The article explores the role and significance of stage speech in the formation of artistic skills among students in creative specialties. In the contemporary artistic environment, characterized by high competition and a demand for multifaceted artists, the command of speech acquires paramount importance. The key components of stage speech are analyzed, including diction, orthoepy, voice production, and intonational expressiveness, along with their impact on the development of general artistic culture and the professional competence of future artists. Particular attention is given to how each of these elements—from clarity of articulation (diction) and adherence to pronunciation norms (orthoepy) to the richness of timbre and pitch (voice production)—not only shapes the auditory image but also becomes a tool for conveying the most subtle psychological nuances. The structure of artistic skills is examined, and the relationship between verbal mastery and the ability to create a cohesive artistic image is defined. It is argued that speech culture is an integral component of acting, directing, or vocal mastery, as it is precisely through speech that the artist conveys the conceptual and emotional content of the work, engaging in a dialogue with the audience. Methods and techniques for developing stage speech are proposed, aimed at improving diction and articulation skills, enhancing vocal capabilities, and fostering intonational flexibility. These include a detailed analysis of comprehensive training programs that combine breathing exercises, exercises for the articulatory apparatus, and working with artistic texts (analysis of verbs, verbal action, construction of a speech score). The pedagogical conditions necessary for the effective use of stage speech potential within the educational process of higher arts education institutions are substantiated. This includes creating an atmosphere of creative exploration, individualizing instruction based on students' psychophysical characteristics, and implementing interdisciplinary connections (e.g., integrating stage speech with physical theater/movement, vocals, and acting). The necessity of a systematic and practice-oriented approach to teaching speech-related disciplines is emphasized to ensure a high level of training for specialists in the arts. This approach prevents the mechanical memorization of techniques and guides students toward the conscious mastery of speech as a creative tool. The authors emphasize that stage speech is not merely a technical instrument but also a foundation for developing acting psychotechnique, emotional memory, and imagination—all of which are critical for the formation of a well-rounded creative personality. It acts as a catalyst for activating inner vision and helps students to "appropriate" the text—to make the author's thoughts their own—which is fundamental to the method of active analysis. A systematic approach to training enables students to master not only the techniques but also the capacity for in-depth textual analysis, which facilitates the creation of convincing and emotionally saturated portrayals. The article concludes that investing time and effort in the speech training of students in creative specialties directly correlates with their future competitiveness in the job market, their flexibility in choosing artistic means, and their overall level of professionalism. This allows graduates not only to reproduce existing artistic meanings but also to create new ones.

professional competence; diction, orthoepy; voice production; intonational expressiveness; artistic image; pedagogical conditions; higher arts education institutions; acting psychotechnique; speech culture

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