Abstract
<jats:p>This study summarizes the scenographic designs of ballet productions by three leading Kazakh theaters – the Abai Kazakh National Opera and Ballet Theater, the Astana Ballet Theater, and the “Astana Opera” State Opera and Ballet Theater – across 40 performances from the 2016/17–2024/25 seasons, considering repertoire dynamics and scenographic solutions. The goal is to identify consistent scenography typologies and establish their relation to musical dramaturgy. Methods include a comparative analysis of classical, national, and contemporary productions; content analysis of visual assets (sets, costumes, lighting, video); mapping the “musical score ↔ visual score” correlation; and verification via programs, press releases, and reviews. Materials were compared using uniform criteria, and recurring techniques were isolated. Three stable typologies are identified: Academic, Ethnic, and Multimedia-Experimental. Growth in multimedia practices in contemporary ballets and their targeted use in national productions is noted. A universal “correspondence map” of key musical nodes and visual solutions (exposition, development, climax, denouement) shows the scene’s shift from static background to dynamic participant. The study’s novelty lies in the unified typological framework for the three repertoire blocks and the operationalization of media dramaturgy concepts through practice-oriented correspondence maps. The discussion stresses balance between tradition and innovation, the risks of technological redundancy, and personnel and infrastructural limits. Practical steps: early inclusion of media dramaturgy, digital libraries of ethnic codes (ornaments, palettes, lighting/projection presets), phased equipment renewal, and specialist training. Prospects include expanding performances, audience surveys, and piloting AR/VR for the development of a hybrid scenography model.</jats:p>