This article raises the question o f theatre approach to pre-cultural structures o f consciousness, At present in the world there are theatre directions, which are addressed to subconsciousness. What is the reason for this phenomenon? Why does this direction acquire this significant development namely now? Today such forms o f theater most frequently contain the idea o f refusing some concrete language, oriented to one or another concrete audience, be it. verbal, ballet or any other form o f communication, formed by some concrete culture. The actors o f such theatres convey to the public most frequently in the free and ambiguous treated plastic. In this case, accompanying this plastic speech (if it is present), music, sets, costumes, its features and other elements o f expressiveness, is also maximally abstracted from any concrete expression, which ties the spectator to one or another cultural tradition. The tendency towards the appearance o f such theatres is traced both in the West and in the East, which emphasizes its global nature and serves as an additional confirmation o f the regularity o f the discussed phenomenon. Used to such theatrical forms the uniting term “plastic theatre ’’ so far, has not found yet strict lucidity classification. But its existence, as an independent structural unit in the classification o f the forms o f stage, is certain.