The opera studio of NMAU as a plane for the implementation of the directorial method by D. Gnatyuk on the example of the production of the opera «Faust» by Charles Gounod.
The subject of the study highlights the biography of D. Gnatyuk in the con-text of his pedagogical activity and directing practice at the NMAU named after P. I. Tchaikovsky. The outstanding figure of D. Gnatyuk crystallizes in a complex dialogue of the cultural and socio-political space of Ukraine in the middle of the twentieth centu-ry. By destroying the stereotypes of actor’s vocabulary, directing communication, when human nature remained behind the veils of relics of executive mechanisms laid down in previous years, the figure of the artist was directed decisively into the world of high art and aesthetics. Concentring on the problem of directorial searches by the master and the mechanisms of their stage performances, we open the space of the little-studied and unexplored aspect of the creative biography – its pedagogical, public and director’s accomplishments. D. Gnatyuk filled the artistic space of domestic opera performance with new visions of the problem of the work, the separation of the actor from the sacred world of man, which becomes the main vector of the stage decision of the dramatic problem, the problem. Stylistic awareness, absolute actor’s skill in the projection of directing interpretation, the avoidance of creative speculations, and the self-less commitment to serving art – the creator of the artist D. Gnatyuk, who complemented the cultural space of Ukraine with powerful directorial achievements, performed the national opera genre on the pedestal of universal recognition and tucked on the faces of the world The editions of the name of the famous master in capital letters. The theater in the life of D. Gnatyuk had a conceptual significance: it was in his walls that the actor gained the aesthetic foundations of the genre coordinates of opera singing and directing practice; It was within the walls of the theater that the materialization of the inner plans and ideas of the master, formed by the principles of powerful genetic accumulation of the customary tradition, the family reverence of cultural achievements and achievements, took place; It is at the very height of the theatrical ascension that the accumulation of internal energy of the artist takes place, which will find its embodiment in the categorical, social and public position of Dmitry Mikhailovich concerning the national culture, history, aesthetics; It was from the theater that the wizard entered the high space academic art. The steps of the Master in the communicative space of the domestic socio-cul-tural environment are analyzed, his style-performing, directing and pedagogical guidelines are determined. By fixing the problem in the context of art criticism and cultural discourse, we have the possibility of an objective and generalized analysis of the formation and formation of a creative person, its adaptation in the socio-communicative space and accomplishment in different genre and style coordinates. The proposed theme highlights one of the most powerful and relevant vectors of the creative ascent of D. Gnatyuk to the top of the artistic recognition – direct-ing in the field of teaching. The feature of the director D Gnatyuk is the comprehension and decoding of the musical material, since it is music that forms the general, ideological and artistic concept of the play, defines the coordinates and creates a space for the creative realization of the artist, generates the creation of aesthetic models where the interpretive interpretation finds itself, forms its essence, projecting the direc-torial vocabulary in its practical implementation. For D. Gnatyuk, the main thing in directorial practice is the understanding of figurative content of musical drama, comprehension of composer’s technique with full control of his style coordinate system during practical work on the moments of stage performance from actors. The uniqueness of D. Gnatyuk’s teacher lies in his ability to methodological generalizations, whose vector is constructed by a powerful executive experience, a permanent desire to know the inner world of the actor-student, to open to him the space of the invisible mystery of the theater, opera, and art. The ped-agogical method of b Dmitry Mikhailovich is formed by the principle of the degeneration of the actor’s essence into a new, due to the mystery of the drama of the composition of the work with the stucco in her sense of style, genre, aes-thetic orientation. On the example of the production of the opera by S. Guno «Faust», the main conceptual foundations of D. Hnatyuk’s directorial thought, methods of his work with students, leading artists of the operatic genre and with teams of various per-forming directions are followed.