In the studio, he especially succeeded in the roles of the heroic-romantic type - Karl Moor, "The Robbers" by Friedrich Schiller (1923), Don Luis in "The Invisible Lady Calderon" (1924), Chatsky in "Woe from Wit" by Alexander Griboedov (1925).

Over time, the creative range of Prudkin expanded, which contributed to his talent of transformation, the ability to delve into the psychological essence of the created image, attention to external attributes – costume, makeup, facial expressions.

All this allowed the actor to show on the stage a variety of characters, sometimes opposite in character, such as the frivolous adjutant Shervinsky, "The Days of the Turbins" by Mikhail Bulgakov (1926), the gloomy captain Nezelasov, "Armored train 14–69" by Vsevolod Ivanov (1927), the self-confident and cowardly Kastalsky, "The Fear" by Alexander Afinogenov (1932), Vronsky (1937) and Karenin (1957) in "Anna Karenina" by Leo Tolstoy, Dulchin, The Last Victim by Nikolai Ostrovsky (1946), ambitious careerist engineer Mehti-Aga, "Deep exploration" by Alexander Kron, Fyodor Karamazov, "The Brothers Karamazov" by Fyodor Dostoyevsky (1961), Baker, "The Winter of our Discontent" based on the novel by John Steinbeck (1964).

He played small but memorable roles in the films The Twelve Chairs, The Blonde Around the Corner, Autumn Wind, in the television movie Uncle's Dream by Fyodor Dostoyevsky and others.

In 1943, Mark Prudkin was one of the supervisors of the Moscow Art Theater – the artistic and director's union, which consisted of five people.