Modern conditions of life and work place increased demands on the realization of personality in society and the competitiveness of graduates in the labor market. And at school, at work, and in everyday life, a person over and over again faces new situations in which there are no previously known methods of action that are guaranteed to lead to success.

Therefore, the ability to quickly navigate the situation, the ability to find a non-standard solution, to look at the problem from the other side largely determine the success of a person. The development of creative abilities comes from two main manifestations of creativity:

1. The ability to act productively in situations of novelty and uncertainty, with a lack of information, when there are no previously known methods of action that are guaranteed to lead to a positive result.
2. The ability to create any product that has novelty and originality.

Flow features adolescence due to the social situation of development emerging in this period. IN scientific literature one can find an opinion about the change in the social situation of the development of modern adolescents in our country relative to their peers 20-25 years ago, and the “qualitative differences in the social content” of the formation of self-awareness compared to previous decades.

In this regard, the effectiveness of traditional means of education and development, such as lectures, conversations, a good example, and others, is largely reduced, since the teenager does not feel his subjectivity. This also applies to the development of a teenager's creativity.

Therefore, there is a constant search for new forms of work that would more than traditional means developed the teenager's subjectivity. One of such forms of work and education offered by modern psychological science is socio-psychological training.

The history of the development of social psychological training as a form of work is quite long, it was developed by D. Li, V. V. Nikandrov, I. V. Vachkov and others. A. N. Lutoshkin, one of the first in our country, began to use exercises with elements of training in work with adolescents, noting the effectiveness of the procedures used.

Not only a psychologist can act as a leading socio-psychological training, but also a representative of related specialties: a teacher, Social worker. But in any case, a professional presenter should be able to combine a number of functions:

• Administrator (collect, prepare, negotiate, take into account all organizational issues in the work).
• Lecturer (interesting to tell).
• Methodist (prepare a program, tasks, methodological materials).
• Expert (understand the subject area to which the training is devoted).
• Negotiator (to enforce rules and procedures, to be able to "promote" their ideas).
• Teacher (be able to teach).
• Leader (to lead and be responsible for the result).
• Athlete (to be able to "give the best at a distance" of the training).

The purpose of our program of socio-psychological training "Creative +" is to create conditions for the development of creative abilities of older adolescents. As part of the goal, the following tasks were identified:

1. The development of intellectual qualities that are part of creativity: fluency, flexibility and originality of thinking, imagination, ability to find unexpected associations.
2. Demonstration of the possibilities of creativity in solving life problems and achieving personal and professional goals.
3. Formation of skills of team creative work

We propose to develop creative qualities in three areas: cognitive, affective and behavioral. The cognitive direction includes information on creativity: its manifestation and development. By the affective aspect we mean the formation of a positive perception of creativity, as well as the emotional acceptance of this behavioral model for oneself. The behavioral direction includes the formation of skills and abilities for the manifestation of creativity in the framework of effective communication.

The program is designed for 18 academic hours (6 lessons in total). Classes are held for one week every day for 3 hours, with one break of 10 minutes.

Lesson №1 "Thought is creativity!"

The main objective of this lesson is demonstrate the main qualities that characterize creative thinking(fluency, flexibility, originality) and provide a variety of opportunities to train them.

In this lesson, the basic qualities of creative thinking are trained. The emphasis in the discussion of the exercises is on in what particular life situations and for what the corresponding qualities are needed, we give the participants the opportunity to draw as many parallels as possible between the training and ordinary life.

Lesson number 2 "Point of view"

The lesson includes a series of exercises designed to teach participants to look at familiar things in new, unusual perspectives, to notice the original in the ordinary. They illustrate one of the key principles of the creative worldview: "Any private point of view on anything is just one of the possible points of view."

Lesson number 3 "Through thorns to the stars"

The main objective of this lesson is to overcome the barrier on the way to creative self-realization, which consists in the fact that people consider many things impossible "by definition" and, as a result, do not even try to implement them. The exercises make it possible to demonstrate the conditionality of the concepts of "possible - impossible", their dependence on a number of assumptions. This prompts us to look at familiar things from a new perspective, rethink and, in some cases, overcome external and internal limitations. Along with this, during the implementation of these exercises, the qualities of creative thinking continue to develop, and team building also takes place.

Lesson №4 "Language of geniusesJ»

The lesson is aimed at activation of creative potential in communication, finding mutual understanding with others. On the one hand, if you approach the communication process creatively, there are more opportunities to establish contact with different interlocutors than if you communicate in a stereotyped way, always and with everyone the same. But, on the other hand, it is often difficult to understand a creative, original thinking and living person, especially for those who are not prone to creativity themselves. This dilemma is proposed to be explored.

Lesson №5 "Creative problem solving"

The lesson aims to teach use your own creativity in solving real life problems, setting and achieving goals. The exercises demonstrate that creativity is not just a “thing in itself”, but an effective tool that can and should be used in various life situations.

Lesson No. 6 "Unusual results"

The final meeting is aimed at comprehending the experience gained during the training, summing up the results, and giving feedback on the past classes.

Lesson structure:

• Greeting ritual, exchange of feelings, warm-up.
• Reflection on a past lesson.
• Formulation of the topic and purpose of the lesson, gathering the expectations of the participants.
• Main part: theoretical and practical development of the material.
• Reflection of the lesson.
• The final exercise, the farewell ritual.

Basic rules of interaction in the classroom:

• Informing;
• Conversation;
• Discussion;
• Various training exercises: verbal and non-verbal, to work individually, in pairs, in triplets and as a whole group;
• Working with a drawing;
• Role-playing game.

The selection of procedures for this training was carried out on the principle of updating the main situations of manifestation of creativity in them, as well as the ability of an older teenager to analyze and reflect on their behavioral and emotional manifestations.

The proposed training of creativity is based on several principles.
1. Modeling situations of novelty and uncertainty. The external similarity of the techniques used in this training with real life and professional problems is minimized. This was done intentionally in order to avoid the activation of various kinds of stereotypes among the participants, to give them the opportunity to perceive the tasks as fundamentally new, requiring the search for an original solution. Parallels between the psychological mechanisms for performing the tasks proposed in the training and the methods for solving real life problems are drawn only after the completion of the exercises, at the discussion stage. In addition, the instructions for performing the proposed exercises in most cases contain only the designation of the goals and conditions of work, but do not contain specific instructions, algorithms for its implementation. This creates conditions of uncertainty, a plurality of "degrees of freedom", which is an important prerequisite for the activation of creativity. “In order to move from reproductive to creative learning, activities ... must be organized in such a way that it leads to qualitatively new results for the student, both in learning and in his development.”
2. Game character of interaction. In a broad sense, the game is defined in psychology as a form of activity that is not aimed at obtaining some kind of utilitarian benefit, the motivation of which lies in the very process of its implementation. Most of the techniques included in the training, according to their external content, seem emphatically “meaningless”, not aimed at solving any pragmatic tasks or actual life problems. From the participants, in fact, it is required for the time of their implementation to be distracted from these problems, like playing children, to show spontaneity, just to get carried away with the activity, not thinking about what benefit it will bring. Of course, the techniques are selected in such a way that each of them should benefit the participants, contribute to the development of those psychological mechanisms that are applicable in real conditions, and not only in game situations simulated in the training. But finding out exactly what this benefit consists of is carried out "in hindsight", at the stage of discussion. It is better to perform these techniques spontaneously, without thinking about what it is for; just let yourself play like little children.
3. Positive Feedback, refusal to criticize the content of the work. This principle is important for two reasons. First, positive feedback (acceptance, praise, approval) creates a positive emotional state among the participants, conducive to work. Secondly, critical judgments in most cases cause a defensive reaction in the recipients and, as a result, block the manifestations of creativity. The latter is especially pronounced at the stage of generating ideas. Therefore, in the context of creativity training, critical judgments from both the facilitator and the participants should be avoided.
4. Balance between intuition and critical thinking. In a general sense, this is a balance between the right and left hemisphere activity of the brain. The training is not aimed at making participants completely spontaneous and not prone to criticism, but at teaching them to distinguish and “conflict-free” distinguish between those moments when it is more appropriate to rely on spontaneity and intuition, and those when it is advisable to critically think about the situation. .
5. Retrospective building of parallels between the content of the classes and the life experiences of the participants. The main objective of the discussion of each procedure is to let the participants understand what psychological mechanisms were involved, what skills were developed and personal qualities were activated, and how all this relates to the life of the participants outside the training. On the one hand, these mechanisms, knowledge, and skills themselves should be voiced. It is advisable to first invite the participants to express their opinions, and then, if necessary, to summarize and supplement their statements. If the participants experience difficulties, then a short story-monologue of the presenter is allowed. On the other hand, participants should compare their experience with the events of their own lives - both past and future. Therefore, at the discussion stage, it is allowed to deviate from the classical requirement for psychological training to be in a “here and now” situation, participants can give examples of life events that lie outside the training.
6. Widespread use of visual and plastic expression. These are drawings, dramatic performances, etc. Such means contribute both to the development of the qualities of creative thinking and imagination, and to “pushing” the participants on a personal level, and contribute to the rejection of stereotypes and stereotypes.

Good afternoon

The ability to be creative (creativity) creativity) - the ability of a person to see things in a new, unusual perspective. Today we will try to actively show creative qualities: flexibility of thinking, ingenuity, observation and imagination. In other words, as we learn to be creative, we will look for unusual ways to use ordinary things.

I suggest that each participant draw up his own business card, which indicates the training name (his personal, game, friend, literary hero, real political figure), and a schematic image of himself in the form of an object, flower, animal.

Let's get acquainted. Tell me, please, what is your name, what did you draw, and what is it connected with?

Exercise "Smile"

Unfortunately, today it is rare to meet a person who simply smiles towards people. We have become accustomed to seeing gloomy faces around and - the worst thing - we ourselves have stopped smiling. Please come up to each other and say a few nice words while smiling. Pay attention to your feelings.

Issues for discussion:

1. How do you feel when you smile at another person?
2. Is it difficult for everyone in the group to smile? There is a feeling of awkwardness, tension in the muscles of the face?
3. What do you feel when a smile is addressed to you?
4. Do you enjoy it, or do you get the feeling that something is being asked now?

Exercise “Miracle chair”

Objectives: to stimulate creative work groups through theatrical play, improvise the ability to visualize the image. Facilitate the transition from the usual form of thinking to the unusual.

Let's agree that life with all its problems, worries, anxieties continues outside the walls of this room. Here, in the near future, there will be a space of imagination and theater. And in the world of theater everything is possible. For example - the most ordinary - usually does not happen - a chair! But it is in this life that the object in my hands is a seating device, furniture... And in the theater... What can a chair be turned into by the power of imagination?

Now it's a task!

Turn a chair into any object or living being. Everyone who has an idea raises his hand and goes to the center to present to us new image miracle chair. After each show, I start counting up to three (like at an auction!), if before the number 3 there is a new participant in the center with his version of the wonderful transformation of the chair, then the last player will be declared the winner.

Issues for discussion:

1. What ideas of your comrades seemed to you the most interesting? Was this exercise difficult or very easy for you?

Exercise "Airplane"

We divide the group into two teams. Each team is given one sheet of A4 format.

Instruction: “You have 5 minutes to discuss, then you must fold the airplane from this sheet. The team whose plane flies the farthest wins. The most important thing is to comply with the following conditions.

Only two people assemble the airplane at the same time. These two people can only make one inflection, then they must give way to another pair, another team.

You can use only one hand, put the other behind your back.”

Discussion: What difficulties did you have in doing this exercise?

Exercise "Penguins"

Goals: relieving muscle tension, improving mood and feeling of cheerfulness.

We all know that penguins live in Antarctica, and it gets cold there. They stretch their arms along the body and, waddling from foot to foot, huddle in a flock and gradually move in a chaotic manner: from the center to the periphery and back.

The task of the participants is to stand as tightly as possible and, imitating penguins, rub against each other, thereby moving from the center of the cluster to the edge and vice versa. It is necessary that each participant visits the center, i.e. "warmed up".

Discussion: what helped / hindered to cope with the task?

Exercise “Two buses”

Purpose: to determine the level of team cohesion.

The group is divided into two teams. Two pairs of chairs are placed in the middle of the room, with their backs facing the outside. Each pair of chairs is 2-3 meters away from the other pair.

Instruction: two groups of people stand at the bus stop and wait for their buses. 1 bus arrives, the participants get into it, then into 2, the second team. Teams fill their buses. Buses at rush hour, they are very crowded, but you need to hold on so that no one falls. But there was a breakdown of one of the buses, but everyone needs to get there, so all passengers of the second bus get on the first one. It gets even tighter.

The task of the participants is to stay on the bus for at least 20 seconds.

Issues for discussion:

1. How did you feel during the exercise and after it?
2. Did you manage to complete the task?
3. How much time did it take?
4. What contributed to the completion of the task?
5. What did you do to make it happen? What role did each participant play?
6. What hindered? How could this task have been completed differently?

Exercise "Flying"

The participants are given cards on which the names of flying insects are written in two versions: dragonfly, mosquito, fly, wasp, butterfly, moth, they read their cards so that no one else has seen it.

Everyone's job is to find their match.

You can use any non-verbal techniques (gestures, facial expressions), but you can not call and make the characteristic sounds of an insect. When the members find their mates, they stand by but remain silent. When all pairs are formed, what happened.

This is a peering game in which, excluding speech, we leave the possibility of interaction using only the visual channel of perception. This makes it possible to diagnose the level of development of the visual channel and its perception.

Issues for discussion:

1. Was it easy for you to find your match? What did you focus on when looking for your partner?
2. Did you manage to find her?
3. Did you manage to portray exactly the insect that was needed? What means of expression did you use?

Exercise “1 of 3”

Objectives: to train the mobility of thinking as a factor of creative behavior and adequate self-esteem.

Contribute to the activation and expansion of the scope of associative thinking.

Create an active creative atmosphere and a positive attitude in the group.

There should be 3 symbols on the exercise area.

Instructions: The rules of the game are simple. I'm going to give you a series of questions that will metaphorically try to determine the characteristics of your personality. Think about the meaning of the image, determine which option is closest to you, and, in accordance with your choice, please take a place on the playground.

So, who are you: tailcoat, T-shirt or military tunic?

(The choice is made, please comment on your decision.)

• Who are you: a child, a mature person, a pensioner?

(We remind you that we are not talking about the real age of the player at all, but only about the image - “spiritual age”, i.e. how old a person feels.)

• Who are you: village, city, capital?
• Who are you: water, fire, earth?
• Who are you: tent, apartment, villa?
• Who are you: a sign with the inscription - "No strangers allowed!"
• "I'll be back soon..."
• "Welcome!"
• Who are you: “Yes”, “Maybe”, “No”?
• Who are you: bike, motorcycle, rolls-royce?
• Who are you: past, present, future?
• Who are you: a freelance artist, an employee, a company manager?

(I remind you that we are talking about the image, not the real state of affairs.)

Completion: discussion of the game

- What did you like and what didn't you like?

– Which question was the most difficult to answer?

What was the easiest question to answer? Why?

– Were you surprised by the choice of one of your teammates?

Did you manage to discover something in yourself during the game?

Exercise "Superclip"

Target: solve problems creatively.

Time is limited.

Instruction: divide the group into 3 mini-groups, each group is given an A4 sheet.

(Your task is to write down on a piece of paper all the ways to use a paper clip.)

It is necessary to limit the exercise in time. After completing the task, the groups will present their options. The winner is the group that will have the maximum number of the most original ways to use the paper clip.

Issues for discussion:

Was it easy to complete this task?

– What were the difficulties?

Exercise “I + You”

Target: understanding and rallying, understanding your partner means successfully completing this exercise.

We divide the participants into pairs and ask them to stand near one of the walls of the room.

Instructions: Take one A4 sheet for each pair. Stand facing each other, hold a sheet of paper between your foreheads, put your hands behind your back. Your task is to randomly move around the room to the opposite wall. You can't talk. Drop the paper and start over.

Issues for discussion:

1. Tell us about your feelings?
2. What were the difficulties?

Exercise “Virtual walk”

Purpose: to be liberated, to show their originality and creativity.

Although we started our training not so long ago, I suggest you take a walk. Imagine that you and I went out into the street.

Participants move one after another, in a circle. Conditions are set, and participants must follow them.

Suddenly it began to rain heavily, your clothes begin to get wet, you hurry home.

You ran under a tree, and under it there are a lot of pine cones, which are very uncomfortable to walk on, very.

The rain is over, the sun is out, the asphalt is heating up, it's getting hotter and hotter.

You have 10 meters left to get home, it’s already late at night, you can’t see anything, mosquitoes bite, tortured you.

Tell me about your feelings.

Exercise "Funny balls"

Goals: develop coordination of movement, concentration of attention, teamwork. The group is divided into 2 teams.

Instructions: Ask each team to stand in a circle and hold hands. Your task is to keep the balls in the air without disengaging your hands for 3 minutes. You can't just hold the balls. They must be in the air. A dropped ball cannot be picked up. The team that can hold the most balls wins.

Issues for discussion:

- Tell us what difficulties you experienced?

- What was easy?

group collage

“Love in my life”

Collective performance of creative composition by the participants of the training. The duration of the work is 10-15 minutes for this period, a ban is introduced on the discussion of the content side of the created composition.

The psychological meaning of the exercise is the ability to trace and understand the implicit attitudes of the participants in relation to the topic. The skills of non-verbal communication, empathy, the ability to coordinate joint actions are developing.

Discussion:

Each participant presents his fragments of the composition, reveals the meaning embedded in them, and shares his general impressions of the work process and the perception of its result.

Exercise "Lighthouse"

A musical composition imitating the sound of the sea sounds.

Get comfortable. Close your eyes. Relax. Adjust your breathing. Imagine a small rocky island away from the continent. At the top of the island is a tall, well-placed lighthouse. Imagine yourself as this lighthouse standing on rocky island. Your walls are so thick and strong that even strong winds constantly blowing on the island, can't rock you. From the windows of your upper floor, day and night, in good and bad weather, you send out a powerful beam of light that serves as a guide for ships.

Remember the energy system that keeps your beam of light moving across the ocean, warning sailors of shallows, a symbol of safety for people on shore. Now try to feel the inner source of light in you - the light that never goes out. You are confident. You are well and calm. You rested. We open our eyes...

Issues for discussion:

Did you manage to get the whole picture and evoke the corresponding bodily sensations?

Exercise "Nonsense"

Each participant receives a sheet of paper and writes on it the answer to the presenter's question, after which he folds the sheet so that his answer is not visible, and passes it to his neighbor on the right. He answers the host's question in writing, folds the sheet again and passes it on. When the questions are over, each participant unfolds the sheet in his hands and reads the answers written on it aloud, like a coherent text.

4. What did you do?

5. How did it happen?

6. What do you remember?

7. And what happened in the end?

8. Which of the resulting texts seemed to you the most interesting?

N.Yu. Khryashchev.

The main goal of the program is the awareness of creativity in oneself and its development.
Tasks:
1) awareness and overcoming barriers to the manifestation of creativity;
2) awareness of the characteristics of the creative environment;
3) the formation of skills and abilities to manage the creative process.
Creativity training makes it possible, without creating critical levels of tension, to receive personally colored feedback.

The proposed exercises make it possible to realize the phenomenon of creativity and develop the skills and abilities to control its mechanisms and latent factors that determine their successful functioning. They can be used to develop the flexibility of thinking, decision making, problem solving. In addition, the exercises can be used in practical classes in the psychology of creativity, general and social psychology.
In the course of work, the participants of the training get the opportunity to understand what creativity is, what its manifestations are, as well as the barriers that prevent the actualization of their own creative resources.
In this case, the psychologist focuses on the following sequence of steps:

• detailing the image of the problem and its cross-modal conjugation with the content of accumulated experience;
• use of heuristic techniques and techniques for managing the creative process;
• the embodiment of the found solution or behavior option into reality.

3.4 Gestalt Therapy Games

(compiled by E Petrova)

Purpose: Teaching basic knowledge in Gestalt therapy using techniques that reveal the essence of the practical use of Gestalt therapy methods in group work.
Basic concepts:

• relation between figure and ground;
• awareness and focus on the present (the principle of "here and now");
• expanding the boundaries of awareness;
• increased attention to feelings;
• protection mechanisms;
• concept of maturity.

Gestalt therapy was developed by Fritz Perls based on his early experience in psychoanalysis and subsequent study of existential philosophy, Gestalt psychology, and Wilhelm Reich's theory of the physiological roots of resistance to psychological change. Gestalt groups are now known for their strong leadership and focus on developing autonomy and responsibility among members.
Research in the field of perception has shown that important and significant events are central to consciousness, form a figure, and less important information recedes into the background. The construction and completion of gestalts is a natural rhythm of the body's life and occurs under the influence of the process of organismic self-regulation. Neurotic functioning occurs when the middle zone of fantasy is wedged between our outer and inner zones of awareness. The concept of "opposites" a prime example which is the conflict between "attacker" and "defender", describes the struggle between the two polar sides of our "I", which must coexist together. Defense functions are ineffective ways to deal with threat or stress and include pathological fusion, retroflection, introjection, and projection. Maturity is described as the ability to find one's own support resources and take responsibility for oneself.

1. "Greeting"
In two lines - at the command of the leader, move towards each other and not verbally greet the other. Move the line one step after each contact. For each new test, use new form greetings.
2. "Meeting hands"
Stand opposite each other in pairs or sit comfortably so that your hands can meet. Close your eyes. At the leader's command, let your hands first find:
1) each other;
2) get acquainted;
3) show sympathy;
4) dance;
5) fight;
6) reconcile;
7) say goodbye.
The whole task takes 5-7 minutes. Discuss feelings at different stages.

17. "I have to"
Write 3 phrases that begin with the words "I must ..." Try replacing them with phrases that begin with the words "I can ...", with the same continuation. In pairs, say these new phrases "with feeling". Be aware of the real feelings and needs behind these words. Write 7 - 10 phrases that reflect what you will never be able to. After that work in pairs. After that, replace "I can never" with "I really want to." Discuss and think about what desire is really behind it. For example: "I will never steal" it means that I suppress my envy of people, I do not allow myself to envy those who have something. "I can never kill - I will never allow myself to be angry" (Daniil Khlomov).
18. "I shouldn't"
Write 3 times phrases that begin with the words: "I must not." Replace the beginning of these phrases with "I can ...". Think about what reward, psychological or material, you received as a child and are receiving now due to the observance of these obligations. Realize what "penalty" you will incur for violation, or what fee you will have to pay, what you risk if you violate the ban. This experiment is aimed at the study of introjects (Elena Petrova).
19. "Doll"
One person is a puppet, the other is an experimenter. The task of the experimenter is to explore the possibilities of operating, handling the body of the doll. How far the arms are spread, how much the head turns. The doll has the right to say "stop". The task is to get "stop" from the doll, to define the boundaries. The discussion focuses on how cautious the experimenter was, afraid of hurting or crossing the line, how anxious the "doll" was when saying "stop" ahead of time.
One person is an experimenter, the second is a talking doll. "Doll" knows a single fairy tale (a story - ready-made, which he knows well and thinks in advance). The "doll" invents a "button" on its body - a single one. The therapist must somewhere on the body, trying touch, trying touch, find this button, "press" it and hear the story (Daniil Khlomov).
20. "Thanks"
Choose a person who you definitely respect, who is important to you. Write down its most important characteristics. Cross out his name, write yours. Realize which of these characteristics really apply to you (Daniil Khlomov).
21. "Working with a name"
The names that are recorded in the documents reflect parental expectations for the child, the cultural and historical background, often the history of the family or the history of the country. In addition to the "official" name, a person bears children's and "special" names, those that his relatives and parents called him in childhood, as close people or enemies call him now.
For research, it is worth paying attention to the name itself and its meaning, variants of the name (including the name when he was a child), nicknames. Several variants of experiments are proposed that can activate the feelings associated with the name and the relationship associated with the name in the original family.
Different variants of experiments, highlighting different figures, allow you to focus on various aspects of one big topic. It makes no sense to do them in a row - but it is worth choosing the right one for this session. "Remember the names that you were called in childhood. Who gave you these names, in what circumstances you were called by this or that name. Who called. In what circumstances. What feelings do you experience when you think about these names. How do you feel about these people now.
Remember children's names and nicknames. What feelings did they evoke? Choose the brightest. Remember the "childish" feelings and call yourself this nickname now. What feelings and to whom this name expressed. How were you treated by those who gave this name or nickname.
What nicknames or affectionate names do you currently have. How did you get them. What areas of life do they affect?
Are there different names now at home and at work. If yes, what does it have to do with it. What are your current naming options? In what situations are you called that, when you introduce yourself that way, to whom, where. What feelings do you associate with these names. What is the relationship with these people.
Remember your names in different periods of life. Remember the attitude to your name in different periods of life. How it has changed. Whether you were proud, loved your name, or had periods of negative attitude. The connection of changes in life, including crises, and the relationship (choice) of a name. What is the connection between names and attitudes towards their gender. Were there times when you were called by a name that did not match your gender, or that caused ridicule.
How did your parents choose your name? What do you know about it. Their expectations. In honor of whom. What is the symbolic meaning of your name, what does it mean in translation, what did it mean to you in different periods of your life.
How do you feel with your name among the crowd (among others). Attitude towards those who have the same names, whether you feel good or have negative feelings when there are still people with the same names. If your name is unique, how are you among those who have an ordinary name.
If you were to choose a name for yourself again, what would you choose a second name and why, what could it symbolize. What are the reasons for keeping the old name. What are the reasons for choosing a new one.
22. "Old abandoned store"
An exercise using imagination, controlled fantasy. When doing it, participants can touch aspects of their personality that were not previously realized.
“Imagine that you are walking down a city street late at night. What do you see, hear, feel? You notice a small side street where an old abandoned store is located. Its windows are dirty, dusty. notice an object. Carefully examine it. Move away from the abandoned store, walk until you return to the city. "
In pairs or small groups, describe this item that you found outside the windows of an abandoned store. Then speak on behalf of this subject, in the first person. How do you feel? Why are you left in the store? Who left you? What is your existence like as this subject? After a few minutes, "become yourself" and mentally return to the same city. Go to the store and look at the item in the window again. Do you see anything new in it? Do you have anything to say to him? (According to John Stevens).
Option 1."Imagine that you are walking through a big old city. Maybe it's a city you know, or an imaginary one. On the street you can find an object, take it with you."

Option 2. You are a tourist, on a tour you find the "Magic Gift Shop". Enter the room, look around. The first room - antique furniture, paintings, lamps, chandeliers, mirrors. In another room you see vintage crockery, carpets, utensils. In a separate showcase - dolls, exotic shells, souvenirs from exotic countries. And in the depths there is a small room where the second-hand bookseller's treasures are. Something interesting will grab your attention. You understand that this is a souvenir, this item is for you" (suggested by F. Perls).

Training for the development of creativity. The purpose of the training: awareness of creativity in oneself and its development. Development of teachers' abilities to find new non-standard (creative) ways of solving problems; establishing communication links in the teaching staff.

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Creativity development training.

Target : awareness of creativity in oneself and its development. Development of the ability of participants to find new non-standard (creative) solutions to problems; establishing communication links within the group.

Tasks:

1. Awareness and overcoming barriers for the manifestation and development of creative thinking.
2. Awareness of the characteristics of the creative environment.
3. Formation of skills and abilities to manage the creative process.

Creativity (from English create - to create, English creative - creative, creative) - the creative abilities of an individual, characterized by a willingness to create fundamentally new ideas that deviate from traditional or accepted patterns of thinking and are included in the structure of giftedness as an independent factor, as well as the ability solve problems that arise within static systems. According to the authoritative American psychologist Abraham Maslow, this is a creative direction, innately characteristic of everyone, but lost by the majority under the influence of the established system of upbringing, education and social practice.. Creativity is an activity, the result of which is the creation of new material and spiritual values. Being a cultural and historical phenomenon in its essence, creativity has a psychological aspect: personal and procedural. It assumes that a person has abilities, motives, knowledge and skills, thanks to which a product is created that is distinguished by novelty, originality, and uniqueness. The study of these personality traits revealed the important role of imagination, intuition, unconscious components of mental activity, as well as the personality's need for self-actualization, for revealing and expanding one's creative abilities. * (Brief psychological dictionary / Under the general editorship of A.V. Petrovsky, M.G. Yaroshevsky. - Rostov n / D.: Phoenix, 1999. - C.380)

Discussion and adoption of the rules of work in the group:
be active;
listen to each other without interrupting;
speak only on your own behalf;
if the information is addressed to someone specifically, then contact
directly to this person, do not talk about him in the third person;
Do not distribute or discuss personal information outside of class.
information about participants;
avoid criticism when doing exercises, if there is a need to criticize something, wait for a discussion;
* in case of unwillingness to perform any exercise, the participant
has the right to refuse without explaining the reason for this, but he must declare it publicly

Exercise "Introduction"(5-7 min.)

The group members sit in a circle.

Instruction: "Let's start our work with an introduction: each in turn will name his name and three qualities inherent in him, starting with the same letter as his name."

This version of the presentation requires ingenuity, flexibility of thinking from the participants, offering a somewhat unusual approach to consider their qualities, personality traits. The action to which the group members are prompted by the task is consistent with the characteristics of the creative environment. The task requires considerable effort for its informal completion, since the temptation to name the first qualities that come with the right letter sometimes turns out to be stronger than the readiness to search for more accurate characteristics that correspond to one's own ideas about oneself. In some cases, rather contradictory characteristics are called: for example, stable, collected, fussy. In this case, the facilitator may turn to the one who named these qualities with a request to explain what caused the listed such, at first glance, contradictory qualities. It is possible to address the same question to the group. It happens that one of the participants names one-dimensional qualities: for example, benevolent, kind, friendly. The facilitator may ask this member of the group, which prevents him from giving more diverse characteristics.

In the two cases mentioned, as well as in other cases (for example, someone generally finds it difficult to name three qualities), group members can pay attention to the difficulties they encountered when completing the task, and these effects can be used in further work with the group.

Exercise "Line"(5-10 min.)

Target : team building. The exercise makes you aware non-verbal means establishing contact, testing them in a safe group environment, testing your ability to establish contact in various situations, understanding that when establishing contact there are no universal means and rules, but first of all, you need to focus on the person with whom you interact.

Exercise progress : participants are lined up according to: growth; hair color; alphabet of names; leg size; zodiac sign, etc.

Instruction : “Now you have to line up in a row according to the color of your eyes, from the lightest to the darkest. When building, it is forbidden to talk. So let's get started." You have 2 minutes to build. Then it is proposed to line up according to the color of the hair, from the lightest to the darkest. The conditions are the same. The last task is the most difficult: line up in height with your eyes closed, without talking.

Issues for discussion:

• What do you feel now?
• What did you like the most?
• Was it difficult for you to do the exercise?

Exercise "On the ice"(10 min.)
Description of the exercise.
Participants are divided into teams of 4-6 people (it is desirable that
if the teams had the same number of participants and between them
boys and girls were evenly distributed). Each of the teams
a large sheet of newspaper is given out, which they spread on the floor.
The facilitator reads the instructions: “Imagine that you are on a broken ice floe drifting in the middle of a raging sea. Ice floe is your newspaper. You all need to get on it and hold out for a few minutes to wait for the rescuers. It is forbidden to touch the floor outside the newspaper - whoever does this is considered to have drowned. When the participants are placed on their "floes" and hold out in this position for 15-20 seconds, the leader reports,
that the storm broke off a piece from each of the ice floes, and tears off about IVparts from each of the newspapers, inviting participants to sit on what is left. This is repeated 2-3 times. If one person “sinks” in the team, she receives a warning, if two or more, she is eliminated from the game (“your ice floe turned over”). The winning team is the one that lasts the longest.
The technique involves close bodily contact of the participants
and includes an element of shared risk, therefore not recommended
to carry it out both in insufficiently “warmed up” groups, where participants demonstrate tightness and constraint, and in overly active, difficult to control groups.

Technique, in addition to stimulating participants to a creative solution
the problem posed to them, contributes to unity, the formation of mutual trust. In addition, it clearly demonstrates the basic principle of teamwork: it is impossible to win individually, only everyone can do it together. But you can also lose individually (“fall off the ice floe”), betting this
jeopardize the actions of the entire team.
Discussion. First, the participants share the emotions and feelings that have arisen
during the exercise, then - with your own thoughts
about what allowed the winning team to cope better in such a situation, and what “ruined” the rest. After that, the facilitator asks to give examples of life situations where similar mechanisms are manifested.

Exercise "Improbable situation"(10-15 min)
Description of the exercise.
Participants are invited to think about some imaginary situation that is incredibly or extremely unlikely to occur: Their task is to imagine that such a situation did happen, and to suggest as many consequences for humanity that it can lead to. The exercise is done in
subgroups of 3-5 people, the time of work is given at the rate of 5-6 minutes
for one situation. Here are some examples of incredible situations
for this exercise.
The force of gravity on Earth will increase by 5 times.
All volumetric geometric shapes will turn into flat ones.
All humans will suddenly grow tails.
The endings in all words of the Russian language will disappear.
The dollar will rise in price 100 times compared to all other currencies.
From the clouds, cables will begin to hang down to the Earth itself.
Sports will immediately and completely disappear from people's lives.
The coefficients of friction for all substances on Earth will decrease
20 times.
All metals will turn into gold.
People will learn to accurately read each other's thoughts.
There are various options for this exercise.
For example, several subgroups may be asked to
judgments are the same situation. Then the presentation of the results
organized as follows: each of the subgroups in turn
gets the floor in order to voice one idea, repeat
it is forbidden. If original ideas the subgroup has run out, it is you
happens from the game; the team that stays in the game the longest wins. If the subgroups are offered different situations for discussion, then such a competition is not held, instead, representatives of each of the subgroups voice 3-5 ideas that seem to be the most original.
The psychological meaning of the exercise.
Training the ability to generate unusual ideas in relation to situations that go beyond ordinary ideas.
Discussion. Which of the proposed ideas are most vividly remembered, seem to be the most creative? Why are these ideas interesting? What
contributed to the implementation of this exercise, and what prevented? In what real life situations is the skill useful?
to think about "incredible situations"? Can you bring
examples from your life experience when at first glance an improbable situation becomes real?
Exercise "Unusual actions"(10-15 min.)

Description

Each of the participants is offered to remember some unusual, original action, a strange and not quite explicable from the standpoint of common sense, an act committed over the past one or two months (1-2 minutes are given for reflection). Participants are then asked to briefly describe it and also comment:

In what exactly do they see the unusualness of this action?

What, from their point of view, prompted him?

How do they evaluate this action "in hindsight" - what is it for?

led, was it worth doing?

If there are less than 12 participants in the group, it is advisable to perform the exercise all together; with a larger number of participants, it is better to divide the group into 2-3 subgroups that will work in parallel.

The meaning of the exercise.

The exercise contributes to the transfer of knowledge and skills related to creativity to the consideration of one's own life, increasing the degree of openness to new life experiences.

Discussion. How do unusual actions affect our life - make it brighter, more interesting, more difficult, more dangerous, or change it in some other way? Did the participants have Lately situations when you wanted to do something unusual, but something stopped? If so, what exactly stopped them and how is this assessed "in hindsight" - is it correct that the action was not taken, or would it still be better to do it? Whose unusual actions did the participants want to repeat?

Exercise

"Using Items"(10–15 min.)

Purpose: development of creative intelligence.

Materials: paper clip, toothbrush, pencil, match...etc.

Procedure: In two minutes, find as many uses for a shoelace as you can and write them down. This is an exercise that develops creative intelligence for consideration, you can take any other subject.

Issues for discussion:

1. Was it difficult to come up with a new application for simple and familiar things?
2. How can your item be used?
3. What made you think about this exercise?

Exercise

"Non-Existent Animal"(10-15 min.)

Target : rally the team and get to know each member of the group better.

materials : drawing paper, colored pencils

Exercise progress

The group sits at the table, whatman paper, colored pencils are offered. The group must agree on what animal they will draw and make a story about it: what is the name of this animal, what it is (5 characteristics), what it can do and what benefits it will bring to people.

Issues for discussion:

1. Why did you choose this animal?
2. What is it called, what can it do?
3. Were there any difficulties during the exercise?

Relaxation (5min)

Sit comfortably, take a position that seems most comfortable to you. Close your eyes and do not open them until the end of the exercise and do not move.

Your body begins to gradually relax. You feel the tension in your muscles disappear. With each uttered word, every muscle of the body is more and more filled with a feeling of peace and pleasant lethargy. Your breathing is even and calm. Air freely fills the lungs and leaves them easily. The heart beats clearly, rhythmically. Turn your inner gaze to the fingers of your right hand. The fingertips of the right hand seem to be touching the surface of warm water. You feel the pulse in your fingertips. There is a feeling that the hand is gradually immersed in warm water. This magical water washes your right hand, relaxes it and rises up your arm... Up to your elbow... Even higher... Now your entire arm is immersed in pleasant warmth, relaxing... Fresh water runs through the veins and arteries of your right hand. renewed blood, giving it rest and nourishing it with new strength... Breathing is even, calm. The heart beats clearly, rhythmically ... And now your inner gaze turns to the fingers of your left hand.

The text above is completely repeated for the left hand. At the end, be sure to give an installation regarding breathing and the heart..

Pay attention to your feet. The feet are relaxed. They feel a pleasant warmth, reminiscent of the warmth of a fire burning in a fireplace. It feels like your feet are on a fireplace grate. Kind, gentle warmth rises up the legs, giving life-giving relaxation and rest to the muscles... Tension disappears... And now the muscles of the legs relax - from the fingertips to the thigh... The breathing is even, calm. The heart beats clearly, rhythmically ... A pleasant, relaxing warmth spreads throughout the body, which creates a feeling of peace and relaxation ... The tension in the shoulders, in the cervical region, in the lower part of the nape disappears ... You feel how the tension accumulated here dissolves and disappears... Leaves... Breathing even, calm. The heart beats clearly, rhythmically ... Now your inner gaze turns to the face. Facial muscles relax... Tension is removed from the cheekbones... From the jaws... Lips become soft and supple... Wrinkles on the forehead are smoothed out... The eyelids stop trembling... They are simply closed and motionless... All the muscles of the face relaxed... A light, cool breeze washes your face... It is pleasant and kind - this air kiss... The air brings you its healing energy... Breathing is even, calm. The heart beats clearly, rhythmically ...

Your whole body enjoys complete peace... Tension subsides, dissolves, goes away... Fatigue disappears... You are filled with a sweet feeling of rest, relaxation, peace... Peace that fills you with new strength, fresh and pure energy...

Meditation "Mountain Peak» (5-7 minutes)

The task of the given visualization meditation is to help a person enter a dissociated state in order to see and realize their problems as if from the outside. This allows you to significantly mitigate negative experiences, find new, unexpected ways to resolve problems. Thanks to this, the psychotechnics "Mountain Peak" helps to increase self-confidence.

Imagine that you are standing at the foot of a huge mountain. From all sides you are surrounded by stone giants. Maybe it's the Pamirs, Tibet or the Himalayas. Somewhere in the sky, lost in the clouds, the icy peaks of the mountains float. How beautiful it must be up there! You would like to be there. And you don't have to get to the top by climbing difficult and dangerous steepness, because you ... can fly. Look up: a dark moving cross is clearly visible against the sky. This is an eagle soaring over the rocks... A moment - and you yourself become this eagle. Spreading your mighty wings, you easily catch the elastic currents of air and slide freely in them... You see ragged, ragged clouds floating under you... Far below - toy groves, tiny houses in the valleys, miniature men... Your sharp-sighted the eye is able to distinguish the smallest details of the picture unfolding before you. Take a look at her. Take a closer look...

You hear the low whistling of the wind and the sharp cries of the passing small birds. You feel the coolness and gentle resilience of the air that keeps you high. What a wonderful feeling of free flight, independence and strength! Enjoy it...

It is not difficult for you to reach any of the highest peaks that is not accessible to others. Choose a convenient site for yourself and go down to it so that from there, from an inaccessible height, you can look at what is left there, far away, at the foot of the mountains ... How small and insignificant the problems that worried you can be seen from here! Evaluate whether they are worth the effort and experience you have experienced! The tranquility bestowed by heights and layers endows you with impartiality and the ability to delve into the essence of things, understand and notice what was not available there, in the hustle and bustle. From here, from above, it is easy for you to see the ways to solve the issues that have tormented you... With amazing clarity, you realize the necessary steps and the right actions... Pause.

Take off again and experience the amazing feeling of flying again. Let it be remembered for a long time... And now again be transported to yourself, standing at the foot of the mountain... Wave goodbye to the eagle soaring in the sky, which made a new perception of the world available to you... Thank him...

You are here again in this room. You have returned here after your amazing journey...

Exercise " creative life» (10-15 min.)
Description of the exercise.
Participants, united in subgroups of 5-6 people, receive the task: to formulate a list of recommendations that will allow them to “make their own lives more creative”, and write them down on a sheet of AZ-A2 format. The recommendations formulated should be realistically implemented by all participants, or at least
most of them (i.e. not to imply the presence of any
rare abilities, too large material costs, etc.).
The psychological meaning of the exercise.
Transferring consideration of problems, creativity from the plane of specially modeled situations to the area of ​​everyday, everyday life realities.
Discussion.
Sheets on which the recommendations formulated by the teams are written are laid out or hung out for viewing by all
participants. Representatives of each team in turn receive
a word to give their recommendations and briefly comment on exactly how following each of them will allow you to make your own life more creative.
Example.
Here is a list of such recommendations, compiled by experts in the psychology of creativity, as an example and possible material for group discussion.
Get regular exercise.
Make sure your diet is varied and balanced.
Master the technique of relaxation and meditation.
Improve your confidence.
Keep a diary, make sketches, write poems, short stories
and songs.
Read fiction that develops the imagination.
think about alternative ways use of objects that you encounter in everyday life.
Think about the similarities of dissimilar things.
Take up painting or sculpture.
Visit inspiring places.
Get involved in things you wouldn't normally think about.
Try to be more spontaneous and sociable.
Watch comedies and try to develop your own humorous style. Listen to classical music.
Regularly look for ways to break out of your "comfort zone".
Try to fulfill your daily routine duties in different ways.
Make new friends and expand your social circle.
Think of yourself as a creative person.
Think of creativity as a way of being.

Literature:

1. Gretsov A.V. The best exercises for developing creativity. / Teaching aid.- SPb., SPbNII physical education, 2006., - 44 p.
2. Ilyin E.P. "Psychology of creativity, creativity, giftedness". - St. Petersburg, Peter Series: Masters of Psychology, 2009., - 448 p.
3. Yiri Sherer. Creativity techniques: how to find, evaluate and implement an idea in 10 steps / Jiri Sherer: [trans. with him. O. Gleissner].-M.: SmartBook, 2009., - 136 p.: ill. – (Innovative management strategies).
4. 4. N.V. Samoukina "Games that are played." Psychological workshop. Dubna. Phoenix. 1996

Games and exercises for trainings on the development of creativity and Creativity (from English create - to create, English creative - creative, creative) - the creative abilities of an individual, characterized by a willingness to create fundamentally new ideas that deviate from traditional or accepted patterns of thinking and are included in the structure of giftedness as an independent factor, as well as the ability solve problems that arise within static systems. According to the authoritative American psychologist Abraham Maslow, this is a creative direction that is innate in everyone, but lost by the majority under the influence of the environment.

Creativity is an activity, the result of which is the creation of new material and spiritual values. Being a cultural and historical phenomenon in its essence, creativity has a psychological aspect: personal and procedural. It assumes that a person has abilities, motives, knowledge and skills, thanks to which a product is created that is distinguished by novelty, originality, and uniqueness. The study of these personality traits revealed the important role of imagination, intuition, unconscious components of mental activity, as well as the personality's need for self-actualization, for revealing and expanding one's creative abilities.

Creativity (from Latin creatio - "creation") is a person's ability to generate unusual ideas, original solutions, deviate from traditional patterns of thinking. Creativity is one of the components of a creative personality and does not depend on erudition. People with a high level of creativity are called creatives.

According to a number of scientists, in the manifestation of creativity, or rather, divergent thinking, which is the basis of creativity, the role of the genetic factor, in contrast to the environmental factor, is small. Among the many facts that confirm the crucial role of family-parent relationships, there are the following:

As a rule, the eldest or the only child in the family has a great chance to show creative abilities.

Children who identify with their parents (father) are less likely to show creativity. On the contrary, if a child identifies himself with the “ideal hero”, then he has more chances to become creative. This fact is explained by the fact that in most children the parents are “average”, uncreative people, identification with them leads to the formation of uncreative behavior in children.

More often, creative children appear in families where the father is much older than the mother.

The early death of parents results in a lack of behavior patterns with behavioral limitations in childhood, which promotes creativity.

Favorable for the development of creativity is increased attention to the abilities of the child, a situation where talent becomes an organizing principle in the family. So, a family environment, where, on the one hand, there is attention to the child, and on the other hand, various uncoordinated requirements are made to him, where there is little external control over behavior, where there are creative family members and non-stereotypical behavior is encouraged, leads to the development of creativity in child.

T.S. Suslova identified the main features characteristic of creative personalities. These are conscientiousness, responsibility, perseverance, a sense of duty, high control over behavior and emotions, decisiveness, enterprise, risk-taking, social courage, internal locus of control, and intellectual lability. V.N. Druzhinin (1999) believes that the development of creativity follows the following mechanism: on the basis of general giftedness, under the influence of the microenvironment and imitation, a system of motives and personal properties (nonconformism, independence, self-actualization motivation) is formed, and general giftedness is transformed into actual creativity, i.e. creativity is a synthesis of giftedness and a certain personality structure.

Low intelligence, neuroticism and anxiety impede the manifestation of creativity.

Target: awareness of creativity in oneself and its development. (Developing the ability of participants to find new non-standard (creative) solutions to problems; establishing communication links within the group.)

Tasks:

Awareness and overcoming barriers for the manifestation and development of creative thinking.

Awareness of the characteristics of the creative environment.

Formation of skills and abilities to manage the creative process.

The effectiveness of psychological training lies in the fact that training methods usually pursue development goals. In the course of classes, the child, gradually getting rid of stress, can reveal his true capabilities. It is necessary to take into account the potential of the child. In this case, the focus is on the "Zone of Proximal Development". It is in the pedagogical, and most of all in socially much more important is not what the child demonstrates in this moment but what to expect from him in the future. The optimal group size is 8 - 16 people, however, it is also possible to work with groups from 5 to 25 or more participants.

Establish group rules. Group rules are being developed:

speak one at a time;

do not interrupt the one who is speaking;

not use physical force against others;

do not insult anyone, do not tease, etc.

In addition, it is stipulated that in some exercises there will be a “Stop!” (“I am not in this game”).The rules are written on a piece of drawing paper, which constantly hangs on the wall during all subsequent group sessions.

The proposed game exercises are aimed at development and activation of creativity - a system of creative abilities.

The purpose of these exercises is to teach a person to act productively in situations of novelty and uncertainty, relying on their creative potential; navigate in rapidly changing circumstances, make adequate decisions when the initial information for this is incomplete.

What, Where, How

Participants sitting in a circle are shown some unusual object, the purpose of which is not entirely clear (you can even use not the object itself, but its photograph). Each participant, in order, must quickly answer three questions:

What is this?

Where did it come from?

How can it be used?

At the same time, repetition is not allowed, each participant must come up with new answers to each of these questions.

The easiest way to get props for this exercise is not to take whole objects (their purpose is usually more or less clear), but fragments of something - such that it is difficult to understand from them where they came from.

The meaning of the exercise

Discussion

What answers to the questions were remembered by the participants, seem to be the most interesting and original?

Unusual activities

Each of the participants is offered to remember some unusual, original action, a strange and not quite explicable from the standpoint of common sense, an act committed over the past one or two months (1-2 minutes are given for reflection). Participants are then asked to briefly describe it and also comment:

In what exactly do they see the unusualness of this action?

What, from their point of view, prompted him?

How do they evaluate this action "in hindsight" - what is it for?

led, was it worth doing?

If there are less than 12 participants in the group, it is advisable to perform the exercise all together; with a larger number of participants, it is better to divide the group into 2-3 subgroups that will work in parallel.

The meaning of the exercise

Discussion

How do unusual actions affect our life - make it brighter, more interesting, more difficult, more dangerous, or change it in some other way? Have the participants recently had situations where they wanted to do something unusual, but something stopped them? If so, what exactly stopped them and how is this assessed "in hindsight" - is it correct that the action was not taken, or would it still be better to do it? Whose unusual actions did the participants want to repeat?

Application of skills

Each of the participants names some sports skill that he owns (for example, snowboarding or rollerblading, pulling himself up on the crossbar, throwing the ball in a precisely given direction, etc.). Then the rest of the participants offer possible options for applying these skills - not only in physical education and sports, but also in others. vital areas. Exercise

performed in a general circle.

The meaning of the exercise

Discussion

Participants share their impressions and thoughts about what new skills and ways of applying they are interested.

Training for the development of creativity and creative abilities

Conceptual introduction:

materials: paper, scissors, pencils, models of objects, ball, newspapers.

Stages of work:

I. Stage - warming up

Exercise "Throw the ball"

Goals: verbal and non-verbal communication brings the members of the group together. It is aimed at emancipating the members of the group, establishing contacts with each other and finding a quick solution to the problem.

materials: ball.

Time: 2-5 minutes

Procedure: Participants stand in a close circle, they are given a small ball (approximately the size of a tennis ball) and the task is formulated: throw this ball to each other as quickly as possible so that it is in everyone's hands. The facilitator records the time required for this. The optimal number of participants in the circle is from 6 to 8; with more of them, it is advisable to perform the exercise in several subgroups. The exercise is repeated 3-4 times, the leader asks to do it as quickly as possible. When the time has been reduced to about 1 s per participant, the facilitator asks to invent and demonstrate a way in which the ball can be thrown so that it is in the hands of everyone, spending only 1 s for the whole group. Usually, after a while, the participants come up with and demonstrate an appropriate solution. (It consists in the fact that they all put their hands folded in a “boat” above each other and alternately spread their palms to the sides. The ball, falling down, is passed from hand to hand and thus has time to visit each participant). Problem solved!

The psychological meaning of the exercise. Demonstration of how a problem can be solved more effectively with a non-trivial approach to it and how stereotypes prevent this (“to throw means toss up, and then catch”). Cohesion of the group, learning to coordinate joint actions.

Issues for discussion:

What prevented you from immediately seeing a quick way to complete the task, what stereotype was activated in this case?

Who first came up with the idea of ​​throwing the ball, not throwing it up, but dropping it, and what prompted this idea?

What situations, when a stereotypical vision made it difficult to see a simple and non-trivial way of solving a problem, were encountered in the life experience of the participants, and how did you manage to overcome these limitations?

Exercise "Islands" (5-10 minutes)

Target: all participants will be placed on the newspaper. (on the whole, on half of the newspaper, on a third).

materials: newspapers.

Time: 5-10 minutes

Procedure: Participants are divided into groups of 4-6 people and perform tasks at speed.

The meaning of the exercise: Creation of conditions for the implementation and promotion of ideas about how to act in a non-standard situation, group cohesion, physical warm-up. Participants exchange emotions and feelings and voice all their ideas.

II. Stage - Main activity

Freeze Frame Exercise

Target: the development of expression skills, on the other hand, gives the participants the opportunity to take a fresh look at their attitude to those areas of life that words relate to.

materials: a list of words.

Time: 10 minutes

Procedure: Participants move freely around the audience. At the command of the host, given with a clap of their hands, they stop and demonstrate with the help of facial expressions and pantomime (poses, gestures, body movements) the word that the host calls. The “freeze frame” lasts 8-10 s, after which, after the leader’s repeated clap, the participants again begin to move freely around the room until the next clap sounds and the next word is called. It is advisable to take "freeze frames" with a digital photo or video camera and show the footage to the participants immediately after the exercise.

You can use, for example, such sets of words: time, past, childhood, present, study, future, profession, success; meeting, communication, understanding, friendship, love, family, happiness.

Exercise "Use of objects"

Target: the development of creative intelligence.

materials: paper clip, toothbrush, pencil, match...etc.

Time: 10-15 minutes

Procedure: In two minutes, find as many uses for shoe lace as you can and write them down. This is an exercise that develops creative intelligence for consideration, you can take any other subject.

Issues for discussion:

Was it difficult to come up with a new application for simple and familiar things?

How can your item be used?

What made you think about this exercise?

Exercise "Arch"

Target: the development of creative abilities, the search for a non-standard solution to the problem.

materials: scissors, paper.

Time: 10 minutes

Procedure: Participants unite in teams, receive A4 paper, and they are given the task: to make such an arch so that any of the participants or all in turn can pass through it. Demonstrate as many ways as possible.

Issues for discussion:

Who at first thought it was impossible to complete the exercise?

How often do such situations occur?

Who prompted the solution or is it a collective one?

III. Stage - Completion

Exercise "Creative Life"

Target: to generalize the idea of ​​private traders about their creative abilities and find their creativity.

Time: 7-15 minutes

materials: paper, pens.

Procedure: Participants unite in groups of 5-6 people, receive the task: To form a list of recommendations that will allow them to “make their own lives more creative”, and write them down. The generated recommendations should be realistically implemented by all participants, or at least by the majority of them (that is, they should not imply the presence of any rare abilities, too large material costs, etc.).

Discuss in the group to sort out all the options.

Example:

Exercise regularly;

Master the techniques of meditation and relaxation.

Keep a diary, write stories, poems, songs, write down smart thoughts.

OVERCOMING SPACE

Description of the exercise

Participants are located near one of the walls of the audience and are given the task - everyone to get to the opposite wall in such a way that their feet do not touch the floor (for example, moving by crawling or moving around chairs). Each movement method can only be used once per group. However, those who have already crossed this space can go back and help the remaining participants to cross. They themselves already have the right to move in a normal way,

but those participants whom they help still should not touch the floor with their feet (but they can, for example, be moved different ways or "translate" on the hands, holding their legs on the weight). Ways of moving, again, should not be repeated.

If the number of participants is less than 13 - 14 people, the exercise is performed immediately by the whole group, with a larger number of them, it is advisable to divide the participants into 2 - 3 subgroups and organize a speed competition between them (the optimal team size is 8 - 10 people; if possible, boys and girls should be evenly distributed among the teams).

The meaning of the exercise

Creation of conditions for the promotion and implementation of ideas about how to act in a non-standard situation, group rallying, physical warm-up.

Discussion

WHAT, WHERE, HOW

Description of the exercise

Participants sitting in a circle are shown some unusual object, the purpose of which is not entirely clear (you can even use not the object itself, but its photograph). Each participant, in order, must quickly answer three questions:

1. What is it?

2. Where did it come from?

3. How can it be used?

At the same time, repetition is not allowed, each participant must come up with new answers to each of these questions. The easiest way to get props for this exercise is not to take whole items (their purpose is usually more or less

clear), and the fragments of something are such that it is difficult to understand from them where they came from.

The meaning of the exercise

A light "intellectual warm-up" that activates the fluency of the participants' thinking, stimulating them to put forward unusual ideas and associations.

Discussion

What answers to the questions were remembered by the participants?

the most interesting and original?

ORIGINAL USE

Description of the exercise

This exercise involves coming up with as many different, fundamentally feasible ways to use common objects in an original way, such as:

- Paper sheets or old newspapers.

- Sports hoops, dumbbells, etc.

- Bricks.

- Automobile tyres.

- bottle caps.

- Torn tights.

- Burnt out light bulbs.

- plastic bottles.

- Aluminum cans for drinks.

Work is performed in teams of 4 - 5 people, time - 10 minutes. The exercise is most evident when there is an opportunity to give the participants those subjects about which in question, and ask not only to name, but also to show the proposed ways of using them. Presentation of works takes place according to the following scheme: one of the subgroups names or demonstrates one way of using the subject. The naming is worth 1 point, the demonstration - 2 (if the subject is not provided to the participants and, as a result, the demonstration is impossible, then any fundamentally implemented idea is worth 1 point). The next subgroup represents another way, and so on until the ideas are exhausted. The group with the most points at the end wins.

The meaning of the exercise

The exercise provides visual material for discussing the qualities of creative thinking (fluency, originality, flexibility), allows you to train these qualities, move away from stereotypes in the perception of surrounding objects and their usual functions. In addition, it allows you to focus the attention of participants on the distribution of roles in the group when solving creative problems (generators of ideas - performers, leaders - followers).

Discussion

How were the roles distributed within the groups: who put forward ideas and who embodied them; who was the leader and who was the follower? With what personality traits of the participants is such a distribution associated? Do the participants behave in the same way in life as in this exercise?

When the above part of the discussion is completed, it is advisable to talk about the criteria adopted in psychology for evaluating the effectiveness of performing such creative tasks:

Fluency: The number of ideas put forward by each participant.

Originality: the number of ideas that are not repeated in other microgroups.

Flexibility: the variety of semantic categories to which ideas belong. For example, you can make a toy airplane, a boat, or some other similar figure out of paper; in terms of fluency, that's all different ideas, but in terms of flexibility, they all belong to the same category (origami). But if it is proposed to use paper as a tablecloth or seat padding, this is a different category (the covering properties of paper are used). Participants independently evaluate the performance of their subgroups on these parameters, consulting with the facilitator if necessary.

GULLIVER

Description of the exercise

Imagine yourself in the place of Gulliver, who ends up in the country of the Lilliputians (where he is about the size of a three-story house) and in the country of the giants (there he is about the size of a pencil). Come up with as many ideas as you can about what items you could use in each of these countries as inventory for various kinds sports (gymnastics, athletics, fencing, skiing, weightlifting, skiing, etc.)?

The exercise is performed individually, the time of work is 10 - 12 minutes. Then the participants voice their options, and the leader writes them down.

The meaning of the exercise

The exercise is based on the technique of hyperbolization (representation of familiar objects in an exaggeratedly reduced or enlarged form), which contributes to the emergence of new associations, the development of the ability to perceive familiar things in new, unexpected angles, to pay attention to their properties that, in everyday life are not noticed.

Discussion

Where was it easier to imagine yourself in the role of Gulliver - in the country of midgets or giants? What is it connected with? Which of the ideas put forward about the use of items seem most interesting? What unexpected properties of familiar objects are used in them?

METHODS OF ACTION

Description of the exercise

Participants are invited to come up with as many ways of action as possible to resolve any non-trivial situation, for example, from among these:

It is beautiful and original to pack a gift, having only newsprint and adhesive tape.

Open a tin can without a can opener (a more difficult option: using only those items that are in the audience).

Carry a passenger on a bicycle that is not equipped with special devices for this.

Pour gasoline from a barrel with a narrow neck, without tilting it or making a hole in it.

Get from the stairs to the light bulb, which is not reachable by 20 cm.

Seal a hole in the boat using improvised means (the size of the hole is 2x2 cm, there are no special adhesive materials at hand).

The exercise is more dynamic when performed in subgroups of 3-4 people, although individual work is also possible. As for the choice of situations that will become the subject of work, the exercise is more interesting if the leader first voices 5-6 different options, and then the participants themselves choose 2-3 of them that they would like to work with.

The meaning of the exercise

Training the basic qualities of creative thinking (fluency, flexibility, originality) in situations of finding a way out of unusual situations.

Discussion

First, representatives of each of the subgroups briefly talk about what they propose to do, and then discuss 2 questions:

1. What facilitated the emergence of these ideas, and what made it difficult?

2. Remember similar situations from life, to solve which

did ingenuity help, or ... is it knowledge?

CHEESECAKE

Description of the exercise

You must have seen the sled - cheesecake. This is an inflatable tube from the wheel of a truck, on which a durable cover is put on and handles are attached. A person sits on this camera, grabs the handles and slides down the snow slides. Imagine that you climbed a hill with such a cheesecake, intending to move out of there, but suddenly, already at the top, you saw that the hill was too steep and covered with bumps. It’s scary to ride from it, you can fall and hurt yourself painfully. What decision do you think you will make - to go anyway, despite the fear, or refuse?

Further instructions vary:

1. For those who refuse:

“Well, you are reasonable. And now, please, think of as many ways as possible to roll this cheesecake to a friend left below, so that it does not tip over and fly off the slope to the side.

2. For those who will go: “Well done, you are brave people! Nevertheless, the slide is really steep and dangerous, and no one wants to break their neck. Think of as many ways as possible to go down the hill on this cheesecake in such a way that you have the opportunity to slow down, controlling the speed.

The meaning of the exercise

In addition to modeling the situation for generating ideas, the exercise allows you to enter into a discussion of the problem of risk attitude: are participants ready to find themselves in situations of uncertainty, potentially fraught with unpleasant consequences, what is the reason for their readiness or unreadiness.

Discussion

Example

Here are some descent options:

Sit facing forward, brake with the heels of the feet.

Lie with your stomach on the "cheesecake", slow down with your palms and

feet.

Let the cheesecake go its own way, but group as much as possible to avoid injury in the event of a rollover.

To increase traction with snow, increase the weight: call a friend from below and sit on the "cheesecake" together.

Make a “steering wheel” out of a jacket or scarf by tying them to the handles.

Kneel on the “cheesecake”, put your feet on the back of the snow and use them as a steering wheel and brake.

Take off the jacket and put it under the "cheesecake" - the slip will become worse, the speed will decrease.

Partially deflate the chamber, then the slip will become worse.

Turn the “cheesecake” over: then it will not slide so well and, accordingly, the speed of descent will become less.

Ride on the “fifth point”, putting only your head on the “cheesecake”.

THE EARTH IS ROUND

Description of the exercise

Everyone knows that the earth is round. But what exactly is the meaning of these words? As psychological studies show, many children understand these words in a completely different way than adults expect them to. For example, they believe that the Earth is a flat circle that floats in the sea or floats freely in space. At the same time, when asked what shape the Earth has, they quite reasonably answer “round!”, And this answer does not contradict their ideas about the structure of the world. Think of as many other options as possible, as erroneously as possible, but it is logically consistent to imagine the "roundness" of the Earth. The exercise is performed in subgroups of 3 - 5 people, working time 6 - 8 minutes.

The meaning of the exercise

In addition to working out the ability to generate ideas, the exercise allows you to demonstrate the possibility of ambiguous interpretations and, as a result, the occurrence of errors even when understanding “common truths” that seem obvious.

Discussion

SPORTS SUIT

Description of the exercise

Participants, united in subgroups of 3 - 4 people, are invited to make 2 lists:

1. What can be done with a tracksuit.

2. Something that is impossible to do with a tracksuit.

5-7 minutes are allotted for this work, then the lists are announced. After that, it is proposed to come up with ways by which you can turn items from list 2 (“impossible”) into items from list 1 (“possible”). Another 6-8 minutes are allotted for this work.

The meaning of the exercise

Encouraging participants to generate ideas that at first glance go beyond common sense. Demonstration of the relativity of the concepts "possible" and "impossible", their dependence on a number of conditions and assumptions.

Discussion

Representatives from each of the subgroups tell what “impossible” statements they managed to turn into possible ones and in what way. If some statements remained on the list of impossible ones, what is the reason for this, what limitations could not be overcome? Then the participants are invited to give examples of situations from life experience in which at first glance the impossible turned out to be quite possible, and to suggest the rejection of what conventions, assumptions, traditions this was connected with.

SPORTS LETTERS

Description of the exercise

Participants are invited to choose some letter that is often found in the Russian language (approximately from the following set: B, I, K, M, P, R, S, T) and depict it in the form of a little man. After that, they come up with as many words as possible that begin with the chosen letter for sports, different types of exercise, etc., and draw a little man (still in the form of a letter) at each of these activities. The exercise is performed individually, on sheets of A3 format, the work time is 8 - 12 minutes. Then an exhibition of the resulting drawings is held.

The meaning of the exercise

The development of both verbal creativity (search for words about sports that begin with a given letter) and the ability to express one’s ideas in an unusual, emphatically strange context (in this case, through drawings of a letter turned into a person and doing different things).

Discussion

What and what exactly seems to be the most interesting in the created drawings?

ARCH

Description of the exercise

Participants are united in 2 - 3 teams, receive A4 paper, and they are given the task: to make an arch of such a size from one sheet that any of the participants can pass through it. The arch must consist of a continuous strip of paper, but the use of any fasteners is not allowed, only scissors are at the disposal of the participants. The method of performing this exercise is not explained to the participants.

If the group is “advanced”, easily coping with creative tasks, then it makes sense to complicate the exercise: ask the participants not just to build such an arch, but to come up with and demonstrate as many ways as possible for this (10 minutes), and organize a competition between subgroups: who invented more such ways.

The meaning of the exercise

Practicing the skills of generating ideas in teamwork, rallying participants. The exercise is also interesting in that the proposed task usually seems impossible to most of the participants at first, but then they are convinced that it is not difficult to complete it, they just need to put forward ideas on how to do it. This allows us to demonstrate the conventionality of the concepts of "possible - impossible" and show that one should not immediately abandon the task or call it "stupid" if the solution method does not immediately come to mind.

Discussion

To whom at first it seemed that the exercise was impossible to perform?

Then you were convinced that in fact it is simple, you just need to understand how. How often do we have situations in life when we cannot see a way to do something, because we consider it impossible in principle and do not even try?

FREEZE

Description of the exercise

Participants move freely around the audience. At the command of the host, given with a clap of their hands, they stop and demonstrate with the help of facial expressions and pantomime (poses, gestures, body movements) the word that the host calls. The "freeze frame" lasts 8 - 10 seconds, after which, after repeated clap of the host, the participants again begin to move freely around the room until the next clap sounds and the next word is called. It is advisable to take "still pictures" with a digital camera or video camera and show the footage to the participants immediately after the exercise.

You can use, for example, such sets of words:

Sport, training, youth, victory, medal, fame, career, success.

Meeting, communication, understanding, friendship, love, family, happiness.

The meaning of the exercise

On the one hand, the exercise develops expression skills, on the other hand, it gives the participants an opportunity to look at their attitude to those areas of life that words touch from a new perspective.

Discussion

What conclusions did each of the participants make personally for themselves during this exercise and during the observation of other participants?

UNUSUAL NAMES

Description of the exercise

Exercise involves inventing as many unusual, but understandable names for any simple physical exercises as possible. The exercise is best done in subgroups of 3-4 people, although individual work is also possible. The time to discuss the unusual names of one exercise is 4 - 6 minutes, after which the participants voice the proposed options.

The meaning of the exercise

Training in the generation of ideas related to the search for alternatives, the rejection of the most typical options for interpreting objects and phenomena. Demonstration of one of the key principles of creative thinking: any point of view on something is just one of the possible points of view.

Discussion

How great was the variety of proposed names, what features of the exercises formed the basis for them? In what life situations is it useful to abandon the most familiar ways of interpreting known things, and be puzzled by the search for alternative, unusual ways of perceiving them?

Discussion

How the roles of the participants were distributed when putting forward ideas; who took active position, and who preferred to remain passive?

What is the reason for this, and how typical are the same positions for the participants in other life situations?

To what extent was the flexibility of thinking manifested when putting forward ideas, do they belong to qualitatively different semantic categories, or are the causes and effects put forward fundamentally of the same plan?

What life situations can be likened to this game?

What skills are developed in it and where are they in demand?

INTERPRETATIONS

Description of the exercise

Participants are offered a short, ambiguous description of an interpersonal situation, conflict, or incident, and then asked to describe the situation through the eyes of various characters, such as:

1. Each of the heroes directly involved in it.

2. A casual observer who happened to be nearby.

3. Journalist.

Depending on what kind of situation is given as an example, the list of these characters can be expanded (for example, the roles of a coach, law enforcement officer, etc. can be added).

Example situations for this exercise:

The pole vaulter, overcoming the bar, pushes the pole back. The height was overcome successfully, but the pole falls directly on the gaping judge, hitting him with all his might in the forehead. The judge is speechless from pain for a few seconds, and then, having come to his senses, decides to disqualify this athlete and remove him from the competition for "unsporting behavior." Describe the situation from the point of view of the athlete, his coach, referee, sports

correspondent, spectator on the podium.

A teenager, wanting to impress a classmate, lit a cigarette during recess right in the classroom. She, seeing this, gave him a slap on the back of the head. In surprise, he dropped his unextinguished cigarette and paid no attention to it. As a result, a fire broke out, the classroom burned out. Describe the situation from the position of the student, his parent, classmate, teacher, fire inspector, who happened to be in the class of another student, the school director, at that time.

The meaning of the exercise

The exercise teaches the way to search for an alternative view of events and phenomena by mentally putting oneself in the place of its various participants, promotes the development of empathy skills (intuitive understanding of the state of other people, “feeling” into it). In addition, this exercise usually introduces an extremely common error of interpersonal perception, which consists in the fact that when explaining the reasons for the behavior of another person, we overestimate the importance of his personal qualities, but underestimate the impact of the situation in which he finds himself. It is advisable to draw the attention of the participants to this fact and remind them what is real, as the results show. psychological research, human behavior is predetermined by the qualities of his personality, on average, only 30%, and the remaining 70% - by the characteristics of the situation in which he is.

Discussion

What options for interpreting events seem the most unusual, original? In what life situations is it important to be able to look at events from a new angle, mentally putting yourself in the place of their other participants? What was paid more attention to when interpreting events - the personality traits of the one who got into them, or the influence of the situation in which he found himself? And how do we tend to explain the reasons for the behavior of other people in real life situations?

LIVE NUMBERS

Description of the exercise

The facilitator calls out various numbers, and each participant demonstrates them with his body. After all the numbers have been shown, the participants unite in triplets and begin to show the three-digit numbers called by the leader (5 - 7 attempts). It makes sense to shoot the resulting "numbers" on an electronic photo or video camera, demonstrate to the participants, collectively choose the one who managed to demonstrate them best, and symbolically reward him with applause.

The meaning of the exercise

Warm-up, development of expressiveness, generation of ideas about ways to convey information with a lack of available means for this.

Discussion

It is enough to exchange emotions and feelings that arose during the exercise.

INCREDIBLE SITUATION

Description of the exercise

Participants are asked to reflect on an imaginary situation that is unlikely or highly unlikely to occur. Their task is to imagine that such a situation did happen, and to offer as many consequences for humanity as possible, to which it can lead. The exercise is performed in subgroups of 3 - 5 people, the time of work is given at the rate of 5 - 6 minutes per situation. Here are some examples of sports-related improbable situations for this exercise:

The Olympic Games will be held like in ancient Greece: women will no longer be allowed to participate, and athletes will compete naked.

Doping controls will be waived at all competitions.

The highest sports achievements will not grow, but, on the contrary, will decrease.

All people decide to become professional athletes.

Football banned in Russia

Sports will disappear from people's lives altogether.

There are various options for this exercise. For example, several subgroups may be asked to discuss the same situation. Then the presentation of the results is organized as follows: each of the subgroups in turn gets the floor in order to voice one of the options for the consequences, it is impossible to repeat. If the original ideas of the subgroup have been exhausted, it leaves the game; the team that stays in the game the longest wins. If the subgroups are offered different situations for discussion, then such a competition is not held, instead, representatives of each of the subgroups voice 3-5 ideas that seemed the most original.

The meaning of the exercise

Training the ability to generate unusual ideas in relation to situations that go beyond ordinary ideas.

Discussion

Which of the proposed ideas are most vividly remembered, seem to be the most creative? Why are these ideas interesting? What contributed to the implementation of this exercise, and what hindered? In what real-life situations is the ability to think about “impossible situations” useful? Can you give examples from your life experience when a seemingly impossible situation becomes real?

GUESS THE CELEBRITY

Description of the exercise

The driver thinks of some famous person(for example, an athlete), which is known to all or the vast majority of participants. It does not have to be a living character, it can be a historical figure. The task of the participants is to guess it. To do this, you can ask the host questions about the hidden person that only mean “Yes” or “No” answers (the answer options are also “I don’t know” or, if the question is unclear or not applicable to the hidden character, “Difficult to answer”). Participants in a circle ask the leader such questions, and when one of them has a version of who is hidden, he can voice it. If the answer is correct, he himself becomes the leader and guesses the next celebrity, if incorrect, he is out of the game until the end of the round. The game usually includes 3 - 4 rounds, but may, if the participants wish, continue longer.

The meaning of the exercise

Teaching the ability to understand information with a lack of initial information, purposefully ask questions to obtain the missing information.

Discussion

What questions turned out to be the most effective for determining the hidden characters? Is it possible to identify any general strategies guessing these characters?

OPPOSITES

Description of the exercise

Participants are offered short descriptions several situations, and it is proposed to come up with situations that could be considered as opposite to those proposed. The exercise is performed in subgroups of 3-4 people, the time of work is determined based on the calculation of 2-3 minutes per situation. Then the representatives of each of the subgroups alternately voice the invented options and argue why they can be considered as opposite to the proposed situations.

For work, you can offer, for example, such situations:

Boxer enters the ring.

The girl goes down the hill on roller skates.

The photojournalist sends pictures from the competition to the editorial office.

Of course, other situations can be proposed, but one should avoid too simple options in which the opposite situations are obvious (for example, "Team A won the match" / "Team B lost it"), and choose those where the opposites are not so obvious or, according to at least they can be distinguished on the basis of different features.

The meaning of the exercise

Training of thinking "from the contrary" - a way of finding solutions to problems, in which, for a more complete understanding of their essence, their opposite is presented. Development of flexibility in the perception of life situations.

Discussion

What meaning did we put into the concept of “opposite” by doing this exercise? In what situations was it easier to come up with opposite options, and in what situations it was more difficult, what is the reason for this? Give examples of real-life situations where the opposite approach to problem solving can be useful.

SHOW WITH MOVEMENTS

Description of the exercise

Participants are divided into four subgroups, who receive

one word from each list:

Time of day (morning, afternoon, evening, night).

Season (winter, vesta, summer, autumn).

Elements (water, earth, fire, air).

Emotion (fear, anger, interest, resentment).

Age (child, teenager, adult, senior).

Profession (driver, doctor, cook, teacher).

Sports (field hockey, water polo, trampolining, mountain biking).

The easiest way is to distribute the words between the subgroups by drawing lots: write them on small pieces of paper, turn them over and ask the representatives of each of the subgroups to draw out one piece of paper out of every four. The extended leaflets are not shown to other subgroups and are not read out. When the words are distributed, each of the subgroups receives the task: to prepare small dramatic sketches, depicting each of the words they got with the help of movements. 6 - 8 minutes are given for preparation, then the teams alternately demonstrate their sketches, it is impossible to speak at the same time. Representatives of other subgroups, acting as spectators, guess what kind of words they are talking about.

The meaning of the exercise

The development of expressiveness, the ability to convey information with limited available means and perceive it in conditions of deliberately incomplete data for this, team building.

Discussion

What was easier - demonstrating or guessing the words?

Which sets of words were easier or harder to work with?

What is it connected with? Has there been a distribution of roles in teams in the process of work (generators of ideas, performers, facilitators, etc.); if so, to what extent does the choice of roles reflect the general life position of those who played them? What real life situations can be likened to such an exercise?

PROFESSION SHOW

Description of the exercise

Participants, united in subgroups of 3 - 4 people, are offered lists of several professions. Their task is to prepare small dramatic sketches that would allow the audience to guess what professions they are. Etudes should not include speech or demonstration of well-known attributes professional activity(like a white hat with a red cross on the doctor's head); professions are shown through facial expressions, movements, interactions of participants with each other. Time for preparation is 12 - 20 minutes, for performances - 1 - 2 minutes for a profession. Each of the subgroups in turn presents their sketches, and representatives of other subgroups, acting at this time as spectators, guess which professions are represented.

Here are examples of job lists for this exercise:

Subgroup 1 Subgroup 2 Subgroup 3 Subgroup 4

Doctor Teacher Salesman Security Guard

Police officer Military officer Judge Lawyer

Pilot Driver Programmer Train driver

Editor Journalist Accountant Governess

Another option is to demonstrate not professions, but various sports.

The meaning of the exercise

The development of artistry, the ability to express information with a lack of funds for this and understand such an expression from other people, team building. In addition, the exercise gives reason to think about what is the content of the work of representatives of various specialties, to what extent we are guided by real knowledge about their activities, and to what extent - by common stereotypes.

Discussion

What did the sketches reflect to a greater extent: the real content of the work of representatives of the respective professions, or some common stereotypes, purely external impressions about them? Give examples of life situations when people confuse one with the other: for example, they themselves choose a profession based on the external impression of it, without thinking about what the representatives of these professions actually spend most of their working time on.

SPORTS TEAM LOGO

Description of the exercise

The participants, united in subgroups of 4 - 5 people, are offered to come up with and depict the logo of the team performing in the sport chosen by the participants. Working time 15 - 20 min. Participants are invited to follow the stages of the creative process: spend the first 5-7 minutes on putting forward ideas and fixing them (in the form of verbal descriptions or sketches) without critical evaluation, then spend time evaluating the ideas put forward and choosing the most interesting of them, and then - detailing the chosen idea and its embodiment in the form of a full-size image (on an A3 sheet). After that, each of the teams gives a presentation of their logo.

The meaning of the exercise

Demonstration of the specifics of work at various stages of the creative process, development of teamwork skills at each of these stages.

Discussion

Did you manage to maintain such a sequence of stages of the creative process in the course of work? If so, how did this contribute to its effectiveness?

What conditions are most important for productive creativity at each stage? If not, what hindered it? Is it expedient to subordinate any team creativity to the rules, or is it sometimes more useful to let this process "take its own course"?

(NOT) ATHLETIC PERSON

Description of the exercise

Participants take a sheet of paper and receive the following instructions:

“Please lay your sheet horizontally, and divide it in half with a vertical line. And now on the left half of the sheet draw a sports person, and on the right - unsportsmanlike: the way you imagine them. The artistic qualities of the drawing do not matter, the main thing is to express with its help how, from your point of view, sports and non-sports people differ.

6 - 8 minutes are given for drawing, then the drawings are laid out one under the other (in such a way that a series of images of a sports person is obtained, and in parallel - a series of images of an unsportsmanlike one) and the participants alternately comment on which qualities of these characters are reflected in their drawings. The facilitator fixes the named qualities and then, summarizing, once again pronounces those of them that were mentioned most often.

The meaning of the exercise

Awareness by the participants of the stereotypes that exist in their minds about which people are inclined and which are not inclined to sports, and how sports change a person. Demonstration that in the public mind, sportiness is usually perceived in a positive way (beauty, physical health, etc.), and unsportsmanship - in a negative way.

Discussion

What new things did each of the participants learn during this exercise? How, in their opinion, is possible in other words, without using

particle "not", to express the meaning of the phrase "unsportsmanlike person"?

MY REFLECTION

Description of the exercise

Each participant leans back against the wall, where a panel of light wallpaper or 2 - 3 glued sheets of whatman paper hangs, as high as his height, and assumes a pose that, in his opinion, reflects his typical emotional condition. The partner draws the outline of his body on the sheet with a pencil, after which the participants change roles. When the contours of the body of each participant are outlined, the resulting drawings are painted and, if desired, supplemented with real jewelry and details of the clothing of the practitioners. Working time 30 - 40 min, when painting contours

body it is advisable to use watercolor or gouache. At the end of the drawing, each participant is asked to come up with a free-form presentation of their "reflection on the wallpaper" and demonstrate it (2 - 3 minutes per person).

The meaning of the exercise

The development of expressiveness, awareness of one's bodily "clamps" - areas of increased muscle tension associated both with the inability to relax, and with insufficiently expressed emotions, unfulfilled desires, etc. In addition, the exercise contributes to the adoption of one's bodily appearance.

Discussion

What emotions and feelings arose during this exercise?

How comfortable and natural is the pose shown in the picture?

What emotional state does she reflect that motivates her to accept?

What areas of the body turned out to be highlighted with brighter colors, what is the reason for this?

What new things did you learn about yourself and about other participants during this exercise?

WANT_CAN_SHOULD

Description of the exercise

Participants build collages - pictorial compositions, including clippings from colored newspapers and magazines, drawings, photographs, any small objects that were at hand from the participants. Collage theme: "My desires, opportunities and responsibilities." This reflects the personality structure according to E. Berne: "Child (desires) - Adult (opportunities) - Parent (should)".

Usually the facilitator first draws this personality diagram and briefly comments on it, and then invites the participants to make collages, either adhering to the traditional scheme (three circles one under the other: in the lower desire, in the middle of the opportunity, in the upper obligation), or by coming up with their own version. A simpler modification of the exercise, appropriate when working with younger teenagers, is to focus on one of these components, for example, make a collage on the theme “my dream”.

Working time 25 - 30 minutes, then a presentation is held - an excursion, during which the authors alternately act as guides, presenting their collages.

The meaning of the exercise

The exercise contributes to a more complete awareness of one's desires and capabilities, setting personal and professional goals, and increasing self-esteem.

Discussion

What conclusions did each participant make personally for himself when doing this exercise, what new things did he learn about himself, his desires and possibilities?

Quote in the subject: as the well-known Russian psychologist and psychotherapist M.E. Litvak says, “A person’s happiness lies in the fact that for him“ I want, I can and I must ”have the same content.” To what extent do you agree with this position? Give arguments for and against it.

UNUSUAL ACTIONS

Description of the exercise

Each of the participants is offered to remember some of their unusual, original action, a strange and not quite explicable from the standpoint of common sense, an act committed over the past one or two months (1 - 2 minutes are given for reflection). Participants are then asked to briefly describe it and also comment:

In what exactly do they see the unusualness of this action?

What, from their point of view, prompted him?

How do they evaluate this action "in hindsight" - what did it lead to, was it worth doing?

If there are less than 12 participants in the group, it is advisable to perform the exercise all together; with a larger number of participants, it is better to divide the group into 2-3 subgroups that will work in parallel.

The meaning of the exercise

The exercise contributes to the transfer of knowledge and skills related to creativity to the consideration of one's own life, increasing the degree of openness to new life experiences.

Discussion

How do unusual actions affect our life - do they make it brighter, more interesting, more difficult, more dangerous, or change it in some other way? Have the participants recently had situations where they wanted to do something unusual, but something stopped them? If so, what exactly stopped them, and how is this assessed "in hindsight" - is it correct that the action was not taken, or would it still be better to do it? Whose unusual actions did the participants want to repeat?

APPLICATION OF SKILLS

Description of the exercise

Each of the participants names some sports skill that he owns (for example, snowboarding or rollerblading, pulling himself up on the crossbar, throwing the ball in a precisely given direction, etc.). Then the rest of the participants offer possible options for applying these skills - not only in physical education and sports, but also in other areas of life. The exercise is performed in a general circle.

The meaning of the exercise

The exercise teaches you how to generate ideas about ways practical application the resources available to the participants, helps to increase self-esteem, and also increases the motivation to develop new skills and improve existing ones.

Discussion

Participants share their impressions of the work and thoughts

about what angles of application of skills interested and aroused a desire to put them into practice, as well as what new skills they wanted to master during the exercise.

MAGIC Binoculars

Description of the exercise

The facilitator asks the participants to relax, take a comfortable position, close their eyes and begins to slowly, measuredly read out the instructions, pausing at the places indicated by dots: “Imagine that magic binoculars fell into your hands. Looking into it, you see what is happening in your future, in a few years. First you look one year ahead... Where are you, what are you doing, who surrounds you?.. Examine this picture in all its details. And now you are looking five years ahead... What do you see? What changes have taken place in your life?.. And now you are looking ten years ahead. What has your life become?.. Where are you, with whom, what are you doing? What changes have occurred during this time with you and around you? ... "

After that, participants are asked to open their eyes, take three sheets of paper, draw two partially overlapping circles on them (like the field of view of binoculars) and depict in them what they imagined in 1, 5 and 10 years (10 - 15 min). The exercise is performed individually.

The meaning of the exercise

This is a meditative plan technique that allows you to take a more meaningful look at your life prospects, dreams and goals, as well as move on to a conversation about what steps you need to take to realize them.

Discussion

Each participant demonstrates their drawings and comments on what is depicted on them. If the drawings are positive, reflect goals and dreams (most often this is the case), then the participant shares his thoughts on what he should do to make this future a reality, but if something negative is depicted, reflections on whether this can be avoided and if so, how.

CREATIVE LIFE

Description of the exercise

Participants, united in subgroups of 5 - 6 people, receive the task: Formulate a list of recommendations that will allow them to “make their own lives more creative” and write them down. The formulated recommendations should be realistically implemented by all participants, or at least by the majority of them (i.e., do not imply the presence of any rare abilities, too large material costs, etc.).

The meaning of the exercise

Transferring the consideration of creativity problems from the plane of specially modeled situations to the area of ​​everyday, everyday life realities.

Discussion

Sheets on which the recommendations formulated by the teams are recorded are laid out or hung out for all participants to see. Representatives from each team take turns taking the floor to present their recommendations and briefly comment on how following each of them will make their own lives more creative. As an example and possible material for discussion in the group, a list of such recommendations compiled by specialists in the psychology of creativity is given (L. King, 2005, p. 12

Get regular exercise.

Make sure your diet is varied and balanced.

Master the technique of relaxation and meditation.

Improve your confidence.

Keep a diary, make sketches, write poems, short

stories and songs.

Read fiction that develops the imagination.

Think about alternative uses for objects you encounter in your daily life.

Think about the similarities of dissimilar things.

Take up painting or sculpture.

Visit inspiring places.

Get involved in things you wouldn't normally think about.

Try to be more spontaneous and sociable.

Watch comedies and try to develop your own humorous style.

Listen to classical music.

Try to fulfill your daily routine duties in different ways.

Make new friends and expand your social circle.

Think of yourself as a creative person.

Think of creativity as a way of being.

Emulate that famous creative person you admire.

Learn to ask yourself the question: “What if?”

Don't sit in front of the TV.

Let yourself dream.

Don't be afraid to be wrong or make a mistake.

Don't make hasty judgments.

Be interested in absolutely everything.

Expand your horizons of interests, etc. Warm-up exercise

Close your eyes and imagine a cube, try to turn it with another face, twist it. After you have succeeded in this, try turning the cube into a ball. Rotate the ball for a minute, then open your eyes and begin to perform the proposed exercises. This task will help you tune in to a creative wave, contribute to the birth of various ideas.

Exercise #1

Think of 10 ways to use an empty pen refill and write them down. It is advisable to come up with non-standard options (you can even crazy ones), this will increase the effectiveness of the exercise.

Exercise #2

Using only one square, try to draw a picture (or at least a drawing) that depicts some kind of plot.

Exercise #3

Write down the numbers from 0 to 9 in order and draw various elements to them so that in the end it would be impossible to determine what kind of number is written.

Exercise #4

Try to connect two different objects and write down what useful properties this item will possess.

Exercise #5

Take any object, mentally divide it into several parts (3-5) and write down the new properties of each part.

The second set of exercises (imagination development).

To perform these exercises, you just need to close your eyes. If you do not rely on your memory or want to further improve your decisions, also take a piece of paper, a pen to write them down.

Warm-up exercise

Close your eyes and imagine a cube, try to turn it with another face, twist it. After you have succeeded in this, try turning the cube into a ball. Rotate the ball for a minute, then open your eyes and begin to perform the proposed exercises. This task will help you tune in to a creative wave, contribute to the birth of various ideas.

Exercise #1

Close your eyes, try to imagine an autumn park. Watch the falling leaves. Do the exercise for 3-5 minutes.

Exercise #2

Close your eyes, try to imagine yourself sunbathing on the beach. Look around, make out the faces of people nearby (if it doesn’t work out, just watch the play of the waves or something else). Do the exercise for 5-10 minutes.

Exercise #3

If people stopped being able to walk and learned to fly. Imagine how life would change.

Exercise #4.1

Write the names of 10 any objects, close your eyes and begin to imagine their images. Hold each image for 5-7 seconds.

Exercise #4.2

Using the images from exercise #4.1, try to manipulate them. First one, then bringing it closer, then moving it away, then try using two, three, and so on all ten together.

to develop the ability to see problems:

≪Look at the world through someone else's eyes.

≪In the morning the sky was covered with black clouds and it began to snow. Large snow

flakes fell on houses, trees, sidewalks, lawns, roads…≫.

After reading the unfinished story, students need to continue

this story, but in several ways: from their own point of view; from the point of view of the pilot going to fly; from the point of view of a hare or a fox in the forest.

≪Make up a story using the given ending.

≪… and the kitten fell asleep peacefully in Masha's arms.

I use exercises aimed at developing the ability to conduct observations in order to identify the problem.

≪One theme, many stories.

It is necessary to come up with and draw as many stories on the same topic as possible. For example: ≪Forest≫, ≪Animals of the native land≫, ≪In the taiga≫, ≪Hunting for animals≫, etc.

≪Story on a given topic.

The theme of the game is announced by the student, going to the board, for example, "Winter". Children

name words related to the topic. The student writes the words on the blackboard and writes a story or fairy tale on an environmental theme.

I successfully apply in the 1st grade the method of constructing fairy tales (according to the method of I.V. Vachkov), which allows to form the communication skills of students for working in a group, which contributes to the development of a creative, extraordinary approach to solving a problem. For example, in a circle lesson "We are explorers" In class 1 I use group work. I explain to the children that at the next stage of work they will have to create a creative work - to compose a tale, but with well-known characters.

Why write and tell fairy tales?

What character traits are most often ridiculed in fairy tales? Why are there

characters punished?

- You need, after consulting with your comrades in the group, to choose one of the named negative character traits and use it in your fairy tale.

It may be easier for you to make your choice after you have drawn lots.

draw out cards with the image of fairy-tale characters.

The group has the right to introduce one of its literary heroes by doing

replacement in the proposed set of cards. When selecting, the following condition should be observed: the characters must be well known to children. Female characters: Baba Yaga, Frog Princess, Malvina, Little Red Riding Hood, Little Mermaid, etc., male characters: Santa Claus, Old Man Hottabych, Pinocchio, Karabas-Barabas, etc.

Work takes place in groups of five people. The cards must be shuffled, each group draws 5 cards at random, after 15-20 minutes they must present the name of the fairy tale and play it. After watching the presented fairy tale, it is discussed whether the actors managed to demonstrate the negative character trait of the character and teach him a lesson.

In the next lesson, to complicate the task, I suggest that students

make up a story about their life in the family or in the classroom. In a fairy tale, the student must imagine himself as the main character, depicted in any form, age, appearance. After the children listen to the fairy tale, they are given the opportunity to express their feelings: did they like this fairy tale or not, if so, then what moments, if not, why?__