SURKOV PAVEL VLADIMIROVICH

The article, for the first time, considers the problems of definition and established practices of virtual theater in an academic discussion. The author describes the main practices of using digital technology in theater, outlines the boundaries of understanding the role of digital art, the connection of technology and traditional principles and values of artistry, as well as directing skills. The discussion of digital theater at the Gaidar Forum in January 2022 served as a key reason to prepare this article. The discussion focused on the modern theater as an institution that inherits deep artistic traditions and, at the same time, is on the current agenda and uses current means of artistic expression, and, moreover, exists in the digital world, the intensity and rapid development of which poses many questions to society. It seems natural to the participants in the discussion that the theater's response to new realities, however, the very understanding of these realities and, accordingly, reactions to them, is interpreted by The article analyzes the main points of the discussion and gives examples that confirm the development of digital theater as a separate branch of the creative economy, assessing the prospects for Russian projects in this area. The author notes the essential difference between digital theater and digitized theater and stresses that an understanding of these differences has not yet emerged and requires further research. In addition, the article defines the fundamental features and characteristics of digital theater.

The reflection of the key principles of metamodernism on Russian television has hardly been discussed in the Russian scientific literature so far. The article discusses the issue of changing the social and anthropological significance of these principles in modern society, their reflection in the media. The authors investigate the topic of the emergence of new information products and the definition of the role of television broadcasting, its transfer to a new media level, for example, to the level of network platforms. For the first time, the correlation of mass culture in other areas, for example, in literature, with trends that are decisive in the formation of the modern information context is shown. The increasing role of the proactive position of the viewer is emphasized, stressing the viewer’s transfer from the status of a simple observer to the mode of an actor in the media field. The work reflects the role of the immersiveness of the media environment, when in fact each viewer becomes at the same time its creator and is directly involved not only in the consumption of the context, but also in its production, taking into account personal interests and realizing their own creative possibilities. The study demonstrates the dynamic process of the formation of the key principles of metamodernism, identifies its key characteristics that affect the development of the modern Russian and international media environment.