The visual world of the modern Tatar theatre is a complex dynamic and self-developing system, which, on the one hand, reflects elements of traditional culture, folklore, rituals, and, on the other hand, various stylistic features of development of the theatre in general. Significant transformations are taking place that change certain features of the long-standing tradition. Stage managers and stage designers read classical and modern works in a new way, entering into a complex dialogue with the authors. Due to the active appeal to the achievements of modern culture and other arts, a kind of renewal of the theatre is taking place. Despite preservation of stable forms and elements of the Tatar culture, the traditions of the “interior theater”, generalized metaphorical motifs prevail in the productions that transfer the place of action to the present. This technique is used in the theater to sharpen and actualize the theme of the play, to strengthen the role of the viewer as an interpreter of what he saw. In search of ways of a new theatrical language modern artists use the aesthetic principles of the Tatar decorative and applied art and the poetics of folk games, cinematography, pop art, etc. in line with the postmodern game with traditions. The article analyzes the stage design of the performances of the beginning of the new century under the direction of the artistic director F. Bikchantayeva in tandem with modern stage designers (S. Skomorokhov, B. Ibragimov, etc.).