The modern drama of Kazakhstan is considered in the article as a complex object of philological and pedagogical analysis, requiring the updating of university teaching methods. The relevance of the research is due to the genre hybridity of the new play, its inclusion in the digital and performative environment, the strengthening of socio-critical issues and the bilingual nature of the artistic language. The purpose of the work is to identify the causes of the difficulties that students have in mastering modern dramatic text, and to develop a model for its interpretation in the system of training future literature teachers. The study summarizes the theoretical approaches of post-drama theater, narratology, cultural anthropology and linguoculturology, compares Kazakhstani plays with the global trends of the "new drama". Special attention is paid to the transformation of the hero's image, the displacement of conflict into the sphere of discourse and memory, the strengthening of the role of remark and scenic visuality. It is shown that traditional analysis schemes focused on plot and character do not allow us to work adequately with texts where the action is fragmented, and the meaning is born in the interaction of words, gestures and the media environment. The article describes a pedagogical experiment involving 126 students, during which performative readings, fishbone analysis, digital annotations and podcast reflection were used. The data obtained confirmed the growth of analytical, interpretative and communicative competencies of students, increased interest in national drama and willingness to apply it in school practice. The scientific novelty consists in creating a comprehensive model for analyzing the Kazakh play, taking into account bilingualism, national cultural codes and the scenic text. The practical significance lies in the possibility of introducing the developed methodology into the programs of pedagogical universities and teacher training courses.