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The traditional view of children's games as a useless way to spend time was first questioned by the German poet and philosopher F. Schiller (1759–1805) as early as 1795. In his "Letters on Aesthetic Education," F. Schiller analyzes gaming experiences through the category of aesthetics. He interprets the phenomena of gaming life as manifestations of a person's aesthetic and spiritual life. According to I. Schiller, the world of beauty is revealed to us only when we rise above our needs, and it is then that we are truly human. These manifestations – the absence of utilitarian needs and freedom of action – are characteristic of creativity and play.

Philosophical analysis brings to the forefront the dual nature of play as a special aesthetic state of mind. A child playing with a stick realizes that it is not a sword, but behaves as if that stick were a real masterpiece of weapon craftsmanship. This duality opens up the possibility for reflection on the conventionality. From an aesthetic perspective, play is defined by the awareness of conventionality and illusion.

In the second half of the 19th century, the English philosopher G. Spencer (1820–1903) became interested in the problem of play. Following Schiller, he believed that play is close in its essence to the aesthetic sphere and does not aim to satisfy needs.