Components of creativity. Creative potential of the individual: structural components of the Creative potential and the desire for

Until now, the question of the structure of creative potential has not been resolved in the literature. The empirical way - the principle of compiling "lists of qualities", "packages of qualities" - seems to us outdated. Almost all the authors involved in such a solution to the problem of the structure of the creative potential of the individual made a special reservation: in the "lists" of the most significant, in their opinion, qualities, the order of enumeration is completely random. That is, we are talking about the composition, and not about the hierarchy of elements of the system of the creative potential of the individual. G. L. Pikhtovnikov, for example, offers 257 basic qualities.

At the same time, at the level of establishing a hierarchy of links between the elements, the qualities of the creative potential, the opinions of researchers differ. Structuring principles are different. There is no consensus on the mechanisms of interaction of components, qualities, blocks that make up this structure.

We believe that today there is no need to study the signs of a creative personality by identifying its individual properties, that is, by empirical means. It is more important and more useful, based on the already known material obtained empirically, to synthesize the most important properties of a creative personality into a single dynamic system, to find out the main patterns of its functioning, to use the results to deepen ideas about the nature and structure of the creative potential of a personality.

The concept of M. S. Kagan is interesting, according to which the personality receives its structure from the specific structure of human activity and is therefore characterized by five potentials:

epistemological,

communicative,

axiological,

Artistic and

Creative.

“The creative potential of an individual is determined by the skills and abilities acquired by her and independently developed, the ability to act, creative and (or) destructive, productive or reproductive, and the measure of their implementation in one or another (or several) spheres of labor, socio-organizational and revolutionary critical activity,” writes M. S. Kagan. It seems disputable to us to isolate the creative potential in the system of potentials of the individual and consider it as one of the structural elements: creativity, being a specific qualitative characteristic of activity, has a general character, therefore, creativity is to some extent contained in each potential of the individual. It is expedient, in our opinion, to talk about the creative potential of the individual as a single entity and to single out structural elements within this single phenomenon. The personality of a person depends both on social relations and cultural influences, and on the personal data of the individual, his individuality.

A personality manifests its individuality in the assimilation and development of the culture of a society, nation, ethnic group, as a result of which the transformation of universal (objectified in the products of labor) abilities into individual abilities and creativity takes place. Individualization is the acquisition and development of the “I” by a person, the manifestation of the universal in the individual, the transfer of the essential forces of society into the essential forces of the individual.

Individuality is manifested in natural inclinations, predisposition to certain types of activity with differences in the mental warehouse. People may be inclined to different types of activities within the same type of activity. This is one of the reasons for the division of labor and the preservation of different professions. Socialization means the inclusion of a person in the system of social relations.

Personal development is influenced by the totality of social relations as a whole, but this influence is usually mediated by a microsphere - a specific immediate environment. The microsphere to a large extent determines the participation of a person in certain types of activity, focuses on the choice of occupations, forms needs, interests and attitudes. A person is simultaneously included in a number of "microspheres" (family, work, team, study mates, etc.), the influence of which is "multi-vector".

At the same time, this process is individual, since each person appropriates social relations selectively, not in the same way as other people. The more developed the personality of the individual, the more critical the assessment and choice of the proposed orientations.

The socialization of the individual simultaneously acts as individualization, the process of forming his specific features, individuality. Socialization does not exist without individuality and vice versa.

We can say that individualization is a specific form of socialization, and socialization is a deep form, the content of the process of individualization. Thus, the unity of socialization and individualization can be represented not only as a unity and opposition of essence and phenomenon, but also of content and form. This unity is formed in the process of participation of the individual in various types of social activity, and the wider the circle of social activity, the more fully developed the personality, the brighter its individuality is manifested.

Indeed, today there is not a single concept of creativity and giftedness, where the role of motives would not be recognized. However, this is usually a summary approach or, at best, like Renzulli's, the desired is determined "at the intersection" of equivalent factors.

In contrast, our approach is based on a single criterion of the creative potential of the individual, which is a single unit of analysis of creativity, which we reveal as the ability to develop activities on the initiative of the subject himself. As a synonym for this concept, the following terms are used in our works: situationally unstimulated productive activity, cognitive amateur activity and intellectual activity (IA).

Since it is up to a person to solve inventive problems, G. S. Altshuller developed not only an algorithm and methodology that contribute to this, but also paid due attention in TRIZ to issues of improving creativity abilities.

The development of creative potential, imagination and creativity of an individual and a team is a separate area that is studied within the framework of the Theory of Inventive Problem Solving. In general, this problem is considered by our site in a separate training "Creative Thinking". This lesson describes only TRIZ technologies for developing the creative potential of an individual, groups, children, students and teachers.

TRIZ Pedagogy

G. S. Altshuller called for "teaching creativity." He saw the task of TRIZ pedagogy not only in teaching a narrow circle of specialists who need it in the first place, but also in creating a new pedagogical concept. According to it, starting from kindergarten, it is necessary to educate a creative personality capable of solving complex inventive problems in the future. Modern goals of TRIZ pedagogy are more specific:

Development of the need for knowledge of the world around;
Formation of systemic dialectical thinking;
Education of the qualities of a creative personality based on the theory of development of a creative personality (TRTL);
Facilitating the development of skills for independently obtaining information and working with it.

At the same time, it is obvious that the general concept of the development of creativity and education of a person prepared for solving open (creative, heuristic, life) tasks is preserved.

As a scientific direction of TRIZ, pedagogy was formed in the late 80s. of the last century, but methodological searches and development continue to this day. If we talk about the start of the direction, then it was given by G. S. Altshuller's fantastic story "The Third Millennium", which presents how education will be conducted in the near future. We gave a thesis presentation of the principles contained in this work when we talked about the areas of TRIZ application.

Initially, TRIZ pedagogy completely depended on the needs of teaching the theory itself. But over time, it emerged as an independent area, which today is one of the most developing. Since 1998, conferences dedicated to TRIZ pedagogy have been held annually in Chelyabinsk, where the latest developments in the industry are presented, and teachers and everyone who is interested share their experience. A printed collection "Pedagogy + TRIZ" was published, later materials began to be published on specialized sites on the Internet. Today, to help teachers and everyone who wants to learn TRIZ, special materials have been collected, organized as card indexes and collections of problems. Everyone can apply them in their practice, since the range of topics varies from physics to art.

The integration of TRIZ methods into the educational process most often goes by combining with classical methods. In some educational institutions, the development of creative imagination (CTI) is taught to children of preschool and primary school age as a separate subject. TRIZ methods and algorithms are studied by older students as optional courses. In general, if we talk about the education of a creative person based on TRIZ, we can distinguish 2 areas:

The theory of creative personality development (TRTL) was developed by G. S. Altshuller and I. M. Vertkin. Includes an analysis of the basic concepts of the development of a creative personality, the development of a life strategy (ZhSTL-3) and an ideal creative strategy (“maximum upward movement”), as well as a set of practical materials (business games, problem books, file cabinets) for educating the qualities necessary for a creative person .
The theory of the development of creative teams was developed by B. Zlotin, A. Zusman and L. Kaplan. They identified the stages and cycles of development of creative teams, the patterns of their functioning, the mechanisms of inhibition and development of teams, and on the basis of this they identified the principles for preventing stagnation in the team.

Methods for developing creative imagination

“My second specialty is a science fiction writer. Perhaps this circumstance helped once "swing" at the development of the RTV course. In 1966, at the Institute of Mathematics of the Siberian Branch of the USSR Academy of Sciences, G. S. Altshuller, acquainting listeners with TRIZ, for the first time included a short course on the development of creative imagination in the seminar. 20 years later, at a seminar in Novosibirsk, a third of the time was devoted to this topic.

Together with Altshuller, P. Amnuel, a physicist and science fiction writer, worked on RTV. It all started, as in the case of TRIZ, with the identification of patterns in science fiction ideas. In particular, it was noted that the development of SF ideas is subject to objectively existing laws; you can identify these laws and use them to consciously generate new ideas. This served as the basis for the further development of the theme of the development of the imagination of the inventor.

Further work, the discovery of other methods and techniques significantly diversified RTV and it took an important place in the TRIZ system. Genrikh Saulovich wrote: “The role and significance of the RTV course in teaching technical creativity can be explained by a simple analogy: the RTV course is like gymnastics for an athlete. With any sports specialization, gymnastics is absolutely necessary for all athletes. In the same way, the solution of any creative problems - scientific, technical, artistic, organizational - largely depends on the ability to "work with fantasy".

Today, methods for the development of creative imagination, as a set of techniques and special methods of fantasizing, are designed to reduce the psychological inertia that occurs when solving creative problems. The main ones are:

Using Science Fiction Literature (SFL) to Develop Creative Imagination. Predictive functions of science fiction literature;
PBC operator (parametric operator);
Modeling method "little men" (MMP);
Fantograms;
Goldfish method (method of decomposition and synthesis of fantastic ideas);
Step design;
association method;
Trend method;
Method of hidden object properties;
View from the outside;
Changing the value system;
situational tasks;
Fantasizing techniques (techniques for generating fantastic ideas);
SF-ideas evaluation scale "Fantasy-2";
The system of exercises for the development of creative imagination (RTV).

Let's take a closer look at some of these methods.

Focal object method(MFO) - transferring the properties of one or more objects to another. Other definition of MFI is a method of searching for new ideas by attaching properties or features of random objects to the original object. Designed by Professor E. Kunze of the University of Berlin, and modernized by the American C. Whiting. The essence of the method is to transfer the features of randomly selected objects to the object being improved, which lies in the focus of the transfer and is therefore called the focal one. The resulting modifications are developed by associations, which activates the associative thinking of the creator. Based on the obtained original solutions, the original object is improved. It is used in many areas: pedagogy, management, marketing, etc.

Algorithm of work on MFIs (according to N. Kozyreva):

4-5 random objects are selected (from a dictionary, a book…).
Lists of characteristic properties, functions and signs of random objects are compiled (5-6 interesting words each - adjectives, gerunds, verbs).
A focal object is chosen - the thought is focused on it.
The features of random objects are alternately attached to the focal object and recorded.
All resulting combinations develop through free associations.
The received options are evaluated and the most interesting and effective solutions are selected.

Despite the external simplicity and universality of the method, its weaknesses are its unsuitability for solving complex problems and the lack of clarity in the choice of criteria for evaluating the ideas received.

MMP technique(modeling by little men) - modeling of processes occurring in the natural and man-made world between substances. It is one of the methods for solving the simplest contradictions. Also known for its use in his practice by the British physicist J. Maxwell.

The method is based on the observation that the solution of many problems is easier if they are presented in the form of a model. This is the essence of MMP: the object under study is depicted as a set of interacting little people. Such a model retains the advantages of empathy (visibility, simplicity) and does not have its inherent disadvantages (the indivisibility of the human body). The technique of applying the method is reduced to the following operations:

It is necessary to select a part of the object that cannot fulfill the requirements of the task and present this part in the form of little men.
Divide the little men into groups acting (moving) according to the conditions of the task.
The resulting model must be considered and rebuilt so that conflicting actions are performed.

The theory of creative personality development

The method as a tool does not work by itself, it only helps a person to work. TRIZ offers the researcher a whole set of such tools, but how successfully it will be applied depends only on the properties and qualities of the inventor. In this matter, one cannot rely on natural talents, and even more so on chance. Therefore, within the framework of the theory of solving inventive problems, there is a separate section - the theory of the development of a creative personality (TRTL), the task of which is to prepare the creator himself.

TRTL was the last major work of G. S. Altshuller, written jointly with his student I. M. Vertkin. To formulate the theory, they analyzed a huge amount of information, having studied the biographies of a large number of famous figures. On the basis of this, ZhSTL was born - the life strategy of a creative person, because the authors were sure that it was necessary to work on improving their creative skills all their lives. ZhSTL-1 and ZhSTL-2, which appeared in 1985 and 1986, respectively, were incomplete, but the 1988 modification - ZhSTL-3 - can already be considered an independent theory.

ZhSTL-3 is revealed through the Game - a person striving for development is forced to play, to fight with opponents - external and internal factors. The strategy gives direction and describes the typical steps in this Game to win. The description of these steps, and there are 88 of them, is voluminous enough to be given in this lesson, so for anyone interested in the strategy for developing a creative person, we recommend reading the book How to Become a Genius. Life strategy of a creative person” on an external resource.

But let's dwell on 6 qualities necessary for a creative person. They were identified by I. M. Vertkin:

Worthy goal. Not achieved by others, significant, useful. Only the realization that your path is unique and will lead to something new pushes and motivates you to work in a given direction.
Plans. It is necessary to formulate a set of real work plans to achieve the goal and regularly monitor their implementation in order to understand how and why it will be achieved. We wrote about one of the options for drawing up such a plan earlier.
Working capacity. To achieve the goal and fulfill the plan, you need to work hard. Remember T. Edison, who slept for 4 hours, and devoted the rest of the time to work. Another excellent example is J. Verne, who, in addition to his works, left 30 thousand notebooks with encyclopedic notes as an epistolary heritage. Gathering scientific information was both his hobby and his writing aid. Not surprisingly, many of his fantastic ideas were later brought to life.
Problem solving technique. Every inventor has his own. Altshuller systematized the experience and proposed TRIZ, but even before him, many scientists successfully coped with contradictions.
The ability to take a hit. The most valuable skill that teaches you not to give up on the way to the goal. T. Ford until late at night worked on his first car after returning from work at the factory. The same T. Edison conducted about 10 thousand experiments until he received a working prototype of an electric light bulb.
Efficiency. If the previous qualities are present, then already at the intermediate stages a person should see the result. If it is not there, the concept needs to be reconsidered - it may be that the goal is chosen incorrectly, or the plan does not allow it to be achieved.

The theory of development of creative teams

The followers of Altshuller became interested in the development of not only a creative personality, but also associations of people - groups and collectives. In relation to them, a theory of the development of creative teams was developed. In the works that formed its basis, the concept of "scientific team" is most often encountered, although the authors - B. L. Zlotin and A. V. Zusman claim that they analyzed different teams - from the family to society.

The principles of the theory of the development of creative teams are described in detail in the books Fundamentals of the Theory of the Development of Teams and Solving Research Problems. Using the materials of the latter, we will only briefly analyze some important points.

Research teams go through certain stages of development:

Stage 1. The emergence of an idea. The development of any team comes from the creation of an idea, a discovery. Gradually, a small team of like-minded people gathers around the author, spurred on by enthusiasm. At this stage, the task facing the team is to convey their views to the scientific community and accept them. This process is not always easy, because new ideas can go against the already accepted ideas, and, as a result, hurt the interests of other, stronger teams. During such a period, the team rests on informal, personal connections and the authority of the leader.

Stage 2. Recognition. When the idea receives official recognition and support from society, the second stage of the development of the team begins. A formal structure is being created - a laboratory, a department, a scientific association. There is an official leader and staffing. The work receives funding, and from that moment on, a powerful development factor is included - positive feedback; increase in funding - increase in the number of people - increase in returns - increase in funding, etc. Competition appears, the first factors of inhibition arise, associated with the difficulties of rapid mobilization of resources and training of people.

Stage 3. Slowdown of development. The team continues to grow, there are publications, reports are written, scientific products are issued, dissertations are defended, but all this requires more and more funds with more and more modest results. The development factor remained the same - the growing need of society, and the braking factor - the exhaustion of resources for the development of this theory, concept, paradigm. This is an objective phenomenon. The main contradiction of the third stage: the interests of the collective and society diverge, but, in contrast to the first stage, now the goals of society are progressive - it needs development, even at the cost of a complete reorganization or disbandment of this collective, and the goals of the collective are reactionary - it seeks to slow down development that is dangerous for itself.

Braking mechanisms

An analysis of the third stage in the development of collectives makes it possible to identify specific mechanisms of inhibition, which is very important because it can help in the fight against them. Here are some of them:

Cult of hierarchical pyramids. A scientist, a specialist from a free thinker turns into the bottom link of a multi-stage hierarchical pyramid.
Hierarchy stabilization. The introduction of "senior" honors. Long work experience in one place turns into the best characteristic of a team member. The introduction of restrictions on the influx of young people, on the occupation of certain posts in the hierarchy by young people.
Delegation of authority "up". The right to make decisions is transferred from the natural level (the level where the problem arose) to one or two levels of the hierarchy upwards. This ensures the strengthening of the apparatus, but leads to its overload with minor problems that one leader cannot physically solve.
Creation of the illusion of the omnipotence of the apparatus. Many years of lies, artificial evaluative criteria create the illusion of success in all undertakings of the apparatus. A voluntaristic style of management is being developed, a disregard for the economy, a serious study of issues, and a search for alternative ways.
Punishability of the initiative. The punishment for a mistake becomes great, but for inaction they are not punished. Any action becomes much more dangerous than inaction, so it slows down. The methods of "non-decision making" are known: transferring to different services, red tape, etc.

Anti-braking mechanisms

Despite the unwillingness of the structure to change, history shows that sooner or later further evolution replaces stagnation. To overcome negative factors (braking), the following measures are taken:

Decision-making at the natural level - where the problem arose.
Disaggregation of departments to a level where each member of the team can see their contribution to the final result.
Compliance with the principle of payment based on performance.
Setting before the team a single large socially useful goal, which is linked to the personal interests of each member of the team.
Raising a sense of significance in each member of the team, creating an atmosphere of friendship and creativity.

This lesson presents the theoretical aspects of methods for the development of a creative personality, developed and organically integrated into the structure of TRIZ. To get a tangible result, you need to practice their application, in particular, solving open, creative problems. You can find links to relevant materials in the next lesson. Also useful for developing creativity skills will be the passage of a special training on our website.

Test your knowledge

If you want to test your knowledge on the topic of this lesson, you can take a short test consisting of several questions. Only 1 option can be correct for each question. After you select one of the options, the system automatically moves on to the next question. The points you receive are affected by the correctness of your answers and the time spent on passing. Please note that the questions are different each time, and the options are shuffled.

The main tasks of education and upbringing of the personality include the upbringing of the basic culture, the comprehensive development of the personal potentials of students. One of the components of personal potential is creativity. With its development, cognitive interest in the subject increases, the level of intellectual development, the degree of independent thinking, interest in performing search tasks, qualities such as curiosity, self-confidence, and self-confidence are formed.

The creative potential of students develops in the process of activity in solving various problems. The emerging problem situation requires a specific solution, which in creativity can be expressed objectively or subjectively for each person.

We can say that creativity is the solution of creative problems. At the same time, we define the creative task as follows. This is a situation that arises in any kind of activity or in everyday life, which is perceived by a person as a problem that requires the search for new methods and techniques, the creation of some new principle of action, technology.

Creativity is a complex, integral concept that includes natural-genetic, social-personal and logical components, which together represent the knowledge, skills, abilities and aspirations of the individual to transform (improve) the world around them in various fields of activity within the framework of universal norms of morality and ethics. The "creativity" manifested in a particular field of activity is the "creative abilities" of the individual in a particular type of activity, as well as a complex personal-activity formation, including motivational-targeted, meaningful, operational-activity, reflexive-evaluative components that reflect the totality of personal qualities and abilities, psychological states, knowledge, skills and abilities necessary to achieve a high level of its development. The term itself can often be used as a synonym for "creative personality", "gifted personality". The value of creativity, its functions, lie not only in the productive side, but also in the very process of creativity.

At the heart of modern pedagogical science is the understanding of man as a creative being. It is in creativity that his essence is revealed as a transformer of the world, a creator of new technologies and ideas. In society, more and more often, in connection with the problem of creativity, they talk about a creative person who is endowed with such features as orientation, self-knowledge, the ability to see the problem, analyze the situation, mobilize knowledge, put forward hypotheses, evaluate results, think critically, etc. .

The uniqueness of each person is beyond doubt, but the ability to present oneself, to consider every moment of life as a creative act that allows self-realization, is a problem for many. Since people most often act according to a pattern, pre-programmed norms, which often leads to a protest against the demands of society.

Thus, the task of forming the creative potential of the individual at various stages of the functioning of the education system is timely. The ability to be creative is inherent in every person. It is important to see these abilities in a child in time, equip him with a method of activity, give him the key in his hands, create conditions for the identification and flourishing of his giftedness.

Of great importance in creative activity is the continuity of the creative process. Practice shows that episodic creative activity is ineffective. It can arouse interest in a particular work being performed, activate cognitive activity during its implementation, and may even contribute to the emergence of a problem situation. But episodic creative activity will never lead to the development of a creative attitude to work, the desire for invention and rationalization, experimental and research work, that is, the development of the creative qualities of the individual. Continuous, systematic creative activity of students throughout the years of schooling will certainly lead to the development of a sustainable interest in creative work, and, consequently, to the development of creative potential.

In the process of developing creative potential, it is desirable to rely as much as possible on the positive emotions of students (surprise, joy, sympathy, experiences of success, etc.). Negative emotions suppress manifestations of creative thinking.

However, creativity is not just a surge of emotions, it is inseparable from knowledge, skills, and emotions only accompany it, spiritualize human activity. When solving any problems, an act of creativity occurs, a new path is found or something new is created. This is where the development of special qualities of the mind is required, such as observation, the ability to compare and analyze, find connections and imagine everything that together constitutes creative abilities.

The ability to compare, analyze, combine, find new approaches - all this together constitutes creative abilities.

Students have a variety of potential abilities. Nature endowed them with the ability to think vividly and emotionally, to empathize with the new, to perceive the world holistically. The task of a technology teacher is to identify and develop creative potential in activities that are accessible and interesting for students.

Practice shows that developing abilities means equipping the student with methods of activity, giving him the key, the principle of doing work, creating conditions for the identification and flourishing of his giftedness. Abilities are not just manifested in labor, they are formed, developed, flourish in it and perish in inaction. Therefore, for the development of creative activity, it is necessary to create certain conditions.

1. Early start.

2. Smart, friendly adult help.

3. Trusting atmosphere of empathy, cooperation

4. Motivation of the task.

The lessons of technology and creativity are inconceivable without the creation of a special emotional atmosphere of enthusiasm, which contributes to creative, creative activity. It is achieved with the help of the teacher's living word, his countless dialogues with students, music, visual images, poetic text, game situations.

The creative process is going beyond stereotypes. Researchers are convinced that the presence of any motivation and personal passion is the main sign of a creative person. To this are often added features such as independence and conviction.

Thus, the following traits can be distinguished among creative people:

- independence - personal standards are more important than group standards;

- impartiality of assessments and judgments;

- openness of mind - readiness to believe one's own and other people's fantasies;

- susceptibility to the new and unusual;

– high tolerance for uncertain and unsolvable situations;

- constructive activity in these situations;

- developed aesthetic sense, the desire for beauty.

The personality of the teacher plays a special role in the development of the creative potential of students. It is he who bears the main responsibility for identifying potential abilities and talents, he is responsible for the fate of the younger generation. The school should teach not only logical, but also creative thinking, develop feelings.

Firstly, the task of the teacher is to increase the level of children's perception of the surrounding reality: in objects, phenomena, actions. To teach students to understand true beauty, which may not always be bright, loud, but may be quiet and calm, modest and discreet. And, secondly, it is necessary to teach not only to perceive the good and beautiful, but also to lead them to the fact that they are active in their lives. At the same time, one of the most important tasks of a teacher is to teach creative vision. After all, it is precisely this skill that distinguishes a person-creator, a person-creator.

The professional and pedagogical activity of creatively working teachers is related to the quality of the performance of the following functions: formative, diagnostic, prognostic, constructive, organizational, communicative, research, socio-political, analytical.

The study of the teacher's readiness for the implementation of these functions at the creative level was carried out by modeling, observing the real educational process, conducting business games of various modifications, and using the method of expert assessments. It has been established that, realizing the formative function, the teacher builds the educational process on a methodological basis; is fluent in modern psychological and pedagogical concepts of education and uses them as a basis in his practical activities; has a strong and versatile knowledge in his subject, significantly exceeding the knowledge of the program; freely orientated in special and methodical literature, uses it creatively; teaches with passion, feels the need for pedagogical activity; creatively uses the forms and methods of the educational process and creates his own; skillfully stimulates self-education and self-education of students; provides deep and solid knowledge of students in their subject, strives to achieve a high level of upbringing of students.

A creatively working teacher shows great interest in diagnostic activities. When studying the personality of the student and the team, he is guided by methodological principles, uses various methods and specific techniques, and can comprehensively characterize the personality and the team. The forecasting function is implemented on the basis of deep knowledge of the laws governing the formation of the individual and the team; the teacher knows the "zone of proximal development" of each student and on this basis builds his interaction with him, approaches him with an "optimistic hypothesis"; builds the educational process, taking into account diagnostic data and perspectives.

A teacher who implements a constructive function at a creative level reveals a desire for targeted integrated planning of his activities based on knowledge of management theory, psychological and didactic foundations for building an educational process.

To attract to creativity, the teacher must take into account many factors that develop the student.

1. Interests of the student, personal qualities, skills, inclinations.

2. It is necessary to take into account the fact that no one except him will give a “correct” solution to the creative task facing him.

3. When choosing the forms of lessons, one must take into account what can best captivate children, namely, choose those classes where you can dream up, and, as far as possible, surround the child with such an environment and such a system of relations that would stimulate his most diverse creative activity.

4. Both in game lessons and in ordinary ones, it is necessary to take into account the fact that the child begins to express himself, starting from the first grade. And therefore, he should not impose his vision too much, but only suggest, hint, direct on the right path, encourage a non-standard approach.

The recognition of the student as the main effective figure in the educational process, the implementation of the problems of the creative development of the individual require the development of pedagogical technologies, the purpose of which is not the accumulation of knowledge and skills, but the constant enrichment of creative experience and the formation of a mechanism for self-organization of each student. In science, the problem is still being discussed whether it is possible to learn creativity, creative thinking; however, the experience of the experimental schools and NGOs makes it possible to answer this question in the affirmative. The main goal of these educational institutions is to overcome the alienation of the student from the environment and provide him with the opportunity to actively explore it himself. Only in the process of independent activity can a child develop the skills of continuous intellectual self-development.

Introduction. 3

Chapter 1. The concept of creativity. 6

Chapter 2. Technologies for the development of creative potential. 9

2.2. Features of adolescence. eleven

Chapter 3. Examples of technologies for developing creative potential. 12

Conclusion. 14

References: 15

Introduction

The development of the creative potential of children and adolescents is a new problem for pedagogy and psychology within modern society, and especially for Russia.

In the past, in our country, due to the long rule of one party and the idealization of the totalitarian regime, children were brought up as performers, people who were subordinate to the system, thinking the way the state wanted. For almost a century, the Soviet government purposefully carried out the implementation of tasks aimed at educating a disciplined personality, starting from early childhood. The consequences of this policy were entire generations of young people with a poorly developed emotional and volitional sphere, a low level of aspirations and intelligence, a poverty of imagination and a lack of creative abilities.

In the conditions of the crisis of the 90s and the transition to a market economy, young people were not able to act mobile in a new environment, due to difficult socio-economic conditions of life, there was a surge of negative phenomena, such as drug addiction, alcoholism and others.

The Russian government revised the previously existing life goals and tasks of shaping the way of life of the nation, set a new task for society related to the need to develop the creative potential of the personality of youth and children from an early age, since youth and children are the future of the country.

In accordance with the Federal Law "On the State Youth Policy in the Russian Federation", state support for the creative activity of young people is one of the main directions of the state youth policy in the Russian Federation, since in the modern dynamic world high demands are made on human activity in various spheres of society. A specialist needs to have a high creative potential to successfully solve non-traditional problems.

Also, the development of creative abilities is one of the urgent tasks of education, since they manifest themselves in the willingness to use new perspectives provided by a constantly changing life, to put forward unique and non-standard ideas and to satisfy the need for self-realization.

Over the past decade, a number of works have appeared that explore the problems of developing the creative potential of students in modern conditions: the psychological foundations of the process of developing creative potential (E.L. Yakovleva); the formation of the creative potential of the individual in the system of higher education from the standpoint of philosophy (P.F. Kravchuk) and in the aspect of readiness to form the creative potential of students (L.K. Veretennikova, A.I. Sannikova).

Despite the fact that every year there are more and more articles devoted to the development of creative potential, there is no systematic study of this problem, since it began to be actively studied relatively recently, about a decade ago in connection with the modern socio-economic reforms of Russian society, mentioned above.

The practical interest of our study is the study of the motivation for creative activity, methods, technologies and platforms for the development of the creative abilities of adolescents. While the relevance of the problem we raise is based on the fact that, for all its importance, it remains practically unexplored in terms of new methods of work and the volume of ongoing activities. This problem is not given sufficient attention, which determines the theoretical significance of this research work.

aim This work is a study of existing technologies for the development of the creative potential of adolescents.

Tasks:

1) Explore the concept of creativity.

2) Explore psychological, pedagogical and social literature on the topic of developing creativity.

3) Separate the terms "technology", "method" and "method"

4) Explore the psychological characteristics of adolescents

5) To study the concept of technology using specific examples of projects and events

Object of study: human creative potential.

Subject of study: technologies for developing the creative potential of adolescents.

Methods:

Document Analysis

Theoretical analysis of scientific literature

Interpretation of results from other studies

Study structure: The course work includes an introduction, 3 chapters and 2 subparagraphs in one of them, in which the assigned research tasks are solved, a conclusion, a list of sources and references.

Chapter 1. The concept of creativity

First of all, in order to explore technologies that affect the development of creativity, it is necessary to decide what we mean when we use the very concept of "creativity".

It is fair to say that the concept of "creativity" can be used in the context of not only one area of human life. Scientists in various fields of science have been studying this phenomenon since the 1960s. Then the term was considered within the framework of philosophical and psychological sciences. And in pedagogy, the study of creativity began only in the 80s.

It is rather difficult to give one definition of such a concept as creativity. It does not have an unambiguous interpretation, and it has its own interpretation depending on the approach in which it is studied.

So, for example, from the point of view of the developmental approach, researchers define creativity as “a set of real opportunities, skills and abilities, a certain level of their development” (O.S. Anisimov, V.V. Davydov, G.L. Pikhtovnikov, etc.). At the same time, within the framework of the activity-organizational approach, this phenomenon is considered as “a quality that characterizes the measure of an individual’s ability to carry out creative activities” (I.O. Martynyuk, V.G. Ryndak)

Within the framework of the integrative approach, researchers define creativity as “a gift that everyone has, as an integrative personal characteristic of a person, which is a systemic formation that expresses a person’s attitude to creativity (positions, attitude, focus)” (A.M. Matyushkin)

T.G. Braje defines creativity as “the sum of a system of knowledge, skills and beliefs on the basis of which activity is built and regulated; a developed sense of the new, a person's openness to everything new; a high degree of development of thinking, its flexibility, and originality, the ability to quickly change methods of action in accordance with the new conditions of activity. And L. A. Darinskaya, in turn, describes creativity as “a complex integral concept that includes natural-genetic, social-personal and logical components, which together represent the knowledge, skills, abilities and aspirations of the individual to transform in various fields activities within the framework of universal norms of morality and morality.

Based on the foregoing, it can be concluded that at the moment there is no common opinion on the content of the concept of creativity. However, most researchers of this problem agree on one thing: every person, without exception, has the ability for creative activity.

We will use the definition in a narrower sense as a working definition. Creativity is the energy that can contribute to the development of natural creative abilities, personal qualities and properties of a person, and lead to a comprehensive embodiment of a person's capabilities.

Very often, in the conditions of modern society, we are faced with the fact that most people confuse such concepts as inclinations, abilities, talent, giftedness, genius, creativity, inclination and creativity, believing that all these terms are synonymous and use them in their speech, without thinking about the real meaning. But this opinion is wrong. Each definition differs from each other in one way or another.

Let's start with one of the most important definitions. So B.M. Teplov believed that "inclinations are innate anatomical and physiological features of the nervous system, the brain, which form the natural basis for the development of abilities." That is, the makings here are the very first, initial level of the formation of creative potential, which in turn consists of many components. The next stage in the development of inclinations is abilities.

A.V. Petrovsky in his textbook on general psychology gave the following definition of ability: “Abilities are such psychological characteristics of a person on which the success of acquiring knowledge, skills, skills depends, but which themselves cannot be reduced to the presence of this knowledge, skills and abilities.” If we compare abilities and inclinations, then we can easily come to the conclusion that if inclinations are innate physiological characteristics of a person, then abilities are features at the psychological level. When we talk about a person's abilities, we mean his capabilities in a particular activity, and not the already developed skills of a skill. Abilities cannot exist by themselves, they exist only in a constant process of development. An ability that is not developed will eventually be lost. In addition to abilities, there are several more terms that are confused with each other. This is "talent" and "giftedness". There are many different points of view on whether the terms "talent" and "giftedness" can be considered synonymous.

The term "giftedness" appeared only at the beginning of the 20th century. Since “talent” was used before, it became necessary to clarify the similarities and differences between the concepts. There are scientists who consider talent to be realized giftedness, and giftedness to be only a natural prerequisite for talent. For example, A.V. Libin, who said that "all people are naturally gifted, but only those who have special abilities and manage to realize them are talented." But there is also an opposite point of view, which claims that “giftedness” and “talent” are actually synonyms, denoting a set of abilities that develop in the course of a person’s life.

We will adhere to the version that the concepts of "talent" and "giftedness" differ in meaning. When we talk about ability, we emphasize the ability of a person to do something, and, speaking of talent, giftedness, we point to the innate nature of this quality of a person. So, if giftedness is the innate, genetically inherent qualities of a person to the manifestation of any abilities; then talent is the same qualities, but only with the difference that a person has already shown them during his life. In this case, "inclinations" and "giftedness" can be considered synonyms.

And the last highest level of talent development, which creates the possibility of achievement in any area, is considered to be genius. One of the characteristics of genius is originality. We call those creations ingenious, which are distinguished by uniqueness, individuality, novelty and a fresh look. A genius is a person who can do differently and better than his contemporaries, but this is not always perceived positively, since this is an exception, and society is afraid of exceptions and tries to eradicate them. The difference between genius and talent is that the manifestations of genius are more unconscious, sudden, uncontrollable, spontaneous and unpredictable.

The assessment of genius depends on external factors, on its perception by the surrounding society. Discoveries usually happen by chance. A significant role is played by the era in which a person lives and the depth of knowledge of mankind in the field under study. Therefore, genius is not a physical or psychological factor, it cannot be measured, since it depends mainly on social factors.

Analyzing all of the above, I chose the concept of creativity, because it is much broader than other terms related to creativity and depends not only on one physiological or psychological factor, but on the combination of both.

Creativity is an amalgamation of many qualities. And the question of the components of human creativity is still open, although at the moment there are several hypotheses concerning this problem. Many psychologists associate the ability to creative activity, primarily with the peculiarities of thinking. In particular, the famous American psychologist Guilford, who 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:

1. Speed - the ability to express the maximum number of ideas (in this case, it is not their quality that matters, but their quantity).
2. Flexibility - the ability to express a wide variety of ideas.
3. Originality - the ability to generate new non-standard ideas (this can manifest itself in answers, decisions that do not coincide with generally accepted ones).
4. Completeness - the ability to improve your "product" or give it a finished look.

Well-known domestic researchers of the problem of creativity A.N. Bow, based on the biographies of prominent scientists, inventors, artists and musicians, highlights the following creative abilities.

1. The ability to see the problem where others do not see it.
2. The ability to collapse 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 splitting it into parts.
5. The ability to easily associate distant concepts.
6. The ability of memory to give out the right information at the right moment.
7. Flexibility of thinking.
8. The ability to choose one of the alternatives for solving a problem before it is tested.
9. The ability to incorporate newly perceived information into existing knowledge systems.
10. The ability to see things as they are, to distinguish what is observed from what is brought in by interpretation.
11. Ease of generating ideas.
12. Creative imagination.
13. The ability to refine the 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. Relism of the imagination - a figurative grasp of some essential, general trend or regularity in the development of a cedant object, before a person has a clear idea about it and can enter it into a system of strict logical categories.
2. The ability to see the whole before the parts.
3. 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.
4. 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.
4. Speed of thinking.
5. The ability to express original ideas and invent new ones.
6. Rich imagination.
7. Perception of the ambiguity of things and phenomena.
8. High aesthetic values.
9. 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.

Speaking about the formation of abilities, it is necessary to dwell on the question of when, from what age children's creative abilities should be developed. Psychologists call various terms from one and a half to five years. There is also a hypothesis that it is necessary to develop creative abilities from a very early age. This hypothesis finds confirmation in physiology.

The fact is that the child's brain grows especially rapidly and "ripens" in the first years of life. This is ripening, i.e. the growth in the number of brain cells and the anatomical connections between them depends both on the diversity and intensity of the work of already existing structures, and on how much the formation of new ones is stimulated by the environment. This period of "ripening" is the time of the highest sensitivity and plasticity to external conditions, the time of the highest and broadest opportunities for development. This is the most favorable period for the beginning of the development of the whole variety of human abilities. But the child begins to develop only those abilities for the development of which there are incentives and conditions for the "moment" of this maturation. The more favorable the conditions, the closer they are to optimal ones, the more successfully development begins. If maturation and the beginning of functioning (development) coincide in time, go synchronously, and the conditions are favorable, then development proceeds easily - with the highest possible acceleration. Development can reach its greatest height, and the child can become capable, talented and brilliant.

However, the possibilities for the development of abilities, having reached a maximum at the "moment" of maturation, do not remain unchanged. If these opportunities are not used, that is, the corresponding abilities do not develop, do not function, if the child does not engage in the necessary activities, then these opportunities begin to be lost, degrade, and the faster, the weaker the functioning. This fading of opportunities for development is an irreversible process. Boris Pavlovich Nikitin, who has been dealing with the problem of developing the creative abilities of children for many years, called this phenomenon NUVERS (Irreversible Extinction of Opportunities for Effective Development of Abilities). Nikitin believes that NUVERS has a particularly negative effect on the development of creative abilities. The gap in time between the moment of maturation of the structures necessary for the formation of creative abilities and the beginning of the purposeful development of these abilities leads to a serious difficulty in their development, slows down its pace and leads to a decrease in the final level of development of creative abilities. According to Nikitin, it was the irreversibility of the process of degradation of developmental opportunities that gave rise to the opinion about the innateness of creative abilities, since usually no one suspects that opportunities for the effective development of creative abilities were missed at preschool age. And the small number of people with high creative potential in society is explained by the fact that in childhood only a very few found themselves in conditions conducive to the development of their creative abilities.

From a psychological point of view, preschool childhood is a favorable period for the development of creative abilities because at this age children are extremely inquisitive, they have a great desire to learn about the world around them.

And parents, encouraging curiosity, informing children of knowledge, involving them in various activities, contribute to the expansion of children's experience. And the accumulation of experience and knowledge is a necessary prerequisite for future creative activity. In addition, the thinking of preschoolers is more free than that of older children. It is not yet crushed by dogmas and stereotypes, it is more independent. And this quality needs to be developed in every possible way. Preschool childhood is also a sensitive period for the development of creative imagination.