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.

285 The most important way to understand a stage work as a process is to understand how a specific artistic method of transcendental contact between the playwright, director and the one who understands logically motivates the process of creation. In the conditions of a pedagogically organized process of performing (perceiving) a work of art unfolds as a system of actions, oriented, on the one hand, to enrich the stage-auditory experience as the ability to imaginatively, expressively reproduce the artistic text, and on the other hand, to actualize the spiritual potential of the individual (actor or director), which takes the form of behavior, acts as an act in artistic and creative parameters [2, pp. 62–64; 3, pp. 37–38]. Accordingly, the creative self- realization of a future specialist in the field of theatrical art and the manifestation of his spiritual potential in creative activity covers a whole range of forms of artistic act: from aesthetic analysis of dramatic works to authorial performing interpretation and stage performance. The highest form of organic manifestation of spiritual potential in the theatrical creative activity of a future specialist is the spiritualized performance of a work of art. The main general psychological mechanism that provides a common mode of emotional cognition of the director – actor – viewer is the mechanism of emotional resonance, the essence of which lies in the emotional and intonational identification of stage images. The constructive activity of future specialists in the field of theatrical art involves the design of artistic-creative and artistic-pedagogical processes in theatrical groups [6, pp. 110–123; 7, pp. 47–50]. This activity is organically connected with theoretical-cognitive and intellectual-volitional activity aimed at the selection and compositional construction of new creative information with the aim of creating conceptual models. The decisive role in this process is played by the normative-regulatory mechanisms of the spiritual potential of the creative personality and, first of all, the accumulated intellectual and emotional baggage in the field of theater, cinema and television – namely the aesthetic concept. The constructive activity of the future specialist is also associated with the effectiveness of the application in various combinations of methods and means of learning. For a future specialist in the field of theatrical art (performance and