The paper analyzes the speech structure of the media sphere and determines the place of theater speech practices. The main characteristic of media text, which determines its ontology, is utilitarianism — direct and spontaneous involvement in the general activities of society. The media text is always connected with the time and place of its publication, with the specific coordinates of social space-time. At the time of publication it has the communicative status of the real-time text. With the increase in the time span separating the time of publication of the text from the time of its reading, the communicative status of the media text changes, it becomes the text of the past tense. The main components of the media sphere (in the communicative environment of both traditional media and the Internet) are the speech practice of the media, aimed at forming and maintaining the stability of public consciousness, speech practice of advertising, marketing, PR, GR. This set is open. Analysis of the theatre speech practice provides the basis for referring theatrical speech to the sphere of media speech. Several types of theatrical speech have been identified based on the specifics of the use of semiotic systems and the degree of immediacy of the relation to the audience: the polycode scenic speech of the actor at the moment of his interaction with the audience; speech of actor, director, screenwriter, broadcast in the communicative environment of the media and the Internet. The basis for the analysis is the Russian drama as well as the performances of Erwin Piskator, the creator of the "Political Theatre" movement in Germany in the 20th century. It analyzes the director's approaches to the search for dramatic material, the methods of organizing theatrical time and space, the special relationship between the actor and the viewer, and non-traditional principles of casting performers.
From Self-Effacement to Confrontation: The Emergence of Queer Theatre in Istanbul