At the present stage, the visualisation process covers all areas of life that come into contact with information and its presentation. Specialists and researchers in the relevant fields of activity are increasingly using the concepts that have been formed on the basis of printed text in the audio-visual arts. Such an example is the use of intertextuality, which is currently one of the promising areas for research on the example of audio and visual material (film, video, music, photography). The aim of the study was to identify the main current problems of the use of intertextuality in the audio-visual arts on the example of the two most common forms – film and music. The main methods used in this work are intertextual analysis, as well as discourse analysis, because for this method the area of interest is the study of discourse changes associated with intertextuality. As a result of the analysis, it was found that one of the problems of intertextuality is the uncertainty and lack of unity in its understanding between the followers of different approaches to the doctrine of intertext; several problems were identified. The authors propose solutions to the identified problems of the theory of intertextuality in the audio-visual arts, which confirms the practical significance of the study.

Acting is an ancient art form that has existed since time immemorial. Acting as a creative activity is one of several types of performing arts, and they all have three common phases of development; training/preparation, rehearsal/practice and performance. In addition, any study of the performing arts must take into account the reality that a performer is always embedded in the contextual environment and participates in one or more of the three phases of development. Acting in modern cinema remains an activity that involves instantaneous interaction with others, while maintaining the ability to draw from personal past experiences and imaginations about oneself, others and/or the environment. The purpose of this study was to identify the features of acting in cinema and to identify the difference with the work in the theatrical environment. The main methods of this study were analysis and comparison. Although theatrical and cinematographic traditions represent stylistic and aesthetic differences, the actor's training and the concepts of the play are more similar than contradictory. What crosses time, culture and the environment is the need to train the actor.