Theatre Arts Research Articles

Buddah Still Works— the Work on Oneself Never Ends: Essay on Grotowski

This essay uses the personal recollections of Italian director Gioacchino Palumbo, including the experience of viewing of Apocalypsis cum figuris as well as some personal encounters with Jerzy Grotowski, to present a subjective account of selected aspects of Grotowski’s theatrical and non-theatrical practices, with an emphasis on understanding theatre as a lifelong work on oneself. Palumbo highlights those aspects of Grotowski’s work and quotations from his statements and writings that have contributed to his own development as a theatre artist. Particularly interested in Grotowski’s attitude to diverse sources of inspiration, Palumbo extensively discusses Grotowski’s interview on Gurdjieff, considering it as a representative example of artist’s approach to cultural phenomena that influenced him. The essay is preceded by an introduction in which Giuseppe G. Condorelli presents the original theatrical work of Palumbo, who has been running his own theatre laboratory in Catania since 1981.

Theater and the crisis of the modern world. Pro Universitaria Publishing House, Bucharest, 2023. Daniel Nițoi

In The Theatre and the Crisis of the Modern World, Daniel Nițoi critically examines the dynamic relationship between theatre and contemporary socio-cultural changes. The book highlights theatre's role in reflecting societal transformations and discusses its significance in contemplating morality and collective identity. Nițoi links theatre with human experiences such as happiness and ethics, and critiques the detrimental effects of modern society's materialism on theatrical art. Additionally, the book evaluates the ethical aspects of technology in theatre, advocating for the revitalization of values to counterbalance the prevailing materialistic culture.

Meng Jinghui’s adaptations of Vladimir Mayakovsky’s plays

Vladimir Mayakovsky’s dramatic heritage has had a great impact on Chinese avant-garde director and playwright Meng Jinghui. The study traces the stages of Mayakovsky’s presence in Chinese theater art to focus on Meng Jinghui’s three productions of “The Bedbug” (2000-2017). The dramatists share the same desire for theatrical innovation and a similar understanding of theater art. However, they have different worldviews and aesthetic approaches. Meng Jinghui modernized the original Russian pretext and turned to some theatrical principles, first stipulated by Vsevolod Meyerhold. His remakes are stylistically original textual interpretations that have gained a prominent place in the modern Chinese avant-garde fringe theater. Meng Jinghui followed Mayakovsky in a number of formal techniques and the overall satirical orientation only to reshape and deconstruct the basic ideas of the original play, thus creating a different temporal and cultural chronotope. Authentic as it may seem, Meng Jinghui creativity results sprouted from a dialogue and polemics with the Soviet poet and playwright.

Ukrainian theater as an instrument of cultural diplomacy and its role in modern integration processes

The purpose of the article is to determine the significance of theater art in the cultural diplomacy of Ukraine. The object is the cultural diplomacy. The subject is the role of theater in cultural diplomacy.
 The relevance of this article lies in the need to understand the historical role of the theater in the formation of the identity of various nations It has become quite natural that countries actively use their own dramatic art in presenting themselves to the world community.
 The methodology of the theoretical analysis in this article is based on both the whole complex of ideas related to the object of research and a specific scientific toolkit formed by the morphological and methodological discourse. It is noted that the theater operates within cultural diplomacy in four main ways, each of which implies different expectations of interaction with the target audience. At the first and simplest level, a theatrical performance can simply be a pleasant and interesting gift to the audience; at the second level — a way of forming perception and informing; at the third level, the theatrical performance becomes a mechanism for creating interaction between the source and target groups; and at the fourth level — it can be part of the strategy for the development of art and the creative public sphere in a given country.
 The results. 1. The concept of people-to-people contact is extremely important in cultural diplomacy because it facilitates access to intercultural dialogue, thus allowing people to learn more about each other, other cultures and different ways of life. The advantage in this case is that existing prejudices are overcome in a casual and informal way. In addition, cultural diplomacy and its various projects contribute to openness and tolerance for the development of civil society. 2. Ukrainian cultural diplomacy has some experience of involving theatrical art in the presentation of Ukrainian culture abroad, but in general it can be characterized as sporadic, non-systematic, and ideological. 3. Ukrainian theater faced the task of not only actualizing old and finding new artistic images and symbols, in order to form the proper image of the country, but also to form a certain basis for the effective implementation of the tasks of cultural diplomacy of Ukraine, which is appropriate in relation to the challenges of the time. 4. Over the past decades, the theater festival has become an inseparable component of the artistic life of Ukraine, as well as the cultural diplomacy of our country. Theatrical festivals gained tangible audience sympathy and turned out to be not only an important event in the artistic life of our country, but also realized the understanding of the “brand”, becoming a symbol of quality for connoisseurs.
 The scientific novelty of the research lies in the fact that the theater can be a diplomatic mechanism for initiating two-way conversation and exchange. The means of implementing this task can vary from promoting the staging of works by foreign theater groups in one’s own country to attracting foreign producers and directors for joint development, to selecting plays with the aim of creating new discussions.
 The practical significance of the article lies in the fact that the scientific analysis allowed us to identify the cultural diplomacy as a type of diplomacy that uses the country’s cultural heritage as a means to achieve its goals: art, in particular theater, cinema, music, literature, and education.

УРОКИ КЛАССИЧЕСКОГО ТАНЦА: ТЕХНИКА ПРЫЖКА В КЛАССИЧЕСКОМ ТАНЦЕ. ВОПРОСЫ МЕТОДИКИ И ПРАКТИКИ

Galina Konstantinovna Polishchuk – a teacher of classical dance, is known by our teachers and students as the author of the book "The History of Karaganda Ballet". As a teacher of classical dance, she once received training from representatives of the Moscow and Leningrad schools in the GITIS internship assistant (Prof. R. Struchkova, E. The Pearl) There she also got acquainted with the methodology of European schools from trainees from the Danish and English Royal Ballet, which provided a huge material for independent pedagogical work and the development of her practical techniques for different classes from junior and experimental to senior. Working at the Odessa Choreographic school next to the famous teacher Yu. She became interested in his experience of retraining students, and then ballet dancers who received insufficient training for the academic stage, developed her own methodology and later applied it in the practice of working with students and with theater artists. She has worked abroad, taught at ballet schools in Japan. Her students took part in International ballet competitions in Italy, Hungary, Russia, Korea, and Kazakhstan. They have danced and taught in Russia, Ukraine, the USA, Germany, Poland, and Japan. In 2020, G.K. Polishchuk published a textbook "Classical dance lessons". In this issue, a continuation of this work is published – a fragment of a chapter devoted to the methodology of work on teaching the technique of jumping classical dance. The results of many years of work on the training of ballet dancers are summarized and systematized at a high professional level. The author typologizes the types of jumps, explains in detail the physiology of the jump, gives a comparative analysis of the methods of teaching jumping in classical dance. The style of writing the article is recognizable: the abundant use of ballet terms alternates with excursions into the history of ballet pedagogy, interspersed with comparisons of different choreographic schools, and, without weighing down the text, allows both a novice teacher and a teacher with experience to understand the essence of the problem.

Verbatim Theatre: Anguish and Theatrical Truths

In recent years, in the Romanian theater space, more and more productions have appeared that are based on verbatim plays and that successfully fit into this category. The verbatim technique works directly with the stories of ordinary people, people who are given a voice through art. More often than not, these voices tell haunting and unusual stories – stories full of anguish, social or political injustices, or painful and unknown truths. The responsibility of the verbatim creator is immense, in addition to presenting the story of his subject word for word, he must be careful not to alter the truths and authentic elements that underlie it. This theatrical technique assumes a huge responsibility on the part of the theater artist, and more than that, it has a specific and extremely rigorous methodology. For this reason, it is important to understand how this technique works, and especially, how a theater artist should relate to it.

Anxiety and Sublime in Theatre

In this paper it is analyzed the idea that, in modernity, the theatre placed under the sign of anxiety tends to oscillate between the aesthetic categories of beauty and sublime. The analysis takes into consideration Peter Brook’s concept of deadly theatre from the perspective of its tendency to lessen the creative anxiety. Then we follow this idea from the point of view of sociological art that gives the experience of anxiety, from a theatrical perspective, only to the spectator, the artistic operator avoiding it. What stands out is that, for theatre, anxiety, in various definitions of the term, seems to enhance the realization of the performance. We also note, throughout the argument, different ways of understanding the concept of the sublime. We notice that the sublime tends not to define itself in a unitary way, having multiple meanings, some even contradictory. In conclusion, we propose a definition of the aesthetic category of the sublime, taken from the universe of fine arts, which seems to us much more efficient and operative in the field of theatre arts.

Tuvan Composer Ayana Oyun (Creative Portrait)

Among the modern composers of Tuva, the personality and work of Ayana Oyun are covered little of musicology. The main stages of the composer’s creative biography are noted related to studying at Republican School of Arts and Kyzyl College of Arts, receiving a specialized education at Krasnoyarsk State Academy of Music and Theater, Mikhail Glinka Novosibirsk State Conservatory, as well as additional education at St. Petersburg Theatre Arts Academy. The composer’s creative portfolio is surveyed, providing an analysis of one of the illustrative works — the Piano Quintet. The periodization of creativity works correlates with her education in different universities in Russia and with a change in genre preferences. Thus, during the years of study at Krasnoyarsk Academy of Music and Theater (2001–2007), works of chamber genres were predominated, including the being analyzed Piano Quintet. The return to her native Tyva is marked by the formation of an original author’s style. During these years, interest in theatrical music was shown, and a number of performances with music by Ayana Oyun were staged. During the years of study in St. Petersburg (2013–2018), several musical fairy tales were created and staged: Don’t Fly Away!, Mary Poppins and Her Friends, Khorloo (Wheel). Music appeared for a number of performances at the National Theatre as well. The composer’s contribution to the development of musical theater in Tuva and the revival of the first national opera, Chechen and Belekmaa, by Rostislav Kendenbil are noted. Ayana Oyun is a rare case of a successful combination of a composer and a theater director in one person; her personality is distinguished by deep reverence and adherence to the traditions and practices of Buddhist teaching, striving for constant self-improvement, expansion of professional and spiritual horizons.

Participation of the Tatar Intelligentsia in Scientific, Cultural and Educational Work in Kazakhstan (19th – mid-20th centuries)

This article is devoted to the study of the results of participation of Tatar intellectuals in scientific, cultural and educational work in Kazakhstan. State officials, clerics, and jadidites has formed the basis of the Tatar intelligentsia in the steppe zone. Civil servants played an important role in the study of the history, language, family customs of the Kazakh people. Tatar mullahs practiced zoology, history, poetry and literature. Tatars in the steppe zone published newspapers, magazines, books not only in the national language, but also in Kazakh. The ideas of Jadidism and Pan-Islamism were actively disseminated in the region through printed media. The Jadits were ideological inspirers of the development in the steppe zone of theater arts, new-method schools and libraries. One of the most important results of the activity of the Tatar intelligentsia in pre-revolutionary time was the growth of political self-consciousness of Muslim peoples. During the revolution, Muslims attempted to form an autonomy based on religious, ethnic self-determination.
 For citation: Makhmutov Z.A. Participation of the Tatar Intelligentsia in Scientific, Cultural and Educational Work in Kazakhstan (19th – mid-20th centuries). From History and Culture of Peoples of the Middle Volga Region. 2023, vol.13, no.4, pp.69–79. https://doi.org/10.22378/2410-0765.2023-13-4.69-79

National theater in the aspect of M. D. Leontovych’s pedagogical activity in Tulchyn

Modern complex socio-economic and cultural processes of development of the country are directed at radical renewal of Ukrainian society. The promising gradual development of the latest currents in the field of primary education in Ukraine has always been an important step for the native music and pedagogical science, because in order to use new technologies in practical activities, scientists need to consider in detail, analyze, systematize and adapt the past pedagogical experience of outstanding Ukrainian teachers-musicians. The problem of using the means of theatrical art in the practice of the modern school, which, according to Leontovych, contributes to the formation of important life values and active aesthetic activity, especially in younger schoolchildren, is topical in today's education.
 Turning to the national traditions of the past experience of the theatrical aspect in the pedagogical activity of the teacher M. Leontovych is directed at the spiritual revival of the creative activity of the individual. The essence of the concepts of theatrical art, theatrical activity, theatrical play at school has been clarified; the main types of theatrical performances are given; the most used methods of stage adaptation are considered and the necessity of their use in classes is argued. Thanks to the universalism of the choral theater dramatization method, the teacher revealed the creative inclinations of students in the formation of individuality. Aspects of many creative studies on theatrical pedagogical activities of M. Leontovych require detailed study and innovative approaches in connection with current problems of music pedagogy, musicology, and music folklore.
 The use of the aspect of theatrical art in regular music classes had a significant potential for the harmonious aesthetic development, especially of younger schoolchildren. The teacher in practice proved the evolutionary significance of theater and choral pedagogy (which has an analytical and synthetic character) and revealed the possibilities of influencing the emotional and sensory sphere of the student, equating theatrical art to children's play. The highlighted methods of M. Leontovych show that during the play the independent expression of personality is mostly manifested, and with the help of the group nature of theatrical activity, the emotional impact is enhanced, which inextricably goes along with inspiration, joy, and a sense of unity for the sake of a common cause.
 Based on the analysis of M. Leontovych's pedagogical activity, it can be determined that the artist stood at the origins of children's theatrical choral art in Podilla at the beginning of the 20th century in the context of socio-cultural integration of Ukraine, but it has been proven a priori that the modern process of education is not yet sufficiently studied and needs further in-depth understanding

GENRE OF THEATRICAL REVIEW IN THE WORK OF N. V. GOGOL

The purpose of the article is to consider the ideological, thematic and genre features of the theater review in the works of Nikolay V. Gogol, as well as to identify the writer’s views on the development of the theater in the mid-1830s. Based on the analysis of the texts «Petersburg Notes for 1836» and «The Petersburg stage in 1835/36», the patterns of development of the Gogol’s aesthetic concept are determined. The writer perceives the theater as the center of the cultural life of St. Petersburg society, sees in theatrical art a huge potential for moral improvement and social transformation.In the discussions about the repertoire of the St. Petersburg stage, the ideas of the sacralization of art and the poet’s mission are manifested. N. Gogol attaches special importance to the genre of comedy – «spiritual», based on intellectual humor and satire.Gogol’s theatrical review is distinguished by such features as mosaic composition, essayization. Genre synthesis (review, writer’s notes, essays, etc.) and the widespread use of artistic visual and expressive means are noted as the most important features of Gogol’s criticism and journalistic works.The research contributes to the study of theater journalism and Gogol’s activities as a theater critic.

The representation of apartheid system of government in Athol Fugard’s Sizwe Bansi Is Death

The research assessed “The Representation Apartheid System of Government in Athol Fugard’s Sizwe Bansi is Death”. The research employed Post-Colonial Theory for the study’s framework analysis and utilized qualitative method of data collections through Content-Analysis that make use of the play Sizwe Bansi is Dead couple with the adoption of textual technique process to dissect the play. Other sources of knowledge such as published books, journals and online materials were utilized as secondary data. The study adopted Purposive Sampling method to focus on the play while a thematic method was used to analyze information studied. The study found that the author Athol Fugard make use of multiple dramatic methods that include flashback technique, separation effect method, method of story-within-a-story, minor sets and props technique that were all compressed by utilizing small cast hence cost effective. The research therefore conclude that the play Sizwe Bansi is Death as authored by Athol Fugard is a political protest best applied through theatre and art ignoring violence as means to achieve political change in African environment. The play is considered a success as it has spread the message all over the world. To this effect, the study recommend that contemporary African writers should endeavor to adopt and utilize theatre art effectively as an avenue of exposing government policies that encourages racial segregation, ethno-religious discrimination that engender disharmony and disaccord among multi-ethnic and racial settings in Africa and Nigeria alike.

Reinstalling the Fourth Wall: Digital Performance and Spectatorship in (Post-)Pandemic Era

Summary Theatre can be interpreted as a place where various modes of participation in the community or patterns of citizen behaviour can be rehearsed. In pre-pandemic Lithuanian theatre (as well as theatres of other Baltic countries) various forms of audience engagement were conspicuously emerging, ranging from physical co-creation practices to interactive forms of entertainment. After the global lockdown of theatre institutions the emerging forms of “virtual theatre”, ranging from performance recordings to zoom theatre, redefined the role of theatre spectatorship, in particular the notions of “active”, “passive”, “collective”, “individual”, fundamental for the understanding of the role of publics. Analysing the abundant examples of “pandemic theatre” one starts to think about the return of the digital “fourth wall”, where audiences are becoming distant spectators. This poses important questions to theatre research: whether these forms of theatre are strengthening the feeling of passivity and isolation, serve as platforms for much-needed psychological escapism or offer a critical revaluation of the essential principles of theatre art. With the help of two case studies, this paper will define and analyse the prevailing practices of pandemic Lithuanian theatre and will outline whether and how the fundamental categories associated with the spectator’s experience of theatre have changed in the post-pandemic era.

Prague Quadrennial of Performance Design and Space 2023: The Relevance of Ideas, Goals, and Objectives

The article examines the main goals and objectives of the Prague Quadrennial of Performance Design and Space 2023 (PQ–2023), exploring its scenographic and performative practices in the context of the latest cultural programs. The author analyses the aspirations of modern theater artists, architects, multimedia masters and designers of spatial content to implement their ideas in curator projects. The article defines the artistic characteristics of the most interesting projects from Portugal, Catalonia, Cyprus, Slovakia, Romania, Norway etc.; these are the projects, the authors of which act not only as exponents of theatrical ideas but also touch on a wide range of issues relevant today. The author defines the target and conceptual characteristics of the plastic formula of the Ukrainian pavilion Garden of Living Things, the project of curator and scenographer Bohdan Polishchuk. The author analyses the patterns and well-founded regularities of effective installations by Ukrainian artists in the space of the Garden: Wimple by Lyudmyla Nagorna, Boat by Serhiy Rydvanetsky and Natalia Rydvanetska, Reading the Landscape by Inessa Kulchytska, Scales of War by Oleh Tatarinov, Mary’s Dream by Maria Pogrebnyak, Roots. Network of Connections by Yulia Zaulichna, Enjoy it. The Author Bears no Responsibility. Like Russia by Olesia Holovach, Theater of Memories by Olena Polishchuk. The article discusses the manifestations of the authors’ positions at moments of history critically important for Ukraine. The author emphasizes the profound role of artists as successors and developers of the best concepts of the national scenography, in the evolutionary projects of which the national concept has always been combined with the European one.

The Crimean Puppet Theatre in the Time of Borys Azarov

The creative activity of the Crimean Puppet Theater at the end of the 20th and the beginning of the 21st century during the artistic leadership of Honoured Art Worker of Ukraine Borys Azarov is analyzed. The article represents the figure of the artistic director of the theater as well as the brightest members of the theater team. The role of outstanding composers (A. Karamanov, L. Etinger, L. Khytryak and E. Pshemetskyi), scenographers (L. Restenko, I. Uvarova, A. Chechyk, etc.), ballet masters (L. Kotlyarenko, V. Dontsov) in the productions of iconic plays of the theater is emphasized. The article contains creative portraits of leading actors and an analysis of their acting roles in the best performances of the Crimean Academic Puppet Theater. The article outlines iconic stagings of the creative team, their innovative significance in the context of theater art on the border of the late Soviet period and the period of independence of Ukraine, the unique repertoire policy of the theater, the involvement of outstanding Ukrainian and foreign directors in cooperation with the theater (S. Yefremov, S. Bryzhan, Yu. Sikalo , T. Zhukov, etc.) the emergence of new forms, the creation of the first performances in the Ukrainian language in the Autonomous Republic of Crimea as well as performances based on Crimean-Tatar national folklore. Emphasis is placed on the creative achievements of the theater team as such which require in-depth further research.

Ghost-Stitching American Politics

Ghost-Stitching American Politics

Audience Response to COVID Monologues: Research-Based Theater on the Societal Impact of COVID-19.

Research-based theater uses drama to communicate research findings to audiences beyond those that typically read peer-reviewed journals. We applied research-based theater to translate qualitative research findings on the impact of the COVID-19 pandemic on different segments of U.S. society. Theater artists and public health researchers collaborated to create a collection of eight monologues from systematically sourced, peer-reviewed publications. Following three virtual performances in Spring, 2021, audience members were invited to complete a survey. Audience survey respondents (n = 120) were mostly U.S.-based and were diverse in terms of age, race/ethnicity, gender, profession, and experience attending theater. We summarized closed-ended responses and explored patterns by demographic characteristics. We synthesized themes of open-ended responses with inductive coding. Audience members somewhat/strongly agreed that COVID Monologues increased their knowledge (79.4%), represented the reality of the U.S. COVID-19 epidemic (95.7%), and offered new perspectives on what people had been experiencing (87.5%). Most also agreed research-based theater is an effective means of understanding health research (93.5%) and can promote community resilience in times of public health crisis (83.2%). Mann-Whitney U tests suggested less positive reactions from demographics that were not well-represented in monologue characters (cisgender men, Hispanics). Qualitative comments suggested audience members valued monologues that offered self-reflection and validation of their own COVID-19 experiences through relatable characters as well as those that offered insight into the experiences of people different from themselves. This work adds to evidence that research-based theater can help build knowledge and emotional insight around a public health issue. As these elements are foundational to pro-social, preventative health behaviors, research-based theater may have a useful role in promoting collective response to public health crises like COVID-19. Our method of systematically-sourcing research for theater-based dissemination could be extended to target more specific audiences with actionable behaviors.

Girl Talk and Hold Music

In this article, the author visits filmmaker Wu Tsang's 2015 short film Girl Talk at the New Museum in New York. The film's documentation of a dance, the author's fieldwork in the museum, and Tsang's cinematography evidence how feminine boyhood and trans girlhood are better supported in the music, conversation, and dance of what the author calls “girlfriend performance.” Against the violence of adult-authored accounts of trans feminine childhood, this article argues that children's friends should tell the story of trans feminine childhood instead. The author examines Tsang's film for its depiction of friendship in queer and trans feminine childhood and develops a transfeminist educational theatre exercise inspired by its repertoire of conviviality—of “girl talk and hold music”—for applied theatre artists, drama educators, and art therapists working with queer and trans youth, specifically feminine boys and transgender girls, and their friends.

An Analysis of International Curation from an Intercultural Perspective

It is the advantage of Chinese cultural diplomacy to enrich foreign cultural exchange forms and enhance international influence, communication power, and attractiveness through international museum exhibitions. The international exhibition is an important platform for cultural exchanges with other countries. In the case that the traditional communication forms of Chinese theatre art no longer adapt to the development of modern society, this study will analyze how to curate international exhibitions on the theme of Chinese theatre art from the intercultural perspective so as to achieve the purpose of Chinese culture communication. By analyzing the current situation and problems of international curation, this study explores the cultural significance of international exhibitions from an intercultural perspective, selects Chinese theatre art as the curation theme, analyzes the special narrative expression in theatre art exhibitions, and puts forward some suggestions on the virtual and digital applications in exhibitions. The research shows the mutual compatibility between international exhibition and Chinese theatre art and the importance and necessity of realizing intercultural communication through exhibition as the medium and constructing a new cultural exchange mechanism for the communication of Chinese theatre art through curating exhibitions.

THEATRICAL ACTIVITY AS A MEANS OF FORMING MUSICAL CULTURE OF FUTURE PRESCHOOL AND PRIMARY EDUCATION SPECIALISTS

The article analyzes the problem of using theatrical activities in the process of forming musical culture of future specialists in preschool and primary education. The purpose of the publication is a comprehensive scientific analysis of the problem of using theatrical activities in the process of forming musical culture of future specialists in preschool and primary education. In particular, the importance of professional training of future specialists in preschool and primary education by means of theatrical activity has been determined. During the research, the following methods were used: theoretical ‒ analysis of regulatory documents and philosophical, psychological-pedagogical, cultural, methodological literature, as well as abstraction, systematization and generalization of data in order to determine the state and theoretically justify the investigated problem; empirical ‒ a role-projective method for studying and analyzing the results of theatrical activity. The significance and influence of theatrical activity on the development of a child’s personality, as well as the importance of preparing students to ensure the appropriate development of children of preschool and primary school age, are emphasized. Attention is focused on the importance of such a characteristic of theater art as the syntheticity (regarding different types of arts and the stage performance of an actor). The issue of forming musical culture of future preschool and primary education specialists by means of various forms and types of theatrical activity is highlighted. The main forms of organizing this process are lecture, practical and laboratory classes (in the disciplines “General pedagogy”, “Fundamentals of culture and speech techniques”, “Fundamentals of stage and screen art with teaching methods”, “Organization of theatrical activities in preschool education institutions”, “Methodology of music education”, “Theory and methods of conducting events and entertainment in PEI”, etc.) and extracurricular forms of students’ the atrical activities (theatre studio, theater circle, etc.). Mini-creative projects, which can be a component of control classes of any discipline or be used as an independent type of theatrical activity of extracurricular forms of work, are defined as important types of theatrical activity for the formation of future specialists’ musical culture.
 Keywords: formation of musical culture; future specialists of preschool and primary education; theatrical activity; children of preschool and primary school age; forms of work organization; professional training of specialists; types of musical activities; creative mini-projects.