Comprehensive Approach to the Rehearsal Process: Bridging the Gap between Vocal, Acting, and Choreographic Training

Abstract

The purpose of this article is to theoretically substantiate and practically highlight the necessity of implementing a comprehensive approach to the rehearsal process within the system of arts education and professional training of performers. This approach ensures the integration of choreographic, vocal, and acting components into a unified creative process that aligns with the demands of contemporary performing arts. The methodological framework of the study is based on a systemic approach to examining the professional training of a universal performer within arts education. The research employs interdisciplinary analysis of pedagogical, methodological, and performative principles that enable the holistic fusion of movement, voice, and dramatic action in the rehearsal environment. The study incorporates elements of comparative analysis, content analysis of current methodological practices, and observational insights from integrated teaching processes. The scientific novelty lies in the conceptualisation of the rehearsal process as a synthetic pedagogical environment functioning through interdisciplinary interaction and the incorporation of performative practices. For the first time, a model of integrated training is proposed, wherein choreographic, vocal, and acting elements are considered inseparable components of a single performative process. This model facilitates the development of holistic stage thinking and enhances the performer’s autonomy and artistic agency. Conclusions. In the current educational landscape, the formation of a universal performer requires a rethinking of traditional teaching models. In synthetic stage genres – where the body, voice, and emotion function as a unified artistic gesture – the separate teaching of vocal, choreographic, and acting skills becomes ineffective. The proposed comprehensive approach to the rehearsal process allows for the seamless integration of these components within a unified pedagogical system. It is grounded in collaborative curriculum planning, interdisciplinary rehearsals, improvisational techniques, and compound exercises aimed at fostering stage thinking and performative freedom. Particularly significant is the implementation of performative practice as a tool for developing integrated stage expression, where body, voice, and emotional action are not treated as isolated expressive means but as interdependent elements of a cohesive artistic process. This approach not only cultivates professional competencies but also activates internal motivation for self-realisation – an essential factor in the training of a modern performer. Thus, the comprehensive rehearsal system is not merely a methodological tool but a forward-looking pedagogical strategy capable of preparing flexible, creative, and critically thinking performers who can meet the challenges of 21st-century performing arts.