Postmodernism in the theatrical art of Russia at the beginning of the 21st century: the logic of metamorphoses

The study aims to reveal the nature of postmodern experiments in the theatrical art of Russia at the beginning of the 21st century. The analysis is based on theater studies, as well as cultural, philosophical and scientific-psychological studies of the phenomenon of transfusion of artistic reflection. The influence of theatrical productions of the period under review on the formation of Russian theatrical postmodernism is analyzed. The methodology is based on axiological, comparative-historical, systemic and integrated approaches, which make it possible to identify the specifics of the theatrical process of the period under study. The influence of postmodern productions on classical theater, the development of stage concepts and techniques, and the formation of new artistic methods for understanding post-Soviet reality are analyzed. The significance of the historical-temporal factor shaping the ethical and aesthetic searches for “daring direction” is revealed; the axiological ambivalence of the analyzed performances is established, and the substantive significance of the de-ideologization of the creative process is revealed. Through the interrelation of objective historical conditions and subjective factors, the nature of contradictory stage constructs is determined. It is emphasized that, during the period under review, against the backdrop of postmodern trends, a significant number of directors continued to stage performances in a traditional manner; their work is characterized by philosophical depth and respect for the author’s text. A conclusion is drawn about the alternative, paradoxical, unpredictable and extremely non-normative nature of post-Soviet theatrical culture. Part of the process of its development included artistic provocations, shock performances, examples of deliberately hysterical overdrive, destruction of the ideological and philosophical foundations of drama, pseudo-creative refractions and negative axio-anthropological transformations. The authors believe that these manifestations were associated with a “crisis of faith” in all previously existing values. The activities of post-structuralist and postmodernist directors, whose works reflected extreme forms of postmodernism, were subjected to a negative assessment, which brought dubious results to the Russian theatrical field. The authors conclude that dehumanization and scenic semantic inversions are explained by the general transmutation state of Russian culture of the indicated period and the individual directorial features of artistic reflection.