The tutorial covers historical stages the formation of the psychology of artistic creativity, the role and significance of art in the life of society, the basic principles of the psychology of artistic creativity. Special attention devoted to the peculiarities of psychology creative personality, its development. Professional difficulties and difficulties in the field of artistic creativity are analyzed, the development of artistic creativity in various types art. The educational material is clearly systematized, reflects both traditional and modern approaches to the study of the subject, and is written in an easy-to-understand form. The manual is accompanied by appendices with various methods diagnostics and tests located in Electronic library system"Urayt" (website).

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• Introduction
• 1.1 The concept of creativity
• 1.2 Types and forms of creativity
• 2.1 Personal need for self-realization
• 2.2 Creativity as a psychophysiological pattern
• 2.3 Creativity as a psychological and pedagogical research
• Conclusion
• Bibliography

Introduction

The word “creativity” is usually used to denote an activity that generates something qualitatively new, something that has never existed before. It could be new goal, new result or new means, new ways to achieve them. Creativity is most clearly manifested in the activities of scientists, inventors, writers, and artists. Sometimes they say that these are people of creative professions. In fact, not all people professionally engaged in science make discoveries. At the same time, many other types of activities include elements of creativity. From this point of view, all human activities that transform the natural world and social reality in accordance with their goals and needs are creative. Creativity lies not in an activity where each action is completely regulated by rules, but in one whose preliminary regulation contains to a certain extent uncertainty. Creativity consists of activities that create new information and involve self-organization. The need to create new rules non-standard techniques occurs when we encounter new situations that are different from similar situations in the past.

The ability and need to create is the most interesting phenomenon in a person. Currently, psychology, pedagogy, sociology, cybernetics and other sciences are studying various aspects of the problem of creativity. In creativity, not only something original is created, but also the essential powers of a person, his abilities and skills are developed. Creativity is self-realization, the objectification of freedom. Although there is an unconscious element in creativity, it is not the opposite of rationality, but is its natural and necessary complement.

Chapter 1. Creativity as a psychological term

1.1 The concept of creativity

The problem of creativity was initially discussed in line with mythological and religious traditions. Creativity was understood as an integral property of God, as creation from nothing (creatio ex nihilo) . This is organically connected with the idea of ​​the unknowability of creativity, which N. Berdyaev quite frankly expressed: “It is incomprehensible that creativity exists.” The discrepancy between such ideas and the data of science and practice is striking. However, merely stating such a discrepancy is clearly not enough. It is more correct, without reducing the essence of the matter to logical inconsistencies, to try to see in ideas about “absolute” (divine) creativity an exaggerated desire, sometimes in spite of circumstances, of a creative person for originality and perfection in the execution of a plan and achieving the maximum possible results with a minimum of means.

Mythological and religious-idealistic interpretations of creativity and the corresponding social norms and actions can rightfully be characterized as a mystification of creativity. Opposing views and actions aimed at objective knowledge of the nature of creativity and the effective use of people's creative abilities in the interests of society represent the demystification of creativity. If illusory ideas, as a rule, arise spontaneously, then overcoming them is basically a conscious, purposeful process.

Demystification of creativity is an organic part of the process of cognition and transformation of the world. Methodological principles tested in other fields of science and practice are of paramount importance for unraveling the “mystery” of creativity. The objective prerequisites for creativity are already contained in the universal properties of matter, its uncreateability and indestructibility (from which the impossibility directly follows creatio ex nihilo), her self-movement and self-development. Man consciously uses these properties of matter. But it would be wrong to dissolve the essence of creativity in the general properties of matter. In the history of knowledge, there have been attempts at a broad interpretation of creativity, when it was associated with all of nature, in fact, proclaimed an attribute of matter. A similar approach, inherent in both idealists (Plato, A. Bergson, etc.) and materialists (for example, K.A. Timiryazev), can be called “pancreatianism” (by analogy with the concepts of pantheism, panpsychism, etc.). With such a broad interpretation of the term “creativity,” the science of creativity would be impossible, since it would cover everything that exists. Ongoing controversy over this issue indicate the need to enrich the theoretical and methodological base of heuristic research and more detailed clarification of the objective prerequisites for creativity, perhaps in the form of a kind of “pre-creativity”.

Creativity is not inherent in all matter, but only in man and society. The current expression “creativity of nature” is only a metaphor. Based on the social specificity of this process and the need to correlate it with more general concepts, creativity can be defined as a special form of interaction between subject and object, leading simultaneously to the development of both, and as a form of consciously directed progressive development.

Creativity, taking into account social affiliation, should be considered in connection with human activity, transforming natural and social world in accordance with its goals and needs based on the objective laws of reality in the context of socio-historical practice. The essence of man’s creative relationship to the world is most adequately expressed in Lenin’s famous aphorisms: “Man’s consciousness not only reflects objective world, but also creates it... The world does not satisfy a person, and a person decides to change it through his action." Here, the relationship, but not the identity of reflection and creativity, is clearly indicated. It is important to emphasize two aspects in the relationship of these concepts: 1) reflection is inherent in all matter, creativity is purely social phenomenon; 2) the essence of reflection consists in the most complete and accurate reproduction of reality, while creativity necessarily results in the transformation of the external world and the person himself. The main meaning of the above aphorisms lies in the interdependence of a person’s correct reflection of reality and its purposeful transformation in his interests. In this regard, the overlap between Lenin’s aphorism and the famous eleventh thesis of K. Marx on Feuerbach, with the project of “regulation” of nature by N. Fedorov, etc. is obvious. The critical edge of Lenin's aphorisms was clearly aimed at overcoming the limitations of the contemplative approach previously inherent in many philosophers. Recognizing the justification of such an emphasis, at the same time it should be noted that at present, reckless activism that does not weigh its goals against the means deserves no less condemnation. possible consequences. The true sovereignty of the subject is based on adequate knowledge of necessity and the appropriate course of action.

Creativity as a special type of human activity should be distinguished from other, non-creative types or manifestations of activity. Thus, creativity can be understood as creative activity opposed to destructive (destructive) activity. By identifying unusual properties of things and their combinations, it provides a certain increase and new results. At the same time, this opposition is not absolute: creativity also includes the moment of destruction to the extent that it is necessary to eliminate inhibitory factors, make room for the new, etc.

The contrast between creative and non-creative activities is also expressed using a pair of categories “productive - reproductive”. Creativity is a productive activity, that is, one that produces something new, as opposed to a reproductive activity, which repeats the known (existing). It is clear that this difference is relative, since there is no activity that is completely original in everything, nor does it completely repeat known models. More often they are distinguished by the predominance of one or another principle, by the main tendency.

The importance of reproductive activity cannot be underestimated, since repeating a result or method of action is not always easy, and sometimes even more difficult than accidentally obtaining it for the first time. For example, such a type of reproductive activity as reproduction public relations, is extremely important for the formation of a person and society, and imitation, as the French sociologist G. Tarde noted, is the most natural way for an individual to assimilate social values. And yet it is necessary to emphasize the leading role of productive activity, which is inalienable from a person, in contrast to reproductive activity, which in principle can be transferred to a machine or animal.

The interpretation of creative activity as productive leads to such characteristic features, as usefulness (value) and novelty (originality). It should be clarified, however, that utility is not specific sign It is precisely creative activity that is also inherent in reproductive activity. However, underestimating usefulness can undermine creative efforts. Novelty (originality) is a hallmark of creativity. But it is not an end in itself, and its absolutization in isolation from social utility leads to fanciful and controversial innovations that cannot be introduced into widespread practice. For example, an inkwell with a stopper at the bottom would certainly be very original, but it is completely unacceptable from a practical point of view. The variety of chaotically replacing each other, always incomplete reforms, distinguished precisely by the novelty of the form, but not the content, involuntarily brings to mind the popular saying: “Everything is new and new, when will it be good?”

Summarizing the above, we can accept the following definition: creativity is hehuman activity that generates new material and spiritual values.

1.2 Types and forms of creativity

creativity self-realization psychophysiological pedagogical

In the recent past, creativity was understood primarily as spiritual activity, brainwork; special “creative professions” were also identified, representing various areas art. The illegitimateness of reducing creativity only to art and the associated narrow understanding of creative talent drew attention to the outstanding American entrepreneur, founder of the US automobile industry G. Ford: “They say that creative work is possible only in the spiritual sphere. We are talking about creative talent in the spiritual sphere: in music, painting and other arts... They are trying to limit positively creative functions things that can be hung on the wall, listened to in a concert hall or put on display somehow... We need artists who would master the art of industrial relations... We need people who can draw up a work plan for everything in which we see the right , good and the object of our desires."

Manifestations of creative activity are diverse. This diversity reflects the need for progressive changes in all spheres of society and, at the same time, the wealth of essential human powers. Certain kinds creativity tends primarily to the material-practical or spiritual sphere public life. For example, technical creativity is aimed at transforming, first of all, material production. His highest manifestation- major inventions (steam engine, space rocket, laser). Scientific and artistic creativity plays a vital role in the reflection and spiritual re-creation of reality: scientific discoveries give an idea of ​​the structure of the world, literary, musical and other masterpieces comprehend reality and man himself in artistic images, thereby significantly influencing people’s worldview. Occupies a special place social creation. In the broad sense of the word, it covers all types of creativity; in the narrow sense, its subject is primarily the improvement of social relations.

The delimitation of spheres of influence of various types of creativity, partly enshrined in special institutes regulating their functioning and development (education and upbringing system, law, creative unions, etc.), not only does not exclude, but, on the contrary, presupposes the interaction of all types of creativity: for example, at the intersection of scientific and technical creativity scientific and technical creativity arises; design is a unique synthesis of artistic and technical creativity.

Each type of creativity includes subspecies. In art these are types and genres, in science - various areas and types of research, in technology - invention, design, etc. The most complex from this point of view is social creativity, which includes a number of subspecies, which, however, can develop into special types. Economic (economic) creativity - one of its most rapidly developing subspecies - most directly responds to vital needs people and shapes them to a significant extent. Other subtypes include political, legal, and pedagogical creativity associated with relevant social institutions. Subspecies can also be formed as a result of combining the main types of creativity.

The differentiation of creative activity is not limited to identifying the main types and subtypes. No less important is differentiation in terms of forms of creativity. The form of creativity should be understood as a specific way of expressing its content, including both external conditioning and internal tension of creative action.

First of all, it is necessary to take into account the difference in forms of creativity in terms of value, i.e. depending on the contribution to culture and social progress. The comparative scale of innovations is built on the basis of their hierarchical subordination: certain forms of creativity are considered as intermediate steps between reproductive activity and the most outstanding achievements culture. The place in this hierarchy characterizes the level of creativity. The forms of creativity are arranged both from lower to higher and from higher to lower.

Applying the “ascending” principle of arrangement of forms of creativity, their totality can be represented in the form truncated pyramid. The lower, broad base is the largest group of participants in labor, scientific, technical and other activities who respond to the demands of life, finding (sometimes spontaneously) original solutions that do not, however, go beyond the limits of one-time or local application. The middle base of the social pyramid, reflecting the corresponding level of creativity, is made up of initiators, the results of whose activities contribute to the progress of certain sectors of activity. The upper, narrow base contains a relatively small layer of innovators, i.e. founders of new directions of spiritual-theoretical or practical activities. Within this level, a “super level” can be distinguished, i.e. people unique in their abilities and energy, who gave serious acceleration social progress in general (K. Marx and J. Keynes - in economics, I. Newton and A. Einstein - in physics, W. Shakespeare and W. Mozart - in art, etc.).

Higher forms of creativity depend on lower ones, since the achievement of creative independence is preceded by imitation of known models. The interconnection of levels occurs in reverse direction, which, perhaps, plays a dominant role in the conditions of the current culture. Thus, major inventions open up new directions for social development and encourage improvements that have local significance. Of course, one should also take into account the continuous change in gradations on the scale of novelty in the course of historical development.

The second direction of differentiation of forms of creativity is carried out depending on the subject of creativity - personalty or collective. Distinguish individual and collective creation. Both one and the other uniquely embody different ways formation of the subject of creativity and its social conditioning. In individual creativity, the dominant thing is the creative person’s desire for independence and freedom of action. Collective creativity presupposes the need for cooperation; personal interests are taken into account indirectly. It is clear that the difference between these forms of creativity should not be absolutized, since in " pure form"They do not meet. Individual creativity is one way or another carried out in a certain team. In turn, fruitful cooperation not only does not exclude, but, on the contrary, requires bright individuals. Used in unity, both forms of creativity make it possible to realize the inherent needs of the individual for self-realization, communication and give the team the stability and dynamics it needs.

The third direction of differentiation of forms of creativity is carried out depending on the attitude to the labor process, according to which they distinguish professional and non-professional (amateur) creation. In the first case, the creation of innovations and their inclusion in social reality is determined by the very nature of the activity, official responsibilities (work in research institutes, design bureaus, theater groups, etc.). In the second case, the creativity of people in a particular field of activity is incidental from the point of view of their social status or the main range of activities. Amateur creativity acts as an addition to the main labor activity or as a form of leisure. It is also a reserve for the development of professional creativity.

Natural increase in the role of professional and amateur creativity in the structure economic activity is currently important for Russia. Practice undeniably testifies to the high business activity of a layer of entrepreneurs (especially those involved in small and medium-sized businesses), who more dynamically create new jobs and develop new types of products. What has been said, however, does not at all mean an underestimation of the public sector of the economy, but forms of encouraging creative activity that are adequate to the new conditions have yet to be found for its workers.

Chapter 2. The nature and meaning of creativity

2.1 Personal need for self-realization ization

It is known that the fullest development of a person’s abilities is possible only in socially significant activities. Moreover, it is important that the implementation of this activity is determined not only from the outside (by society), but also by the internal need of the individual himself. The activity of the individual in this case becomes amateur activity, and the realization of his abilities in this activity acquires the character of self-realization.

Z. Freud was one of the first who tried to see in The dominant human instincts are the need for self-realization. Self-realization, according to Z. Freud, is localized in the unconscious layer human psyche and is manifested in the “striving for pleasure” inherent in a person from birth. This instinctive need for self-realization is opposed by the imperative requirements of culture imposed by society (norms, traditions, rules, etc.), the main function of which is to censor the unconscious, to suppress instinctual needs.

E. Fromm devotes many pages to characterizing the need for self-realization. He connects it with human needs for identification and integrity. A person, Freud notes, differs from an animal in that he strives to go beyond immediate utilitarian needs, wants to know not only what he needs to survive, but also strives to know the meaning of life and the essence of his “I”. This self-realization is achieved by the individual with the help of the system of orientations he develops in communicating with other people. Identification is that “sensation” that allows an individual to with good reason to speak about oneself as “I”, and the social environment actively influences this need. The need for self-realization, according to Fromm, is an existential need - mental condition, eternal and unchangeable at its core. Social conditions can only change the ways of its satisfaction: it can find a way out in creativity and destruction, in love and crime, etc.

For materialist thinkers, there is no doubt that a person’s desire for self-realization has not an instinctive, but a phylogenetic origin and owes its existence to the “second human nature,” which includes: a) the labor mode of existence; b) presence of consciousness; c) specific human species relationships between people - communication using the second signaling system. Thanks to this, man became a “social animal.” But social formation man was accompanied by the formation of such a fundamental, purely human need, which was the desire for isolation. It was the desire for isolation, which became possible at a certain historical stage in the development of society, that was a prerequisite for the development of human individuality, and therefore the need for self-realization. Thus, it follows that the need, the desire for self-realization is a generic human need.

The peculiarity of the need for self-realization is that satisfying it in single acts of activity (for example, writing a novel, creating work of art) personality can never satisfy her completely.

Satisfying the basic need for self-realization in various types of activities, the individual pursues his life goals, finds its place in the system of public relations and relations. It would be a crude utopia to construct a single model of self-realization “in general.” Self-realization does not exist “at all.” Specific forms, methods, types of self-realization in different people are different. In the polyvalence of the need for self-realization, a rich human individuality is revealed and developed.

That's why, speaking of comprehensive and harmonious developed personality, it is necessary to emphasize not only the richness and comprehensiveness of her abilities, but also (and no less important) the richness and diversity of needs, in the satisfaction of which a person’s comprehensive self-realization is achieved.

2. 2 Creativity as a psychophysiological pattern

The question of the nature of the incentive to creativity is one of the most important.

Unsatisfied needs that cannot be realized due to moral prohibitions find a socially acceptable outlet in creativity. From this follows the logical conclusion that the more severe the artist’s internal conflict, the more his needs are infringed, especially the need for love, the more productive his creative activity.

In support of this point of view, a large number of facts are usually cited, indicating the flourishing creative forces among great people in the most difficult periods of their lives, after cruel mental trauma and irreversible losses. Creativity as the only way overcoming the tragedies of unrequited love is one of the most powerful arguments, and the best examples of world poetry can serve as an example here, from Petrarch’s sonnet to the lyrics of our contemporaries. This concept is discussed and criticized great literature, and I will not dwell on this in detail. Let us only note that supporters of this concept usually turn a blind eye to big number examples of the exact opposite, when long frustration and difficult experiences kill creative activity. In addition, quite a few great works of art were created by completely happy people, and if earlier we talked about Petrarch’s sonnets, now we can turn to much more ancient ones poetic works. Apparently, the relationship between frustration and creativity is ambiguous. Recently, this even received statistical confirmation in a special study: life events and the nature of the work of great composers were analyzed and it was concluded that creative productivity is not affected by life stresses, in any case, such influences cannot be considered a law, and it is not sublimation that determines creative potential. The facts convince us that humanity owes its high achievements and spiritual progress not to dark suppressed desires or hopeless insoluble internal conflicts.

In recent years, even in psychoanalytic literature, assertions have become more and more insistent that creative activity reflects the primary, conflict-free potential of the individual, that this is not a compensation mechanism neurotic disorders, but an independent internal need. But it remains open question whether this need has a biological basis and, if so, which one.

It can be assumed that creativity is a type of search activity, by which we mean activity aimed at changing the situation or at changing the subject himself, his attitude to the situation, in the absence of a definite forecast of the desired results of such activity (i.e., with pragmatic uncertainty in understanding P.V. Simonova). Not much is known yet about the brain mechanisms of search activity. Apparently important role plays in this behavior hippocampus, which ensures that statistically unlikely possibilities are taken into account, without which search activity, especially in the field of creativity, would not be effective.

Studies conducted on humans and animals have shown that search activity significantly increases the body's resistance to a wide variety of harmful factors. This effect is almost independent of the nature of the emotions accompanying the search behavior: resistance to diseases increases with both positive and negative emotions. The opposite state - refusal of search activity in a situation that does not satisfy the subject - significantly reduces the individual's resistance and can even result in his death. It is especially important that a decrease in search activity makes the subject more vulnerable to harmful effects even in a situation that, at first glance, completely satisfies him. This means that from a biological point of view, the presence or absence of search activity is more significant than the emotional assessment of the situation.

Presumably this great importance search activity for survival is determined by its basic biological function. This activity is like driving force self-development of each individual, and the progress of the population as a whole largely depends on its expression in individual members of the population. Therefore, in accordance with the ideas of P.V. Simonov, it is biologically expedient to survive through natural selection of precisely those individuals who are not inclined to react to difficult situations by refusing to search. The need for search is the engine of progress due to its fundamental insatiability - after all, it is a need in the very process of constant change.

Creativity in some ways is one of the most natural forms of realizing the need for search. Of course, it is necessary to take into account the existence, along with it, of other motives for creativity - the need for self-affirmation, recognition from other members of society, etc. However, one should not attribute such motives as a motivating force specifically in relation to the work of major artists. For people with low creative potential the so-called "liberal professions" are too hard bread, and they usually prefer a different path social activities. For creatively gifted people, the very search for something new, due to psychophysiological laws that will be discussed later, brings much more satisfaction than the achieved result and, even more so, its material fruits. The history of science and art is full of examples when talented people They refused to achieve quick success associated with the profanation of creativity. At the same time, it is not very common to meet creatively gifted people who are satisfied with what they have achieved. According to R. Raskin, creative potential and narcissism correlate much weaker than one might expect. And this low correlation itself may rather be due to the love of “creativity in oneself.” The experience of a number of outstanding scientists does not fit well with the idea of ​​the leading role of the desire for recognition: after achieving undeniable and recognized success in their field, they suddenly abruptly change the field of research activity, often turning to obviously impossible tasks and risking failure. But from the perspective of the theory of search activity, this experience is quite understandable.

Creativity, creation for the sake of creation, is the optimal form of search activity for one more reason. If the search (any search except creative) is unsuccessful, its negative results acquire such great emotional significance that they even block the desire to achieve the goal. This is one of the main mechanisms for the development of the state of search refusal. IN best case scenario, search activity switches in the other direction. But in the process of creativity, when the only goal and main joy is comprehension or creation, no failures are so traumatic as to force one to stop the search, because negative result- this is also a result, and it only means that it is necessary to expand the search area. But if at this time the focus is on one’s own experiences, if failures are perceived not from the point of view of their significance for future activities, but only as a threat to prestige, then they become psychologically traumatic and can lead to internal conflict and activation of insufficiently eliminated complexes.

In addition, the state of failure tends to irradiate, to spread from one sphere of activity to another. This is especially characteristic of a specific refusal to search for ways to resolve the motivational conflict that underlies neurosis. It is known that neurosis negatively affects creative productivity and this manifests itself as an irradiation of refusal to search.

Now, from the perspective of all of the above, let us return again to the idea of ​​creativity as the sublimation of unfulfilled (frustrated) needs. If the subject is forced to refuse to satisfy certain needs, if due to this the zone of search activity is involuntarily narrowed, then the search in creativity can compensatoryly intensify. But in principle, another possibility is no less probable - a forced refusal to search for ways to satisfy important needs may turn out to be so traumatic that refusal-type behavior will spread to other types of activity, including creativity. On the other hand, an orientation toward creativity can be cultivated from a very early age, and then it is not at all necessary to narrow the field of life’s search activity in order for the subject to choose creativity from all forms of self-realization. That is why there is not and cannot be an unambiguous connection between frustration and creative activity, and the concept of sublimation does not explain all the available facts and cannot be considered universal.

2.3 Creativity as a psychological - educational research

Creativity is of particular importance for personal development children and teenagers, as they are characterized by a thirst for knowledge and a desire for everything original. For them, creativity is a way of entering society, socialization. Modern psychology understands socialization as a process of assimilation and active reproduction social experience, carried out in activity and communication and forming the subject position of the individual, turning him into a personality.

D.I. Feldshtein noted that a growing person becomes a personality to the extent that he develops social qualities, defining it as social creature, a member of a particular society, a conscious, socially responsible subject. “By consciously determining his attitude to the environment and showing his social significance, his human essence for other people, using “others” as not a means, but an end, a person acts as a person. The basis and essence of this process of personality formation is the development of activity.”

L.I. Bozhovich characterized the personality as a person who has reached a certain level of mental development, at which a person begins to perceive and experience himself as a single whole, different from other people and expressed in the concept of “I”.

According to A.V. Petrovsky, “to be a person means to make such “contributions” to other people that would lead to a change in their lives and destiny.”

The self-worth of each individual, its versatility, and vital stability determine the viability and prospects of any team, association, or organization.

The most important task facing modern school was and remains the purposeful formation of a creative personality, noted D.B. Bogoyavlenskaya

Developing as a personality, a person forms and reveals his own nature, appropriates and creates cultural objects, acquires a circle of significant other people, and reveals himself to himself. To speed up this process, it is necessary, on the one hand, to develop the abilities of children (L.A. Wenger’s approach). On the other hand, an important task is to introduce the child to socially significant activities based on developmental motivation. A form of activity in which “I want” and “ I can" would act together, supporting each other, and moving into each other, V.A. Petrovsky designates as aspiration. It seems to us that this aspiration is one of the essential characteristics of social creativity. An aspiring person knows what he wants, has a certain scheme of actions and implements this scheme in practice, and does not dream.

The more fully developed a person is, the wider the range of his social activities, the more clearly his individual uniqueness manifests itself. The function of social creativity (for L.N. Kogan one of the functions of culture) in the formation of personality is the awakening of the social activity of each person, the development of his needs and abilities for creativity in all spheres of activity. Therefore, one cannot narrow the understanding of creativity only to “the creation of something new that has no analogues in the past.” Creativity is a characteristic of human activity, and not just the significance and value of its results.

Having become a subject of social creativity, the student takes part in socially significant activities. L.I. Bozhovich noted: “Involvement in participation in socially valuable affairs... can not only relieve affective experiences and conflicts, but also create an increase in vital activity in adolescents, cause positive experiences and stimulate their creativity."

Creatively active people are not born; these qualities can be developed with the help special techniques. Generating ideas is the only thing reliable way moving forward. Almost any person, if prepared for the ability to think outside the box, can become an active innovator, learn to keenly perceive and develop everything new and unusual. By liberating social energy in this way, we create conditions for the child to self-realize his needs, interests, and aspirations of the individual.

Conclusion

We perceive the fruits of civilization and culture that we use every day in everyday life as something completely natural, as a result of the development of production and social relations. But behind such a faceless idea there is hidden a great many researchers and great masters mastering the world in the process of their human activity. It is the creative activity of our predecessors and contemporaries that underlies the progress of material and spiritual production.

Imagination and creativity are an attribute of human activity - this is historically evolutionary form activity of people, expressed in various types of activities and leading to personality development. Main criterion spiritual development human is mastery of the complete and complete process of creativity.

Creativity is a derivative of an individual’s realization of unique potentials in a certain area. Therefore, there is a direct connection between the process of creativity and the realization of human abilities in socially significant activities, which acquire the character of self-realization.

It is known that the fullest development of a person’s abilities is possible only in socially significant activities. Moreover, it is important that the implementation of this activity is determined not only from the outside (by society), but also by the internal need of the individual himself. The activity of the individual in this case becomes amateur activity, and the realization of his abilities in this activity acquires the character of self-realization.

Thus, creative activity is an amateur activity that embraces a change in reality and self-realization of the individual in the process of creating material and spiritual values, which contributes to expanding the limits of human capabilities.

It should also be noted that it is not so important how exactly it manifests itself creativity, in the ability to "play" on loom, as in playing a musical instrument, or in opera singing, in the ability to solve inventive or organizational objectives. No type of human activity is alien to a creative approach.

It is not necessary that all members of society write poetry or sing songs, free artists or played a role in the theater. The type of activity in which creativity is best, most freely manifested, and the extent to which a person can demonstrate it depends on the personality type, on habits, on characteristics life path. The unification of all the essential forces of man, the manifestation of all his personal characteristics in fact, they contribute to the development of individuality, emphasizing, along with the characteristics common to many, its unique and inimitable features.

If a person has fully mastered creativity - both in the process of its flow and in its results - then he has reached the level of spiritual development. He can experience moments of unity of all internal forces. If a person has reached the level of spiritual development, no matter what activity he engages in, there is only one thing left to do - to wish him a happy journey. And take a closer look at him at least sometimes. After all, undoubtedly, he will teach something good.

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6. Korshunova L.S. Imagination and its role in cognition. - M., Nauka, 1999.

7. Ponomarev Ya. A. Psychology of creativity. - M.: Nauka, 2001.

8. Tsalok V. A. Creativity: Philosophical aspect Problems. - Chisinau, “Dilya”, 1999.

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Subject, tasks and main directions of the psychology of art (O.A. Krivtsun, B.S. Meilakh). The subject of the psychology of art is the properties and states of personality that determine the creation and perception artistic values and the influence of these values ​​on her life. Study of artistic creativity and the personality of the artist; perception of works of art; features of the structure of works of art.

Basic problems of the psychology of art. The study of specific characteristics of the figurative-emotional structure of a personality created by its involvement in the processes of generation and perception of aesthetic values. Analysis of artistic perception as a form of co-creation in different periods development of the individual and among different contingents of recipients (viewers, readers, listeners). The impact of art on the value orientations and motivation of the subject’s behavior and his worldview.

Problems of the psychology of artistic creativity. Study of the role of imagination, thinking, intuition, inspiration, supra-situational activity. Determination of individual psychological characteristics that manifest themselves in the process of creativity (ability, giftedness, talent, genius, etc.). Studying the features of social facilitation - the influences exerted on the individual by a creative team. Identification of factors that can stimulate creative activity - group discussion, brainstorming, certain psychopharmacological agents, etc.

The most important principles of the psychology of artistic creativity. The role of conscious and unconscious motives. The nature and scope of action of the intention of a creative personality. Experience and its artistic recreation. Ideas about the need for biological (psychophysiological, neurodynamic, etc.) prerequisites for artistic talent and creative activity (Auerbach, Tandler). The artist’s intention as his internal predisposition: towards certain themes, methods artistic expression, to characteristic linguistic and compositional techniques.

The problem of experience and its artistic recreation is one of the main problems of the psychology of art. Weakening external reality and strengthening one’s imaginary world as an equally important reality. Correspondence between each new idea and its artistic implementation. Inspiration and craftsmanship.

Psychology of artistic creativity and neurosemiotics. Neurodynamics of creative activity (Auerbach, Tandler - observations on some features of the brain structure of musicians and writers - significant development of the temporal gyri of the brain, transverse gyrus, frontal lobes of the brain): interaction of mechanisms of excitation and inhibition; their influence on the processes of artistic creativity. The problem of wear and tear and exhaustion of the psyche as a result of prolonged creative efforts. “The ultimate task” of the artist in the light of psychology and neurophysiology (P.V. Simonov).

Basic directions of the psychology of art. Interdisciplinary nature of the psychology of art. Meaning for psychological analysis three directions: associative psychology, Gestalt psychology and theory of the unconscious. Impact on the psychology of art: psychologism, which derived the form of works of art and their content from the characteristics of individual consciousness (V. Wundt, followers of A. A. Potebnya); antipsychologism, which rejects the dependence of these works on mental activity subject (formal school, structuralism).

Basic concepts: psychological concept of S. Freud (1856-1939), development of a new “archeology of personality”, hypothesis about the basis of all forms of human activity - the desire for pleasure . Works by Z. Freud “Leonardo da Vinci” and “Dostoevsky and parricide”. The concentration of Freudian analysis on finding signs and symbols in artistic creations, on the psychology of the artistic personality, and not on psychology literary text The concept of K. Jung (1875-1961) - criticism of Z. Freud for the hypertrophy of the role of individual sexual complexes in creativity and activity individuals. Interpretation of mental complexes as archetypes, acting as universal images, forms, ideas, representing pre-experimental forms of knowledge, unconscious thought forms. Implementation of collective images in the forms of folk fantasy and creativity (theory of myth). Trust in the unconscious (according to Jung) is trust in the deep foundations of life that every person is endowed with. Psychological theories art - M. Proust, J. Joyce, D. Lawrence, W. Wolfe

Major works on the psychology of art by L.S. Vygotsky (1896-1934). Features of the artistic and psychological analysis of L.S. Vygotsky. Studying different aspects psychology of a literary text - a work of literature, music, visual arts- as an education that embodies the fading creative process in it and predetermines the nature of the impact of this work. Mechanisms of artistic meaning formation, theory of catharsis in art by L.S. Vygotsky.

The psychology of art is about the primacy of art as a special historically developing system in relation to the individual personal properties of the individuals who create it.

Main literature

1. Ermolaeva-Tomina L.B. Psychology of artistic creativity. – M.: Academic project: Culture, 2005. - 304 p.

2. Melik-Pashaev A.A., Novlyanskaya Z.N. Concept of the educational field “Art” // Art at school. – 2006. - No. 1. – P.3-6.

3. Petrushin V.I. Psychology and pedagogy of artistic creativity: Textbook for universities. – M.: Academic project; Gaudeamus, 2008. – 490 p.

4. Sinkevich I.A. Psychology of artistic creativity: Textbook. - Murmansk: MSPU, 2008.

5. Sinkevich I.A. Workshop on the psychology of artistic creativity: A textbook for students of pedagogical universities. - Murmansk: MSPU, 2009.

6. Sinkevich I.A. Preparing students of pedagogical universities for polyartistic development of schoolchildren // Psychology of education. – M., 2009. - No. 9 October. – P. 44-56.

7. Sinkevich I.A. Polyartistic education of students of pedagogical universities: Monograph. - Murmansk: MSPU, 2009. - 203 p.

8. Sinkevich I.A. The problem of developing giftedness, talent and creativity of an individual in educational space// Psychology of learning. – M., 2010. - No. 2 February. – pp. 71-79.

9. Sinkevich I.A. Diagnostics of the readiness of future teachers for polyartistic activities // Educational technologies. – M.., 2010. - No. 2. – P. 20-44.

10. Sinkevich I.A.. The problem of spiritual and moral development of personality in education based on the integration of the arts // Psychology of education. – M., 2011. - No. 7 July. – P. 5-16.

11. Sinkevich I.A.. Psychological and pedagogical approach to the development of giftedness in children in the education system // Gifted children: problems, prospects, development: materials of the regional scientific-practical conference With international participation“Gifted children: problems, prospects, development” March 23-24, 2011. – St. Petersburg. APPO, 2011. – P.154-164.

12. Sinkevich I.A. Psychology and pedagogy of artistic creativity: Textbook. - Murmansk: MSPU, 2012.

13. Fusel B., Likhach A.V. Superbrain: training in intuition and creative thinking. - Rostov n/d: Phoenix, 2007. – 224 p.

additional literature

1. Allahverdov V.M. Psychology of art. An essay about the mystery of the emotional impact of works of art. - St. Petersburg: DNA, 2001. - (Psychology and culture).

2. Art therapy/ Comp. and general editing by A.I. Kopytin. - St. Petersburg: Peter, 2001.

3. Bransky V.P. Art and philosophy: The role of philosophy in the formation and perception of a work of art using the example of the history of painting. - Kaliningad: Yantar.skaz, 1999.

4. Brodetsky A.Ya. Non-verbal communication in life and art: The ABC of silence: Textbook. manual for creative educational institutions, faculty. pedagogy and psychology. - M.: VLADOS, 2000.

1. Vygotsky L.S. Psychology of art. - Rostov n/d: Phoenix, 1998.

6. Gippius S.V. Creativity development training. Gymnastics of feelings. - St. Petersburg: Rech, 2001.

1. Krivtsun O.A. Psychology of art // Aesthetics: Textbook. - M.: Aspect Press, 2000 - P.311-394.
2. Kuzin V.S. Psychology. Textbook. - 4th ed., revised and supplemented. - M.: graduate School, 1999.
3. Melik-Pashaev A.A. The world of the artist. - M.: Progress-Tradition, 2000.
4. Melik-Pashaev A.A.. The artist’s creativity and issues of acmeology // Art at school. - 1995. - No. 4. - P.27-30.
5. Panov V.I. Eco-psychological aspect of the manifestation and development of giftedness in children // Gifted children: problems, prospects, development: Proceedings of the North-West regional scientific and practical conference on March 23-24, 2011 / Ed. V.L. Sitnikova, V.N. Vinogradova, E.E. Tunic. – St. Petersburg: APPO, 2011. – P. 114-119.

12. Workshop on art therapy/Ed. A.I. Kopytina. - St. Petersburg: Peter, 2001.

1. Psychology of artistic creativity: Reader / Comp. K.V.Selchenok. - Mn.: Harvest, 1999.
2. Tunik E.E. E. Torrance test: diagnostics of creativity. Methodical manual. – St. Petersburg: State Enterprise “IMATON”, 2004. – 191 p.
3. Freud Z. Leonardo da Vinci. Dostoevsky and parricide // His own. The artist and fantasy. - M., 1995.
4. Jung K., Neumann E. Psychoanalysis and art. - M., 1996.

17. Yurkevich V.S. Main directions of work with gifted children // Gifted children are the property of Moscow: Collection of materials from the scientific and practical conference of the University Educational District of the Moscow State University of Psychology and Education (February 21, 2007). – M.: ALVIAN LLC, 2007. – P.6-8.

18. Yakovlev E.G.. Artist: Personality and creativity // Aesthetics. - M.: 1999. - P. 132-291.




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Series: "Gaudeamus" The author of the book is a full member of the International pedagogical academy, doctor pedagogical sciences, professor of psychology at Moscow State University pedagogical university, Head of the Department of Psychology of Creativity, Krasnodar State University of Culture and Art. The work examines the historical stages in the formation of the psychology of artistic creativity, reveals the role and significance of art in the life of society, and gives the main provisions of modern approaches to the psychology of artistic creativity. The second part of the book offers techniques and methods aimed at developing artistic and creative abilities in various forms of art. The book is a textbook for students studying in colleges, schools and universities of culture, as well as teachers additional education in children's art schools. Publisher: "Academic Project" (2008) ISBN: 978-5-98426-076-3,978-5-8291-0988-2 In My-shop

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