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.

288 stagings that develop dialogic speech and self-expression. 5) Methods: include the use of fairy-tale plots, dolls, role-playing games, suitable for both children and adults. The main types and forms of theatrical pedagogy at the present stage require theoretical and methodological content and the latest developments for the purpose of practical application in performing activities. Thus, the main types and forms of theatrical pedagogy include the following: theatrical play, staging, dramatic pedagogy (the so-called theater pedagogy), puppet theater, social theater, studio theater and others. Emphasizing the content and purpose of these types and forms of theatrical pedagogy, we note the following. Theatrical game is the use of role-playing games, dramatization games, theatrical physical education minutes for the development of speech, thinking and emotions. Staging involves staging fairy tales, stories, and excerpts, which helps children better understand the content of the work and develop creative abilities. Dramatic pedagogy (the so-called theater pedagogy) involves the use of rehearsal and acting methods (improvisation, sketches) for personal growth, and not just for creating a performance. Puppet theater is designed to create and control puppets, which develops fine motor skills and imagination. Social theater aims to use theater as a tool for solving social problems, dialogue, and integration. And studio theater is designed for classes in acting, stage language, and movement for children and adults, aimed at teaching professional basics. Thus, theater pedagogy is not aimed only at professional acting; it is a tool for education and self-knowledge through theatrical activity. The training of a modern specialist in the field of theater pedagogy requires new methods and approaches to provide students with knowledge, skills, and abilities that would meet the modern requirements of a high professional level. It is always relevant to develop and substantiate an organizational- methodological, praxeological, acmeological, and art-historical model of a collective artistic concept to ensure the process of professional training of both actors, directors, and theater teachers, theater critics, and publicists.