Інтеграція музично-рухової, сценічно-акторської та проєктної підготовки майбутнього хореографа

The article provides a theoretical rationale for integrating music and movement, acting and stagecraft, and creative project work in the professional training of future choreographers. It examines the functional scope of these areas and the nature of their interaction in the creation and stage realisation of a collective choreographic project. The purpose of the study: to theoretically substantiate the integration of music and movement, acting and stagecraft, and creative project work in the professional training of future choreographers, clarify the functional scope of these components, and determine the nature of their interaction in collective creative activity. Methods: conceptual analysis and comparison of scholarly approaches to music and movement training, acting and stagecraft training, and training in creative project work; theoretical modelling of the interaction among these areas within a collective choreographic project. Scientific novelty: the functional scope of music and movement training, acting and stagecraft training, and training in creative project work has been clarified in relation to the types of professional decisions developed within each area. A collective choreographic project is conceptualised as a setting for their practical interaction. The mechanism of integration is specified through the mutual influence, practical testing, and review of professional decisions in the process of implementing a coherent artistic concept. Results: distinctions are drawn among the parallel application of professional skills, one-way adaptation, and the mutual review of decisions. The roles of co-creation, teamwork, improvisation, rehearsal-based testing, and reflection in the integration process are identified. The professional outcome is characterised as the future choreographer’s ability, both independently and collaboratively, to develop, justify, coordinate, test, and review decisions concerning music and movement, acting and stagecraft, and creative project work, revising them where necessary in accordance with the overall artistic concept and the conditions of stage realisation. Conclusions: the integration of these areas of training is manifested in the mutual influence, practical testing, and review of professional decisions in the course of collective creative activity. This approach clarifies the relationships among the components of future choreographers’ professional training and positions the collective choreographic project as a setting for the development of integrated professional action.