To play is the representation in acts, through the symbolic game, the first one possibility of thought properly said, marking the ticket of a sensrio-motor intelligence, based in the five felt and the motricidade, for a postoperative representative intelligence (material and intuitiva) mediated by subjective symbols, way for the construction of the operatria intelligence mediated by arbitrary historical signs. According to KISHIMOTO (2002), to represent, to play it is to give to form to the experience significant human beings; it is to reapresentar, to become again present, to presentificar you live deeply that, for its experience, they permanently deserve to be remembered. The imaginary one is not confused with the Real, it is an instrument for the understanding and the taking of real conscience. Consonant with this thought, Oliveira (2008) understands playing as the life, is the pleasure of the action, is the experience of the psychic dimension in the relations of the child with the world, where when playing the child lives the pleasure to act simultaneously with the pleasure to project itself in the world in one internal dynamics that promotes the evolution and the psicomotora and psychological maturation of it. Playing consists of a system that provides the integration enters the social life of the child, being transmitted of a generation for other or learned in the infantile groups, the street, in the parks, schools, parties and etc; it is incorporated by the children of spontaneous form (FRIEDMANN, 2003). Playing as learning instrument When the children play, they create rules and they adaptam its thought in accordance with the joined situations.
In accordance with the level of the trick, the child uses its daily pay-learned knowledge and adapta them it new situation. The relevance of toys and tricks as indispensable for the creation of the imaginary situation. It discloses that the imaginary one is only developed when is made use of experiences that if reorganize.