Creative potential and desire for. Creative identity potential: structural components. Methods for the development of creative imagination

Since it is necessary to solve inventive tasks to a person, G. S. Altshuller developed not only the algorithm and methodology that contribute to this, but also due attention to TRI withdrew the improvement of abilities to creativity.

The development of creative potential, imagination and creativity of the personality and the team is a separate direction, which is investigated under the theory of solutions of inventive tasks. In general, this problem is regarded by our site in a separate training "creative thinking." In this lesson, a description is given only by TRIZ-technologies for the development of the creative potential of the person, groups, children, students and teachers.

Pedagogy TRIZ.

G. S. Altshuller called on "learning creativity." The task of TRIZ pedagogy he saw not only in teaching a narrow circle of specialists who need it first, but also in creating a new pedagogical concept. According to her, since the kindergarten, it is necessary to bring up a creative person who can solve complex inventive tasks in the future. Modern objectives TRIZ Pedagogy more specific:

Development of the need for the knowledge of the surrounding world;
Formation of systemic dialectical thinking;
Education of the qualities of a creative person based on the theory of the development of a creative personality (TTL);
Promotion of developing skills for independent information and work with it.

At the same time, it is obvious that the overall concept of developing the creativity and education of a person prepared for solving open (creative, heuristic, life) tasks is preserved.

As the scientific direction of TRIZ Pedagogy was formed in the late 80s. last century, but methodical searches and development continue to this day. If we talk about the start direction, then it was given a fantastic story of G. S. Altshuller "Third Millennium", which presents how to study in the near future. The thesis of the principles accompanied in this work we led when they talked about the use of TRIZ.

Initially, TRIZ pedagogy completely depended on the needs of teaching the theory itself. But over time, she stood out into an independent area, which today is one of the most developing. Since 1998, conferences dedicated to TRIZ-pedagogics are held annually in Chelyabinsk, where the latest developments in the industry are presented, and teachers and all interested in experience. The printed collection of "Pedagogy + TRIZ" was published, later the materials began to be published on the profile sites on the Internet. Today, special materials, organized as file cards and collections of tasks, are collected to help educators and everyone who will learn TRIZ. Each can apply them in their practice, since the temperature range varies from physics to art.

The integration of TRIZ methods into the educational process is most often by combining with classical methods. In some educational institutions, the development of creative imagination (RTV) is taught children of preschool and younger school age as a separate subject. TRIZ methods and algorithms are studied by senior age as optional courses. In general, if we talk about the upbringing of a creative person based on TRIZ, 2 directions can be distinguished:

The theory of the development of a creative person (TTL) was developed by G. S. Altshulller and I. M. Velkin. Includes an analysis of the basic concepts of the development of a creative personality, developing a life strategy (JST-3) and an ideal creative strategy ("maximum upward movement"), as well as a complex of practical materials (business games, tasks, cards) for the education of the qualities necessary for a creative person .
The theory of the development of creative teams was developed by B. Glorotin, A. Zesman and L. Kaplan. They revealed stages and cycles of the development of creative teams, the patterns of their functioning, the mechanisms of braking and collective development, and on the basis of this, the principles of preventing stagnation in the team allocated.

Methods for the development of creative imagination

"By the second specialty, I am a science fiction writer. Maybe this circumstance and helped once "swall ash" on the development of the RTV course. " In 1966, at the Institute of Mathematics from the USSR Academy of Sciences of the city of S. Altshuller, the acquaintances of listeners with TRIZ, first included a short course on the development of creative imagination in the seminar. After 20 years, at the seminar in Novosibirsk, this topic has already been assigned a third time.

Together with Altshuller over the RTV, P. Amenuel, a physicist and writer-science fiction worked. It all started, as in the case of TRIZ, with the identification of patterns of scientific fiction ideas. In particular, it was observed that the development of NF ideas was subordinate to objectively existing laws; You can reveal these laws and use them for a conscious generation of new ideas. This served as the soil to further develop the development topic of the imagination of the inventor.

Further work, the opening of other methods and techniques was significantly diversified by the RTV and it took an important place in the TRIZ system. Heinrich Saulovich wrote: "You can explain the role and importance of the RTV course when teaching technical creativity, you can simply analogy: the rate of RTV is like gymnastics for an athlete. With any sports specialization, the gymnastics is absolutely necessary for all athletes. In the same way, the solution of any creative tasks - scientific, technical, artistic, organizational - largely depends on the ability to "work fantasy".

Today, the methods of development of creative imagination, as a set of techniques and special imaging methods, are designed to reduce psychological inertia, which arises when solving creative tasks. The main ones are:

The use of sci-fi literature (NFL) in the development of creative imagination. Prognostic functions of science fiction literature;
RVS operator (parametric operator);
Method of modeling "Little Mens" (MMH);
Fantograms;
Method of goldfish (method of decomposition and synthesis of fantastic ideas);
Stepwise design;
Association method;
Tendency method;
The method of hidden properties of the object;
View from the outside;
Changing the value system;
Situational tasks;
Techniques of fantasy (methods for generating fantastic ideas);
Scale of estimating NF ideas "Fantasy-2";
Exercise system for the development of creative imagination (RTV).

We will tell you more about some of these methods.

The method of focal objects (MFI) - transfer the properties of one or several objects to another. Another definition of MFIs is a method for finding new ideas by attaching to the source object of properties or signs of random objects. Developed by Professor of Berlin University E. Kunz, and modernized by the American Ch. Waiting. The essence of the method is to transfer the signs of randomly selected objects to the improved object, which lies in the transfer focus and is therefore called focal. The obtained modifications develop associations, which activates the associative thinking of the Creator. Based on the original solutions, the source object is improving. It is used in many areas: pedagogy, management, marketing, etc.

The algorithm of work on MFIs (according to N. Kozyreva):

4-5 random objects are selected (from the dictionary, books ...).
Lists of characteristic properties, functions and signs of random objects are drawn up (5-6 interesting words - adjectives, verbalism, verbs).
The focal object is selected - thought focuses on it.
Signs of random objects alternately join the focal object and are recorded.
All obtained combinations are developing through free associations.
The obtained options are estimated and the most interesting and effective solutions are selected.

With the outer simplicity and universality of the method, its weak parties are unsuitable for solving complex tasks and lack of clarity when choosing the evaluation criteria for the obtained ideas.

Methodology MMH (modeling with small men) - modeling of processes occurring in the natural and man-made world between substances. It is one of the methods of solving the simplest contradictions. It is also known for use in his practice British physician J. Maxwell.

The method is based on the observation that the solution of many tasks is easier if you represent them in the form of a model. This is the essence of the MMH: the object under study is depicted in the form of a variety of interacting little men. Such a model retains the advantages of empathy (visibility, simplicity) and does not have drawbacks inherent in it (indivissions of the human body). The technique of applying the method is reduced to the following operations:

It is necessary to select a part of the object that cannot fulfill the requirements of the problem and present this part in the form of small little men.
Divide the men to groups acting (moving) under the terms of the task.
The resulting model should be considered and rebuilt so that conflicting actions are performed.

Theory of Development of Creative Personality

Method As a tool does not work in itself, it only helps to work to man. TRIZ offers the researcher a whole set of such tools, but how successful it will be applied, depends on the properties and qualities of the inventor. In this question, it is impossible to rely on natural talents and even more so in the will of the case. Therefore, in the framework of the theory of solutions of inventive tasks and there is a separate section - the theory of the development of a creative person (TTL), whose task is to prepare the creator himself.

Trtl became the last major work of G. S. Altshuller, written in conjunction with his student I. M. Velkin. To arrange theory, they analyzed a huge array of information, having studied the biography of a large number of famous figures. On the basis of this, Zhstl was born - a vital strategy of a creative personality, because the authors were confident that it was necessary to work on improving their creative skills a lifetime. Zhstl-1 and Zhstl-2, which appeared in 1985 and 1986, respectively, were unfinished, but the modification of 1988 - Zhstl-3 - can already be considered an independent theory.

Zhstl-3 is revealed through the game - a person striving for development is forced to play, join the fight against opponents - external and internal factors. The strategy gives direction and describes typical steps in this game, allowing to win. The description of these steps, and 88, are quite surrounding enough to bring it in this lesson, so everyone who became interested in the development strategy of creative personality, we recommend reading the book "How to become a genius. The vital strategy of a creative personality "on the external resource.

But on the 6 qualities of the necessary creative person who will stop more. They were determined by I. M. Vertkin:

Decent goal. Not achieved by others, significant, useful. Only awareness that your way is unique and will lead to something new, pushes and motivates to work in a given direction.
Plans. It is necessary to formulate a complex of real work plans to achieve the goal and regularly monitor their execution to understand what and how it will be achieved. We wrote about one of the options for compiling a similar plan before.
Performance. To achieve the goal and perform the planned plan, you need to work much. Recall T. Edison, who slept for 4 hours, and the rest of the time paid work. Another excellent example - J. Verne, who left the epistolauric heritage, in addition to his works, 30 thousand notebooks with encyclopedic records. The collection of scientific information was his hobby, and help in writing. It is not surprising that many of his fantastic ideas were later embodied.
Technique solving problems. Every inventor she has its own. Altshulller systematized the experience and suggested TRIZ, but after all, many scientists have successfully coped with contradictions.
The ability to "hold a blow." The most valuable skill, which teaches not to surrender to the goal. T. Ford to a deep night worked on his first car after returned from work at the factory. The same T. Edison spent about 10 thousand experiments while the working prototype of the light bulb was received.
Performance. If previous qualities are present, then at intermediate stages, a person should see the result. If it is not, the concept must be revised - it may be that the goal is incorrectly chosen, or the plan does not allow it to be achieved.

Theory of Development of Creative Teams

The followers of Altshuller became interested in the development of not only the creative person, but also associations of people - groups and teams. With regard to them, the theory of development of creative teams was developed. In the works that fell in its foundation, most often meets the concept of "scientific team", although the authors - B. L. Zlotin and A. V. Zusman argue that they analyzed different teams - from the family to society.

In detail, the principles of the theory of the development of creative teams are set out in the books of the "Fundamentals of the theory of the Development of Collective" and "Solution of Research Tasks". Using the materials of the latter, we will only briefly analyze some important points.

Scientific teams undergo certain stages of development:

Stage 1. The appearance of the idea. The development of any team comes from creating an idea, discoveries. Gradually, a small team of like-minded people, delved to enthusiasm, gather around the author. At this stage, the task facing the team is to report its views to a scientific society and their adoption. This process does not always happen easily, because new ideas can go against the already accepted ideas, and, as a result, to hurt the interests of other, stronger teams. In this period, the team keeps on unofficial, personal connections and the authority of the leader.

Stage 2. Recognition. When the idea receives the official recognition and support of society begins the second stage of the development of the team. A formal structure is created - laboratory, department, scientific association. There is an official leader and staffing. The work receives funding, and from now on, a powerful development factor is included - positive feedback; Increased financing - an increase in the number of people - the return ratio is an increase in financing, etc. Competition appears, the first braking factors arise related to the difficulties of rapid mobilization of resources, people's preparation.

Stage 3. Delayed development. The team continues to grow, there are publications, reports are written, scientific products are being produced, the dissertations are protected, but all this requires more and more money with increasingly modest results. Development factor remained the same - the growing need of society, and the braking factor is the exhaustion of resources of the development of this theory, concepts, paradigms. This is an objective phenomenon. The main contradiction of the third stage: the interests of the team and society are divided, but, in contrast to the first stage, now the goals of society are progressive - he needs to develop, even if the price of complete reorganization or disbanding this collective, and the objectives of the team reactive - he seeks to slow down a dangerous development.

Brake mechanisms

Analysis of the third stage of development of collectives allows you to identify specific braking mechanisms, which is very important as it can help in the fight against them. Here is some of them:

The cult of hierarchical pyramids. A scientist, a specialist from a free thinker turns into the lower link of a multistage hierarchical pyramid.
Stabilization of the hierarchy. Introduction of "high-end" honors. A large work experience in one place turns into the best characteristic of the team member. Introduction of restrictions on the influx of young people, on the occupation of certain posts in the hierarchy of young.
Delegation of authority "up". The decision-making right is translated from a natural level (the stage where the problem arose) on one or two levels of the hierarchy upwards. This ensures the enhancement of the device, but leads to its overloading with small problems, which one leader cannot physically solve.
Creating an illusion of the omnipotence of the device. Perennial lies, artificial evaluation criteria create the illusion of the success of all undertakings of the device. A voluntaristic management style is produced, disregard for economics, a serious study of issues, the search for alternative paths.
The punishability of the initiative. The punishment for the error becomes great, and for inaction do not punish. Any action becomes much more dangerous inaction, so it is braked. Methods "non-decisions" are known: Pollocks in different services, Volokita, etc.

Anti-reflective mechanisms

Despite the unwillingness of the structure, the story shows that sooner or later further evolution comes to replace the stag. To overcome negative factors (braking), the following measures are taken:

Making decisions at the natural level - where the problem arose.
Disagruption of units to the level when each member of the team can see its contribution to the end result.
Compliance with the principle of payment based on the results of labor.
Staging to a team of a single large socio-useful goal, with which the personal interests of each member of the team are linked.
Education from each member of the team sense of importance, creating an atmosphere of friendship and creativity.

This lesson presents the theoretical aspects of the methods of creating a creative personality, developed and organically inscribed in the TRIZ structure. To obtain a tangible result, you need to be practiced in their application, in particular, solving open, creative tasks. Links to the appropriate materials you can find in the next lesson. Also useful for the development of creativity skills will be the passage of special training on our website.

Check your knowledge

If you want to test your knowledge on the subject of this lesson, you can pass a small test consisting of several questions. In each question, only 1 option can be correct. After choosing one of the options, the system automatically moves to the next question. The points you receive affect the correctness of your answers and spent time spent. Please note that questions every time are different, and the options are mixed.

Creative abilities are an alloy of many qualities. And the question of the components of the creative potential of a person remains still open, although there are currently several hypotheses relating to this problem. Many psychologists associate the ability to creative activities, primarily with the peculiarities of thinking. In particular, the famous American psychologist Gilford, who was engaged in the problems of human intelligence, found that creative personalities are typical of the so-called divergent thinking. People who have such a type of thinking, when solving any problem, do not concentrate all their efforts to find the only correct solution, but begin to look for solutions for all possible areas in order to consider as much options as possible. Such people tend to form new combinations of elements that most people know and use only in a certain way, or form connections between two elements that do not have anything in first glance. The divergent method of thinking underlies creative thinking, which is characterized by the following main features:

1. The speed is the ability to express the maximum number of ideas (in this case it is important not their quality, but their number).
2. Flexibility - the ability to express a wide variety of ideas.
3. Originality - the ability to generate new non-standard ideas (this can manifest itself in responses, solutions that are inconsistent with generally accepted).
4. Finished - the ability to improve your "product" or to give it a finished look.

Famous domestic researchers of the problem of creativity A.N. Onions, relying on the biography of outstanding scientists, inventors, artists and musicians allocate the following creative abilities.

1. The ability to see the problem where others do not see it.
2. The ability to minimize mental operations, replacing several concepts with one and using more and more sensitive symbols.
3. Ability to apply the skills acquired when solving one task to solve another.
4. The ability to perceive validity entirely, without frauding it into parts.
5. The ability to easily associate remote concepts.
6. Memory ability to issue the desired information at the right moment.
7. Flexibility of thinking.
8. The ability to choose one of the alternatives to solve the problem before it is verified.
9. The ability to include newly perceived information in the already available knowledge systems.
10. The ability to see things as they are, to allocate the observed from what is introduced by interpretation.
11. Ease of generation of ideas.
12. Creative imagination.
13. The ability to refine the details, to the improvement of the initial design.

Candidates of psychological sciences V.T. Kudryavtsev and V. Sinelnikov, based on a broad historical and cultural material (the history of philosophy, social sciences, art, individual practitioners) allocated the following universal creative abilities in the process of human history.

1. The release of imagination is a figurative grasp of some substantial, general trend or patterns of development of the braid object, before a person has a clear concept about it and can enter it into a system of strict logical categories.
2. The ability to see the whole before parts.
3. Supported - the conversion character of creative solutions. The ability to solve the problem is not easy to choose from the alternatives imposed from outside, but to create an alternative.
4. Experimentation - the ability to consciously and purposefully create conditions in which the items most convex detect their hidden in conventional situations, as well as the ability to trace and analyze the characteristics of the "behavior" of objects under these conditions.

Scientists and teachers involved in the development of programs and methods of creative education on the basis of TRIZ (the theory of solutions of inventive tasks) and Ariz (the algorithm for solving inventive tasks) believe that one of the components of the human creative potential is the following abilities.

1. Ability to risk.
2. Divergent thinking.
3. Flexibility in thinking and action.
4. The speed of thinking.
5. The ability to express original ideas and invent new ones.
6. Rich imagination.
7. Perception of the ambiguity of things and phenomena.
8. High aesthetic values.
9. Developed intuition.

Analyzing the above points of view on the issue of components of creative abilities It can be concluded that despite the difference in approaches to their definition, the researchers unanimously identify creative imagination and the quality of creative thinking as a mandatory components of creative abilities.

Speaking about the formation of abilities, it is necessary to dwell on the question of when, from what age the creative abilities of children should be developed. Psychologists call different deadlines from one and a half to five years. There is also a hypothesis that developing creative abilities is necessary from early age. This hypothesis finds confirmation in physiology.

The fact is that the brain of the child is particularly growing and "rushing" in the first years of life. This is a ripening, i.e. The increase in the number of brain cells and the anatomical bonds between them depends on both the diversity and the intensity of the work of already existing structures and on how stimulated by the education environment new ones. This period of "ripening" is the time of the highest sensitivity and plasticity to external conditions, the time of the highest and most widest possible development opportunities. This is the most favorable period to start the development of the whole manifold of human abilities. But the child is beginning to develop only those abilities, for the development of which there are incentives and conditions for the "moment" of this ripening. The more favorable conditions, the closer they are optimal, the more successful development begins. If the maturation and start of operation (development) coincide in time, they are synchronously, and the conditions are favorable, then development is easy - with the highest possible accelerations. Development can achieve the greatest height, and the child can become capable, talented and ingenious.

However, the possibility of developing abilities, reaching a maximum in the "moment" of ripening, do not remain unchanged. If these possibilities are not used, that is, the corresponding abilities do not develop, do not function if the child does not work as necessary activities, then these opportunities begin to be lost, degraded and the faster than weaker functioning. It is a focus of development opportunities - an irreversible process. Boris Pavlovich Nikitin, for many years engaged in the problem of the development of the creative abilities of children called this phenomenon of Nouverts (irreversible extinction of opportunities for the effective development of abilities). Nikitin believes that Nouveras particularly negatively affects the development of creative abilities. The rupture in time between the moment of ripening the structures, the necessary formation of creativity and the beginning of the focused development of these abilities leads to a serious difficulty of their development, slows down its pace and leads to a decrease in the final level of development of creative abilities. According to Nikitin, it was the irreversibility of the process of degradation of development opportunities that caused the opinion of the innateness of creative abilities, as usual no one suspects that the possibilities of the effective development of creative abilities were missed in preschool age. And a small number of people in society with high creative potential is explained by the fact that in childhood only very few were in the conditions conducive to the development of their creative abilities.

From a psychological point of view, preschool childhood is a favorable period for the development of creative abilities because at this age children are extremely inquisitive, they have a lot of desire to know the world around.

And parents encouraging curiosity, informing children knowledge, involving them in various activities, contribute to the expansion of child experience. And the accumulation of experience and knowledge is the necessary prerequisite for future creative activities. In addition, thinking of preschoolers is more free than thinking more adult children. It is not yet crushed by dogma and stereotypes, it is more independent. And this quality is necessary to develop in every way. Pre-school childhood is also a sensitive period for the development of creative imagination.

Under these conditions, the task of the formation and development of the creative potential of the organization becomes very relevant. Human potential plays a paramount role in creating the creative potential of the organization. Professional knowledge of the organization's staff is determined primarily by the level and quality of education. The increase in human assets occurs in the process of targeted training of training training activities to improve the qualifications and professional retraining of employees of the organization.

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prof., D.E.N. Blinov Andrey Olegovich, VZFEI, Moscow

doc., Ph.D. Rudakova Olga Stepanovna, VZFEI, Moscow

Diagnosis of creative potential of organizations

The economy of countries with a developed market economy is an economy with clearly pronounced innovative features. The necessary factor in innovative development is a creative approach to management organizations. The key element of effective production is a person - creative, creatively thoughtful, seeking. Up to 40% of GDP in developed countries is created precisely creative workers. Under these conditions, the task of the formation and development of the creative potential of the organization becomes very relevant. The use of the abilities embodied in people allows organizations to intensify innovations, improve the quality and competitiveness of products and services.

The creative potential of personnel can be defined as the ability and determination to overcome obstacles, solving the tasks. At the same time distinguish motivated and unmotivated approaches. In the first case, creative potential relies on the knowledge, the choice of methods, social criteria, cultural universals, etc. In the second case, knowledge may not play a decisive role, and then the process of using creative potential becomes intuitive, comes by trial and errors.

Human potential plays a paramount role in creating the creative potential of the organization. The concept of human potential includes:

competence, ability to solve problems;
intelligence;
creative skills;
demographic and spiritual potential;
leadership skills;
motivation;
psychometric data.

Professional knowledge of employees of the organization are determined primarily by the level and quality of education. The increase in human assets occurs in the process of targeted training of specialists, conducting training activities to improve the qualifications and professional retraining of employees of the organization. In this regard, in advanced companies and firms of the United States and Western Europe, the training of employees during their work in the organization is attached to a special meaning. Up to 20-30% of working time is assigned to study.

Knowledge of the employee is a toolkit through which intelligent products are created as the result of the creative process. The creation of intellectual products generates new knowledge, thereby increasing human assets and creative potential of the organization.

However, experience, skills in solving professional problems, tasks that arise in the innovation activities of the Organization are needed to implement existing and knowledge gained knowledge. First of all, creative work skills are needed. Very often there is experience and skills in some specialists who are inherent in only this employee and cannot be transferred to any other membership member of the organization. In creative activity, this is the experience of foresight, an intuitive selection of research directions, solving methods.

The possibilities of successful acquisition of knowledge and the receipt of skills are largely dependent on the professional qualities of the employee and, above all, from the psychometric characteristics and human abilities. Very important for building human assets by increasing the volume of collective knowledge and skills are such abilities of employees as:

learning, susceptibility to new knowledge, thirst for receiving new knowledge;
tendency to critical thinking;
abstruse abstract, model the situation, the development of information technologies;
business attitude, perseverance in achieving the goal, in solving problems;
workability, organization, creative "resident".

Not a latter role in building human assets in the course of life of the organization, professional inclinations are played, a creative approach to work and professional qualifications of employees. In this case, the correspondence of these characteristics of the employee occupied by the employee in the team, the compliance of the qualities of the employee set to the tasks in front of him.

If knowledge and experience can be purchased and increased by an employee of the Organization in the process of professional activities, especially in the process of creative activity, the psychometric characteristics, the ability and inclinations of each individual individual are data from nature and can only develop, but cannot be purchased as an element of learning. or upbringing.

Creative potential is associated with human practical activity and is estimated depending on how it affects this activity. The creative potential of the staff, his social role, that is, the actions of a person from the goal to the result, you can understand and evaluate only on the basis of the general organization of the enterprise. The implementation of the creative potential of each employee is inside a person and shall be taken out through self-realization. The creative potential of each employee is fully implemented in the event that it is identical to the needs of the organization as a whole.

In order to be able to answer not only for the goals, but also for the results of the organization's activities, the knowledge of how to use the creative potential of staff, how to evaluate it. To assess the creative potential of the personnel, it is necessary to activate it, that is, it is necessary to create conditions for its implementation within the organization.

When solving a specific business task, there is a contradiction between what is and the fact that the organization is needed. This contradiction is on the one hand - an internal motivating stimulus intensifying the creative potential of each employee, on the other - the urge to external activity in solving problems.

Modern business makes a bet on the creative potential and improvement of personnel. So from the experience of American firms it follows that every 35 thousand dollars embedded in education bring a profit of 1 million dollars.

There are many methods for studying the activation of the creative potential of staff staff. The most common of them are often called the following:

"Brainstorm" and its varieties: individual, written, direct and massive types, as well as a double method, a method with an assessment of the idea, the opposite method, the "Ship Council" method, the "Conference" method of ideas;
method of focal objects;
morphological analysis;
trainings;
coaching.

The potential of the creative activity of the team of employees of an organization that provides effectivethe use of human assets allows you to get more than the amount of the efforts of individual members of the organization, i.e. The synergistic effect is achieved.

The component of the creative potential is determined by the corporate culture. Corporate culture contributes to the accumulation of knowledge, the acquisition of new skills, enriching the experience and improvement of professional qualities. The corporate culture of the organization is an integral part of the creative potential of the organization. It defines the effectiveness of the creative process and the success of building knowledge and skills by employees of the organization.

In modern conditions, the rapid development of the innovative economy, continuous improvement of production, continuous updating of the goods and services of "know-how" is acquired by special importance, ensuring success in competition and expanding market niches in the organization, all this increases the creative potential of the organization.

The use of the creative potential of personnel requires an association of many people's efforts, so the formation of various communities of creative specialists of the organization is becoming increasingly significant. University groups formed in organizations are known under different names: business communities, communities for interests, creative groups, innovative teams, thematic groups, teams of best practices, etc.

By destination of communities, four types are identified:

to assist in solving everyday problems;
for the development and distribution of best practices, guidelines and procedures that can be used by community members;
for the organization of management and disposal of knowledge and creative potential that members of the community can enjoy;
for innovation and creating breakthrough ideas, knowledge and practical experience.

Business communities can exist within the organization or go beyond its limits to act in physical and virtual space.

To use the creative potential of staff in order to solve complex tasks (for example, the development of critical projects), performing special functions, as well as promoting creativity, as a rule, a team is created. The team is a type of collective and is usually a small group that unites people with a variety of knowledge, skills and creative potential.

Team members must possess:

readiness to understand and take common goals, cooperate, perceive the opinions of others, trust each other;
the ability to identify and solve problems;
tendency to learning and self-education, to the exchange of information;
sociability, openness;
high level of special knowledge;
the desire to achieve better results;
responsibility.

The team is characterized by:

often the impermanence of the composition and leaders who may vary depending on the nature of the problem being solved. This does not fully apply to the top management of firms, today also often speaking team;
the full responsibility of the leader, as the most competent as a member of the team, for the entrusted direction and imposing on the official head of the functions of the organizer and the coordinator of all work;
significant intellectual, creative potentials and status of participants;
high psychological and socio-psychological compatibility, cohesion, close mutual understanding, culture of joint activities;
clear definition of the powers of each;
by accepting basic decisions together after a comprehensive discussion, and the person responsible for the corresponding direction has a decisive voice.

Work in the team must comply with the interests and abilities of a person (to maximize the creative potential), to be difficult, diverse, to give the opportunity to show independence, learn and improve the qualifications, is fairly rewarded.

In modern organizations, often teams are given the role of only ideas generators at the appropriate stage of business decision, however, there are various types of groups (teams) that can contribute to the development of the creative potential of personnel, an increase in the dynamism and innovation of the organization.

Teams are created at all levels of the organization, but a special place among them is the team of top managers (Top Menegement), which is engaged in the most important and complex problems.

The climate of the scientific laboratory, inside which the team operates is a factor determining the creative potential, as well as the effectiveness of the organization. A healthy climate in a division is characterized by trust, openness, spirit of friendly competition. Host, distrust, the ambiguity of the formulation of issues is the symptoms of an ineffective organization, the functioning of which is unlikely to be purposeful and will be able to promote the development of creative potential.

To develop the creative potential of such teams, coaching is increasingly used. Coaching is a model of interaction, due to which the top manager increases the level of motivation and responsibility, both himself and its staff.

The organization applying coaching against top management has a number of competitive advantages. Her top managers are confident in their abilities and work with great interest and higher impact. In essence, coaching in management is an explanation, promoting decision-making, a special tool to improve the efficiency of the client's activities. Coaching clients can be both top managers and teams. The use of coaching increases the productivity of each top manager or the team as a whole, improves relationships in the team and is splitting the team that acquires the ability to respond quickly and efficiently in critical situations, successfully solve emerging problems.

In essence, coaching is a special system of human support, which allows to reveal its creative potential and achieve real results, both in professional and personal life, to form a creative team, and the most effective way.

The complexity of managing the creative potential of personnel through teamwork can be due to the lack of culture of joint activities, individualism, aspiration for leadership, personal results, impatient. This requires each participant in understanding the overall situation. Therefore, a free exchange of information, volume, completeness and accuracy of which are much higher than those needed for operational guidance plays an important role.

It should be noted that at present the system, models and processes of managing the creative potential of the staff of modern organizations should be varied and depend on the strategic objectives of the knowledge, abilities and staff skills. Analysis of existing practice allows you to allocate in the management of the creative potential of personnel, the main processes that are present in any model. These are the following processes:

formation;
using;
development.

The auxiliary can be attributed to those processes that are in one degree or another to all major processes, permeate them, ensure their course:

accumulation;
spread;
protection;
evaluation;
control.

If the main processes of managing the creative potential of personnel can be called horizontal, then the auxiliary processes are vertical.

The processes of managing the creative potential of personnel can be designed as separate business processes, and can be integrated as part in the main business processes of the organization. They are associated with strategy, management of changes and management of people as human capital, which can be developed both with high-quality (knowledge, creativity) and quantitative point of view.

These processes can be positioned as a driving force of the changes and at the same time the reaction to them, since anyway, participation in the teams acts as a link between the implementation of the organizational strategy and individual changes.

To emphasize the importance of teams as initiators of changes, improvements and, accordingly, strategy conductors. To implement the processes of management of the creative potential of personnel, an easily accessible critical mass of employees is required, presented by the management team, especially the medium-sized managers, due to the fact that it is the last to directly affect the efficiency of the organization.

Consequently, the role of team development is to support the planned and implementing spontaneous changes in organizations. Organizations should choose whether to practice a traditional approach based on the identified needs or apply a creative approach based on a thoughtful study of the strategy and creating "creative contradictions".

In our opinion, two ways of development of the creative potential of the organization are possible:

in the absence of an innovative and creative idea, finding the possibilities for using the results of innovative and creative activities of other organizations;
in the presence of an innovative idea, which was nominated by the creative team of the organization, further studying its own innovation.

The first direction of the development of the organization at this stage leads to the analysis of the possibilities of acquiring a patent or license and is carried out by studying mainly patent literature and information about innovative activities of competitors. However, the possibility of acquiring a patent or license is determined by the financial condition of the organization, as well as the urgency of introducing on the market with competitive products. In the absence of financial opportunities to use innovations of other organizations, a return to the search for its own innovative ideas is returned.

It can be assumed that innovative activities are the most effective in managing the creative potential of the organization, that is, events that use new, more advanced and effective principles to achieve results. Creativity is determined not an absolute novelty event, the event itself can be well-known and used in other industries of production or service. In a specific process, the management of which is carried out in this organization, the well-known event gives a new effect and allows you to get the result better than the traditionally held event. A combination of creative events and is a mechanism that ensures the possibility of improving the management of the creative potential of the organization's activities.

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Creative abilities are an alloy of many qualities. The question of the components of the creative potential of a person remains still open, although at the moment there are several hypotheses relating to this problem.

Creative abilities are divided into three main groups:

1) abilities associated with motivation (interests and inclinations);

2) abilities associated with temperament (emotionality);

3) mental abilities.

R. Sternberg (58) indicates that the process of creativity is possible in the presence of three special intellectual abilities:

Synthetic ability to see problems in a new light and avoid the usual way of thinking;

Analytical ability to estimate whether the ideas of further development cost;

Practically contextual ability to convince others in the values \u200b\u200bof the idea.

If an individual is too developed analytical ability to detriment to two others, he is a brilliant criticism, but not the Creator. The synthetic ability, not supported by analytical practices, generates a lot of new ideas, but not substantiated research and useless. The practical ability without two others can lead to brightly presented, but "poor-quality" ideas. For creativity, the independence of thinking from stereotypes and external influence is necessary.

Creativity, from the point of view of Sternberg, involves the ability to go for reasonable risk, willingness to overcome obstacles, internal motivation, tolerance (tolerance) to uncertainty, willingness to confront the opinion of others.

Famous domestic researcher of the problem of creativity A.N. Onions (25), relying on the biography of outstanding scientists, inventors, artists and musicians allocate the following creative abilities:

1) the ability to see the problem where others do not see it;

2) the ability to minimize mental operations, replacing several concepts with one and using more and more sensitive symbols;

3) the ability to apply the skills acquired when solving one task to solve another;

4) the ability to perceive validity entirely, without frauding it into parts;

5) the ability to easily associate remote concepts;

6) memory ability to issue the necessary information at the right moment;

7) thinking flexibility;

8) the ability to choose one of the alternatives to solve the problem before it is verified;

9) the ability to include newly perceived information in the knowledge systems available;

10) the ability to see things as they are, to highlight the observed from what is brought by interpretation;

11) Ease of generation of ideas;

12) creative imagination;

13) the ability to refine the details, to the improvement of the initial plan.

Candidates of psychological sciences V.T. Kudryavtsev and V. Sinelnikov (20), based on a wide historical and cultural material (the history of philosophy, social sciences, art, individual spheres of practice) was allocated the following universal creative abilities in the process of human history:

1) Imagination realism - a shape of some significant, general trend or patterns of the development of a holistic object, before a person has a clear concept about it and can enter it into a system of strict logical categories;

2) the ability to see the whole before parts;

3) the overall-converter nature of creative solutions. The ability to solve the problem is not easy to choose, but to independently create an alternative;

4) Experimentation - the ability to consciously and purposefully create conditions in which the items most convex detect their hidden in conventional situations, as well as the ability to trace and analyze the features of "behavior" of objects under these conditions.

Teachers-scientists and practices GS Altshulller, V.M. Tsurikov, V.V. Mitrofanov, M.S. Gafitulin, M.S. Rubin, M.N. Suckterman (14; 16; 17; 20; 30; 48; 53; 54) engaged in the development of programs and methods of creative education on the basis of TRIZ (the theory of solutions of inventive tasks) and Ariz (algorithm for the solutions of inventive tasks), believe that one of the components The creative potential of a person makes up the following abilities:

1) the ability to risk;

2) divergent thinking;

3) flexibility in thinking and action;

4) the speed of thinking;

5) the ability to express original ideas and invent new;

6) rich imagination;

7) perception of the ambiguity of things and phenomena;

8) high aesthetic values;

9) Developed intuition.

IN AND. Andreev (3) proposed a structural model that allows you to highlight the following integrated components (blocks) of the creative abilities of the personality:

1. Motivational and creative activity and identity orientation;

2. Intellectual and logical abilities of the individual;

3. Intellectual-heuristic, intuitive personality abilities;

4. The worldview properties of the individual, promoting creative activities;

5. Personality abilities to self-government in educational and creative activities;

6. Communicative and creative personality abilities;

7. The effectiveness of creative activities.

In our opinion, the methods of these scientists are more suitable for children of senior school age. Therefore, we consider what the abilities allocated other scientists.

At ld Stolyarenko (43) The following abilities characterizing creativity are allocated: plasticity (the ability to produce multiple solutions), mobility (a quick transition from one aspect of the problem to another, not limited to one single point of view), originality (generating unexpected, non-bank, nontrivial solutions).

The famous American psychologist D. Gilford (28) allocated 16 such intelligent abilities. Among them: Thought fluency (the number of ideas arising per unit time), the flexibility of thought (the ability to switch from one idea to another), originality (the ability to generate new non-standard ideas), curiosity (sensitivity to problems in the surrounding world), the ability to develop hypothesis , fantasticity (complete convergence of response from reality in the presence of a logical connection between the incentive and reaction), completeness (the ability to improve its "product" or give it a finished look).

Further development, the problem was obtained in the works of P. Trenza (58). Its approach is based on the fact that the abilities caused by creativity include: ease, which is estimated as a speed of completion of the task, the flexibility assessed as the number of switching from one class of objects to another, and originality, assessed as the minimum frequency of the occurrence of this response in a homogeneous group . In this approach, the criterion of creativity is not the quality of the result, but the characteristics and processes that activate creative productivity: fluency, flexibility, originality and care of tasks. According to Torrens, the maximum level of creative achievements is possible with a combination of triad factors: creative abilities, creative skills and creative motivation.

In psychology, it is customary to associate the ability to creative activity, primarily with the peculiarities of thinking. Creative thinking characterize associativity, dialecticity and systemicity.

Associativity is the ability to see the connection and similar features in subjects and phenomena, at first glance not comparable. Formulate contradictions and find a way to resolve them allows dialectyness of thinking. Another quality forming creative thinking is a systematic, i.e. the ability to see an item or phenomenon as a holistic system, perceive any subject, any problem comprehensively, in the entire diversity of connections; The ability to see the unity of relationships in phenomena and the laws of development. The development of these qualities makes thinking flexible, original and productive.

A number of scientists (15; 27; 37; 55; 57; 58) is based on the relationship of creative thinking with associations. S. Mednist notes that thinking is considered the more creative, the more distant are the ideas between which the associations arise, they must in turn meet the requirements of the task and characterize the usefulness. In the ways of creative solutions based on associations, are intuitive, finding similarities between individual elements (ideas), and mediating some ideas of others.

Creativity covers some combination of thought and personal qualities that defines the ability to work. One of the components of creativity is the ability of the personality. Many of the researchers stand out in creative behavior motivation, values, personal features of the individual. Under the influence of motivation, creativity indicators are increasing.

KM Gurevich, E.M. Borisov (1) notes that there are points of view on the motivation of creativity as a striving for risk, to check the limit of their capabilities and how to attempt to best realize themselves, to maximize their capabilities, to fulfill new, unusual activities, apply new ways of activity.

A.M. Matyushkin (30) believes that the achievement motivation is necessary for creativity. According to Ya.A. Ponomarev (36), the basis of creativity is the global irrational motivation of the alienation of a person from the world. Features of the motivation of a creative personality seeing them in satisfaction not so much by the achievement of the result of creativity, but in the process itself, the desire for creative activity.

There is also a special approach that binds the level of intelligence and the level of creative abilities on a completely different basis. According to this approach, presented by MA Vollah and N.A. Kogan (28), the personal features of a schoolchildren depend on various combination of intelligence levels and creativity.

We in our study adhered to opinions that for optimal manifestation of creative abilities, cognitive and motivational spheres of individuals should interact as an organic integer.

It is impossible not to take into account the social environment in which the person is formed. Moreover, it must be actively forming. Therefore, the development of creative abilities depends on what opportunities will provide the environment to implement that potential, which is in varying degrees of each person. The whole environment should contribute to the development of creative abilities. V.N. Druzhinin notes that "creativity formation is possible only in a specially organized medium" (17,231). For example, M. Will and N. Kogan (28) speak out against rigid time limits, the atmosphere of competitiveness and the only criterion for the correctness of the response. In their opinion, for the manifestation of creativity, we need a relaxed, free situation, ordinary life situations, when the subject may have free access to additional information on the subject of the task.

D.B. Epiphany (7.64) allocated a unit of measurement of creative abilities called "Intellectual Initiative". She considers it as synthesis of mental abilities and the motivational structure of the personality, manifested in "the continuation of mental activity outside the required, outside the solution of the problem, which is placed in front of a person."

Analysis of psychological and pedagogical literature on the development of creative abilities showed that the unified approach to the assessment of creative abilities has not yet been developed. Despite the difference in approaches to their definition, the researchers unanimously identify the creative imagination and the quality of creative thinking (the flexibility of thought, originality, curiosity, etc.) as the required components of creative abilities. As a criterion, it is the creation of a new product, as well as a person's realization of his own individuality, while not necessarily the creation of some kind of product, etc. Almost in all approaches emphasizes such an important distinguishing feature of creativity, as the ability to go beyond the specified situation, the ability to formulate Own goal.

Based on the analysis of various approaches to the problem of developing creative abilities, we allocate the main directions in the development of the creative abilities of younger students: the use of methods of organization and motivation of creative activity, the development of imagination and the development of the qualities of thinking.

Strictly scientific subject of research "creative potential" becomes at the beginning of the 20th century (PK Engelmeier). Then a surge of activity in the study of individual aspects of the development of the creative potential of the person is noted in the 60-80s. In philosophy (S.R. Evinzon, M.S. Kagan, E.V. Kolesnikova, P.F. Karavchuk, I.O. Martynyuk, etc.), as well as in psychology (L.B. Bogoyavlenskaya, L. B. Ermolaeva-Tomin, Yu.N. Kulyutkin, A. M. Matyushkin, Ya.A. Ponomarev, G.S. Sukobskaya et al.) [Yatskova, 2012].

In pedagogy, the active study of this phenomenon began in the 80-90s. (T.G. Brazh, L.A. Darinskaya, I.V. Volkov, E.A. Glukhovskaya, O.L. Kalinina, V.V. Korobova, N.E. Males, A.I. Sannikova, and Dr.). The creative potential of man, as noted by O. Yu. Yatskova, was one of the key pedagogical concepts to understand the individual as a systemic integrity due to its development and the most complete implementation of the internal essential forces [Yatskova, 2012].

The category "Potential" refers to the number of general scientific concepts and is characterized as mental capabilities, depreciation, ability, quality, inclinations, energy, productive forces, the needs of the knowledge of oneself (I. Kant, G. Hegel, N. A. Berdyaev, M. K . Magartasvilly, etc.). This concept in the studies of K. Rogers, A. Maslow, E. Fromma correlates with the processes of updating, implementation, deployment, reproduction, disclosure, embodiment, ascent to themselves, the desire to "go beyond", the accumulation of social experience, self-prediction, self-expression, self-affirmation, self-realization and development [Yatskova, 2012].

As I.M. Yarushin, the concept of "potential" implies such properties and personality capabilities that can be carried out and to be reality only under certain conditions. But the potential acts and as a result of development, as well as a complex systemic education, which contains new driving forces of further development [Yarushina, p.12].

Under creativity, the most different psychological phenomena is understood: the process of creating new material and spiritual values \u200b\u200b(E.L. Yakovlev, E. Torrance, N. Rogers), human spiritual state (V.D. Shadrikov), interaction leading to development (I .A. Ponomarev), the creation of something unique (D. Morgan), the element of any employment process (so-called Balobanova, T. Edison), intellectual activity (D.B. Bogoyavlenskaya).

According to E.A. Yakovleva, creativity is the process of identifying his own individuality. Creativity is inseparable from the personality of a person, it appears as the identification of the personality of its universality [Yakovlev, p.10].

An analysis of the literature showed that there are many points of view on the essence of creativity. With all the diversity of creativity definitions, its total characteristic is that creativity is the ability to create something new, original.

As I.M. Yarushina, the meaning of human existence is reduced to the implementation of this desire, in self-expression as gaining herself. Creativity, the ability to work is the general-time quality of man, i.e. Inherent in all, but developed can be in different degrees [Yarushina, 2007].

Being a rather complicated education, the creative potential of the personality does not have an unambiguous interpretation, a generally recognized definition. So, from the point of view of an axiological approach (M.S. Kagan, A.V. Kiryakov et al.) The creative potential is understood as the repertoire of the obtained and self-developed skills and skills, as the ability to act and measure their implementation in a certain field of activity and communication [Yarushina, 2007].

The authors of the ontological approach (M.V. Koposov, V.N. Nikolo et al.) Consider creative potential as a characteristic property of an individual, determining the measure of its capabilities in creative self-effectiveness and self-realization. M.V. Coposov considers the creative potential as "the characteristic property of an individual, which determines the measure of possibilities in creative self-effectiveness and self-realization" [Coposov, 2007].

This phenomenon is recognized as the most important body-forming factor in humanity, the way to actualize the creative essence of a separate person.

From the position of a developing approach (O.S. Anisimov, V.V. Davydov, G.L. Pihtovnikov) The creative potential of the personality is determined by him as a set of real possibilities, skills and skills, a certain level of their development.

As part of an educational approach (GS Altshuller, I.O. Martynyuk, V.G. Rindak) consideration of this phenomenon as the quality characterizing the measure of personality capabilities to carry out a creative nature.

V.G. Rindak creative potential determines as "a system of personal abilities that allow optimal change of action in accordance with the new conditions, and knowledge, skills, beliefs that determine the results of activities and encouraging the person to creative self-realization and self-development" [Rindak, 2008].

In the works of D.B. Bogoyavlenskaya, A.V. Brouslinsky, Ya.A. Ponomareva and others are a persistent approach that allows you to identify the creative potential with the creative abilities of a person and consider it as an intellectual-creative background for creative activity. In the works of D.B. The Epiphany is emphasized that intellectual activity combining two components in itself: cognitive (general mental abilities) and motivational [Bogoyavlenskaya, 2003].

In the interpretation of Ya.A. Ponomareva Creativity is considered as "interaction leading to development." The researcher notes that only a person who has a developed internal action plan is capable of full creative activity, which allows it to assimilate the amount of special knowledge of one or another area of \u200b\u200bactivity necessary for its further development, as well as to claim personal qualities, without which it is not possible Genuine creativity "[Ponomarev, 2006].

TA Salomatova, V.N. Markov and Yu.V. Sinyagin consider the creative potential of the personality from the position of the resource approach. Researchers emphasize that the potential, being a resource indicator, is constantly spent, resumed during the vital activity of the subject, is implemented in relationship with the outside world, and is also a systematic quality [Salomatova, 2009].

According to supporters of the energy approach (N.V. Kuzmin, L.N. Tekovich), the creative potential is identified with psycho-energy resources and personal reserves, which are expressed in the extraordinary intensity of spiritual life and can be discharged in other activities [Kuzmina, 2006].

PF Kravchuk, A.M. Matyushkin The creative potential of the person is studied from the position of an integrative approach. Researchers determine the integitivity as its characteristic property, and characterize the creative potential as a gift that everyone has. An integrative personality characteristic at the same time acts as a systemic dynamic formation, which reflects the measure of the empowerment of its essential creative forces in real conversion practice; Expresses the attitude of a person to creativity (position, installation, orientation [Kravchuk, 2009].

T.G. Brave determines the creative potential as the sum of the knowledge system, skills and beliefs, on the basis of which activities are built and regulated; a developed sense of new, human openness to everything new; The high degree of development of thinking, its flexibility, non-sterotic and originality, the ability to quickly change action techniques in accordance with the new conditions of activity. And the development of creative potential as a whole is to find ways to develop each of the components and ways of their relationships [Brazh, 2006].

N. V. Novikova Creative potential determines as "a set of internal capabilities, needs, values \u200b\u200band assigned tools to achieve such states of consciousness, which are expressed in the readiness of the personality to creative self-realization and self-development; In the realization of the person of their own individuality "[Novikova, 2011].

IN AND. Maslova defines the creative potential of the personality as a system characteristic (or system of properties) of the person, which gives her the opportunity to create, create, find a new, make decisions and act original and non-standard [Maslova, 2003].

Analysis of philosophical and psychological literature shows that so far there is no unity in the definition and content of the concept of "creative potential."

In general, it can be concluded that the creative potential of the personality is an integral integrity of the natural and social forces of a person who ensure its subjective need for creative self-realization and self-development.

From the point of view, Yu.N. Kulyutkina Creative Patinal Personality, which determines the effectiveness of its activities in a changing world, is characterized by not only the human value-semantic structures in humans, the conceptual apparatus of thinking or methods of solving problems, but also a certain common psychological basis determining them [Kulyutkin, 2006].

According to Yu.N. Kulyutkina, such a base (such a development potential) is a systemic education of a person, which is characterized by motivational, intellectual and psychophysiological reserves of development, namely:

- the wealth of the needs and interests of the person, its focus on increasingly complete self-realization in various areas of labor, knowledge and communication;

- the level of development of intellectual abilities, allowing a person to effectively solve new life and professional problems for him, especially a global nature, that is, to be open to the new one; Realistically approach to emerging issues, see them in all complexity, contradictions and diversity; possess wide and flexible thinking, see alternative solutions and overcome the established stereotypes; critically analyze the experience, be able to learn lessons from the past;

- High performance of a person, his physical force and energy, the level of development of its psychophysiological capabilities [Kulyuttkin, 2006].

The structural and meaningful plan of creative potential, according to the researcher, reflects the complex of the abilities of the intellect, the complex of the properties of creativity, a complex of personal manifestations, but does not boil down to them. The probability of manifestation of creative potential depends on the person's personal desire to fully realize their capabilities, on the degree of its internal freedom; From the formulation of social feeling (effectiveness, creativity) [Kulyutkin, 2006].

Creative potential contributes to the removal of a person to a new level of life - the creative, transforming social essence, when the person implements, expresses itself not only in order to resolve the situation, an answer to its requirements, but in the order of the oncoming, opposing, transforming the situation and the very life of the decision.

As I.M. Yarushin, when they talk about creativity in childhood, most often they mean the disclosure in the process of learning and upbringing the creative potential of the personality of a growing person [Yarushina, 2007].

Developing in the process of activity and stimulating its leading motifs, creative potential characterizes the measure of personality capabilities and is manifested as the ability to productive change and creating a subjectively new product, defining this creative style of activity itself. Therefore, the purpose of the development of the creative potential of the individual is to create prerequisites for its creative self-realization [Yarushina, 2007].

As the initial factor of the accumulation and implementation of the creative potential of VI Maslova highlights motivational readiness for creativity. If the role of the genotype is great in the formation of a general intellectual ability, then in the development of creative potential, the environment and motivation (E.A. Golubev, V.N. Druzhinin, V.I. Kochubey, A. Maslu are becoming determining conditions. The most general characteristic and structural component of the creative potential of the child are cognitive needs, dominant informative motivation. It is expressed in the search activity of the child, manifests itself in increased sensitivity and selectivity to the new and unusual [Maslova, 2003].

According to V.I. Oil creative potential includes the following structural components:

- the motivational component expresses the level and originality of the interests and hobbies of the child, the interest and activity of its participation in creative activity, the dominant role of cognitive motivation;

- the intellectual component is expressed in originality, flexibility, adaptability, fluency and efficiency of thinking; ease of associations; in the level of development of creative imagination and in the use of his techniques; in the level of special abilities;

- the emotional component characterizes the emotional attitude of the child to the process and the result of creative activities, an emotional attitude to it, the emotional and figurative characteristics of the psyche;

- the volitional component characterizes the ability of the child to the necessary self-regulation and self-control; Quality of attention; independence; The ability to volition voltage, aspiration to the goal of creative activity, child demandingness to the result of its own creativity [Maslova, 2003].

As V.I. notes Maslov, the named components of the creative potential are mutually related to each other and with a holistic structure. Thus, ensuring the conditions for the formation of interest will contribute to the development of the emotional sphere (K.E. Izard, A. Maslow, J. Singer, etc.); Directed formation of an emotional-shaped sphere - the development of intelligence and motivation; the inclusion of intuitive search and the associative process - the development of emotional and intellectual spheres; the creation of intensive and promising motivation - the development of all areas; The formation of a critical attitude and aspirations for improving the products of creative activity - the development of the volitional sector [Maslova, 2003].

An analysis of psychological and pedagogical literature allows us to conclude that it is necessary to ensure that the transition of the creative abilities and mental neoplasms of preschoolers from a potential state should be ensured for the development of creative potential, from the state of a possible actual, which will result in children to manifest and develop creative individuality.

Thus, you can draw the following conclusion. As the analysis showed, there are the following approaches to the concept of "creative potential": axiological, ontological, developing, activity-organizational, energy, abuse, resource, integrative. The theoretical analysis allows us to consider the creative potential of the personality as a human technology ability to create a new one, which is expressed in features: personal (emotional stability, adequate or high self-esteem, focuses on success, independence, self-confidence, motivation for creative self-expression); cognitive (curiosity, fluency, flexibility, originality of thinking); Communicative (empathy, developed ability to interact).

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