Distinctive features of a business game. Leading signs of game activity The game has several distinctive features.
Several observations on human gaming activity at all.
Since it has already turned out how much a significant place is occupied by the game in the life and work of the director, it would be nice to think about and try to understand what she herself is.
What is a game?
We put on the glasses, put on thick books and dictionaries and imagine themselves by scientists.
The definitions of the game are very much, but they are all unacceptable for us because of their excessive abstraction and inorganicity. They are uncomfortable and tough as the last case of Belikov. The game laid in them turns into a corpse of the game or, at best, in the cemetery mooring of a poor scheme: the paints of life are fascinated, blows the flesh of the game, the game pulse - excitement - not hard.
The definition of the game leads first to its restriction, and then, with more persistent attempts, and to its kingdom.
The game of Multicolia, like life itself, so the task is to suggest the essence of the game in one compact formula seems to be extremely complex and difficult. Of course, if someone suits the definition of life as a way of the existence of protein bodies, then there are no problems, then enough and definitions of the game as useless activities that have a goal only in itself.
I also tried to invent a comprehensive formula of the game. Two more than a year spent on the position of Alchemist looking for a philosopher's stone, and all two years with zero result. I then came to me a very productive thought: and maybe it is not necessary for any of these "definitions" at all? - After all, what is a game, fortunately, very well known to every person on Earth; Maybe much better will spend time and effort to search and describe the distinctive qualities of the game, on the selection of key signs that make the game game?
No sooner said than done.
Risching to enjoy creeping empiric, I have selected the descriptive method of research research (old, kind, more than once a proven descriptive method). Instead of, as it should be, to formulate and determine the subject of the research, I will try to select and describe the six fundamental features of this subject.
The first sign of the game is a buzz, that is, the mandatory pleasure received by all participants of the game. It is an experience, related to satisfaction from a good, healthy and strong sleep, pleasure from good food and happiness from good love. This feeling is rooted in the very depths of human nature and the foundation-mentalized in the history of mankind. It is for him that he must his existence Homoludens - a person playing. Without this feeling, the game cannot continue: having ceased to love the buzz, players go out of the game and diverge. "I'm bored," the little girl whines, swinging the doll. "On the fig I have such a game!" - Spring junior junior teeth. "I saw these horses in the coffin and in white slippers," the elderly fan of CSKA grows and thumps an empty beer bottle to the nearest urn.
The second sign of the game is competition, that is, the opportunity to measure with each other by force and dexterity, skill and talent, ingenuity and the ability to foresee on many moves forward. Plus an indispensable desire to win, win. The game in which opponents only make that they inferior to each other is just as meaningless, as well as a game with an insignificant prize. On the presence of an independence in the game, three permanent gaming events flashes us - separation of commands, challenge and bet. The separation should be equivalent and intriguing, a challenge - not allowing refusal, and the rate is as high as possible.
Energy of rivalry is large and powerful. Running, she acquires the features of the elements. The game threatens to grow into an open clash with unpredictable consequences, simply put - in vulgar scuffle. The game developing into a fight is very common, almost typical. Primitive conflict destroys the game - it is first interrupted, and then stops. Wanting to save, protect your kind brainchilding from self-destruction, players introduce a certain list of prohibitions and permissions, specific and purely individual for each specific game. Overlooking by these rules over the centuries, the game acquires the structure.
The presence of a structure is the third sign of any game. The amount of solid rules regulating and regulating the game competition, cementing the integrity of the game, becomes bone and endlessly prolongs its self-identical stay in the world. Some real attributes are evidenced about the structures of games: some real attributes: a chessboard, a set of chess pieces, a playing field, clearly divided by a high or low grid, - in volleyball and tennis, a football field, symmetrically completed on the opposite edges of the mesh gates and penalties. Deck of playing cards. Chalk on the asphalt filled with a drawing for a classic classic game. Dollhouse. Bosshovsky, with little men inside, transparent ball formed by the rope, which two girls are twisted in the courtyard under your window. Etc., etc., but this is a structurality, so to speak, external. And there is internal: the inability to get out of the game before it is completed; Sparedness of the team and the corresponding players hierarchy; Quantization of the game, the order of moves and the preparation of tactical blocks. It may seem that in its historical development the game more and more formalized, the bonnet and losing the degree of freedom. But it is not so. Here we face a great paradox of the game: the stringement and numerous rules that limit the game, the greater improvised liberty acquire its participants within the system of these rules. The structural structure gives the player freedom.
The fourth sign of the game is the risk. The risk element gives the game special, not comparable sharpness. Throwing up a coin into the air, you're never sure what will fall out - eagle or rush. The glorified champions team can leave the luck, and she will dry out an outsider. When your favorite daughter descends to play the courtyard with a chic new doll, which you just brought her from Warsaw last night, she doesn't have a 100% guarantee of success - it can happen that the girlfriend Uncle brought her niece doll from London; Your doll can only close the eyes when it is placed in the stroller, and the neighbor can, as a child, led by the handle, and besides, it is elegantly swaying with gold curls, tenderly burst "ma-ma". Everything. The game is irrevocably spoiled. The case is an equal member of the game. Close: this is why he, the case, lies around the corner of the next half.
Risk and accidents permanently enliven and update the unchanged gaming canon. They make the game dynamic, unexpected, probabilistic and far from unambiguous.
The fifth sign of the game is its fundamental esquea-n and z m. Yes, for any game, always and necessarily three "escapes", three "outputs":
a) the exit from real time in the "timeless" (game time). An hour and a half of the football match, the Russian nighttime nights, whole weeks of the Olympic Games, all these rates, rounds, sets and periods are off from historical time and given the game and only one;
b) Care of its space: captured and limited to a large or smaller part of the real space to make it an autonomous space of the upcoming game (gaming space). Circles rounds, stadium ovals, squares of rings, cortex rectangles, cruise sites, crockets, playgrounds and sandboxes - all these examples of spaces occupied by the game and degraded with it all the rest of the universe
c) Turning off from the social framework (from social relations, from the painting of classes, from the hierarchy), liberation (for a time) of all social responsibilities and the creation of a new, game team with its socially autonomous relationships. The game becomes a total inventory (there is no mother, there is no dad, there is no teacher, there is no daily subordination, there is no boss, there is no framework, there is no slavery). And if the game still takes the bosses (parents), they are always subordinate and humiliated. Please note how very important role is highlighted here: Games are a moderate carnival. Disguised by everyday life, "underground" carnival. And one more important additive. This is a special escape: not just care, and the care-coming, not just a waste, but a waste-approach; The child, playing, seems to be leaving, is separated from the world of adults, but it seems to be approaching him, imitating the world rejected in his game; Participants of the adult game seems to be overlooking them from the surrounding reality, from their usual, from the arrogant framework, but plunge into an even more stringent game system.
What makes them pull and manit? All the same democracy of the game: game freedom, game equality, gaming fraternity.
Getting Started with the description of the sixth sign of the game, the latter in order, as is commonly expressed in such scientific cases, and far from the latter in importance, I feel doubts and fluctuations. Doubts in their own ability to describe this feature and, moreover, doubt about the possibility of describing it, as it may be. Although, I note in brackets, it is the most accurate and simplest of all signs of the game. The cause of my oscillations was temptation and abandon the description of the sixth sign at all. Throw it - and the case with the end. No one knows how much I followed them, considered these signs. There were six, there will be five, one more, one less, we will not be small. The procedure is simple: to make a small editing in the manuscript - to replace the numerical "six" other numerical "five". But I could not do this. First, because I have not just compiled a sign of signs, but, I apologize for the expression, their system has been developed that describes the game with the highest possible fullness. Remove at least one of the characteristics given here, and the game will become defective, turn into cripples. Rhetorical question: is it correct to offer a mother so a cruel choice: without which organ prefers to see his child - without an eye or without ears? No legs or without hands? Without language? .. So nothing can be done - I will have to take a hopeless attempt to formulate this elusive sign in words.
In the difficult phenomenon of the game, if you look closely, you can detect
many elusive and difficult things. They seem to eat at the same time
no matter how not. How much do you try to detect them and clearly define it
you never succeed, but confidence in their presence is only stronger in the process
unsuccessful searches.
One of these elusiveness is why you can distinguish a good game from bad, that is, a real, increasing, exciting and conquering from the fake, cold, unrecognizable and rejection. Game from non-game.
It happens like this: there is an ordinary, ordinary game, more precisely, the ritual of entry into it. All rules are followed, all recommendations are performed. Familiar players in familiar forms run through the familiar field and create one after another familiar combinations. The girls are familiar to lay down and sear the familiar places of their old dolls, known to the Okoms, studied along and across. But something is not
calculate changes, and we immediately fix: there will be an outstanding game, no, there will be no, and has already begun. We feel all: and players and fans - it begins inexplicable. Football goalkeeper begins to take the balls that it is impossible to take, the hockey striker throws out incredible washers, the happy fan reach their stands from the delights of the robust. Girl's dolls are imperceptible and happily turn into children. The chair becomes aircraft, and the dusty bushes of the boulevard turn into impassable African jungle.
And again I have to make a reservation: now it's not about the assessment of the ending game, not about the analysis of it according to the results and results, - I speak with you quite about another, about the feeling of the game by its participants themselves and not postfactum, but in the process of its deployment, - As if from the inside. About self-esteem game.
In the first case, this is relatively easy - the complete game is unchanged and still, it can be described as much as you like, it is amenable to analyzing without resistance, it is ready for any classifications, comparisons and opposition. But I do not want to describe a butterfly by putting it on a pin and hiding under the glass in a beautiful box. I want to understand her in flight, in the capricious and bizarre flitting over the launches of the sun overgrown nettle.
But it is much more difficult.
The initial question arises again: What makes the game genuine? Maybe, in fact, there is a certain mystical spirit of the game, the presence of which it revives it, and the absence is dead. Something like this is undoubtedly there, something easily arising and as easily destroyed, something extremely fragile and ephemeral - game mood? Game atmosphere? Then what is it, this atmosphere, this soul of the game, why and why does it arise or does not occur?
At one time it seemed to me that the desired sign is somehow connected with these strange and inappropriate in scientific reasoning with words - fragility, ephemerality, fragility, - because, contrary to the widespread prejudice, the game is rude, sandra and cruel only outwardly, and inside In essence, she is infinitely gentle and defenseless. It is built on the principle of the turtle: outside - solid, coarse shell, and inside - gentle and easily vulnerable flesh. I really like this chic image: "Gentle-flesh games", but I understood that the tenderness would not pass as a generalizing sign - I will immediately return to me: But what about the tug of the rope? and walking the wall on the wall? and the famous bike? (It means not a means of movement on two wheels here, it says about the famous game in which we loved to play in the pioneer camp: the pieces of paper are coagulated in the form of papillotes, carefully fit between the fingers of the feet of sleeping comrade and set on fire; victim, without sacrifice What is the matter, begins to knock on his feet - exactly turns the pedals. And everyone is ridiculous. Subsequently, I learned that this game was loved to play not some pioneers. She is also popular among soldiers in the barracks and among criminals in Zekov Barackov. But this is also peculiar camps).
Then I began to look for something else, but immediately, nearby, nearby, I tried to continue the row: "Efhemerality", "fragility," "was not", "the" empty huge stadium "," for a long time and fixed carousel in a premium mining "And it came across -" Uniqueness ". Finally, of course! The uniqueness of the game.
And went, and went. I would like the notorious spirit of the game. The main thing was found, then - a question of technology. And in fact: it is the uniqueness that gives the game an invincible charm to the game, causes a calf delight and raises it to the top floor of human being. More precisely, the uniqueness itself is, and its sudden and momentary awareness of all participants in the playing. As I could not immediately think about it - it was lying on the surface: the game can not be repeated. Want to remember the cells just once again a corrosive crossword? Of course, you do not want - it is absurd. Would you like to feed my dolls for the second time, just undermining, and without any difference in the nuances of serving and without changing the menu: the first is the same noodles soup with sliced \u200b\u200bgrass and water from the nearest puddle; On the second - the same acorns with a side dish of piled rowan; On the third - dairy kisel from the remnants of toothpaste? Do not want? Why? You'd better sleep the dolls, cook a new meal and feed them with dinner? And you, men, can you repeat in Domino? "I might, but for nothing. We now beat the new." And if you ask two football teams to once again play the ending match - with the same attacks, with the same goals and with the same score, they will say that it is simply impossible.
So, the game is unique, Efemerne, she was and ended, and everything, and that's it! And it is impossible to restore it. The following objection may occur: football There are many dozens of years and is resumed daily, and chess live and live, repeating, whole millennia. Here we came to the main thing - to the great organicity of the game and to the highest humanity. Now you will see how close is the nature of the nature of man: it is arranged in the same way as the people themselves. The fact is that we use the word "game" in two definite meanings. The word one, but behind him there are two different concepts: a game as a given, separate, specific meeting of players (this match, this rebus, this bullet) and a game like a type, genre, look, what else? - Its variety (Football in general, puzzle in general, preference as a type of cartoon infection). A separate game is unique, individual and non-abrasible, as well as a separate person. The game is generally unchanged and canonic, it is easily repeated and self-reproduced, therefore, as humanity as a whole, as in general, the human race may exist very long, almost forever. I will leave, I will die and leave the game, but another person will change me, he will change his third and so indefinitely, because humanity cannot die. Other girls and in a thousand years will play dolls, new boys will also play their war, but as we played, they, alas, will never be able to play.
Now I calmly and with pleasure I can offer you a compressed wording of my sixth sign: the uniqueness, the uniqueness of each individual game. Now I am sure that you will fully agree with me about the importance of this sign. Now I am sure that you will understand me hard and subtle - expressly.
The most curious thing: it is now, who takes another attempt to formulate the features of the game, I suddenly notice with joyful surprise that all these qualities of game activity are simultaneously and indispensable signs of the theater. Another confirmation of the direct kinship of the theater with the game, their structural similarity, their similarity. This discovery is as a gift. As a white spot on a pink children's nail, sorry for sentimentality in a scientific conversation. Fools sublimation, you are right.
Now that the sacramental words about the structural similarity of the game with the theater are spoken out loud, we begin to pay attention to others, not so universal, but, so to speak, its secondary signs, well distinguishable exactly through the prism of the theater. Especially often they are found in the so-called role-playing games (I am a doctor, you are a patient. Undress, I will inspect you).
First, this is naive theater boasting, the subconscious desire of playing to attract the attention of others, irresistible the desire to exhibit atmosphere."Mom, why don't you look like good I'm going on the horse!" - the baby is indignant, and an adult uncle-football player shamelessly "pulls the blanket over himself," no worse than uncle-artist; There is even a common rational definition for them. "Star disease". Secondly, it is a special game costume.The favorite lesson of a little girl is to press Mother, daughter to the floor, a colorful bathrobe, to fit into her huge shoes for his daughter on a heel and walk around the rooms, spruy with her shoulders and hips. Longhudoes The red-star helmets, accelers and stripes are equally kind and enormous adolescents and young people. And the famous "Red Parks" of the Civil War! And football players, hockey players, tennis players, archers and boxers, changing as actors, before entering the public. Security and convenience? Yes. But why are their outfits so colorful and brandly luxurious? Thirdly, masking.The game is carefully and lovingly binds a mask through all the centuries and countries: from the distrect and having antiquity of the Lichny African ritual games,through the birch and the urinary Hari of the Northern Maslichnaya Fun, through the pre-war tall-over masks of the South-Russian guys, cut or out of half of the watermelon or dull pumpkin, through today's kindergarten masks of stamped monkeys, cocks and doctors, Aybolitov - to the aliens of the fencer. Of course, a plastic mask of a hockey goalkeeper protects the player's face, but as it looks like a white mask of death with Mexican carnival. Here science is silent. Here we touch the secret, to primitive, Prastern kinship. To the blood bonds of the game and theater.
In describing the features of the game activity, we, first of all, were focused on the book J. Heising:
1. Any game is primarily available. The game on the orders is no longer a game. In extreme cases, it may be some kind of imitation, playback of the game. Already thanks to a free character, the game goes beyond the scope of the natural process. She joins it, located on top of it as a decoration.
A child or animal play, because they are enjoyed the game, and this is their freedom. For a person of an adult and a capable game there is some excessiveness. At any time, the game can be postponed or not take place at all. The game is not dictated by physical necessity, the more moral duty. The game is not a task. It proceeds "in his free time." And only when the game is closed with the performing arts (theater, execution of musical works, etc.) or the sport of the concept of assignment, tasks, duties are tied to the game.
2. The game is not "ordinary" life and life as such. It is rather a way out of the framework of this life in a temporary sphere. Even a small child knows that he plays only "as if" is unlikely that all "Ponaroshka". Not being the "ordinary" life, the game lies beyond the process of direct satisfaction of needs and passions, interrupts this process. It encloses in it as a temporary action that proceeds inside itself and is committed to satisfaction that is coming by the action itself.
3. The third distinguishing feature of the game is that the game is isolated from the "ordinary" life to the place of action and duration. It is "played" at certain spaces and time. Its current and meaning is concluded in it.
The game begins and at a certain point ends. She played. While she is going on, it reigns the movement, direct and dug, lift and decline, alternation, tie and junction.
In addition, any game proceeds inside its gaming space, which is designated in advance, materially or just perfectly, deliberately or as it should be implied. Circus Arena, Playing Table, Scene, Film Screen, Chessboard - All of them are on the form and function of the essence of gaming spaces, that is, alienated land, separate, disassembled, consecrated territories, which have the power of special, own rules. This is as if temporary worlds inside the usual, created to perform a confined actions.
Inside the gaming space reigns its own order. The order installed by the game is immutable. The slightest deviation from him upsets the game, deprives her own character and depreciates. In the chaotic world, in a messy life, the game creates temporary limited perfection.
4. The game is characteristic of emotional and volitional tension. The stress is caused by uncertainty, instability, a kind of chance or the possibility. So that something "succeeded" requires efforts. The voltage is already present in grabbing movements of a breast baby, a kitten, chasing the coil of threads, has a little girl playing in the ball. It prevails in individual adequity games and spuriousness - puzzle, mosaic, solitaire, shooting in the target - and its importance increases as the game becomes more and more competitive. In gambling and in sports, it reaches an extreme point. The tension of the game exposes checks the playing: its physical strength, exposure and perseverance, resourcefulness, delets and courage, endurance, and at the same time the spiritual forces of the playing, since he is obsessed with the desire to win.
5. Each game has its own rules. They dictate that will be powerful inside the delimited game of temporary Mirka. The rules of the game are mandatory and are not subject to doubt. It is worth violating the rules - and the entire building of the game collapses. The game stops existing. The whistle of the sports judge destroys the charms and temporarily restores the "ordinary world" rights.
Playing, which does not obey the rules or bypassing them, there is a violator of the game. It is necessary to play honestly, decent. The violator of the game is absolutely not similar to the one who is plotting, smells in the game. Plut, Shuler only pretending to play. Society of playing easier forgives him of his sin than to the violator of the game, for this last breaks all their game world. Without recognizing the rules of the game, he exposes the relativity and fragility of this game Mirka, in which he closed on time along with other partners. He takes an illusion from the game. Therefore, he must be expelled, because it threatens the very existence of the gaming community. The figure of the violator of the game, the "Straight game of the game", is most brightly manifested in the game of boys: they are not interested in why "Strajambbreher" against the game - because it is afraid to risk, or because he can not be healthy. Children do not recognize any "impossible" and call it "tool".
6. The exclusiveness and the isolation of the game is manifested in the most characteristic way in mystery, which the game loves himself to surround. Already small children raise the temptation of their games, making them "secret" - "This is a game for us, and not for others." What these others are doing outside our game, we are temporarily not interested. Inside the sphere of the game, laws and customs of the world of daily forces do not have. We exist and make a "differently".
The mystery of the game is most clearly expressed in dressing up. Here reaches the completion of the "unusual" of the game. Disguised or putting on the mask, the person "plays" another creature. He is this "Other Creature"! Children's fright, stormy delight, the sacred ritual and mystical implementation inseparably accompany everything that there is a mask and dressing up.
7. One of the features of gaming activity is the presence of the "flirting" when a child or an adult cannot escape from the "captivity" of the game. The phenomenon peculiar to obviously only gaming activities. With the exception, perhaps the highest passion for creative scientific or artistic activities. So, at the beginning of the game you can cut the child's game activity, the child easily comes out of the gaming situation. But if the game continues long enough, "withdraw" a child from the state of the game is sometimes very difficult: the child "began", which began to lose a sense of reality. It is impossible to distract from the game, put sleep, etc.; He is nervous, capricious, it is over-excited.
Similarly, adult passionate players in the preference can see the three-day cart table. Or the situation described in the novel F.M. Dostoevsky "Player", when a person cannot get rid of the destructive passion of the game. The same situation is developing today with slot machines - many people sit for hours behind them and lose all the money, depriving their families of all means of existence. Azart is such a degree of passionism, in which they neglect the choice of funds, reasonableness, and, in the end, consciousness as a whole.
8. Game breeds game associations people: courtyard teams, clubs, informal fans, etc. etc. The combining game partners feeling that they are in some exceptional position, together do something important, together are separated from others, go beyond the universal norms of life, is a feeling of its strength far beyond the gaming time.
As you can see, of these eight highlighted features of the game activity, the game is properly, an abundant from all other types of human activity. Moreover, if you turn to the types of organizational culture, the game activity is based mainly within the framework of the most ancient traditional culture. With the exception, perhaps, challenged games with a large number of participants, when the organization of the game is already carrying the project features, more precisely, combines elements of traditional and design and technological culture.
The game is an activity that differs from everyday everyday actions. Humanity again and again creates its invented world, the new being, which exists next to the world of natural, the world of nature. Any game, it is primarily free, free activity. The game proceeds for herself, for the sake of satisfaction, which arises in the process of performing a gaming action. The game is an activity that depicts the identity attitude to the world.
In preschool age, various activities are formed - cognitive, subject, game, elementary labor and training, as well as communication. Mastering this or that activity, the child simultaneously masters knowledge, skills, skills associated with this activity. On this basis, it has a variety of abilities and personality properties.
The domestic pedagogy is recognized by the game the status of the leading activities of children of preschool age. Describing it, teachers and psychologists of various scientific schools identify a number of general provisions:
1. The game has a social basis, it is a displayed character (reflects life, the world of adults), and they reflect in games only individual sides of the "adult" life: the sphere of human activity, labor, relations between people. The figurative reflection of real life in the games of children depends on their impressions, the emerging system of values. The game is social and in the ways of its implementation: the game activity is not invented by the child, but is set and sent to adults.
2. The game for a child is a life practice, where a child in its own way, creatively combines life ideas.
3. The game is effective-speech.
4. The game contributes to the formation of a child's neoplasms, its mental processes, including imagination. It has its own characteristics: first, the child sincerely believes in the images of imagination, so playing, experiencing strong genuine feelings. Another major feature of the children's imagination is the ability to transfer the functions of one subject to another, which does not have these abilities.
5. Availability of creative start in the game. Creativity and initiative can manifest itself in the development of the plot, the content of the game, playing the role in the choice of ways of action, game relationships, in the selection of toys, game items, costume elements, etc.
6. The autonomy of the game. Children independently combine their knowledge in the game, they independently unite in the game of senior preschoolers, freely enter and come out of the game.
7. The presence of gaming rules that send the activities of children in the game.
8. The game is associated with pleasure. This is the result in the plot game. Children are experiencing various feelings in the game, different emotions arise (cooperation, friendship, offense, dissatisfaction, aesthetic feelings).
9. Multiple repeatability of the game. Repetition is important and necessary for the development of children.
10. In the depths of the game, such activities such as labor and teaching are originated and differentiated.
11. The game is found in the game the basic needs of the preschooler child:
The desire for independence, active participation in the life of adults;
The need for the knowledge of the surrounding world;
Need for active movements;
Need to communicate.
The game activities of children are inherent in the features characteristic of any activity: the existence of a goal, motives, means of implementation, systematic actions, result.
The game of any type proceeds as the activity is meaningful and targeted. In each game there is a significant goal for a child: feed your daughter flying into space, stain playing, dodge from "Catshy", etc. Goals are not constant. As the child's develops, the nature of the goals that he puts himself in the game is changing: from imitative children gradually go to those who are thoughtful, motivated targets.
To implement their game goals, the child picks up his comrades, selects the necessary toys, in the course of the game makes certain actions and actions, enter into a variety of relationships with playing. To the older preschool age, the children acquire the ability to negotiate the topic and the content of the game, to distribute roles to a certain extent to plan their game activities.
The game has both specific features. Among them, the main thing is the originality of motives. The game is free and independent activities arising from the personal initiative of the child, characterized by an active creative character, high emotional saturation. In the game, the child does not depend on the practical necessity: it comes from his immediate needs and interests. The game is made by a child for the sake of feeling the pleasure that it delivers.
Children's game There is a free form of their activities in which the world surrounds is being realized, there is a wide space for personal creativity, self-knowledge activity, self-expression. The game is the freedom of self-discharge, self-development with a support for the subconscious, mind and creativity. Freedom and independence of the child are manifested: a) in choosing a game or its content; b) in voluntary association with other children; c) in freedom of entry and exit from the game, etc. In games of different types, freedom and independence of children are manifested in different ways. However, for the playing she "subjectively absolute" and incompatible with any external necessity.
The game is characterized by self-regulation of action, actions and behavior of playing. Manifestations of playing children are regulated by certain requirements and rules. In games of different types, the rule is different. In creative role-playing games, the Rules are in the content itself - in the role, plot. In the games of mobile and didactic rules, the nature and sequence of actions, the relationship of playing, etc.
Despite the variety of rules, in all cases, players take them and achieve fulfillment voluntarily, in the interests of the very existence of this game, since the violation of the rules leads to its decay, destruction. Children show much greater extract, stability, patience when performing the rules of the game than when fulfilling the requirements in ordinary daily life. Rules are a kind of mechanism for self-regulation of the behavior of children. The presence of rules helps children independently organize in the game (distribute roles, prepare a game environment, etc.).
Thus, the game is the main sector of communication of children: the problems of interpersonal relations are solved in it, the experience of people's relationship is acquired. Children choose the game themselves, organize it themselves. But at the same time, there are no such strict rules, such behavior condition, as here. Therefore, the game teaches children to subordinate their actions and thoughts of a certain goal, helps to educate focus.
The action in the invented situation leads to the fact that the child learns to manage not only the perception of the subject or real circumstances, but also the meaning of the situation, its meaning. The main motive of the classic game lies not as a result of the action, but in the process itself, in action that brings pleasure to the child.
By nature, the game of the child - the activity is displayed. Mostly the game - creative, plotting - reflects the impressions of children about the surrounding life, are their knowledge, understanding of occurring phenomena and events.
The game is a complex and multifaceted phenomenon. The following functions are distinguished:
Educational function -development of general training skills and skills, such as memory, attention, perception and others.
Entertainment function -creating a favorable atmosphere in classes, turning the lesson, other forms of adult communication with a child from a boring event in a fascinating adventure.
Communicative function- Combining children and adults, establishing emotional contacts, forming communication skills.
Relaxation function -removing the emotional (physical) voltage caused by the load on the nervous system of the child with intensive teaching, work.
Psychotechnical function -the formation of the skills of preparing their psychophysical state for more efficient activities, restructuring the psyche for intensive assimilation.
Self-expression function -the desire of a child to implement creative abilities in the game, fully open its potential.
Compensatory function -creating conditions for satisfying personal aspirations that are not fulfilled (difficult to fulfill) in real life.
There is every game, first of all, and first of all free activities. The game on the orders is no longer a game. In extreme cases, it can be some imitation, playback of the game. Of course, freedom here should be understood in a broader sense of the word, in which the problems of determinism are not affected. The child and the animal play, because they are enjoyed the game, and their freedom is.
Be that as it may, for a person of an adult and a capable game there is a function, without which he could and do. The game is a kind of ultra. The need for it only then happens when the desire arises to play. At any time, the game can be postponed or not take place at all. The game is not dictated by physical necessity, the more moral duty. The game is not a task. It proceeds "in his free time."
Thus, there is first of the main signs of the game: it is freedom. The second feature is connected directly.
The game is not "ordinary" life and life as such. She decorates life, it complements it and as a result of this is necessary. It is necessary for individual as a biological function, and it is necessary for society by virtue of the meaning concluded in it, due to its significance, its expressive value Reznik Yu.M. Introduction to the study of social anthropology. M., 1997. P. 135 ..
The game is isolated from the "ordinary" life to the place of action and duration. Isolation is the third distinguishing feature of the game. It is "played" at a certain framework of space and time. Here we have one more new and positive moment sign of the game. The game begins and at a certain point ends. While she is going on, the movement reigns in it, rise, decline, alternation, tie and junction. Another wonderful time limit is a spatial limit of the game. Any game proceeds inside its gaming space, which is designated in advance. Circus Arena, Playing Table, Magic Circle, Scene - All of them in the form and functions of gaming spaces. Inside the gaming space reigns its own, unconditional order. And this is another new positive feature of the game - to create order. The game is order.
Each game has its own rules. They dictate, which will be powerful inside the limited game of temporary Mirka. The rules of the game are certainly obligatory and are not subject to doubt. It is worth violating the rules and the game becomes impossible, it ceases to exist.
The exclusiveness and isolation of the game is manifested in the most characteristic way in mystery, which the game loves himself to surround. Already small children increase the temptation of their games, making them "secret." This is a game for us, and not for others. What these others are doing outside our game, we are temporarily not interested.
Initution and mystery of games together are clearly expressed in dressing up. Here reaches the completion of the "unusual" of the game. Disguised or putting on a mask, a person "plays" another creature.
Summarizing these observations from the point of view of the form, we can now call the game of free activities, which is aware of how "unfinished" and outside the daily life of the occupation, but it can fully master the playing, without pursuing any direct material interest Ricnik Yu.M. Introduction to the study of social anthropology. M., 1997. P. 136 ..
J. Hasing with the whole culture withdraws from the game, as it spreads the phenomenon of the game and animals. According to him, the game is older than people. At first glance, this is true, especially when we begin to understand the game through her signs lying on the surface: it is not dictated by the need (free action), withdraws playing beyond everyday life ("Break of everyday life"), it is not utilitarian, it is separate from non-cha The world (has his chronotope, i.e. space - time), the game community forms its own world, its own rules (animals vary well the aggression and the game).
However, these signs do not constitute the game, they only accompany her, because they can be attributed to any world of people: the world of labor and knowledge, love, struggle ... If you judge the nature of the game only on its signs, then it turns out that the whole life of people - - This is a game (no wonder the tradition in any world to look for "Rules of Game" - in politics, right, morality, in economic and interpersonal relationships). This suggests that we began to relate to the game as an epiphenetary, i.e. Derivative from many factors, which does not have its own lively affluent power.
In-depth analysis of the issue leads to the following views on the nature of the game. The game refers to those cultural and activity, the essence of which is detected only in the process of creating and internal experiences of the playing. It breaks into a new world with its rules that have found already formed and in which he is invited to experience himself in a risky impulse to its existential self-determination and self-affirmation. This threshold of the new being playing is experiencing, often the circumscribed state of the ecstasy - an enthusiastic and inflamed emotional state that gives the starting energy to spread the horizons of the well-being existence. The initial meaning of the game is the desire of a person to the completeness of being, generating new worlds and gives him a feeling of such completeness. Free activities, the acuity of the feeling of which is particularly intensified in cases of playing with life and death in the name of comprehension of playing its existence, is not training and preparing for life, as still interpret the meaning and functions of the game some researchers, and life itself, but in " The castorgal ", in the displaced world of symbols, born fantasy, stimulated by the desire of each person to his natural, holistic life, defined, as he seems to be a blasphemous destiny. These origins in the world of ideas are expressed, for example, in the triads of Vera, hope, love or good, truth, beauty.
As the diversity of people increases (this is a historical trend) and the development of person's individuality, such symbolic games associated with the game content will develop "lump and deep into", i.e. Quantitatively and qualitatively. So, in our eyes, virtual worlds are growing rapidly, obliged by the development of volumetric television Reznik Yu.M. Introduction to the study of social anthropology. M., 1997. P. 137-138 ..
You can come to the conclusion that the subject of the game is not a person, but the game itself, i.e. Specify the primacy of the game on the playing, offering your mechanism for the involvement of a person in the game and stay of the game by man. This statement is something mystical. But this is at first glance. Everything becomes clear at the rational level if we will take that the game is obliged to the nature of the person in which the desire to self-determination in the world of people is laid down. The fantasy of a person at the same time acts as a constructor of the world of the game. However, a separate person, born and socializing, causing many forms and species of the game already established, and in this sense his inclusion in the world of the game is made as if the game itself. In this case, she is the lord of the playing. The game is the same as a player how the playing reproduces and creates the world of the game.
J. Hasing leads all the culture to the phenomenon of the game, and it takes it from the ritual. Many arguments were now extracted in favor of the fact that it is not so that the game, if its essence is understood from the nature of a person, there is something that it is impossible to understand without taking into account the fundamental basis for the existence of a person in the world of people and the world of nature. Moreover, it is one of these phenomena that constantly reproduce in the life of people, which creates, in turn, art, ritual, religious and secular cults, sports, etc. The focusing force is enclosed in the eternal desire of people to personal self-affirmation and self-determination, the integrity of his personality through the search for new worlds in the conditions of limbs of its existence.
As any phenomenon, the game is characteristic of certain characteristics, features that distinguish it from other categories.
Of course, there is no one particular set of such signs. After all, every explorer of the phenomenon of the game considers his debt to bring something, a new, replenishing the list of already proposed properties.
Ludwig Wittgenstein in "Philosophical Studies" is asked: "What is characteristic of all games?" And it is convinced that any of the potential signs turns out to be unpaved in some kind of games. Rivalry? "But he is not in solitaire." Winning and defeat? - But they are not in throwing the ball. Dexterity and luck? - But they are not in chess. Entertainment - also does not always take place. "We see a complex network of similarities, intertwining and intersecting (...) You, in essence, do not know what you mean by the word game," says Wittgenstein.
To solve the problem of allocating the most significant features of the game, attention and researcher of the game concept I. Hasing and S. A. Smirnov are paying attention. "From the outside," he writes - it's hard to disagree with signs of the game. Yes, the game is free activity, it is not dictated by the need. Yes, this is a way out of everyday life, "break of everyday life." The game is uninterested, contingency. Yes, the game has his chronotope - its space-time, it is isolated from non-chairs. Yes, the game has its own rules. The game community forms its own world to which it obeys, and the violator is expelled from this world. Yes Yes Yes. But is it gig-forming signs? Are they constituting the game? Do these signs mean that every free activity then the game? That any disinterested action game. Is there an excessive game? Or does she need a person? Man What is the creature? What is our anthropology? What is a man? .. An independent chronotope of the game is also a secondary sign. Any activity - your chronotope, its own rules and norms. And any activity can be fun, and serious affairs. Everything rests on some special ontology not only games, but also a person in general. And already within the framework of this ontology, you can try to build ontology of the game "29.
However, despite the relatively pessimistic look of S. A. Smirnov signs and functions of the game in the process of studying its nature and genesis were still bred. For example, many psychologists and physiologists have identified the so-called biological function while considering the games of animals and children. Some researchers believed that the source and the base of the game could be reduced to the release of excessive vitality, the manifestation of the "energy beating through the edge". For example, F. Schiller considers the game as a pleasure associated with free from the external need for an excess of vitality. According to others, a living being, playing, follows a congenital imitation instinct. So, the psychologist E. Bern notes that the game is generally imitative. And the researcher of primitive culture E. Taylor allocates a separate type of ritual games that he calls "imitative", that's how he describes the "Bizoni dance" - the dance acting in order to cause the appearance of the herd of animals: "To cause the appearance of herd, the Indians seek to become Similar to bizons - they collectively imitate their movements and chants, and sometimes, for greater similarities, the bison skins are put on "31. American psychologist S. Miller generally shares all games for two types of "game imitation" and "game imagination" and argues that almost all collective games are pure water imitation and struggle. But the initial property of the game is still proposed to consider the heat or voltage. The philosopher I. Hasing considers quality data as the essence of the game. It is pretending in the game that makes the child squeal from delight, the player is to forget himself from passion, leads to the frenzy of numerous fans of sports. "This heat," says Haseing, "not explain to any biological analysis." Sometimes this tension and heat reach apogee. Then the game develops into conflict-game with the varieties inherent in it: sports, gambling, entertainment, intellectual. According to some researchers of crisis situations, "it is worth excluding its conflict side from the game, as she immediately loses all attractiveness." In addition, conflicts-games simulate real conflict situations with the culmination inherent with them and the search for optimal ways out. Thus, conflicts-games act as a distracting maneuver who hosts conflict public sentiment, acting as a deterrent in the development of various crisis situations.
The voltage, by Hasing, is a testimony of uncertainty, but also the presence of a chance, it affects the desire to relax. Voltage is when something is possible with a certain effort. The presence of this element is noticeable even in grabbing movements of the child. The voltage element prevails in single games for agility or spuriousness, such as puzzles, mosaic pictures, solitaire, archery, and increases in its meaning as the game is more or less adopting the nature of rivalry. In gambling and sports competitions, the voltage comes to extremely. It is the element of the voltage that reports gaming activities, which in itself lies outside the region of good and evil, a particular ethical content. After all, the player's voltage is subject to a player's strength: his physical strength, perseverance, ingenuity, courage and endurance, but at the same time, and his spiritual forces, since he, begged by a flame desire to win, is forced to stay in the prescribed reasanced framework. Shares the views of I. X cone F. Boitendike, which among three source deposits leading to the game highlights the dynamics of the voltage-permission, such a significant for the game.
But there is an opposite opinion. So, X.-G. Gadamember argues: Movement in the game "is produced without tension. As if by itself. Easy game. Subjectively addicts experience as discharge. The structural ordering of the game gives the player the opportunity to dissolve in it and thereby deprives him of the task of being initiative, which it should be at stresses inherent in Genesis. " And yet the tension and heat, usually inherent in the game, summarize us to the consideration of the game as competitions.
Xasing believes that the game is "a contest in the one who is better than others will present." "Show" or "present" means "put before your eyes." This may be a simple show in front of the audience of anything given by nature itself (for example, a demonstration of peacock of his plumage in front of the female).
So, the show or representation is impossible without the audience, that is, the game must someone see, evaluate, the game must admire.
Here are the curious thoughts of E. Kant on this occasion from the drafts of the 80s: "A person does not play alone. It will not be one to drive billiard balls, shoot down the kegli, play in the Bilbok or Soliter. All this he does for just to show his dexterity. Alone with himself he is serious. In the same way, he will not spend the slightest effort to beauty, this will happen only in anticipation that others will see it and will be amazed. The same with the game. The game without viewers can find madness. "
This also says X.-G. Gadamember: "The nature of the movement is so clearly and so much belongs to the game of the game, which ultimately there is no" alone "games, namely, so that the game takes place," another "does not necessarily have to really participate in it, but should always It is something that playing leads the game and what corresponds to the oncoming course on the player's move. " And further: "The game is generally carried out in the form of a view for the viewer."
Thus, the game is directly related to sociability develops it. This postulate is confirmed by the definition of the game itself, derived by the psychologist by E. Bern: "We call a series of transactions that follow each other (units of communication) with a clearly defined predictable outcome."
What is this outcome?
The outcome of the game is the winnings or victory in which the game climax is embodied. In the game, all preliminary moves are aimed at the winnings, and each subsequent step, as far as possible, tries to bring the victory.
The game begins, and is conducted for the sake of victory. But the victory is accompanied by all sorts of ways to enjoy it. First of all, as a triumph, a triumph, celebrated by this group in the setting praise and welcomers. The victory is followed by the following honor, honor and prestige.
That is, there is an elevation of the object. Thus, it wins something more than only the game in itself. Honor wins, honor is acquired, fame, authority is earned.
It should also be noted that the victory can be not only real, but also "conditional" (for example, a victory over invincible (death) or a very strong opponent (killed animal for primitive people)) 36.
The separation of victory for real and conditional stems from the splitness, the biscuit of the game itself, which in turn comes from the personnel of a person to two worlds. So, Kant argues that "a person is a child of two worlds, sensual and intelligent, he, as it were, constantly stays in two spheres." Such generation is transferred to the game. Playing all the time as if staying in two validity. The ability to play and lies in mastering the bibeliness of behavior. The player adheres to certain rules, but never forgets about their conventions.
On the replacement of an unconditional (real) situation in the game (game) Says and Yu. M. Lotman, calling the game only a special type of reality. Conditional reality involves some free activities that are realized as an unreal, not associated with everyday life, fictional. On the biscordation of the game as part of the concepts "fictional - valid" so says G. Spencer in his work "the foundation of psychology": "Animal willingly indulge in fictional actions, so to speak the theater representation of his actual activities. Also in humans. Children games - nancing dolls, guest games, etc. - the essence of theatrical performances of adults. " In connection with the consideration of the problem of the bisclastivity of the game, the question arises about that. Is the transition to the imaginable situation with a waste from reality. S. L. Rubinstein in his book "Basics of General Psychology" answers him like this: "There is a departure from reality in the game, but there is also penetration into it. Therefore, there is no care in it, there is no escape from reality as if special, imaginary, fictitious, unreal world. Everything that the game lives and that it embodies in action, it draws out true. The game goes beyond the limits of one situation, is distracted from some sides of reality in order to reveal others in the effective plan. " But it cannot be considered only as a mirror, reflecting the processes of other areas. Such an understanding of this category is too narrow. Rather, the game creates its own special world lying on the verge of illusion and reality. Thus, it, as it were, moves a little and from illusion, and from reality, is separated from them with its borders of the place and time.
Another characteristic feature of the game should be called a closure, a deliberation, which, according to the gadamer, and creates the "openness of the game for the viewer." Temporary deliberation is related to the fact that the game has a beginning, and there is an end. While she goes, there is a movement in front and back, alternation, sequence, tie and junction.
Another temporary restriction is a place limit. Any game occurs in a predetermined gaming space, material or mental, intentional or forgoing.
Arena, playing table, scene, film screen - all of them, form and functions, the essence of gaming spaces, that is, "alienated land", isolated, upholstered areas where their special rules have the power.
The game is always activities for certain rules that establishing your own inherent in the perfect order. The game itself is already an order. And this order is immutable. The slightest deviation from him interferes with the game, invades its original nature, deprives her own value. The rules are inherent in each game. They constitute its essence. They are indisputable and mandatory and not subject to any doubt. The more perfect and more unfolded the game, the more unsupported internal rules that submit an increasing number of game moments: the relationship of playing, the sequence of the plot deployment, etc. But it is worth a little away from the rules, and the world of the game immediately collapses. There is no more game. The case of parents, the whistle of the judge shoots all the spells, and the moody world again comes into their rights. This confirms the French philosopher Jean-Francois Liotar: "... if there is no rules, then there is no game; Even a small change of rule changes the nature of the game, and the "reception" or a statement that does not satisfy the rules does not belong to the game defined by them. "
Deep connection of the game with the idea of \u200b\u200border, the presence of rules and is the reason for the correlation of the game with the world of aesthetic. The game is prone to be beautiful. More primitive forms of the game are initially joyful and elegant. The beauty of the human body movement finds its highest expression in the game. In their most developed forms, the game is permeated with rhythm and harmony, these noble future manifestations of aesthetic ability given to man. Communication between beauty and game are durable and diverse. The above, most likely, belongs to human games, because it is at a person "the power of imagination makes the leap to aesthetic game." The aesthetics of the game is connected with its ethics, manifested in an immutable sense of justice. The game is always a fair test of any qualities: courage, resourcefulness, erudition. Therefore, the wrong judging, dishonest competitive struggle, the use of dirty technologies in the game is indignant.
Aesthetically and ethically wonderful can only be free action. Note that freedom as a faithful sign of the game was previously studied by others. Back in 1933, a prominent Dutch scientist F. Boitendike gives an etymological analysis of the word "game" and speaks of a close convergence of this term and the concept of "freedom".
And the game is primarily the first effect. A forced game can not be playing. Is that - forced playback of the game. The game cannot be caused by physical necessity and, moreover, a moral duty. It is free from the forms of perception and edification. It is not any task. She indulges in his free time. The game is free, she is freedom itself. This freedom can be expressed in the ledge of a certain form of mystery, which she so willingly surrounds itself. Already small children increase the temptation of their game, making it a "secret" from it. For it is for us, not for others. What these others are doing outside our game, until time, we do not concern us. Inside the sphere of the game, laws and customs of everyday life have no strength. We are the essence and we do "something else."
Initution and mystery of the game are visible expressed in dressing in which it is laid by the transformation that makes the game game. It is here that the unusual of the game reaches its highest point. The dressed or put on the mask "plays" another creature. But he is a different creature! Children's fear, unbridled fun, the sacred rite and mystical imagination in undivided mixture are accompanied by the fact that there is a mask and dressing up.
Another sign of the game is the imagery. F. Boitendike emphasizes that "both people and animals play only with images. The subject only can be a game object, - it continues, when it contains the possibility of imagery. The sphere of the game is the sphere of images, and in connection with this area of \u200b\u200bpossibilities and fantasy. " The image formation as a significant feature of the game is considered by K. Gross.
Summing, we can call the game "some free activities, which is realized as an unreal, not associated with everyday life and nevertheless can fully capture the playing; which is not caused by the material interests or the benefit delivered; Which flows into a particularly reserved space and time, orderly and in accordance with certain rules and causes public associations to life, seeking to surround themselves with a secret or emphasize their unusual in relation to other peaceful clothes and appearance. "
In the conclusion of the paragraph we present some judgments about the significance of the gaming principle in human life.
Game - accompaniment, addition, part of life in general. She decorates life, fills it and how this is done necessary. A person feels this need through the prompting to the game, an irresistible inner desire to which he places without asking questions "Why?" and for what?" He does it. The game is needed individually and as a biological function. After all, according to the approval of F. Schiller, "the person plays only when he is in the full meaning of the word man, and a person is quite a person only when he plays."
The game is necessary not only to a person, but also the society as a whole, due to the meaning of the concluded in it, because of its importance, by virtue of its expressive value, as well as spiritual and social connections that it creates, is shorter than the cultural function. She satisfies the ideals of individual self-expression - and public life.
In a wider plan of the game - an integral, dynamic part of the life plan of an individual. All games have on the fate of their participants very important, and sometimes decisive influence. They encourage a sense of health, increase all the livelihoods, refreshes the mental organization.
In addition, the game is a school sociability, sociality, a stimulator of development of imagination and intellectual abilities.
Finally, the game may not only be part of life, but also life itself. After all, everyone is known to the phrase: "Our whole life is a game, and we are the actors in it." And right: everyone, an adult, chooses a role, puts on a certain mask, becomes a guide. It is possible that we see a real person only on the maternity hospital and on the mortal bed.