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1
Slipushko, O. M., and A. O. Katyuzhynska. "THE INTEGRATION OF PANEUROPEAN THEATRIC TRADITIONS OF THE BAROQUE EPOCH INTO THE HISTORICAL DRAMA OF THE LUMINARIES." Literary Studies, no. 60 (2021): 199–210. http://dx.doi.org/10.17721/2520-6346.60.199-210.
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The article represents the study of the peculiarities of the integration of PanEuropean theatrical traditions of the Baroque epoch into the historical drama by Ukrainian coryphees. Particular attention is paid to the study of the specifics of the creation of baroque drama of the XVIII century and its influence on the formation of the dramatic tradition of the Coryphées. The main European tendencies represented in historical baroque dramas are singled out. It is proved, that succession is manifested primarily at the level of national identity. The historical dramas of F. Prokopovych “Volodymyr”, the anonymous author “God’s Grace” and M. Starytsky “Bogdan Khmelnytsky”, I. Karpenko-Kary “Sava Chaly” in the comparative aspect are analyzed. Common and different features in the interpretive models of the central images of statesmen are clarified. Actually, F. Prokopovich has developed his own theory of drama with a division into five acts. It was found out, that such a structure is also characteristic of the works of I. Karpenko-Kary “Sava Chaly” and M. Starytsky “Bogdan Khmelnytsky”, which testifies to the preservation of the baroque dramatic tradition. At the same time, the Coryphées have significantly deepened the compositional structure of the drama, adding new elements. The works of the anonymous author “God’s Grace” and M. Starytsky “Bogdan Khmelnytsky” have the genre of historical drama, the central image of hetman B. Khmelnytsky. However, in the historical drama of M. Starytsky “Bohdan Khmelnytsky” the interpretative model of the image of the statesman is significantly expanded, in particular, the psychological aspect of the figure of the hetman is deepened. At the same time, the idea of messianism, especially the interpretation of the National Liberation War as the highest level of self-sacrifice, is common in the interpretation of the image of B. Khmelnytsky by the anonymous author and M. Starytsky. Pan-European traditions of Ukrainian baroque drama of the XVIII century has become one of the sources for the formation of the original professional Theater of luminaries, in particular historical dramas.
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Каспіч, Галина, and Ніна Поляруш. "Valerii Herasymchuk’s biographical drama: culturological intertextuality." Українська література: історичний досвід і перспективи, no. 1 (December 18, 2023): 88–101. http://dx.doi.org/10.31652/3041-1084-2023-1-88-101.
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The article is devoted to a voluminous biographical dramas Valerii Herasymchuk — the cycle «Piesy pro velykyh (Plays about the Great)». It is not yet fully formed, as the author is still adding works to this day, so it is required careful reading. A professional analysis of the writer’s biographical drama in the context of the intertextual methodology of modern literary studies seems appropriate.It is noted that Valerii Herasymchuk created his own system of relationships to the biographies and works of each of his protagonists, practicing new genre experiments and updating the already known forms of literary biography in relation to the cycle «Piesy pro velykyh (Plays about the Great)».Analysis of literary works devoted to contemporary biographical drama allows us to conclude that researchers of its various aspects often ignore the dramatic works of Valerii Herasymchuk as quite difficult for literary reception. At the center of each drama in the cycle «Piesy pro velykyh (Plays about the Great)» is a prominent historical or cultural figure: Metropolitan Andrii Sheptytsky, writer and film director Oleksandr Dovzhenko, historian and fiction writer Dmytro Yavornytskyi, Hetman Ivan Mazepa, poet Olena Teliha, fighter for Ukraine Stepan Bandera, classics of Ukrainian modern literature Ivan Franko and Lesia Ukrainka, singer Kvitka Cisyk, and outstanding Ukrainian director Les Kurbas.These plays can refer to different models and kinds of biographical drama, which is a distinctive feature of contemporary Ukrainian drama. As a playwright, Valerii Herasymchuk creates one of the directions of its development. His biographical drama organically combines dominant tendencies tied to the broadest cultural intertext. Valerii Herasymchuk’s innovation is the involvement of dramatic genres in the system of motifs and characters of plays, when the cultural intertext in the dramatic discourseworks at one of the deepest levels — the genre level.Herasymchuk’s biographical drama, represented by the cycle «Piesy pro velykyh (Plays about the Great)», is distinguished by «biographical trust», brave genre experimentation, and different strategies of prose, fiction, philosophical and literary reflections. Summarizing all of the above, Valerii Herasymchuk’s biographical drama is a promising material for literary analysis and generalization.
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Войтенко, Л. І., Т. Л. Караваєва, and Л. Д. Швелідзе. "STRATEGY OF THE NEW DRAMA IN LESYA UKRAINKA’S LITERARYAND- CRITICAL ARTICLES." Nova fìlologìâ, no. 89 (May 18, 2023): 59–65. http://dx.doi.org/10.26661/2414-1135-2023-89-8.
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The article examines the features of a new drama promoted by Lesya Ukrainka in her literary-and-critical articles, and further in her artistic work. In the new drama, Lesya Ukrainka focuses on the nature of the dramatic work, specifically, the text as a link connecting the addresser and the addressee. She sees H. Hauptman’s dramaturgy as an example of such text creation, namely, motives and types of characters in his plays. The word becomes the lead character in such texts and turns into a communicative strategy. The word becomes a structurally and figuratively robust means of developing the play’s plot and composition. Lesya Ukrainka associates new drama’s purpose not with modernism or with the programs of “art-for-art’s-sake” and aestheticism, but with the social drama development. The author believes that the concept of a new drama determines the nature of structural and compositional transformations, the drama’s figurative originality. Lesya Ukrainka considers the dramaturgy by H. Ibsen, H. Hauptman, and S. Przybyshevsky, whose works she analyses in her literary-and-critical articles, to be examples of the new drama. The factors providing for the emergence of the new drama in Ukrainian literature include the drama lyrisation as a communicative strategy, which is a manifestation of the play’s “literaturisation”. Lyrisation as the dramatic text’s feature contributes to the action subjectivisation, leads to a chronotope displacement, enables the combination of events happening in different times within one dramatic text, the polysemy of expression through a metaphor or symbol. The philosophy of the author’s strategy of transforming verbal subject of poetic existence correlates with the ability of a statement to create new multiple meanings and interpretations of the text that convey the emotionality of the author’s words. Drama lyrisation drives the creation of conventional images, while the character appears in the text not in one guise, but in several. The author distances themselves from the character, which enables the subject’s uncertainty and potential multiplicity. Dramatic text’s lyrisation becomes an incentive for the text’s generic and genre transformations, contributes to the creation of conventional images that establish explicit communication between the addresser and the addressee. The author as the text’s addresser is presented in the characters’ statements, which provides a plurality of interpretations and meanings of the dramatic text, allows for playing with words, that manifests “literaturisation”. “Literaturisation” as a communicative strategy integrates the texts of Ukrainian playwrights into the context of the world literary and theatrical tradition, expands their themes, genre diversity, and figurative system.
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Lutsak, Svitlana, and Nataliia Vivcharyk. "THE DRAMATIC DOMINANT OF VASYL STEFANYK’S NOVELLAS." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 16(63) (August 26, 2022): 254–63. http://dx.doi.org/10.31471/2304-7402-2022-16(63)-254-263.
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The aim of the research is to analyze the genre features of Vasyl Stefanyk’s short stories, and first of all the dramatic component of their artistic structure. The main focus is on the short stories that formed the basis of the staging of the Zagrava Theater. Director Volodymyr Blavatsky chose the productions of the short story, the dynamic structure of the genre, which are revealed by modern researchers as dramas in the novel – «She is the Earth», «Sons», «Maria», «Thief», «Pious», «Morituri», and «My Word» (as a prologue). These works paid attention to the director, especially thematically expanded the scope of contemporary drama. The main article was the method of genealogical studies, combined with the methods of poetic analysis of the dominants of the internal organization of short stories by Vasyl Stefanyk. As a result of the research it was proved that it was the sharp conflict, dialogic speech, tension of the plot, temporal condensation, related issues, minimized descriptions that allowed the director to combine these works in one theatrical production. In addition, literary-critical reviews and works of Mykola Yevshan, Mykola Zerov, Mykhailo Rudnytsky, Ivan Franko, Lesia Ukrainka, etc. were used to characterize the ideological and artistic features of Vasyl Stefanyk’s short stories, which indicated the expressiveness of writing and minimal authorial presence in Vasyl Stefanyk’s short stories. The writer’s memoirs, archival materials, and diaspora research were also used, including Hryhor Luzhnytsky’s article «Son of the Earth», which outlined the specifics of the development of contemporary Ukrainian theater and the urgent need to enrich the repertoire with stagings by Ukrainian authors, including Vasyl Stefanyk. The main focus of the article is on the analysis of the short story «She is the Earth», which is central in the production of the same name. It is illustrated that the earth in the works and stagings of Vasyl Stefanyk appears in various guises – Motherland, home, people, family, symbolizes the inseparability of generations. The novelty of the article is the analysis of the longevity of the Ukrainian theatrical tradition, which was intuitively felt by the novelist Vasyl Stefanyk, transforming into an artistic structure of prose text, which led to the emergence of the original genealogical form of drama in the novel. This artistic tradition has found its refraction in the modern production of the Ivano-Frankivsk National Academic Drama Theater Ivan Franko’s drama-oratorio «She is the Earth».
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Mozharivska, Iryna. "Intertextuality and intermediality of modern drama-parable (based on play “The academy of laugh” by Koki Mitany)." LITERARY PROCESS: methodology, names, trends, no. 15 (2020): 63–70. http://dx.doi.org/10.28925/2412-2475.2020.15.10.
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The article deals with the problem of finding the manifestations of intertextual reminisces in theEnglish drama of the Renaissance in the context of contemporary drama-parable consideration. In the process of analysing the play, the author draws attention to the context of intermedial connections of literature with theatrical art, considers the implementation of the principle of “game in play”, traces the manifistations of intercultural interaction between Eastern and Western culture. The events in the drama take place against a backdrop of complex historical events — The Japan-China War. The work contains references to the intertextual elements of the dramatic works of the English playwright William Shakespeare (the tragedies “Romeo and Juliet”, “Hamlet” and “Magbeth”. The comic interpretation of the play is a juxtaposition of cultures and literary genres. The author applies the concept «the theatre in the theatre», structures the work minimally through dialogue between the author and the censor. Intermediality acts as a system of interaction of one kind of art in the works of another and reveals mechanisms of mutual influence of kinds of art in the artistic culture of this or that historical period.
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Lazirko, Nataliia. "GEORGE KAISER’S WRITING IN THE RECEPTION OF YURI KLEN." Polish Studies of Kyiv, no. 35 (2019): 201–6. http://dx.doi.org/10.17721/psk.2019.35.201-206.
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The given article deals with Klen’s research of the German dramatist George Kaiser. The main parameters of artistic universe of this author are presented in the article. There are also outlined the methodological strategies of research the German dramatist’s creativity by Yuri Klen – a well-known Ukrainian literary critic. Georg Kaiser is one of the brightest representatives of theatrical and literary expressionism. His plays are the unique phenomenon in the 20th century drama. His expressionism appeared to be the special one and the global and scope of plots allowed scientists to call G. Kaiser a «new myth creator». Among world scientists, who comprehended the features of author manner of this sign artist for history of world drama, a main place belongs to the Ukrainian literary critic – Yuri Klen. In his scientific work there is the article «George Kaiser», which an author compositionally divides into seven parts. Its pre-condition is an original metaphorical lineation (vivid registration of which is adopted from astronomy), structural-semiotics assertion that every writer creation has a basic idea or favourite main image, that can be found in many writings of the author. However, in the Ukrainian literary critic’s opinion, it is not impossible to say it on the first sight about George of Kaiser because every work of this author has a new incarnate idea, new and unexpected development of a plot, new and original interpretation of that problem which has been solved in his previous works. In the article “George Kaiser” by Yuri Klen the biographic approach can be highlighted while analyzing creative works of the German dramatist. The Ukrainian literary critic also outlines the secrets of psychology of the German artist creation in expressionism manner. Expressionism drama is always drama of ideas; therefore acting persons of this drama are not individuals, but types which helps writer to lead the general action of the characters. Yuri Klen asserts transformation of images in dramas by George of Kaiser, their original reduction up to separate characters and allegories: his characters lost the outlines of people and become symbols of idea, super individual creatures, typical samples, and logic of acting can be sacrificed for the sake of the higher logic – logic of composition and dramatic construction. Few times a researcher accents on closeness an artistic world view of the German dramatist to cubism: characters mainly don’t have the names, but appear on the stage under the names: a «father», «multimillionaire», «black», «yellow» – they are structural formulas. Summarizing these the structural-semiotics searches, Yuri Klen marks once again that in George Kayiser’s works can be found: 1) central idea of man renewing which is peculiar for all his creative work; 2) leading motive of escape-chasing and 3) element of contingency which manages events, that is a case-shove which suddenly gives dynamic of action and sets fire before a man as a distant lighthouse – dream about renewal. It is also possible to assert that researches of expressionism by some authors whose creation correlates with expressionism views demonstrates complete maturity of Yuri Klen to be a serious literary critic armed by the newest methodological approaches to study literature as theoretician and practician of literature studies.
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Čirić-Fazlija, Ifeta. "“Puščic prš proži nezaslišana usoda”: anglofonsko gledališče in dramatika po koncu pandemije." ELOPE: English Language Overseas Perspectives and Enquiries 21, no. 1 (June 30, 2024): 247–64. http://dx.doi.org/10.4312/elope.21.1.247-264.
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Since the days of their conception and for most of their history, theatre institutions and the dramatic genre have indelibly reflected their immediate socio-historic contexts, including epidemics. Although forced to close for a full year during the 1918 outbreak of Spanish flu, however, modern Anglophone theatres and authors deliberately avoided exploiting the pandemic in their works. Conversely, the COVID-19 pandemic directly affected the birthing of new genres and individual plays that included it in their settings and contents, and also motivated discussions on the future of dramatic literature and theatre establishments, particularly with regard to hybrid drama. Building on its author’s previous research, this paper examines British and American dramatic literature and theatre establishments one year after the end of the pandemic, to detect whether Anglophone drama has embraced the new genres, and whether its authors have continued to reflect the pandemic in their works.
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Semak, O. I. "IHOR KOSTETSKYI AND EUGENE IONESKO: TYPOLOGY OF ARTISTIC THINKING." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 3(55) (April 12, 2019): 150–56. http://dx.doi.org/10.31471/2304-7402-2019-3(55)-150-156.
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The article deals with the works of such famous playwrights as Ihor Kostetskyi and Eugene Ionesco. The comparison of the work of the Ukrainian playwright with the dramatic works of the world level made it possible to distinguish the laws that show that Ihor Kostetskyi's drama is a multi-faceted and ambiguous phenomenon in the literary process of the second half of the twentieth century. The study of the peculiarities of the literary heritage of I. Kostetskyi involves a profound analysis of the influence of the emigration factor on creative process of the writer. His close interweaving of universal, national, and moral issues was caused by life in emigration and the loss of Ukraine. The combination of Ukrainian mentality with the understanding of the philosophical concepts of the West allowed the playwright-emigrant to consider social and moral problems more panoramic. Using techniques such as phantasmagority of individual scenes, deconstructivistic distrust to language, the destruction of syntactics and paradigmatics and logical structural connections in some places allows us to characterize the poetics of I. Koste-tskyi’s style as an absurdity experiment based on the drama of the Baroque era.In the result of comparison of the heritage of Eugen Ionesco and Ihor Kostetskyi the author found that both dramatists rejected the canons of classical drama with its traditional plot, experimented with the form of works, the language of characters. The artistic material of their dramatic works unfolds through absurd situations that contrast with the world of reality.One of the problems raised by the authors is the problem of human communicability, which leads to leveling of the personality. Their verbal experiments are one of the factors in the creation of new generations of heroes. The dramatists did not abandon one of the main problems of existentialism - time as characteristics of human being.
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Akhmadiev, Rif Barievich, Ramzia Davletkulovna Mustafina, Gulfira Nigamatovna Gareeva, Sono Abdimamatovna Alieva, Rida Marsovna Latypova, and Alina Rinatovna Khairullina. "Ideological and artistic features of Azat Abdullin's dramas." SHS Web of Conferences 164 (2023): 00112. http://dx.doi.org/10.1051/shsconf/202316400112.
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This article provides a comprehensive analysis of the stage works by the Bashkir playwright, publicist, people's writer of the Republic of Bashkortostan Azat Abdullin "Do not forget me, sun!" and "Garden from Nowhere", dedicated to the creation of an artistic portrait of famous personalities of Russian literature and ballet art with tragic fates such as Sergey Chekmarev and Rudolf Nureyev. The study explored ideological-thematic, problematic, genre-style, plot-compositional features of the works, the writer's skill in revealing the inner world and creating psychological portraits of the characters. With the drama "Do not forget me, Sun!" the playwright entered literature in the 1960s. The psychological drama “The Thirteenth Chairman” written in the 1970s made him famous. The author also wrote the continuation of the drama "The Last Patriarch". The dilogy marked the resurrection of the method of critical realism even before the onset of the reform of the 1980s. Over the last decades of the 20th century, Bashkir playwrights created stage works. These plays were highly appreciated by specialists, loved by the audience and awarded high government awards. The play "Bibinur, ah, Bibinur!" by Florida Bulyakova was one of the first to be awarded the State Prize of the Russian Federation (1980). The dramatic trilogy "Validi" by N. Asanbaev about Akhmet-ZakiValidiTogan is a landmark work which became a truly creative discovery in modern Bashkir literature. One more creative achievement of the Bashkir authors was the play by the same AzatAbdullin– the drama “An Otherworldly Garden”
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Nurgali, Kadisha, Aman Zhumsakbayev, Gaini Zhambabayeva, Aiman Zeinulina, and Gauhar Tileuberdi. "Philosophical ideas in drama on the example of women's drama." XLinguae 16, no. 3 (June 2023): 48–56. http://dx.doi.org/10.18355/xl.2023.16.03.05.
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In this article, specific methodological approaches to analyzing drama from a philosophical point of view are formulated. Our research’s principal conceptual basis consists of considering the personalities of the drama characters animated in the text (and especially in the stage action) as primary attractors for readers-viewers (recipients). Drama consideration (in addition to philological, psychological, semiotic, and other aspects) is proposed as a metaphor that leads to a holistic intellectual and spiritual understanding of its social and philosophical meanings in the unity of the personal-conscious, collective unconscious, and socially determined content. In addition, a conceptual system of socio-philosophical analysis of drama as a unity of society’s real microsocial and macrosocial environments, expressed by the images of the virtual world of the dramatic work in society as a whole, is proposed and implemented. The author explains and systematizes the socio-philosophical ideas and the geo-sociocultural aspect of feminism and feminist literature (features of feminism and feminist drama in the Anglo-American reality). In addition, the author contributes to understanding an important aspect of the modern Western mentality. It is shown that women’s drama is one of the most significant genres of expression of the “philosophy of women’s lives” in the socio-cultural dimension and contains relevant social and philosophical ideas related to gender issues. The article considers the application of the modern literary approach of “feminist criticism” in combination with traditional philological and philosophical approaches, which allowed us to offer a more systematic understanding of the phenomenon of “women’s drama” and revealed the links between the ideology and practice of the feminist movement with the peculiarity of expressing the positions of specific subjects in the form of dramatic works.
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Drozdowska, Karolina. "Granice przestrzeni i granice rzeczywistości w dramacie epickim Jensa Bjørneboe – na podstawie "Til lykke med dagen" (1965)." Politeja 16, no. 1(58) (October 31, 2019): 405–22. http://dx.doi.org/10.12797/politeja.16.2019.58.22.
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The Borders of Space and Reality in Jens Bjørneboe’s Epic Drama – Based on "Til lykke med dagen" (1965)
The aim of this paper is to present the concept of Jens Bjørneboe’s version of epic drama. This phenomenon is explained with the help of a “border”‑criterium, showing how the Norwegian author established, defined and crossed borders on many different levels in his dramatic works and their adaptations on stage. Bjørneboe is presented as an author who not only consciously uses the border‑criterium to manipulate space and reality in his play "Til lykke med dagen", but also expands or even crosses borders of theatrical theories and conventions, mainly Bertolt Brecht’s concepts. His “epic plays” are hybrid in their forms, joining different European traditions and expanding beyond what was common and accepted in the peripheral (both geographically and culturally) Norwegian theatre world of the 1960’s. Jens Bjørneboe is presented as an author of transgression, one of the first “to cast off the Ibsenite leg‑irons”.
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Zaveljskaya, Darya A. "Features of Russian fairy-tale drama of the first half of the 19th century: articulation of the issue." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 61 (2021): 151–65. http://dx.doi.org/10.37816/2073-9567-2021-61-151-165.
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The paper deals with the issue of forming of fairy tales artistic model in Russian drama. Currently, one considers dramatic fairy tale mainly in a general context of development of the author's literary fairy tale, although it has its own specifics. The study reviews some questions on the style and genesis of the Russian literary fairy tale for children in relation to the development of author's literary fairy tale as such. The author analyzes the influence of poetics of romanticism on the specifics of dramatic fairy tale, as well as the features of dramatic works by V. F. Odoevsky, who significantly influenced children's literature. His play “The Tsar-Maiden,” intended for children, is considered in comparison with a play by E.-T.-A. Hoffmann “Princess Blandina,” with similarities found in the system of characters, motif of matchmaking and some plot features associated with this motif. The fairy-tale play for adults “Segeliel or Don Quixote of the 19th century” analyzes the motifs of personified confrontation of good and evil and the interpenetration of magic and the ordinary, which was characteristic of romanticism in general and embodied both in other works of Odoyevsky and in later, mainly children's fairy-tale drama. The author suggests the possibility of influence of Odoevsky's plays on the development of children's drama. In both plays, we see the conventionality of artistic reality, resonating with humorous or ironic author's intonation. The paper also addresses I. A. Krylov's magical comic opera “Ilya Bogatyr,” revealing many characteristic features of Odoevsky's plays. At the same time, a distinction is made between Krylov's work and romantic direction, since the tradition of classicism is more clearly manifested in it. One may consider a reduction in pathos owing to humorous playing of heroic and mystical motifs as a feature of the comic opera. The analysis of these works allows us to formulate some characteristics of artistic model of the fairy-tale play, including conventionality of a fictional world, unexpected turns, personification of good and evil, unsteadiness of boundaries between the miracle and the ordinary, as well as humor and irony.
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Timčíková, Zuzana. "Authenticity in Authorial Works of Devised Theatre: Approaches of the Millennials." Amfiteater 9, no. 2021-2 (June 30, 2022): 180–96. http://dx.doi.org/10.51937/amfiteater-2022-1/180-196.
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We can find certain similarities in theatre forms, topics and relationships to drama manifested and used by the artists of the same generation – so-called millennials operating primarily on the independent scene. They are more interested in autobiographical texts than in the original dramatic texts. The author is not represented as one person but as a cooperation of a collective of authors. It is the whole group of creators, the actors or performers included, who create the final shape of the text. It seems that expressing authenticity – in the text and on the stage – becomes the main intention of their approaches to drama. Trivial and everyday matters of life become the subjects of their interpretations. They place in the centre of their attention the human as their self-image or the human as a person they know from close or familiar circles, from media or stories of others. For authors, themselves or their issues and attitude towards life represent the inspiration. Also, they like to speak about themselves and analyse their feelings and perceptions as if defining these in front of the spectators brings them a therapeutic effect and confirms the relevancy of their attitudes towards life. What does such authenticity expressed by the self-projection of artists in their texts and in their performances bring to the audience? Does it raise any deeper awareness and understanding of life for the audience, or does it recycle what we already know?
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Malashenko, L. V. "CONDITIONALLY METAPHORICAL COSTUME AND MAKEUP ON THE MODERN MINSK DRAMA STAGE." Topical Issues of Culture, Art, Education 3, no. 37 (2023): 29–42. http://dx.doi.org/10.32340/2949-2912-2023-3-29-42.
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The article presents an analysis of the development of stylistic features of conditionally etaphorical costumes and make-up in the modern Belarusian theater based on the examples of modern performances of the Minsk drama stage. The images are viewed through the context of the integral perception of the performance. The main trends in the development of the figurative solution of the hero in the realities of the Belarusian theater are considered. The author examines a little-studied topic, where, despite numerous scientific works devoted to the activities of the country's theaters, almost no one has turned to studying problems in the field of the character's scenographic image. The author forms a number of problems in creating images for the Belarusian scene, analyzes the most common techniques of conditionally metaphorical costumes of dramatic productions in Minsk and studies problems in the field of the scenographic image of the character in the visual solution of the performance.
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Morozova, Svetlana N., and Dmitriy N. Zhatkin. "Creative work of Edmund John Millington Synge in literary and critical perception of Korney Chukovsky." Vestnik of Kostroma State University, no. 3 (2019): 101–6. http://dx.doi.org/10.34216/1998-0817-2019-25-3-101-106.
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The article considers the specifics of Korney Chukovsky’s perception of dramatic art of Edmund John Millington Synge (1871–1909), one of the greatest personalities of national revival of Ireland. Synge, who created his works in English, not only revived legends of his nation, but also expanded the idea of the Irish national originality, having offered his own vision of the image of an Irish of his time. Korney Chukovsky is the author of one of the first translations of Synge’s dramatic art into Russian (a comedy "The Playboy of the Western World") and of the introductory article to its publication in 1923. The article "Synge and His "Playboy"" reflects the Russian writer’s understanding of the moral and aesthetic questions of the play. According to Korney Chukovsky, tSynge's complex art method was formed under the influence of the ideas of revival of the national drama theatre. This direction in perception of Synge’s heritage was determinative in Russian literature and, in general, reflected the nature of the attitude of Russian cultural consciousness to the Irish playwright’s creative work.
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Flowers, Betty S. "Virtual and Ideal Readers of Browning's “Pan and Luna”: the Drama in the Dramatic Idyl." Browning Institute Studies 15 (1987): 151–60. http://dx.doi.org/10.1017/s0092472500001917.
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Most of “Pan and Luna” is addressed not to an internal auditor but to what Gerald Prince calls the “virtual reader,” the reader the author imagines himself or herself to be writing to – in the case of “Pan and Luna,” the Victorian reading public. Prince observes:Every author, provided he is writing for someone other than himself, develops his narrative as a function of a certain type of reader whom he bestows with certain qualities, faculties, and inclinations according to his opinion of men in general (or in particular) and according to the obligations he feels should be respected. This virtual reader is different from the real reader: writers frequently have a public they don't deserve. (9)In addition to the distinction between the virtual reader and the real reader, Prince makes a further distinction between the real reader and the ideal reader. From the writer's point of view, “an ideal reader would be one who would understand perfectly and would approve entirely the least of his words, the most subtle of his intentions” (9).
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MAN'KOVSKII, ARKADII. "ROME AND CARTHAGE BY A.V. TIMOFEEV: ON THE PROBLEM OF THE GENESIS OF “HISTORICAL FANTASY” AS A GENRE VARIETY OF RUSSIAN ROMANTIC DRAMA OF THE 19TH CENTURY." Literaturovedcheskii Zhurnal, no. 3 (2021): 142–63. http://dx.doi.org/10.31249/litzhur/2021.53.10.
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The paper explores the genre of scarcely studied play by Russian minor writer Alexei V. Timofeev (1812-1883) Rome and Carthage (1837). Timofeev’s contemporary literary critic Osip Senkovskii treated like poet’s failure his use of romantic techniques in the play on ancient plot. Taking into account this opinion the paper analyzes the paratextual elements in the play, the way of describing characters, the division of the play into acts, the connection of the plot events with historical facts. The paper argues that the play approaches the kind of romantic drama, which the author suggests to call “historical fantasy” Its main feature is the coexisting in the plot mythology and religious tradition, on the one hand, and historical events, on the other, the heroes of historical chronicles and the heroes of folk legends, belief in miracles and rationalism. The goal of historical fantasy is to produce a generalized image of the time, to convey the spirit of the epoch while the dramatic action takes a secondary place. Samples of the genre were given in the works of Alexander A. Shakhovskoi, Alexander I. Gertsen, Apollon N. Maikov. Timofeev’s play was just in the way to this kind of drama.
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Zaitseva, Irina P. "About the Originality of the Manifestation of the Aesthetic Function in Modern Dramatic Discourse." RUDN Journal of Language Studies, Semiotics and Semantics 10, no. 3 (December 15, 2019): 673–86. http://dx.doi.org/10.22363/2313-2299-2019-10-3-673-686.
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The article focuses on one - the key, in the author’s opinion - aspect of the analysis of the modern dramatic work, which allows to demonstrate the peculiarities of the aesthetic function in the works belonging to this literary genus: the consideration of the principles of the organization of the playwright of the compositional and speech zone of the characters. It is this part of the dramaturgic discourse, leading in the content-conceptual plan and prevailing in the spatial relation, that is seen as the most significant for the interpretation of the play as a fact of verbal art with the unconditional consideration of the syncretic character of dramaturgic form. The relevance of this topic is due to the fact that, despite the significant success of modern philology in the study of the specifics of artistic speech, dramatic speech is still the least studied of its sphere. The purpose of research - analysis of dialogical spheres of contemporary plays versus not artistic dialogue and partly as a dialogue in prose, allowing you to set the number of features forming the identity of contemporary dramatic dialogue speech. The material for the observations was the play of the modern author E. Cherlak «Mortgage and Vera, her mother» (2011). In the interpretation of the materials used methods: observation, compositional, contextual and semantic-stylistic analysis. In addition, the conducted observations suggest that the analysis of the manifestations of aesthetic function in the works of drama should be carried out taking into account the textual nature of this compositional and speech sphere, as well as paying special attention to the author’s principles of its system organization, since this approach helps to identify not only the distinctive characteristics of dramatic speech, but also the features of the individual author’s handwriting of the playwright.
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Woźniak-Czech, Ewelina. "Literackie inscenizacje Georges’a Pereca." Przestrzenie Teorii, no. 27 (December 15, 2017): 227–44. http://dx.doi.org/10.14746/pt.2017.27.16.
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The purpose of this sketch to present Georges Perec’s work in the context of drama. As Perec wrote just one play for the theater, it’s hard to call him a dramatist. However, it is easy to see that all the literary tricks he uses in his works are a part of a well-thought-out game. The author of Life a User’s Manual employs and interweaves various literary conventions, prompts dialogue between his own works and draws the reader into the very center of his tricks, nuances and simulations. Perec’s writing could be deemed a pure act of dramatization, where the author himself, to some extent, takes on the role of director, making his audience not so much the recipients of his texts but the actors performing them.
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Лепишева, Елена, and Maciej Pieczyński. "Танец в художественной структуре пьес русских, белорусских и польских драматургов 1990-х – 2010-х годов." Studia Wschodniosłowiańskie 20 (2020): 43–62. http://dx.doi.org/10.15290/sw.2020.20.04.
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In this paper, dance is considered as an element of the artistic structure of dramatic works of Russian, Belarusian and Polish authors of the 1990s–2010s. It was revealed that this element represents the level of the chronotope: it becomes one of its expressive modes (creating an atmosphere due to emotional «charge»), manifests itself as a «non-everyday form of behavior» of a character (J. Faryno), as a «spatial motive» (O. Bagdasaryan) as a sense-forming centre of the artistic universe. A comparative analysis of the plays written by Russian, Belarusian and Polish playwrights of the indicated period showed that in Russian drama the transition occured from the dance – a «spatial motive» to the dance – a semantic center representing author’s model of the world and a Nietzschean man in the terms of a spontaneous, unstable world order. That was caused by the strengthening of the performative and receptive potential of modern drama. At the same time, in the Belarusian drama, due to more strong genetic ties with folklore, the dance for a long time has been manifesting itself as a game form of non-everyday behavior, however, since the mid-1990s it is often introduced as a «spatial motive» representing the extremely deformed consciousness of characters. If it comes to Polish drama, despite the actualization of the dance in the significant for its development works, in the latest plays it rarely functions as a semantic center, because of political and social themes predomination. The authors of this paper made an attempt to clarify the reasons for differents of the dance in the Russian, Belarusian, Polish drama of the 1990s–2010s, based on sociocultural factors, as well as on the logic of the development of the literary proces.
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Uljasz, Adrian. "Inscenizacje oraz adaptacje twórczości Janusza Korczaka w polskim teatrze w latach 1931–2021." UR Journal of Humanities and Social Sciences 22, no. 1 (2022): 153–67. http://dx.doi.org/10.15584/johass.2022.1.7.
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The subject of the article is the history of the theatrical reception of Janusz Korczak's (Henryk Goldszmit) (1878 or 1879–1942) literary works in Polish theatre in 1931–2021, from the premiere of the drama „Senat szaleńców” in 1931 at the Ateneum Theatre in Warsaw to the most recent productions. The author also includes adaptations of three of Korczak's novels for children: „Król Maciuś Pierwszy”, „Król Maciuś na wyspie bezludnej” (first printing – 1923) and „Kajtuś czarodziej” (oldest edition – 1935). The author writes about productions from dramatic and puppet theatres from various Polish cities, as well as about one ballet theatre, evoking staging, radio and television adaptations of Korczak's novels. It highlights the advantages and disadvantages of the parts of the staging, as well as the methods of promoting them. The reasons behind the low interest of theatre artists in the play „The Senat szaleńców” and the fact that they willingly adapt the writer's books for children are discussed. The research material used in the article is mainly sources – press publications, posters and theatrical photos, to a lesser extent memoirs, and in one case a radio recording. Scientific and popularizing studies, useful in the query and cited in the bibliography and footnotes, are publications on the biography of Janusz Korczak and the history of Polish theatre.
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Branger, Jean-Christophe. "A Reading of Massenet’s Esclarmonde by Chabrier: How Should French Composers Respond to Wagnerian Music Drama?" 19th-Century Music 42, no. 2 (2018): 96–122. http://dx.doi.org/10.1525/ncm.2018.42.2.96.
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At the time of the 1889 world premiere of Massenet’s Esclarmonde, Emmanuel Chabrier copiously annotated a copy of the piano-vocal score of this opera, which is considered, despite its unique features, one of the most Wagnerian works of the author. This remarkable and little-known document allows us once again to investigate the challenges of musical creation in a period when all dramatic composers were obliged to position themselves in relation to Wagner, particularly in France where lively debates were taking place between supporters and detractors of the master of Bayreuth. This new source also enriches our knowledge of two composers who, each in his own way, sought to respond to Wagnerian theater, all the while being inspired by it: from Wagner’s example both composers drew subjects based on legends, used reminiscence motifs or enriched their orchestral and harmonic palettes with Wagnerian techniques; but Massenet remained faithful to closed vocal forms, which Chabrier rejected in favor of more continuous composition. Chabrier, however, shows himself captivated by Esclarmonde, for Massenet’s score attests to the desire, very clear in both composers, to avoid blind submission to Wagner’s influence, especially to the point of losing one’s own identity.
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Hardie, Andrew, and Isolde van Dorst. "A survey of grammatical variability in Early Modern English drama." Language and Literature: International Journal of Stylistics 29, no. 3 (August 2020): 275–301. http://dx.doi.org/10.1177/0963947020949440.
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Grammar is one of the levels within the language system at which authorial choices of one mode of expression over others must be examined to characterise in full the style of the author. Such choices must however be assessed in the context of an understanding of the extent of variability that exists generally in the language. This study investigates a set of grammatical features to understand their variability in Early Modern English drama, and the extent to which Shakespeare’s grammatical style is distinct from or similar to that of his contemporaries in so far as these features are concerned. A review of prior works on Shakespeare’s grammar establishes that the quantitatively informed corpus linguistic approach utilised in this study is innovative to this topic. Using two of the grammatically annotated corpora created by the Encyclopedia of Shakespeare’s Language project, one made up of Shakespeare’s plays, one of plays by other playwrights of the period, we present a method which steers a course between the narrow focus of close reading and the naïvely quantitative metrics of authorship analysis. For a set of 15 grammatical features of stylistic interest, we retrieve all instances of each feature in each play via complex corpus search patterns and calculate its relative frequency. These results are then considered, in aggregate and at the text level, to assess the differences across plays, across dramatic genre, and between Shakespeare and the other dramatists, via both statistical summary and visual representation of variability. We find that Shakespeare’s grammatical style tends (especially in comedies and tragedies) to disprefer informationally dense noun phrases relative to the other playwrights; and, moreover, to prefer tense, aspect and pronoun features which suggest a greater degree of narrative focus in his style. Furthermore, we find Shakespeare to be highly distinct in his preferences regarding verb complement subordinate clause types. These findings point the way both to a novel methodology and to further as yet unconsidered questions on the subject of Shakespeare’s grammatical style.
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Cui, Yunyun. "Reception of A.P. Chekhov's play “The Cherry Orchard” in China." Litera, no. 1 (January 2024): 226–36. http://dx.doi.org/10.25136/2409-8698.2024.1.69518.
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Anton Pavlovich Chekhov is a well-known Russian writer and playwright in China. During his life, he created many works that are familiar to the Chinese readers. It is generally recognized that Chekhov's plays open a new page in the history of drama and theater. The Cherry Orchard, Chekhov's last work, is considered one of his most mature dramatic works and today has a debatable character in literary criticism, its interpretations are offered to the audience on the theater stage all over the world, including in China. This article aims to trace the evolution of the reception of the named work in Chinese critical thought, as well as to reflect the history of the productions of The Cherry Orchard in the theater of China. The subject of this work is the reception of the play "The Cherry Orchard" in Chinese literary criticism, the study of the history of its translation and staging in various historical periods in China. The main research methods used are descriptive and historical. The author of the study tries to characterize the main features of the perception of the work and productions of The Cherry Orchard in China, which are determined by the change in the socio-historical conditions of the state. Critical and literary works of Chinese researchers of A.P. Chekhov's work are used as material for analysis. In this regard, the present study seems to be relevant, since the author develops a scientific discussion around the Chekhov work under consideration. The theoretical novelty of the article lies in the fact that the works of Chinese literary critics are introduced into scientific circulation, devoted to the problems of reception of the images of the play, its plot and ideological originality, and analyzes the performances of "The Cherry Orchard" by Chinese directors.
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Banaś-Korniak, Teresa. "O komizmie w dwu staropolskich dramatach sceny popularnej: „Tragedia żebracza nowouczyniona” (1552) oraz „Mięsopust abo Tragicocomaedia” (1622)." Literatura i Kultura Popularna 26 (September 17, 2021): 307–29. http://dx.doi.org/10.19195/0867-7441.26.22.
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The aim of the article is to compare two old-Polish dramas of the so-called “popular scene”, and thus point to the directions of evolution of carnival representations in the former Polish Nobles’ Republic. The first work comes from the mid-sixteenth century and is characterised by a simple story. The second , written in the first half of the seventeenth century, has a vast plot and much more extensive stage directions. By contrasting both the story and the type of heroes and the way of constructing a verbal joke by anonymous authors, the author comes to the conclusion that although both performances meet the convention of old-Polish “tragicomedy”, one can see not only similarities, but also significant differences. In Tragedia żebracza of 1552, the story is based on one plot only (the conflict between beggars and a merchant), while in the text written in the seventeenth century there are many more plots. In both texts, cheerful scenes are intertwined with sad ones (according to the then convention of “tragicomedy”), and the finales of the stories in both works are happy.
The comedy is achieved, both in the sixteenth- and seventeenth- century drama, mainly through contrast and surprise (e.g. contrasting characters with a different mentality, ways of thinking and speaking; the contrast between stereotypical images and authentic images of people, inadequacy of declarations in relation to real people, behaviour of some stage characters incompatible with the viewer’s expectations, an example of which is a lively dance of an allegedly sick and lame beggar, etc.) In both texts we observe a type of humour that fits into the old-Polish concept of so-called “satirical comedy”. This means that some characters are consciously and deliberately degraded by ridiculing and highlighting their negative traits. Thus, comic elements do not serve only a ludic function and are not merely “attached” to the story itself to achieve humorous effects, as Julian Lewański, a researcher of old-Polish drama, wrote many years ago. This is because comedy also serves for didactic purposes.
More recognizable as a “carnival” drama is the seventeenth-century work. It contains, unlike the sixteenth-century work, a lot of allusions to the carnival time and post-New Year’s party (organised after t New Year’s Day). In the extended stage directions of the Baroque text, the author signalled much more stage means to build comic situations than in the sixteenth-century drama, for example, the author’s information on the facial expressions or, close to pantomime, the actors’ clownish movements are significant. This is related to the appearance, the action and the characteristics of the mask-characters. The masquerade is still very poorly outlined in Renaissance tragicomedy (removing rags and putting on beautiful robes by the beggars can be treated as the masquerade). The Baroque text is dominated by stage characters wearing masks. In the seventeenth-century work we can also observe a desire to diversify the action, increasing the number of comedy heroes and verbal jokes. In these jokes there is a play on words, funny associations, paronymity and ambivalence of meanings. In the Baroque drama the number of means and ways of expressing comedy has also increased, e.g. we observe language parodies absent from the sixteenth-century text, unusual concepts and arguments of stage characters based on absurdity. Moreover, the anonymous seventeenth-century author used literary irony in his text (in the “sophist’s” utterance) as a separate means of provoking comedy.
The contrast of those two “carnival” shows originating from two old-Polish literary periods — the Renaissance and the Baroque, is a testimony to the development and transformation of the “tragicomedy” genre.
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Sgibnіeva, S. S. "The role of the person-centered approach in the vocal art of a dramatic actor." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 241–57. http://dx.doi.org/10.34064/khnum1-51.14.
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Background. In recent years, there has been an increasing interest in studying the processes of the development of the creative personality of the drama actor, amongst other things, the modern methods of vocal training, focused on his future activity in nowadays-scenic conditions. Therefore, there is a need to renew the traditional system of the vocal training of drama actors in accordance with the trends of contemporary theatrical art, namely, the introduction of the principles of person-centered pedagogy. Objectives, methodology. The research is an attempt to provide an overview of the principles of person-centered pedagogy in the making of the creative personality of the singing actor. The purpose of the article is to characterize the system of vocal training of the dramatic theater actor and new “technologies” of education aimed at developing the personality of a singing actor, which are based on the principle of person-centered pedagogy. On based of interdisciplinary approach the following methods are used in this paper: empirical (observation, discussion, retrospective analysis of vocal-performing and pedagogical experience of the author) and theoretical (analysis, synthesis, comparison, generalization of theoretical and research data). The results of the study. The history of the development of vocal performing, acting and pedagogy shows that for many years the attempts carried out to determine the principles of vocal education of the actor of the drama theater, implement their testing, introduce into the system of training of acting skills for improvement the process of onstage singing. The contemporary study of this problem requires a comprehensive multidisciplinary approach, extensive contacts of art historians, musicologists, theater critics, vocalists, actors, and teachers. The constant development of theatrical art dictates new methods of educating the actor’s creative personality, including approaches to his vocal training, focused on his future activities on the modern stage. In the making of scenic image, an actor-singer needs to be constantly improved in a personal and professional way. The basis of continuous work on a vocal creative product is a worked out system of reflection regarding a person himself with all psycho-physiological features, and the image, which an actor creates onstage. The basis of the author’s developed program of the complex and personal development of the singing actor is the factor of individual diagnostics. The author of the article offers a method of individual diagnosis of the creative state of the singing actor in the educational process, by which this state can be divided into three psychological and pedagogical zones: the area of the mainstream development; the area of the highest potential development; the area of the nearest self-development. For these parameters and criteria, the author has developed a scheme of a diagnostic characteristic map for each actor’s student, which contains: ● analysis of the peculiarities of the actor’s psyche; ● descriptions of his voice and external data; ● information about language and vocal defects of sound; ● information on the shortcomings of the voice of the actor and ways to overcome them; ● repertoire list of works; ● analysis of the technical part of the actor’s vocal training at the beginning of training and at the end of it; ● analysis of performances on the drama scene. Thus, the introduction of a person-centered approach makes it possible to outline the optimal trajectory of the formation of the creative personality of a singing student-actor. On an optimal path to forming a creative personality of a singing actor student, the main task of the vocal teacher is to ensure his development, taking into account his psychological and physiological abilities, as well as updating of incentives for self-development and self-realization. To solve this problem, first, it is necessary to organize a psychologically rich “counter activity” of a student, taking care of updating and forming his internal personal motivation to developing. This kind of education focuses not so much on the amount of knowledge that is acquired, but on the feelings and experiences that are associated with them, the personal interests and features of the subject of the educational process. In contemporary theatrical and vocal pedagogy, there is a vicious regularity: on the one hand, all (both teachers and students-actors) know about the existence of the above-mentioned issue, discuss it, declare it, and on the other – because of imperfection elaboration of these issues, lack of research and others difficulties, it is simply not taken into account. The author has analyzed the apparatus necessary for the study of the category of the worldview and psychological aspects of education: the structure of the personality of the actor, his socio-biological patterns, needs, motivation, etc. Conclusions. The most important mean of the vocal up-bringing of an drama theater actor as a component of his professional development is a person-centered approach to a student. This approach involves two complementary moments: the true understanding by a teacher of the individuality of a singing actor, his personality traits and features; the presence of a student’s desire for self-development within his abilities to vocal stage activity. In the process of development of the creative person of a singing drama actor, the new technologies of education arise aimed at the vocal-scenic activity in a today theatre, which are based on the principle of person-centered pedagogy. In part, the study of the processes of reflection allowed us to develop the program for complex individual development of a student-actor. Within its framework, the author proposed a diagnostic characteristic map, revealing the features of the singing student-actor’s abilities.
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Volkov, Ivan O. "Ivan Turgenev as the reader of drama “Money” by Edward Bulwer-Lytton (On the materials of Turgenev’s home library)." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 1 (2023): 67–86. http://dx.doi.org/10.35852/2588-0144-2023-1-67-86.
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The article is devoted to Ivan Turgenev’s perception of English literature. The study focuses on the dramatic works of Bulwer-Lytton, which became the Russian writer’s main object of attention in the first half of the 1840s. The research material was taken from the personal library of Ivan Turgenev. His notes (ink marks and nail strikes) left on the separate text of the “Money” play (1841) are analyzed. They allow one to reconstruct a full picture of Turgenev’s perception. Edward Bulwer-Lytton was a real reformer of the English theatre who aimed at loading the melodrama seen on stage with ethical and social issues. Ivan Turgenev interpreted the “Money” play as a “manual” and an important source for a theoretical and practical study of dramatic art. The “Money” text revealed to the Russian author the daily life of the English society, in which a conflict unfolded on the basis of social and moral contradictions. Turgenev was particularly interested in the first two acts of the play. He was moving along the path of assimilation of the main image-symbol (this is confirmed by Turgenev’s notes). The writer refers to moments of the implementation of the money motive as the main one in the life of every member of society and of the society as a whole. He was interested in the figure of Sir John as a representative of the English aristocracy with his own “life philosophy”. In the course of careful reading, Turgenev highlights the idea of how financial solvency replaces personal dignity taking the scene of Statute and Glossmore fighting for a place in the Parliament an example. Turgenev found the fate of Clara and Evelyn particularly important in the world of distorted values. Turgenev paid special attention to the lyrical manifestations in the female character, and to the ironic nature of a male one. Graves, a character who was responsible for the comic component in the play, also aroused Turgenev’s interest.
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Kudina, Ekaterina O. "To the creative history of Yuri Belyaev’s play Psisha." Izvestiya of Saratov University. Philology. Journalism 22, no. 1 (February 21, 2022): 72–77. http://dx.doi.org/10.18500/1817-7115-2022-22-1-72-77.
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The paper examines the creative history of the play Psisha by Yuri Belyaev – a theatre critic, fiction writer and dramatist of the Silver Age. While working on the article cycle A night at “The Opera House” about theatre history of the times of Catherine II, the critic researched historical sources: periodical, fiction, documents of the second half of the 18th – early 19th centuries. There Belyaev must have found the material for his early fictional experience – the historical short story Psisha. Among the characters of the story were a landowner – аn avid theatergoer, and the actors of his serf company. In this story the set of themes is defined, which the writer will develop further in his later works: the court and the serf theatres, the repertoire, the tragic fate of dependent actors. Later Belyaev addressed the theme of the serf theater as a dramatist and his artistic pursuits resulted in the play Psisha. The stage version had a great audience success in Moscow and St. Petersburg in the 1911–1912 theatrical season and was highly appreciated by theater observers in newspapers and journals. Judging by the reviews in the periodical press, the author of Psisha managed to strike the right balance between stylizations that became relevant during this period, the recreation of everyday scenes of the era and a sentimental psychological drama from the life of serf actors. Thus, it was possible to establish that Belyaev’s first works on the history of the Russian theater and his first literary works shaped the main themes and images of one of his most famous dramas.
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Salnikova, E. V. "Laughter and the Comic in the Soviet Film Comedy of the 1960s-1970s." Art & Culture Studies, no. 1 (March 2024): 50–81. http://dx.doi.org/10.51678/2226-0072-2024-1-50-81.
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The author of the article notes the influence of the research of Russian folklorists and cultural historians on the interpretation of the 20th century art and captures the humanitarian trend towards searching for primarily archetypal situations and images in contemporary art, Soviet film comedy included. The article highlights the importance of the concepts by V. Propp and M. Bakhtin for the current perception of works of art and urges us not to limit ourselves to this, but to place new accents — to look for differences between the ancient and modern worldviews, between the impersonal solutions to dramatic situations and characters types, on the one hand, and the author’s aesthetics and individual interpretations of the world and man, on the other hand. Based on the material of the comedy films by L. Gaidai and E. Ryazanov, the fairy tale film An Ordinary Miracle by M. Zakharov, the author shows how far the artistic messages of these directors are from the archaic concepts of laughter and comedy, from the ideas of carnival freedom and harmony, which, however, does not deny the use of satire drama structures, palliata, and paired archetypical characters. This refers to the cultural layering of the images of Shurik, Nina, Saakhov, and the comical trio of the Coward, the Fool and the Pro. In addition, the article analyses the role of the water element in the comedy The Irony of Fate... and gives a detailed interpretation of the non-normative behaviours of Zhenya Lukashin and Ippolit possessing only external signs of carnivality. Conclusions are drawn about the dramatic heuristicity of laughter in the comedy films by Gaidai and Ryazanov, which had adaptive psychological functions and also contributed to the internal self-reflection of the Soviet audience.
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Erofeeva, Natalia E., and Elena V. Kirichuk. "Book review: Smith, E. (2020) This Is Shakespeare. The most erotic comedy, the most dramatic tragedy, men burned by shame, cardboard villains, feminists, show business stars and more (Translated from English by M.G. Sukhotina. Moscow: Mann, Ivanov and Ferber)." Tekst. Kniga. Knigoizdanie, no. 28 (2022): 167–79. http://dx.doi.org/10.17223/23062061/28/11.
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Modern literary criticism offers the reader a whole sphere of Shakespearean studies based on the ideas of historical poetics. In accordance with the latter, we understand the images and problems of dramas, comedies and tragedies of the great English playwright in the key of romantic, symbolist, psychoanalytic, and other interpretations. Emma Smith offers a relevant reading of Shakespeare’s texts, based on theatrical productions and film adaptations of his works in the 20th and 21st centuries. The actualization of the Shakespearean heritage is being implemented in modern theater and cinema as an attempt to bring the complex and diverse content of the writer’s tragedies and comedies closer to mass culture. As a result, there appears the effect of inversion, of a break-off with the deep philosophical problems of the Shakespeare theater. The chapters of the book somehow address the problem of interpretation -contemporary with Shakespeare and with our time. The author’s arsenal includes psychology and psychoanalysis, cultural and sociological approaches, which are combined with the actual philological analysis of plays. However, the book discusses the evolution of themes and genres the least. The works chosen for the analysis are well known to readers and experts. The book includes 20 chapters, each dedicated to one play. We stress that, in the educational process, this structure is very convenient because it draws one’s attention to the work as much as possible and allows determining one’s own perception, consent or disagreement with the author of the book. This feature has been tested in practical work with students in classes on Shakespeare’s works. We analyze all the interpretations of Shakespeare’s tragedies and comedies, both modern and historical, given in Smith’s book. The author of the book is interested, first of all, in topical approaches to understanding the plays of the English playwright, this is dictated by the very aim of the study - to interest the reader and show Shakespeare as our contemporary. The author of the book speaks a modern language with her reader, relying on the experience of attracting both wide readers and experts to reading Shakespeare’s works. Contribution of the authors: the authors contributed equally to this article. The authors declare no conflicts of interests.
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Fedenko, A. Yu. "Musical and dramatic creativity by Olena Pchilka in the development of children musical theater in Ukraine." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 73–92. http://dx.doi.org/10.34064/khnum1-56.05.
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Background. Today in the minds of Ukrainians there is a process of reappraisal of values, which requires new approaches to the cultural education of citizens. At the current stage of the formation of the Ukrainian state, in front of its culture, in particular, children education, important and responsible educational tasks arise for the younger generation to develop a worldview focused on national ideals and traditions, preserved in folk songs, tales, in outstanding literary, musical works and other significant achievements of spiritual culture. That is why there is a need to study the children musical and dramatic heritage of the past – an inexhaustible treasury of cultural and educational ideas that in modern conditions can get their new life. The pearl in this treasury are the children plays by Olena Pchilka. The lack of research that fully and comprehensively covers the scientific and practical significance of children musical plays by the writer for the development of children theater in Ukraine determines the relevance of the chosen topic. Appeal to it seems very timely, given the growing popularity of the children musical genre today both in the world and in Ukrainian musical culture. The process of creative development of this genre is now one of the important problems of a modern professional theater for children. Olena Pchilka’s work has been studied by such scientists as D. Dontsov (1958), I. Denysiuk (1970), N. Kuprata (1998), H. Avrakhov (1999), L. Miroshnichenko (1999, 2014), L. Novakivska (2002), L. Drofan (1992, 2004), O. Mikula (2007, 2011), V. Shkola (2010), A. Zaitseva (2014), I. Shchukina (2015), O. Yablonska (2019) and others. In critical and scientific studies, innovative genre features of the writer’s work are identified, attention is focused on the specifics of his problematic and thematic range, the features of literary and aesthetic, sociopolitical, pedagogical views of the writer. However, there is still no work that would comprehensively reveal our chosen topic. The purpose of the article is to show Olena Pchilka’s contribution to the development of children musical theater in Ukraine on the basis of a study of the children’s musical and dramatic work of the writer. The research methodology is comprehensive. The work uses knowledge from various fields of art and related sciences: the history and theory of theater, the theory of music, music and theater psychology, vocal and theater pedagogy. Analytical method is applied for Olena Pchilka’s musical plays for children’s theater, which are the material of this study. Results of the study. Results of the study. An outstanding Ukrainian writer, translator, editor, teacher Olga Petrovna Dragomanova-Kosach (1849–1930) is known better under the nickname Olena Pchilka. Half of all her works are works for children and youth: poems, translations, tales, stories, plays. Olena Pchilka’s legacy in the field of children theater, in terms of his qualities – an active educational orientation, a benevolent understanding of the child’s inner world and its highly artistic reflection in word and music – is a unique cultural phenomenon. During her lifetime, only three of her twelve plays for children were published. However, every play was put on the school stage. The author herself usually directed performances. The writer’s awareness of musical folklore formed the foundation for the creation of children plays. The author interweaves melodies in the texts of plays (“Melodies for singing”, as Pchilka called it) as an organic component of the child’s very existence, they sound in a dance, game or some imaginary action of children, thereby “feeding” and directing the Grand vector of the stage action. There is the information that Olga Petrovna became the author of some songs. The writer outlined the creative directions of her future children theater: 1) dramatizations of a “suitable” literary work; 2) a children musical play; 3) an original dramatic work with a wide use of poems, fables, folk songs, ritual dances with singing, children games with toys, and the like. “Honor your native...”, “...it is good to know your own folk language, song...” – expressions from Olena Pchilka’s article “Work of upbringing” formulate the dominant of her creativity, pedagogy, social and scientific activities and, to a high degree, her children drama. Olena Pchilka considered the life and work of Taras Shevchenko one of the most influential sources of education of conscious Ukrainians. Therefore, in her children theater, the theme of his life and creativity is a leitmotif (the play “Spring morning of Taras” etc.). Olena Pchilka was convinced that the Ukrainian language, song and native nature are a necessary and irreplaceable environment for a child. Folk art and folk mythology reign in a number of her children plays. In one of them (“Dreamdreamy, or a Fairy tale of a Green Grove” – “Son-Mriya, Kazka Zelenogo Gayu”) we meet a Forest Mouse, a Cuckoo-a girl, a Nightingale-a boy, a Crow-a girl, a Sparrow-a boy, children-Quail, Forest Mermaid, Goblin (Lisovik), Field Mermaid. For this play the author introduced the row of various songs, from the song of field workers to lullaby. The play “Bezyazykiy” (“Without tongue”) touches on the theme of refugees, the psychology of the child, his behavior in the school team, and at the same time the ethical problems of teaching. The play also includes the songs. The operetta “Two Sorceresses” (1919) is the pinnacle of Olena Pchilka’s children drama. The writer repelled from folk melodies and poems; games, ceremonies, festivals; from children’s naturalness, clarity, rainbow imagination, playfulness, organically weaving into the fabric of their works their own verses and melodies to them. The play contains a variety of numbers: solo (“Singing of the Earth”, “Singing of Santa Claus” and others), choral (“Choir of boys and girls”, “Spring-Beauty is coming”, etc.), conversational and vocal scenes (“I’m Winter, Winter”, “Girl, Fish”, “We are the clear rays of the sun”, “Lala, bobo”, etc.). Another title of the work is “Winter and Spring”, so the names of the main characters who oppose each other are placed in the title. The presence of conversational and vocal scenes, folk games and dances, comedy episodes allows us to consider the play as the predecessor of the modern genre of “musical” for children. The festive theme continues in the one-act play “A Christmas tale”. The play traces the process of becoming a person as a person. A large amount of ethnographic musical material has been introduced into the artistic structure of the work. The writer meant the “Christmas fable” as a dramatic action. To “AChristmas Fable” the author has included Ukrainian folk songs: the Christmas Carol “New joy”, a Christmas caroling girls “Oh red, plentiful viburnum”, the dance song “Dance of the groom” (“Kozachok”), the refrain “At the house of Pan Semen” etc. In 1920, in Mogilev-Podolsk, Olga Petrovna Kosach, a teacher of Ukrainian language and literature, organized a children’s drama Studio at the Ivan Franko school, where almost all the plays of her “Ukrainian children theater” were staged: “Peace-Peace!” (Mir-Mirom), “Kiselik” and “Treasure” (“Skarb”). The play “MirMirom!” is based on the games of preschool children: the song “Go, go, rain”, the game for friendship “Peace-Peace!”, the song “My mother gave me a cow” and other. Among Olena Pchilka’s children plays, there are “tales” of Patriotic content. “Treasure” performance in one action, which also include the songs, is teaching for responsibility and patriotism. In her play “Out of captivity”, where the Ukrainian childhood during the October revolution shows, the children sing the choral “liberated singing” – the singing of the Ukrainian anthem. Conclusions. It is concluded that Olena Pchilka contributed to the creation of the foundations for the formation of children musical theater in Ukraine with her creative heritage and practical activities, developing a new literary genre of musical children play, which we can call the genre of musical in modern times. After all, Olena Pchilka’s plays, written in a form accessible to children, are examples of Patriotic and cultural education, full of music, singing, folk and household melodies, folk songs, carols, poems, games, dances, rituals, celebrations. This problem is poorly understood and requires further research.
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Zapevalova, Lyudmila. "Second Piano Concert (B-Dur) by Ludwig van Beethoven: In “Searching” of the Author's Style." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 36–49. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251793.
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The relevance of the study is dictated by the demand for the music of the brightest composer of the period of the classical style — L. Beethoven — in modern performing art and modern musicology, focused on a diverse range of problems: reconstruction of the concept and process of creating works, compositional features and dramaturgy of opuses from different periods of the composer's work, historically accurate performance of it works, psychology of a creative personality, etc. A problem that has lasting significance also falls into the same series — the problem of the composer's individual style, conditioned, on the one hand, by the linguistic laws of the “current” style of the era, and on the other, by the formation of the principles of new musical thinking in its depths. The appeal to the music of L. Beethoven by the author of this study became symptomatic, including in view of the next anniversary of the composer — namely, the 250th anniversary of his birth. The purpose of the research is to identify and substantiate, in the process of analyzing music, one of Beethoven's early works — his Piano Concerto No. 2 (B-dur) — recognizable stylistic “signs” of the composer's individual creative handwriting, thereby arguing and establishing its relationship with the works of the period creative maturity. The scientific novelty of the research is reported by: 1) attraction of the latest musicological research on the issues of classical style in music and creativity of L. Beethoven as a methodological basis for the work; 2) argumentation based on a detailed analysis of the music of L. Beethoven's piano concerto No. 2 of the peculiarities of his musical language, composition and drama; 3) establishing and substantiating the relationship between the work of the early period of the composer's work with his mature musical and dramatic concepts. The research methodology is based on a flexible interaction between the methods of historical (comparative historical method) and theoretical musicology (holistic analysis, analysis of various aspects of the musical language, functional analysis of musical form). The productivity of their combination, as well as their intersection in the category of “style”, determined the scientific significance of the results obtained and indicated one of the possible methodological directions for further study of the composer's creative heritage. The study is undoubtedly of practical value both for teachers of musical theoretical disciplines and for performers. It is another important component of the musical Beethoveniana
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Asoyan, A. A., and A. Yu Asoyan. "Shakespeare & Pushkin." Studies in Theory of Literary Plot and Narratology, no. 1 (2019): 139–45. http://dx.doi.org/10.25205/2410-7883-2019-1-139-145.
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Modern researchers pay attention first of all to the typological connections of Pushkin's works, but it seems to us that the productive method of studying the similarity of English-Russian communications in this context is not associated with specific figurative-thematic or genrethematic calls, not with the commonality of individual motifs and, finally, not with the concepts of the Russian poet’s responses to specific works of the English bard, but with the genetic textand meaning-generating links of the Russian poet’s creativity with Shakespeare’s poetics in nuce. No wonder M. P. Alekseev noted that Shakespeare was for Pushkin “the problem of worldview”. On the other hand, it seems fundamental that E. W. M. Tillard justified the need to introduce the category “picture of the world” in relation to the analysis of Shakespearean dramas, because, as S. Coleridge said, in any particular, the great playwright opened the universal, potentially existing, and opened in the image of homo generalis. In this retrospect, the statement of H. Bloom, the author of the bestseller “Western Canon”, “there is a man before and after Shakespeare” entails another consideration: “there is a man before and after Pushkin”. Both are the creators of the latest drama. A student of M. P. Alekseev, great comparatist Yu. D. Levin thought: “In the history of Russian experme... Pushkin is the Central figure. It was he who carried out the creative processing of Shakespeare’s poetics, which was then mastered by the development of Russian drama.” About the exceptional importance of Pushkin in the arrangement of Shakespeare’s poetics on Russian soil indirectly expressed in his notebooks Pushkin's friend P. A. Vyazemsky: “What threw our dramatic art on the narrow road of the French? – he asked. – Thin Sumarokov tragedy. If he had been an imitator of Shakespeare, we would have perfected his thin imitations of the English, as we have now perfected his pale imitations of the French.” Brilliant poets were led to creative achievements by impartial comprehension of human nature, and on this way they showed the image of man in the fullness of his own historical reality. This was expressed primarily in the independent dignity of poetry, which neither Shakespeare nor Pushkin was able to find support for religious, rhetorical, philosophical or political considerations that were not in its favour. No wonder the context of Pushkin’s creativity, V. S. Nepomnyashchy believes, not literature, not culture, not history even as such, but existence itself in its universal understanding, integral unity. It is noteworthy that, according to G. Bloom, and Shakespeare’s plays give “us the opportunity to join what can be called the primary aesthetic value.” The link between the two poets was the “grandeur of the idea”, the integrity of the artistic consciousness, the ability, as Heraclitus said, “to see everything as one”, and the deep psychological development of an unpredictable human character.
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Dotsenko, Elena G. "Melodramatic Tradition vs Colorblind Casting for Branden Jacobs-Jenkins’ Plays." Literature of the Americas, no. 16 (2024): 190–208. http://dx.doi.org/10.22455/2541-7894-2024-16-190-208.
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The article concerns with the plays An Octoroon and Gloria by contemporary American playwright Branden Jacobs-Jenkins. The dramaturgy of one of the most notable authors, writing for the US theatre at the present time, is thematically varied; besides, it includes both Jacobs-Jenkins’ original works (e.g., Gloria, 2015) and his adaptations of plays by other authors and/or other epochs. Among the adaptations there is the most famous of Jacobs-Jenkins' plays so far — An Octoroon (2014), which is the author's treatment of 19th century melodrama The Octoroon (1859) by Anglo-Irish dramatist Dion Boucicault. Working with the play of the 19th century, which reveals the problems of slavery in a simplified, melodramatic form, allows the contemporary playwright to actualize the consideration of racial conflicts and to reconstruct/deconstruct the generic model of melodrama. The author of the article draws attention to the reception of the minstrel tradition in the play An Octoroon, both at the level of interaction of D. Boucicault's work with American minstrel show coinciding with it in time, and in connection with the comprehension and overcoming of the “minstrel archetypes” by B. Jacobs-Jenkins. The question of casting is very important to Jacobs-Jenkins, the playwright puts forward his requirements for ethnic conformity between actors and roles in his plays, and this brings together An Octoroon and Gloria, though the works are diverse in genre and subject matter. The cultural context for the works of the American playwright is, first of all, the drama and theater of the United States throughout their development. For further studies it also seems interesting to consider B. Jacobs-Jenkins’ plays in connection with folklore traditions or, e.g., in the context of sacred genres.
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Urazymbetov, D. D., and A. V. Tsoy. "THE ROLE OF PLASTIC SYMBOLS IN A DRAMATIC PERFORMANCE (TO THE EXPERIENCE OF COMPARATIVE ANALYSIS)." BULLETIN 5, no. 387 (October 15, 2020): 301–11. http://dx.doi.org/10.32014/2020.2518-1467.173.
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In modern drama theater directing, there is a tendency to translate literary or verbal idioms into the language of the stage. In the space of the scene, every day, familiar expressions are recreated in the literal sense, and are read in the figurative sense. Drama theater directors strive to give symbolic meanings to the associative characteristics of certain events and situations. The theater has long used plastic and/or dance in its arsenal of artistic means to symbolize artistic images. Symbolists of stage art affirm the search for inner meanings in expression and attempts to make super reality visible. The desire of dramatic art to form a new stage language, which is based on the reorganization of the action, character, time and space, and the speech component of the play, becomes natural. The appeal of directors to the plastic nature of the actor, as one of the bright means of artistic expression in the structure of a dramatic performance, is supported by the nature of the multi-valued artistic and figurative specificity of the choreographic art’s language, which is a set of visual signs. Such visual and acoustic forms of stage action make it possible to trace the process of transformation of visible objects in the mind of the viewer before their projection into the subconscious. A symbol expressed in plastic language and focused on identifying internal emotional processes that are usually summarized in a dramatic performance by a word can be called the main typological characteristic of the interweaving of plastic and dance in the canvas of stage action. The modern theater considers the role of semantic physical activity, plastics and dance fundamental in the formation of the language of symbols. The authors offer an attempt to comprehend and compare the works of "Othello" by the Lithuanian director E. Nyakroshus and "Block" by the Kazakh director D. Zhumabayeva, where the role of plastic symbols in the formation of a special semantic performance’s structure is revealed through the prism of multi-episode, open play and physical actors action. The expressive symbol’s language of the analyzed performances of each director has its own characteristics and way of expression. The active appeal to the principles of performance organization and plastic symbolization of artistic images remains common for all. The completeness and autonomy of each individual scene together make the multi-episode performance, where there is no causal relationship between such independent acts. Involving the viewer in the situation of an open game used in the works of the mentioned directors allows the viewer to see the material in an unexpected angle, to engage in a situation of meaningful activity, in which the motive is not the result, but the gameplay itself. Specific physical actions of actors aimed at their direct application, without any additional subtext or intent, allow the actor to live these feelings in performances as their own, without any artificial addition. This all shows the similarity of directing techniques of Lithuanian and Kazakh theater figures. Along with acting, metaphors and symbols in plastic embodiment act as a constructive and semantic means in the context of the dramatic canvas. Appealing to the viewer's subconscious through plastic symbols, which play a huge role in creating the performance, contributes to the generation of complex associations, it appeals to the feelings of the viewer.
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Warońska, Joanna. "Is It Really a “Mothers’ Hell”? On Motherhood in the Dramas of Maria Pawlikowska-Jasnorzewska." Prace Literaturoznawcze, no. 8 (December 1, 2020): 127–43. http://dx.doi.org/10.31648/10.31648/pl.4570.
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The author draws attention to the complexity of motherhood as one of the themes depicted in the dramatic works of Wojciech Kossak’s older daughter. Considered a moderate feminist in the interwar period, Pawlikowska-Jasnorzewska is aware of the fact that having children has become a public matter. It is in the interest of the family, the species and society in general. For this reason, legal regulations are likely to create oppressive situations in which women’s interests and rights are dismissed. In Pawlikowska-Jasnorzewska’s plays, the topic of motherhood appears in a variety of circumstances, and the news about pregnancy often transforms into a touchstone situation, sparking a debate on the rights and obligations of an individual towards the human species and their family. Abortion is one of the possible solutions. Yet, while criticising the system of norms and imperatives evolved around the instinct of having children, the playwright focuses on the positive images of motherhood. Good mothers are happy, while bad mothers are condemned. Therefore, while granting the heroines of her plays the right to love and personal fulfilment, Pawlikowska-Jasnorzewska remains a traditionalist when it comes to obligations towards a conceived child.
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Pukan, Miron. "Umelecké modelovanie fenoménu staroby v tvorbe slovenských autorov Milo Urban, Július Barč-Ivan, Karol Horák." Slavica Wratislaviensia 163 (March 17, 2017): 643–53. http://dx.doi.org/10.19195/0137-1150.163.54.
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Artistic patterns of old age expression in the works by Slovak authors Milo Urban, Július Barč-Ivan,Karol HorákThe cultural and social phenomenon of old age as an object of artistic literature from middle ages till contemporary period has been interpreted mostly ambivalently as asource of the wisdom as well as the weakness, experience and psychic degradation, the loss of authority and suffering. Within the various poetic methods realizing in the world and European literary production including Slovak literature, the rich reflections and different artistic patterns of an old age expression can be found. To manifest various forms of this cultural and social phenomenon in the literature three works from different social and historical periods representing various development stages of the Slovak literature will be analysed — the novella Staroba “Old Age” from the collection Výkriky bez ozveny “Yells without Echoing”, 1928 written by the prosaic writer and journalist Milo Urban, the tragedy Matka “Mother” written by prosaic and drama writer Július Barč-Ivan, and the play Cesta “Journey” written by prosaic and drama writer, literary and theatre scientist, university professor Karol Horák. The given texts prosaic one and two dramatic ones are integrated by common milieu with identical archetypal value — the world of Slovak village which is often described in the works by Slovak authors.Whereas the protagonist of the first work is an old village man tossing up between passionate desire to live and the awareness of the death inevitability, in the second and third work the key role is played by older women fulfilling their role of mothers. In Barč´s drama the mistaken fatalistic faith in predetermination of human fates leads towards the religious negativism and becomes the source of evil criminal act. As opposed to Barč´s play Matka the protagonist of Horák´s play Cesta, Kata Pohlodková, believes in the better future on the basis of Christian philosophy. The author stratifies his narration to produce the inward portrayal of aman in the extreme life situation on the background of historical events. Taking into consideration the miscellaneous aspects of this phenomenon, the research of this topic in the literary works is still open provoking the questions like — In which way is life represented in the literature through this phenomenon? Is this phenomenon presented stereotypically or are the generally valid stereotypes overcome? What is the influence of this phenomenon on aman and his/her attitude towards life transience? It can be generally accepted that the phenomenon of old age intervenes into human life and modifies it in abig way.Artystyczne ujęcie zjawiska starości w twórczości wybranych autorów słowackich Milo Urban, Július Barč-Ivan, Karol HorákSpołeczno-kulturowy fenomen starości w literaturze artystycznej od średniowiecza aż po współczesność interpretowany jest ambiwaletnie: z jednej strony jako źródło mądrości i doświadczenia, z drugiej zaś jako czas słabości, degradacji psychicznej, utraty autorytetu oraz cierpienia. W literaturze światowej, europejskiej, więc również, co oczywiste, w kontekście słowackim, stosunkowo często spotykamy się z refleksją na temat ostatniej fazy życia człowieka i z jej różnorodnym artystycznym opracowaniem. Za ilustrację możliwych literackich ujęć owego zjawiska posłużyły nam trzy dzieła autorów piszących po słowacku: nowela Staroba Starość ze zbioru Výkriky bez ozveny 1928; Okrzyki bez echa prozaika, tłumacza i dziennikarza Mila Urbana, tragedia Matka 1943 prozaika i dramatopisarza Júliusa Barča-Ivana oraz sztuka Cesta 1988; Droga dramatopisarza, prozaika, teatrologa i literaturoznawcy — profesora Karola Horáka. Wybrane utwory jeden prozatorski, dwa dramatyczne łączy pewien element archetypiczny — topos wsi słowackiej, skądinąd silnie obecny w rodzimej literaturze.Głównym bohaterem tekstu prozatorskiego jest uwięziony między pragnieniem życia a świadomością nieuniknionej śmierci mężczyzna, natomiast w przypadku dramatów kluczową rolę odgrywają starsze kobiety — matki. W dramacie Júliusa Barča-Ivana ślepe przekonanie o nieodwracalności ludzkiego losu prowadzi do zaprzeczenia religii i— w ostateczności — do zbrodni. Inaczej jest u Karola Horáka. Protagonistka sztuki Cesta Kata Pohlodková zgodnie z duchem filozofii chrześcijańskiej wierzy w lepszą przyszłość. Swoją opowieść autor wzbogaca, na tle wydarzeń historycznych pokazując introspektywę bohatera, który znalazł się w tragicznej sytuacji życiowej.Należy pamiętać o tym, że szeroki horyzont omawianego zjawiska, również dzięki jego wieloaspektowości, nie ogranicza pola badawczego, lecz wręcz przeciwnie — prowokuje do dalszych odkryć oraz prób odpowiedzi na liczne pytania. Bardzo interesująca wydaje się na przykład kwestia rzutowania starości na wizerunek życia w literaturze pięknej. Czy przedstawianie starości podlega powszechnie przyjętemu stereotypowi, czy mu się opiera, przełamuje go? Jaki wpływ ma starość na człowieka i świadomość przemijania? I tak dalej. Z pewnością jednak można stwierdzić, że omawiane przez nas zjawisko determinuje człowieka, określając i formując jego los.
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Ushakova, Olga M. "Alexander Blok’s Motifs in T. S. Eliot’s ‘The Waste Land’." Вестник Пермского университета. Российская и зарубежная филология 14, no. 4 (2022): 115–25. http://dx.doi.org/10.17072/2073-6681-2022-4-115-125.
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One of the notable trends in contemporary T. S. Eliot studies is the comparative study of Eliot’s works from various perspectives (influence, interaction, typology, contexts, etc.). The methodological principles of this research are determined by the orientation of comparative studies toward the typological study of literary phenomena. The paper deals with the parallels between two most important poetic texts of the 20th century: The Twelve by A. A. Blok (1918) and The Waste Land by T. S. Eliot (1922). The texts under study belong to the same cultural period and are united by similar artistic principles and vision of the world. The purpose of this paper is to reveal the points of intersection of two poetic universes in one research space. Both poets were the witnesses of colossal civilization collapses: the Great War and the Russian Revolution. Both poets had a ‘sense of history’, which made it possible for them to foresee and depict the Decline of Europe in poetic form, to convey the ‘noise of time’ in all its polyphony of meanings and rhythms. The authors of both poems went similar aesthetic trajectories, which can be designated as the way ‘from symbolism to modernism’. Both Blok and Eliot were poets-playwrights, creators of their own theories of poetic drama, hence the dramatic plot and many colorful characters in The Twelve and The Waste Land. In their post-war poems, both poets created the language of the modern city, using its rhythms, experimented with poetic form. The paper reveals and analyzes a number of similar motifs in The Twelve and The Waste Land: an apocalyptic vision of modernity, West and East, Eros and Thanatos.
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Kastleman, Rebecca. "Synecdoche's Obloquy: Beckett and the Performance of Indecency." Journal of Beckett Studies 29, no. 2 (September 2020): 179–95. http://dx.doi.org/10.3366/jobs.2020.0310.
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In Beckett's Ireland, the practice of censorship was bound up with the workings of literary genre. The fact that printed matter was subject to censorship, while theatre was not, meant that the censor played a role in maintaining the distinction between dramatic and nondramatic writing. Many Irish authors responded to these conditions by remediating censored narratives as theatre. Beckett adopted an alternative strategy, rejecting the legal premises of Irish censorship and crafting his literary style around a critique of the censor's reading practices. Beckett's responses to the Irish censor track his turn from the novel to the drama. Across genres, Beckett's writing in English was shaped by the climate of post-publication censorship in Ireland, the effects of which are legible even in works that were never banned. Beckett's rejoinder to the censor was articulated using terms set out by the Irish Free State's Committee on Evil Literature, which held that censors could prohibit a text based on one ‘indecent’ passage, rather than evaluating that excerpt in the context of the work as a whole. For Beckett, the literary trope of synecdoche—that is, the rhetorical substitution of a part for the whole—became associated with the censor's mode of reading. Beckett harnesses the trope of synecdoche to impugn Irish censorship practices, a pattern evident from the direct address to the censor in Murphy to the dramaturgical evocation of self-censorship in Not I. The use of synecdoche illuminates Beckett's reckoning with his cultural inheritance as an Irish writer and indexes his shift towards a cosmopolitan literary identity.
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Gerdova, T. S. "Theater Art in Oleksandrivsk (Zaporizhzhya): end of the 19th – beginning of the 20th сenturies." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 228–45. http://dx.doi.org/10.34064/khnum1-57.14.
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Introduction. Theoretical background. The territorial formation and economic development of Оlexandrivsk and the district is associated with the activation of social, including artistic, life all aspects in the Russian Empire. The creative potential of small towns, including Olexandrivsk, has become a fertile ground for the development of the principles and means of theatrical and stage creativity. Theater, as the most democratic form of art, is directly connected with changes in public life. The theater significant social role and insufficient knowledge on it in the Olexandrivsk conditions and its district determined the relevance of the research topic. The researches by S. Voitkovsky (2014), G. Dadamyan (1987), M. Yevreinov (2019) constitute the scientific and theoretical basis of the work. The study of theatrical art in the Oleksandrivsk (Zaporizhzhya) region is based on the works of O. Antonenko (2017), S. Grushkina (2011), T. Martynyuk (2003). The aim of the research is to study the theater art in Olexandrivsk and the district of the same name as an integral phenomenon of a certain time. The tasks of the work are determine the origins of the theater art in the region, coverage of the features of this phenomenon, identification of theater companies’ organizational forms, study of the theater groups’ repertoire and genre priorities, consideration of theater art professionalization issues in the region. The methodology involves the application of the basic dialectic principles (to reveal the internal contradictions of the research subject and the sources of its development); historical principle (to study the theater’ development as a process of changes in existence’ some forms); comparative method (to identify the theater art characteristics in the region); source study method (to create an archival and historical base for studying the problem); axiological approach (to identify of the theater artistic troupes’ value orientations in the region). Results of the research. Historical materials contain a few facts about the theatrical entertainment of the local population long before the foundation of Olexandrivsk. Similar to the more inhabited neighboring regions, in these territories the existence of a folk theater is likely, the roots of which M. Yevreinov sees in magical actions, rituals and buffoonery. The researcher considers the theater of Russia, the roots of which are in the theatrical art of Europe, to be a counterbalance to folk theater. At the state level, these traditions have been inculcated since the 17th century. This process in the region began from the time of Olexandrivsk foundation. There are two most stable groups of theater collectives in the theater environment of the region. Domestic and foreign drama and opera troupes, which were guided by the Western European theater traditions, are made up the first group. Ukrainian artists’ association and local amateur drama circles that further developed the traditions of folk theater consisted the second group. They united by the idea of national dramatic art. The factors of theater collective’ differentiation in this region are the form of organization of theater business, repertoire and genre priorities, issues of professionalization. The sole proprietorship form is characteristic for the Western European tradition collectives. In Olexandrivsk and the district, the private enterprise was the dominant form, as the most active organization type of theater business. This type of enterprise does not have the conventions of imperial, state, municipal and other theaters in terms of repertoire and personnel relations. This provided it with freedom, mobility and ingenuity. The organizational form of the partnership is characteristic for the troupes oriented towards the traditions of folk theater. Democracy of this form manifested itself in collective decisionmaking. The next factor in differentiating theater groups is repertoire and genre priorities. The Western European tradition troupes gave preference to the works of Western European and Russian authors. Ukrainian authors’ works, Ukrainian song and dance folklore dominated in the repertoire of Ukrainian associations, which continued the traditions of folk theater. These groups preferred works of a pronounced national orientation. The repertoire differences between the two groups reflected to the methods and skills of acting. It is necessary to master Italian vocal technique, classic instrumental technique, conducting symphonic skills in the Western European tradition troupes. In Ukrainian troupes’ music and dramatic performances, universal training actor is needed, equally skillful in stage speech, the folk dance, the style of folk singing. The theater groups’ genre preferences repertoire related to an orientation towards the original artistic traditions. The Western European tradition’ collectives repertoire abounded in dramas, operas, operettas and the romances, arias, opera scenes in the concert departments. The Ukrainian folk-theater tradition repertoire dominated by music and drama plays, simple Ukrainian opera and Ukrainian folk songs, romances by domestic composers in concert departments. In Olexandrivsk and the district, questions of theater art’ professionalization were not publicly raised widely. Some striving for the performances artistic level increase we can saw in the practice of inviting famous artists for touring performances. Thanks to this, acting skills, methods of working on the role and the performance as a whole enriched. Invitations to participation in the performance of famous performers of the folk-theatrical tradition to Ukrainian troupes were episodic. An indicative fact of development was the director’s position emergence in the Western European tradition troupes. Conclusions. The peculiarity of theater art in the Olexandrivsk region is the absence of a local professional theater, represented, on the one hand, by the work of guest domestic and foreign troupes, on the other – by Ukrainian artistic societies and local amateur associations. The dominant groups of groups embodied two types of theater: Western European tradition and folk tradition. These types of theater functioned in various organizational forms. Dramatic and operatic corpses of the European tradition were characterized by a form of individual private enterprise; Ukrainian groups that developed the traditions of folk theater – a form of acting society. Theater troupes of these two traditions distinguished by their repertoire priorities. The core of the repertoire of the Western European tradition groups was the Russian and Western European authors’ works. The groups, which developed the folk theater, staged mainly plays by Ukrainian and local authors. The vector of theatrical art development in the Olexandrivsk and region is not clear enough at the historical period under consideration. An organized and purposeful movement towards the theater art professionalization in the region of this historical period is not visible. Certain facts of attracting famous artists and interaction with other groups as well as the emergence of the directed theater can be considered as elements of а professionalization.
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Jurak, Mirko. "William Shakespeare and Slovene dramatists (II) : J. Jurčič, F. Levstik, I. Cankar, O. Župančič, B. Kreft : (the makers of myths)." Acta Neophilologica 43, no. 1-2 (December 31, 2010): 3–48. http://dx.doi.org/10.4312/an.43.1-2.3-48.
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purpose of this study is to explore the influence of William Shakespeare on Slovene playwrights in the period between 1876, which marks the appearance of Jurčič - Levstik's Tugomer, and the 1930s, when Oton Župančič published his tragedy Veronika Deseniška (Veronika of Desenice, 1924) and, a few years later, Bratko Kreft his history, Celjski grofje (The Counts of Celje, 1932). Together with Cankar's works all of the plays discussed in this study deal with one of the well-known Slovene myths. In the previous number of Acta Neophilologica I published my study on the first Slovene tragedy Miss Jenny Love, which was published in Augsburg in 1780.1 The Romantic period, which followed this publication, was in Slovenia and elsewhere in Europe mainly characterized by the appearance of poetry, with a few exceptions of plays which were primarily intended for reading and not for the stage (Closet Drama). Let me mention here that in the Romantic period some of the finest Slovene poetry was written by France Prešeren (1800-1849), and although some of his friends suggested he should also attempt to write a play, his closest achievement to drama was his epic poem Krst pri Savici (Baptism at the Savica River, 1836), which is also often considered by literary historians as a predecessor of later Slovene dramatic literature. Although many Slovene authors who wrote their works in the nineteenth century knew Shakespeare's plays, they still found it easier to express themselves in prose. The first Slovene novel is Josip Jurčič's Deseti brat (The Tenth Brother), which was published in 1866, ten years earlier than his play Tugomer (Tugomer). However,Jurčičʹs tragedy Tugomer was artistically very much improved by the adaptation made by Fran Levstik, whose text has been since considered as the ʺtrueʺ version of this play. Further editions and adaptations of this play definitely prove that several Slovene authors have found the subject-matter of this play worthy of new interpretations. By the end of the nineteenth century the list of Slovene translators of Shakespeareʹs plays (most of them chose only some acts or scenes) was quite long. But it was only in 1899, when Ivan Cankarʹs translation of Hamlet appeared on stage of the Slovene National Theatre in Ljubljana, that a real master of the Slovene language approached one of Shakespeare's plays. Cankar became enthusiastic about Shakespeare's work and this is best seen also in Shakespeare's influence on three plays written by Cankar: Kralj na Betajnovi (The King of Betajnova, 1901), Pohujšanje v dolini Šentflorjanski (Scandal in the Valley of Saint Florian, 1907) and Lepa Vida (Beautiful Vida, 1911). The same kind of "enchantment" caught Oton Župančič, a Slovene poet, translator and dramatist, who had translated by 1924, when his Veronika Deseniška (Veronika of Desenice) appeared, several plays written by Shakespeare. A large number of echoes of Shakespeare's plays can be found in Župančič's play, not to mention the Bard's influence on Župančič's verse and style. Such influence can also be traced in Kreft's play. Many Slovene literary historians and critics mention in their studies Shakespeare's influence on Slovene dramatists but their reports are mainly seminal and rather generalizing. Therefore the purpose of this study is to provide a deeper analytical insight into this topic.
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Poliakova, Yu Yu. "Researches of Kharkiv’s Theater Culture of the 19th and the first half of the 20th cc.: Problems of Historiography." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 142–63. http://dx.doi.org/10.34064/khnum1-51.08.
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Background. Recently, specialists in drama studies have displayed growing interest to the problems of historiography concerning theaters. One of its most urgent tasks is to reveal just how much the scientific approach is applied to creating a historical paper. This goes hand in glove with studies into sociopolitical and scientific worldview of authors of the researches, the sources used, the interpretation of facts as well as the style of material’s presentation. Objectives, methods and materials of the research. The purpose of this study is to outline the circle of the most important sources, which contain the data on the history of theater in Kharkiv; to characterize their authors; to define the degree of their mastering of accessible information while writing books and articles on various periods in the development of theater culture in this city in the 19th c.; to establish the main challenges to researchers they have to face under modern conditions. In this study, the author has chosen to apply the traditional cultural-historic method of research. It generally consists of collecting primary information on a certain phenomenon or a prominent figure, working it out, finding its correlation with appropriate historic events, and then making an attempt to substantiate the meaning and importance of the phenomenon / figure studied, in the context of the development of arts in the region. The article based on memoirs, archive materials, periodic publications (containing articles on the activities of theater companies, theatrical managers, actors etc.) and literature on the history of drama as well as general publications, which include items on the theater life in the city. Due to the lack of an entire elaborated bibliographic system, researchers have to engage themselves in painstaking browsing through the entire corpus of periodicals. In Kharkiv, the main sources of relevant information are such periodicals as the “Ukrainskiy vestnik” magazine (1816–1819) and some newspapers: “Kharkovskie gubernskie vedomosti” (1838–1915), “Yuzhnyy kray” (1880–1919), “Utro” (1906–1916), Kharkov (1877–1880), Kharkovskiy listok (1898–1905) and more. Results. The former newspaper “Kharkovskie gubernskie vedomosti” published, in 1841, the essay “Theater in Kharkov” by dramatist and a prominent public figure Hryhoriy Kvitka-Osnov’yanenko (1778–1843), who described the very first period in the history of theater in Kharkiv (1780–1816). In the 1870s, the “Kharkovskie gubernskie vedomosti” started to publish regularly analytical and summarizing articles, which were an attempt at creating theater’s history of a certain period. There was, for one, an article “The Kharkov Drama Theater in Recent Ten Years” by Ivan Ustinov, published in 1877 and dedicated to the 10th anniversary of the Diukovs’ private theater company. I. Ustinov not only gave a brief analysis of the theater’s repertoire between 1867 and 1877, but also included biographies and short characteristics of the actors, which were playing then on Kharkiv stage. Ustinov also is famous as the compiler of the bibliographic index “The Books on Kharkov Governorate” (1886), with certain information on the history of theater in this city. In the 1880s, Konstantin Schelkov, a graduate of the Kharkiv University’s Law School, wrote his articles on the theater in the “Kharkovskie gubernskie vedomosti”. The newspaper published, among others, his article “Materials for the History of Theater in Kharkiv” (1881), in which he described the activities of the theater’s management headed by N. D. Alferaki in 1845–1848. In the early 1880s, another big newspaper, the “Yuzhnyy kray”, was started. Its columnist Nikolay Chernyaev took a great interest in the history of theater in Kharkiv. Mr. Chernyaev’s works include a systematic review of theater culture in Kharkiv from Catherine II epoch until 1843 as well as a number of essays on the development of theater in Kharkiv up to 1880. The author collected wide documentary material dedicated to specific periods of history as well as to certain artistic figures. Chernyaev studied many various sources: dailies and magazines, published in the capital cities and in provinces, many collections of documents, memoirs and so on. Chernyaev’s works proved to be useful to historians D. I. Bagalei and D. P. Miller who covered the history of theater in their famous book “The History of the City of Kharkov during 250 Years of its Existence.” In the first half of the 20th c., there were no integral and systematic researches on the history of the city of the previous century, so the monograph “The Beginnings of the Theater in Kharkov” by Arkadiy Pletniov, published in 1960, one can consider as summarizing. The author based much of his study on the works of N. I. Chernyaev. He also widely used the materials resting in the A. A. Bakhrushin Museum of Theater, Moscow, and in many archives. In his monograph, Dr. Pletniov did not limit himself with listing the events of theatrical life, but thoroughly analyzed the activities of the Board of Trustees and such managers as I. Shtein and L. Mlotkovskiy. In several supplements, one can find lists of main roles played on Kharkiv stage by its prominent actors (N. Rybakov, L. Mlotkovskiy, K. Solenik). Pletniov’s work, enriched by references and commentaries, played an important part in creating the complex picture of Kharkov’s theatrical life. Due to abundance of the facts and clear style, Dr. Pletniov’s book stays up to now a valuable source on the subject. Conclusions. The analysis of historiography concerning the theater in Kharkiv of the 19th and early 20th cc. enables the author to come to conclusion that the main challenges a modern researcher has to face are as follows: the absence of system in bibliographic manuals; lacunas in the funds of periodicals of most libraries; the absence of important documents in archives. Theater life in Kharkiv has been studied far from satisfactory level yet. The following problems of history especially need thorough research work from historical point of view: theater critique; drama art; architecture of theater buildings in Kharkiv; amateur theater companies; charity for theaters; and some other points. The task of modern researchers, as we see it, lies in gradual filling the gaps mentioned above.
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Liu, Jian. "Musical dramaturgy of the Broadway musical on the example of “Aida” by Elton John and “Next to normal” by Tom Kitt." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 392–410. http://dx.doi.org/10.34064/khnum2-19.23.
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Introduction. The Broadway musical is one of the distinctive phenomena of American musical theater and show business. The performances gather numerous audiences and gives producers a crazy profit, displacing all other musical and theatrical genres. Turning to the musical, composers and librettists demonstrate two main approaches: creating an original plot and music (“Next to normal” by T. Kitt) or working with “ready-made” plots, the source of which are the cinema (“Pretty Woman” by B. Adams, 2019; “The Lion King” by E. John, 2019) and less often – the academic opera (“Aida” by E.John, 2000). Of course, the second approach is primarily commercial – the desire for originality is inferior to the desire to take advantage of the popularity of another product, which avoids the risk of losing audience and profits, however, both directions strive to use a certain compositional and dramaturgical patterns, which allow to avoid “breaking up” with the public. Theoretical background. In the musicological research of recent years devoted to the musical, the tendency to move away from its “classical” stage and expand the range of musical material becomes indicative, although the priority is still to cover the works of A. Lloyd Webber (A. Sakharovа, 2008; O. Andryushchenko, 2020), O. Rybnikov (Bobrova, 2011). Broadway musical of the XXI century as an independent topic of scientific research appears in the article by O. Prazdnova (2016), however, the author mainly evaluates it in terms of subject matter and popularity. Both selected works remain almost unexplained in musicological works – “Next to normal” by T. Kitt is mentioned by O. Andrushchenko (2020: 28) as a noteworthy interesting work by the composer of the “new generation”; “Aida” by E. John is mentioned by O. Prazdnova (2016: 246) as an example that the musical “still does not lose its connection with other genres”. Coverage of the musical and dramatic features of the two samples of Broadway musical represented by “Next to normal” and “Aida”, contrasting in genre subtypes, allows us to reveal the features of its genre specificity at the present stage, to compare the composer findings in the field of musical drama and evolve a certain genre invariant. The relevance of such a study in academic musicology is undoubted, given the relatively low degree of knowledge about the samples of this genre. The objectives of the article are to identify the musical-dramatic and compositional features of the musicals “Next to normal” by T. Kitt and “Aida” by E. John, their comparison and definition of key principles that are common and divergent for selected works. In accordance with the set goal, the structural method of researching was used, to identify the components of the composer’s text and their role in the dramaturgy of the whole, and comparative, which allows to match selected works in the parameters, selected for analysis. Results of reseaching. A comparison of two musicals that were staged on Broadway – “Aida” by E. John (2000) and “Next to normal” by T. Kitt (2008) proves the presence of some invariant features in composition and musical dramaturgy. First, it is a two-act structure with a different workload. In the first part of the play, as a rule, all the key events take place, conflicts arise, and in the second, the tension weakens. Secondly, it is the principle of alternation of conversational inserts and vocal-instrumental scenes. In an effort to avoid the stamp, T. Kitt often introduces the principle of unfolding parallel plans, and such dialogues serve as a counterpoint to other musical events. The third important principle is thematic arches or so-called reprises, which are mainly concentrated in the second act of the play. By using them, the composer has the opportunity to show how the character’s mood has changed (E. John), his perception of the situation, or completion of unfinished earlier action, conflict in the form of an emotional outburst (T. Kitt, № 28) or finding understanding (№ 35). There are almost no detailed orchestral and dance scenes in both musicals – there are laconic overtures (in which the material can change from production to production) and short instrumental ”links” between scenes, which serve to the continuation of the material of the previous scene. In addition, in “Aida”, such scenes turn into an area to seek for archaic Egyptian atmosphere. Solo and ensemble scenes are composed differently by the authors. E. John’s musical demonstrates domination of statics (the action stops) and a typical couplet form, which is fully compensated by the expressiveness of the melodic material. T. Kitt strives to dynamism of the composition and, depending on the situation, he can use different formative principles (rondality, three-part form, contrastcomposite form). Solo scenes are inlaid with dialogic or duet inserts, ensembles are transformed into detailed multi-figure scenes, which are saturated with development. Composers interpret the reprise principle (arches) differently – in E. John’s play a way of performance changes, sometimes the text and almost never the musical component, while T. Kitt subtly rethinks each thematic repetition, depending on the changes of the character, that contributes to the psychologization of the drama action and enhances the sense of development. E. John’s certain indifference to the diversity of form is compensated by the brightness of the melodic material of musical scenes, each of which is actually a pop hit. Combined with conversational dialogues, not devoid of everyday humor, which makes the characters of the ancient world “closer to the people”, he is guaranteed to have undoubted success with audience. The zone of the greatest differences between the two musicals is the instrumentation of the score – coloristic and exotic in “Aida” (an author of the instrumental arrangement is S. Margoshes) – and “plot-like”, relating to dramatic situation – in T. Kitt’s musical, where, using the principle of leit-timbre (througttimbre) and leit-thema (through-thema), he reveals the interaction between the phantom world (the Gabe’s ghost) and reality. Conclusions. All of the above gives us the right to say with confidence that the Broadway musical of the XXI century opens for composers both: opportunities to rely on a typical structure and demonstrate skill within a fairly narrow range of musical expressive means, and ways to diversify it through new dramaturgical discoveries and techniques that emerge at the crossroads of academic and nonacademic music, which makes it an interesting subject for further study.
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Makliuk, D. M. "Specificity of embodiment of Shevchenko’s image in Lev Colodub’s opera “Poet”." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 40–57. http://dx.doi.org/10.34064/khnum2-18.03.
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Formulation of the problem, analysis of the publications on the topic. The opera by Lev Kolodub “Poet” is one of the recognized examples of modern “Shevchenkian music” and the outstanding achievement of the composer. From the very premiere at the Kharkiv Opera and Ballet Theater named after M. Lysenko (2001) to this day, this work has been preserved in the theater’s repertoire, and the 2011 Kharkiv performance has become a world event: in the recording of Ukrainian Radio, it was broadcast to 78 countries of the world by the European Broadcasting Union. L. Kolodub’s creativity attracts considerable attention of researchers and was covered in various sources, including monographic essays (Zahaikevych, M., 1973), scientific, encyclopedic, journalistic articles (Bielik Zolotariova, N., 2009; Sulim, R., 2010; Paukov, S., 2007), where the opera “Poet” is mentioned in different contexts. The reviews of premiere performances of this opera were given: in scenic version at Kharkiv (Velychko, Yu., 2002) and in philharmonic variant in Kyiv (Sikorska, I., 2004); in his interviews, the composer also recalled this work. Nevertheless, the holistic analysis of the concept of the opera and the image of its leading hero, as well as its vocal-stage interpretation by the Kharkiv Opera’s artistic collective, has not been carried out yet. The objective of this article is to formulate the concept of the stage embodiment of the Poet’s image in the opera of the same name by L. Kolodub, on the basis of its interpretation at the Kharkiv National Opera and Ballet Theatre and self-own scenic experience of the author of these words, which is currently the only performer of the protagonist’s part. Summary of the main material. The composer has many times emphasized the outstanding importance of Taras Shevchenko’s work for every Ukrainian. “I consider Shevchenko to be a personality who has arisen on the basis of Ukrainian folklore. She is understandable to everyone, everyone cares - this is a very social poet. Many perceive him naturally, since the problems of his works excite and affect people. Shevchenko is incredibly interesting! I constantly re-read him and every time I find a new one. The main thing is that he himself suffered, all this is transmitted in his poetry. At the same time, he is a very big optimist, a warm-hearted person” (from the interview, as cited by Koskin, V., 2008b). The composer noted that the scenic life of his opera was not easy: at first the work arose interest both in Dnipropetrovsk and Kyiv (Children’s Music Theater on Podol, National Opera Theater). In 1988, when the opera was created, S. Turchak, who was supposed to be the conductor, suddenly passed away, and the new management of National Opera deleted it from their plans. Nevertheless, the opera was staged at Kyiv in the philharmonic performance in the arrangement for soloists, choir and brass band (2004). In I. Sikorska’s (2004) opinion, the composer “broke the stereotypes”, having redrafted the score in such a way that the brass orchestra’s timbre palette rivals the symphonic one. The opera is written on the basis of drama “Path” by O. Biletskyi and Z. Sagalov. The librettists’ idea was that the events of poet’s life intervene with the plot collisions of his works. For example, execution of Jun Hus symbolically coincides with the moment of death of Shevchenko himself. Moreover, the poet’s image is identified with heroes of his works. So, Colodub’s opera is the authors’ interpretation of Shevchenko-Kobzar’s fate from the XX century human’s point of view. Therefore, both, phantasmagoria and cinematographic methods are justified. The composer thought that “modern opera requires novel forms of delivering the material. The art of cinema and drama theater are developing fast, and opera esthetics is sort of frozen in the 19th century, she is not seeing even the heels of the far-ahead walking dramaturgy of the modern theater” (from the interview, Koskin, V., 2008a). The principle of introspection became the main dramaturgical principle of opera libretto’s construction. Avoiding the symphonic introduction, the first scene instantly transfers the viewer to the last March night of the Poet’s life. Being on the edge of eternity, the heavily ill Shevchenko is diving in memories. The Poet in the opera acts simultaneously as the event’s participant and its commenter, revealing gradually through different scenic roles: as a naïve creative person (scene 10), as a poet-citizen, who points out social injustices (scenes 3, 4, 15, 16), as a loving and beloved person (scenes 6, 7, 14, 20), or a thinker (scenes 11, 13, 1, 22). Over time, these roles are summing up, turning Shevchenko’s image into polyphonic and lifting the latter to the epic generalization. The image of the Poet become the symbol of the nation’s self-consciousness lost in the conditions of imperial Russia’s brutal reality (scene 29, “The burning of Jan Hus” – the Czech thinker is the hero of the Shevchenko’s poem of the same name). The opera’s authors do not separate the title hero from the storm of events and kaleidoscope of others scenic personages, which stipulates the specificity of vocal dramaturgy of Shevchenko’s opera character. The Poet’s vocal party does not include the developed solo or duet episodes, but it consists of concise replicas-phrases written by the recitative (Dargomyzhsky-Mussorgsky’s tradition) and several solo statements of arioso type. Conclusions. So, “Poet” by L. Kolodub, continuing the line of psychological opera-drama, vividly presented in the twentieth century by the works of D. Shostakovich, A. Berg, B. Britten and their followers, at the same time appeals to symbolism as to one of the main means of artistic expression. The image of Taras Shevchenko is interpreted as polysemantic: the fate of the Poet coincides in the perception of the audience with the fate of the Ukrainian people in their desire for liberty in a situation of opposition to the autocratic regime. And the freedom of expression of poetic and civic thought appears as a conscious necessity in the struggle for personal freedom, honor and human dignity. The logical culmination of the development of the image is the final scene of the auto-da-fé, where the burning of Jan Hus, the hero of Shevchenko’s poem, acts as a symbol of cruelty to the Poet himself, and to the people, of whose part he is. The musical language of the Poet’s vocal party, on the one hand, is quite naturally approaches to the style of Ukrainian kobzars folk lyrics; on the other hand, it inherits the recitative type of melodicism, which is a characteristic feature of psychological musical theater. Such a synthesis helps to reveal the image of the Poet as the outstanding representative and spiritual leader of the Ukrainian people, and, at the same time, to emphasize the rich content of his work, and the beauty of the inspirited poetic Word. Theopera provides rich artistic material for the study of innovative type of dramatic thinking in the context of the development of the national tradition of the genre and is promising for further study.
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Namazova, F. "CHARACTERISTICS OF DRAMA GENRE AND DRAMA LANGUAGE." BULLETIN Series of Philological Sciences 75, no. 1 (April 12, 2021): 77–82. http://dx.doi.org/10.51889/2021-1.1728-7804.13.
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Addressing the specific problems of dramatic creativity, we must first determine the basic meaning of the term "drama". As we know, the word "drama" has different meanings. We also call a certain range of real events, for example, the drama of life, one of the genres of the dramatic type of literature (the noble drama of the eighteenth century) and the dramatic theater, which is the leading type of performing arts. Dramatic works are fundamentally different from other genres. As early as the 19th century, the great thinker MFAkhundov distinguished the genre of drama he brought to our literature from other genres in terms of language and style. Both in his article "Fihristi-kitab" and in his "critique" of Mirza Malkum khan's plays, he clearly showed the "conditions of dramatic art".
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NAUMENKO, TATIANA I., and ANASTASIA A. MOLOZYA. "NAMELESS STAR: EDISON DENISOV’S MUSIC IN THE DISCOURSES OF AN UNORDINARY STORY." ART AND SCIENCE OF TELEVISION 17, no. 2 (2021): 121–47. http://dx.doi.org/10.30628/1994-9529-2021-17.2-121-147.
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The article addresses the 1978 film Nameless Star (directed by Mikhail Kozakov, music by Edison Denisov) as one of the few examples of on-screen art in which music not only supports the story, but comes to the fore, becoming one of its characters. Naturally enough, in this article, Nameless Star is considered through the lens of its musical concept. The focus is on some of the composer’s individual features that characterize his film music. Among the main ones is Denisov’s fundamental idea about integrating music into a single canvas of a film work, which directly affects its figurative and stylistic characteristics and poetics in general. In this vein, the author analyzes various interpretations of the plot (or, rather, plotlines—the encounters of the main characters, the discovery of a new star, etc.), which have significant divergences in the texts of different authors and direct participants in the filming process; the main semantic points highlighted in the film by keywords (“station”, “diesel-electric locomotive”, etc.); and, finally, the film’s sound and musical design shaping a single line of storytelling. The special role of sound elements (train noise, station bell, etc.) accompanying the narration and endowing it with special thoroughness and authenticity is revealed. It is noted that the dramatic center of the film is an impromptu performance of the Symphony composed by one of the main characters—Mr. Udrea, music teacher. The significance of this artwork in the context of the narration is extremely high: decisive plot turns are associated with the Symphony; it combines intonations and leitmotifs that determine the overall emotional tone of the film. Edison Denisov manages to reproduce Udrea’s intention to the finest detail, creating a nuanced intonation-thematic profile of the Symphony, thanks to, among other things, skillful timbre-rhythmic differentiation. Over and above, he structures musical drama in such a way that during performance of the Symphony, the semantic dominants of the film, embodied in the system of its main sound images, get actualized (theme of the city, Mona’s theme, etc.). In a sense, the music here goes beyond being a mere soundtrack: it becomes an integral part of the plot, penetrating into the words of the heroes (recurring mentioning of the English horn or the story about the structure of the Symphony). Largely thanks to the music, which brings new implications to the film, the romantic comedy appears as a complex, multiplanar work, revealing an unordinary facet in the creative gift of one of the most convinced avant-garde composers of the 20th century.
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Demchenko, Aleksandr. "Unique opera score by Mark Karminskyі." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 44–64. http://dx.doi.org/10.34064/khnum2-19.03.
Full textAbstract:
The main goal of this publication is to draw the attention of musicologists and the general music community to the rich creative heritage of Mark Karminskyi, whose 90th anniversary is celebrated in 2020. One of the milestone works of the talented composer was the opera “Ten Days That Shook the World” (1970). Staged at one time by several theaters in the former USSR and abroad, it was later practically forgotten. The author of this article is the first to deeply analyze Karminskyi’s score, coming to the conclusion that the composer has an innovative understanding of the very nature of the opera genre, and that this and other works of a great master should be analyzed and evaluated outside any ideological context. The research results. The uniqueness of Karminskyi’s opera “Ten Days That Shook the World” (1970) consists primarily in the fact that the maximum concentration of conflict-dramatic tension was achieved here. This concentration is due to a well-executed libretto (V. Dubrovskyi), which was also quite unique for its time. The fact is that the whole text is based on fragments from the book by John Reed, manifestos, leaflets, telegrams of 1917, speeches and letters by Lenin, as well as epitaphs of the field of Mars. During the free assemblage of the selected material, a completely independent literary canvas was formed. Based on specific documents, the authors sought to identify and emphasize the exciting dramatic pathos of the historical moment being recreated. That is why the libretto includes the most compressed, elastic in rhythm, explosive in meaning phrases, replicas, individual words. The final design of the selected texts went along the line of additional dynamization, strengthening of their “shock” impact. Total documentation and open journalistic verbal canvas led to a completely innovative interpretation of the genre. Here the principles of the grand historical opera were revived, but they were revived in a kind of transcendental version, which needs of gigantic artistic forces. Based on such a performing foundation, an attempt is made to recreate the colossal scale of revolutionary events. The leading musical image is conceived as a symbol of the inevitable course of History, a kind of pendulum of the revolution (in the performance of the Prague national theatre, the pendulum has become an important attribute of scenography). In various intonation and tempo variations, it permeates the opera as a whole in the full sense of the word, preserving unconditional recognition (primarily due to the constant rhythm and jerky articulation). This motif is one of the expressions of the “motor” of the revolution, for the materialization of which imitations of the active knocking of various mechanisms are used, all kinds of toccate formulas are reproduced. With the introduction of the noted motor layer, the atmosphere of sound documentary, so characteristic of this opera, is established. Another major musical reality of the revolutionary era is associated with all kinds of signaling – communicative, notifying, summoning, imperative. The composer does not seek to disguise the nature of this semantic layer and often emphasizes it using in its most elementary quality. The third component of the documentary – sound element is all sorts of orchestral tremoli (mainly in the lower register). In terms of meaning, their amplitude extends from describing the “subsoil” of what is happening (dull rumbling, unclear noise) to recreating the pictures of the raging flow of Time (violent seething, catastrophic bubbling). In any of its manifestations, with the introduction of this tool, different degrees of tension are poured into the sound wave. Defining for the dramaturgy of the opera “leitmotif of struggle” absorbs and transmits in the most generalized forms the characteristic for the documentaryjournalistic style of this work oratorical declamation, invocatory signaling and energy tremolo including the conflict tone of the main dissonance (here – the small second). In the marked lays of documentary-sound atmosphere, as a rule, the main energy of conflict is concentrated. Constant intonation-rhythmic and texture-dynamic injections of this energy give the dramatic movement a special purposefulness of the incessant “tidal” wobble. In turn, these forces themselves are subordinated to the determining regularity of compositional development: the increase in the activity of the life search, transmitted in procedural forms (on the basis of recitation), ends with the acquisition of the resulting state (on support of a bright melodic relief). Naturally, the highest degree of conflict is achieved in those scenes where there is a direct clash of the forces of revolution and counterrevolution. In music there is an extremely colorful, tense documentary-sound environment in which the clash of views, opinions, and positions is unfolding. The full magnitude of the social conflict is revealed in a kind of freeze-frames, where the initiative goes to the orchestra and the “oratorio” choir. In such cases, the narrative rises above the local soil, the musical and journalistic document acquires the comprehensive fullness of the epic canvas about the national movement, and the specific scenic and event series fits into the monumental frame of the oratorical frescoes. This generalizing plan, which at first seems to be accompanying, framing, in fact turns out to be leading in terms of volume and its centralizing role. In “Ten Days” not only the powerful offensive and dramatic potential of the revolutionary movement is recreated, but also its deep soil, the decisive component, is revealed by artistic means: it gained a powerful force and became truly ineradicable due to the support of the masses. This idea permeates the entire ideological structure of the work, since many oratorical episodes represent the personification of the voice of the people. As a result of the analysis of the opera “Ten Days that Shook the World”, we note the following. – The score in a concentrated manner expresses the current tendencies of large-scale opera drama, in particular, the revival of the genre of large historical opera based on the material of the revolutionary era, the defining features of which are realized in forms sustained in modern style. – The music embodies an exceptional conflict-dramatic tension and high civic pathos, which fully corresponds to the ideas about the character of that time.
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Nakhlik, Yevhen. "WHAT IT IS NOT CUSTOMARY TO TALK ABOUT, BUT WHAT IVAN FRANKO AND GABRIELA ZAPOLSKA WROTE ABOUT (SCANDALOUS NOVELS «DLA OGNISKA DOMOWEGO» AND «O CZYM SIĘ NIE MÓWI»)." Polish Studies of Kyiv, no. 38 (2022): 201–40. http://dx.doi.org/10.17721/psk.2022.38.201-240.
Full textAbstract:
For the first time, a comparative analysis of the novels «Dla og- niska domowego» (in Polish, 1892) by Ukrainian writer Ivan Franko and «O czym się nie mówi» (1909) by Polish writer Gabriela Zapolska was carried out. These works are quite close not only in terms of themes and problems, but also in terms of ideological and artistic approach, interpretation, plot development, plot moves, characters and individual details. In both novels, the action takes place in the heterogeneous ethnic environment of Lviv – mostly Polish, partly Jewish, Austrian and Ukrainian. The «Lviv text» in both works is in many ways similar and at the same time different. The comparative analysis in the article includes other works by Franko (in Ukrainian): the early unfinished poem «Сяся» (the first two chapters and the beginning of the third were written in 1882), the prose dramatic miniature «Чи вдуріла? Сцена» (1904), the story «Між добрими людьми» (1890). Franko in the story «Між добрими людьми», and Zapolska in the story «O czym się nie mówi», revealing the inner world of prostitutes, emphasize their fatalistic perception of their own fate. In the center of Franko’s story «Dla ogniska domowego» is the sociology and anthropology of women’s welfare of the «home» through the organization of illegal prostitution, and at the same time – the dual (ostensible and hidden) attitude of men to the sexual trade. At the center of Zapolska’s story is the sociology and anthropology of prostitution itself: the drama and tragedy of the social position of a legalized prostitute and her mental torment, as well as the dual attitude of men towards prostitutes (using their services and disdain for them), similar to Franko’s story. Franko developed the work as a socio-psychological story and at the same time as a crime story. The genre of social and psychological novel clearly dominates in Zapolska’s work, and only at the end do elements of a criminal novel appear. The driving spring of the plot development in both stories is the leitmotif of faith (trust) and deception. In both works, the woman hides her actions from her husband, deceives him, and he, at first naively trusting, and then filled with suspicions and doubts, tries to find out the truth about her. It is the man in both stories who is the leading character, while the woman or girl is the cause of problems. The coincidences in both works are striking: the scheme of characters, es- pecially the main couple (husband – wife, boyfriend – girlfriend), one leading and other secondary subjects of (de)disguise, the only main character-object, at whom the masks of other characters are directed, conversations-confrontations between a man and a woman, the growing sense of horror in both of them (in the man – before the unexpected discovery of the shocking truth about the woman, and the woman – before exposing her and bringing her to criminal responsibiliity), the stunning disclosure of the secret, the mental torment experienced by the main pair of characters, and, finally, the partial rehabilitation of the lost woman against the background of moral condemnation of «respectable» men and the author’s accusations of hypocritical society of male chauvinism. These coincidences may be caused by Zapolska’s acquaintance with Franko’s story based on the Ukrainian auto-translation published in Lviv in 1897, or on the manuscript of the Polish text, or on the German translation of the Polish text published in 1898 in the supplement to the Berlin Social Democratic newspaper «Vorwärts» (Unterhaltungsblatt der «Vorwärts») under the title «Am häuslichen Herd. Roman von Iwan Franko». Or they can be caused by the typology of independent from each other writer’s thinking, subject to moral, ethical and aesthetic trends of the time. The authors created the stories at about the same time (with a difference of only 16 years) and probably depended in their ideological and artistic searches on similar social circumstances and events in Lviv related to prostitution, and on the poetry of the same literary sources (for example, the drama by H. Ibsen «A Doll’s House» or «Nora»).
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Shchukina, Yu P. "Features of Volodymyr Morskoy’s theatrе criticism (1920–1940 years)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 70–83. http://dx.doi.org/10.34064/khnum1-51.03.
Full textAbstract:
Background. Today, analyzing the Ukrainian theatrical movement of the first half of XX century, we can’t bypass V. Morskoy’s critical legacy. Volodimir Saveliyovich Morskoy (the real name – Vulf Mordkovich) is one of the providing Ukrainian theatrical and film critics of the first half of the XX century. He left us his always argumentative, but sometimes contradictious evaluations of dramatic art masters: the directors of Kharkiv Ukrainian drama theatre “Berezil” (from 1935 it named after T. Shevchenko) L. Kurbas, B. Tyagno, L. Dubovik, Yu. Bortnik, V. Inkizhinov, M. Krushelnitsky, M. Osherovsky; the producers of Kharkiv Russian drama theatre named after A. Pushkin – O. Kramov, V. Aristov, V. Nelli-Vlad and many others. Due to the critic’s persecution by the repressive machine of USSR, his evaluations of theatrical process were not quoted in soviet time researches. They still were not entered to the professional usage, were not published and commented in the whole capacity. Methods and novelty of the research. The research methodology joints the historical, typological, comparative, textual, biographical methods. The first researcher, who made up incomplete description of the bibliography of dramatic criticism by V. Morskoy, became Kharkiv’s bibliographer Tetyana Bakhmet. She gave maximally full list of critic articles (more than eighty positions) for the 1924, 1926–1929, 1937, 1948–1949 years. Kharkiv’s theater scientist Ya. Partola [16] in the first encyclopedic edition, that contains the article about V. Morskiy, gave the description of the only publication by critic known for today, in Moscow newspaper “Izvestiya”. Forty six critical articles, half of which didn’t note in bibliographies of both scientists, were collected and analyzed in periodical funds of Kharkiv V. Korolenko Central Scientific Library by the author of this article. Objectives. V. Morskoy was writing the reviews about the new films; the programs of popular and philharmonic performers; was researching the musical theater. This article has the purpose to characterize the features of V. Morskoy’ critical reviews on the dramatic theater performances. Results. It was managed to find out the articles by V. Morskoy hidden for the cryptonym “Vl. M.”, which dedicated to the performances of the “Berezil” theater of the second half of 1920th: “Jacquery”, “Yoot”, “Sedi“. The critic wrote about the setting “Jacquery ” by director V. Tyahno : “Berezil in setting of ‘Jacquery’ emphases it’s ideology, approaching ‘Jacquery’ to nowadays viewer” [2]. Perceiving critically some objective features of avant-garde stylistic, such as cinema techniques, V. Morskoy remarks: “The pictures are discrete, too short, some of them are lasting for 2–3 minutes, they made cinematographically” [2]. In the same time, the young critic already demonstrates the feeling and flair to the understanding of acting art. So, he accurately pointed out the first magnitude actors from the “Berezil” ensemble: A. Buchma, Yo. Ghirnyak, M. Krushelnitsky, B. Balaban [2]. V. Morskoy connected his view to “Jacquery” with the tendency of the second half of the 1920th: “For recently the left theaters became notably more right, and the right one – more left”[2], that reveals his theatrical experience. His contemporaries due to the author’s sense of humor easily recognized the style of V. Morsky’s reviews. Critical irony passes through the his essay about the setting by director V. Sukhodolskiy “Ustim Karmelyuk” in the Working Youth Theatre: “Focusing attention to Karmelyuk, V. Sukhodolskiy left the peoples in shade. Often they keep silence – and not in the Pushkin sense “[14]. Despite on the “alive” style, one of the features of V. Morskoy journalism was adherence to principles. His human courage deserves a high evaluation. In 1940, after the three years after the exile of Les Kurbas, the leader director of “Berezil” Theater, to Solovki, the critic published in the professional magazine the creative portrait of this disgraced director’s wife – the actress Valentina Chistyakova [15]. V. Morskoy arguments on the relationship between the modern works and the tradition of prominent predecessors has always been ably dissolved in an analysis of a performance. Each time V. Morskoy was paying attention to the distinctions of principals of playwriting, stage direction and even creative schools, in the second half of 1930th – 1940th, when the words “stage direction”, “currents”, in condition of predomination the so-called “social realism” method, in the soviet newspapers practically were not mentioning. For example, the critic saw of realistically-psychological directions in the O. Kramov’s performance “Year 1919”[9]. In 1940, V. Morskoy made a review of the performance of the then Zaporizhhya theater named after M. Zankovetska “In the steppes of Ukraine”, insisting on the continuity of the comedies of O. Korniychuk in relation to the works of Gogol and others of playwrights-coryphaeuses: “The play of O. Korniychuk is characterized by profound national form...” [7]. However, in the fact that in the Soviet Union at that time reigned as the doctrine the methodology of the “socialist realism”, the tragedy of honest criticism comprised. In controversy with the critic O. Harkivianin, V. Morskoy expressed the credo about the ethics and fighting qualities of the reviewer: “Apparently, Ol. Kharkivianin belongs to the category of peoples, who see the task of critic in order to give only the positive assessments. The vulgar sociological approach to the phenomena of art could be remaining the personal mistake of Ol. Kharkivianin. But when he presents him as the most important argument, everyone becomes uncomfortable”[8]. In 1949, the political regime fabricated the case of a “bourgeois cosmopolitan” against the honest theatrical critic and accused him in betraying of public interests adjudged V. Morskoy to untimed death at a concentration camp (Ivdellag, 1952). However, the time arbitrated this long discussion in favor of V. Morskoy. Conclusions. For the objective analysis of theater life of the city and the country as a whole, it is imperative to draw from the historical facts contained in the reviews of V. Morskoy, and the methodology of the review while investigating studies of theatrical art and theatrical thought of 1920–1940th. Thus, the gathering of the full kit of the critical observations of the famous Kharkov theater expert of the first half of the XX century is the important task for further researchers.
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Pei, YongTing. "Paired female images in the art of opera: before posing the question." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 65, no. 65 (December 9, 2022): 153–69. http://dx.doi.org/10.34064/khnum1-65.09.
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Statement of the problem. Paired female images in opera form their own little universe in which they develop and compare. The problem of paired female images in opera art has not yet been sufficiently studied, although it deserves the attention of both musicologists and performers. The relevance of the proposed topic is due to the lack of research specifically devoted to paired female images in opera. It is proposed to consider the female images in the opera «Lohengrin» by R. Wagner in order to identify distinctive features in their musical language and determine the nature of their interaction. Analysis of recent research and publications. Among the modern scientific investigations devoted to the creative personality of R. Wagner are the works of B. Kotyuk (2013), S. Oliynyk (2018), O. Kobzar (2013), L. Gavrylchyk (2015), O. Shapoval (2019), O. Kobzar (2010), I. Yagodzynska (2012). Researchers pay attention to symbolism and mytho-poetic tendencies in the composer’s opera work. Of special interest for our topic are scientific developments devoted to the study of the opera «Lohengrin». In particular, the study of the musical dramaturgy of the work is contained in the article by O. Roschenko (2019). The study of female images in opera is presented in scientific articles by V. Antoniuk (2012), C. Wang (2012), C. Iven (2018). Main objective of the study. The purpose of the study is to determine the nature of the interaction of two female characters – Elsa and Ortrude – in the opera «Lohengrin» by R. Wagner. The scientific novelty. The novelty of the research lies in the fact that for the first time: 1) the relationship of paired female images is investigated as a musicological problem; 2) the semantic elements of the musical language and dramaturgical features of the formation of paired female images are singled out using the example of the opera «Lohengrin» by R. Wagner. Methodology. The following research methods are used: systemic, structuralfunctional, comparative, intonation analysis method. Results. R. Wagner’s opera «Lohengrin» features two female characters – Elsa and Ortrud. Each of them has its own line of development, but at the same time, at the level of the dramatic whole, they form a certain unity. These female images are defined thanks to the dramatic action, the plot; are characterized by intonation-melodic composition, expressive features of rhythm, tempo, mode and harmony. With the help of paired female images, the composer reveals his attitude to the behaviour of people in different circumstances and tries to evoke the same feeling in the listener. For the conditional association of two such characters, the author of the work proposed the term «paired images». A characteristic feature is that, on the one hand, they are built in opposition, and on the other hand, they are closely interconnected. These images are perceived through their ambivalence, contrast and, at the same time, through complementarity. The contrast between the images of Elsa and Ortrud is obvious – it is manifested in the contrast of mental purity, sincerity and cruelty and treachery. The common thing is that both characters, through different female archetypes, reveal the essence of a single multifaceted female nature from different angles. Conclusions. The contrast of the heroines is reflected by the composer at the level of musical language. Elsa, in general, is characterized by cantilena melodies, measured tempos, tessitura and dynamic balance, the predominance of the major scale, i.e. enlightened lyrics prevail. Ortrud, on the contrary, is characterized by melodies of a recitative nature, full of drama, with sharp accents, wide jumps, tessitura and dynamic contrasts, relying on unstable harmonies. During the dramaturgical development, these two spheres penetrate into each other. Thus, in the process of compositional development, two female characters contrast and, at the same time, interact with each other, and at the level of musical embodiment, they are presented as a single dramatic line.