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Abstract: The author analyzes the intermedial aspect of the lyric poems of Alexander Blok of 1900–1910. The study explores the underinvestigated version of “theatricality” of his poetry, which is represented by its specific “staginess”. The author argues that the introduction of the theatrical code into Blok’s poetry takes place in the wake of the general symbolic striving to overcome individualism through the aesthetic “collegiality” of the theater. A peculiar cult of drama and theater is formed in the creative consciousness of Blok, influencing the poetics of his lyrics in many ways. It is shown that “staginess” arises as a result of the organization of lyric poems on the principle of a dramatic scene and becomes a characteristic feature of the style of Alexander Blok. It is revealed that Blok actively uses peculiar theatrical and dramatic techniques in his lyrics: “stage remarks”; “stage” chronotope; monologues and dialogues of characters. The article also deals with a typology of “scenes” presented in Blok’s lyrics. It turns out that they are quite diverse in the plot and pathos. There is a gradation: from idyllic scenes, which are gentle lyrical sketches, to epilogue scenes filled with the deepest tragedy. Many of Blok’s poetic “scenes” can be read as epilogs of tragedies (e.g. “scenes” in the cycles “City” and “Free Thoughts”). In-depth psychologism distinguishes the “love scenes” of Blok’s third volume. “Speaking” gestures and movements that “scenically” convey the internal state of the characters are brought to life not only by the special “theatricality” that determines the nature of Blok-lyric’s artistic thinking, but also due to his conscious orientation to the “method of physical actions” of the system by Konstantin Stanislavsky. It is concluded that along the line of “scenic” poetry, Andrei Bely comes closest to Blok among all Symbolists. However, Bely’s poetic “scenes” are not as diverse in plots and mood as those of Blok, since they are predominantly executed in a grotesque-comic key. The “staginess” of Blok’s poems becomes a sign of the special “Renaissance” versatility of his artistic talent. It compensates for the poet’s creative desire to express himself in the field of theater, which is not fully realized due to the dominance of the lyric element in his artistic thinking.