The article investigates the work of John Cranko, who revolutionized stage direction in ballet theatre, transforming classical plots into psychological dramas where dance speaks louder than words, thereby creating a neoclassical direction in choreography. His landmark productions – “The Taming of the Shrew”, “Onegin”, and “Romeo and Juliet” – became benchmarks for narrative ballet. The research is relevant because the evolution of J. Cranko's methods has not been sufficiently studied. This study takes a hermeneutic approach to interpreting sources, using contemporary Stuttgart Ballet productions as an example. This work fills this gap by presenting an innovative methodology for analyzing choreographic text through the lens of literary dramaturgy and a comprehensive approach where all components of J. Cranko's unique directorial method engage in dialogue. This approach not only reveals the mechanisms of impact of J. Cranko's ballets but also provides tools for their modern interpretation. Furthermore, the research includes the historical and cultural context of the choreographer's style formation, a comparative analysis of different productions, and an iconographic method involving work with video recordings and photographic materials. J. Cranko's research results show a stylistic shift in his hermeneutic approach to literary sources, transforming from strict adherence to text to authorial reinterpretation. Traditional pantomime, replaced by a complex system of dance metaphors, preserved the artistic essence of his works while adapting them to changing aesthetic paradigms. The study's conclusions confirmed the initial hypothesis: authorial analysis of J. Cranko's ballets (“The Taming of the Shrew”, “Onegin”, “Romeo and Juliet”) and analytical works by other researchers identified and confirmed the evolution of his creative style within his hermeneutic direction, where drama is conveyed through plasticity, music, scenography, and composition.