The concept of play in pedagogy, its types and requirements. Game concept Game definitions in different dictionaries

A GAME

One of the most important phenomena of human existence. Usually, I. is opposed to work; at best, they see in it a training before a serious undertaking or the necessary replenishment of monotonous one-sided activity. It is believed that only a child should live I., for adults I. - only rest, relaxation, frivolous. However, very often, if not always, I. is perceived by the players - whether they are chess players or football players, whether they are fans or children spellbound by I.'s intricacies - very seriously. The attitude of I. - serious always remains unstable. I. constantly turns into serious, and serious - into I. “The game kidnaps us from the power of the usual and everyday seriousness of life, which manifests itself primarily in the severity and burden of labor, in the struggle for. This abduction returns us to an even deeper seriousness, to a bottomless joyful, tragicomic seriousness, in which we contemplate as if in a mirror ”(E. Fink). I. differs from any other activity in that it has no purpose, it is not performed for the sake of a happy future, it is in itself. She can rise to the heights of the beautiful and the sacred, leaving the serious far behind her. The intensity of I. cannot be explained by any biological analysis; I. confirms the special human position in the world. Animals can play, which means that they are already something more than just mechanisms, people play - it means that they are something more than just rational beings, because I. is an extra-reasonable occupation.
I., with t.zr. Goal. and the philosopher J. Heizinga, older than culture, human did not add any essential feature to the general concept of I. It, like it, expresses a person. But I., in contrast to labor, is inherent in elated pleasure, which is greater than the simple joy of achieving ch.-l. specific. Here he enjoys his freedom.
In all spheres of human activity, explicit or disguised forms of I. are manifested. Any age is involved in I., all from time to time immerse themselves in I., experiencing liberation, inspiration, happiness, from children to the very old. It covers all areas of human existence. They play at, at the funeral, at, at work. I. occupies a special place in the sphere of celebration and worship, in the sphere of the sacred. In an imperfect world and a hectic life, she creates a temporary, limited, rhythm and harmony that is not attainable in everyday life. A person plays when he celebrates being. This holiday interrupts the chain of everyday life weighed down with worries, it is delimited from their gray monotony, exalted as something unusual and rare. I. as a holiday is necessary for everyday life in order to defeat labor, so that work for a person is not a burdensome duty, but an opportunity for self-expression, an opportunity to reveal his freedom. Only such work, coupled with I. in the deepest sense of the word, with I. as a holiday of being, is, in the full sense, human labor. He humanizes, but does not materialize a person.

Philosophy: Encyclopedic Dictionary. - M .: Gardariki. Edited by A.A. Ivina. 2004 .

a term denoting a wide range of animal and human activities, usually opposed by utilitarian-practical. activity and characterized by the experience of pleasure from the activity itself. The I. phenomenon attracted philosophers, aesthetics, ethnographers, biologists, ethologists, and psychologists. The beginning of the development of a general theory of I. is associated with the works of Schiller and Spencer. Schiller argued an aesthetic. nature I. and saw in it a characteristic of the human being in general. I. for Schiller - associated with free from ext. needs a manifestation of excess strength. Spencer introduced evolution into I. approach, indicating the spread of I. in higher animals and its exercise function. K. Gross, following Spencer, considered I. specifically inherent in higher species of animals, resulting from int. needs for activity in the form of exercise, strengthening and development of inheritance. forms of behavior. This dominated until the 30s biennium 20 in. Main its shortcomings are teleologism, the removal of I. from the complication of the animal's organism without any analysis of the relationship of the animal to the environment, and the identification of I. from man and animal. This theory was criticized by F. Boy-tendeik, who pointed out that instinctive forms of behavior do not need exercise. At the heart of I., according to Beutendijk, are three initial drives, which he borrowed from Freud's theory: to liberation, to fusion, and to reproduction. At the same time, Beutendijk classifies I. as an orientation-exploration. activity: I. is with an object that has elements of novelty for an animal. IN modern ethology, much attention is paid to the description of the play behavior of animals and its differentiation from dr. types of behavior, especially from research. behavior; united t. sp. on the nature and function of I. in animals as yet. An attempt to universalize I. was undertaken goll. the historian and philosopher of culture Huizingoy: all the diversity of people. activity is reduced to I., considered as main source and supreme human. culture.

Foundations of historical and materialistic. approaches to human I. were laid down by G.V. Plekhanov. According to him, I. is an activity that arises in response to the needs of the society in which children live and whose active members they must. Sov. cultural historians (V. VsevolodskyGerngross) considered I. as a variety of societies. practice, consisting in action. reproduction of life phenomena outside the real practical. installations; they see social I. at the early stages of the development of society in its collectivizing and training role; point to what is happening in the course of history, gradual I. from the life of adults dramatic. arts and sports. Some philosophers (M. S. Kagan) developing problems human. activity, consider I. child as syncretic-arts. ...

IN owls. psychology developed preim. questions I. and its meaning for the psychic. development. The foundations of the theory of children's I. were laid by Vygotsky. Main attention was paid to role I. - the leading type of activity of preschool children, in which children in a specially created conditional situation, taking on the role of adults, reproduce (simulate) their activities and the system of relations in society. A socio-historian was shown. the character of I. by its origin and content (D. B. Elkonin)... During preschool childhood, role-playing gradually develops into games with rules — generalized and abbreviated expressions of social relations.

Plekhanov G.V., Fav. Philos. manuf., T. 5, M., 1958; Schiller F., Letters about the esthetician. education of a person. Sobr. op., T. 6, M., 1957; Spencer G., Op., T. 3- Foundations of Psychology, parts 1-5, SPB, 1897; Gros K., Soulful child, per. with German, K., 1916; Stern (Stern) V., Psychology of early childhood up to six years of age, [trans. from it.], P., 19222; Games of the peoples of the USSR. Sat. materials, M. - L., 1933; Vygotsky L.S., I. and her role in the psyche. child development, “Vopr. psychology ", 1966, No. 6; Kagan MS, Chelovech, activity, M., 1974; Elkonin D. B., Psychology I., M., 1978; B u u t e n d i j k F. J. J., Wesen und Sinn des Spiels, B.,.

Philosophical Encyclopedic Dictionary. - M .: Soviet encyclopedia. Ch. edition: L. F. Ilyichev, P. N. Fedoseev, S. M. Kovalev, V. G. Panov. 1983 .

unproductive activity that is not carried out for practical purposes, but serves for entertainment and fun, giving joy in itself. Play differs both from labor and from purely instinctive action. It refers to a certain stage in the development of higher beings: mammals and humans. There are numerous theories about the meaning of play. The most famous theory is K. Gross, according to which play is an unintentional self-learning (functional exercise) of the body, especially necessary for a person at an early age. The play of children goes through various typical stages, which in child psychology have been explained much from the mental life of the child. But even in old age, play is a source of constant joy and contributes to the maintenance of well-being in a person. The games are mostly based on folk and local customs and traditions; they are also used for pedagogical purposes for the physical and mental development of a person. Educational games were already recognized by ancient philosophers, and later it received further in the writings of Rousseau, Pestolozzi and Froebel. “A person plays only when he is a person in the full sense of the word, and only then he is a real person when he plays” (Schiller). “A person must choose: be nothing or play, which he does” (Sartre).

Philosophical Encyclopedic Dictionary. 2010 .

The GAME is one of the main and oldest forms of aesthetic activity (see Aesthetics), that is, non-utilitarian, performed for its own sake and delivering pleasure and joy to its participants and spectators. The fundamentally unproductive and non-rational nature of the game since ancient times associated it with sacred and cult performances, with art, endowed with mysterious, magical meanings. Since antiquity, play has also been used as an effective means of raising children, training hunters, warriors, athletes, etc. Only p. 19th century; “Game theory” is one of the branches of modern mathematics that studies and develops models for making optimal decisions in difficult situations in various areas of human activity. Meanwhile, the philosophical paid attention to the non-utilitarian and essentially significant for human life nature of the game from its very inception, although for a long time its conclusions were recorded only in a metaphorical, figurative or sporadic form.

Heraclitus likens the zones to a “child playing” (B 52). Plato in "Laws" calls man "some kind of invented toy of God"; man is to “live by playing” the “finest games”, which include sacrifices, songs, dances and battles with enemies (Leg. 803cd). In “Politics” the term “play” refers to all arts “directed exclusively to our pleasure” - painting, decoration, music (Polit. 288c), τ. e. "Fine arts" in modern European terminology. Plato, Aristotle, Stoics, many thinkers of the Renaissance saw in the game an effective educational.

The German classic highlighted the aesthetic of the game. Kant in his “Critique of Judgment”, referring to aesthetic phenomena and speaks of “the free play of cognitive abilities,” “the free play of the abilities of representation,” the play of mental forces (imagination and reason) that gives pleasure, lies at the basis of the aesthetic judgment of taste and ultimately leads to the comprehension of non-rational essences. Kant classifies three types of arts as “fine arts”: verbal, visual, and “the art of playing sensations”; they are based on the play of certain spiritual forces of a person. In particular, he classifies “music and the art of colors” as the third type, which cause “pleasure from form in an aesthetic assessment” (“Critique of the ability to judge”, § 51); thereby, Kant lays the foundation for a wide range of artistic phenomena, which in the 20th century. was designated as. A free play of sensations that gives pleasure. Kant divides into gambling, play of sounds and play of thought. He associates only the last two types with the fine arts, although in all three he sees an aesthetic character of varying degrees of intensity. At the center of his aesthetic theory, Schiller put play in Letters on the Aesthetic Education of Man (1793-94), emphasizing that he relies on the ideas of Kant. According to Schiller, a person emerges from the “slavery of a brutal state” only with the help of aesthetic experience, when he develops to enjoy art (“visibility”) and “a penchant for adornments and games” (Schiller F. Articles on aesthetics. M.-L., 1935, p. 281). Three global “motives” are peculiar to man: sensual, based on the laws of nature and having life as an “object”; to the form, compelling with the help of the "laws of reason", its subject is "image"; the urge to play is the highest, which gives a person “freedom both physically and morally,” it is a “living image” which, in Schiller's understanding, appears as the totality of all aesthetic properties of objects and phenomena and is identified with beauty. In turn, it itself acts as an “object of motivation to play” (ibid., P. 243), in which a person's spirit gains complete freedom, and a person improves. Schiller sees the meaning and main thing of human life in play as an aesthetic phenomenon: “... a person should only play with beauty, and only with beauty he should play ... human only when he plays. " On this position, Schiller emphasizes, over time “the whole edifice of aesthetic art and the even more difficult art of living” will be built (ibid., P. 245). Awareness of the aesthetic essence of man led him to formulate a utopian idea of some future type of “aesthetic state”, which will replace the historical types of “dynamic rule of law” and “ethical state” (ibid., P. 291).

Schleiermacher viewed play as one of the forms of morality closely related to art and friendship, as a sphere of “free communication”, where a person can optimally realize his own. The game promotes the development of intellectual activity. The essence of art is “the free play of fantasy”; here a person really achieves his inner freedom and awareness of this freedom. F. Schlegel, developing the metaphor of Heraclitus in his "Conversation on Poetry" (1800), comprehends play as an ontological principle of the Universe's existence (Welt-Spiel), while in the arts he sees only "distant reproductions of the endless game of the world, an ever-forming work of art" (Schlegel F . Aesthetics. Philosophy. Criticism, vol. L. M., 1983, p. 394). These ideas of Schlegel turned out to be close to other romantics who rarely used “play” itself, but essentially all art was interpreted in the mode of play, understood as “play of repetition” (Wiederholungsspiel). A work of art was interpreted by them as a kind of constantly postponing and translating into another (transcending) repetition, that is, a play of elusive symbolic meanings. This repetition is valuable in itself and does not imply a search for some other “deep” ideal essence behind it. Nietzsche largely proceeded from Schlegel's concept in his definition of arts as a special “imitation” of the “game of the universe”, understood in the sense of removing the constant conflict between “necessity” and “play”, when everything that grows to play brings new worlds to life. As a paradigm of the "superhuman" culture of the future, Nietzsche puts forward "the ideal of the spirit, which is naively, therefore, unwittingly, and out of an overflowing excess of fullness and power, plays with everything that until now has been called sacred, kind, inviolable, divine." (Gay Science, § 382). This one turned out to be seductive and prophetic for many scholars of the 20th century.

A definite result of the insights and statements of European thinkers regarding the essence and functions of play was summed up in the fundamental research “Homo ludens” (1938) by I. Huizinga. He defined his as the legitimacy of the “survey of all human culture sub specie ludi”. Developing Schiller's ideas, he showed that play belongs to the essential characteristics of a person, along with intelligence and creativity. The game is older than culture, “it arises and develops in the game”, has a game character (Huizinga I. In the shadow of tomorrow. M., 1992, p. 7). Huizinga emphasized that most researchers of the game underestimate the main thing in it - its "aesthetic content" - and consistently showed and substantiated the game principles of the main components of culture, including not only the spheres of religious cults, art, holidays, sports, but also philosophy, justice, war, politics. A short game, according to Huizinge, reads: “A game is a voluntary action or an occupation performed within the established boundaries of place and time according to voluntarily accepted, but absolutely obligatory rules with a goal contained in itself, accompanied by a feeling of tension and joy, as well as the consciousness of“ other being ”rather than“ ordinary ”life” (ibid., p. 41). The essence of play as a game in oneself and for oneself with adequate (ie, artistic) means was shown in the utopia "The Glass Bead Game" (1943) by G. Hesse. The novel, which in a peculiar way simulates Huizinga's concept and Schiller's idea of an “aesthetic state,” takes place in the 23rd century. Intellectual activities transferred to the specially designated province of Castalia are reduced to a non-utilitarian game with all the spiritual, intellectual and artistic values of culture accumulated over the history of mankind (cf. Nietzsche above) - the “glass bead game” (Game). Having arisen among intellectuals as a musical and mathematical game based on the schemes, images, figures, languages, hieroglyphs, melodies, scientific theories, hypotheses, etc., underlying spiritual values, the game soon passed from purely intellectual superficial virtuosity to contemplation, meditation, in-depth peering into each move of the game, to deep feelings and other methods of spiritual practices, that is, it turned into a kind of worship without God, religious doctrine and any theology. The main game is the achievement of states of the highest spiritual pleasure, unearthly joy, special “gaiety,” that is, in fact (which Hesse himself repeatedly writes about and which follows even more from the context of the novel) Play is the highest form and quintessence of aesthetic experience. Play in the novel is identical to a culture that has realized its deepest aesthetic essence and consciously cultivates aesthetic being in the world. Hesse emphasizes the character of the Game. Through countless “nooks of the archive” and labyrinths of knowledge, values, cultural works, through the most ancient spiritual practices and oriental teachings and, through the Zen gardens and treatises of great hermits, Bach's music and Einstein's theory of relativity, the true masters of the Game penetrate the mysteries of life incomprehensible in other ways, experiencing from this divine pleasure, gaining an unearthly transformed and purified soul.

The otherness, uniqueness and uniqueness of the game, its festive character include in its orbit not only all the performing arts, but also such cultural phenomena as masquerade (a mask as a phenomenon of play and a theatrical mask), ritual dressing up, carnival, carnivalization. I opened the essence of the latter and worked it out in detail Μ. Μ. Bakhtin, especially in the monograph “The Creativity of François Rabelais and the Folk Culture of the Middle Ages and the Renaissance” (1965). Bakhtin saw the foundations of carnivalization in the game inherent in culture with opposite meanings, in their permutations, changing places (life - death, high - low, profane, good - evil, crowning - debunking, etc.), in the game profanation of values, removing the essential antinomies of culture in laughter, in affirming the relativity of cultural priorities, in polyphony and internal dialogism of form-semantic moves in culture. Many of these ideas dominate modernist and postmodern cultural paradigms and studies.

The main emphasis on the aesthetic essence of play was also made by Gadamer, who relied on Huizinga in his main hermeneutic work Truth and Method (1960). At the same time, he deliberately distanced himself "from the subjective meaning" of the concept of play, inherent, in his opinion, to the concepts of Kant and Schiller, and directed attention to play as "a way of being of the work of art itself." Gadamer asserted “the sacred seriousness of the game”, its “medial meaning”, “the primacy of the game in relation to the consciousness of the player”; play is not an activity, but “making a movement as such” for its own sake, “every play is a state of play”; the subject of the game is not the player, but the game itself; the goal of the game is “the order of the game movement itself”; The “way of being” of the game is “self-representation”, which is a universal aspect of the being of nature; the game always presupposes “another

gogo ”. The highest stage of human play, its “completion”, the achievement of an ideal state (“transformation into structure”, in the terminology of Gadamer) is art: “what is now, representing art in the game, is the everlastingly authentic” (Gadamer H.-G. Truth and . Fundamentals of philosophical hermeneutics. M., 1988, pp. 147-57). Art has a deep ontological status. The appearance of a work of art, “transformation into a structure” is an ordinary, “non-transformed reality” “in its truth”, “transformation into true”, “liberation, return to true being” (ibid., P. 159). Therefore, the game-art “is played in another, closed world” and in this way is like a cult action. The game-art necessarily assumes the viewer, this image or for someone, even if there is no recipient in the given one. In turn, the viewer completely surrenders to the play of art, plunges into its world, where he finds with himself. And in this regard, Gadamer emphasizes, "the way of aesthetic being is marked by something reminiscent of" parousia "(coming of God)." The “image” (“representation”) of art, into which the viewer is completely immersed, is “his own world, the world of religion and morality” (ibid., P. 174). All the main phenomena of the aesthetic - catharsis, beauty - 1adamer comprehends in the context of the theory of play and defines as a whole “being of the aesthetic as a game and representation”, and “aesthetic being”, for all arts, is the accomplishment of being that is depicted by a work of art ( ibid, pp. 175-80).

The interpretation of play proposed by L. Wittgenstein in Philosophical Investigations (published in 1953) had a significant impact on philosophy and aesthetics. With the introduction of the term "language game" (Sprachspiel) by Wittgenstein, the concept of play entered the theory of language and linguistic philosophy (compare play, playful understanding of language, "play" with etymological meanings and texts in postmodernism, etc.). Unlike the early "Logical-Philosophical Treatise" (1921), where it was understood as a kind of ideal entity, the late Wittgenstein argued that languages can exist and have only as part of a certain "game" with a set of rules and conventions, that is, meaning exists only in specific cases of the use of language, and not how (Plato's ideal meaning). Outside this sociolinguistic context (a game situation with specific rules and participants), language with its meanings does not exist. Any attempt to "filter" the context and get to the "essence" of the language leads to the loss of this essence. This understanding of language builds direct bridges between linguistics and aesthetics and substantiates, in particular, the unlimited possibility of creating artificial languages; to some extent even explains the phenomenon of “getting used to” something else, virtual in computer games or under computer control (through a monitor) of robotic devices in space, special industries, etc. As soon as the recipient's brain “accepts” the rules of the game, he adapts to the virtual world and is able to navigate and successfully function in it as in the real world.

With penetration into the second floor. 20th century game concepts in philosophy, cultural studies and other sciences appear numerous classifications of games. R. Kayo, for example, in his work "Man, play and games" (1962) identifies five types of play: competition, risk games, dressing up (disguise), imitation and ecstatic. Yale poststructuralists (Games, Games, Literature, 1968), philologists and philosophers of a postmodern orientation, partly relying on Heidegger's understanding of the game between meaning and material in art, derive games in their “textology”, studying games with reference worlds of text, games with events developed in the text, virtual games with the reader, etc. Derrida develops, in particular, the romantic concept of play as a game of repetition (répétition), which is completely self-contained. From “repetitiveness” he goes on to the game of differences (difiërence) and the “game of differences” (différance), which he understands as postponement and eluding and takes the basis of his method of deconstruction. For Derrida, the “game of differences” is a fundamental scientific concept, and difiêrance itself appears to be the essential basis, for apart from this there is no other “essence” that could be comprehended “in the present” (présence). He considers the play of a literary text as a particular of a more general semantic play (in the work “Structure and play in the discourse of the humanities”) and transfers the concept of play to art (discussions about Mallarm and F. Sollers). Derrida pays special attention to the associative play of intertextual and verbal fields, individual words, the musical-phonetic play of syllables, vowels, and consonants.

Thus, in the last third of the 20th century, Hesse's Game is no longer presented exclusively as a play of the novelist's imagination, an absolute utopia. The humanities of post-nonclassical, postmodern orientation, which are actively merging with artistic practice, which are losing their traditional generic and specific boundaries (see Avant-garde), are more and more attuned to the playful character in the spirit of the “glass bead game”, preparing the ground for the emergence of one of its modifications ... Active use in various spheres of mathematical "theory of games", business games, game situations, transferring games to non-gaming activities, game therapy, game training, etc., as well as global computerization of culture with access to virtual reality also work in this direction.

Lit .: Schiller F. Letters about the aesthetic education of man. - In the book: Schiller F. Articles on aesthetics. M.-L., 1935, p. 200-93; Neumann J., Morgenstein O. Game theory and economic. M., 1968; Gadamer X. -G. Truth and Method. Fundamentals of Philosophical Hermeneutics. M., 1988; Huizinga I. Homo ludens. In the shadow of tomorrow M., 1992; Bern E. Games People Play. People who play games. L., 1992; Krivko-Apinyan T. A, World of the game. SPb., 1992; Buytendiyk F. Das Spiel. Fr. / M., 1958; Fink E. Spiel als Weltsymbol. Stuttg. 1960; Capora A., Mitchell E. The Theory of Play. N. Y 1961; Caillais R. Man, Play and Games. L., 1962; Heidemann I. Der Begriff des Spiels und das ästhetische Weltbild in Philosophie der Gegenwart. B., 1968; Game, Play, Literature, ed. J. Ehrmann. - In: Yale French Studies, vol. 41. New Haven 1968; Kowat ^ ki I. Dei Begriff des Spiels als ästhetisches Phänomen. Von Schiller bis Benn. Bern, 1973; Auctor Ludens. Essays on Play in Literature, ed. G. Guinness, H. Andrew. Phil. 1986; Hutchinson P. Garnes Authors Play. L.-N.Y. 1983; Iser W. The Fictive and the Imaginary. Charting Literary Anthropology. Bait., 1993.

V. V. Bychkov, O. V. Bychkov

GAME AS AREA OF ACTIVITY AND LIFE, opposed to a serious, non-playful reality, has a specific symbolic one that allows a person to be free within the game. There are various typologies of games, for example, in psychology, games of small children, role-playing, teenage, adult games, business games are distinguished. In philosophy, (essence), the main functions and place of play in the culture and life of a person are investigated.

The essence of play can be understood by analyzing its role in ontogeny and phylogeny, as well as the spread of play forms of consciousness and behavior in modern culture. Research shows that play is a cultural artifact. The formation of play in ontogenesis is determined by the nature of socialization (upbringing) of a person and the patterns of play behavior that adults demonstrate. Children's games perform several important functions: they make it possible with the help of toys in a symbolic form to realize “blocked” (that is, unfulfilled in ordinary children's life) desires, allow you to create and live (as a rule, in a symbolic form) interesting, significant events for a person , create for the realization of human freedom. With the help of play, the child organizes and assimilates the ever-increasing flow of symbolic information, learns to live in symbolic worlds. In fact, he first masters fabulous and game events, and then real ones. Play is a child's way of mastering and learning about the world, it is not at all arbitrary, but, on the contrary, is indistinguishable from other serious activities of a child - eating, communicating with parents, etc. layer of reality - real relationships (events) and game. In role-playing games, a teenager learns to act according to the rules (and from the rules, LeviStros argued, culture begins), to take on and carry out playing roles, to negotiate, argue, command, obey, participate in resolving conflicts inevitable in a collective game. In the role-playing games, the prerequisites of mental realities and human personality are formed. If for children, as Friedrich Frebel wrote, play is the main element of life, then for adults it is nothing more than one of life activities that helps to relax, have fun, and realize blocked desires. A game for an adult is, as a rule, a means that facilitates certain personal tasks: self-realization, influence on another, raising one's prestige, etc. At the same time, other functions of the game are preserved - creating an interesting reality, the need for freedom, the realization of blocked desires.

In modern culture, the importance of the game has increased significantly. This is not least due to the rethinking of the meaning of symbolic forms of life (art, play, dreams, fantasies, etc.), as well as the cultivation of the values of freedom in its most diverse meanings. Studies of recent decades in philosophy and the humanities show that symbolic is not just mimesis, that is, a secondary and image of something that exists, but, on the contrary, an independent and reality, in the bosom of which both events and a person are born and change. The ever-increasing role of the semiotic mediated ™, the ability to live fully in the field of art, play, fantasy, the narrowing of the zone of life forms based on experience, new ideas about existence and reality, including the change and "play" of positions and points of view - these and many other moments of modern cultures, noted, in particular, in the philosophy of postmodernity, create a fertile ground for both new interest in the phenomenon of play, and for its study.

V. M. Razin

New Encyclopedia of Philosophy: In 4 vols. M .: Thought. Edited by V.S.Stepin. 2001 .

Synonyms:

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Olesya Borovikova
Play as a human activity

1. The concept of gaming activities

Consider what is activities in general and play activities in particular... L. M. Fridman and I. Yu. Kulagina find: "under activities the activity of the subject is understood, aimed at changing the world, at the production or generation of a certain object-oriented product of material or spiritual culture ”,.

A. V. Petrovsky says that activity is internal(mental) and external (physical) activity human regulated by a conscious goal. Target activities- its focus on a certain result, certain knowledge, skills and abilities acquired in the process activities... All authors distinguish three main types activities: game, educational and labor. "Playroom activity - the simplest form of activity- a kind of reflection of life, a means of cognition of the surrounding world ”. In an active form of play, the child deeper learns the phenomena of life, the relationship of people.

Concept « a game» includes a huge range of ideas, and different authors have their own approach to the interpretation of this definition.

So, for example, according to D.G. Mead the game is a process in which the child, imitating adults, perceives their values and attitudes and learns to perform certain roles.

ND Ushinsky notes that « game - development of the soul» , and L. S. Vygotsky characterized play as the first school of raising a child, as the arithmetic of social relations. There are original wordings of the term « a game» .

H. Hoagland believes that “understanding the atom is childish a game compared to understanding children's play. " One cannot but agree with the opinion of J. Kollarits that what: “The exact definition of the game is impossible, any search for such definitions must be qualified as "Science games" the authors themselves.

Research into game theory began in the second half of the 19th century, and the most significant, in our opinion, are the works of K. Gross, G. Spencer, F. Boytendak, E. L. Pokrovsky, F. Schiller, F. Frebel, K. Buhler and many others.

K. Gross in his works creates a theory of the origin of the game as an exercise, training the skills necessary man for life support.

H. Spencer's theory is based on the fact that the appearance of the game is associated with "Excess of strength", which Human does not waste in the process of its life activity... This contradiction is refuted by the opinion of the German psychologist M. Lazors, who came to the conclusion that in order to regain his strength spent in the process of labor activities, man plays.

Many Soviet scientists in the 20-30s were also engaged in the development of the theory of the game, as the most important means of all-round development and education. human... But scientific research has mainly focused on the study of play as a method of self-education.

If we turn to the decoding of the concept « a game» , then the Russian Encyclopedic Dictionary of 1877 refers to round dances, sports, gladiator fights, horse lists and even demonstrations of animals in the circus.

In the Great Encyclopedia, edited by S. Yuzhakov, the concept a game is defined as an occupation that has no practical purpose and serves for amusement or amusement, as well as the practice of certain arts.

The most detailed definition of the concept « a game» gives V.I.Dal in his Explanatory Dictionary of the Living Great Russian Language. " A game... what play and what do they play: fun, set in directions, and things for that employees. "

Modern approaches to the concept « a game» are considered in the works of E. Bern, I. Huizing, A. Leontiev, D. Elkonin, I. Kohn, S. Shmakov, P. Ershov.

The creators of the theory of psychoanalysis identify three main motives that lead person to play... The first is the drive for repetition, thereby indirectly solidarizing with the theory of exercises by K. Gross. The second is the drive for liberation, the removal of obstacles that fetter freedom, indicating the psychological and individual nature of the need for play. And the third is the drive to merge with the community and the surrounding world.

In the published edition "Needs human» P. M. Ershov, published in 1990, the author proposes to consider the game as one of the transformations of the need inherent in all higher animals and man- the need for armament (auxiliary needs in the accumulation and improvement of the means to meet their needs.

A. N. Leontiev believes that a game- freedom of personality in the imagination, "Illusory realization of unrealizable interests"... But no matter how different authors interpret the term « a game» , she has always been one of the leading forms of development of mental functions human and the way of real knowledge of the world. Play is an activity, arising at a certain stage of ontogenesis and aimed at recreating and assimilating social experience, in which self-management of behavior develops and improves.

An attempt to derive your definition in a wide variety of concepts « a game» , made by scientists of the XIX-XX centuries, is considered by us inappropriate, as it can simply replenish the terminological range. However, we will focus on a number of provisions that outline the boundaries of this phenomenon. (after T. S. Bibartseva):

- a game there is a certain action: physical, emotional, intellectual, social or otherwise;

- a game initiated by an internal need for something or: rest, study, and so on, but without the energetic charge of the motivational sphere the game cannot take place;

- the game is not only"School" communication, but also the school of interaction between specific players;

- a game- an optional and kind of irresponsible activity, since it is always carried out not in a real, but in a conditional deliberately fictional situation.

With the term « a game» closely related term "Playroom activity» ... IN human practice play activity takes a leading place, especially in childhood, and it is characterized by such functions, how: entertaining, sociocultural, diagnostic, corrective, communicative, socializing, educational, cognitive, self-realization, game therapy. The last of the above plays important, as it helps to overcome various difficulties arising in other types human life.

Given that the game activity is always voluntary and includes elements of competition and opportunities for self-realization, to the structure of the game as activities include the setting and implementation of goals, planning, analysis of results. Playroom activity is an important means of mastering various life situations. In the course of the game, not only abilities are realized and stimulated human, but consciousness is also activated, the subconscious is liberated. It is the game activity promotes rapid assimilation and consolidation of information used in the game. It is no coincidence that role-playing and business games used in the educational process have recently become popular.

Thus, to the main characteristics of the game activities include: availability, activity, progressiveness, competitiveness, emotional elation, adaptability, improvisation, voluntariness, creativity, pleasure.

2. Types of play activities

Since the game activity- This is a natural need for a child, which is based on the intuitive imitation of adults. A game is necessary to prepare the younger generation for work, it can become one of the active methods of teaching and upbringing.

Games can be divided according to the age characteristics of children:

1) games of preschool children.

Leading activities preschool child is a game... Arising on the border of early childhood and preschool age, role-playing a game intensively develops and reaches its highest level in its second half. In play, the role is used as a mediating link between the child and the rule. Accepting a role makes it much easier for a child to follow the rules.

In terms of content, the games of children of the third and fourth years of life are diverse. A large place is occupied by mobile games (catch-up, hide-and-seek, manipulative with objects (moving objects, rolling toys)... Children are very fond of playing with sand and water; by the fourth year of life, children make not only meaningless movements with building material, but also try to design something. In the third year of life, the desire of children for collective games.

In the middle preschool age, creative storytelling begins to prevail in children. a game, moreover, both the plots, or themes of these games, and their content (action revealing the plot) become more and more diverse, reproducing the phenomena of everyday, industrial, social life, as well as the material of fairy tales and stories.

By the age of 6-7, thanks to the accumulation of life experience, the development of new and relatively more stable interests, imagination and thinking, children's games become more meaningful and more complicated in form.

Often, the plots of children are the events of school life, that is, a game"to school" being a close prospect for older preschoolers.

2) games of primary school children

At the age of 6-7 years, the child begins a period of change of the leading type activities- the transition from play to directed learning (D. B. Elkonin - "7 years crisis"). Therefore, when organizing the daily routine and training activities younger schoolchildren, it is necessary to create conditions conducive to a flexible transition from one leading type activities to another... Solving this problem, you can resort to extensive use of the game in the educational process. (cognitive and didactic games) and during rest.

In primary school age role-playing games continue to occupy an important place. They are characterized by the fact that, playing, a schoolboy, takes on a certain role and performs actions in an imaginary situation, recreating the actions of a specific human... So role playing a game acts as a means of self-education for a child.

The educational value of plot games among younger schoolchildren is fixed in the fact that they serve as a means of cognizing reality, creating a team, fostering curiosity and forming volitional feelings of the individual.

At this age, outdoor games are common. Children having fun playing with a ball, run, climb, that is, those games that require quick reactions, strength, dexterity. Such games there are usually elements of competition, which is very attractive for children.

Children of this age have an interest in tabletop games as well as didactic and cognitive. They have the following elements activities: game problem, game motives, educational problem solutions.

Didactic games can be used to improve the performance of first grade students.

Throughout primary school age in children games significant changes: playing interests become more stable, toys lose their attractiveness for children, sports and constructive games begin to come to the fore. Less time is gradually devoted to the game, since in the leisure of the younger student, reading, visiting the cinema, and television begin to occupy a large place.

Educationally well-organized a game mobilizes the mental capabilities of children, develops organizational skills, instills self-discipline skills, brings joy from joint actions.

3) games of adolescent children

This age is very often called "Difficult", transient. The peculiarity of the social situation of adolescent development is that he is included in a new system of relations and communication with adults and peers, taking a new place among them, performing new functions. At this age, the dominant need becomes the need for communication with peers and the need for self-affirmation.

In order to gradually transition from childhood to adulthood, a special transitional form is required life of adolescents.

Playroom activity adolescents are different from play activities children of primary school age. Apparently, the fact that in it he does not act exactly as he can and is able, but in new conditions he reveals his capabilities, previously unclaimed. A game offers a new environment for a teenager, not an adult game.

Sports games play an important role in adolescence. They are attractive to students of this age for their sharpness and combat purposefulness, the ability to show their physical qualities, as well as willpower.

In the game activities adolescents come to the fore with ingenuity, orientation, courage. The teenager shows increased requirements for the exact observance of the rules of the game and for the quality of the game activities, he wants not just play and master "Skill" games, that is, to develop the skills necessary for it in the game, to develop certain personal qualities.

Some teenagers like construction games more, for example, construction.

However, these meaningful games do not exhaust all the educational possibilities of the game. activities that can be used in working with teenagers.

4) training games for older teens

Game training is conventionally called a system of game exercises for teaching communication. Its purpose is psychotherapeutic. These games are conducted using a special methodology. The main thing here is what direction the leader gives in each game exercise.

Due to the fact that older teens are very interested in their personality, it is possible for them to organize "Psychological games"... The goal of the training should be formulated directly to schoolchildren, for example, to learn to understand other people, evaluate, understand, overcome and reveal oneself.

There are different types games: mobile, didactic, games - dramatization, constructive.

In early childhood, elements of role play arise and begin to form. In role-playing games, children satisfy their desire for living together with adults and, in a special, playful way, reproduce relationships and work adult activities.

Leontiev A.N., D. B. Elkonin, A. V. Zaporozhets called the role-playing game the leading activities preschool child. Role-playing a game arises and exists in connection with other types of children's practices: primarily with observations of the surrounding life, listening to stories and conversations with adults.

Role-playing a game consists in the reproduction by children of the actions of adults and the relationship between them. That is, in play, the child models adults and their relationships.

In addition to this type of game, the preschooler learns games with rules that contribute to the child's intellectual development, the improvement of basic movements and motor qualities.

In preschool age, there are three classes of games:

- games initiated by the child - amateur games;

- games that arise at the initiative of an adult who implements them for educational and educational purposes;

- games that come from the historically established traditions of the ethnos - folk games that can arise both at the initiative of an adult and older children.

Each of the listed classes of games, in turn, is represented by species and subspecies. So, in the first class are included:

Creative role-playing games. Concept "Creative a game» covers role-playing games, dramatization games, construction-constructive games.

Role-playing a game- This is the main type of game for a preschool child. It has the main features games: emotional saturation and enthusiasm of children, independence, activity, creativity.

Dramatization games. They share the basic features of creative games: the presence of a plan, a combination of role-based and real actions and relationships and other elements of an imaginary situation. Games are based on literary works: the plot of the game, the roles, actions of the characters and their speech are determined by the text of the work. A game dramatization has a great impact on a child's speech.

Building construction games are a kind of creative play. In them, children reflect their knowledge and impressions of the world around them. In construction and design games some items are replaced others: buildings are erected from specially created building materials and constructors or from natural materials (sand, snow).

In preschool pedagogy, it is customary to divide games with ready-made content and rules into didactic, mobile and musical ones.

Didactic games are a type of games with rules specially created by a pedagogical school for the purpose of teaching and educating children. Didactic games are aimed at solving specific problems in teaching children, but at the same time, the educational and developmental influence of play appears in them. activities.

Outdoor games. They are based on a variety of movements - walking, running, jumping, climbing, etc. Outdoor games satisfy the growing child's need for movement, contribute to the accumulation of various motor experience.

Traditional or folk games. Historically, they have formed the basis of many games related to learners and leisure. The subject environment of folk games is also traditional, they are themselves, and are more often presented in museums, and not in children's groups. Studies carried out in recent years have shown that folk games contribute to the formation of universal generic and mental abilities in children. human(sensorimotor coordination, arbitrariness of behavior, the symbolic function of thinking and others, as well as the most important features of the psychology of the ethnos that created the game.

Having studied the classification and characteristics of the main types of games, we can conclude that the game activity- an integral part in the development of personality.

3. Functions and significance of the game activities in human life

Play is a special kind of human activity... It arises in response to the social need to prepare the younger generation for life.

For games to become a true organizer of people's lives, their active activities, their interests and needs, it is necessary that in the practice of upbringing there was a wealth and variety of games. Children's life can be interesting and meaningful if children have the opportunity play different games, constantly replenish your gaming luggage.

Each particular type of game has numerous variations. Children are very creative. They complicate and simplify well-known games, come up with new rules and details. They are not passive towards games... This is always a creative inventive for them. activity.

Children's games for the entire period of the Soviet formation were not collected, were not generalized, which means they were not classified. The famous psychologist A. N. Leontiev is right, asserted: “... to approach the analysis of a specific game child activities, you need to take the path of a non-formal list of those games that he plays, but to penetrate into their real psychology, into the meaning of the game for the child. Only then will the development of the game appear for us in its true inner content. "

Children's games are characterized by the following features:

1. a game is a form of active reflection by the child of the life of people around him;

2.A distinctive feature of the game is the very way that the child uses in this activities;

3. a game like any other human activity, has a social character, therefore it changes with changes in the historical conditions of people's life;

4. a game is a form of creative reflection of reality by a child;

5. a game there is the manipulation of knowledge, a means of clarification and enrichment, a path of exercise, and hence the development of the cognitive and moral abilities and forces of the child;

6.in expanded form a game is a collective activity;

7.Diversifying children, herself a game also changes and develops.

A game as a function of culture, along with work and learning, is one of the main types human activities... G.K.Selevko defines the game as "a kind activities in situations aimed at the recreation and assimilation of social experience, in which self-management of behavior is formed and improved ”.

Most researchers agree that in people's lives a game performs such essential functions, how:

1. entertaining (the main function of the game is to entertain, please, inspire, arouse interest);

2.communicative: mastering the dialectics of communication;

3.for self-realization in the game as in "Polygon human practice» ;

4.therapeutic: overcoming various difficulties arising in other types life activity;

5.diagnostic: identification of deviations from normative behavior, self-knowledge during the game;

6.correctional: making positive changes in the structure of personality indicators;

7.Inter-ethnic communication: assimilation of socio-cultural values common to all people;

8.socialization: inclusion in the system of social relations, assimilation of norms human community.

Thus, a game accompanies development human, starting almost from his first steps, when he differs from higher animals only in his unrealized inclinations, to the heights of his purely human activity... But accompanying a person all the way, a game does not always occupy the same place in his needs. The role of play increases from early childhood to youth and adulthood. Here, the need for armament is usually dominant. Further a game gradually yields to other transformations of the same need for armament, sometimes competing with them more or less successfully for some time. But when these other transformations are successful in their role, a game is gaining strength again - at a person has leisure! It is now that the relationship of play with artistic creativity appears. An artist, fully armed with skill, creates, playing; high acting art is not only conventionally called a game, but in its improvisational essence it is really like a game. Stanislavsky even likened it to a child's play.

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The concept of play in pedagogy
In modern society, play is the most important part of the organization of education and leisure of people at different age stages.
The functions of the game are:
educational - the game develops general educational skills and abilities;

entertaining - by means of the game, a favorable atmosphere is created in the learning process, which contributes to the fascination of the material being studied;

communicative - using the game allows you to unite children and adults, establish emotional contact, and form communication skills;

relaxation - the game allows you to relieve emotional (physical) stress, which is caused by stress in educational or work activities;

self-expression - allows, during the game, the realization of creative abilities, a more complete disclosure of their potential;

compensatory - the game allows you to create conditions that satisfy personal aspirations, which are impracticable or difficult to fulfill in reality.

The motive of the game is not the result, but the process itself. For a child, play is a means of promoting self-realization and self-expression.
Types of games
Various classifications of games are presented in modern literature. In accordance with the content and characteristics, the following types of games can be distinguished.
Role-playing games- this game is created by the children themselves under the guidance of an adult. The basis of this type of games is the presence of children's amateur performances. Sometimes this type of games is called creative, since when the game is deployed, it is not the copying of actions that takes place, but creative comprehension, reproduction in the created image, game actions.
Building games are a kind of plot-based role-playing. The main content of the construction game is the implementation of various buildings that reflect the surrounding life, as well as the implementation of various actions with them.
Theatrical play- the type of games involving spectators (peers, younger children, parents). In the process of games of this type, skills are formed with the help of visual means (intonation, facial expressions, gestures) of accurate reproduction of the idea of a work of art and the author's text. This type of play is quite difficult, therefore, the constant participation of adults is necessary.

Also in pedagogy, games with rules are distinguished - didactic games, outdoor games. The basis of this type of games is the presence of a clearly defined program content, a didactic task, and the purposefulness of teaching. Didactic games are used to teach children the techniques of comparing and grouping objects according to their appearance, according to their intended purpose, serve as a means of fostering concentration, attention, perseverance, and contribute to the development of cognitive abilities.
Requirements for the organization of the game
Freedom and voluntariness to include children in the game.

Providing an understanding of the meaning and content of the game, its rules, the idea of each role.

Coincidence of the meaning of game actions with the content and meaning of behavior in a real situation.

Compliance in the game with the norms of morality accepted in society, based on humanism, universal human values.

Remark 2

The game is organized and directed by adults, if necessary, it is restrained, but not suppressed, it is necessary to provide each participant in the game with the opportunity to take the initiative.
After the end of the game, an analysis is carried out, as a result of which the content or rules may be revised.

The spiritual life of a child is full only when he lives in the world of play, fairy tales, music, fantasy, creativity. Without this, he is a dried flower.

V. A. Sukhomlinsky

DEFINITIONS OF THE TERM "GAME"

IN THE HISTORY OF PEDAGOGY AND PSYCHOLOGY

Many scientists have tried to define the concept of "game".

Until the nineteenth century. play was considered as any activity of a child that does not pursue the goal of obtaining results, conducted for pleasure, "not seriously."

Karl Gross was the first author who tried to give a scientific definition of play and classify children's games, to find a new psychological and pedagogical approach to them. He showed that experimental games stand in a different relation to the child's thinking and to his future purposeful non-play actions than symbolic games, when the child imagines that he is a horse, hunter, etc.

P.P. Blonsky in the 30s of the twentieth century argued that play is only a general name for the most diverse activities of a child, believing that "play at all" does not exist, there is no type of activity that would fit this concept, because the very concept of play is a concept adults, for a child everything is serious. And this concept must be banished from psychology.

In contrast, D.B. Elkonin, who created one of the most harmonious psychological theories of play, argued that play should be viewed as a completely unique activity, and not as a collective concept that unites all types of children's activities.

One of the definitions: play is a kind of attitude towards reality, which is characterized by the creation of imaginary situations or the transfer of the properties of some objects to others, - it makes it possible to correctly solve the issue of play in early childhood. Research shows that games with transferring meanings, with imaginary situations, appear in their embryonic form only in the third year of a child's life.

V. Stern introduced the concept of Ernstspiel (serious play) into psychology and applied it to adolescence, pointing out that such games are of a transitional nature between play and a serious attitude to reality and are a specific type of activity.

L.S. Vygotsky says that the criterion of play is the presence of an imaginary situation. What is an imaginary situation? This is a situation in which there is a discrepancy between the imaginary field and the semantic field. For example, a child may "think" that dad's belt is a snake, and a kettle is a locomotive. There is a discrepancy between the imaginary and the real: the belt is not a snake, but it is assumed that everything is so. The leading link in play is imagination, therefore, according to Vygotsky, play also begins at the age of three, when the child begins to deliberately fantasize.

So, the GAME is the activity of an individual aimed at the conditional modeling of a certain expanded activity.

For a person, a GAME is a form of activity in conditional situations, aimed at recreating and assimilating social experience, fixed in socially fixed ways of implementing objective actions, in the subjects of science and culture.

In play, as a special form of social practice, the norms of human life and activity are reproduced, obedience to which ensures the cognition and assimilation of objective and social reality, as well as the intellectual, emotional and moral development of the individual.

This is one of the most important functions of the game - to teach the child to remember and follow the rules, another function of the game is to form a holistic picture of the world. Living in the role of a fictional character, the child learns to understand the emotions and states of other people. The independent and main value of the game is that in it the child models his future life and himself, what he wants to be. And of course the game teaches baby believe in yourself. In the game, children acquire communication skills.

In play, the child's voluntary behavior is formed and socialized.

A characteristic feature of the game is its duality, which is also inherent in dramatic art, the elements of which are preserved in any collective game:

The player performs real activities, the implementation of which requires actions related to the solution of very specific, often non-standard tasks;

A number of aspects of this activity are conditional in nature, which allows one to abstract from the real situation with its responsibility and numerous life circumstances. The duality determines the developmental effect of the game.

So, as a generalization, remember two definitions of the game -

Psychological: "Play is an activity in a conditional situation aimed at recreating and assimilating social experience"

Didactic: “Play is a form of educational activity that imitates certain practical situations and has a two-pronged nature: on the one hand, the player performs real activity, on the other hand, a number of aspects of this activity are conditional in nature, allowing one to escape from the real situation with its responsibility and regulating circumstances ".

GAME CLASSIFICATIONS

There are many classifications of games according to various criteria and characteristics. Strictly speaking, there is no single classification: “own” is developed in preschool pedagogy, practical psychology, in additional education, etc.

The basic classification of games is reflected by the abbreviation ADIK. Games are subdivided into: A - gambling, D - didactic, I - informational, K - combinatorial. All existing games contain, as a rule, a combination of these classification elements.

TYPES OF GAMES

The classification of games that we use in our work on the organization of educational work and children's leisure is related to the very specificity of the methodology and technology of working with the students of the association.

Let's take a look at the following types of games:

EMOTIONAL SENSOR GAMES

These are games based on the development of the sensory and emotional sphere of the child's personality (along the way, of course, they are able to solve educational problems, the tasks of educating communicative, volitional, creative abilities, etc.)

MIND GAMES

They are focused on the development of non-standard independent thinking, logic, intuition, sense of humor, intellectual reaction.

CREATIVE GAMES

They contribute to the development of an associative, non-standard, constructive-modeling view of the world, imagination and fantasy, the desire for creativity in the process of life.

OUTDOOR GAMES

These games develop a sense of rhythm, thought, communication skills, imagination, will, attention, physical qualities, coordination of movements, endurance, will, etc. One of their most important features is their variability and the possibility of complication.

ROLE-PLAYING GAMES

Long-term games, "the symbolic twin of group relationships" or the basis of a long-term leisure program. Their use is advisable in a close-knit group, where a "common style" of children's life has already been formed.

The plot of the game is based on a literary work, film, etc., loved by all children. children choose roles for themselves - "names", play the style of behavior, specific actions of the heroes of the game (correspondence, "keeping a logbook", a greeting ritual, etc.). In the course of such a game, many symbolic objects appear, and the “list of heroes” can be replenished with new ones invented by the children themselves. The game often arises "from within" the team. The role of the teacher is to notice the general interest of the children and use it for pedagogical purposes, having himself connected to the game as one of the participants (naturally, having found an adequate role for himself).

BUSINESS AND ORGANIZATIONAL AND ACTIVITY GAMES

Business games are a form of recreation of the subject and social content of professional activity, modeling of relations typical for this type of work;

Organizational-activity games - "collective thought activity", a game that contributes to the formation of ideas about the ways and methods of thinking used by people performing common activities in everyday life.

The creative activity of the individual in such games is due to the fact that they allow you to feel the significance of your "I", there is a release of tension, indecision and an increase in "mobilizing tension" on the basis of increased interest in the game process.

There should be few basic rules in such a game; they should be presented together with the tasks of the playing groups in verbal or blank (graphic) form, combining real and game context. The players are divided into several game groups, each of which also has its own roles (plot and psychological: initiators, leaders, critics, accountants). As examples of business games, one can cite such as "Theater Project", "Philharmonic", "Self-Government Day", etc.

It is clear that the game can be used both in the classroom and during breaks, in leisure activities. A very successful technique is inventing games together with children (both as a means of developing their creative potential, and as a means of diagnosing and consolidating educational material).

Many scientists have tried to define the concept of a game. The old definition of play, as any activity of a child that does not pursue obtaining results, considers all these types of child's activity to be equivalent to each other. Whether a child opens the door, plays horses, from the point of view of an adult, he does both for pleasure, for play, not seriously, not in order to get something. All this is called a game.

K. Gross was the first author who tried to clarify the question of the definition of the game. He tried to classify children's games and find a new approach to them. He showed that experimental games stand in a different relation to the child's thinking and to his future purposeful non-play actions than symbolic games, when the child imagines that he is a horse, a hunter, etc. One of Gross's students, A. Weiss, tried to show that various types of play activity are extremely far from each other, or, as he put it, have little in common psychologically. He had a question: is it possible to use one word "play" to name all the various types of such activities (L. S. Vygotsky, "Early Childhood")?

P. P. Blonsky believes that play is only a general name for the most diverse activities of a child. Blonsky probably goes to extremes in this statement. He is inclined to think that "play at all" does not exist, that there is no type of activity that would fit this concept, because the very concept of play is the concept of adults, but for a child everything is serious. And this concept must be banished from psychology. Blonsky describes the following episode. When it was necessary to instruct one of the psychologists to write an article "Game" for the encyclopedia, he said that "game" is a word behind which nothing is hidden and which must be banished from psychology.

It seems fruitful thought, DB Elkonina regarding the dismemberment of the concept of "game". Play should be viewed as a completely unique activity, and not as a collective concept that unites all types of children's activities, in particular, and those that Gross called experimental games. For example, a child closes and opens the lid, doing this many times in a row, knocking, dragging things from place to place. All this is not a game in the proper sense of the word. We can talk about whether these activities are not worth each other in the same relation as babbling in relation to speech, but, in any case, this is not a game.

The positive definition of play, which is brought to the fore with this idea, is very fruitful and corresponding to the essence of the matter, namely that play is a kind of attitude towards reality, which is characterized by the creation of imaginary situations or the transfer of the properties of some objects to others. This makes it possible to correctly resolve the issue of play in early childhood. There is not that complete absence of play that characterizes infancy from this point of view. In early childhood we meet with games. Anyone would agree that a child of this age feeds, nurses a doll, can drink from an empty cup, etc. However, it would be dangerous not to see a significant difference between this "play" and play in the proper sense of the word in preschool age - with the creation of imaginary situations. Research shows that games with transfer of meaning, with imaginary situations, appear in their infancy only towards the end of an early age. Only in the third year do games appear related to the introduction of elements of imagination into the situation.

Play, along with work and learning, is one of the main types of human activity, an amazing phenomenon of our existence.

By definition, a game is This is a type of activity in the context of situations aimed at recreating and assimilating social experience, in which self-management of behavior develops and improves.

In human practice, play activity performs the following functions:

- Entertaining (this is the main function of the game - to entertain, please, inspire, arouse interest);

- Communicative: Mastering the dialectic of communication;

- Self-realization In the game as a training ground for human practice;

- Game therapy: Overcoming various difficulties arising in other types of life;

- Diagnostic: Revealing deviations from normative behavior, self-knowledge during the game;

Function Corrections: Making positive changes in the structure of personal indicators;

- International communication: Assimilation of social and cultural values common to all people;

- Socialization: Inclusion in the system of social relations, the assimilation of the norms of human community.

Most games have four main features (according to S. A. Shmakov):

Free Developing Activity, Taken only at the request of the child, for the sake of pleasure from the very process of activity, and not only from the result (procedural pleasure);

Creative, Largely improvisational, very active Character This activity ("field of creativity"); R. G. Khazankina, K. V. Makhova and others.

Emotional elation Activities, rivalry, competitiveness, competition, attraction, etc. (the sensual nature of the game, "emotional stress");

Availability Direct or indirect Of the rules Reflecting the content of the game, the logical and temporal sequence of its development.

Into the structure of the game as Activities Goal-setting, planning, goal implementation, as well as the analysis of results, in which a person fully realizes himself as a subject, is organically included. Motivation of play activity is provided by its voluntariness, choice opportunities and elements of competition, satisfaction of the need for self-affirmation, self-realization.

The structure of the game as a process includes:

A) the roles taken on by the players;

B) play actions as a means of realizing these roles;

C) the playful use of objects, that is, the replacement of real things by playful, conventional ones;

D) real relationships between the players;

In a modern school that relies on the revitalization and intensification of the educational process, play activity is used in the following cases:

As independent technologies for mastering a concept, topic, and even a section of a subject;

As elements (sometimes quite essential) of a broader technology;

As a lesson (lesson) or part of it (introduction, explanation, consolidation, exercise, control);

As a technology for extracurricular activities (games such as "Zarnitsa", "Eaglet", KTD, etc.).

The concept of "play pedagogical technologies" includes a fairly extensive group of methods and techniques for organizing the pedagogical process in the form of various Educational games.

Unlike games in general A pedagogical game has an essential feature - a clearly defined learning goal and a corresponding pedagogical result, which can be substantiated, explicitly singled out and characterized by an educational and cognitive orientation.