Proceedings of the International scientific and practical conference ―Cambridge Science and Education Conference‖ (May 15-17, 2026) / Publisher website: www.naukainfo.com. - Cambridge, United Kingdom, 2026. - 429 p.

373 It is at the stage of creating a role that a significant factor, an effective tool – music – comes to the fore. It acts as a stimulant of feelings. The art of sounds integrates, controls, organizes, activates, and as a result, triggers neurochemical reactions. When listening to music, sound vibrations, passing into the auditory cortex, are immediately broken down into components of pitch, timbral aspects, spatial relationships, and tone duration. After some time, the informative data enters the rest of the brain, entering a perpendicular comparison with the preservation of sound correlations and emotional resonances, stimulating numerous parts of the brain of both hemispheres. Based on the above, we can definitely state: music is a fundamental basis that contributes to a deep immersion in the proposed circumstances of the text, the role. Practical, rehearsal studies were conducted by the authors with students of the I.K. Karpenko-Kary Kyiv National University of Theater, Cinema and Television in the theatrical performance: «Dedication of Freshmen». The complexity of the rehearsal process was caused by the fact that first-year and fourth-year students participated in the performance. That is, different levels of professional training. Daily rehearsals revealed unambiguous results: students more accurately entered the desired emotional state thanks to the musical accompaniment that was turned on before the action in a particular episode began. In contrast to music, verbal feedback did not affect students as effectively. This study examined the elements of the actor‘s work : interpersonal relationships, immersion in the proposed circumstances of the material. It was proven that for a full-fledged, emotional result, the director needs to find musical material that will contribute to the actor‘s deep existence in the proposed circumstances. REFERENCES: 1. Barba E. The Paper Canoe : A Guide to Theatre Anthropology. Lviv: Litopys[in Ukrainian].2001. 2. Vitenko I. Osnovy psyhologii . Osnovy pedagogiky. Chernivtsi. [in Ukrainian