In the 21st century, it is essential to think about the skills and abilities that students need to develop, thinking about the future. The main element of the educational process should be social skills, which from the personal level of the student will form the common good of society and the whole world (UNESCO, 2021). Social skills are characterized as a set of skills that promote and facilitate human interaction with other people (Odiņa, 2004). Theater art is a collective form of artistic expression. Theater art has social, educational and therapeutic aspects (Krušic, 2015). Theater art in its essence is based on social skills, most fundamentally - on cooperation. Theater art promotes democratic processes and cohesion processes in society. 

In the study, combining the Germanic and Anglo-Saxon approaches, theater art is seen as a form of artistic expression, the main task of which is to promote the formation of the personality of students by developing the creativity of each individual. In theater arts, students can learn acting skills, stage speech, improvisation, etc. essential skills that promote and contribute to the implementation of the above-mentioned task (Skola2030 model program of theater arts).

In the study, combining the Germanic and Anglo-Saxon approaches, theater art is seen as a form of artistic expression, the main task of which is to promote the formation of the personality of students by developing the creativity of each individual. In theater arts, students can learn acting skills, stage speech, improvisation, etc. essential skills that promote and contribute to the implementation of the above-mentioned task (Skola2030 model program of theater arts). Since every pedagogical activity begins with setting goals, this issue is also relevant in the theory and practice of theater art. Studies in theater pedagogy show that educational goals have been studied so far mostly only from the perspective of one actor. In the 70s of the 20th century, in the Germanic cultural space, the educational goals, which are essential in theater pedagogy, were formulated, putting forward the socialization of students as the main educational goal of theater art. (Ritter, Nickel, 1976). At the turn of the century, one of the central educational goals of theater pedagogy is the end result, i.e. a publicly shown performance (Kempe, Winkelmann, 1998), but in the 21st century – aesthetic  education (Weintz, 2008) and the influence of theater as a medium (Lille , 2013). The official goals of theater pedagogy formulated in the documents can be in confrontation with other educational goals set by the implementers of the theater art, namely teachers, directors, students, as well as parents. Therefore, the question of how to synchronize/consolidate/integrate the goals of these different groups of actors in the process of theater pedagogy remains relevant. The purpose of the study is to investigate the educational goals of various groups of actors in the operation of school theaters and to develop the methodology of consolidation/integration/synchronization of these goals, developing theater pedagogy as a sub-sector of educational sciences in Latvia.

Research methods: (1) theoretical: systemic literature analysis in theater pedagogy (Germanic and Anglo-Saxon approaches); (2) empirical: a survey of theater art educators with the goals: (2.1.) to find out the goals of educators' activities in theater art; (2.2.) find out how the introduction of the new subject - theater art - in the school is taking place in connection with the implementation of the set goals; (2.3.) to find out the respondents' evaluation of the introduction of theater art in the school teaching process. to find out university students' understanding of innovations, their types and innovative competence; focus group discussions with theater art educators, students.

Planned results: (1) Researched the development of theater pedagogy (in Latvia) and the status quo in Latvia; (2) Developed theoretical basis of the educational goals of theater art; (3) Reasoned and provided explanation for differences in theater pedagogy in documents, theory and practice; (3) Provided analysis of the educational goals of theater art from the perspective of different actors; (4) Reasoned use of terminology in theater pedagogy; (5) The research offers evidence-based recommendations on how to reduce the differences between the educational goals defined in the documents and their implementation in reality.

1.Krušić, V. (2015). Drama Education in Croatia Today - An Experience Based Story. The European Journal of Social & Behavioural Sciences, Volume 14(Issue 3), 349-361. https://doi.org/10.15405/ejsbs.176 2.Odiņa, I. (2004). Skolotāju sociālo prasmju pilnveide profesionālās tālākizglītības procesā. [Promocijas darbs, Latvijas Universitāte]. 3.Streisand, M. (2011). Geschichte der theaterpädagogik. Zeitschrift für Theaterpädagogik. Heft 37, 5-8. http://www.archiv-datp.de/downloads/zft_57.pdf 4.UNESCO (2021). Pārdomas par mūsu kopīgo nākotni. Jauns sabiedriskais līgums izglītības jomā. ISBN:978-92-3-100478-0, Francija. 5.Teātra māksla 1.–9. klasei. Valsts izglītības satura centrs | ESF projekts Nr.8.3.1.1/16/I/002 Kompetenču pieeja mācību saturā., https://mape.skola2030.lv/resources/311