Proceedings of the International scientific and practical conference ―Modern Research and Education‖ (May 2-4, 2026) / Publisher website: www.naukainfo.com. – Warsaw, Poland, 2026. - 523 p.

490 adapts the brain, and the ability to cut off excess, also the ability to multitask. In order to perceive not a screen, but a living conditional life on the stage, directors and performers can present a search for contradictions between the words and actions of the characters, an incentive to read the text of the play before or after the viewing, reviews on websites, writing reviews, generally referring to literature, etc. necessarily on paper media. The interactive approach is used infrequently, but it is right. For example, E. Mazia's performance of The Game in the Backyard involved discussion of the play's problems right in the hall, after the performance, but not as an afterword, but rather as participation in the action. Spectators often come to the performance to relax, to distract themselves from the tension of martial law, to laugh. Such a break from the flow of information, live, emotional feedback is also necessary. Recently, just at the beginning of Aldo Nicolai's play The Holy Family , in Kyivv an alarm air raid started, the audience left the hall, went outside and went down to the bomb shelter. It seemed, that after returning, it was difficult to adjust to the humor of Italian peaceful life, but it was the ability to quickly switch that helped both the audience and the artists. Tragically and paradoxically, precisely in the conditions of a full-scale war in Ukraine, when the poles of horror, suffering and happiness are balanced, at least for the time of visiting the theatre. Research methods: chronological method to explain the origin of the clip thinking; comparative for analysis; typological to identify factors and determine the features; theoretical generalization for research conclusions and recommendations defined. In the time of existence of clip thinking, it is necessary carefully and attentively, at the same time, creatively to treat the con and pro requests and returns of the Internet generation. Based on the flexibility of mosaic consciousness to emotional impact, it is worth using interactive methods of information perception in the theatrical process and mastering dramatics. So, clip thinking cannot be stopped, but it can and should be adjusted and, of course, use its features in the creative process on the theatre stage. The peculiarities of work on the preparation of performances for the modern Ukrainian audience in the era of the Internet and the emergence of clip thinking were revealed. Practical means of using the positive features of clip thinking