Proceedings of the International scientific and practical conference ― Cambridge Science and Education Conference‖ (February 23-25, 2026) / Publisher website: www.naukainfo.com. – Cambridge, United Kingdom, 2026. - 289 p.

284 Theater pedagogy considers the collective artistic concept and stage performance as a process that appears in a variety of manifestations, therefore they are impossible without an initial emotional and figurative design, which determines the possibility of further deepening, «disclosure» of new dramatic content and determines the very process of the individual's passionate «life judgment» about the stage action. It should be noted that the subjective aspect, associated with the figurative and sensual, determines the fact of the processuality of stage performance. Therefore, the dynamics of interaction between the viewer and the performer (actor, director, producer) depends on the volume and levels of entry of the individual's subjective sphere into the orbit of stage (actor, director) activity [4, pp. 52–55; 5, pp. 167–169]. Thus, the defining role of the collective artistic concept in theatrical pedagogy reveals the content of professional activity, both individual (where the individual is not only its participant, but its main source, determining, organizing force), and collective. In this case, the subject is not only a person who «internally refracts» external stage influences (i.e., an ordinary instance of the «internal» in interaction with the «external»), but also a carrier of the activity of stage action, the internal reason for its existence as a process. The traditional triad «director – performer (actor) – spectator» in the pedagogical aspect realizes the real existence of stage action in the form of the triad «creation – performance – perception» (creation, artistic and figurative attitude to the dramatic work (script) – directing; creative attitude when reproducing the dramatic work – performance (acting skills and abilities); creative contemplation (perception) of the performance, stage action. Since the comprehension of the moral and aesthetic content of a work of art is associated with substantive cognition, which integrates all the main types of stage activity, it is advisable to distinguish the cognition itself as a special type of aesthetic, orientational and research activity, which consists in penetrating the essence of an artistic phenomenon (performance, production, artistic project) on the basis of its appropriation.