About Criteria of Performance Typologization
The author develops an idea of studying the theater theory as an independent sphere, though an under-researchedone of humanitarian knowledge. The center of the article includes hypotheses and proofs based on deep historical andcultural principles of understanding the theater as an art form, with psychological, social and aesthetic determinants,which are quite typical for it. The author relies on the unique traditions of Leningrad-Petersburg Theater School withinits frames fundamental representations from the field of the drama theory, the theory and history of the actor''s and direc-tor''s art are updated. Taking into account historical and theatrical knowledge and traditions of the aesthetic study ofsome art forms (G. Hegel, Aristotle) the author makes approaches in the performance typologization. The author''s cen-tral idea is a statement about the necessity of dialectic and not separated from the empiric knowledge combination ofideas about the contents and the form of the performance as "a grain" of the theater art. Ideas about the art language ofthe theater include key figures of the playwright, actor, director and viewer.