a mistake and when danger is approaching (figuratively speaking, the red light would light up in this case).

2.2. The time will come and it will be possible to change the internal organs. What would it look like?

2.3. Make a “markup” of people with color according to their moral qualities. For example, all honest people turned pink, all dishonest people turned purple, and evil people turned blue. The more a person has done meanness, the darker the color. Describe what will happen to the world? Many people probably wouldn't leave the house.

3. Animated drawing.

You have received a wonderful gift, everything you draw comes to life! What would you draw?
Great people? Endangered animals?
New animals and plants?

4. Exclusion of some human qualities.

List the properties and qualities of a person, and then exclude one or two properties and see what happens.

The man is not sleeping.
The person does not feel pain.
- The person lost weight, sense of smell.

Name at least 10 vital qualities and properties of a person and think about the consequences of their loss.

5. Turning a person into any object.

A person turns into another person, into animals (birds, animals, insects, fish), into plants (into oak, rose, baobab), into objects of inanimate nature (stone, wind, pencil). This is the richest material for new fairy tales.

But the most important thing in this technique is the cultivation of empathy - the ability to transform into a different image and look at the world through his eyes.

Suggest at least 10 examples of human transformation, for example in fairy tales.

6. Anthropomorphism.

Anthropomorphism is the assimilation of a person, endowing with human properties (speech, thinking, the ability to feel) any objects - animate and inanimate: animals, plants, celestial bodies, mythical creatures.

Have you seen anywhere in the world
Are you a young princess?
I am her fiancé. - my brother,
- The clear moon answers, -
I did not see the red maiden ...

Here Pushkin endowed the month with the ability to see, recognize, condole and speak.

Recall 10 examples of anthropomorphism from fairy tales, myths and fables that you know and come up with at least 10 examples of possible anthropomorphism yourself.

7. Giving objects of inanimate nature the abilities and qualities of living beings.

Namely: the ability to move, think, feel, breathe, grow, rejoice, multiply, joke, smile.

The boy sits astride a stick and imagines her as a horse and himself as a rider.
What living creature would you turn a balloon into?

Think of at least 10 examples of such transformations.

8. Giving extraordinary properties to objects of inanimate nature.

For example, stone. It glows, always warm (never cools down!), you can warm your hands in the cold, makes the water sweet and healing, but does not dissolve itself.

Contemplation of the stone inspires to write poetry and draw, etc.

Here is a good game for the development of fantasy. Children (or adults) stand in a circle. One is given a soft toy or a ball in his hands and is asked to throw it to someone with warm words: “I give you a hare”, or “Yurochka, I give you a goat, his horns have not yet grown”, or “Hold, Masha, a large candy”, or “I give you a piece of my heart”, “I give you a squirrel”, “This is a glass ball, do not break it”, “This is a cactus, do not prick.”

9. Revival of dead people, animals, plants.

For example:

What would happen if brontosaurs were resurrected?
What else would Pushkin have created if he had not passed away so early?
You can "revive" all kinds of extinct animals and people!

Suggest 10 options for such a game.

10. Revival of dead heroes of literary works, in particular, heroes of fairy tales.

- Did the character of the fairy tale die? It doesn't matter, you need to draw it and it will come to life.

Come up with continuations of fairy tales, provided that the heroes of the fairy tale did not die. The fox didn't eat the bun, Ruslan didn't cut off Chernomor's beard, The tin soldier didn't melt, Onegin didn't kill Lensky.

Suggest 10 options for such a game.

11. Revival of the heroes of art paintings and sculptures.

The characters of paintings by famous artists came to life - barge haulers, hunters, Cossacks, archers.

Name 10 paintings by famous artists and suggest a continuation of the plot, provided that the characters come to life.

12. Change in the usual relationship between the heroes of fairy tales.

Recall the following situations: a pike sings a lullaby (“Pike opens his mouth”); "The Gray Wolf serves her faithfully"; Brave Bunny; cowardly lion.

Come up with a fairy tale with such an incredible plot: the Fox has become the most rustic in the forest, and all the animals deceive her.

13. Metaphor.

Metaphor is the transfer of the properties of one object (phenomenon) to another on the basis of a feature common to both objects. For example, “talking waves”, “cold look”. Here is an excerpt composed of some metaphors:

On the thread of idle fun
He lowered with a cunning hand
Transparent flattery necklace
And the golden rosary of wisdom.
A. S. Pushkin

Name the metaphors and ask the children to explain which properties are transferred and to whom.
Soft character. Cheeks are burning. Drowned in twos. Keep in tight grip. Turned green with anger. Steel muscles. iron character. bronze body.

14. Give a new name to the painting.

The child is shown a lot of plot pictures, postcards or reproductions of famous artists and is asked to give them new names. Compare who named better: a child or an artist. The basis for the name can be a plot, mood, deep meaning, etc.

Give 10 new names of old famous paintings.

15. Fantastic association.

A fantastic, that is, an incredible idea, can be obtained by combining the properties or parts of two or three objects. For example, fish + man = mermaid, horse + man = centaur. Who are the sirens? The same pair of objects can give different ideas depending on the combined qualities.

Give 10 examples of combinations of unexpected qualities of various real creatures.

16. Fantastic crushing.

Remember the plot of the wonderful novel "The Twelve Chairs" or the plot of Svetlov's fairy tale about a man named Rubl, who fell from the fifteenth floor and broke into ten kopecks. Each penny has its own destiny. One hryvnia was exchanged for kopecks, another became a big boss and looked more important than the ruble, the third began to multiply.

Come up with a fairy tale on a similar plot. For example, an orange shattered into slices, a pomegranate crumbled into 365 seeds (exactly 365 seeds in any pomegranate, check), the fate of the pea sisters from one pod.

17. "How lucky I am."

How lucky I am, says the sunflower, I look like the sun.
How lucky I am, says the potato, I feed people.
How lucky I am, - says the birch, - they make fragrant brooms out of me.

Come up with 10 options for such a game.

18. Reception acceleration - deceleration.

You can speed up or slow down the speed of any process. To direct the fantasy in this direction, ask questions like: “What will happen if”, “What will happen if”.

- What will happen if the Earth begins to rotate 24 times faster? The day will last 1 hour. For 1 hour you need to have time to sleep, have breakfast, go to school (for 15 minutes), have lunch, do homework (for 3-4 minutes), take a walk, have dinner.

What will happen if the seasons last 100 years? (Then people who were born at the beginning of winter would never see green grass, flowers, river floods) Task. Suggest three or four plots related to the indicated technique.

19. Acceleration and deceleration of time.

Themes of fantasy stories.

Situation 1. You have invented a chronodyne - a device with which you can change the speed of time and the speed of processes in time at will. You can speed up any processes or slow them down.

Situation 2. It was not you who invented the chronodyne, but someone else, and this other, unexpectedly for you, at will, changes the speed of the processes in which you participate.

The lesson lasts either 40 minutes, or 4 minutes, or 4 hours, and all this is unpredictable for the teacher and students. Started eating cake, and time sped up 1000 times! It's a shame! How to live in such a world?

Situation 3. You invented a chrono-tour (a tour is a movement in a circle) - a device with which you can repeat events, rejuvenate and age people, animals, objects, machines many times.

Who would you rejuvenate and by how many years?
What period of your life would you like to live again?

Exercise. Suggest some stories using the given techniques.

20. Time machine.

You have a time machine! You get into it and you can travel to the near and far past of any country, to the near and far future of any country, and be there at any time. But you can't change anything there, you can only look. While you are in the past or in the future, life on Earth proceeds according to its usual laws.

“Home option”: sitting at home, you look into the “Mirror of Time” or mentally take pictures with the “Camera of Time” or “Cinema Camera of Time” or “Magic Eye”. Name the place and time and, please, the image is ready.

What would you like to see in the past?
- What were your mother and grandmother like when they were the same age as I am now?
How did dinosaurs live?
- I would like to meet and talk with Pushkin, with Napoleon, with Socrates, with Magellan.
- What would you like to see in the future?
— Who will I be? How many children will I have?
- Talk to your future son.

Here is an incredible situation. A message was sent from Earth to a distant star. Intelligent beings live on this star, they have a time machine. They sent a reply, but they made a mistake, and the reply came to Earth before the message was sent.

Exercise. Suggest 10 stories related to the time machine effect.

21. Chronoclasm.

This is a paradox caused by interference with a previous life. Someone moved into the past and changed something there, and then returned, but on Earth everything is different. To encourage fantasizing in this direction, questions such as:

What would happen now if something had happened differently in the past, or if something had not happened at all?
- What would have to be changed in the past so that what happened did not happen?

For example:

- I lost my keys. It doesn't matter, I return to the past and do not take the keys with me.
- What would have happened if there had not been a coup in 1917?

What can be changed in the past? Everything can be changed in the past! The actions of people, the phenomena of animate and inanimate nature, the surroundings.

Chronoclasm, time machine, chrono-tour, chronodyne are wonderful devices for fantasizing, they provide an inexhaustible number of plots.

Exercise. Suggest some crazy stories for these techniques.
(I went to look for a bride in the past. I found out why the brontosaurs became extinct.)

22. The method of L. N. Tolstoy.

They write that L. N. Tolstoy regularly used the following method every morning as morning exercises of the mind.

Take the most common object: a chair, a table, a pillow, a book. Describe this object in the words of a person who has never seen it before and does not know what it is and why.

For example, what would an Australian native say about watches?

Exercise. Write some item descriptions for the Aboriginal.

23. Free fantasy.

Children are offered to fantasize uncontrollably on a given topic, using any fantasy techniques and any combination of them. Unlike solving some serious problem, you can offer any ideas, even the most crazy ones.

Come up with a fantastic plant.

- All known fruits grow simultaneously on one plant: apples, pears, oranges, avocados, pineapples, mangoes, coconuts.

- All known fruits and vegetables grow on one plant (tomatoes and potatoes, tobacco can be made from leaves, painkillers and “beauty products” can be obtained. In principle, this is possible, since tomatoes, potatoes, tobacco, belladonna (in Italian - "beautiful lady") belong to the same family - nightshade.

— Known and unknown fruits, vegetables and nuts grow on the same plant.

- Amazing watermelon: marmalade inside, and instead of seeds - candy. This is also possible, only you need to water it with sweet water and honey.

- Objects of animate and inanimate nature grow on the same tree.

The flower is made of chocolate and never fades no matter how much you eat it.

24. Come up with a fantastic building.

The building of the future: everything is visible from the inside to the outside, but nothing is visible from the outside to the inside. A creature (a person, a dog ..) with intentions harmful to the owner of the house cannot enter the building.

What qualities should a house have if the weight and size of the owner changes 10 times every hour?

25. Come up with a new mode of transport.

Invention Ideas:

- A meson-gravitational-electromagnetic beam is directed at a person, which splits a person into atoms, remember their mutual position, transfer it by atom to the right place and collect it there in the same order. (Think about the situation: the program for assembling a person went bad, but they didn’t notice it! How did they assemble a person? And what if they mixed up the atoms of several people?)

- Synthetic transport, combining the advantages of all known modes of transport: the speed of a rocket, the luxury of a high-class cabin of an ocean liner, the all-weather ability of an aircraft to study lightning, the uselessness of helicopter landing and take-off areas, the healthfulness of horse transport.

- The road surface is wavy or triangular in shape. Invent a wheel so that it does not shake on such a road. It will also be an invention!

26. Come up with a new holiday or contest.

- Festival of flowers. All have flowers painted on their cheeks. On this day, you can only speak the Chinese language of flowers.

- The festival of the arrival of swallows.

- Feast of the first mosquito.

Fantasy Contest. Two teams are participating. Each team offers different tasks to the other team: a) a topic for a humorous story of 5 phrases; b) an object for composing a riddle (table, fork, TV); c) the beginning of the story. For example. "My friend Keith invited me on a trip around the world"; d) some method of fantasizing is offered. It is necessary, using this technique, to come up with an incredible story.

27. Come up with a dramatic plot.

- Mom spoiled her daughter beyond measure. What happened to mother and daughter?

- A man got lost, accidentally found a house abandoned by hunters and lived there for 7 years. How did he live there? What did he eat, what did he wear? .. (After five years, he forgot how to speak, etc.)

28. Come up with a new fantasy game.

To come up with a new unprecedented game, you need to come up with incredible conditions and rules for this game.

— Chess pieces are made of chocolate; won an opponent's piece and you can immediately eat it.

- The game "Edible Checkers". They do become edible, but only after they have been fairly won. Think about what special properties a won king and a locked checker will have?

— Cylindrical drafts and chess. The board is folded into a cylinder so that the fields a1, a2, a3, etc. are next to the fields h1, h2, h3, respectively. The verticals become the generators of the cylinder.

- Checkers Lobachevsky. The board is mentally folded into a fantastic figure - at the same time, both the sides and the sides facing the players are closed. The generators are verticals and horizontals at the same time.

- Super chess. Instead of chess pieces - cubes. On the faces of each die there are images of six figures, except for the king. Once per game, you can change the status of the piece (turn the die), unexpectedly for the opponent.

29. Magical fulfillment of one's own desires and materialization of thoughts.

You have become a powerful wizard. It is enough to think - and any, but only good, your desire is fulfilled. You, for example, can make anyone happy. But if you have planned something bad for another, then it will happen to you.

Here's a goodwill test.

Tell the children that for an hour they can do anything, good or bad, to people. Check out what the kids want to do? Good or evil?

The robbers caught a worthy man and want to kill him. Suggest at least 10 ways to save him (make him invisible, freeze robbers).

30. You began to have the gift of telepathy.

Telepathy is the transmission of thoughts and feelings over a distance without the mediation of the senses. You can even not only read the thoughts of other people, but also mentally force people to do what you want. How are you using this gift?

31. Method of Nadya Rusheva.

Here is another wonderful way to develop imagination and drawing skills. This is a well-known universal method, which was owned by the brilliant girl Nadya Rusheva.

By the age of 16, she had read with a felt-tip pen or a pen in her hand the books of more than fifty writers, from ancient to modern: Homer, Shakespeare, Pushkin, Lermontov, Tolstoy, Turgenev, Exupery, Bulgakov and painted, painted, painted. Reading, fantasizing and drawing. This helped her to achieve lightness, sophistication and "soaring" lines in her drawings. During her seventeen-year life, she created ten thousand wonderful drawings! Being engaged in ballet as a child, she knew how much work this “lightness of soaring” is achieved. This wonderful, but not popular way is called: diligence and perseverance!

32. Method "RVS".

RVS is an abbreviation of three words: size, weight, cost.

It should be noted that the RVS method is a special case of the more general “decrease-increase” method, when any characteristics of the system can be changed from zero to infinity, and not just dimensions, weight or cost. For example, speed, quantity, quality, force of friction, force of thinking, force of memory, firm profit, number, salaries. Such mental experiments “blur” the usual idea of the system being improved, make it “soft”, changeable, and provide an opportunity to look at the problem from an unusual angle.

The RVS method is based on the dialectical principle of the transition of quantitative changes into qualitative ones. This method is also called the “monster test method”, or the “limiting transition method”, or the “contradiction amplification method”.

The RVS method develops fantasy and imagination very well, and also allows you to overcome the mental inertia of thinking. It must be remembered that we are conducting a thought experiment, where everything is possible, and not a practical one, when the inexorable laws of nature operate.

There is also the “super-RVS” method, when limit transitions of several characteristics are viewed simultaneously. Such "hit on the subcortex" can carve something non-standard. For example, what will happen to the system if the system has the minimum cost, but the maximum size and weight, etc. Of course, the use of the RVS method must be learned.

33. Method of transferring properties.

Let us consider a very cheerful, mischievous and very simple (for those who know how to fantasize) method of endowing ordinary objects with properties that are completely unusual for them, taken, however, from ordinary objects. In science, this method is called the method of focal objects.

The algorithm is very simple.

The first step: some object is selected that they want to improve or give it completely unusual properties. For children, it can be a toy, a doll, a ball, a notebook, a textbook, a class magazine, an animal, a plant, or a person. This will be the so-called focal object. For example, let's choose a Barbie doll as the focal object. It seems that she is already the limit of fiction in the class of dolls. Let's see what happens.

Second step: choose some random objects. For example: an electric light bulb, a balloon, a TV set.

The third step: for these random objects, a list of their characteristic properties, functions and features is compiled.

Light bulb - glows, warm, transparent, burns out, turns on the power grid.
Balloon - flies, inflates, does not sink, bounces.
TV - shows, speaks, sings, has control knobs.

Fourth step: the formulated properties are transferred to the focal object.
So what will happen? Let's fantasize and especially not care about the real possibility of realizing what we have imagined. Go:

The doll glows from the inside with a matte milky pink light. The room is dark, but it glows. It's good: you won't lose it and you can even read it!

The doll is always pleasantly warm, as if alive. You can take it outside and warm your hands. You can put bird eggs next to a warm doll and chicks or chickens will hatch from them. You can lean against the aquarium - and the doll will heat the water for the fish.

She is transparent. You can see how her heart beats, blood flows through the vessels, you can study anatomy.

Burns out. Clearly, she needs to have spare parts: a set of arms, legs, heads, dresses. Doll constructor.

Now let's see what ideas the balloon will give us.

Flying doll. Angel doll with wings. A swan doll, a dragonfly, a paratrooper, a flying squirrel or a bat, she has beautiful transparent membranes from her fingertips to her toes.

Inflatable doll. You can make a slim or fat Barbie, you can make a flat one for carrying. When the head is inflated separately, the facial expression changes. With an inflated doll, you can play in the bath, learn to swim.

What does the comparison with the TV give.

Let the doll show morning exercises, aerobics, yoga asanas every morning.
Let her scream indignantly when they begin to break her or quarrel in front of her.

You can use a combination of properties. As a rule, among the absurdities come across original ideas that trial and error will not give.

The Focal Object Method is an excellent method for developing imagination, associative thinking, and serious invention.

Proposals developing the method.

Children really like it when they put themselves in focus. It is a lot of fun to improve clothes, such as stockings, tights, boots.
You can pre-define the feature class in the second step.
The method can be used to come up with the design of shops, exhibitions, gifts.

Before starting the idea generation session, you can think with the children what is good and bad for the chosen focal object, who is good and who is bad, why it is good and why it is bad, etc. And then start fantasizing.

The best ideas are to be commended.

34. A combination of techniques.

The "aerobatics" of fantasizing is the use of many techniques simultaneously or sequentially. They used one technique and to what happened, they add a new technique. This leads very far from the initial object and where it will lead is completely unknown. Very interesting, try it. But this is only possible for a boldly thinking person.

Exercise. Take some fabulous object (Pinocchio, Kolobok) and apply 5-10 fantasy tricks to it in sequence. What will happen?

35. Beautiful ancient fantasies with transformations.

As examples of magnificent fantasy, let us recall the myths of the ancient Greeks and Romans, in which people turn into plants.

The beautiful young man Cypress accidentally killed his pet deer. He begged the silver-bowed Apollo to let him be sad forever, and Apollo turned him into a slender cypress tree. Since then, cypress has been considered a sad grave tree.

Another beautiful young man, Narcissus, had a different fate. According to one version, Narcissus saw his reflection in the river, fell in love with him and died of self-love. The gods turned it into a fragrant flower. According to another version, Narcissus dared not to return the love of a woman, and, at the request of other women rejected by men, he was turned into a flower. According to another version of this myth, Narcissus had a dearly beloved twin sister. The sister died unexpectedly. The yearning Narcissus saw his reflection in the stream, thought that it was his sister, looked at his reflection for a long time and died of grief. According to the fourth version, seeing his reflection in the river and falling in love with him, Narcissus realized the hopelessness of this love and stabbed himself. From the drops of Narcissus' blood grew flowers named after him.

Great examples of fantasy. One version is prettier than the other. Try and you offer your no less dramatic or touching versions of Narcissus.

Legend of Daphne. Pursued by Apollo in love with her, the young nymph Daphne prayed for help to the gods and was turned into a laurel, which became the sacred tree of Apollo. Since then, the winners of musical (musical) competitions in honor of Apollo have been awarded a laurel wreath. In ancient art, Daphne (Daphnia) was depicted at the moment when, overtaken by Apollo, she turns (sprouts) into a laurel.

The desperate young man Phaeton was unable to cope with the horses of the solar team of his father, the sun god Helios, for which he was struck by Zeus's lightning. The Heliades, Phaethon's sisters, mourned the death of their brother so bitterly that the gods turned them into poplars, whose leaves always make a sad noise. Heliad's tears became amber.

stage freedom

Muscle release exercises begin with the first lessons in mastering acting technique. Each lesson begins with them, until the habit of controlling and removing muscle clamps is brought to automatism. The clamp is a physical tension, a spasm of the face, hands. May appear in the diaphragm and cause shortness of breath, etc. All this is reflected in the well-being of the artist. It is very important to be able to notice small clamps that arise during the performance of any exercise: someone has tension in facial expressions, someone has a tense gait, their neck, arms, back, etc. are clamped.

To develop the ability to move expressively and beautifully, you need to learn how to release muscles from clamps and tension, i.e. submit to the will of man. Psychophysical well-being is closely related to muscle freedom. Very often, internal and external clamps prevent us from achieving any goal. The type of training exercises is aimed at developing free psychophysical well-being and relieving various stresses.

To relieve physical stress, you must:

1. Development of a muscle controller. (Which would automatically give the command “I am clamped”)

2. Determination of the center of gravity and fulcrum.

3. Education of skills and the ability to direct the work of muscles. The ability to use muscles for one or another action.

4. Justification of posture, gesture, movement.

Classes are held both group and individual. Particular attention is paid to independent work on oneself. The ability to determine which muscles carry the load during the given physical action, and use them exactly as much as is necessary in everyday life when performing this action. One must always strive for the right physical sensation. Each movement, posture must be justified, expedient, productive.

This is the ability not only to fantasize, but also the ability to influence the surrounding stage life with your imagination and change it in the right direction. In stage art, fantasy is needed not abstract, but really coming from a real feeling of what is happening on the stage. Imagination and fantasy play a huge role in an actor's work “The task of the artist and his creative technique is to turn the fantasy of the play into an artistic stage reality” (Stanislavsky T-2, p. 57). The more developed the artist's fantasy and imagination, the wider and richer the artist's creativity, the richer and more diverse his possibilities, the deeper and more meaningful he is. Imagination has the property of reproducing images that were previously experienced in reality. That is why the artist's capacity for imagination and fantasy must be strong and vivid.

Fantasy- these are mental representations that transfer us to exceptional circumstances and conditions that we did not know, did not experience and did not see, which we did not have and do not really have.

Imagination- resurrects what has been experienced or seen by us, familiar to us. Imagination can also create a new idea, but from an ordinary real life phenomenon.

The artist must develop the imagination. Do not rape him, but captivate him with your plan, the visual range of visions. First of all, imagination must be active, that is, it must actively push the actor to internal and external action, and for this it is necessary to find, draw with the imagination such conditions, such relationships that would interest the artist and push him to active creativity; secondly: the imagination must be logical and consistent; thirdly: you need clarity of purpose, an interesting task, so as not to dream for the sake of dreaming itself - “without a rudder and without sails”.

“As soon as you see a familiar environment with your inner eye, feel its mood, and immediately familiar thoughts related to the scene come to life in you. Feeling and experience were born from thoughts, and after it, inner urges to action” (K.S. Stanislavsky).

In the classroom, it is necessary to give more new exercises for the development of fantasy and imagination - such an important element in the work of an actor.

An artist needs imagination not only to create, but also to update what has already been created. This is done through the introduction of new fiction refreshing it. After all, in the theater you will have to play each role in the performance dozens of times, and so that it does not lose its freshness, quivering, a new invention of the imagination is needed.

5. Sense of truth, logic and consistency

The more faith, the more sincere the artist lives on stage. At every moment of our stay on the stage, we must believe in the truth of the feeling experienced and in the truth of the actions performed. K.S. Stanislavsky attached great importance to this element. “The stage truth should be genuine, not tinted, but cleared of unnecessary everyday details. It must be true in reality, but poeticized by creative fiction” (K.S. Stanislavsky).

It is impossible to consider the feeling of truth and faith as independent elements in isolation from the logic and sequence of action. Logic and consistency are the surest way to master these elements. The work on this element is based on the student's work on the memory of physical actions (PFA). Many of them do not really like this section, they try to avoid it. But skipping this part of the work with students, we deprive them of the opportunity to train their organics and body. In PFD exercises, we create the prerequisites for creativity in the areas of truth, faith, logic, and consistency. We force students to actively work intellectually in these exercises, using imagination, attention and other elements of acting skills.

Two stages of working on an element:

Stage 1 - to find, invoke and feel the truth and faith in the area of the body, that is, physical action.

Stage 2 - develop logic and consistency.

To do this, there are a number of simple exercises: “thread a needle”, “write a letter and seal the envelope”, “repair a pencil with a penknife”, and so on.

Working with an imaginary object creates not only the truth of the physical action and faith in it, but also develops logic and consistency, develops the correct attitude towards real objects, and disciplines stage attention.

During each exercise, study, and then the role, a continuous logic of actions must be created, which is of exceptional importance, because the logic of action gives rise to the logic of experience, leads from the conscious to the subconscious. Each of our actions must have a cause and effect, that is, proceed from the previous action and give birth to a new one, which logically follows from it.

“You should not immediately jump “from the first floor to the third”, otherwise you can lose the feeling of truth. Consistently move from step to step without missing a single one” (K.S. Stanislavsky).

Our path: from truth to inspiration, but this path requires a lot of hard work of the actor.

PFD exercises require great concentration, keen observation, memory for previously experienced sensations, logic, and consistency. The teacher and students must carefully monitor that all actions are performed logically, sequentially, without skipping individual links, to achieve maximum accuracy.

Why is it impossible to study the logic and sequence of physical actions in exercises with real objects? This question is answered convincingly by K.S. Stanislavsky: “With real objects, many actions instinctively, due to the mechanical nature of life, slip by themselves in such a way that the player does not have time to keep track of them. It is difficult to catch these slips, and if you allow them, then you get failures that violate the line of logic and the sequence of physical actions. In turn, broken logic destroys the truth, and without truth there is no faith and no experience itself, both for the artist himself and for the beholder. The absence of objects compels us to delve more attentively, deeper into the very nature of physical actions and study it.

These exercises help to develop more subtle means of expressiveness of the actor, they require the performer to be more precise and observant, close attention, the finest muscle work, instill in the novice actor a taste for professional clarity and completeness of the stage action.

6. Stage attitude and assessment of the fact.

As we know the art of theater is conditional. Stage attitude plays an important role in the work on the sketch, the role. The actor must be able to establish and change his stage relations in accordance with the task.

Working on a role means looking for a relationship. If the actor made the relationship of the image their relationship– this means that he has mastered the inner side of the role. In order to play a role, an actor must correctly define the relations of the character, make these relations his own, that is, educate them in himself, get used to them, and act logically, expediently and productively on the basis of these relations.

The actor must be able to truthfully and organically evaluate the facts that appear on the stage. Stages of fact assessment: 1) Perception of the fact 2) Rechecking 3) Development of attitude 4) Attachment 5) Action

An actor must be able to accept the unexpected. What happens on stage should come as a surprise to the actor. To perceive the known in advance as unexpected is the main difficulty of acting, but it is precisely in this that, first of all, the talent of the actor is manifested. action is born.

Conclusion: 1. The actor must be able to seek, find and make his own relationships that the role requires.

2. The actor must, based on established relationships, accept any fact of stage life as a surprise, and correctly evaluate this fact.

7. Faith and stage naivete.

“What a joy to believe in yourself on stage, to feel that others also believe in you” (K.S. Stanislavsky).

The more naivety in the actor, the greater the sense of faith, the easier it will be for him to believe in what is happening on the stage, to forget the conventions of the theater. Naivety and faith give the actor the opportunity to lose stiffness, awkwardness.

To develop stage naivety, one must conduct life observations. Especially carefully observe the children, they fortunately still retained this naivety and spontaneity.

Naivety coexists with the mind, but not with rationality. Stage naivety must be protected in every possible way, like a flower. Naivety and faith give rise to a wonderful feeling of contagiousness, without which the actor simply cannot exist.

8. emotional memory.

Emotional memory is necessary for an actor, since on stage he lives with repeated feelings, that is, feelings experienced earlier, familiar from life experience. Here you will be helped by imagination, fantasy, proposed circumstances, the so-called “decoys”, which evoke a response in emotional memory.

The actor must evoke (learn) the memories embedded in him - they turn into feelings that the actor begins to live by transferring them to the proposed circumstances.

A strong impression in life is a brighter emotional memory, it does not require effort. Our task is to educate in the actor the ability to call to action the repeated memories of feelings and experiences embedded in him. He can experience only his own emotions and act from himself, a person - an artist. You need to train anytime, anywhere, every day. “The artist must be able to directly respond to “calls” (exciters) and master them, like a virtuoso with the keys of a piano. Invent and get carried away with fiction. Not a single object, not a single stimulus of emotional memory can be neglected. (K.S. Stanislavsky)

"Decoys" are internal and external.

Internal: super task, through action, proposed circumstances, actions, task, sensations, etc.

External: setting, light, music, noises, mise-en-scene, atmosphere, etc.

This means that emotional memory - the memory of sensations - is of exceptional importance. It is the stuff that feeds the actor's creativity. The study of the elements of emotional memory should be carried out in two directions: to develop the memory of the senses (sensory memory) and directly emotional memory. “Combined with fantasy and imagination, faith and stage naivety “create joy from everything that comes to hand” (K.S. Stanislavsky).

The basis of the imagination is always perceptions that provide the material from which the new will be built. Then comes the process of processing this material - combining and recombining. The components of this process are dissociations (analysis) and associations (synthesis) of the perceived.

The activity of creative imagination does not end there. A full circle will be completed when the imagination is embodied, or crystallized in external images. 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.

Thus, the products of the imagination in their development 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.

Fantasy, as an activity that creates images, is a necessary condition for any artistic creativity. Since the images are composed by inventing and artificially combining elements, they are devoid of liveliness and artistic truth. Fantasy provides the artist with the necessary supply of images and outlines possible ways of combining them, while the construction of the whole is determined by the aesthetic feeling and the main idea of artistic design. Poetic creativity can take on the character of a completely unconscious process in which images are combined into an artistic unity, apart from any control of rational and generally critical activity. Such a manifestation of poetic fantasy characterizes the greatest upsurge of poetic inspiration and has as its external expression the so-called improvisation. Romanticism is richest in fantastic constructions. Fantasy finds its greatest application in the creation of hypotheses in the empirical sciences and in general in the study of causes in one or another area of phenomena. In all such cases, fantasy provides a rich material of possible conjectures and conjectures, from which the intellect, by both logical analysis and empirical verification, extracts everything that can be of scientific importance.

Fantasy gives rise to an idea that has gone beyond the surrounding local world. Imagination with the help of details turns an idea into a visible, tangible image.

The motives of fantasy in principle coincide with the motives of creative activity. First of all, it is the need for search activity, the desire for novelty, unusual, unpredictable. Another motive for fantasy is often unsatisfied desires of various kinds. The motive of self-expression, the desire to assert one's personality, is also essential.

Fantasy and imagination are spontaneous and cannot be limited. However, even in this spontaneous process, there is a sequence of all phases of the activity of the four forms of the psyche: intuition, thinking, sensation and feeling. This looks like a paradox. But it is apparent, because in a given sequence of forms there is an infinity of shades, thanks to which the imagination leaves a trace not only in the present - in its rebellion it rushes into the future. The image expands with the participation of these four forms of mental life. Intuition discovers with the help of conjectures new connections that thinking harmoniously combines into a holistic image; feeling colors the image with emotional experiences, and sensation makes it visible, tangible. Such imagination is creative and when it collides with reality, something new is born in this collision.

The French psychologist T. Ribot wrote in his study of creative imagination: “For creative imagination, the inner world serves as a regulator ... creative imagination in its perfect form seeks to manifest itself in the outside world, to express itself in a creation that would exist not only for the creator, but for everyone. ... for simple dreamers, the imagination remains inside in the form of a vague outline, it is not embodied in an aesthetic or practical creation. Creative imagination, Ribot believed, can be decomposed into several elements, which include: a mental factor, an emotional factor, an unconscious factor. Ribot saw the paradox of the role of the mental factor in the fact that a part of any image in memory passes into a whole, each element tends to reproduce the full state of this image. But if only this law existed, writes Ribot, then creation would always be inaccessible to us, we could not go beyond repetition. However, a person is free in his choice due to the fact that there is a dissociation of images and the possibility of their new combination. Ribot noted that the role of dissociation is great due to the fact that the integral restoration of the image in memory hinders creativity. The emotional factor in the imagination is a necessary component, since, Ribot writes, one cannot find an example of such a work that would be created abstractly, free from any affective element. Ribot associated inspiration with the unconscious factor. All the factors named by him are united by the principle of unity, for any creativity requires unity and synthesis.

Fantasy is necessary not only in artistic, scientific and technical creativity, but also in games, sports, work, communication - wherever there is a creative component.

The very nature of creative activity, discovering the new, the unknown, suggests the desire to look into the future, to anticipate the result of the activity. This is what fantasy does, performing a prognostic function.

The wider the space of imagination, the richer and deeper the inner world of the individual and the more imagination is able to give life to the phenomena of the hidden reality in which a person lives. The function of imagination expresses itself in various representations of poetic, musical, artistic images. But not everyone is able to see the image not with their eyes, but imagine it in their imagination and paint a complete picture of the image.

Is it necessary to develop fantasy and imagination, and why?

As a creative ability, fantasy can be cultivated and improved through special exercises (tests), in the process of participating in the activity itself. The development of creative imagination plays an important role in the cognitive process.

Today I want to introduce you to an interesting and, of course, useful book by Yu.G. Tamberg. "Development of creative thinking of the child". One of the sections of the book is devoted to the development of fantasy and imagination - what they are, how they differ from each other, and, most importantly, how exactly they can be developed. This is what we will talk about today.

First, let's look at what imagination and fantasy are. These are types of thinking, this is the ability to mentally represent what is not, from what is in memory. In other words, imagination is an active creative process of creating new knowledge (new ideas) from old knowledge.
How is fantasy different from imagination?

If imagination is the ability to mentally create new ideas and images of possible and impossible objects based on real knowledge, then fantasy is the creation of new, but unreal, fairy-tale situations and objects, but also based on real knowledge.

There are several types of imagination:

3. The unmanageable is what is called "violent fantasy", an absurdity, a set of unrelated absurdities.

How is fantasy and imagination different from serious problem solving?

When fantasizing, the child himself creates any kind of plot, including a fairy tale one, any situation he wants, any task he wants, and he solves it in any way he likes. Any solution is acceptable. And when solving real problems, the child is looking not for any, but for a real, "adult", serious, feasible solution. In both cases, he creates, but when fantasizing there is more freedom, since there are no prohibitions on the part of physical laws and no great knowledge is required. That is why it is better to start the development of children's thinking with the development of fantasy.

What is the difference between fantasy and stupidity?

When fantasy is harmful, it becomes stupidity. Stupidity is an unnecessary, unreasonable, wrong, harmful, inappropriate act or statement that does not honor the one who committed it. Of course, one must take into account the age of the person, the conditions and goals of the act.

Is any fantasy good? There is a general criterion for assessing the quality of all affairs on Earth - this is an increase in goodness in the world.

The classic carrier of fantasy is a fairy tale.

How is fairy tale different from science fiction? In science fiction, technically feasible situations, elements or processes are considered, and in a fairy tale any. It should be noted that there is no sharp boundary between fantastic and real solutions either. For example, what was considered a fantasy in the time of Jules Verne is now an everyday reality. G. A. Altshuller calculated that out of 108 (!) ideas-forecasts of J. Verne, 99 (90%) were implemented. H. G. Wells out of 86 - 77, Alexander Belyaev out of 50 - 47.

How to develop fantasy and imagination in children?

There are three laws for the development of creative imagination:

1. The creative activity of the imagination is directly dependent on the richness and diversity of a person's previous personal experience.

Indeed, any imagination is built from real elements, the richer the experience, the richer the imagination. Hence the consequence: we must help the child to accumulate experience, images and knowledge (erudition), if we want him to be a creative person.

Ways to develop fantasy and imagination

1. Generate motivation!

4. Make children fall in love with you (attraction). On this "wave of love" they trust you more and are more willing to obey.

5. By your own example. In early childhood, kids copy the behavior of adults, it’s a sin not to take advantage of this. You are an authority for a child.

at a tender age (2-6 years) - fairy tales, fantastic stories;

in adolescence (7-14) - adventure fantasy novels (Jules Verne, Belyaev, Conan Doyle, Wells);

in youth and in adulthood - solid science fiction literature (Efremov, Strugatsky, Azimov, Robert Sheckley, Philip Dick, Lem, G. Altov). Teach children to admire a good fantasy.

7. Stimulate fantasy with questions. For example: "What happens if you grow wings. Where would you fly?"

8. Put children in difficult situations. Let them think and find a way out. Here, for example, is a classic task: children ended up on a desert island, how to survive?

9. Throw interesting stories to children and ask them to make stories, fairy tales, stories based on them.

10. Teach the following techniques for developing imagination and fantasizing.

Using the techniques below does not eliminate the need to think. Techniques "not instead of", but "to help" fantasy, techniques indicate the direction of thinking. Knowledge of fantasy techniques leads children to mastering "adult" techniques for resolving contradictions and solving inventive problems.

Techniques for the development of fantasy and imagination

Below are just 10 of the 35 fantasy techniques in the book:

1. Increase - decrease

It can be increased indefinitely from actual sizes to infinitely large and can be reduced from real to zero, that is, until complete destruction.

Here are conversation games for mastering the "increase - decrease" technique.

1.1. They say to the child: "Here's a magic wand for you, it can increase or decrease whatever you want. What would you like to increase and what to decrease?"

I would like to reduce my vocal lessons and increase my free time.

I would like to reduce homework.

I want to enlarge the candy to the size of the refrigerator so that I can cut off the pieces with a knife.

I want to increase the raindrops to the size of a watermelon.

1.2. Complicate this game with additional questions: "And what will come of it? Where will it lead? Why do you want to increase or decrease?"

Let your arms temporarily become so long that you can get an apple from a branch, or say hello through the window, or get a ball from the roof, or, without getting up from the table, turn off the TV.

If the trees in the forest are reduced to the size of grass, and the grass to the size of a match, then it will be easy to look for mushrooms.

1.3. What will happen if our nose lengthens for a while?

It will be possible to smell the flowers in the flower bed without leaving the house; it will be possible to determine what delicious dishes the neighbors are preparing;

That's good, but what's wrong with that?

There will be nowhere to put such a long nose, it will interfere with walking, riding in transport, it will even be uncomfortable to sleep, and in winter it will freeze. No, I don't need that nose.

1.4. Invite the child to say what is good and what is bad if we increase or decrease something. Who will be good and who will be bad? This is a moral analysis of the situation.

Tell me, what will be good and what will be bad for you personally and others if the magician enlarges you 10 times?

If the child finds it difficult to guess, help him with additional questions.

What size will you be then?

How many kilograms will you weigh?

2. Adding one or more fancy properties one person or many people (as fragments or blanks of future fantastic works)

The technique of this kind of fantasizing is similar to the method of focal objects:

a) select several arbitrary objects of animate and/or inanimate nature;

b) formulate their properties, qualities, features or character traits. You can come up with new properties "from the head";

c) the formulated properties and qualities endow a person.

For example, an eagle was chosen as an object ("property donor"). Eagle qualities: flies, excellent eyesight, feeds on rodents, lives in the mountains.

Man can fly like an eagle. It can be added: it can fly in the stratosphere, in near and far space.

A person has super-acute eagle vision, for example, he sees cells of living tissues without a microscope, crystal lattices of metals, even atoms, he sees without a telescope and better than through a telescope, the surface of stars and planets. He sees through walls, walks down the street and sees what is happening in the houses, and even penetrates through the walls himself, like an X-ray.

Man eats eagle food - rodents, birds.

The man is covered in feathers.

2.1. Come up with sense organs that a person does not have, but could be.

For example, it would not be bad to feel the presence of radiation in order to protect yourself from it. Generally speaking, we feel it if we suffer from radiation sickness.

It would not be bad to feel nitrides and nitrates and other contaminants. There is a wonderful and rare feeling - this is a sense of proportion, not everyone has it.

It would not be bad to feel when you make a mistake and when danger is approaching (figuratively speaking - in this case, a red light would light up).

2.2. The time will come, and it will be possible to change the internal organs. What would it look like?

2.3. Make a "markup" of people with color according to their moral qualities.

For example, all honest people turned pink, all dishonest people turned purple, and evil people turned blue. The more a person has done meanness, the darker the color. Describe what will happen to the world? Many people probably wouldn't leave the house.

3. Animated drawing

You have received a wonderful gift, everything that you draw comes to life! What would you draw?

Great people? Endangered animals?

New animals and plants?

4. Exclusion of some human qualities

List the properties and qualities of a person, and then exclude one or two properties and see what happens.

The person is not sleeping.

The person does not feel pain.

Man lost weight, sense of smell.

Name at least 10 vital qualities and properties of a person and think about the consequences of their loss.

5. Turning a person into any object

But the most important thing in this technique is the education of empathy - the ability to transform into another image and look at the world through his eyes.

Suggest at least 10 examples of human transformation, for example in fairy tales.

6. Anthropomorphism

Have you seen anywhere in the world

Are you a young princess?

I am her fiancé. - My brother,

The clear moon answers, -

I did not see the red maiden.

Here Pushkin endowed the month with the ability to see, recognize, condole and speak.

Recall 10 examples of anthropomorphism from fairy tales, myths and fables that you know and come up with at least 10 examples of possible anthropomorphism yourself.

7. Giving objects of inanimate nature the abilities and qualities of living beings

Namely: the ability to move, think, feel, breathe, grow, rejoice, joke, smile.

The boy sits astride a stick and imagines her as a horse and himself as a rider.

What living creature would you turn a balloon into?

Exercise. Think of at least 10 examples of such transformations.

8. Giving unusual properties to objects of inanimate nature

For example, stone. It glows, always warm (never cools down!), you can warm your hands in the cold, makes the water sweet and healing, but does not dissolve itself.

The stone absorbs diseases. The stone gives immortality. Contemplation of the stone inspires to write poetry and draw, etc.

Here is a good game for the development of fantasy. Children (or adults) stand in a circle. One is given a soft toy or a ball in his hands and is asked to throw it to someone with warm words: “I give you a hare”, or “Yurochka, I give you a goat, his horns have not yet grown”, or “Hold, Masha, big candy", or "I give you a piece of my heart", "I give you a squirrel", "This is a glass ball, do not break it", "This is a cactus, do not prick."

9. Resurrection of dead people, animals, plants

For example:

What would happen if brontosaurs were resurrected?

What else would Pushkin have created if he had not passed away so early?

You can revive all kinds of extinct animals and all people!

Suggest 10 options for such a game.

10. Revival of dead heroes of literary works, in particular, heroes of fairy tales

Is a fairy tale character dead? It doesn't matter, you need to draw it and it will come to life.

Suggest 10 options for such a game.

Dear friends, here is just a part of the many witty and entertaining examples for the development of your child's imagination and imagination. Do not stop there, develop with your child!

In preparation, materials from the book by Yu.G. Tamberg were used. "Development of creative thinking of the child". Publisher: "Rech", 2002, 176 p.