Истоки стратегий работы с медиатехнологиями в хореографических постановках 1990–2010-х годов

The choreographers and dance artists work with new media tools can be considered as a logical development of the artistic process within the context of the technical instruments’ natural evolution. Such an approach is poorly represented in Russian art studies. The article`s purpose is to identify the continuity between the artistic ideas of the avant-garde of the 1910–1920s, the neo-avant-garde of the second half of the 20th century and the methods of the choreographers to work with new technologies on the example the choreographic productions in the 1990–2010s period. Based on the historical, descriptive and analytical methods typical for the art critic approach, the relevance of some artistic strategies of the avantgardists in the modern period is proved. The performances “Biped” by Merce Cunningham (1999), “The Rite of Spring” by Klaus Obermayer (2006), “OUT/IN” by Anna Abalikhina (2009), not previously considered in Russian art studies, are analyzed. Based on the analysis and comparison of directors approaches with the ideas of the avant-garde of different periods, strategies of randomness, intermediality, and interactivity are identified. As a result, the lack of scientific materials on the represent topic has been partially filled. Problems provoked by the permanent updating of technical instruments are highlighted: the need for dramaturgical guidelines for selecting the necessary and sufficient set of expressive means; the technical “enslavement” of the viewer; the dependence of stage and performative spaces on technical equipment; authorship problem