THE ROLE OF “DIRECTOR – PLAYWRIGHT” ART TECHNOLOGY IN SHAPING FUTURE DIRECTORS’ PROFESSIONAL COMPETENCE

Аннотация

This article explores the pedagogical significance of using the“Director –Playwright” art technology to develop the professional competence of future directors through literary works. It outlines thestages ofimplementation, content, forms, methods, and toolsofthis art technology. Keywords: art, performance, director, actor, playwright, art technology, professional competence, literary work. Introduction. One of the key factors in the development of the educational sphere in the New Uzbekistan is the non-traditional application of innovative teaching technologies to the traditional education system. This includes not only the teacher’s professional mastery and the learner’screative thinking but also theirartisticimagination. From this perspective, acquiring advanced knowledge and integrating new pedagogical methods – especially those drawn from the experience of developed countries – into the education system is crucial for cultivating the professional competence of future directors. Moreover, the ability of students to independently write literary works as authors themselves is an essential element in developing theirprofessional skillsbased onliterary texts. But why is itnecessary for astudent to writeliterary works as an author? Firstly, when directing a play, the primary foundation is the literary work itself – the script. A director must not only understand the essence of the play like an ordinary reader but also be capable of interpreting and conveying its meaning to thousands of spectators through staging. This requires a deep emotional and intellectual understanding of the piece, an ability to internalize the characters’ fates as if they were one’s own. Since each audience member has a different level of artistic perception and understanding, the director’s unique approach to staging mustbeaccessible and meaningful to a widerange of viewers. Secondly, a director must have a solid grasp of literary norms and conventions. At times, the dialogue given to characters by the playwright may lose its impact during performance. In such cases, the director may need to substitute certain lines with synonymous expressions to maintain the intended emotional effect – without altering the underlying meaning. In doing so, the director must choose words that match the original author’s style, effectively expanding the work while preservingits essence. Thirdly, in many literary works, the main narrative, climax, or resolution is expressed in the author’s voice. However, in a stage production, it is not the author but the characters who speak. Therefore, it becomes the director’s responsibility to transform the author’s thoughts into the voices of the characters, faithfully following the author’s style and ensuring that the core messageis fully conveyed to theaudience. Fourthly, a director must possess a thorough understanding of the principles of dramaturgy and the compositional structure of dramatic works. Researchers such as M.B.Umarov and T.Yuldashev emphasizethis point: “The ultimate goal of a director is to interpret a play by harmonizing their own ideas and creative https://ijmri.de/index.php/jmsi volume 4,issue2,2025 474 discoveries with the author’s intent. Thus, the director may restructure the play’s composition and, if necessary, make changes that do not compromise the core idea. For example, a director might remove certain scenes from the script or add new ones that heighten the dramatic tension, thereby altering the original structure. To do this effectively, the director must have a firm grasp of compositional principles. Regardless of the genre or historical setting of a work, the fundamental components ofdramatic compositionare as follows: Introduction – the part that answers the questions “What is happening?” “When and where is it happening?”anddraws theaudience intotheworld of theplay. Inciting Incident – the moment that introduces the central conflict or problem and intensifies the intrigue. Development – the sequence of events that escalates the conflict between characters and increases dramatic tension. Climax – thepeak ofthe conflict, marking aturning point in thestory. Resolution – the final section where the conflict is resolved and the overarching idea is fully revealed.” [3, p.165] Literature Review and Methodology. According to researcher S.N.Begidova, “The primary task of modernizing higher education today is to master the methodology of creatively transforming the world. This process of creative transformation, first and foremost, involves the emergence of new things: new objects, new knowledge, new challenges, and new ways of solving them. Education can no longer be limited to the acquisition of skills alone; it is also a means of achieving higher goals, expressing oneself through creativity, and affirming one’s identity.”[4, p.79]. Based on this perspective, the development of future directors’ professional competence necessitates the application of innovative, modern teaching technologi