The problem of art synthesis has been a burning issue for art theorists and practitioners alike for decades. With the emergence of cinematography, the latter’s influence on theater was a matter of time. And the first experiments in the synthesis of the two arts confronted stage directors with previously unknown theoretical and practical problems of interaction between the technogenic and “live” components of the production. As a result, there was an objective need to study the conceptual interrelations in a theatrical work based on the interaction of the artistic codes of the two spatial and temporal arts. For a synthetic production to be viable, the process of its creation requires the translation of the “language” of art, from which the borrowing is made, into the “language” of art in which the borrowing is incorporated. This, summarizing the problematic field, means that it is necessary to adapt and transform the borrowings produced, which leads to the question of the importance of understanding and working out the interdisciplinary connections within synthetic productions.