Abstract

At the turn of the 20th and 21st centuries. When integrated into the European art space, the countries of Eastern Europe take the path of creating a new model of cultural development in a post-pandemic society. Added to the world of theater innovations and, in particular, post-modern theater practices, it makes it necessary to search for new types of communication with the audience, creating such a balance between the actor and the audience that would meet new historical realities, shape its cultural landmarks, moral values, and provide meaning for current events. Consequently, the new historical realities require theatrical culture to change the artistic trajectories of development and at the same time determine the cultural reflection on its place and role. In culturological and art studies, the theater, as a rule, is considered as a system component of the cultural space. This corresponds to the generally accepted approach: the definition of culture as a set of spheres, each of which has its own specifics. These areas are combined by certain socially significant factors, according to which they must coordinate their way of existence. Now, in a post-pandemic society, there is not enough research that examines the latest formations at the place of origin and is perceived as the products of the local experience of the individual and the society to which he belongs.