Unlike most of the countries in the world , including western countries, where theatre barely continues to survive as one of the very minor sub-genres of culture, contemporary Russian theatre has established itself as one of the ‘hot places’ in which various current social problems are shared, interpreted, and spread. The most surprising thing is that the Russian modern theatre has an avid youth audience. This paper studies how Russian theatre has been able to communicate with the so-called 'digital generation' and has established itself as one of the new youth culture platforms in the era of new media in the 21st century. Chapter 2 gives a glimpse of the major trends of changes in Russian theatres in the 2000s and early 2010s, which are often defined as ‘the period of self-reconstruction’. Chapter 3, centering on major theatres and cultural infrastructure that capture the attention of young people, examines various strategies of modern Russian theatres in the new era. In the new media era, Russian theatre is expanding the meaning of theatre itself by creating an active communication with young people, based on the new media.

Contemporary Russian Theatre, Gogol Center, БДТ, Russian Art Cluster, K. Serebrennikov, A. Moguchii