Аннотация: The creative work presented at the International intramural and extramural festival competition of youth theater companies – “Prometheus of a Rukha” – “Of Spirit” became a threshold of the present article, the devoted Year of theater in Russia and to the 100 anniversary from the date of the birth of the National poet of Bashkortostan, the playwright Mustaya Karim and gained the diploma of the Winner of the First degree.
In the present work, as part of the creative path, the practice and theorist of the field of art of Eugeniy Bagrationovich Vakhtangov, the language of fantastic realism as the language of artistic theatre is studied. The starting point of the research is to establish the elements of the language of conditional theater based on scenographic, acting and directing decisions in Vakhtangov's performances. For this purpose, the author makes a retrospective appeal to the director's performances. In the analysis of the chosen performances, the artistic takes of the innovative instrumentation of the theatre language of Vakhtangov, which formed the director 's own understanding of the artistic style of the theatre as fantastic realism, are extracted. Elements of the theatrical language of the most significant performances are considered: “Peace Holiday”, “Cricket on an oven”, “Eric XIV”, “Gadibuk” and “Princess Turandot”. Based on the sources in which the performances are described, the Vakhtangov theatre language (style) is analyzed. As a result, descriptive definitions of the concepts of Vakhtangov style and fantastic realism are given. Interfacing analysis with the basic provisions of the concept of fantastic realism, elements of the language of conditional theatre are combined into a single table, which is one of the main results of the work.