The purpose of the study is to theoretically substantiate, develop and experimentally verify the methodology for forming future vocal teachers’ dramahermeneutic
experience in universities of Ukraine and China. The scientific novelty of the obtained results lies in the fact that for the first time: the phenomenology of the drama-hermeneutic experience of future vocal teachers has been revealed, its essence has been defined as the process and result of the assimilation and mastery by the individual of the results of communication with musical (primarily vocal) art on the basis of active performing and pedagogical actions to understand, interpret and reflect the internal dramaturgical laws of the texts of vocal and vocal-stage works in order to create an individual figurative and semantic context of one's own project of the work, the use of musical dramaturgy as a means of teaching art, and the implementation of a pedagogical influence on the growth of the hermeneutic and life experience of vocal education students; Dramatic hermeneutics is represented by a systemic phenomenon, provided by the complex interaction of dramaturgical-thinking, reflective-representational, actor-performing, practical-hermeneutic structural components, which are actualized on the basis of the unity of systemic, interpretative, transformative, communicative, compensatory, and worldview functions; the potential of applying scientific approaches (artistic-thinking, intentional-reflective, performance-design, creative-competence) to determine methodological principles for the formation of drama-hermeneutic experience of future vocal teachers is presented (reliance on the formation of the dramatic thinking of the performer-vocalist; orientation on the ethno-mental and stylistic properties of vocal drama in the process of its mastery; accumulation of vocal-figurative representations in a multi-vector projection; stimulation of reflection of value attitudes towards different images-roles; emphasis on the personalization and personification of the vocal images being performed; consideration of the compensatory artistic-performing resource of the vocalist); Pedagogical conditions for the formation of drama-hermeneutic experience have been developed (targeted expansion of the artistic-mental worldview regarding opera drama; accumulation of artistic-figurative vocal-dramaturgical representations and their comprehension; design of personification and personalization trajectories of work on the vocal image; enrichment of the experience of interpreting the images of vocal drama through teaching practice); criteria have been developed (artistic-mental, representative-motivational, personal-performative, creative-interpretative), indicators and a methodology for assessing the level of formation of drama-hermeneutic experience of future vocal teachers. The following have been specified: features and varieties of experience in the artistic-educational process; specifics of the process of forming experience in the pedagogical sense; the concept of drama-hermeneutic competence; Further development was made of: the phenomenon of musical drama, vocal drama, dramaturgical thinking, multicultural features of vocal art, harmonization of performing and teaching training of future vocal teachers. The practical significance of the research results is determined by the developed methodology for diagnosing the level of formation of the drama-hermeneutic experience of future vocal teachers, characteristics, indicators and methods that take into account the features of each functional structural component of drama-hermeneutic experience. The proposed stages of introducing pedagogical conditions and methods (mental-setting, experiential-accumulative, artistic-performative and creative-methodical stages) can be applied in the process of forming other types of professional experience of future teachers of musical disciplines. The following methods acquire practical significance: creation of classifiers of images-roles with means of their artistic embodiment; oral report-presentation of the results of reasoning or a written essay on the value attitude of the formed experience of figurative representations of vocal dramas; creative methods of acting (mirror, intonation dialogues, studying the part of another character with vocal transitions); compensatory technological etudes in accordance with the specified personalities (selection of facial expressions, pantomimes of body movements, expression of movements in the context of revealing the image); creation of methodological maps of work on the image; determination of the dramaturgy of the evolution of the image throughout the opera drama and creation of methodological support for its embodiment.
