A growing number of studies have investigated play in early childhood education, with some bringing forward the development of emotions in imaginary play situations. Of significance, is the creative pedagogy of play developed by Lindqvist (1995) who drew on a cultural-historical concept of play to bring forward emotions in Playworld. This paper investigates how children experience different perezhivanie within the Playworld settings in Indonesia. The cultural-historical concept of play, perezhivanie, and the social situation of development are used to understand how a 4-year-old boy experienced contradictions during collective imaginary play. Eight hours of digital-visual observation data selected from 98 h of group-play activities were used to show how nine teachers interacted with 38 children during the play (3.5 to 5 years old, mean age 4.4 years). The findings show how the cultural device used in the Playworld provides rich opportunities and conditions for children to experience different emotions in play, and where a dynamic perezhivanie emerges through the contributions of the play partners to the play that results in development of emotional regulation. By drawing attention to children's perezhivanie, Playworld can be seen as a promising play pedagogy that offers rich social interactions in play that support children's development.

越来越多的研究调查了幼儿教育中的游戏，其中一些研究提出了在想象的游戏情境中情绪的发展。重要的是 Lindqvist (1995) 开发的创造性游戏教学法，他利用游戏的文化历史概念来在游戏世界中提出情感。本文调查了印度尼西亚儿童在游戏世界环境中如何体验不同的Perezhivanie 。游戏的文化历史概念、perezhivanie和发展的社会情境被用来理解一个 4 岁男孩在集体想象游戏中如何经历矛盾。利用从 98 小时的小组游戏活动中选取的 8 小时的数字视觉观察数据，展示了 9 名教师在游戏过程中如何与 38 名儿童（3.5 至 5 岁，平均年龄 4.4 岁）互动。研究结果表明，游戏世界中使用的文化装置如何为儿童在游戏中体验不同的情绪提供丰富的机会和条件，以及通过游戏伙伴对游戏的贡献而出现动态的perezhivanie，从而导致情绪调节的发展。通过吸引人们对儿童perezhivanie的关注，Playworld 可以被视为一种很有前途的游戏教学法，它提供了丰富的游戏社交互动，支持儿童的发展。