In post-war Paris, there was an active search for a new philosophy of life and creativity — and at first it seemed that Dadaism could become such a basis for a new way of life. But the weak point of the Dadaists was that their concept of destruction and the foundations’ trampling did not offer anything in return besides an anarchy. Therefore, in parallel, the artists, actors and musicians, who were not attracted by the negative anarchist principles of Dadaism, tried to find some other prerequisites. One of the tendencies was the desire to present the game as the basis of the artistic process. Hence there is the aspiration for theatricality, performances, masks, the introduction of elements of theatricality into private life — as, for example, the famous thematic balls of Count Etienne de Beaumont, his theatrical enterprise “Les Soirées de Paris” in which J. Cocteau, E. Satie, V. Gross-Hugo, J. Hugo, P. Picasso and others participated. An article’ attempt is made to systematize the play approach to the creativity on the example of E. de Beaumont’s thematic balls in Paris in the 1920–1930s, to identify the characteristic features and differences of this phenomenon from the play activities of the past eras on the basis of “play” conceptions by M. Bakhtin, J. Huizinga and S. Kagan.