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THE ROLE OF “DIRECTOR – PLAYWRIGHT” ART TECHNOLOGY IN SHAPING
FUTURE DIRECTORS’ PROFESSIONAL COMPETENCE
JAHONGIR MAMATQOSIMOV
Associate Professor, Uzbekistan State Institute of Arts and Culture
Doctor of Philosophy (PhD) in Pedagogical Sciences
Abstract:
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 the stages of implementation, content, forms, methods, and tools of this 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’s creative thinking but also their artistic imagination.
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 their professional skills based on literary texts.
But why is it necessary for a student to write literary 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
must be accessible and meaningful to a wide range 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
preserving its 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
message is fully conveyed to the audience.
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 emphasize this point:
“The ultimate goal of a director is to interpret a play by harmonizing their own ideas and creative
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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 of dramatic composition are as follows:
Introduction – the part that answers the questions “What is happening?” “When and where is it
happening?” and draws the audience into the world of the play.
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 – the peak of the conflict, marking a turning point in the story.
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 technologies and a fundamentally
new approach to education.
Researcher T.V.Petrova provides the following definition of art technology: “This is the oldest
and most natural way of transforming emotional states, traditionally used to relieve mental stress,
induce calm, and enhance concentration. In education, art technology can be applied
simultaneously within two modern trends of pedagogical development. The first is the natural
influence of art in everyday life, fostering a free-form education through spontaneous
engagement. The second is the intentional integration of art technologies into the learning
process based on their emotional impact.” [5].
According to W.H.Souver: “Art technology is an innovative pedagogical method that stimulates
students’ interest in acquiring knowledge through creative activity, contributes to their success,
encourages self-understanding and empathy, and supports emotional awareness. Its uniqueness
lies in the way it draws upon both art and scientific achievements. Art technology exists at the
intersection of various disciplines—medicine, pedagogy, cultural studies, sociology, and more.
The techniques used within art technology are universal and can be applied to address a wide
range of educational challenges.” [2, p. 142].
Discussion and results.
Today, modern art technologies are becoming an essential and integral
component of the educational process in specialized schools. These pedagogical technologies
offer unique and innovative methods of instruction, and their implementation within the
curriculum is of great significance. The integration of interactive techniques and engaging
methods into specialized education is already proving to be effective. One such method is art
technology [1, p. 183].
The technologization of the pedagogical process – essentially, its design and projection – is
aimed not only at improving the quality and efficiency of education but also at fostering
creativity and developing the students’ imaginative potential.
Globally, there is increasing research on the effective use of art technologies in education. These
approaches are important in that they cultivate students’ spiritual and aesthetic appreciation of art
through the emotional and ideological appeal of artistic expression.
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From this perspective, the “Director – Playwright” art technology has been developed to
cultivate future directors’ ability to write literary texts. This approach serves as a key component
in developing professional competence through literary foundations. It encompasses a set of
stages, content structures, formats, methods, and tools. This art technology is based on the
principle of transitioning from amateurism to professionalism, forming a pedagogical process
that integrates theory, practice, and professional competence.
The “Director – Playwright” art technology (see Figure 1) enables aspiring directors to function
as both interpreters and co-authors of the plays they stage. It supports the development of writing
and dramaturgical skills. In practice, the artistic instructor should encourage students to begin
with short narrative exercises, tailored to each student’s individual abilities.
This method not only enhances artistic thinking, but also develops fluency in verbal expression,
the ability to choose and use literary vocabulary, work with figurative language, and maintain
narrative coherence and logical consistency.
The artistic instructor must also inform students about the dangers of adopting others’ ideas
without proper attribution and the consequences of literary plagiarism.
“DIRECTOR – PLAYWRIGHT” ART TECHNOLOGY
Stages
Content
Form, Method, Tools
Association
The artistic instructor introduces the main
event of a story. Each student continues the
story sequentially, adding one sentence at a
time
Group dialogue, association,
literary, artistic, ideological,
goal-oriented approach
Logic
Students logically continue the beginning
of an unfamiliar story or write based on
characters provided by the instructor
Individual,
logical,
literary,
artistic-psychological approach,
professional forecasting
Authorship
Students write a drabble, story, or dramatic
piece based on a scenario given by the
instructor or their own authorial concept
Individual,
logical,
literary-
artistic
approach,
authorial
concept, professional forecasting
Synthesis
Based on a story or novel, students create a
dramatization or write a scenario around a
given theme in the form of a literary-
artistic piece
Individual, synthesis, directorial
analysis,
literary,
artistic,
professional forecasting
Figure 1. “Director – Playwright” Art Technology
The association stage of the technology is the first phase of the student’s journey as an author. It
is conducted as a group-based associative dialogue. The instructor initiates the session with the
central event of a story, and each student continues the narrative one sentence at a time. This
exercise prioritizes coherence, logical development, and artistic imagination.
In the logic stage, the instructor reads the introduction or main event from an unfamiliar story.
Students are then tasked with continuing the narrative logically while preserving the given
setting and characters. Another variation of this stage involves assigning students different types
of characters – objects, for example – from various fields and asking them to incorporate these as
protagonists.
In the authorship stage, students write their own short stories, micro-dramas, or dramatic scenes
based on scenarios or settings provided by the instructor—or independently based on their
personal creative concepts. Starting with shorter texts is encouraged.
During the synthesis stage, students develop scripts (screenplays or stage adaptations) based on
existing stories or novels, or create original dramatic works around specific themes.
While scripts and adaptations are technically literary texts, they are also reimagined artistic
works. Therefore, the process of artistic synthesis – especially interdisciplinary synthesis – is
vital. For instance, when writing a scenario on a particular topic, students are encouraged to
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incorporate relevant songs, dances, and visual elements, transforming the work into a complete
artistic creation.
To ensure the effectiveness of the “Director – Playwright” art technology, it is recommended to
utilize group discussions, associations, individual writing, literary and artistic-psychological
methods, goal-and idea-based approaches, logical progression, authorial concepts, and
professional forecasting techniques.
Conclusion.
The pedagogical significance of using the “Director–Playwright” art technology in
developing future directors’ professional competence through literary works lies in its ability to
foster creativity and originality. In parallel, it helps develop students’ skills in writing literary
texts. This approach can be effectively applied both within classroom settings and in
extracurricular activities, including individual sessions, independent learning, and directing
exercises. Its versatility and efficiency make it a valuable and impactful educational tool.
References
1.
Gulboyev A.T. The use of art technologies in the development of children's speech in
the process of inclusive education // Pedagogy of cooperation in improving the quality of
education: international experience and modern approaches. International scientific-practical
conference, November 13, 2023. P. 183.
2.
Souver W.H. (2001). Pedagogy of the future. Published by ANU E Press The
Australian National University Canberra ACT 0200, Australia / PDF, – P. 142.
3.
Umarov M., Yuldashev T. Fundamentals of directing and acting. – Tashkent: Turon-
Iqbol, 2018. – P. 165.
4.
Begidova S.N. Theoretical foundations of professional and creative development of
the personality of a specialist in physical education and sports. - M .: Maykop: ASU, 2001. - P.
79.
5.
Petrova T.V. Art - technologies in the educational process // https://nsportal.ru
(04/26/2024).
