Theatre Arts Research Articles

North Korean appropriating Stanislavsky for the revolutionary theatre acting: focusing on experience

ABSTRACT This study investigates the correlativity between the acting of the Seonghwangdang (Village Shrine)-style revolutionary theatre in North Korea and the Stanislavsky system. Kim Jong-il dictates that Seonghwangdang-style revolutionary theatre is one of the representative art works that explains the origin of North Korean juche in his books On the Art of the Cinema and On the Art of the Theatre. Despite his criticism of the Stanislavsky system, Kim almost translates the process of role creation into urisik (our style, that is, North Korean style) one, borrowing a given circumstance, experience, jagam (creative state), and “magic if” from the system according to the principles of juche and sokdojeon (speed battle). The result is simplification of the semantic area of experience and the creative state, which shows how theatrical arts are limited by political ideological centrality.

Experiential Theatres: Praxis-Based Approaches to Training 21st Century Theatre Artists ed. by William W Lewis and Sean Bartley (review)

Experiential Theatres: Praxis-Based Approaches to Training 21st Century Theatre Artists ed. by William W Lewis and Sean Bartley (review)

Otkriti nâs nama samima – Josef Strzygowski i Ljubo Babić

Ljubo Babić (1890-1974) - one of the pivotal figures in twentieth-century Croatian art and culture - frequently addressed the research and theses of Josef Strzygowski (1862-1941) in his writings on various topics, directly or indirectly. Babić’s interest in the work of the renowned Austrian art historian and theorist primarily revolved around formulating ideas that emphasized the significant role of art in shaping national identity. In essence, Babić’s complex views on the role of art in moulding a distinct artistic expression - as a central and constitutive part of cultural identity - can be traced, among other things, to his contemplation of Josef Strzygowski’s though-provoking yet contentious theories on Croatian preRomanesque art and national cultural heritage in general. This paper investigates Strzygowski’s impact on the comprehension and appreciation of Croatian cultural heritage during the interwar period, i.e. on the overall atmosphere in which a broader discourse emerged on the relationship between artistic centres and peripheries, while the pursuit of national artistic expression began to dominate a major part of the Croatian cultural landscape. Consequently, the paper examines connections between Strzygowski and the Croatian cultural milieu between the two world wars. Finally, Strzygowski’s importance to Babić is highlighted, delineating the aspects of his theoretical work that the Croatian artist, critic, and art historian used to support his own viewpoints. Josef Strzygowski’s influence on Croatian culture was undoubtedly profound. Besides positioning himself as a connoisseur and advocate of Ivan Meštrović’s art, this Viennese scholar centred his interest on art-historical material from Croatia. Despite often eliciting direct counterreactions from the professional community - exemplified by Ljubo Karaman’s early theoretical writings on “ancient Croatian monuments” as a critique of Strzygowski - his focus on “our” material secured him an important place within the national cultural milieu of the time. Ljubo Babić, who was at the peak of his creative prowess in the late 1920s, approached Strzygowski’s work without critical detachment, integrating certain segments of the latter’s assumptions into his own theoretical framework. While direct influence cannot be unequivocally asserted, it is apparent that Babić found substantial support for his formulation of the “our expression” strategy in Strzygowski’s views. Both scholars believed that the characteristics of a specific body of art were crucially determined by the geographical area of its creation, with the national component being a pivotal aspect. Consequently, they embraced the concepts of soil, race, and blood, which makes them apologists of cultural nationalism. The relevant ideas of the distinguished Viennese art historian lent Babić additional confidence in presenting his own thoughts as indisputable and firmly established, thus framing the hypothesis that the Croatian people had inherited distinctive features of artistic production from their ancestral homeland - regarding them as a form of “our expression” in the past. Moreover, Babić endorsed Strzygowski’s call for further scholarly research into the history of Croatian cultural heritage, viewing adherence to the principles of geographical and national predisposition of artistic production as facilitating the consensus on “our expression” in contemporary times. Additionally, he concurred with the suggestion to investigate folk art, incorporating the interpretation of colours on folk costumes into his strategic framework. Through his writings and artistic oeuvre, Ljubo Babić strove to help us “reveal ourselves to ourselves,” and the work of Josef Strzygowski provided significant support in this endeavour. The prominent position of the renowned Viennese art theorist within Croatian culture certainly lent credibility to this support. Therefore, the relationship between Strzygowski and Croatian culture should not be solely construed as a kind of rivalry with Ljubo Karaman or as merely stimulating the formulation and development of a significant theoretical scope within Croatian art history, even if devoid of scholarly foundations. Rather, it can also be understood within the context of cultural nationalism during the Croatian interwar period. Such a perspective reveals that Josef Strzygowski and Ljubo Babić inhabited the same intellectual universe, which played a vital role in shaping modern European culture.

А.С. Пушкин на злобу дня: «поверженный» или «неузнанный» (юбилейное, театральное, мережковское)

The article offers a historical commentary on little-known journalistic texts of the Silver Age. All of them are united by attention to A.S. Pushkin as a phenomenon of mass consciousness, which increased in connection with the celebration of the writer’s centenary and the appeal to his legacy on the theatrical stage of St. Petersburg and Moscow. In particular, based on newspaper periodicals, the conversation included speeches by D.S. Merezhkovsky, which were not included in the author’s books of articles, collected works, were not taken into account in his bibliography and still remained outside the field of view of specialists. All of them relate to the Moscow Art Theater, and above all to the “Pushkin Performance” (1915), which caused a wave of criticism. Opinion of D.S. Merezhkovsky on the issue under discussion is considered not only locally, in line with the statements of L.N. Andreev, S.A. Vengerov and F.D. Batyushkov posted on the pages of “Birzhevye Vedomosti”, but also in the broader context of topical interest in A.S. Pushkin from 1899 to 1918: from the story of the nationwide collection of donations for the construction of a monument to the poet in St. Petersburg, which ended at the height of the First Russian Revolution with the establishment of the Pushkin House, to the beginning of the Civil War, when Pushkin’s family estate was looted and partially burned by peasants.

<i>Gesamtkunstwerk</i> Transcriptions in the Polish Theatrical Avant-Garde

When considering the concept of the Gesamtkunstwerk in the context of the avant-garde, it seems useful to use the term transcription, borrowed from musical terminology, which denotes the development of a composition for a different instrument, voice or ensemble than originally intended. From this perspective, we can speak of a transcription of Wagner’s concept to other areas of the arts. In Polish theater studies, the notion of the Gesamtkunstwerk appears often. Usually Wagner’s concept is cited as one of many inspirations of selected artists and their artistic practices. As far as the activities of artists among the Polish theatrical avant-garde are concerned, this inspiration seems to be obvious. In this article, I attempt to show how the idea of the Gesamtkunstwerk functions in selected works of Polish artists, such as Zbigniew Pronaszko, Jerzy Grotowski and Tadeusz Kantor. These artists consciously refer to the Wagnerian idea by perceiving the work of theater art primarily as a tool of possible social change.

О роли татарских женщин в развитии театрального искусства Туркестана в конце XX – начале XX вв.

The article analyses the emergence of theater as one of the types of European art in Turkestan in late 19th – early 20th centuries. The author reveals the significant role of the Tatar theater troupes “Sayar” and “Nur”, Tatar actresses S. Gizzatullina-Volzhskaya, F.I. Kudasheva, and F. Ilskaya in this process. The influence of Tatar women playwrights on Uzbek creative youth is shown. This was manifested in two facts: the publication of the first play by an Uzbek writer, which became the forerunner for a women’s literary school in Turkestan, and the appearance of actresses among Uzbek women who starred in the first Soviet films. The emergence of an amateur troupe from among the local population, growth in the number of clubs and theater groups, which consisted mainly of women, indicated an increase in the social activity of Turkestan women. Considerable attention is paid to the analysis of interactions between Tatar and local national progressives in the formation of theatrical art in Turkestan.

Rumbos de la pedagogía teatral en México y América Latina


 
 
 Ties between theater and elementary education are revised in order to make visible a tradition, namely authentic theatrical pedagogy, which is normally eclipsed by the teaching of the greatest masters of the theatrical arts, in which case the pedagogical substratum is not often in the foreground. Instead, some elementary-school professors in Europe and elsewhere have found in theater an ideal didactic tool to work with children not just in matters strictly related to the arts but in reference to other school subjects. 
 
 

TRADITIONS AND INNOVATIONS AS DETERMINING FACTORS IN THE DEVELOPMENT OF UKRAINIAN THEATRICAL ART

This article analyzes the trends in the use of the most important means of artistic expression in theatrical art and cinema, marked by the influence of evolutionary changes in modern cultural life and the emergence of new genre modalities in today's staging decisions, related to the ideological reorientation of social consciousness and the formation of innovative artistic features in the modern theater. The compositional portrait of modern theater highlights the possibilities of dramatic genre modeling, modern technologies and their transformational processes, which are interrelated with the democratization of Ukrainian society, and therefore artistic life, raising the tone of the national scene, cinema, and opening up new opportunities for stage art. A feature of the scientific research of symbolic forms in this area of art is the analysis of the possible addition of the mutual enrichment of theater and myth at the level of mythological narratives, status oppositions, plot matrices, communicative strategies and symbolic forms, a new mythocentric discourse of modern dramatic genre modeling. And also a multimedia lighting technician with the latest information and digital technologies and the possibilities of using Artificial Intelligence (AI) in the newest Ukrainian theater. The use of compositional techniques in combination with the latest technologies, AI in creating the atmosphere of a modern theater allows you to focus on the performers and the performance, and not on the complex decor. In addition, stage spaces are becoming more flexible, able to adapt to different types of performances and events. The use of the latest intellectual technologies is especially valuable and extraordinary. Modern theaters and Ukrainian cinema are constantly introducing advanced technologies to improve the impression of the audience. This may include the use of projection mapping, virtual and augmented reality, interactive elements and other innovations that help create a unique atmosphere and attract the audience.

The Influence of the Bertolt Brecht System on Traditional Chinese Theater

Introduction. The article is devoted to the phenomenon of modern Chinese theater and aims to explore the ways of its evolution – from imitation of European avant-garde forms of theatrical art to the formation of an original artistic language. An important goal is also to identify the factors that have determined the unique aesthetic and meaningful characteristics of modern Chinese theater.Methodology and sources. As a result of the application of the comparative analysis method, the article compares the theatrical concepts of Ibsen, Stanislavsky and Brecht, which influenced the image of modern Chinese theater.Result and discussion. The special role of the European theatrical avant-garde is shown, namely, the concept of Brecht's dialectical drama, which became widespread in China at the end of the XX century. Over a twenty-year period (from 1959 to 1979), three so-called «Brecht booms» took place in China, radically transforming Chinese traditional theater. However, despite the high popularity of Brecht's ideas, the Chinese Theater did not turn into a literal translator of the European avant-garde, but formed its own artistic style based on traditional structures of audience perception. The key role in this process was played by the national cultural context – socio-political and mental – which determined the specific forms of adaptation of the cultural meanings of the European theater. The history of Chinese avant-garde theater lasts for more than forty years and began in the early 1980s. After experiencing a period of direct borrowing, Chinese theatrical figures came to rethink the European heritage in the context of their own culture. As a result, it was the middle path of Chinese theater development that turned out to be the most productive – a path that absorbed the outstanding artistic ideas of Stanislavsky and Brecht, the modern Western avant-garde, but also without rejecting traditional artistic principles. This is how Chinese theatrical culture has developed with its own unique style.Conclusion. The 20th century became the era of the interchange of Eastern and Western theatrical traditions, which largely shaped the world cultural landscape, in which the interaction of Brecht's theory and traditional Chinese culture forms a special topos.

Theatre art: Conceptual and categorical problems

Theatre art is a fundamental component of modern culture and requires a detailed analysis of the problems of a set of interrelated concepts, which will reflect the key substantive and functional aspects concerning theatre art. The research relevance is determined by the description of the problems of the conceptual and categorical apparatus of theatrical art for the first time is subjected to a complex structural and semantic analysis, which is necessary to determine the study of ways of forming new terms, which will make it possible to present the system of modern theatrical terminology in a holistic form. The study aims to analyse and describe the contemporary problems of the conceptual and categorical apparatus of theatrical art. General scientific methods of art history were used: method of analysis, comparative analysis, synthesis, analogy, and classification. The article investigates the whole stage space as one of the components in the context of the conceptual categorical apparatus of modern art history. Contemporary theatre art is undergoing an active evolution, with artists striving for innovation, using interactive elements, multimedia technology and art installations to create a deep and rich experience for the audience. An important aspect is to involve the viewer in the experience, where the traditional boundaries between actors and audience are blurred and the viewer becomes an active participant. Theatres also emphasise diversity, aiming to reflect different cultures and identities on stage. However, there are problems with the conceptual and categorical apparatus, requiring the development of new terms to accurately describe contemporary phenomena in theatre. Sarcasm and irony prevail, artists seek new directions, and all this happens in the context of the diversity of theatre traditions, creating challenges in the exchange of experiences between cultures. The materials discussed in this article can be applied by both theorists and practitioners of contemporary art history in their writings and as material for teaching in the educational process when training specialists in the field of contemporary art

THE ROLE OF THE PRODUCER IN THE PRODUCTION OF THE FEATURE PROGRAM 'BACKSTAGE' EPISODE 'BEHIND THE SCENES OF THEATER ARTS

This "BACKSTAGE" program is a feature format television program. This Backstage program will discuss all things related to behind the scenes of an event. This program is also very interesting because Backstage itself is a VIP area, not everyone can see and enter the Backstage area. This research has three benefits, namely general benefits, practical benefits and theoretical benefits. as for the purpose of this research is to provide information to the audience both those who watch and those who read this journal the importance of preparations made and prepared to support the smooth running of a Theater Arts. The creator of the work as a Producer creates an event program entitled "BACKSTAGE" in the making of this work is divided into three stages, namely pre-production, production and post-production. in addition to having full rights to a production, Producers also have duties in preparing an idea, conducting research, developing ideas, finding talent, recce, preparing tools, assisting the reading process, licensing production locations, preparing tools needed by each department and making production plans starting from schedules, drafting budgets, job descriptions, and real budgeting. In addition, the producer also controls during the filming and editing process, consumption, prepares accommodation and To avoid over time during the production process, the Producer makes a crew call that is adjusted to the hourly needs of each department.

Preserving the Integrity of Li Yu's Craft Aesthetics using the Digital Information Technology

Preserving the integrity of ancient aesthetic works has become a greater matter of concern in the modern digital age. As the internet is streaming with data that are collected from multiple sources, it imposes a severe threat to the integrity and security of the original aesthetic of many craft works. This paper proposes a novel framework that attempts to preserve Li Yu's craft aesthetics, which can be explored from his wide range of literary collections. As the author is popular for his excellence in many art forms like gardening, theatre arts, etc, recreation of his work is a major problem of concern. The framework initially pre-processed the corpus to extract keywords, which are then subjected to a semantic vector to find the closely related as well as differing words. Then, these words are subjected to geometric perturbations to impart versatility to the training phase. The text under screening is fed to the classification phase to find whether it is an altered or modified work of Li Yu, thus isolating the author's work from being reproduced, which greatly affects the aesthetics. As a future extension, the work can be trained with different classifiers to develop a defrauding system.

PHYSICAL THEATER AND THE FORMULA FOR INTERPRETING BODY LANGUAGE CULTURE

The narrative nature of the existence of dramorealism is gradually giving way to more relevant forms of physical theater, which relies on a complex but most understandable language - body language. The total nature of this turn is explained by the reactivity of bodily kinetics in the transmission of emotions, in conveying the meanings of any narrative and cultural subtleties. Body language is the most versatile way of communication that overcomes any language barriers. In physical theater, actors use their bodies as a powerful tool to convey meaning, relying on movement, gestures, and facial expressions to "tell" their stories. The return to linguistic archaism acquires a total character in modern productions. Thanks to the universal kinetics of body language, physical theater becomes understandable to people from different cultures and social strata and promotes deeper communication and mutual understanding between performers and viewers. Body language is a visual informant, inextricably linked to all spheres of human interaction and functioning, ensuring the minimization of information losses in conveying the most complex, and sometimes obscure meanings. The analysis of cross-cultural studies devoted to the phenomenon of body language in physical theater allows us to reveal and evaluate the cultural nuances inherent in this expressive art form. After all, it is known that the same gesture in different cultures can have completely different meanings, so there is a need for a deeper study of the psychology and specifics of non-verbal communication to prevent undesirable critical circumstances for a person. A different order of communication of the physical theater acquires the features of a visual theater, in which the viewer is the main interpreter. An interpreter of a mobile, constantly changing world created within the boundaries of the viewer's vision. Just as it is impossible for any one universal concept or way of thinking to dominate in science, no art form can claim to have complete knowledge of its subject. Hence the need to understand the basics of body language, to understand its role in the overall development of the human community, and theatrical art in particular. In particular, knowledge of such key universals of non-verbal communication as handshake, hand gestures, eye contact, physical contact, head movement, sitting position, etc. effective body language tools.

Creating a Role for Light: A Lighting Design Teaching Method Based on Stanislavsky

ABSTRACT The creative role of stage lighting is increasingly appreciated in contemporary theatre practice. However, aesthetic sensibility seems harder to teach than technology. This essay focuses on lighting design students and a learning journey inspired by Konstantin Stanislavsky. According to Scott Palmer, “[Stanislavsky’s] use of light at the Moscow Art Theatre made a fundamental contribution to the evolution of his acting method.” The connection between Stanislavsky’s work with light and the methods used by pioneers in the field of lighting design including Adolphe Appia, Edward Gordon Craig, Stanley McCandless, and Jean Rosenthal is examined. Beyond purely practical considerations, such as visibility and smooth transitions between the scenes, this essay sheds light on how Stanislavsky’s method can be used to help young aspiring lighting designers conceive the dramaturgical role of light. A proposal for a teaching approach is presented, using Stanislavsky’s basic techniques as an example. From the analysis of the text and the given circumstances to the magic “if,” which takes the actor into the world of the play, Stanislavsky’s approach can easily be applied to the creative process of a contemporary lighting designer. The interpretation of Stanislavsky’s work from a lighting designer’s perspective also leads to useful conclusions about the art of collaboration in the performing arts.

АКТЕР СИНТЕТИЧЕСКОГО ТИПА В МУЗЫКАЛЬНОМ ТЕАТРЕ XXI ВЕКА

This article discusses the methods of staging musical performances in the XXIst century and the creation of an artistic image embodied by the actor during the stage action. It emphasises the importance of the psycho-physical state of the artist in connection with the authentic life of the stage character, the significance of the plastic expressiveness of the actor in theatrical practice, referring to the works of great figures of Russian theatrical art — K. S. Stanislavsky, V. E. Meyerhold, М. A. Chekhov, A. Ya. Tairov, A. B. Droznin. The general synthetic nature of musical, vocal, plastic, choreographic and dramatic art, in which the public is currently interested, is revealed and analysed. The reasons for the active growth in the popularity of musical theatre and its specific genres in the XXIst century are explained. Productions of two Moscow educational theatres — the Institute of Modern Art and the Russian Institute of Theatre Arts (GITIS) — based on the fairy tale An Ordinary Miracle by E. L. Schwartz are described and compared. In order to prove the reliability of the author’s judgements and the relevance of the topic, an interview was conducted with the Russian actor, director of musical performances and musicals, vocalist, teacher of “Musical Education” at the Department of Theatre Arts of the Institute of Modern Art U. A. Chebotar. The interview is presented in Appendix no. 1.

MARKETING MANAGEMENT IN THE FIELD OF THEATRE ARTS

Even taking into account the difficult conditions of life in Ukraine, society always strives to restore itself by filling itself with positive emotions. Considering these aspects, the theater industry is still growing even faster than during the pandemic since 2020. Accordingly, today marketing is an important tool for the successful functioning and development of theatrical art, ensuring its accessibility, popularity and financial stability. The purpose of the article is to analyze the effectiveness of marketing management support in the field of theatrical art. The results of the analysis of queries in the Google search network, scientometric databases Scopus and Web of Science confirm the relevance of the researched topic. An analysis of the dynamics of search queries for the period from 2004 to May 2024 showed significant fluctuations in interest in marketing management and theater arts, which were caused by economic crises and the COVID-19 pandemic. After the recovery in 2022, new marketing platforms such as TikTok have contributed to positive changes in the field of marketing management. Geographical analysis shows a predominance of interest in theater arts in Canada, Australia, Great Britain and Ireland, while in China, Brazil, Germany and Ukraine there is a greater interest in marketing management. The author revealed an increase in the level of interest among the scientific community in the field of research into the effectiveness of marketing management in the theater industry. This is evidenced by the general increase in the number of scientific works over the past five years by almost 20%, taking into account the rather wide geography of publishing activity. A competitive analysis of four of the largest and most popular theaters of Ukraine - Lesya Ukrainka National Academic Drama Theater, Ivan Franko National Academic Drama Theater, Solomiya Krushelnytska Lviv National Academic Opera and Ballet Theater and Kyiv National Academic Molodyy Theatre - emphasized the importance of modern marketing strategies and active using social media to successfully promote theater productions.

ПАРАДОКС АЛЕКСАНДРА АЛЕКСЕЕВА: ИЗ КАДЕТОВ – В ХУДОЖНИКИ (1919-1930)

The authors of the article examine the way Alexander Alexeev (1901, Kazan – 1982, Paris), the outstanding world and Russian classical literature illustrator and pinscreen creator began his creative career. It is mentioned in the article that Alexander Alexeev had to leave the Russian Empire, forming part of the first wave of the Russian emigration settling down in Paris in the long run. In the beginning of his creative career he worked there as a theatre artist. Henceforward, Alexander Alexeev committed himself to the art of the book illustration. The authors claim in the first fifteen years of his creative activities Alexander Alexeev to have become the most eminent of the Russian emigrants book artist with twenty seven books, including book author frontispiece portrait and some book jackets illustrated. Having examined creative activities in the first fifteen years of his Paris life the authors claim Alexander Alexeev, as many other creative intellectuals of the first wave of the Russian emigration to have retained in his soul and heart the image of his Motherland, visualizing it in his works this way or another. These reminiscences and Motherland perception do demonstrate our contemporaries Alexander Alexeev though being away from Russia for nearly 60 years, in fact to have always been Russian patriot retaining the Russian world particle in his heart, as well as love for his mother, with her images scattered in his works all over his creative activities.

О первоначальной редакции пьесы «Страх» сталинского драматурга Александра Афиногенова. 1930-е гг.

The article examines the work of Stalinist playwright Alexander Nikolaevich Afinogenov (1904-1941) through the prism of his complicity in the ideological campaigns of the Bolshevik Party. The study of the impact of party-state ideology on the broad masses of people during the Stalinist era is a priority direction of historical science. However, this direction needs further thematic and problematic expansion. The ideological campaigns of the Bolshevik Party in the 1930s found their artistic expression on the theatrical stage, in the plays of the most famous playwrights. This interaction between propaganda and theater art has not been studied sufficiently. There are practically no generalizing works. This is partly due to the fact that sufficient empirical material has not yet been accumulated. Almost every play by A. N. Afinogenov corresponded to one or another vector of the ideological struggle of the All-Union Communist Party of Bolsheviks. The play "Fear" (1931), which became a full-scale artistic expression of one of the most powerful ideological campaigns conducted by the Bolshevik Party until the time of the "Great Terror" - the campaign to "purge" state and party organs, is of particular interest. The original manuscript of this play, found in the Moscow Art Theatre Museum, significantly expands the understanding of how the play was understood by contemporaries. The initiator of the changes in the text of the play was K. S. Stanislavsky, who persuaded A. N. Afinogenov to introduce the figure of the "investigator" into the play. A. N. Afinogenov significantly remade the main pictures of the play - the eighth and ninth, in fact, they were rewritten anew. The play "Fear" was staged in two theaters - in the State Drama Theater (Leningrad) and in the Moscow Art Theater (Moscow). In Leningrad, where the performances began earlier than in Moscow, they used the original text of the play (at least until the end of 1931), and in Moscow used the revised version. This in no way contradicted A. N. Afinogenov, the playwright, who saw his work as a continuation of the ideological struggle in the artistic images of Soviet dramaturgy. In the found original version of the play and in the revised version there are different accents in the characterization of the characters of the play (in the eighth and ninth pictures, the final ones). But it was not the artistic side of the theatrical work that mattered, but the ideological basis, the meaning of which in both editions was reduced to the most important postulate of totalitarianism - to recognize the class basis of morality, to renounce oneself, one's views, one's "own" science, to erase one's former life in order to enter the "objective" state of collective unanimity without one's own personality.

Eclecticism and Unity in Diversity – Analysing the integration and application of modern technology in theatre arts

In today's rapid development of science and technology, almost every aspect of our life has a very close relationship with modern technology, especially in the creation of art is more and more inseparable from the aid of modern technology. As a large branch of artistic creation, stage art design is a comprehensive art, involving scene design, lighting, sound effects, costumes, make-up, props, special effects and many other aspects of its more inclusive. This paper starts from the use of modern science and technology in stage art design, and analyses how stage art design can be unified under the diverse and pluralistic forms of expression.

ИСТОРИЧЕСКИЕ АСПЕКТЫ ФОРМИРОВАНИЯ ОСОБЕННОСТЕЙ ТЕАТРАЛЬНОГО ИСКУССТВА КЫРГЫЗСТАНА

The article deals with the Kyrgyz theater art, which is an important component of modern national culture. The authors note that, like any theater, which is a synthesis of various arts, the theater of Kyrgyzstan in many ways determines the creative unity of elements of literature, music and skill of actors. At the same time, the roots of the Kyrgyz stage art are rooted in folk traditions and folklore. Therefore, the study of an issue of the stage art formation, in particular the emergence of national dramatic theaters, should begin with understanding the historical significance of their folk origins. Considering the issue of originating the Kyrgyz theatrical art, the authors state that the dramatic theater of Kyrgyzstan changed the vector of development and improved under difficult historical conditions, having experienced at least two stages in its development – the Soviet period and the time of independence, which are quite different both in the degree of their influence on society and in their role in political and socio-economic processes, which in turn have affected the consciousness and value orientations of young people in one way or another. The study of the place and role of theater art in the national culture is necessary to understand the culture of Kyrgyzstan in its historical development.