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The relevance of the topic of the article is due to the importance of the development of figurative-plastic creativity as the most optimal for the development of productive imagination – the basis of any creative process. At the same time, figurative-plastic creativity, which develops among preschoolers on the basis of teaching children the language of movements, contributes to the development of non-verbal communication in preschoolers. The proposed methodology in practical work with preschoolers allows to solve a wide range of problems: cognitive, communicative, creative.

The article is aimed at showing how children of 5–6 years can develop figurative-plastic creativity on the basis of teaching them the language of expressive movements, started from the younger group; to formulate psychological and pedagogical conditions for its development in preschoolers aged 5–6 years.

Description of the research progress. Based on the explanation of the age-related features of the mental development of children aged 5–6 years, the possibilities of solving more complex tasks than in the younger and middle preschool age, the development of creative “composing” and performing in the embodiment of images of diverse characters and their relationships in plot situations are shown. The peculiarities of the methodology are revealed – in two main directions of development of creativity. In the development of figurative-plastic interaction, emphasis is placed on the development of ways to convey communication and relationships of three characters in a single plot situation; the development of paired figurative-plastic interaction continues with the development of more complex ways of transmitting stage illusion by partners-peers. In the development of the ability to figurative transformation, ways of detailing the image are mastered – with the image of the continuous process of its modification, development, with the installation of a complex transmission in figurative movements (“whole body”) of the features of a particular character: his/her emotions, characteristic plasticity, relationships with other characters of the plot.

Research results. The article shows the results of the development of figurative-plastic creativity in children aged 5–6 years: the images of characters are embodied through both movements-complexes and coherent sequences of movements that are connected in meaning, conveying a change in the reactions and emotions of the characters in the course of their interaction with other characters of the plot; creative performance is increasingly manifested as arbitrary expressive movements that convey the feelings and relationships of the characters based on each of the actors holding a “dual position”, thanks to which the child performs the role without straying to imitate peers.

Conclusion. The results obtained indicate both the effectiveness of the methodology of its development in children aged 5–6 years, its compliance with the age capabilities of children, and its theoretical and methodological validity.

The paper reveals the psychological and pedagogical conditions for the development of figurative and plastic creativity in children of 4-5 years old. The article also explains the methodological principles and stages of work with children of 4-5 years old on the basis of teaching them the language of expressive movements, in the two main directions of methodology. One of them is the core of the whole method for children of this age, which is the development of paired figurative and plastic interaction of peers in the creation of the given plot situations. The other one is the development of the ability to visually reincarnate the image with a new principle of detailing, i.e. the image of the character’s situational behavior. The article also shows the results of development of figurative and plastic creativity in children of 4-5 years old. The image of this or that character is embodied by means of movements that are complexes combining simultaneously means of expression, including movements of legs, gestures, poses, mimics, and also short sequences of movements. These short movements convey the reactions and interactions of the characters. Creative performance increasingly manifests itself as arbitrary expressive movements that convey feelings and relationships of characters based on the retention of each of the actors of the “dual position”, thanks to which the child performs its role without being confused by the imitation of a peer partner.