The article hypothesises that the opposition of ‘publicity/privacy’ concepts (alongside with other fundamental dichotomies, e.g. spiritual/material, social/individual, political/personal) in the media era, and first of all in the era of the Internet together with related communicative resources, is no longer productive. The study was performed via discursive analysis since it concerns methods of making use of the original concepts of ‘publicity’ and ‘privacy’. The author also addresses media survey methods since it is a contemporary media context that guides changes in the balance between the concerned phenomena. The deconstruction method is also important since the theatre institution itself, on the example of which the phenomenon of the interpenetration of the public and the private is examined, is deconstructed and shadowed by absolutely new theatrical practices. The culturological approach is the paradigmal prism through which the declared topic is researched, since the study goal is to demonstrate how ‘current’ (Z. Bauman) changes of the modern cultural landscape change habitual ideas on some or other dichotomies, particularly the dichotomy of ‘publicity/private’. The aforementioned research tools were used in the study to address theatrical practices explicitly demonstrating the removal of the dichotomy of public and private. A closer look was taken at the play ‘Questioning’ staged by the contemporary Petersburg theatre Pop-up, and where invasion of publicity into the area of privacy and intimity, and exposition of aspects taken out from ultimate existential depths constitutes the very essence of the play. The article concludes that such theatrical practices can take place when the cultural horizon is extended to enable the attribution of a new semantic scope, in particular ‘forced publicness’ (E. Shulman).