Development of creative abilities in students. Modern problems of science and education Components of the structure of creative abilities

Creativity is not a new subject of study. The problem of human abilities has aroused great interest of people at all times. The development of creative abilities will be largely determined by the content that we will invest in this concept. In the mind, creative abilities are identified with the ability for various types of artistic activity, with the ability to draw beautifully, compose poetry, write music, etc.

"Philosophical Encyclopedia" defines creativity as an activity that generates "something new, never before." Objective value is recognized for such products of creativity, in which still unknown laws of the surrounding reality are revealed, connections between phenomena that were considered unrelated to each other are established and explained. The subjective value of the products of creativity takes place when the product of creativity is not new in itself, objectively, but new for the person who first created it. AT modern research European scientists "creativity" is defined descriptively and acts as a combination of intellectual and personal factors.

So, creativity is an activity, the result of which are new material and spiritual values; the highest form of mental activity, independence, the ability to create something new, original. As a result of creative activity, creative abilities and creativity are formed and developed.

P. Torrens understood creativity as the ability to heighten the perception of shortcomings, gaps in knowledge, disharmony. In the structure of creative activity, he singled out:

· Perception of the problem;

· Finding a solution;

The emergence and formulation of hypotheses;

Hypothesis testing;

their modification;

Finding results.

It is noted that such factors as temperament, the ability to quickly assimilate and generate ideas (not to be critical of them) play an important role in creative activity; that creative solutions come at a moment of relaxation, distraction of attention.

The essence of creativity, according to S. Mednik, is in the ability to overcome stereotypes at the final stage of mental synthesis and in the use of a wide field of associations.

D.B. Bogoyavlenskaya singles out intellectual activity as the main indicator of creative abilities, which combines two components: cognitive (general mental abilities) and motivational. The criterion for the manifestation of creativity is the nature of the person's performance of the mental tasks offered to him.

I.V. Lvov believes that creativity is not a surge of emotions, it is inseparable from knowledge and skills, emotions accompany creativity, inspire human activity, increase the tone of its flow, the work of a human creator, give him strength. But only strict, proven knowledge and skills awaken the creative act.

Thus, in the very general view The definition of creativity is as follows:

Creativity is the individual psychological characteristics of the individual, which are related to the success of any activity, but are not limited to the knowledge, skills and abilities that have already been developed by the student.

The element of creativity can be present in any kind of human activity, so it is fair to speak not only about artistic creativity, but also about technical creativity, mathematical creativity, and so on. Creativity is an amalgamation of many qualities. And a question about components creativity human remains open until now, although at the moment there are several hypotheses concerning this problem.

J. Gilford connects the ability to creative activity, first of all, with the peculiarities of thinking. Guilford dealt with the problems of human intelligence, found that creative individuals are characterized by the so-called divergent thinking. People with this type of thinking, when solving a problem, do not concentrate all their efforts on finding the only correct solution, but begin to look for solutions in all possible directions in order to consider as many options as possible. Such people tend to form new combinations of elements that most people know and use only in a certain way, or form links between two elements that at first glance have nothing in common. The divergent way of thinking underlies creative thinking, which is characterized by the following main features:

Rapidity- the ability to express the maximum number of ideas (in this case, it is not their quality that matters, but their quantity).

Flexibility - the ability to express a wide variety of ideas.

Originality- the ability to generate new non-standard ideas (this can manifest itself in answers, decisions that do not coincide with generally accepted ones).

Completeness- the ability to improve your "product" or give it a finished look.

A well-known domestic researcher of the problem of creativity A.N. Luk, based on the biographies of prominent scientists, inventors, artists and musicians, highlights the following creative abilities:

The ability to see a problem where others do not see it.

· The ability to collapse mental operations, replacing several concepts with one and using symbols that are more and more capacious in terms of information.

The ability to apply the skills acquired in solving one problem to solving another.

The ability to perceive reality as a whole, without splitting it into parts.

The ability to easily associate distant concepts.

The ability of memory to produce the right information at the right moment.

Flexibility of thinking.

The ability to choose one of the alternatives for solving a problem before it is tested.

The ability to incorporate newly perceived information into existing knowledge systems.

The ability to see things as they are, to distinguish what is observed from what is brought in by interpretation. Ease of generating ideas.

· Ability to refine details, to improve the original idea.

Candidates of Psychological Sciences V.T. Kudryavtsev and V. Sinelnikov, based on a wide historical and cultural material (the history of philosophy, social sciences, art, individual areas of practice), identified the following universal creative abilities that have developed in the process of human history:

1. Imagination realism - a figurative grasp of some essential, general trend or pattern of development of an integral object, before a person has a clear idea about it and can enter it into a system of strict logical categories. The ability to see the whole before the parts.

2. The supra-situational-transformative nature of creative solutions, the ability to solve a problem not just choose from alternatives imposed from the outside, but independently create an alternative.

3. Experimentation - the ability to consciously and purposefully create conditions in which objects most clearly reveal their essence hidden in ordinary situations, as well as the ability to trace and analyze the features of the "behavior" of objects in these conditions.

Scientists and teachers involved in the development of programs and methods of creative education based on TRIZ (theory of inventive problem solving) and ARIZ (algorithm for solving inventive problems) believe that one of the components of a person’s creative potential is the following abilities:

1. The ability to take risks.

2. Divergent thinking.

3. Flexibility in thought and action.

The speed of thought.

The ability to express original ideas and invent new ones.

Rich imagination.

Perception of the ambiguity of things and phenomena.

high aesthetic value.

Developed intuition.

Analyzing the points of view presented above on the issue of the components of creative abilities, we can conclude that, despite the difference in approaches to their definition, researchers unanimously single out creative imagination and the quality of creative thinking as essential components of creative abilities.

The activation of creative activity is achieved, according to A. Osborne, due to the observance of four principles:

The principle of exclusion of criticism (you can express any thought without fear that it will be recognized as bad);

· The principle of encouraging the most unbridled association (the wilder the idea, the better);

· The principle of requiring that the number of proposed ideas be as large as possible;

· The principle of recognition that the ideas expressed are not anyone's property, no one has the right to monopolize them; each participant has the right to combine the ideas expressed by others, modify them, “improve” and improve.

Keywords

CREATIVITY / KNOWLEDGE / SUPERCONSCIOUSNESS / TECHNOLOGY / NEEDS

annotation scientific article on the sciences of education, author of scientific work - Dashchinskaya T. N., Dashchinsky V. E.

The work is devoted to the development and testing of technology for the development of creative abilities and the need for self-improvement through training and creative activity in the intellectual and artistic fields. To substantiate technological methods, we used known data and conducted comprehensive studies of the dependence of a person's creative activity on sociocultural and psychophysical factors. Using an original method for studying the spatial synchronization of biopotentials, we revealed the features of the neurophysiology of the creative states of the brain and the stimuli that contribute to their activation. For the first time, it was found that the creative act involves cross states in which synchronization of active foci is observed, forming two axes - “cognitive” (left frontotemporal, right occipital foci) and “superconsciousness” (right frontotemporal, left occipital foci). At the same time, it was established that effective way activation of these states is a complex of coordinated and harmonious action of the triad of breath, movement and sound with direct contact between the student and the teacher. The use of technology in the educational process made it possible to increase the efficiency of mastering new material among students of the theater institute and, in parallel, develop the ability to heuristic thinking and self-improvement through artistic creativity. Taking into account these results, the technology can be recommended for use in educational institutions and not only in the arts.

The text of the scientific work on the topic "Technology for the development of creative abilities"

UDC 316.3 + 612.82 TECHNOLOGY FOR THE DEVELOPMENT OF CREATIVE ABILITIES

Daschinsky T.N., Daschinsky V.E.

The work is devoted to the development and testing of technology for the development of creative abilities and the need for self-improvement through training and creative activity in the intellectual and artistic fields. To substantiate technological methods, we used known data and conducted comprehensive studies of the dependence of a person's creative activity on sociocultural and psychophysical factors. Using an original method for studying the spatial synchronization of biopotentials, we revealed the features of the neurophysiology of the creative states of the brain and the stimuli that contribute to their activation. For the first time, it was found that the creative act involves cross states in which synchronization of active foci is observed, forming two axes - “cognitive” (left frontotemporal, right occipital foci) and “superconsciousness” (right frontotemporal, left occipital foci). At the same time, it was found that an effective way to activate these states is a complex of coordinated and harmonious action of the triad - breathing, movement and sound with direct contact between the student and the teacher. The use of technology in the educational process made it possible to increase the efficiency of mastering new material among students of the theater institute and, in parallel, develop the ability to heuristic thinking and self-improvement through artistic creativity. Taking into account these results, the technology can be recommended for use in educational institutions and not only in the arts.

Key words: creativity, cognition, creativity, superconsciousness, technology, needs.

TECHNOLOGY DEVELOPMENT CREATIVE ABILITIES

Dashchinskaya T.N., Dashchinskiy V.E.

The work is devoted to development and approbation of technology of development of creative abilities and need for self-improvement through education and creative activities in intellectual and art spheres. For justification of technological methods were used known data and were carried out a complex investigation of dependence of creative activity of the person from sociocultural and psychophysical factors. Involving an original method of studying of spatial synchronization biopotentials, revealed features of neurophysiology of creative conditions of a brain and the incentives promoting their activation. For the first time it is revealed that cross conditions in which synchronization of the active focuses forming two axes - "cognitive" (left fronto-temporal, right occipital focuses) and "superconsciousnesses" (right fronto-temporal, left occipital focuses). It is thus established that effective way of activation of these states is the complex of the coordinated and harmonious action of a triad - breath, movement and a sound with the direct student-teacher contact. Technology application in educational process allowed to increase efficiency of assimilation of a new material at students of theatrical institute and in parallel to develop abilities to heuristic thinking and self-improvement through art creativity. Taking into account these results the technology can be recommended for use in educational institutions and not only an art profile.

Keywords: creativity, knowledge, creativity, superconsciousness, technology,

INTRODUCTION

The problem of innovation has now become relevant in all areas

In science and technology, in art and education, in production and consumption. Its solution is limited by the level of professionalism of a person and his ability to find non-standard original ideas and solutions that allow him to gain new knowledge and open up prospects for development in all spheres of life. Obviously, the solution of these problems will contribute to the study of neuro- and psychophysiological patterns of the creative process and the development of technologies (psychotechnics) based on them, designed not only for the disclosure and full development of the natural talent of a creative person, but to a greater extent - for the formation of a stable need for any creativity, including the assimilation and creation of new knowledge. These technologies should be designed for use not only under the guidance of a teacher, but also independently by the students themselves. The guarantee of the effectiveness and psychosomatic harmlessness of such psychotechnics will be the reasonable use in it of reliable scientific data on the dependence of the mechanism of the mental and creative act on genetic, physiological, psychophysical and sociocultural factors.

In this work, in order to develop and test a complex technology that develops creativity and the need for self-improvement through training and creative activity, we analyzed known data on the neurophysiology and psychophysics of the creative state of the brain, as well as the characteristic psychosomatic features of people with a particular talent. At the same time, the dependence of the genesis of a creative personality on sociocultural and physical biogenic factors was taken into account.

1. JUSTIFICATION OF THE TECHNOLOGY

An objective characteristic of the value of a creative intellectual or artistic product in verbal or non-verbal form is the degree of its novelty, which is directly related to the measure of usefulness of creative activity. These quantitative, in fact, characteristics are equally applicable in two qualitatively different areas of human creative activity related to the knowledge and transformation of the world. They are associated with two types of thinking - verbal-logical and non-verbal-intuitive and, accordingly, two areas of creativity - intellectual and artistic. At the physiological level, this bifurcation of creative abilities corresponds to the morphofunctional asymmetry of the cerebral hemispheres - right hemisphere in right-handers it is considered dominant in artistic creativity, while the functions of the left hemisphere (for example, speech and analytical) dominate in intellectual-rational creativity. Of course, such a differentiation of the specialization of the cerebral hemispheres is conditional, and in fact, the dominance of one of the types of thinking and the corresponding creative ability, as a rule, is associated with the presence of outstanding abilities related to the specialization of the contralateral hemisphere. For example, gifted physicists and mathematicians are well versed in music (A. Poincare,

A. Einstein, R. Feynman, G. Perelman). Many outstanding artists succeeded in the epistolary genre (A. Durer, Van Gogh, E. Delacroix, A. Benois,

V. Vasnetsov, V. Vereshchagin) and vice versa - most poets were able to draw quite expressively (A. Pushkin, M. Lermontov, V. Mayakovsky, F. Garcia Lorca).

These examples indicate that the neuro- and psychophysiology of creativity has a pronounced asymmetry at the level of the cerebral hemispheres, in addition, the high activity of the dominant hemisphere is a motivating factor in the development of creative abilities characteristic of the contralateral hemisphere. At the heart of this synergistic effect,

Obviously, there is a mechanism of neuroplasticity of the brain, which ensures the effectiveness of various developing psychotechniques.

1.1. The concept of superconsciousness

For the first time, the term "superconsciousness" was used by K.S. Stanislavsky in the psychotechnics of teaching actors to stage skills. At the same time, the ability to "technically master one's superconsciousness to perfection" was regarded as a key and necessary component of creativity. According to the ideas of P.V.Simonov, the psychophysics of creativity includes consciousness, subconsciousness and superconsciousness. Consciousness operates with knowledge that can be transferred to another, the subconscious mind includes automated skills, learned norms and motivational conflicts, those manifestations of intuition that are not associated with the generation of new information, but involve only the use of previously accumulated experience. Superconsciousness is interpreted as a mechanism of creative intuition not controlled by conscious volitional effort, associated with obtaining fundamentally new information and an original product. Simonov emphasizes that creativity in its highest manifestation (talent and genius) is characterized by a high degree of cognitive need development. P. M. Ershov connected the psychophysics of “inspiration” with the activation of superconsciousness, implying the inclusion of the mechanism of intuition and the achievement of a specific mental state - insight. He emphasizes that “superconsciousness (intuition, inspiration) carries out the development of consciousness itself and improves dialectical logic itself. Such is the creative work of thinking in cognition, which includes unconscious mental processes. The neurophysiology of superconsciousness is based on the processes of transformation and recombination of traces (engrams) stored in the subject's memory. In the processes of recombination, superconsciousness involves the psychophysics of consciousness and subconsciousness, which stores not only unconscious reflexes, but also sociocultural archetypes and

mythologemes.

The paper notes that the ontogenesis of superconsciousness in the presence of genetic inclinations is carried out in the process of human socialization, in parallel with the genesis of the Freudian Superego, responsible for moral consciousness, self-observation and ideals. The main difference between the superconscious and the superego is its creative dominant, which combines the subconscious mechanisms of insight, intuition and memory with the mechanism of awareness of the novelty and usefulness of a new meaning.

Studies of the neurophysiology of creative states have shown that the creative process in a complex sequence combines the neural activity of both hemispheres of the brain with the obligatory participation of cross axes of spatial synchronization of the biopotentials of the frontal regions of the right and posterior left hemispheres, as well as the frontal regions of the left and posterior right hemispheres. The creative states corresponding to these two axes were conditionally defined as the axes of the superconscious and the cognitive axes.

1.2. Factors of functional activity of the brain

The inclusion of factors selectively activating the right or left hemisphere into psychotechniques significantly increases their effectiveness. First of all, we are talking about motor and sensory asymmetries. Among the motor asymmetries, the manual and associated tactile asymmetries are considered to be the leading ones. Visual, auditory and olfactory sensory asymmetries are also important. The combination of the asymmetry of the auditory system and the vocal apparatus makes it possible to include phonetic and musical factors in psychotechnics. It has been established that, depending on external physical conditions, during nighttime sleep, a person can generate a resource of functional asymmetry, which manifests itself through the asymmetry of the biomechanics of the musculoskeletal system and can be activated by “switching on” the speech function of the brain.

The most important role in the development of psychophysical asymmetry is played by the dominance of reflex connections of the right hemisphere with visceral

organs whose neurophysiology forms the basis of the unconscious Freudian id. It is also necessary to take into account the asymmetry of the emotional factor of creativity. Numerous neuropsychological and psychophysiological studies have shown the predominant connection of the left hemisphere of the human brain with positive emotions, and the right - with negative ones. It is believed that phylogenetically positive emotions are younger than negative ones, that is, new, young functions are initially formed in the left hemisphere of the brain, and later, to one degree or another, are transferred to the right. Since patterns of phylogenesis are reproduced in ontogenesis, they must be taken into account when developing developing psychotechniques.

The right hemisphere is involved in thinking and enables communication at the preverbal level. The sign speech of the deaf and dumb is under the jurisdiction of the right hemisphere, as well as any form of communication with the help of conceptual signs, including pictographic and hieroglyphic writing. These abilities in right-handed people are not violated even with lesions of the left hemisphere, as evidenced by the drawings of the artist who suffered a serious injury to the frontotemporal regions of the left hemisphere. The work of the right hemisphere is carried out mainly by reflex, and the left arbitrarily controls mental processes. The left hemisphere takes over the analysis and comprehension of rational sign systems. Due to the predominance of tactile receptors on the hands of the right hands in sighted and, especially, in blind people, it processes and analyzes the visually perceived messages of the signs of the finger alphabet of the deaf and dumb and synthesizes response speech from the same chains of motor acts, which are alphabetic signs. It is the left hemisphere of deaf-blind people who analyzes tactile sensations about the signs of the sign alphabet or vibrational signs that occur in the larynx. talking person, and synthesizes chains of motor acts of response speech. Before I. Sokolyansky developed this method

communication with deaf-blind children from birth, they practically did not become people, that is, their intelligence remained at the level of animals. Sokolyansky's method makes it possible for deaf-blind children to achieve high intellectual development - they acquire higher education, became scientists and defended Ph.D.

The last example clearly illustrates the importance and necessity of including direct sensory contacts of the student with the teacher and society in developing psychotechniques. Obviously, in this case, a universal adaptive mechanism works, which is inherent in all living systems from birth. For example, the ability to sing in a young nightingale develops in the process of imitation of mature nightingales, just like a parrot, after a long sound communication with a person, can reproduce the words and elements of human speech. Accordingly, psychotechnics that develops a person's need for learning and creativity must necessarily include elements of psychophysics that are sensitive to the actions of sociocultural factors, the most important of which, of course, is speech and the demand for creative activity by the society. The development of the vocal apparatus and speech is a key endogenous factor in the phylo- and ontogenesis of mental ability, and the degree of awareness by the creator of the demand for the fruits of his work determines the motivational and emotional components of the creative process.

If such characteristics of creative potential as originality and genius are determined mainly by genetics, then the need for its development and full implementation is formed exclusively in the process of social adaptation, under the influence of exogenous socio-cultural factors: “the needs of the human individual are not genetically embedded in him. Only the necessity and the possibility of forming certain needs can be considered as a priori given. The first is determined, ultimately, by the direction of development

humanity as a tribal community, the second - mutual correspondence, "docking" of man and the world, their potential complementarity"

1.3. Practical psychology in creativity

When developing psychotechnics that develop creative abilities, one can use well-known psychophysical and physiological exercises used in opera singing, various rites and rituals, breathing exercises and practical psychology.

First of all, they include ritual movements, sounds and chants, which were and are used in various cult rites. Such movements and acoustic influences are one of the ways to simultaneously activate the subconscious and superconscious, which gives a good positive effect on the physical and mental levels. The effect is obviously due to the restoration and activation of the mechanisms of the spatiotemporal organization of the brain, including interhemispheric interaction, cortico-visceral relations, and the functions of subcortical structures. The mechanism of stimulation of cooperative processes in various parts of the brain by sounds and chants can be based on the excitation of resonant oscillations in local homogeneous fluid-cell systems of the brain at the frequencies of harmonics of oscillations of air media in the auditory apparatus, in the facial and frontal sinuses, as well as the air column in the trachea. By varying the way of singing (laryngo-nasal or chest) and, accordingly, the frequency range of sound (vowels - high frequencies, consonants - low frequencies), one can arbitrarily change the areas of brain activation. In the first case, fluctuations of structures in the frontal-temporal regions of the brain will be preferentially stimulated, and in the second case, in the occipital and cerebellar regions.

Thus, by coordinating a certain rhythm of movement and a special way of chanting, correction and

reformatting the energy-information state of the brain, which is fixed at the subconscious level and contributes to the process of activation of the superconscious.

Breathing exercises, in addition to a positive somatic effect, develop endogenous respiration and strengthen the blood supply system of the brain. Of particular importance in psychotechnics are exercises with the examination of graphic and pictorial images, which contain either harmonious ornaments or a specially selected combination of colors. Psychological experiments show that such exercises contribute to the “transfer” of the brain to a state of “thoughtlessness”, in which the brain activity switches from the left to the right hemisphere and the intuitive component of creativity is strengthened. Since the right hemisphere is mainly responsible for pictorial creativity, the work notes that professional and educational drawing, and especially in a state of "nothing" contributes to the development of a person's creative abilities.

2. TECHNOLOGY OF "SUPERCONSCIOUSNESS"

Guided by the data listed above and relying on polyfunctional methods of teaching the skill of an actor, we have developed a technology for the formation and activation of creative intuition (superconsciousness), as the basis of a complex psycho-technique that develops creative abilities along with the need for spiritual and intellectual self-improvement. Technology with code name"superconsciousness" has passed a long approbation and introduced into the educational process at the Institute of Theater Arts. P.M. Ershov with the aim of developing students-actors and individuals studying additional education, abilities for creative (innovative) activity.

3. 1. Key Practical Techniques of “Superconsciousness” Technology

As physiological parameters that enhance the activity of brain regions involved in the formation of axes - cognitive and

superconsciousness, as well as the temporal zones of the right and left hemispheres were chosen: breathing; rhythmic movement; sound and word. Consistency and harmony of the action of the triad - breathing, movement and sound, turning into a word, then into speech at the initial stage of training was achieved by establishing a sensory-psychological (energy-informational) contact between the student and the teacher. This is especially true for talented teenagers, whose creative inclinations suggest the presence of increased sensitivity to the motivational spiritual and physical factors of the sociocultural environment.

The key practical techniques of psychotechnics included the following complexes.

2.1.1. Respiratory-dynamic complex.

The teacher lowers his hands freely along the body and instructs the student to breathe according to the scheme: a calm breath through the nose and a long full exhalation through the mouth (exhalation is 3-4 times longer than a calm breath). The teacher breathes in the same mode. The teacher stands behind the student and puts his hands on his shoulders and thus controls the student's alternating movements - tilting back and forth, turning left and right. Tilts and turns are made to the maximum possible angle and are repeated 3-4 times. During tilts and turns, the student's legs should remain motionless with closed feet.

After that, the student makes free movements on the spot for 3-5 minutes with closed-open eyes, trying to work gently, without tension, reaching a state similar to "thoughtlessness". Then the teacher, pushing the student with his right hand in the region of his seventh-eighth thoracic vertebrae, directs his movement in a circle with a diameter of 3-7 m. Starting from the second circle, the student “breaks away” from the teacher and runs 34 times in a circle. After jogging is completed, the teacher sets the student's hands with improvised rotational swing movements to the beat of breathing, which

last at least 5 minutes. Then, without stopping the movements of the hands, the student, under the control of the teacher's hands lying on his lower back, begins to make lateral torso tilts to the right and left in time with the movement of the hands and with increasing amplitude up to the maximum possible angle. With an increase in the amplitude of the inclinations, the student's legs are gradually and naturally included in the improvisational movement, alternately breaking away from the floor. After four or five inclinations, the teacher puts his right hand with a palm on the back of the student's head and with a slight smooth movement sets the movement of the head in antiphase to the movement of the body. When the student's torso moves to the left, his head should go to the right and vice versa. The student continues improvisational movements with the whole body for about 5 minutes.

To identify the neurophysiological effects of the technology of superconsciousness, a computer method for analyzing the electrical activity of the brain "Synchro-EEG", developed by N.E. Sviderskaya, was used. Studies have shown that a set of breathing-dynamic exercises activates the work of the temporal zones of both hemispheres and increases the activity of the occipital region of the right hemisphere of the trainee's brain.

2.1.2. Vocal dynamic complex

The teacher gives the command to slow down the improvisational movements, without reducing their amplitude, and close the eyes. Then the teacher gives the command to start singing the letters “m” and / or “n” with closed lips. Singing should begin at a minimum volume, without tension, on a long full exhalation through the nose. At the same time, the rhythms of improvisational movement, breathing and singing must match. With the end of the exhalation, the movements of the entire body of the student do not stop. With the transition of one improvisational movement to another, the tonality of singing changes. The change in tone from high to low is determined by the magnitude of the amplitude of the complex movements of the student's body. Singing at a minimum volume should last at least 2 minutes. Then, at the command of the teacher, the student, keeping these singing conditions, sings arbitrary sounds

and their arbitrary combinations for 2 minutes, after which the teacher gives the command to gradually increase the volume of singing and the amplitude of improvisational movements to the maximum. In the process of singing, the student can open and close his eyes, guided by his own feelings.

At the command of the teacher, the student, having finished the improvisational movements, bends his hands on a calm breath through his nose so that their open palms are at the level of his chest and are turned upwards. Then, at the command of the teacher, the student begins to repeat arbitrary meaningless phrases after him, copying his movements. An example of phrases dictated by the teacher are, for example, the following: “matero fa”, “moski miwa khan”, “lyate faresto huva”, etc. In this case, the student must emphasize the stresses in the spoken arbitrary phrases. Gradually, the teacher, and following his example, the student, reduce movements to gesticulation. The joint pronunciation by the teacher and the student of arbitrary phrases with simultaneous gestures should last 2 minutes, after which the teacher stops talking and gesticulating, and the student continues to do it on his own for at least 5 more minutes. This is necessary in order for the student to move the dominant of the movement into a subdominant and be replaced by the dominant of speech, which has no semantic content. In the process of self-pronunciation by the student of arbitrary phrases, simultaneously with gestures, a state of synchronism of the breath, movement and speech of the student sets in.

Neurophysiological control showed that the complex 3.1.2. activates the motor center of speech (Broca's center) of the left hemisphere and increases the activity of the frontotemporal region of the right hemisphere and the occipital regions of both hemispheres of the student's brain, which enables him to correlate the sequence and combination of articulations of sound-speech syntagmas with body movements, facial expressions and gestures. The principle of correlation of verbal and bodily means of expression is actively used in acting and oratory. Note that the frontal

the region of the right hemisphere and the occipital region of the left hemisphere of the brain are the focuses of the superconscious axis.

2.1.3. Logical-semantic complex

The teacher gives a command to repeat the program-request aloud after him, for example: "I want to know what a straight line is." The student becomes aware of new information by combining left brain activity with right brain activity and interpreting it with hand movements and/or sounds and/or speech. The forms of interpretation of this information can be different: drawing, poem, prose, musical sketch,

plastic movement, singing, speech, scientific and technical information, etc., including combinations thereof. The specific form of reproduction is given to the student by the teacher. During the reproduction of new information, the student can open or close his eyes, guided by his own feelings.

In the process of understanding and reproducing information through arbitrary forms, the student activates the frontotemporal lobe of the left hemisphere and maintains the state of synchronism of breathing, movement and speech achieved in paragraph 3.1.2. Increased focus in the anterior parts of the left hemisphere may be evidence of conditions for an increase in the controlling function of consciousness. The activity of the temporal lobe of the left hemisphere indicates the involvement of the sensory center of speech (Wernicke's center), which is responsible for understanding the meaning of the information received. The moment the student comprehends the meaning of the received information, which is a response to the request program, is the moment of insight. The activation of the superconscious axis and the cognitive axis at the moment is a necessary condition for achieving a state of creative insight. In the act of insight, the controlling function of consciousness is preserved, weakening and giving way to other layers of the psyche - both the subconscious and the superconscious.

2.2. The results of approbation of technology of superconsciousness

Neurophysiological, psychological and medical control of the psychosomatic state of students studying with the use of superconsciousness technology showed not only its safety for health, but also made it possible to identify a tangible health-improving effect of using technology in people who had problems with intellectual and mental development. Continuous monitoring of the progress of pupils and students and assessments by specialists of the level of creative abilities of students in the artistic fields (painting, literature, music, dance, theater) indicate that students who have mastered the technology of superconsciousness have acquired and developed the following abilities and qualities:

Acceleratedly acquire professional knowledge, skills and abilities and successfully apply them in practice;

Without much difficulty they reach the state of creative insight, thanks to which they easily acquire new knowledge, artistic and technological ways of solving educational and creative problems;

Enthusiastically engaged in creative-experimental, research and innovation activities;

Learn the skills of scientific and combinatorial thinking, artistic ingenuity and innovation;

When creating an artistic product, they harmoniously combine realism and conventionality;

Author's works are replete with non-standard solutions and are filled with philosophical content, in conveying meanings they use various means of expression, at the same time, through a symbol, sign, metaphor, they create their own “language” of artistic self-expression (Fig. 1-4);

The need for creative activity as a means of self-improvement becomes the spiritual core of the personality, which determines its worldview and social behavior;

Students who were trained with the use of superconsciousness technology could subsequently use it on their own, as well as play the role of a mentor teaching technology to other students.

Rice. 1. Drawings of students of different ages: 1 - Flight of the Spirit (Sasha, 8 years old); 2 - Wind of Fates (Nastya, 11 years old); 3 - Source of inspiration (Svetlana, 22 years old); 4 - Power of the mind

(Alexander 41 years old)

Rice. 2. Alexandra's works, 2nd year, acting department: 1 - Unity of space and time; 2 - Birth of thought; 3 - Career ladder; 4 - Quirks of reflection;

5 - Unity and struggle of opposites.

Rice. 3. Works of 1st year students of the acting faculty. Vitaliy: 1 - Comedy; 2 - Tragedy;

and Catherine: 4 - Death of Antigone

Rice. 4. Works by Natalia, 3rd year, acting department: 1 - Daisies; 2 - Eternity, tenderness and emptiness; 3 - Creators; 4 - Growth

3. CONCLUSION

Based on the results obtained, it can be concluded that the technology of superconsciousness, forming the need for knowledge, increases the creative and spiritual and intellectual potential of the student and leads to a reduction in the time vocational training without quality loss. From this it follows that in order to train qualified personnel capable of heuristic thinking, generating productive ideas and creating an original product, it is necessary to use pedagogical techniques and technologies that contribute to the activation of all three levels of the psyche (consciousness, subconsciousness and superconsciousness).

Bibliography

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deyatelnost 55, no. 5 (2005): 626-632.

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12. Simonov P.V. Sozidayushii mozg. M., Nauka, 1993.

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14. Stanislavskii K.S. Worka aktera nad rolyu. M.: 1957. 550 p.

15. Kholmanskii A.S., Dashinskaya T.N. Resurs funkcionalnoi assimetrii mozga. Doklady ronferencii “Aktualnie voprosy funcionalnoi mezhpolusharnoi assimetrii i neiroplastichnosti”. M., 2008.

16. Neyman K. Pravoe i levoe polushariya i ih funkcii v vorchestve. http://izotika.ru/left-and-right-brain/; Intuitive resovanie. Obrazy chuvstv // http://izotika.ru/intuit-ris/

Dashchinskaya Tamara Nikolaevna, Rector of the Institute of Theatrical Art. P.M. Ershova

Dashchinsky Vitaliy Evgenievich, Senior Lecturer of the Department of Actor's Skill

Institute of Theatrical Art. P.M.Ershova Russia, 111401, Moscow, Novogireevskaya st., 14-A [email protected] en

DATA ABOUT THE AUTHORS

Dashchinskaya Tamara Nikolaevna, Rector of the Institute of Theatrical Arts. P. M. Ershova

Dashchinskiy Vitaliy Evgen’evich, Senior teacher of Chair of skill of the actor

Institute of Theatrical Arts. P. M. Ershova

Russia, 111401, Moscow, St. Novogireevskaya., 14-A

[email protected] en

Reviewer:

Taratynova Galina Vasilievna, Candidate of Psychological Sciences, Associate Professor, Head of the Laboratory "Psychology of Creativity" of the Institute of Theatrical Art. P.M. Ershova

Creativity is a collection of many personal qualities. To date, there is no unity of views on the components descending into the structure of creative abilities, however, there are several hypotheses concerning this issue.

Conditionally, it is possible to divide creative abilities into the following groups Ilyin M.V. Imagination and creative thinking: Psychodiagnostic methods. M., 2014. - S. 244.:

1) interests and inclinations, that is, abilities associated with motivation;
2) emotionality, that is, abilities associated with temperament;
3) intellectual abilities.

Luk A.N. was a well-known domestic researcher of the problem of creativity. He conducted a study of the biographies of prominent scientists, inventors, artists and musicians. On the basis of the conducted research Luk A.N. identified the following components of creative abilities Luk A.N. Thinking and creativity. - M., 2011. - S. 122.:

1) the ability of a person to see a problem where others do not see it;
2) the ability to turn off mental operations, replacing several concepts with one and using symbols that are more and more capacious in terms of information;
3) the ability to apply the skills acquired in solving one problem to solving another;
4) the ability to perceive reality as a whole, without dividing it into its component parts;
5) the ability to easily associate distant concepts;
6) the ability of memory to produce the necessary information at the right time;
7) flexibility of the thought process;
8) the ability to choose one of the alternatives to solve the problem, until it is checked;
9) the ability to include newly perceived information into existing knowledge systems;
10) the ability to see things as they are, separating what is observed from what is brought in by interpretation;
11) ease of generating ideas;
12) creative imagination;
13) the ability to refine details, to improve initial ideas.

Scientific teachers and practitioners, such as Altshuller G.S., Tsurikov V.M., Gafitulin M.S., who developed programs and methods of creative education based on the theory of inventive problem solving (TRIZ) and the algorithm for solving inventive problems (ARIZ), believe that one of the components of the creative potential of the individual are the following abilities Asafiev B.V. Selected articles about enlightenment and education. M., 2013. - S. 54 .: creative ability development of a preschooler

1) the ability to take risks;
2) divergent thinking;
3) flexibility in actions and thinking;
4) speed of thinking;
5) the ability to generate original ideas and invent new ones;
6) extensive imagination;
7) perception of the ambiguity of phenomena and things;
8) high aesthetic values;
9) advanced level intuition.

Psychologists, most often, associate the predisposition to creative activity, first of all, with the peculiarities of the thought process. The following characteristics of creative thinking are distinguished Granovskaya R.M., Krizhanskaya Yu.S. Creativity and overcoming stereotypes. SPb., 2012. - S. 217 .:

1) associativity;
2) dialectic;
3) consistency.

Associativity is the ability to trace the connection and similar features in phenomena and objects that at first glance may seem incomparable.

Thanks to dialectic thinking, you can identify contradictions and find a way by which they can be resolved.

Consistency, lies in the ability to see an object or phenomenon as a single system, to see the unity of relationships in phenomena and the laws of development, to comprehensively perceive an existing problem - this is another quality that forms creative thinking. If these qualities are developed, thinking can be made flexible, productive and original.

The social environment shapes the personality, and it must also be taken into account when considering the formation of creative abilities. In addition, the social environment needs to be actively formed. Therefore, creative abilities develop depending on what opportunities the environment provides in order for the individual to realize the potential that each individual has to varying degrees. All environment, in which a child is brought up, should have a beneficial effect on the development of his creative abilities.

After analyzing the psychological and pedagogical literature on the development of creative abilities, we came to the conclusion that there is still no single approach to assessing creativity. Despite the fact that there are many approaches to their definition, researchers unanimously adhere to the opinion that creative imagination and the qualities of creative thinking (flexibility of thought, originality, curiosity, etc.) are essential components of creative abilities. The criterion of creativity is the process of creating a new product, as well as the realization by a person of his own individuality, while it is not at all necessary to create any product of creative activity, etc. In almost all approaches to the problem of the formation of creative abilities, a distinctive feature stands out - the creativity of activity, which way predetermines the ability of the individual to go beyond the standard situation and set their own goal of solving the problem.

Originality of thinking is the main criterion of creativity and represents the ability to find answers to non-standard questions. Originality is expressed in the degree of dissimilarity, non-standard, unexpectedness of the proposed solution among other standard solutions. Originality is formed from overcoming the framework of the "correct", obvious, generally accepted Petrovsky A.V. Psychology of a developing personality. M., 2014. - S. 231 ..

The creative nature of thinking is manifested in such qualities as flexibility, originality, fluency, depth of thinking (lack of constraint, lack of stereotyping), mobility. Every creative person possesses these qualities. Inertness, stereotypedness, superficiality of thinking are opposite qualities. The above qualities are necessary for the quick resolution of standard life tasks. However, psychological inertia has a negative impact on creativity and does not contribute to the development of creative abilities.

The basis of creative abilities are general intellectual abilities. However, a high level of development of intellectual abilities does not always imply well-developed creative abilities.

Having studied different approaches to the problem of the formation of creative abilities, we can identify the main directions in the development of creative abilities of younger students and adolescents:

1. Application of methods for organizing and motivating creative activity;
2. The development of imagination and the development of the qualities of thinking.

Creativity can be divided into two main groups. - S. 218 .:

1. Interests and inclinations, that is, motivational abilities;
2. Emotionality, that is, abilities associated with temperament;

Unlike special abilities, creative abilities that determine success in specific types of activity can manifest themselves in that specific style of activity in which the way it is performed can be called creative.

The creative style at all stages of activity is characterized, first of all, by an independent statement of the problem, the so-called intellectual initiative, an independent, original way of solving ready-made topics and problems, etc. In other words, creative initiative is characterized by the absence of a template, the absence of functional fixity and rigidity in executive and mental activity.

Some philosophers believe that the creative style of mental activity is the primary and natural form of the brain work Kalugin Yu.E. Creative imagination and its development. Chelyabinsk, 2015. - P. 24 .. Based on this, it can be assumed that all people without exception have creative potential, but it manifests itself in different ways depending on how pronounced special abilities for various types of activity are. Template thinking is formed under the influence of various social influences and, first of all, is the subject of the existing educational and training system.

However, it is impossible to deny the fact that with the same system of upbringing and education, some people form stereotyped thinking, while others retain or develop an independent and creative style of mental activity. This suggests that some individuals have a certain resistance to the pattern, which manifests itself not only in the style of thinking and performing activities, but also in some personal characteristics, such as independence, independence (lack of conformity of conciliation), etc.

It is not without probability that the resistance to the "template" may turn out to be the most fundamental internal quality in the structure of creative abilities, the nature of which, most likely, is determined by some biological inclinations. However, an alternative assumption is also possible that this quality is secondary, due to other qualities of intellectual activity (flexibility, breadth, etc.) or personal formations.

The creative possibilities of a person are unlimited and inexhaustible, and creative activity is one of the main definitions of human essence. It is the ability for creative activity that characterizes a person, emphasizes the superiority and originality of his psyche. Man created machines so complex and perfect that they began to talk about the possibility of building a machine that could surpass man himself, which would be able to think and create. But the machine is not able to create, to create something new. Creativity is unique to humans. The problem of identifying early abilities is of interest to many. In principle, we are talking about selecting, identifying capable people, about their appropriate training, that is, about the best solution for selecting personnel.

To be always creative means to be omnipotent.
There is no surer guarantee for a better future than
the ability to be creative every time,
when necessary, at any time to be
ready to solve problems
and develop new concepts.
Mark Fisher
The world is entering a new phase of development, moving from an industrial society to a post-industrial information society. Between the set pedagogical goal and its implementation, of course, there must be a system of general and specific approaches that take shape in a complex pedagogical technologies. Active development of the level of thinking in students, instilling interest in subjects of the natural cycle and the formation of an ecological worldview among students in my lessons is achieved by me by introducing the latest pedagogical technologies into the teaching methodology. Ushinsky also said: "Development without the accumulation of knowledge is a soap bubble." In order to promote the development of students' creative abilities, it is necessary to change the forms and methods of conducting a lesson, diversifying them, and making the student an active participant in the educational process. The joint work of the teacher and the student in the lesson makes this lesson interactive. Thus, new, non-standard (interactive) forms of education, a personal approach to students are ways to improve training sessions aimed at effectively solving educational and educational problems, enhancing students' cognitive activity, and developing the creative abilities of each student.
In order for any lesson to be interesting, informative, I consider it important in planning any topic to leave room for the unknown, the mysterious, so that each lesson is a small window into the big world of science. To do this, in any task I include elements related to the development of logic, the identification of cause-and-effect relationships. And here the most difficult thing is the selection of information for tasks so that they are not of a reproductive nature, but of a developing one, and regardless of the type of lesson, even in the test lesson I include tasks - “zest”, which not only teach, but also contribute to the development of creative thinking. I use elements in TRIZ pedagogy lessons.
You can't teach a bird to fly in a cage
you can not grow "creative muscle",
without flying out into the open space of tasks -
allowing different approaches to the solution,
varying degrees of deepening into the essence of the problem,
different answers.
Anatoly Gin.
TRIZ pedagogy as a scientific and pedagogical direction was formed in our country in the late 80s. First of all, it was based on the theory of inventive problem solving (TRIZ) of the national school of G.S. Altshuller. TRIZ pedagogy aims to form strong thinking and nurture a creative personality, prepared to solve complex problems in various fields of activity. Its difference from the well-known means of problem-based learning lies in the use of world experience accumulated in the field of creating methods for solving inventive problems. Of course, this experience has been revised and agreed with the goals of pedagogy. The method of solving inventive problems, first of all, means the techniques and algorithms developed within the framework of TRIZ, as well as such foreign methods as brainstorming, etc. Modern TRIZ pedagogy includes courses designed for age groups from preschoolers to students and adult professionals. A feature of working with each age group is the choice of objects of inventive activity corresponding to the age. So, preschoolers and younger schoolchildren, with the help of a teacher, invent toys, riddles, proverbs, outdoor games, etc. For the development of creative TRIZ skills, I have created a large fund of educational inventive and research tasks in such areas as chemistry, ecology, and geography of the Khanty-Mansi Autonomous Okrug. Algorithmic procedures and techniques are developed for each age group. They allow students to invent new things, to realize themselves in creativity. A special place is occupied by the course for the development of creative imagination (RTI), designed to overcome the stereotypes of the solver, to develop the ability to work with non-trivial ideas.
One of the effective forms of environmental education and upbringing are lessons-excursions to nature, to enterprises. A thematic excursion helps to consolidate and concretize the knowledge gained in the lessons and instills interest and love for nature. Observations during the tour serve as the basis for identifying specific topics various forms creative activities of students, such as role-playing games, press conferences. Role-playing games allow schoolchildren to acquire social experience in making environmentally competent decisions, the skills to resolve complex environmental and moral situations in practical life, and to learn the rules of behavior in nature. They contribute to the development of ecological thinking, creativity, initiative and independence. Conducting role-playing games attracts a large number of people to environmental issues and instills in them a sense of love for native nature and responsible attitude towards the environment. The game is especially valuable for its motivation, creative partnerships. AT role play as an obligatory element there is a simulation model of reality (symposium, meeting of the academic council). Along with the simulation model in the role-playing game, there is always an object of simulation, represented by the specific activity of "specialists": ecologists, historians, economists, psychologists, etc. The content of the game becomes real environmental problems. The game is a sphere of cooperation, co-creation of a teacher and a student, it is an important means of self-expression, a test of strength. In games, you can better reveal the organizational, creative abilities of students. When organizing ecological games, I take into account the local history orientation, i.e. solving environmental problems of a local nature, for example, "Environmental erudition" 8th grade, focused on the problems of Khanty-Mansiysk Autonomous Okrug (a game on the topic "Agricultural ecology"). Be sure to take into account the age of students, in grades 5-7 I use fairy tales: travel, expeditions. I conduct environmental games and competitions using a variety of pedagogical forms and methods: quizzes, crossword puzzles, puzzles, anagrams. I also practice working with instructive maps, solving problematic and search situations. The game is the freest, natural form of human immersion in real (or imaginary) reality with the aim of studying it, manifesting one's own "I", creativity, activity, independence, self-realization.
An interesting form of work that I introduce into practice is the development and defense of projects (fifth generation technologies "TOGIS"). The project activity of students is one of the ways to develop their creative abilities. Such activities provide students with independence, contribute to the development of a number of valuable personality traits. For its implementation, the manifestation of creative activity is necessary, and not a simple action according to the algorithm. The project method is used in the educational process as a learning system in which students acquire knowledge and skills in the process of joint planning, implementation and comprehension of practical activities to achieve the intended goals. To search for actual data, I widely use the resources of the global information network. Students are invited to freely and openly discuss all possible solutions to a given problem, a discussion can be held during which the group receives instructions leading to the final solution through the following steps:
. problem identification;
. connection of information;
. analysis of various aspects of the problem;
. generating possible solutions;
. establishment of restraining circumstances and restrictive conditions;
. designing promising solutions;
preparing a final written explanation of the group's position in the decision;
The purpose of project-based learning: to create conditions under which the guys:
Independently and willingly acquire the missing knowledge from various sources;
learn to use the acquired knowledge to solve cognitive and practical problems;
acquire communication skills by working in different groups;
develop their research skills (the ability to identify problems, collect information, observe, conduct an experiment, analyze, build hypotheses, generalize);
develop systems thinking.
Each stage begins with an introductory repetition, usually carried out in the form of a conversation, the study of new material is built as a collective solution of cognitive problems (workshop), the data for which are extracted from books, the information network, CD-ROM. As a result of the decision, students memorize the factual material. This is followed by a transition to developing differentiated consolidation: a group of children work with a teacher, solve problems of a general and multi-level nature, and then by analogy themselves. The solution of each problem is discussed by the whole class or part of it, after studying the blocks of lessons, the guys draw up and defend research projects. This technology is used by me in grade 9 after studying the topics: "Human Ecology" (subject "Ecology" - grade 9), "Chemistry of elements - non-metals" (subject "Chemistry" - grade 9), "Water" (subject "Chemistry" - Grade 8).. The guys are invited to describe the situation in which it is necessary to solve the proposed problems. Each project includes:
. preliminary instruction for a group of 5-7 people;
. individual tasks;
. reading additional sources to understand the topic;
The guys are preparing mini-projects "The effect of stress on living organisms", "Aromatherapy", "The problem of women's smoking", "Monitoring the individual development of students", "Snow is an indicator of air purity", "Physical and chemical analysis of the water systems of our village, which cause students' interest and develop into research work. Technology "TOGIS" is the awareness by students of the values of modern labor, mastering the skills to organize, plan and implement the solution of the problems that have arisen, to conduct a collective analysis of the results. Methods, forms, techniques research work become more complex as students master the educational material. I start from the simplest level - curiosity, behind which is the need of each child for new experiences, to a higher one - the development of curiosity through theoretical, empirical tasks to more sophisticated research. Students get acquainted with abstracts, articles of scientists, scientific methods. Applying them in further practical activities, students set more relevant goals and objectives, put forward scientific hypotheses.
Teachers must create a safe psychological base for the child to return from creative search and his own discoveries. It is important to constantly stimulate the student to creativity, to show sympathy for his failures, to be patient even with strange ideas that are unusual in real life. But creating favorable conditions is not enough to raise a child with highly developed creative abilities. Targeted work is needed to develop the creative potential of children. Each child is gifted in his own way, and a properly organized system of classes will help develop his abilities.
Oksana Korzhevskaya. Report.
13th All-Russian Internet Pedagogical Council

annotation scientific article on the sciences of education, author of scientific work - Dashchinskaya T. N., Dashchinsky V. E.

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