The article examines the distinctive features of the performing arts (Noh-Kyōgen, kotsuzumi, Nihon-buyo). The focus of the study is a training program in Japanese performing arts (T.T.T. — Traditional Theatre Training). The aim of the article is to illuminate the scientific-creative and pedagogical aspects of the Traditional Theatre Training program and the particularities of performing arts as a result of its implementation. The research methodology. The aim and specificity of the research subject determined the use of a comparative methodology and appropriate methods for collecting and processing materials. Among them are: autoethnographic method, methods of systematization, and image-based (figurative) stylistic, comparative, contextual, and content analysis; interviews, oral and online surveys, field reconnaissance, observation and notes during classes, and photo documentation. The source base consists of materials collected during direct participation in the training sessions in 2017, 2019, and 2024; data obtained through participant surveys; documents, concert programs, and related materials. The research results presented in the article identify the key stages of the program’s development and distinguish it from derivative versions of theatre intensives. The findings shed light on teaching methods and techniques, summarize the experience of internationalizing a national tradition, and present the perspectives of the author and other program participants. The program’s conceptual breadth and the opportunity to study with multiple teachers not only facilitate the mastery of acting skills but also provide a comparative perspective on diverse theatrical practices, highlighting both their commonalities and distinctions. It reveals essential aspects of traditional performing arts, such as the role of space in movement, the specificity of kamae, kata as a means of transmitting meaning, the importance of pause and concentration, synchronization techniques, and the teacher’s role as the custodian of knowledge. The scientific novelty lies in the fact that, for the first time in Ukrainian scholarly discourse, the influence of the program on understanding the specificity of Japanese performative practices through practical experience is examined. The article illuminates the scholarly, creative, and pedagogical potential of the program and summarizes its results. The practical significance of the study lies in the possibility of applying its findings in theatre studies, Oriental and comparative research, particularly in addressing issues of gender and corporeal representation in Japanese theatrical traditions. The practical significance of the results consists in the potential application of the T.T.T. program model in designing national programs of international exchange in the field of performative practices. This study was made possible through a grant from the Kyoto Art Center.
Svitlana Rybalko (Fri,) studied this question.