Psychology and pedagogy of creativity. Imagination and creativity are an attribute of human activity - this is a historically evolutionary form of human activity, expressed in various types of activities and leading to personality development

The tutorial covers historical stages development of psychology artistic creativity, the role and significance of art in the life of society, the basic principles of the psychology of artistic creativity. Particular attention is paid 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. Educational material clearly systematized, reflects both traditional and modern approaches to the study of the subject, written in an understandable form. The manual is accompanied by appendices with various methods diagnostics and tests located in the 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 activity that transforms is creative. natural world and social reality in accordance with their goals and needs. 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 and non-standard techniques arises when we are faced with new situations that differ from similar situations in the past.

The ability and need to create is the most interesting phenomenon in a person. Currently various aspects Problems of creativity are dealt with by psychology, pedagogy, sociology, cybernetics and other sciences. 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 their corresponding social norms and the actions can rightfully be characterized as a mystification of creativity. Opposing views and actions aimed at objective knowledge of the nature of creativity and efficient use creativity of people 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 universal properties matter, its uncreatability and indestructibility (from which it directly follows the impossibility 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 specifics 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. Essence creative attitude man to the world is most adequately expressed in the famous Leninist aphorisms: “Human 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 a purely social phenomenon; 2) the essence of reflection consists in the most complete and accurate reproduction of reality, while creativity necessarily results in transformation outside world and the man 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 kind 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.

Re value productive 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) -- hallmark 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 fields of art. More than 75 years ago, the outstanding American entrepreneur, founder of the US automobile industry, G. Ford, drew attention to the inappropriateness of reducing creativity only to art and the associated narrow understanding of creative talent: “They say that creative work is possible only in the spiritual realm. We are talking about creative talents in the spiritual sphere: in music, painting and other arts... Positively trying to limit creative functions to 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 industrial relations... We need people who can draw up a plan of work for everything in which we see the right, the 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 of 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 in a broad sense In words, it covers all types of creativity; in a 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, 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, which, however, do not go beyond one-time or local use. 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 a serious acceleration to social progress as a whole (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, the largest inventions open up new directions social development, encourage to have local significance improvements. 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 of them uniquely embody the different ways of forming 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're not dating. Individual creativity one way or another is 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 work activity or as a type 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 currently has 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 of the human psyche and manifests itself 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 - a mental state that is 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 in 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 a second signaling system. Thanks to this, man became a “social animal.” But the social formation of 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, a person pursues his life goals and finds his place in the system of social connections and relationships. 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 different people are different. In the polyvalence of the need for self-realization, a rich human individuality is revealed and developed.

That is why, when speaking about a comprehensive and harmoniously developed personality, it is necessary to emphasize not only the richness and comprehensiveness of its 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.

This point of view is usually supported by a large number of facts 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. A large literature is devoted to discussion and criticism of this concept, and I will not dwell on this in detail. Let us only note that supporters of this concept usually turn a blind eye to a large number of directly opposite examples, when long-term frustration and difficult experiences kill creative activity. Moreover, not a few great works of art were created 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, does this need 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 both with positive and with 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 influences, 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 emotional assessment situations.

Presumably, such a great importance of search activity for survival is determined by its basic biological function. This activity represents, as it were, the driving force for the 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. Simonova, it is biologically expedient to survive by natural selection 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 “free professions” are too hard bread, and they usually prefer another path of social activity. 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 refused 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 change their field abruptly research activities, often turning to obviously impossible tasks and risking defeat. 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 not perceived from the point of view of their significance for further activities, but only as a threat to prestige, then they become psycho-traumatic and can lead to internal conflict and the activation of insufficiently overcome 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 of 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

The fruits of civilization and culture that we use every day in Everyday life we perceive it as something completely natural, as a result of the development of industrial 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 a historically evolutionary form of human activity, 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.

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 in what exactly the creative approach is manifested, in the ability to “play” on a loom, as in musical instrument, or in opera singing, in the ability to solve inventive or organizational problems. 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, one thing remains - to wish him Bon Voyage. And take a closer look at him at least sometimes. After all, undoubtedly, he will teach something good.

Bibliography

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2. L.N. Bogolyubov, L.F. Ivanova and others. Man and society. Enlightenment 2001.

3. Galin A. L. Personality and creativity. - Novosibirsk, "Progress", 1999.

4. Gamezo M.V., Domashenko I.A. Atlas of psychology: Information method. Manual for the course "Human Psychology". - M.: Pedagogical Society of Russia, 2003.

5. Gurova L.L. Imagination // Philosophical Encyclopedia. - M., Science, 1960. - T. 1

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Author	Book	Description	Year	Price	Book type
Petrushin V.I.		The author of the book is a full member of the International Pedagogical Academy, Doctor of Pedagogical Sciences, Professor of Psychology at Moscow State Pedagogical University, head of... - Academic project, Gaudeamus	2008	302	paper book
V. I. Petrushin		The author of the book is a full member of the International Pedagogical Academy, Doctor of Pedagogical Sciences, Professor of Psychology at Moscow State Pedagogical University, head of... - Academic Project, Gaudeamus, (format: 84x108/32, 496 pages) Gaudeamus	2008	258	paper book
Petrushin V.		The author of the book is a full member of the International Pedagogical Academy, Doctor of Pedagogical Sciences, Professor of Psychology at Moscow State Pedagogical University, head of... - Academic project, (format: Hard glossy, 490 pp.)	2006	405	paper book
Valentin Ivanovich Petrushin	Psychology and pedagogy of artistic creativity + additional. Material in ebs 3rd ed., rev. and additional Textbook for universities	Author's textbook eBook	2017	739	eBook
Valentin Ivanovich Petrushin	Psychology and pedagogy of artistic creativity + additional. Material in ebs 3rd ed., rev. and additional Training manual for open source software	Professional education eBook	2017	739	eBook
Petrushin V.I.		The textbook examines the historical stages in the formation of the psychology of artistic creativity, the role and importance of art in the life of society, the main provisions of the psychology of artistic creativity... - Yurayt, (format: Hard glossy, 490 pp.) Author's textbook		1338	paper book
Petrushin V.I.	Psychology and pedagogy of artistic creativity. Textbook for universities	The textbook examines the historical stages of the formation of the psychology of artistic creativity, the role and importance of art in the life of society, the main provisions of the psychology of artistic creativity... - YURAYT, (format: Hard glossy, 490 pp.)	2017	1678	paper book
Petrushin V.I.		The textbook examines the historical stages in the formation of the psychology of artistic creativity, the role and importance of art in the life of society, the main provisions of the psychology of artistic creativity... - Yurayt, (format: Hard glossy, 490 pp.) Professional education	2018	1338	paper book
Petrushin V.I.	Psychology and pedagogy of artistic creativity + additional material in EBS. Training manual for open source software	The textbook examines the historical stages of the formation of the psychology of artistic creativity, the role and importance of art in the life of society, the main provisions of the psychology of artistic creativity... - YURAYT, (format: Hard glossy, 490 pp.) Professional education	2018	1678	paper book
Petrushin Valentin Ivanovich		The author of the book is a full member of the International Pedagogical Academy, Doctor of Pedagogical Sciences, Professor of Psychology at Moscow State Pedagogical University, head of... - Academic project, Psychology. Pedagogy. Social work	2008	445	paper book
Petrushin Valentin Ivanovich	Psychology and pedagogy of artistic creativity: A textbook for universities	496 pp. The author of the book is a full member of the International Pedagogical Academy, Doctor of Pedagogical Sciences, Professor of Psychology at Moscow State Pedagogical University... - ACADEMIC PROJECT, (format: Hard glossy, 490 pp.) Gaudeamus - Valentin Ivanovich Petrushin Russian musician, psychologist, teacher, musical therapist. Doctor of Pedagogical Sciences, Professor. Contents 1 Biography 2 Books ... Wikipedia Philosophy Being Integral integral part world philosophy, the philosophical thought of the peoples of the USSR has gone through a long and complex historical path. In the spiritual life of primitive and early feudal societies on the lands of the ancestors of modern... ... Kazan State University of Culture and Arts formerly Kazan State Academy of Culture and Arts. The university was founded in 1969 as a branch of the Leningrad State Institute of Culture. N.K. Krupskaya, in 1974... ... Wikipedia RSFSR. I. General information The RSFSR was founded on October 25 (November 7), 1917. It borders on the north-west with Norway and Finland, on the west with Poland, on the south-east with China, the MPR and the DPRK, as well as on the union republics included to the USSR: to the west with... ... Big Soviet encyclopedia VIII. Public education and cultural and educational institutions = The history of public education on the territory of the RSFSR goes back to ancient times. In Kievan Rus, basic literacy was widespread among different segments of the population, about which... ... Great Soviet Encyclopedia - (KhSU “NUA”) Motto Education. Intelligence. Culture… Wikipedia Philosophy at Kiev University- (pre-Soviet period) The Philosophical Faculty was the first to begin its work in the Imperial University of St. Vladimir in 1834 and, in accordance with the draft Provisional Charter of 1833, had 2 departments. The first included 5 departments: philosophy, Greek. literature and... Russian Philosophy. Encyclopedia GERDER- [German] Herder] Johann Gottfried (08/25/1744, Morungen, East Prussia (modern Morong, Poland) 12/18/1803, Weimar), German. writer, philosopher and theologian. Life Rod. into a pious Protestant. family. My mother came from a shoemaker’s family, my father was a church member... Orthodox Encyclopedia - (France) French Republic (République Française). I. General information F. state in Western Europe. In the north, the territory of France is washed by the North Sea, the Pas de Calais and English Channel straits, in the west by the Bay of Biscay... ... Great Soviet Encyclopedia

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 a person that determine the creation and perception of artistic values and the influence of these values on his 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 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. Weaknesses external reality and strengthening your 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. The importance for psychological analysis of three directions: associative psychology, Gestalt psychology and the 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 the mental activity of the 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) is a criticism of Z. Freud for the hypertrophy of the role of individual sexual complexes in the creativity and activities of 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 various aspects of the psychology of a literary text - a work of literature, music, visual arts- as an education that embodied the fading in him creative process and predetermining 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 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 // Pedagogical 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. Essay on mystery emotional impact artistic works. - St. Petersburg: DNA, 2001. - (Psychology and culture).

2. Art therapy/ Comp. And general edition A.I. Kopytina. - 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.

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.

Krivtsun O.A. Psychology of art // Aesthetics: Textbook. - M.: Aspect Press, 2000 - P.311-394.
Kuzin V.S. Psychology. Textbook. - 4th ed., revised and supplemented. - M.: graduate School, 1999.
Melik-Pashaev A.A. The world of the artist. - M.: Progress-Tradition, 2000.
Melik-Pashaev A.A.. The artist’s creativity and issues of acmeology // Art at school. - 1995. - No. 4. - P.27-30.
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.

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

for universities

____ __ ____ ___ __

PSYCHOLOGY AND PEDAGOGY

ARTISTIC

Krasnodar State University

culture and arts as a teaching tool

Petrushin V.I.

Psychology and pedagogy of art

creativity: Textbook for universities. - M.: Academic

Project, 2006. - 640 p. - (“Gaudeamus”).

ISBN 5_8291_0749_Х (Academic project)

Pedagogical Academy, Doctor of Pedagogical Sciences, pro_

Professor of Psychology, Moscow State Pedagogy_

Chechen University, Head of the Department of Creative Psychology

of the Krasnodar State University of Culture_

tours and arts.

The work examines the historical stages of formation

psychology of artistic creativity, the role and

the importance of art in the life of society, the basic information is given

provisions of modern approaches to artistic psychology

th creativity.

The second part of the book offers techniques and methods

aimed at developing artistic_creative ways_

ties in various types of art.

The book is a teaching aid for students teaching_

in colleges, schools and universities of culture, as well as pe_

dagogs of additional education in children's schools is_

For amateurs and professionals, as well as students

universities of culture and art, teachers of children's art schools

arts, teachers of additional education in the subject_

there is an aesthetic cycle

layout, design, 2006

UDC 159.9; 7.0

BBK 88; 85.1

ISBN 5_8291_0749_Х

ISBN 5_902357_55_1

UDC 159.9; 7.0

REVIEWERS:

Doctor of Medical Sciences,

Professor RATI Groysman A.L.

Doctor of Psychological Sciences Razhnikov V.T.

__________________________

_________ _____ _ ______ _____

__________ ______________ _________

Creativity is a human activity aimed at

dedicated to creating something new and original

product in the field of ideas, science, art, as well as in

sphere of production and organization. Artistic

creativity is a type of creative process. His

psychology - new item, which is everywhere

is being introduced today into the programs of many cultural universities

and art. By studying it, future artists are musicians_

you, singers, actors, directors, artists study not_

the skills required and the understanding of what they receive

necessary professional skills.

Despite the huge differences in material, with

which employs representatives of various creative

professions, there are nevertheless some ob_

general patterns present in all types

artistic creativity. Their knowledge is necessary

every artist if he wants to become real

a professional in his field.

The art of theater, music, painting is based on

the ability of an artist and artist to express their thoughts

feelings on a non-verbal level, using intonation_

tions, colors, facial expressions, gestures and movements. Skill

share the same emotional state when helping_

cabbage soup of different types of art (at least in two or three) - then

what everyone who wants to enter the temple should strive for

art and serve his muses.

It's no secret that many, even experienced pain_

Our artists are sometimes unfamiliar with psychological

subtleties and secrets of his craft. In some_

In some cases they even laugh at those who

tries to study and teach these laws, saying

Moreover, the main thing is in art, talent and

artist's intuition, and all sorts of knowledge and wisdom

growth without real talent will not give anything. In

In many cases, with such statements one can agree

read However, the same masters have problems

very big difficulties and problems when they start_

they try to pass on their experience and knowledge to young people

artists - their students. Not having what it takes

a wealth of knowledge to understand the intricacies of your job

profession, they begin to teach according to a method based on

This is based on the “Do as I do” principle. From point of view

modern didactics and psychology of learning similar to

This method is recognized as the most imperfect and the most

ineffective, giving the worst results.

The myth of the unknowability of the creative process is irresistible

due to all the achievements of modern psychology, influence_

appears to be very tenacious. And it really interferes with the development of x_

outstanding talent in all areas of art.

Conventionally, all specialists involved in art

ism, can be classified according to how much

they have good knowledge of the necessary professional skills_

our knowledge and relevant skills. They can_

but it was arranged according to the scheme proposed below.

Can

In the Middle Ages, echoing Guido Aretinsky, Italian_

Yang composer D. Tsarlino in the treatise “Establishment_

harmony" wrote: "To those who wish to judge

things related to art, you need to master two

things: firstly, to be wise in matters of science,

i.e. in the theoretical part and then be proficient in

matters of art, that is, in practice... musician_practitioner

without knowledge of theory or theorist without knowledge of practice

can always be mistaken and make an incorrect judgment

thinking about music"1.

It seems that we can safely transfer these judgments_

for an artist of any other specialization, because only_

The combination of theory and practice gives birth to a real

professional

In any field of art you can find those highly

professional artists who have skill

turns out to be closely related to the knowledge that they

do, at the level of modern achievements in psychology

gii. But we must admit that such specialists are generally

well, a little. There are even fewer who own

general laws of creativity that apply to

any specialization in the field of art. This explains_

It is clear that the introduction of such specialized art into universities

al subject, such as “Psychology of artistic

creativity” faces great difficulties.

If, for example, in subjects such as “General psi_

chology" or "Pedagogy", we have a huge number

in the discipline presented on the pages of this textbook

no manual, we have only a few books. Classy_

technical and still not outdated or lost_

Monographs by L.S. are the most significant. You_

Gothsky “Psychology of Art” and B.M. Teplova

"Psychology of musical abilities." Before

there was an excellent work by the French psychologist T. Ri_

bo "On the psychology of creative imagination." But these

the works are not, unfortunately, teaching aids.

Books and educational books published over the past decade

manuals on this topic A.A. Melik_Pashaeva, A.L. Groysma_

on, E.P. Krupnik, L.B. Ermolaeva_Tomina, N.V. Rozh_

girls to a certain extent solve this problem_

1 Musical aesthetics of the Western European Middle Ages

and Renaissance. M., 1966. P. 37

Can not

Let us present an interesting piece of evidence from the famous

th musical theorist of the early Middle Ages,

the creator of the staff, Guido Aretinsky: “What is

musician? - he asked and answered himself.

A musician is someone who thinks about musical

laws and has the ability to sing, for between musicians

Tami and singers a big difference; some say, others say

Some people know what music is, for he who makes what

doesn’t know, he’s called cattle.”1

1 Ibid. pp. 507–508.

Knows Doesn't know

mu. However, a generalized textbook is still incomplete

There is no advanced pedagogy.

If we analyze the field of psychology poorly_

feminine creativity different sources, then in

many works on art history, art criticism

tion and aesthetics we can find a huge amount

interesting facts, observations and statements from

artists who tried to comprehend their work

activity and pass on your experience to your students.

Today's methods and techniques of teaching in creative

in which universities a specific type of art - music, live

pussy, acting, choreography, etc.-

based both on own experience Masters and

generalizing the experience of masters of previous generations, having learned_

secrets of their craft. But all these subtleties are worse

creative creativity must be understood and realized

based on the laws of general psychology.

The psychology of artistic creativity with all

its specificity is only one of the branches of the general

psychology, and only she can give this discipline

the necessary scientific base.

Generalization of this experience and summing it up

psychological basis was one of the main tasks

of this manual.

The subject of this course is the presentation

general psychological patterns of artistic

creativity, applicable to any type of art

va. Among its tasks we will include the disclosure of features

creative personality of the artist and his patterns

artistic activity, as well as presentation of those

methods that lead to the development of artistic

talent. The main thing here is that you have at your disposal

the inhabitants of Melpomene had methods of improvement_

of one’s own creative nature, psychophysical_

miki, plastics, transformation skills. Like

training is needed and necessary not only for actors, but also

artist of any specialization - and musician_instrument_

mentalist, and vocalist, and artist, and dancer, and ho_

reographer, and director, in a word, to all those who stand

in front of the altar of Apollo.

young servants of the muses entering life need

necessary support in their professional quests, possible

the ability to more easily pass through the inevitable and necessary

the necessary “pangs of creativity” will help you find the necessary

perseverance and self-confidence in moving along

the difficult and noble path of an artist.

According to the research of V. Propp, there is

limited number of themes and plots present

in the universal drama of life. But it's impossible

paintings and symphonies, performances and balls_

coms that these themes and plots reveal. Exactly

also, despite the huge number of methods and

techniques that are used by artists to create

buildings of your works, you can always find in them

some general psychological laws of art

creative creativity, one way or another is always present_

essential when creating any work of art.

Studying them is a fascinating journey into the world of creativity.

cultural development of life in the form of artistic

image. How this happens in different types of applications

art from the point of view of modern psychology, and co_

Psychology of artistic creativity - science,

which was born at the intersection of many disciplines. Pomi_

mo methods of teaching various artistic

disciplines, it is based on general psychology, on

psychology of abilities, developmental psychology,

psychology of individual differences, as well as phil_

sophia, sociology and aesthetics. Data from these studies

concepts will also be reflected in the proposed training

The originality of works of art depends not

only from the talent of the artist. It also depends on history.

cultural and social conditions, from the culture in which

the artist grows and develops, his genetic characteristics

benefits in the form of temperament and abilities, however_

Well, from the characteristics of his personality and psychology on_

mentors and teachers. K.S. Stanislavsky in his

notebooks once noted: “Creativity ar_

tista is a psychophysiological process. Possible

But is it possible to study creativity without having any idea?

about either physiology or human psychology?

The answer suggests itself - impossible. By_

this is why a close examination of problems is better

creative creativity from the point of view of modern

general psychology, psychology of creativity and psychology

personality will give the aspiring artist a reliable

the foundation for understanding the secrets of mastering your

a wonderful profession.

But familiarization with the laws of creativity is not important

only for the future artist, but also for all people -

not so that everyone should be an artist, but so that

so that no one should be a slave to their own feelings and everyone

he could freely express his feelings if he

we want to dedicate our life is not easy labor in quality_

and gratitude:

Rector of Krasnodar State University

City of Culture and Art to Professor Irina Iva_

new Gorlova;

Vice-Rector for Scientific Affairs Professor Nata_

lie Romanovna Turavets;

projector by educational work Professor Anato_

Leah Ivanovich Dunaev for creating good conditions

for writing this book.

____ ___$___%_!_&___!________

__________________________

"_ _____________ #_____ __________

Artistic creativity - creating books, sim_

phonies, paintings, theater, opera and ballet songs

installations - exists within the framework of the activity

which belongs to the field of art. In its turn,

experts consider art as a form

public consciousness, allowing to reflect the action

reality in the form of artistic images.

In different eras, the idea of what

art has changed and been understood differently. In Ancient_

In Greece such a concept did not exist at all and

instead, the term “techne” was used, which

simultaneously denoted both craft and beautifully made_

new household items. They occupied an intermediate

the area between material and spiritual production_

stvom. Homer uses the terms “sophie” (wisdom) and

"techne" (art, craft) were merged and understood_

appeared as phenomena very similar to each other. We could_

I would say that it was a “wise craft.”

Art, inseparable from technical craft,

for a long time, right up to the Middle Ages, it was not contrary to

assigned to spiritual activities.

“In the Renaissance,” notes a prominent father_

national philosopher V.P. Shestakov - artist

appears as a bearer of aesthetic and ethical values.

The ethical concept of valor - virtu - acquires

aesthetic meaning, denoting a person, masterfully

and freely owns his business... To replace the environment_

age-old idea of a perfect man

as a connoisseur who knows how to contemplate everything and understand everything

judge, the ideal of a person who can do everything

do"1.

1 Shestakov V.P. Aesthetic categories, M., 1983. pp. 257–258.

Medieval term " ars» unlike antique_

nogo techne primarily related to certain

types of craft. The term " art», which today is_

is generally accepted to designate all types of art

stva, appears only in the 18th century. He treated in per_

turn to the so-called “fine” arts

you, which included music, painting and sculpture.

The history of art testifies that it was born_

from a syncretic, multi-component practice

cultural and spiritual activity of man, which in

For a long time, folklore was performed.

At first, songs, dances, all kinds of arts

in applied arts were organically woven into

daily life of our ancestors. They used_

were used by them as magical ways of influencing

family and animals, and then on ourselves with the aim

basic survival and possession of everything that

for this it is necessary - food, clothing, protection from

external enemies in the form of harsh nature, evil animals

and hostile tribes. Subsequently artistic

activity as bringing spiritual peace to a person

wealth not related to gross material usefulness_

reality, began to separate from the practical, to become

more and more independent, until, finally, fan_

The artist's position did not become completely independent.

With this independence she was able to

give yourself over to free creativity in the process

embodiment of an artistic image.

Artists of all times and peoples when creating

their works did not use their talent

only as a way of conveying images of the environment around them

world, but also to express your own inner_

early world. In turn, the created products_

art created a public - readers, spectators_

lei and listeners capable of perceiving them and on_

enjoy their form, arousing the senses when

using colors, sounds, movements, intonations, lines and

forms Through sensory images of external and internal

in the world of the artist, their contemplators are spectators, listeners

shatels, and subsequently readers, could have done better

know ourselves. Feelings of pleasure from competition_

the lives that arose at the same time began to be called

aesthetic, from the Greek word aisthetikos, what in

translation means “sentient, related to feeling_

personal perception.” Therefore, aesthetics as a science

began to be defined as the science of aesthetic attitude_

tion to reality, and as a science of creativity according to

laws of beauty. Artistic creativity, generi_

creative art becomes the core of aesthetic

whose relationship to reality.

The term itself aesthetics"was introduced in the 18th century. Not_

German philosopher Baumgarten, who pointed out

that “the goal of aesthetics is the perfection of the sensual

knowledge as such, and this is beauty.”1

At first, the beauty that man brings to his

life was closely connected with the decoration of a particular

things that served him in one way or another. It might not be

only household utensils, but also ritual

dancing before a difficult hunt, which brought the hunt’s psyche_

nicknames in proper combat status. Gradually with_

the building of this beauty became the goal of an activity that

subsequently received the name artistic.

Why is it that not a single society, even the simplest and

primitive, cannot do without art? Behind_

what and why a huge number of people do

creating works of art from which

at first glance there is no practical benefit, but

they spend a huge amount of effort and time on this

neither, material means, but other people without these

works of art can't get by? Answer

will be like this - despite the seeming impracticality

art, it satisfies very important deep

social needs, without satisfying them_

Many people simply will not be able to live. This need

got the name aesthetic. By it he means_

This is the need for disinterested contemplation of beauty,

spilled both in the nature surrounding humans and in

objects and material things he creates

peace. This need finds its worthy explanation

knowledge in modern psychological concepts.

Ordinary consciousness often affirms the practice

the technical uselessness of works of art and

1 Baumgarten A. Aesthetics // History of aesthetics. Monuments mi_

new aesthetic thought. T. II. C. 455.

$____ "_ %__________ &_#" __________ #____________

(__) *_ _________ ______________ ________

refers with some irony to those who spend

to master the art of your time and money. Remember_

at least Krylov’s textbook fable about Po_

Jumper_Dragonfly, who sang and danced all summer_

la, and about its antipode - the Toiler_ant, who

at the same time he worked hard, stocking up on food_

for the winter. This fable is taught by education experts

in Soviet times it was interpreted as an example of censure_

the great fabulist of the Dragonfly for her frivolity

lazy behavior. But if we imagine that Streko_

for her singing and dancing could bring the same

The ant feels some kind of spiritual joy, which is why he

began to work better, then the life of the Dragonfly

acquires its own meaning, which is

filling the lives of ordinary workers with beauty,

poetry and joy of feelings. Well said about it

poet Yakov Polonsky:

How many times did the mob repeat to the poet:

You, like the wind, do not bear fruit,

You don't sow grains for summer,

You never reap the harvest in autumn.

The spirit of the poet is the wind; but when it blows,

Clouds and thunderstorms are floating in the sky,

Under the cloudy thunderstorm, the native field is ripening,

And the flowers bloom more luxuriously.

,_ _________ ________ _ __-___ _____"_ ._____.__

“If a person were not used to complicating everything, a person

humanity would still be sitting in a cave with stones_

with a strong axe,” said one astute

man about the nature of creativity.

Where does this incomprehensible force and craving for change come from?

to the improvement of everything and everyone? Understand

the nature and origin of creativity people have tried

from a long time ago.

In ancient philosophy, Plato represented creativity

skaya power as the fruit of divine will.

The creative act of man was possible only in

conditions of “smart” contemplation, which was the

to the lover as divine possession is life-giving

Concepts like symmetry, harmony, propor

tion, measure, rhythm, were inextricably linked with the representation

the ancient Greeks' love for beauty. According to Plato,

the idea of beauty has its own hierarchy, which moves

moves from the material principle to the spiritual. With help_

whose eros man is in the knowledge of the beautiful rise_

moves from the beauty of an individual body to the beauty of the body in general;

then from physical, bodily beauty is realized

transition to ideal, spiritual beauty. Then the man

in its development rises even higher - to the way_

the importance of knowing the beauty of morals and legal laws. All

this is reflected in art, but the same

Plato in the dialogue “Ion” noted that the poets themselves are less

Most of all they know how they create.

Creating works of art based on images

Many observations were insightfully supported by

marked by Socrates.

According to the description of his biographer Xenophon, in his youth

STI Socrates was a sculptor. He often came to the mass_

Terek artists, sculptors, craftsmen and

conversations with them various issues art. From him

conversations with them that came to us thanks to Xeno_