Directing course in arts faculties: a contemporary view

Abstract

Object. The article examines the transformation of directing training in higher arts education through the example of a five-year model of a directing course at a faculty of arts. The focus is on the leading role of the theatre director in contemporary musical theatre and on the need to improve the quality of professional training in response to current artistic and institutional challenges. The object of the research is the educational process of preparing future stage directors in close interaction with performers.
Methods & methodology. The methodological framework combines analysis of curricula and educational programmes, systematisation of practical experience of a creative directing studio, comparative analysis of different models of directors’ education, as well as pedagogical modelling of the structure and content of the directing course. Observation of students’ work in joint creative laboratories, reflection on rehearsal processes and qualitative generalisation of learning outcomes are also used.
Scientific novelty. The research proposes an integrated model of directing education based on joint training of directors and performers within a single creative workshop. The model combines professional, pedagogical and communicative components of the director’s activity and emphasises the director’s role as an artistic leader and mentor who organises collective creativity and educational interaction in a musical theatre context.
Results. The article describes the logic of the five-year directing course, the distribution of educational tasks by years of study and the gradual complication of creative assignments. Special attention is paid to the interaction between directors and performers in the process of preparing etudes, scenes and full-scale performances, which contributes to the formation of ensemble thinking, responsibility for the artistic result and the development of an individual directing style. The effectiveness of the model is evidenced by the increased independence of students, the quality of their creative projects and their readiness to work in professional theatre companies.
Conclusions. The proposed model of directing training is systemic, innovative and adaptable to contemporary conditions of musical theatre. It creates a holistic educational environment that brings together learning and upbringing, theory and practice, and provides conditions for revealing the creative potential of each student. The model can be used for updating curricula in higher arts education institutions and for improving the professional training of musical theatre directors.