Dramatic Nature as the Basis of the Identity of Russian Theatrical Culture
The article argues for the strengthening over the past 20<sup>th</sup> century of the psychological and realistic tools of domestic theatrical practice, the system of theatrical education based on the paradigm of drama as the value components of Russian theatrical culture. The author proves that dramatic nature in theatrical practice and education that can be considered as a kind of markers of Russian theatrical culture, as properties of national cultural identity. The problem of possible loss of identity of the Russian theatrical culture in the conditions of the cancel culture is considered. The collision of the tools of the national theatrical culture and the values of post-drama theater are analyzed. Within the framework of the analysis presented in the article, the content of the concept of category of drama as one of the elements of the identity code of Russian theatrical culture is formulated. As an empirical material, the play The City of N by the Prokopievsk Drama Theater, directed by A. Ustinov. The performance is filled with elements of post-drama theater, the use of which does not overshadow the values of the national theatrical culture. The conclusions are statements about the significant influence of the category of drama in modern theatrical culture, and this is due to: the literary centrality of the domestic theater, where classical drama is still in demand; the mental discourse of Russian culture, where internal duality, inconsistency, are a sign of national character, and a person’s struggle with himself becomes the basis of dramatic action for the artistic comprehension of playwrights, directors; the purifying effect of drama as an act of unity of actors and viewers through the artistic interpretation of the play; the orientation of performing technique on the system of experience, which is why the Russian theater has acquired its own special characteristics that are not repeated in any theatrical school in the world.