Characteristics of the main topic. The article examines the applied imperatives of the development of musical theater in Ukraine based on the analysis of the Odessa Academic Theater of Musical Comedy named after M. Vodyanyi. Formulation of the problem.The problems of musical theater are acutely actualized in the modern public consciousness due to a number of factors. First of all, the musical theater, being a powerful representative of official art, represents the state's level of prosperity. Hence the high level of investment in any significant production, which allows to demonstrate material capabilities in providing appropriate decorative design, costumes, involvement of highly professional actors, etc. Based on this, musical theater appears as an engine for the development of technical, aesthetic, artistic means and all the components that make up a work of art. On the other hand, musical theater always, due to its special position in society, inevitably faces the need for experimentation at any level, starting with large-scale, grandiose spectacles that have no analogues in other forms of art, and ending with the most sophisticated chamber experiments, designed for a small circle of connoisseurs. In spite of such applied diversity, in the scientific research world there is a tradition of studying the achievements of musical theater from the point of view of one of its components, music. And the theatrical side of the realization of the composer's opus intended for the stage has been studied to a much lesser extent, which makes it necessary to solve this problem.The purpose of the research is to determine the applied imperatives for the development of musical theater in Ukraine based on the analysis of the Odessa Academic Theater of Musical Comedy named after M. Vodyanyi.Generalized results. The generalization of the existing scientific work on the development of musical theater in Ukraine made it possible to establish the ramifications of the opinions of various authors regarding the stages and features of the development of theatrical art, in view of which, the author's periodization of development on the example of the Odessa Academic Theater of Musical Comedy, which is based on a documentary-historical approach, is proposed in the study. This made it possible to track significant events and establish cause-and-effect relationships between developmental stages and directorial input. The article describes the characteristic features of each of the five stages. It has been proven that these features directly depend on the directors of the theater, as well as political, cultural, demographic, geographical and other conditions of existence. All this created prerequisites for the development of author's proposals for the further development of musical theater in Ukraine, which boil down to the formation of organizational and methodological support.

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The relevance of the study is conditioned upon the fact that contemporary art undergoes various transformations. Notably, modern theater is aimed at creating a variety of entertainment forms. It depends on the bright scenery, outrageous acting and the availability of experimental performances. Speech techniques as an important tool of verbal action in the art of the actor also acquired a specific, even paradoxical character. The theatrical work becomes quite subjective and individualised, embodies the inner well-being of the artist in the depiction of his emotions, worldview and more. In this regard, the article aims to determine the nature and features of speech techniques in the practice of performing arts. The leading methods of research on this problem are methods of analysis, synthesis, deduction, generalisation and comparison of approaches, which will help determine the main essence of the problem of speech and speech techniques as an important tool of verbal action in the art of the actor. The article presents various approaches to the study and interpretation of the stage word as a socio-cultural phenomenon; the analysis of works of artists, researchers who are engaged in research of this process is carried out; emphasis is placed on psychological difficulties and peculiarities of the organisation of verbal action on the stage; the definition of the essence of the subtext as a category of stage speech is offered; the methods of its embodiment in theatrical practice are substantiated; the specific features of the functioning of intonation in stage works are traced; diagnosed promising methods of developing the technique of stage speech in theatrical activities; the requirements of acting in the context of the development of theater of the 21st century are determined; the process of creating exemplary stage speech is demonstrated; recommendations and main tasks for improving speech techniques as an important tool of verbal action in the art of the actor and component of theatrical art are revealed. The materials of the article are of practical and theoretical value for art critics, actors, directors, culturologists and theater figures, who will be able to improve the forms of work on the word, to develop skills of language and speech culture. In addition, the information may be relevant for students of stage and art, scientists, teachers who will be able to implement certain principles in future theater activities.

Despite the rapid development of technologies, increasing data volumes, the development of the Internet and robotics, the spread of machine learning and artificial intelligence, there is something that a person manages much better than the most advanced machines and contributes to economic growth on the basis of sustainable development, improving the quality of life of the population while preserving natural potential. Everyone is born with this extraordinary ability called "creativity." Therefore, first of all, the state should be interested in the development of the creative sector of the economy and should support it in every possible way. Considering that the purpose of the article is to establish trends in the development of creative industries in Ukraine and determine their impact on the national economy. Based on the analysis of official statistical information, key trends are identified, the essence of which comes down to the rapid growth of the creative economy in most socio-economic indicators. It is proved that the Covid-19 pandemic has destabilized the stability of the trend of development of creative industries, however, the decline in indicators in the context of other types of economic activity is not significant, and they tend to recover quickly and steadily increase. The most vulnerable sectors of creative industries have been identified. The influence of creative industries on the national economy is argued. The prospects for further research are outlined, which consist in the activation of the development of performing arts (live music, theatre, dance, opera, circus, puppet theatre); literature, publishing and print media; architecture, since they have a great influence on the national economy due to their direct contact with the broad masses – the population and a close intersectoral connection with other industries.

Мета дослідження – розглянути та проаналізувати творчу спадщину актора театру й кіно Юрія Євсюкова. Методи дослідження. Історико-біографічний – для визначення основних етапів творчого зростання актора Ю. Євсюкова; хронологічний – для розкриття послідовності висвітлення творчих здобутків митця в наукових джерелах; аналітичний – під час дослідження особливостей акторського стилю Ю. Євсюкова в театральних виставах і кінострічках різних періодів. Наукова новизна полягає в тому, що вперше проаналізовано етапи становлення творчої спадщини актора Ю. Євсюкова й окреслено жанрово-стилістичні особливості його деяких ролей у театрі та в кіно. Висновки. У статті виокремлено важливі етапи творчої спадщини актора Ю. Євсюкова. Перший – робота в Луганському обласному академічному українському музично-драматичному театрі, де заклалися основи його акторського стилю. Тут актор опанував арсенал традиційних засобів сценічної виразності, переважно в межах комедійного жанру. Для другого періоду характерною є співпраця з режисером О. Біляцьким, під час якої розкрилися нові грані обдарування митця, а саме здатність його психофізичного апарату до імпровізації. Третій – режисура А. Васильєва, що сприяла розвиткові навичок «текстової драматургії» та «текстової імпровізації» як форми «живого театру».