РЕЖИСЕРСЬКА ДІЯЛЬНІСТЬ: ПАРАДИГМА ЦІЛІСНОСТІ ТВОРЧОЇ СИСТЕМИ ТА ПРАКСЕОЛОГІЧНІ УСТАНОВЧІ ПРОЦЕСИ СЦЕНІЧНОЇ МАЙСТЕРНОСТІ
DIRECTING ACTIVITY: PARADIGM OF INTEGRITY OF CREATIVE SYSTEM AND PRAXEOLOGICAL PROCESSES OF STAGE MASTERY

Summary/Abstract: The purpose of the article is to consider and provide an appropriate description of the sphere of directing as a paradigm of an integral creative system, to highlight its artistic and aesthetic feasibility and to determine its role in the praxeological establishing processes of stage mastery. The research methodology is to use the functional method to consider the synthesis of cognitive meanings, pragmatic characteristics, classification guidelines of the profession. The systematic method is applied to interpret and holistic consider the conceptual and structural activity of the director as a paradigm of the stage art. The art history method helped highlight the directing activity as a phenomenon of critical interpretation of an artistic work in the creative process over the theatrical form. The axiomatic method is used to summarise the established ideas of the creative activity of a master director, its level of expediency and degree of artistic value. The modelling method helped determine the standard, the model of the optimal system for constructing a quality directing activity in the phased creation of a stage production. The analytical method is applied to analyse the essence of the relevant spectrum of content, artistic achievements and effectiveness of the creative skills of a theatre production specialist. The novelty of the research lies in a comprehensive analysis of the reproductive capacity of directors, the quality of professional knowledge and abilities, and the degree of effectiveness of qualification requirements. Conclusions. The question of studying the presence of two full-fledged artistic principles in directing in Ukrainian theatre: directing the so-called root and directing the result remains open, because the opinion of what is characteristic and valuable in the directorial activity of Ukrainian theatres has not been corrected. Everything that contains the paradigm of the main trends in the stage creativity of directors has not been sufficiently analysed. Although the rich and inexhaustible treasure trove of practical experience of Ukrainian directors forms the fundamental basis for an analytical study that will create an appropriate scientific and theoretical opinion on the comprehensive definition of the content of all criteria for identifying directorial activity, the format of special abilities, the degree of giftedness and the range of talent of a director-professional of stage art is to be studied.

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