Media Art in Russian Theaters

New media began to develop rapidly in the second half of the 20th century, following profound global upheavals and shifts in awareness. Theater—as one of the most significant reflections of reality—started to change swiftly, seeking alternative modes of expression. Modern technologies became prevalent and widely adopted, and media art made a breakthrough, entering the once «traditional» stage. Directors sought fresh and innovative solutions to interpret classical works in a contemporary way and draw closer to reality (or, conversely, to move maximally away from it and dive into postmodernism). In place of intricate stage mechanics, detailed costumes, and professional actors, screens, video, «actorless theater,» and audience interaction arose—alongside collaboration with media artists and the integration of their technologies into the theatrical environment.

Directors now construct dialogues with the audience in various ways—through sound, light, movement, and projection—but they increasingly avoid using direct text for this purpose. Immersive performances have gained great popularity—in these productions, the audience becomes part of the action, can influence the plot’s outcome, and most importantly, experiences a situation atypical of their own life, thereby acquiring new experiences and emotional sensations. Other genres have emerged, such as documentary theater, solo performance, and physical (or performative) theater. In all these forms, directors are re-envisioning and expanding the stage and set through technology—integrating the new into the traditional has become the primary objective. For instance, screens displaying video have become actively used on stage. The German director Frank Castorf was one of the first to pioneer this approach. His productions could truly be called «reality shows» because the visuals broadcast everything happening with the play’s characters, including backstage activities, allowing the audience to see the reverse, «real» side. One such production, «The Master and Margarita,» incorporated both previously recorded video and live feeds from backstage. [2]

In Europe and the United States, the integration of media into theater happened more actively than in Russia. Our compatriots adopted techniques from new cinema, paid attention to editing and framing, and tried to transpose these methods onto the stage. Directors in Russian theaters gave birth to media art—they opened up not only contemporary cinema but also contemporary theater to our audience thanks to their boldness and novel approach. We can name Vsevolod Meyerhold and Sergei Eisenstein as the founders—they were innovators of their time in the fields of film and theater, creating incredible avant-garde productions. [3]

In this visual research, I aim to study the process of media’s emergence onto the Russian stage. What technologies and imagery are being applied? How does the contemporary intersect with the traditional in the context of our country? How are modern directors in Russia interpreting classics, and what new work are they creating? And how does our audience interact with all of this? Let’s examine performances at several of Russia’s most popular theaters and find the answers to these questions together.

Sergei Eisenstein is regarded as a director-innovator because he never shied away from using the boldest experiments in his work. It was thanks to him that theater in the USSR first encountered technology.

Eisenstein directed the short film «Glumov’s Diary» (1923), which was originally conceived as part of a theatrical production and was shown in the play «The Sage» (based on A. Ostrovsky’s comedy, «The Simplicity of Every Sage»). In both the film and the production, the director employed the «montage of attractions» method—a technique to surprise the audience through unexpected plot twists and dynamic editing sequences. The performance consisted of short scenes where actors sang, danced, and performed stunts; one of the «attractions» was the film insert «Glumov’s Diary.» [4]

Thus, the native theater experienced the first blending of genres and an attempt to use modern technology to expand the stage and action. Of course, this is far from the media art we are accustomed to, but it is undoubtedly an important historical milestone in the use of video in Russian theater.

The Taganka Theatre can be called one of the most avant-garde in the country. In 1964, Yuri Lyubimov took over as director, revolutionizing the concept of traditional theatre. All of his productions began to interact with the audience before the performance started and outside the stage—right at the theatre entrance, in the lobby, and during intermission. Similar to Eisenstein, Lyubimov called this a «set of attractions.» [5]

For instance, the action of «Ten Days That Shook the World» (1965) began at the entrance, where soldiers greeted visitors and checked tickets, pinning them to a bayonet, and the stage utilized real shots from blank cartridges.

Another production that immersed the audience in the atmosphere of the era was «The Quiet Dawns» (1971): «Instead of the usual bell ringing before the show, the audience heard the wail of a siren, reminiscent of air raids and bomb shelters. The entrance to the hall was curtained by a huge piece of canvas—attendees entered with a bow. On the staircase leading to the second floor, spent shell casings lit with kerosene burned.» [5]

In other productions, Yuri Lyubimov also actively employed various tools to engage the audience. In «Life of Galileo» (1966), the hall’s ceiling resembled a dome of the starry sky; pinpoint spotlights cut through the darkness, symbolizing «the light of new truths,» into the eyes of those seated in the orchestra section. In «Crime and Punishment» (1979), before entering the main theater, spectators passed through the room of the old pawnbroker, mirroring Raskolnikov’s journey. [5]

All of this lays the groundwork for contemporary immersive theater and the expansion of the stage beyond its conventional boundaries, allowing the audience to live a new experience and perceive sensations through all their senses.

Now that we have looked at how things were before, let’s move into the 21st century. Naturally, there has been a massive leap forward in mastering technology and applying new technologies across all areas of life. In theaters, the focus has shifted from depicting reality to exploring feelings, emotions, and internal states, and directors are increasingly experimenting with the stage space, which has become very fluid and mobile. The environment now plays a role that is as important, if not more important, than the actors.

What is currently being shown at the Taganka Theatre? Directors never cease to amaze the audience with unusual and bold productions.

The premiere of the play «Run, Alice, Run, ” directed by Maxim Didenko, took place in 2018. It was based on V. Vysotsky’s radio play „Alice in Wonderland“ (1976). The production features incredible costumes and vast sets, with the absurdity of the events further emphasized by photo and video projections on the floor and backdrop.

The actors inhabit this projection and interact with it, immersing themselves deeper and drawing the viewer into the narrative. The entire scene begins to resemble a surreal painting or a collage-style animated film, blurring the line between reality.

Another surreal Taganika performance—"The Golden Dragon» (2015) by Valeria Surkova, created based on the namesake work by German playwright Roland Schimmelpfennig. [6]

On stage, we see various ways projection can be utilized on a wall: for text and subtitles; for live-action video; for collaging and editing sequences; and for transporting characters into different spaces.

It is fascinating how the chroma key, created using green paint, allows for a direct interaction between the actor and the technology. We observe a «dual» projection—one on the set walls, and a second on the characters’ bodies within the already playing video.