Gianni Rodari described a well-known combinatorial method of fantasizing, giving it a name - Binom of fantasy:

“The story can only arise from the 'binome of fantasy'. "Horse - dog", in essence, is not a "fantasy binom". It's just a simple association within one species of animal. At the mention of these two quadrupeds, the imagination remains indifferent. This is a major third-type chord, and it does not promise anything enticing.

It is necessary that the two words be separated by a certain distance, so that one is sufficiently alien to the other, so that their proximity is somehow unusual - only then will the imagination be forced to become more active, trying to establish a relationship between the indicated words, to create a single, in this case fantastic, whole, in which both foreign elements could coexist. That is why it is good when the “fantasy binomial” is determined by chance.

Let two words be dictated by two children so that one does not know what the other has said; or you can resort to drawing lots, or let a child who cannot read point his finger at the far-separated pages of a dictionary.

When I was a teacher, I called two students to the board, one asked to write a word on the visible side of the board, the other on the back. This little preparatory ritual had a certain meaning. He created an atmosphere of tense expectation, surprise. If a child wrote the word “dog” in front of everyone, then it was already a special word, ready for a certain role in an unusual situation, in order to become a participant in some unforeseen event. "Dog" was no longer just a quadruped, he was the hero of an adventure, a fictional character wholly at our disposal. Turning the board, we found, suppose, the word "cupboard". The children greeted him with an explosion of laughter. The word "platypus" or "tetrahedral" would not have such success. Taken separately, the word "wardrobe" will not make you laugh or cry. It is inert, colorless. But the "closet" paired with the "dog" is a completely different matter. This is a discovery, an invention, a stimulus.

Many years later I read Max Ernst's rationale for his idea of ​​"systematic bias". Ernst used just the image of the cabinet, which De Chirico painted it - in the middle of a classical landscape, surrounded by olive trees and Greek temples. Being "displaced", having got into an unusual context, the cabinet turned into some kind of mysterious object. Maybe there were clothes hanging in this closet, maybe not. The fact is that the closet was full of attraction.

Viktor Shklovsky describes "deletion" effect, achieved L.N. Tolstoy when he speaks of an ordinary sofa in words that a person would use who had never seen a sofa before and had no idea how to use it.

In the "fantasy binomial" words are taken not in their usual meaning, but freed from the linguistic range in which they appear everyday. They are "detached", "displaced", snatched away and hovering in a hitherto unseen firmament. These, in my opinion, are the negative conditions for the birth of an entertaining story.

So, let's take all the same two words: "dog" and "wardrobe". The easiest way to articulate them is to resort to the help of a preposition. Thus, we will get several pictures:

dog with closet
dog cabinet
dog on the closet
dog in the closet, etc.

Each of these pictures can serve as the basis for inventing a specific situation:

1. A dog is running down the street with a wardrobe on its back. It's his booth, so it's nothing special. He always carries it around like a snail with a shell. And so on and so forth, according to your understanding.

2. Dog Wardrobe: such an idea, most likely, can inspire an architect, designer, specialist in rich interiors. "Dog's closet" is designed to store dog clothes, a set of muzzles and leashes, warm slippers, a pompom collar, rubber bones, toy kittens, a city guide (so that the dog goes for milk, a newspaper and cigarettes for the owner). No plot on this topic comes to my mind.

One word comes to life only when it meets another that provokes it, forcing it to go off the rails of habit, to reveal new semantic possibilities. There is no life without struggle. Imagination is by no means a separate part of the mind, it is the mind itself, one with it, and is realized by the same methods in the most diverse areas. The mind is born in struggle, not in peace. Henri Vallon in his work "The origins of thinking in children" writes that thought arises from paired concepts. The concept of “soft” appears not before and not after the appearance of the concept of “hard”, but simultaneously with it, in the process of their collision, which is creation. “The basis of thought is its dual structure, and not its individual elements. A pair, a deuce, arose earlier than a single element.

So, in the beginning there was opposition. The same opinion is shared by Paul Klee when he writes in his Theory of Form and Image that “a concept is inconceivable without its opposite; there are no concepts by themselves, as a rule, we are dealing with “binomials of concepts”.

A story can only arise from the "binome of fantasy."

It is necessary that the two words be separated by a certain distance, that one be sufficiently alien to the other, that their proximity be somewhat unusual - only then will the imagination be forced to become more active, striving to establish a relationship between the indicated words, to create a single, in this case fantastic, whole, in which both foreign elements could coexist. That is why it is good when the “fantasy binomial” is determined by chance. Let two words be dictated by two children so that one does not know what the other has said; or you can resort to a lottery.

I called two students to the board, one asked to write the word on the visible side of the board, the other on the back. This little preparatory ritual made some sense. It creates an atmosphere of intense expectation, surprise. If a child wrote the word “giraffe” in front of everyone, then it was already a special word, ready for a certain role in an unusual situation, in order to become a participant in some unforeseen event. The "giraffe" was no longer just an animal, he was the hero of an adventure, a fictional character wholly at our disposal. Turning the board, we found, suppose, the word "kitten". The children greeted him with an explosion of laughter. Taken separately, the word “kitten” will not make you laugh or cry. It is inert, colorless. But a “giraffe” paired with a “kitten” is a completely different matter. This is a discovery, an invention, a stimulus.

In the “fantasy binomial” words are taken not in their usual meaning, but freed from the linguistic series in which they appear everyday. They are “detached”, “displaced”, snatched away and hovering in a hitherto unseen firmament. These, in my opinion, are the optimal conditions for the emergence of an entertaining story.

So, let's take all the same two words: "giraffe" and "kitten".

The easiest way to articulate them is to resort to the help of a preposition and a case. Thus, we will get several pictures:

giraffe with kitten

Giraffe with a kitten

giraffe kitten

Each of these pictures can serve as the basis for inventing a specific situation, and the guys and I decided to dream up on this topic.

1. They're walking down the street giraffe with kitten. They are bosom friends and always come up with something interesting, unusual. In a difficult situation, they help each other, never quarrel. And so on and so forth.
2. One day "giraffe with a kitten" was visiting. Friends decided to play hide and seek. The kitten was the first to hide, and the giraffe had to look for it for a long time, because his little friend could climb into the quietest and most secluded corner of his house, and it was very difficult to find him. You can continue this topic as you wish.

After the guys and I tried to compose several stories with the chosen words, I invited everyone to come up with their own story about “giraffe” and “kitten” right in the lesson. The children were very interested in this activity, as everyone could realize their fantasies and try their hand at inventing fairy tales and stories.

It is worth noting that most of the students coped with this task and enjoyed the writing process. As an example, I propose to get acquainted with two stories of “fantasy binomial”.

“Kitten and giraffe. The giraffe was caught and brought to the zoo. He was very homesick for Africa and other animals. Everyone who came to the zoo saw a sad animal in a cage. One day a kitten came to him. They became friends. But the giraffe was still sad. He told the kitten that he would like to go back to Africa with the little giraffes. The kitten said: "I'll think of something." He flew into the cage to the condor bird and asked him for wings. The condor hasn't flown for a long time. He had spare wings. He gave them to the giraffe. Wings hung on a giraffe, and he flew away from the zoo. The kitten flew with him to Africa.

(Composed by Solovieva Daria)

“Kitten and giraffe.There was a kitten. And he was covered in red spots. And everyone called him Little Giraffe. He had never seen a real giraffe, but he really wanted to get to know him. One day, his mother let him go for a walk alone. And the kitten decided to look for the giraffe. He walked and walked and saw a motley goose behind the bushes and asked: “Are you a giraffe?” "I? - angry goose. - I'm a goose, and no one else! Understood?" “Thank you,” said the kitten. And went on. Walked and walked and came to the circus. A tiger was trained there. The tiger stood up on its hind legs, and the kitten thought that this was a giraffe and asked: “Are you a giraffe?” “No,” the tiger growled in response, “I am a tiger!” And the kitten went on. Walked and walked and came to the zoo. There were different animals, he was looking for a giraffe for a long time. First I found a monkey, then a leopard, and finally I came to a big beast with a long, long neck. He had the same red spots as a small kitten. And the kitten decided to get to know him: “You must be a big cat?” “No,” said the big spotted beast in surprise. “I am a giraffe!” "Giraffe! Giraffe! It's good that I found you! the kitten jumped for joy. “I am also a giraffe, only a small one.”

And since then they have become friends - Little Giraffe and Big Giraffe.

(Composed by Ivanova Svetlana)

Today I felt a little sad, sat down to write about the new method, but was washed away by a wave of memories. So much so that I came to my senses on the fifth fairy tale ...

As a child (and in my childhood there was neither the Internet nor digital recording), I listened to Melodiya records and read the tales of one strange Italian - Gianni Rodari.

So that you and me are on the same wavelength, here is a fragment of one of his popular fairy tales, about an onion man in a vegetable country:

Why did I remember all this? As befits a creative person, Gianni came up with and used many techniques for developing creative imagination. Among his inventions, there is one built on cause-and-effect chains - "Fantasy Bean". Where "bi", you guessed it, means "two". Remember at least.

How it works?

Two nouns are taken as the basis, between which there is no direct associative connection. In ordinary life, you would never consciously put these two nouns side by side. This distance is necessary for your consciousness to fall into the trap of building associative links and try to establish it between these words. Unified, and almost always fantastic. It is good when the words for this technique are chosen randomly, or suggested by different people. Combine words with each other by changing case endings and using prepositions.

Algorithm for using the binomial

1. Set a goal, for example - to create a new object or modify an existing one;
2. Choose two words that are not primarily related in meaning. If you are modifying an existing object, the first word will be exactly that;
3. Compose and write down all possible combinations of these words, changing prepositions and case endings;
4. Analyze the resulting combinations, and choose the most useful (or the most real of the absurd);
5. Thinking how to implement.

More difficult option

• ×2 - a variant of working in pairs, with each participant working on their own binomial, and then the pair working on combining two binomials

Advantages and disadvantages

• pluses - it really develops your imagination, it's unrealistically fun
• cons - in the field of absurd ideas and concepts it is difficult to find a realizable and effective

On my own example

There are two words at the entrance: system and lemonade, it happened.
We mix:

• systemic lemonade
• system outside lemonade
• lemonade system
• lemonade system
• lemonade system
• lemonade from the system
• lemonade system
• in the lemonade system
• etc.

I highlighted the option that seemed very interesting to me. Imagine that some underground organization has developed a formula for lemonade from the system ...

And now the cartoon!

Fantasy is reality on pause, and the remote control is in your hand. But what is it?! Is he still in cellophane?!

• Gianni Rodari: The Grammar of Fantasy is the very book in which the author writes about the binomial of fantasy as well.
• Ray Bradbury: Zen in the art of book writing is one of the strongest books on creativity I've ever read.
• Vetas Versatile:

We have seen how the theme for fantasy - the starting point of the story - arose from a single word. But that was more of an optical illusion. In fact, one electric charge is not enough to create a spark - you need to have two of them. One word (“Buffalo. And the name worked…,” says Montale) comes to life only when it meets another, provoking him, forcing him to go off the rails of habit, to reveal new semantic possibilities. There is no life without struggle. Imagination is by no means a separate part of the mind, it is the mind itself, one with it, and is realized by the same methods in the most diverse areas. The mind is born in struggle, not in peace. Henri Vallon in his work "The origins of thinking in children"

writes that thought arises from paired concepts. The concept of "soft" appears not before and not after the appearance of the concept of "hard", but simultaneously with it, in the process of their collision, which is creation. “The basis of thought is its dual structure, and not its individual elements. A pair, a deuce, arose earlier than a single element.

So, in the beginning there was opposition. The same opinion is shared by Paul Klee when he writes in his Theory of Form and Image that “a concept is inconceivable without its opposite; there are no concepts in themselves, as a rule, we are dealing with “binomial concepts””.

A story can only arise from the "binome of fantasy".

"Horse - dog", in essence, is not a "fantasy binom". It's just a simple association within one species of animal. At the mention of these two quadrupeds, the imagination remains indifferent. This is a major third-type chord, and it does not promise anything tempting.

It is necessary that two words be separated by a certain distance, that one be sufficiently alien to the other, that their proximity be somehow unusual - only then will the imagination be forced to become more active, striving to establish a relationship between the indicated words, to create a single, in this case fantastic, whole, in which both foreign elements could coexist. That is why it is good when the “fantasy binomial” is determined by chance. Let two words be dictated by two children so that one does not know what the other has said; or you can resort to drawing lots, or let a child who cannot read point his finger at the widely spaced pages of a dictionary.

When I was a teacher, I called two students to the blackboard, one asked to write a word on the visible side of the blackboard, the other on the back. This little preparatory ritual made some sense. He created an atmosphere of tense expectation, surprise. If a child wrote the word “dog” in front of everyone, then it was already a special word, ready for a certain role in an unusual situation, in order to become a participant in some unforeseen event. "Dog" was no longer just a quadruped, he was the hero of an adventure, a fictional character wholly at our disposal. Turning the board, we found, suppose, the word "cupboard". The children greeted him with an explosion of laughter. The word "platypus" or "tetrahedral" would not have had such success. Taken separately, the word "wardrobe" will not make you laugh or cry. It is inert, colorless. But the “closet” paired with the “dog” is a completely different matter. This is a discovery, an invention, a stimulus.

Many years later I read Max Ernst's rationale for his idea of ​​"systematic bias." Ernst used just the image of the cabinet, as painted by De Chirico - in the middle of a classical landscape, surrounded by olive trees and Greek temples. Being “displaced”, having got into an unusual context, the closet turned into some kind of mysterious object. Maybe there were clothes hanging in this closet, maybe not. The fact is that the closet was full of attraction.

Viktor Shklovsky describes the effect of "estrangement" achieved by L.N. Tolstoy when he speaks of an ordinary sofa in words that a person would use who had never seen a sofa before and had no idea how to use it.

In the "fantasy binomial" words are taken not in their usual meaning, but freed from the linguistic range in which they appear everyday. They are "detached", "displaced", snatched away and hovering in a hitherto unseen firmament. These, in my opinion, are the optimal conditions for the emergence of an entertaining story.

So, let's take all the same two words: "dog" and "wardrobe".

The easiest way to articulate them is to resort to the help of a preposition (and in Russian also a case. - Yu.D.). This way we get several pictures:

dog with closet

dog on the closet

dog in closet

Each of these pictures can serve as the basis for inventing a specific situation:

1. A dog is running down the street with a wardrobe on its back. It's his booth, so it's nothing special. He always carries it around on him, like a snail with a shell. And so on and so forth, according to your understanding.

2. Dog Wardrobe: An idea like this is likely to inspire an architect, designer, or specialist in rich interiors. "Dog's closet" is designed to store dog clothes, a set of muzzles and leashes, warm slippers, a tail with pom-poms, rubber bones, toy kittens, a city guide (so that the dog goes for milk, a newspaper and cigarettes for the owner). No plot on this topic comes to my mind.

3. Dog in the closet: this is a promising topic. Dr. Polifemo, having come home, climbs into the closet for a home jacket, and in the closet there is a dog. We are immediately confronted with the need to find an explanation for this phenomenon. But the explanation can be postponed until later. At the moment, it is more interesting to analyze the situation at close range. Dog of indeterminate breed. Maybe trained to hunt champignons, or maybe cyclamen, or maybe rhododendrons. He is good-natured, affably wags his tail, politely gives a paw, but does not want to listen to getting out of the closet; no matter how his doctor Polifemo begs, the dog is implacable.

Dr. Polifemo goes to the bathroom to take a shower and there, in the locker, he finds another dog. The third is sitting in the kitchen cabinet among the pots, the fourth is in the dishwasher, another, half-frozen, is in the refrigerator. A cute puppy hides in a broom cubbyhole, and a small lapdog hides in a desk drawer. Dr. Polifemo could, of course, call the elevator operator and with his help expel uninvited guests from the apartment, but Dr. Polifemo is a dog lover, and his heart tells him another solution. He ran to the butcher shop and bought ten kilos of tenderloin to feed his guests. From now on, he takes ten kilograms of meat daily. This cannot go unnoticed. The owner of the butcher's shop sensed something was wrong. There were conversations, gossip, and slanderous fabrications began. Isn't Dr. Polifemo hiding spies in his apartment chasing atomic bombs?

secrets? Doesn't he make some diabolical experiments - otherwise why would he need so many semi-finished meat products? The poor doctor began to lose clientele. Reported to the police. The chief of police ordered a search of the doctor's house. And only then it turned out that Dr. Polifemo had undergone all these troubles solely because of his love for dogs.

At this stage, the story is only "raw material". Processing it, turning it into a finished product is the task of the writer. We were only interested in one thing: to give an example of the "fantasy binom". Nonsense can remain nonsense. The process is important: children master it perfectly and get real pleasure from it - I had the opportunity to observe this in many schools in Italy. The described exercise, of course, gives quite tangible results, we will talk about this later. But the entertainment should not be underestimated. Especially when you consider how little we laugh in our schools. One of the most ingrained and difficult to overcome ideas about the pedagogical process lies precisely in the conviction that this process should proceed gloomily. Giacomo Leopardi knew something about this, writing in his “Dzibaldon” on August 1, 1823: “The most beautiful, happiest time of life, childhood, is associated with a thousand torments, with a thousand anxieties and fears, with so many hardships of education and learning that an adult person, despite all his ordeals, even if he could, would never agree to become a child again, so as not to relive what he once experienced.

5. "LIGHT" AND "BOOTS"

The following story was invented by a boy of five and a half years old with the participation of three of his friends at the Diana Preparatory School in Reggio Emilia. The "bingom of fantasy" from which she was born - "light" and "boots" - was prompted by the teacher (the day after we discussed this method in our seminar). Here is the story without further ado:

There was once a boy who liked to put on his father's shoes. Dad got tired of his son taking his shoes, and so one evening he took and hung his son from the chandelier; at midnight, the son fell to the floor, then dad said:

- Who is this, is it not a thief?

He looked - the son was lying on the floor. And everything is on fire. Then dad twisted his head, but he didn’t go out, pulled his ears, and the son was on fire, pressed the tip of his nose - it burns again, pulled his hair - it burns, pressed his navel - it burns. Then dad took off his son's shoes, and then he went out.

The ending, invented, by the way, not by the main narrator, but by another kid, was so to the taste of the guys that they applauded themselves: indeed, the find accurately and logically closed the circle and gave the story completeness; but there was something else as well.

I think Sigmund Freud himself, if he could have been invisibly present, would have been excited to hear a story so easily interpretable in the spirit of the theory of the "Oedipus complex", starting with the plot, with the boy putting on his father's shoes. After all, “taking off your father’s shoes” means taking his place next to your mother! This struggle is unequal, hence the inevitability of all kinds of ghosts of death. Judge for yourself:

"Hang up" is close in meaning to "hang up". But where did the boy end up - on the floor or in the ground? All doubts will disappear if you correctly read the words "it went out", signifying the tragic denouement. "Fade away" and "die" are synonyms. "Fade away in the color of years" - is written in obituaries. The stronger, the more mature wins. He wins at midnight, at the hour of the spirits ... And before the end - also torture: “twisted his head”, “pulled his ears”, “pressed the tip of his nose” ...

I will not get too carried away by this arbitrary experience from the field of psychoanalysis. There are specialists for that: they have the cards in their hands. But if the "deep", the subconscious really took possession of the "fantasy benome" as a stage for its dramas, then how did this manifest itself? In resonance caused in the children's minds by the word "boots". All children love to put on their father's shoes and mother's shoes. To be "them". To be taller. And just to be "different". The game of dressing up, besides its symbolism, is always amusing because of the grotesque effect that arises from it. This is theater: it is interesting to dress in someone else's costume, to play a role, to live a life that is not one's own, to adopt other people's gestures. It is a pity that only for the carnival are children allowed to wear their father's jacket or grandmother's skirt. You should always have a basket of used clothes in the house - for playing dress-up. In the children's institutions of Reggio Emilia, there are not only baskets for this, but entire dressing rooms. In Rome, on Sannio Street, there is a bazaar where they sell second-hand things, out-of-fashion evening dresses; it was there that we went when our daughter was little, to replenish the aforementioned basket. I am sure that her friends loved our house, in particular, thanks to this "dressing room".

Why is the boy on fire? The most obvious reason should be sought in the analogy: if a boy is "hung" from a chandelier, like an electric light bulb, then he behaves like a light bulb. But this explanation would be sufficient if the boy "fired up" at the moment when his father "screwed" him. However, in this place there is no talk of any "ignition". We see that the boy "lit up" only after he fell to the floor. I think that if the child's imagination took some time (several seconds) to discover the analogy, then this happened because the analogy did not come to light immediately with the help of "vision" (the little narrator "saw" the "screwed" boy "on fire"), but first passed along the axis of "verbal selection". In the child's head, while the story was going on, its own independent work was going on around the word "suspended." Here is this chain: "suspended", "on", "lit". The verbal analogy and the unspoken rhyme gave way to the analogy of the spectacular image. In short, that work on the "condensation of images" took place, which the same Dr. Freud described so well in his work on the creative processes in a dream. From this point of view, the story really appears to us as a "dream with open eyes." Such is the whole atmosphere of the scene, its absurdity, the layering of themes.

We get out of this atmosphere with the help of the father’s attempts to “turn off” the “light bulb boy”. Variations on this theme are imposed by analogy, but develop in different ways: this is how the experience of the movements necessary to turn off the light bulb (unscrew it, press the button, pull the cord, etc.) and the knowledge of one’s own body (from the head transition to ears, nose, navel, etc.). At this stage, the game becomes collective. The main narrator played only the role of a detonator, the explosion involved everyone, its result cybernetics would call "amplification".

In search of options, children examine each other, discover new finds on the body of a neighbor; life connects to the story, prompts discoveries, something similar happens to what rhyme does when it dictates to the poet who composes poetry the content that it brings into the lyrical situation from the outside. The described movements also rhyme, although not quite exactly, and these are neighboring rhymes, that is, the simplest ones, typical of a nursery rhyme.

The final variant - "dad took off his son's shoes, and then he went out" - marks an even more decisive break with sleep. And this is logical. It was his father's shoes that kept the boy in a "lit" state, because it all started with them; if you take off the boy's shoes, and the light will disappear - the story may end there. The germ of logical thought guided the magic tool - "daddy's shoes" - in the opposite direction to the original.

In making this discovery, children introduce the mathematical element of “reversibility” into the free play of the imagination—still as metaphors, not as ideas. They will come to the idea later, but for now, the fabulous image, apparently, created the basis for the structuralization of the idea.

The last remark (the fact that it is the last one happened, of course, by chance) concerns the inclusion of moral criteria in the story. From a moral point of view, this story appears as a punishment for disobedience, moreover, it is sustained in the spirit of the corresponding cultural model. The father must be obeyed, he has the right to punish. Traditional censorship made sure that the story was sustained within the framework of family morality. Her intervention truly gives grounds to say that both heaven and earth had a hand in the story: the subconscious with its contradictions, experience, memory, ideology and, of course, the word in all its functions. A purely psychological or psychoanalytic reading would not be enough to elucidate the meaning of the story from various angles, as I have attempted, at least briefly, to do.

6. WHAT WOULD BE IF…

A hypothesis, Novalis wrote, is like a net: cast it, and, sooner or later, you will catch something.

I will immediately give a famous example: what would happen if a person suddenly woke up in the guise of a disgusting insect? This question was answered with characteristic mastery by Franz Kafka in his short story "The Metamorphosis". I do not claim that Kafka's story was born precisely as an answer to this question, but the fact is that the tragic situation is created here precisely as a result of a completely fantastic hypothesis. Inside it, everything becomes logical and humanly understandable, filled with meaning, amenable to various interpretations. Something symbolic has a life of its own and can be represented in many real situations.

The technique of "fantastic hypotheses" is extremely simple. It is invariably expressed in the form of a question. What would happen if?

To pose the question, the first subject and predicate that come across are taken. Their combination gives a hypothesis on the basis of which one can work.

Let the subject be "city of Reggio Emilia" and the predicate "fly". What would happen if the city of Reggio Emilia began to fly?

Let the subject be "Milan", and the predicate "surrounded by the sea". What would happen if Milan suddenly found himself in the middle of the sea?

Here are two situations in which the narrative elements themselves can multiply ad infinitum. In order to stock up on auxiliary material, we can imagine the reaction of different people to extraordinary news, imagine all kinds of incidents caused by this or that event, the controversy that arises in connection with them. It would have turned out to be a whole epic canvas in the style of the late Palazzeschi. The main character could be made, for example, a boy, around whom a whirlwind of the most unforeseen events will spin like a carousel.

I noticed: when a similar topic is given to village children, they declare that the first who discovered the news was the village baker - after all, he gets up before everyone else, even before the church servant who needs to ring the bell, call for matins. In the city, the discovery is made by the night watchman; depending on what is more developed in the guys, citizenship or attachment to the family, the watchman tells the news to either the mayor or his wife.

City kids are often forced to manipulate characters they don't personally know. It is better for village children, they should not invent some kind of abstract baker, the baker Giuseppe immediately comes to their mind (I can’t call him otherwise than Giuseppe: my father was a baker and his name was Giuseppe); this helps them introduce acquaintances, relatives, friends into the story, which makes the game immediately more fun.

In the articles I mentioned in the Paese Sera, I posed the following questions:

- What would happen if the buttons of Sicily were torn off and lost?

- What would happen if a crocodile knocked on your door and asked you to lend him some rosemary?

- What would happen if your elevator collapsed - fell into the core of the globe or took off to the moon?

Only the third theme later turned into a real story for me, the hero of which was a waiter from a bar.

It is the same with children: most of all they are fascinated by the most absurd and unexpected questions, precisely because the subsequent work, that is, the development of a theme, is nothing more than mastering and continuing a discovery already made; although there are, of course, cases when the theme, coinciding with the child’s personal experience, being consonant with the environment in which he grows up, his environment, encourages the child to invade it on his own, to approach reality, already filled with familiar content, from an unusual side.

Recently, at a high school, the guys and I came up with the following question: What would happen if a crocodile appeared at the TV center to participate in the “Risk it all” quiz?

The question turned out to be very productive. We kind of discovered a new perspective that allows you to watch TV from your own point of view and judge your experience as a viewer. What was the cost of one conversation of a crocodile with the bewildered workers of the television center on Mazzini Boulevard! He demanded that he be allowed to participate in the quiz as an expert in ichthyology. The crocodile proved to be invincible. After each doubling down, he swallowed the competitor, forgetting to shed tears in the process. In the end, he even ate the host - Mike Bongiorno, but the crocodile, in turn, was swallowed by the host - Sabina; the fact is that the guys were ardent fans of her and wanted her to emerge victorious at any cost.

Subsequently, I remade this story and included it with significant changes in my Book of Machine Novels. In my version, the crocodile acts as an expert on cat litter; although I have sinned with digestive naturalism, but the story has acquired a charge of demystification. At the end of the story, Sabina does not eat the crocodile, but makes it spit out in reverse order everyone it has swallowed. Here already, as it seems to me, is not nonsense. Here fantasy is used to establish an active connection with reality more clearly. You can look at the world directly, but you can also look from above the clouds (in the age of airplanes, this is not difficult). In reality, you can enter from the main entrance, or you can climb into it - and this is much more fun - through the window.

Bean fantasy. Children sequentially look at pictures or toys, then choose two objects that are difficult to combine in a fairy tale. Writing a story about them is called a fantasy bean. So, you can show the children two pictures that show a cat and a bag, and offer to come up with a fairy tale. Of course, it is easier to imagine the relationship between a cat and a dog, a cat and a mouse. But it is necessary to specially create an environment of increased complexity. Only thinking, inventing, being in a state of active mental activity, children can develop. We offer you the following pairs of objects and phenomena for their connection using the "fantasy bean" method. Let's take an example of one such story. "Elephant in the closet". A porcelain elephant lived in the house. He was bored and lonely, he had no friends. One day he went for a walk and suddenly saw that at the end of the street there was a closet and he was bored. The elephant asked: "Why are you standing here, don't you have a house?" - "I have no home, no friends - I'm all alone!" cabinet answered. The elephant suggested: "Let's be friends!" Wardrobe agreed. They began to talk, and so they became friends. Since then, the closet lives at the elephant's house, they protect each other.

Slide 23 from the presentation "Formation of speech creativity of older preschoolers through teaching the writing of fairy tales"

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"Mathematics in the preschool educational institution" - Children sit at the table and draw from dictation. Look how long the train is. A freight train is coming along. We will sit down at the table and do some tasks. Let's sing a song to make it fun. The trailers are running, running, running. Let's read the letter. Carlson shows cards with codes. Material for the lesson.

"Developing mathematics for kids" - Bunny. Triangle. A circle. Mathematics for kids. Round objects. Geometric figures. Introduce children to geometry. Factor of intellectual development. Demo material. Let's build a triangle.

"Mathematics for preschoolers" - Mathematical abilities. Gyenes Logic Blocks. Capabilities. Rainbow program. Program analysis. Cards - symbols. Tasks of using logical blocks. The program of education and training in kindergarten. Use of logical blocks. Kind of thinking. Program "Childhood". Program "Development".

"Hello World" - Journey to Africa Journey to Australia and Antarctica Journey to America Zoo. Possible maximum. Be able to explain your attitude to the world. How to work with child support. An approximate grid of classes for different age groups. Figurative formation of specific concepts. Awareness. It is impossible to focus on either the weak or the strong.

"Literacy" - Drawing an ornament. Form the plural. Choice of antonyms. Green circle. Strong foundation. What is superfluous. Sufficiency of vocabulary. As you can call it in one word. Determine the place of the sound "L" in words. Formation of the grammatical structure of speech. Hatching. The fullness of the possession of speech sounds.