Dramaturgy in the context of modern technologies: hypertextuality and the use of autonomous systems

The subject of the research is the structural and content-related features of contemporary dramatic texts, arising under the influence of the digital environment and the integration of works into the global hypertextual space. The focus is on the ways of organizing plays that utilize hyperlinks, generative algorithms, and autonomous systems as integral elements of artistic structure. The transformation of traditional dramatic categories in the context of cybertext is analyzed, as well as the change in the nature of interaction between the text, the reader, and the performer, which requires the recipient to exert physical effort, make choices, and participate in the construction of the artwork's meaning. The material for analysis includes the works of E. Augusteniak "Lorem Ipsum," D. Gursky "Ikonostas.mp3," and E. Demidova "Text Generator 'Distant Relatives,'" presented within the framework of the fringe program of the dramaturgy festival "Lyubimovka." The theoretical basis of the research consists of concepts such as the "multimodal turn," hypertext by D. Landow, understood as a decentralized structure connected through hyperlinks, and cybertext by E. Orset, emphasizing the figure of the reader as an integrated participant who makes non-trivial efforts to navigate through the text. The scientific novelty of the article is due to the fact that it identifies and systematizes the main strategies for utilizing digital technologies in contemporary Russian dramaturgy for the first time. The article highlights two strategies for using generative technologies: the conflicting montage of machine and human text (Augusteniak) and assigning the program a co-author role with a fundamentally different perspective (Demidova). It concludes that hypertextual dramaturgy presents new demands on the reader and the performer: physical effort in reading, the right to choose, and independent text construction, along with new possibilities for the topological organization of the play. Although the analyzed plays were created within the framework of a specific festival project, the identified principles of their structure are subject to broader extrapolation. There are broad prospects for further studying digital dramaturgy.