There are two cultural principles dominating the theatre: the globalizational prin- ciple and the ethnicity-oriented one. That is why the issue of the maintenance and development of ethnical traditions in the theatre are so crucial nowadays, especially, for Russian theatres in Moldova (Chekhov Russian Drama Theatre, Aronezkaia Russian Drama and Comedy Theatre, Russian Youth Theatre “On the Rose Street”). Following the traditions, many masters of the stage kept creating in a hyperrealistic manner (V.Madan, I.Shaz, V.Kazachenco, Yu.Harmelin, B.Martinov,V.Gunin). However, other directors (A.Vasilaci, A.Pletnev, P.Vutcareu) were not satisfied with the realistic forms of expression. The formation of their opinion and their perception of the world was affected by contemporary aesthetic, hermeneutical theories, by sociology-of-the-art theories, as well as by the visual culture of modernity. Stage works are characterized by a denial of a linear text deployment; they are made by using a mosaic structure, quotations, eclecticism, a guideline on performance, using mixes between ordinary and stylized issues, a combination of interruptive and protracted modes, using a composition based on associative and clip-like principles. Certainly, not a single method among them is a novelty, and they are not suffice to refresh the theatre and the dramatic art in this century, though combined, such effects could make a great impression. The most important requirement of a new theatre is to make a genuine impression, because only powerful effects could attract the spectators’ attention, and the theatre would be able to compete with television, video, Internet.