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Journal articles on the topic 'Ukrainian dramatic theater'

Author: Grafiati

Published: 28 May 2022

Last updated: 31 July 2025

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1

Bondareva, O. "MARIUPOL DRAMA: COMMEMORATIVE PRACTICES, TESTIMONY, IDENTITY, THEATRICAL CODE." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu Serìâ Fìlologìâ 16, no. 28 (2023): 32–57. http://dx.doi.org/10.34079/2226-3055-2023-16-28-32-57.

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The article examines the dramatic work "Mariupol Drama", created by Transcarpathian playwright Oleksandr Gavrosh based on interviews with actors Igor Kitrysh, Olena Bila, Dmytro Murantsev, Vira Lebedynska, who survived the bombing of the theater building in Mariupol and are now reviving the Ukrainian Mariupol Theater in Uzhhorod. It was found that the play was not intended to be performed on the stages of other theaters by other professional actors, so it is not printed and is not included in open electronic anthologies of modern dramatic works about the war. This is one of the first attempts

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2

Gotsalyuk, Alla. "TRADITIONS AND INNOVATIONS AS DETERMINING FACTORS IN THE DEVELOPMENT OF UKRAINIAN THEATRICAL ART." Spatial development, no. 7 (February 23, 2024): 612–24. http://dx.doi.org/10.32347/2786-7269.2024.7.612-624.

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This article analyzes the trends in the use of the most important means of artistic expression in theatrical art and cinema, marked by the influence of evolutionary changes in modern cultural life and the emergence of new genre modalities in today's staging decisions, related to the ideological reorientation of social consciousness and the formation of innovative artistic features in the modern theater. The compositional portrait of modern theater highlights the possibilities of dramatic genre modeling, modern technologies and their transformational processes, which are interrelated with the d

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3

Olga, Volosatykh. "Folklore in Mykhailo Starytsky’s plays as a ground for the formation of Ukrainian music and drama theater." Aspects of Historical Musicology 26, no. 26 (2022): 7–21. http://dx.doi.org/10.34064/khnum2-26.01.

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Statement of the problem. The study and preservation of folk traditions played an important role for the Ukrainian society in the process of forming national consciousness in the second half of the XIX century. It was from that time that the theater movement, whose soul M. Starytsky was, became active, and ethnography significantly influenced both the artist’s theatrical activity and the development of the Ukrainian music and drama theater in general. The article examines ethnographic elements in M. Starytsky’s plays with the purpose to find out the role of folklore in his work as a factor tha

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4

Demidko, O. "THEATER’S OF THE NADAZOVYA REGION DURING THE SECOND WORLD WAR." Bulletin of Mariupol State University Series Philosophy culture studies sociology 13, no. 26 (2023): 12–20. http://dx.doi.org/10.34079/2226-2830-2023-13-26-12-20.

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The article highlights the peculiarities of the theaters of Nadazov during the Second World War. The path of actors who became direct participants in military operations is outlined. The influence of the Mariupol Society «Prosvita» on the development of theatrical art in the region is analyzed. The repertoire, creative searches of the director and the cast during the Nazi occupation are covered. In particular, the activity of the Mariupol Music and Drama Theater named after T. Shevchenko. The repertoire of theaters, which consisted mainly of Ukrainian plays, the activities of the children's pu

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5

Pohutsa, Natalia. "The Stage Image of the Ukrainian Woman as a Reflection of the Status of Women at the Turn of the 20th Century." Bulletin of KNUKiM. Series in Arts, no. 37 (December 10, 2017): 81–88. https://doi.org/10.31866/2410-1176.37.2017.155615.

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The purpose of the article is to study the sociocultural reasons that preconditioned the formation of a predominantly tragic image of the woman on the Ukrainian professional theater stage. Created by M.Zankovetska in a limited theater space, the images of common women revealed the strength of nature, the depth of feelings, and the spiritual beauty of the Ukrainian woman, doomed to suffering by force of circumstances, yet not miserable but majestic in hardship. The artistic truth of the stage image reflected the truth of life and that of the Ukrainian woman’s character, and through t

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Bondareva, Olena. "A symbolic farewell to the “russian world” in the virtual playwright's anthology “Without them”." Synopsis: Text Context Media 31, no. 1 (2025): 27–32. https://doi.org/10.28925/2311-259x.2025.1.4.

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The object of analysis in this article is the playwright’s anthology Without Them, published in the public domain on the UKRDRAMACHUB resource in late 2022 — early 2023: the authors of the playwrights’ texts contained in it are the co-founders of the Dramaturgs’ Theatre, which today actively positions itself as a pro-Ukrainian creative theatre and playwrights’ center. The purpose of the article is to explore how playwrights who, even after 2014, collaborated with Russian theater and drama projects, against the backdrop of full-scale Russian aggression, define their Ukrainian self-identificatio

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Boiko, Tetiana, and Maryna Tatarenko. "Folk Mask in the Historical and Cultural Realities of Ukrainian Theatre." Bulletin of KNUKiM. Series in Arts, no. 44 (June 25, 2021): 127–34. https://doi.org/10.31866/2410-1176.44.2021.235391.

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The purpose of the article is to analyse the archetypal roots of Ukrainian folk masks, determine their features, characteristics, and transformations in the historical and cultural realities of Ukrainian theatre. To achieve this goal, the authors of the article apply general scientific methods: historical and comparative (to understand the processes of the formation of representative images-masks of the national scene) and phenomenological (to determine the characteristic features of the Ukrainian folk mask). Serhii Krymskyi’s ideas as to the definition of the archetypes of national cult

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Visych, O. "Critiсal Discourse in Metadrama "Actress without Roles" by Varvara Cherednychenko". Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, № 1(87) (13 травня 2018): 58–62. http://dx.doi.org/10.35433/philology.1(87).2018.58-62.

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The history of drama shows that in transitional periods dramatic texts often turn into a space for analyzing of the ways of art development and, above all, the theater. Experiments, denial of traditions, and the acute need to update aesthetic coordinates become an integral part of the communicative discourse of characters, as well as the basis of dramatic conflict. Legitimate at such stages is the demand for metadramatic forms. The theory of metadrama actively develops in modern literary criticism, based on the studies of Lionel Able, Richard Hornby, Karen Viweg-Marks, Slavomir Sviontka and ot

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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, № 57 (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 an

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PАLIJ, Оxana. "THE STAGE EMBODIMENT OF THE IMAGES OF NATIONAL DRAMA IN THE ACTING PRACTICE OF OLEKSANDR KOROLCHUK ON THE STAGE OF MYKOLA SADOVSKY’S KYIV THEATER (1907–1919)." Bulletin of the Lviv University. Series of Arts Studies 109, no. 21 (2023): 53–71. http://dx.doi.org/10.30970/vas.21.2023.12129.

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The article examines the peculiarities of Oleksandr Korolchuk’s acting Style based on the works of national drama on the Stage of the Kyiv Theater named after Mykola Sadovsky. Therefore, based on the extensive material of the Kyiv press, memories of contemporaries, materials of the Museum of Theater, Music and Film Arts of Ukraine (Vasyl Vasylko Foundation), the actor’s range of roles was considered, the means of Stage expressiveness of Oleksandr Korolchuk were characterized based on the material of national drama. Also, for the firSt time, we introduce the term into scientific circulation and

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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

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Popova, Oksana. "Stage design of the modern Ukrainian director theater." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 127–31. http://dx.doi.org/10.32461/2226-0285.1.2021.238604.

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The purpose of the article is to identify and analyze the leading directions in the development of stage design in modern domestic director's theater, as well as to explore the problem of director's search in stage design. Methodology. A systematic method was applied, aimed at theoretical and artistic, and practical comprehension of the main aspects of the process of solving a stage work in the complex of organizing stage action and stage space; the method of artistic-critical analysis in the process of studying the modern theatrical repertoire, made it possible to study the stage design of th

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13

Fedenko, Alevtyna. "The importance of M. Kropyvnytskyi’s children’s theater for the formation of a professional musical children’s theater in Ukraine." Aspects of Historical Musicology 19, no. 19 (2020): 332–45. http://dx.doi.org/10.34064/khnum2-19.19.

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Introduction and statement of the problem. Before the revolution of 1917, artists, writers, musicians and teachers created a rich literary fund that could be the basis for professional musical children’s theater in Ukraine. That is why there is a need to study the children’s musical and dramatic heritage of the past, which is an inexhaustible treasury of cultural and educational ideas that can be creatively developed and successfully applied in modern conditions. The process of creative development of the genre of children’s musical performance is today one of the most pressing problems of pro

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MOSKALCHUK, Hanna. "VOLODYMYR RIEZANOV AS THE OLD UKRAINIAN AGE DRAMA HISTORIAN." Folia Philologica, no. 3 (2022): 61–67. http://dx.doi.org/10.17721/folia.philologica/2022/3/9.

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The article outlines the main facts of the biography and analyzes V. Riezanov's research in the context of his textological work. It is emphasized that in his works the researcher consistently refers to the theory of arts, including the medieval poetics, actively researches and describes the relationships between the Ukrainian and Western European drama. Great achievement is the development of an established genre-stylistic approach to the analysis of school dramas. The evolution of the scholar’s methodology is traced: from theoretical studies to the collection, accumulation and publication of

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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 (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 childre

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16

Lipisivitsky, M. "THE INFLUENCE OF SOVIET PROPAGANDA DURING THE "COLD WAR" ON THE UKRAINIAN TRANSLATION OF BERTOLT BRECHT'S THE THREEPENNY OPERA IN THE 1960s." Brecht-Magazine: Articles, Essays, Translations, no. 10 (December 23, 2024): 61–73. https://doi.org/10.35433/brecht.10.2024.61-73.

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The article examines the peculiarities of the Ukrainian translation of Bertolt Brecht's play The Threepenny Opera by the renowned Ukrainian translator Borys Ten, influenced by the so-called "Soviet propaganda" – the ideological discourse that existed in the Soviet Union during the Cold War. The author, drawing on their own translation experience – including the translation of dramatic works by the famous founder of epic theater, particularly The Threepenny Opera characterizes the specifics of Borys Ten's translation strategy. The nuances of domestication strategy in Borys Ten's translation are

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Tulyantsev, Andrey. "Dnipropetrovsk Ukrainian academic youth theater in the contemporary sociocultural context." Музикознавча думка Дніпропетровщини, no. 18 (November 12, 2020): 5–15. http://dx.doi.org/10.33287/222013.

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The purpose of this article is concentrated by researcher into revealing of the particularity for modern theater on the example Dnipropetrovsk Ukrainian academic youth theater. The author studies performances for young people that the theater has in its repertoire. The dialogue between the theater and the audience has its own scientific interest for the author. The author uses the most effective methods of scientific research. The author has a need to understand the peculiarities of the style of acting and directing. It is also necessary to understand the general style of the theater. This pos

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18

Hordieiev, Serhiy. "Viacheslav Khim’iak’s acting and pedagogical creativity in the context of the developing the Ukrainian theater music and drama school." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 69, no. 69 (2023): 123–58. http://dx.doi.org/10.34064/khnum1-69.06.

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Statement of the problem. Viacheslav Antonovych Khim’iak (born in 1949) is among the renowned artists of Ternopil region. His name associates with an exceptionally fruitful period in the activity of leading theaters and theatrical universities, including the Н. Petrovsky Khmelnitsky Music and Drama Theater (now – M. Starytsky Khmelnitsky Academic Regional Music and Drama Theater), T. Shevchenko Ternopil Academic Drama Theater, S. Krushelnytska Ternopil Music School (now – S. Krushelnytska Ternopil Art Vocational College), and the Department of Theatrical Art of V. Hnatiuk Ternopil National Ped

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Valeriia, Liubchenko. "“SUICIDE” ON THE KHARKIV STAGE: MUSIC AND STAGE READING BY S. PASICHNYK – H. FROLOV." Aspects of Historical Musicology 24, no. 24 (2021): 199–214. http://dx.doi.org/10.34064/khnum2-24.11.

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Statement of the problem. The article examines the theatrical heritage of Les Kurbas, the founder of Shevchenko Kharkiv Academic Ukrainian Drama Theatre (originally called «Berezil»). Les Kurbas is the reformer of the Ukrainian theater; his theatrical ideas demonstrate a new understanding of the synthesis of the arts. He concentrated his creative aspirations not only on acting, but also on all components of the performance, in particular on music. The paper examines methodically the application of the basic principles of Les Kurbas Theatre – the co-authorship of the director and composer – in

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Kocherga, Svitlana, and Oleksandra Visych. "The antitheatrical discourse in Ukrainian metadrama in the early twentieth century." Przegląd Wschodnioeuropejski 11, no. 1 (2020): 251–59. http://dx.doi.org/10.31648/pw.5985.

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The article analyzes methods of implementing antitheatrical discourse in Ukrainian dramaturgy. Different types of antitheatricality in literary texts are distinguished on the basis of plays by M. Starytskyi, I. Karpenko-Karyi, A. Krushelnytskyi, V. Vynnychenko, Ya. Mamontiv, V. Cherednychenko, and M. Kulish. The authors define key vectors that the antitheatrical discourse follows: criticism of theater as an institution, criticism of the drama school / method, criticism of theatricality and acting, including in offstage situations. It is arguably reasonable to examine the phenomenon of antithea

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KONIEVA, T. "THE THEATER OF M. MAETERLINCK AND UKRAINIAN DRAMATIC ART OF THE EARLY XX CENTURY." Philological Studies, no. 31 (December 20, 2019): 20–26. http://dx.doi.org/10.33989/2524-2490.2019.31.195631.

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Gaevska, Nadya, and Olena Pylypei. "DMITRY CHYZHEVSKY ON THE FEATURES OF THE REALISM DEVELOPMENT IN UKRAINIAN LITERATURE." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 31 (2022): 9–11. http://dx.doi.org/10.17721/1728-2659.2022.31.02.

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We are talking about the reception of D. Chizhevsky specifics of the development of realism in Ukrainian literature. The work of the scientist "Realism in Ukrainian Literature" (1956) is analyzed. Emphasis is placed on the development of the Ukrainian language, the development of Ukrainian realistic theater and Ukrainian culture in general. Speaking about the development of Ukrainian realistic theater, the researcher notes the significant role of I. Karpenko-Kary, M. Kropyvnytsky, M. Starytsky. At the same time, the development of theatrical business in Western Ukraine of that period is analyz

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Annichev, Oleksandr. "Method, techniques and stylistic features of S. Pasichnyk’s stage direction (based on the performances of 2010–2020)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 66, no. 66 (2023): 176–90. http://dx.doi.org/10.34064/khnum1-66.11.

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Statement of the problem. The article examines the performances of the chief director of the Kharkiv Taras Shevchenko State Academic Ukrainian Drama Theater, Honored Artist of Ukraine Stepan Volodymyrovych Pasichnyk (born in 1965). Stepan Pasichnyk is an actor, a director with a philosophical mindset, a theater teacher, a poet, a playwright, who has an unparalleled multifaceted talent, a unique worldview, tireless creative energy, and his performances arouse the interest not only of theater critics and theater historians, but also of a large audience, including youth. At the same time, there i

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KOKHAN, LYUDMILA. "THE OPERETTA "CHERNOMORETS" BY M. LYSENKO AND M. STARYTSKY AS A NATIONAL ARCHETYPE: MUSIC, WORD, SPIRIT." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(66) (March 13, 2025): 95–110. https://doi.org/10.31318/2414-052x.1(66).2025.333458.

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The operetta “Chernomorets” was considered the first joint stage work of Mykola Lysenko and Mykhailo Starytskyi, which became a significant step in the formation of the Ukrainian musical and drama theater. The source of the plot is analyzed — the play by Ya. Kukharenko “Black Sea Household in Kuban”, its ethnographic and historical features. The transformation of the phases has been revealed: From the naturalistic domestic scenes to the symbolic-mythological space of Chornomoria, which allowed the authors to give the work a deep humanistic meaning. The principles of implementation of dramatic

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Bortnik, Zh. "BETWEEN DOCUMENTARY AND POST-DOCUMENTARY: SEARCH VECTORS OF CONTEMPORARY UKRAINIAN DRAMA." Brecht-Magazine: Articles, Essays, Translations, no. 9 (December 26, 2023): 57–71. http://dx.doi.org/10.35433/brecht.9.2023.57-71.

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The article discusses modern dramaturgical strategies, which consist in creating a transformative field by means of documentary/post-documentary. The purpose of the article is to demonstrate the search vectors of contemporary Ukrainian drama in the context of the connection between documentary and post-documentary aesthetics. "Post-documentary" becomes such a feature of liminal aesthetics, which manifests itself in its performative, active orientation to the understanding of reality through the document. The main features of post-documentary theater, identified by researchers, are the ability

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Krypchuk, Mykola. "ASPECTS OF PSYCHOTECHNICS IN THEATER AND IN VARIETY ART (COMPARATIVE ANALYSIS)." Scientific Issues of Ternopil National Pedagogical Volodymyr Hnatiuk University. Specialization: Art Studies, no. 2 (May 23, 2023): 104–11. http://dx.doi.org/10.25128/2411-3271.19.2.14.

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The article investigates the specifics of the basic elements of psychotechnics in theater and variety art. The nature and variety of the artist’s psychotechnics is clarified and specified. The specific peculiarities and differences of the way of existence of a dramatic actor and a stage artist are determined. Specificity of performance in the variety turn, which uses a laconic arsenal of means of acting expression is characterized. The “foundation” of K. Stanislavsky’s entire system are the basic principles where the process of dramatic transformation of an actor into an image is crucial. The

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Tkachenko, T. I. "REINTERPRETATION OF PROSE TEXTS IN THE PLAYS BY MYXAJLO STARYCZKYJ." Literary Studies, no. 60 (2021): 210–19. http://dx.doi.org/10.17721/2520-6346.60.210-219.

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The article represents the study of the peculiarities of the reinterpretation of prose works by Myxajlo Staryczkyj (1840–1904) in plays to enrich the repertoire of the “Coryphées theater”. Attention focuses on the coverage of the author’s literary communication, which is characterized by the involvement of ethnographic, household, folklore findings, coverage of history in a new perspective, unexpected plot changes related to the spectacle of the play and the Ukrainian mentality, psychologism and coverage of internal conflict. The work investigates the formal and semantic components, in particu

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Vodyakhin, E. "Ukrainian theater as an instrument of cultural diplomacy and its role in modern integration processes." Culture of Ukraine, no. 82 (December 13, 2023): 28–34. http://dx.doi.org/10.31516/2410-5325.082.03.

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The purpose of the article is to determine the significance of theater art in the cultural diplomacy of Ukraine. The object is the cultural diplomacy. The subject is the role of theater in cultural diplomacy. The relevance of this article lies in the need to understand the historical role of the theater in the formation of the identity of various nations It has become quite natural that countries actively use their own dramatic art in presenting themselves to the world community. The methodology of the theoretical analysis in this article is based on both the whole complex of ideas

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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, № 51 (2018): 70–83. http://dx.doi.org/10.34064/khnum1-51.03.

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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. Osherovs

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Vorobiov, Serhii. "Director's Analysis of Evolutionary Modifications of Mykola Lysenko's Work “Drowned”." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 233–48. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251824.

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The process of evolutionary modifications of M. Lysenko's work "Drowned" based on M. Gogol's play "May Night, or Drowned" from its first premiere (1884) to the present is considered. The relevance of the chosen topic in the context of self-identification of the nation against the background of transnationalization of art is clarified. The research methodology with the choice of system-analytical, historical-typological, comparative, genre-stylistic and interpretive methods is outlined. The purpose of the research is to determine the specifics of musical and directorial versions of the work, pe

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Pohrebennyk, V. F. "IVAN KARPENKO-KARYY’S CREATIVITY IN IVAN FRANKO SCIENTYFIC PERCEPTION." Literary Studies, no. 60 (2021): 186–99. http://dx.doi.org/10.17721/2520-6346.60.186-199.

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The article investigates the Ivan Franko’s historical-literature and theatrical publications, dedicated to the life and creativity of famous Ukrainian dramatist Ivan Karpenko-Karyy (Ivan Tobilevych, 1845–1907). It is covered in chronological order how the understanding of the poetics of the writers’ drama developed in accordance with their vision and perception by I. Franko. The content of his reviewes, articles, etc. reveales I. Karpenko-Karyy’s individual contribution to the dynamics of the system of genres, the improvement of personosphere and technical means of dramatic modeling of reality

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Lukava, Daryna. "TRADITIONS OF NATIVITY DRAMA WITHIN THE OPERA ARTS OF UKRAINE." EUREKA: Social and Humanities, no. 1 (January 30, 2021): 3–7. http://dx.doi.org/10.21303/2504-5571.2020.001564.

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The article explores the ways of development of Ukrainian nativity drama - a genre of musical art that provides an opportunity to recreate the elusive breath of time, to learn not only about the world around but also the prospects for its preservation in Ukrainian culture. For the formation and development of the national musical culture of Ukraine, the traditions of Ukrainian nativity drama, the precondition of which was the folk music of national-historical orientation, became especially important. Besides, the folklore basis contributed to the formation of some professional genres, includin

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Lukava, Daryna. "TRADITIONS OF NATIVITY DRAMA WITHIN THE OPERA ARTS OF UKRAINE." EUREKA: Social and Humanities, no. 1 (December 28, 2020): 3–7. https://doi.org/10.21303/2504-5571.2020.001564.

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The article explores the ways of development of Ukrainian nativity drama - a genre of musical art that provides an opportunity to recreate the elusive breath of time, to learn not only about the world around but also the prospects for its preservation in Ukrainian culture. For the formation and development of the national musical culture of Ukraine, the traditions of Ukrainian nativity drama, the precondition of which was the folk music of national-historical orientation, became especially important. Besides, the folklore basis contributed to the formation of some professional genres, includin

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Shchukina, Yuliia. "Genres ofCriticism in the Information and Analytical Bulletin Teatralna Dekada (Kharkiv, 1931–1934)." ARTISTIC CULTURE. TOPICAL ISSUES, no. 21(1) (May 26, 2025): 80–87. https://doi.org/10.31500/1992-5514.21(1).2025.333483.

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The paper covers the issues of periodization and functioning of the information and analytical bulletin Teatralna Dekada (Theatre Decade) published by State Theatre Trust in Kharkiv, the capital of the Ukrainian SSR at the time (1931–1934). It was established which similar publications from other republics of the USSR the editors of Teatralna Dekada were guided by. Additionally, the features of their first Ukrainian counterpart were clarified. The traits of theatrical writing at the first stage of issuing Teatralna Dekada in Kharkiv were revealed. The bulletin was published irregularly, with o

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Verkhovenko, Olha. "Peculiarities of Women Ballet Performance 1970–1980s. (on the Example of Stage Activities of T. Lytvynova and S. Prykhodko)." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 4, no. 1 (2021): 17–27. https://doi.org/10.31866/2616-759X.4.1.2021.234233.

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The purpose of the article is the stage achievements of the leading soloists of the capital’s ballet stage – Tatiana Lytvynova and Svetlana Prykhodko, who successfully worked on the stage of Kyiv State Academic Opera and Ballet Theater (SAOBT) named after T. Shevchenko during the 1970s and 1980s. Research methods include the use of the following research methods: general historical (in order to study the historical processes that took place in the artistic environment of Ukraine during the last quarter of the twentieth century), historical and cultural (allowed study

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HRABOVSKY, Serhii. "THE MYTHOLOGEME OF “BULGAKOV'S KIEV”: SOVIET/RUSSIAN NEOTOTALIARISM IN ACTION." Almanac of Ukrainian Studies, no. 35 (2024): 32–42. https://doi.org/10.17721/2520-2626/2024.35.4.

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The article is devoted to one of those theoretical and practical problems that became extremely relevant in connection with the Russian-Ukrainian war. The author of the article turns to the study of the phenomenon of the so-called "Bulgakov's Kiev", which is one of the forms of the imperial myth about Kyiv as a "real Russian city". Russian- Soviet cult writer Bulgakov, who had openly Ukrainophobic views, and in his prose and dramatic works he consistently falsified Ukrainian reality and events in Kyiv during the Ukrainian Revolution. The author of the article shows that the opinion of some mod

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Sovhyra, Tetiana, Maryna Tatarenko, Andrii Kasianenko, Yevheniia Skrypnyk, and Liliana Belymenko. "Avant-gardism in the work of director Andrii Zholdak: Ukrainian and global context." Revista Amazonia Investiga 11, no. 53 (2022): 155–65. http://dx.doi.org/10.34069/ai/2022.53.05.15.

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The article deals with the essence of avant-gardism in art (theater, cinema, music). The study aims to analyze the avant-garde techniques in dramatic productions directed by A. Zholdak. The representatives of the avant-garde direction in the works of different countries of the world are marked and the historical aspect of the emergence of avant-gardism in theatrical art is briefly outlined. The main life stages of Zholdak's formation as a creative unit are elaborated on the basis. Noted individual features and ways of presenting interpreted performances, including the integration of political

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Bozhuk, Anton. "To the Question of Chronology of the Organization of the Ukrainian Intelligentsia of Sevastopol "Kobzar" at the Beginning of the 20th Century." Ukrainian Studies, no. 2(83) (July 24, 2022): 74–81. http://dx.doi.org/10.30840/2413-7065.2(83).2022.259388.

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The study is devoted to the question of time, period and forms of existence and changes in the leadership of the organization of the Ukrainian intellectuals “Kobzar”, founded in the early twentieth century in Sevastopol and associated with the name of engineer Levko Matsiievych, who was one of the most prominent Ukrainian activists of national movement in the city in said period of time. According to available data, the secret organization “Kobzar”, nameless at the time, was founded in 1901 on the basis of an amateur workers' theater in the People's House of Sevastopol, which operated as a gro

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Kokhan, L. "The opera “Christmas Night” by Mykola Lysenko and Mykhailo Starytskyi in the context of XIX century messianism: the divine and the mundane in the music of Christmas." Culture of Ukraine, no. 89 (June 20, 2025): 103–10. https://doi.org/10.31516/2410-5325.089.10.

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The relevance of the article. In the current conditions of cultural revival, rethinking of national identity and European integration course of Ukraine, it is especially important to turn to the work of prominent figures who formed the national musical tradition. The opera “Christmas Night” by Mykola Lysenko and Mykhailo Starytskyi is not only a significant artistic phenomenon, but also a symbol of the Ukrainian national idea in music. Its analysis helps to better understand the process of formation of Ukrainian opera, the importance of folklore and spirituality in the musical language of the

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Lybo, O. L. "Characteristics of Kharkiv theatre development in1840–1860’s (on the materials of State Archive of the Kharkiv Region)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 126–41. http://dx.doi.org/10.34064/khnum1-51.07.

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Problem statement. In this study, attention is focused on the Kharkiv theatre development in the 1940–1960’s, the activities of the theatrical entrepreneur Liudvih Mlotkovskyi and the directors of the Kharkov Theatre: Hendrikov, Alferaki, Petrovskyi, Lvov and Shcherbyna. The theatre directors served as intermediaries between the entrepreneur and the Provincial Offices authorities, while addressing issues of organization and contract negotiation with actors, maintenance of theatre premises. They played an important role on repertoire policies controlled with the censorship committee of the Tsar

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Mylenka, Halyna. "The story of Doctor Faustus on the stage of the European theater of the 20th century: the potential of open interpretation (English model)." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(62) (March 28, 2024): 7–31. https://doi.org/10.31318/2414-052x.1(62).2024.304963.

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The author examines the interpretive prospects of Christopher Marlowe's play "The Tragic Story of Dr. Faust", presented in the stage versions of modern directing in Great Britain. Having analyzed the most extraordinary directorial models, both from the point of view of the interpretation of the dramatic text and the use of means of scenic expressiveness, the author revealed the tendency of modern English directing to abandon the presumptions of the stage embodiment of classical drama as an illustration of the author's text and reproduction of meanings in the play. Having analyzed the director'

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Babchenko, Yanina. "The Versatility of Zhan Melnykov's Creative Personality." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 6, no. 2 (2023): 108–18. https://doi.org/10.31866/2616-759X.6.2.2023.288147.

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The article focuses on representative episodes of creativity, analyses the specifics of the performing style and directorial handwriting of the Ukrainian actor, director, and set designer, artistic director of the Dnipro Academic Drama and Comedy Theatre Zhan Melnykov. <strong>The purpose of the study </strong>is to analyse the phenomenon of creative personality versatility on Zhan Melnykov's example. <strong>The research methodology </strong>is determined by the purpose of the study and involves the use of general scientific and art-historical methods of cognition, in particular, historical a

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Vyshotravka, Liudmyla. "Tetiana Borovyk's Stage Performance in the Context of the Development of Ukrainian Ballet in the Last Quarter of the 20th and the Beginning of the 21st Century." Culture and Arts in the Modern World, no. 19 (July 11, 2018): 24–31. https://doi.org/10.31866/2410-1915.19.2018.141351.

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The purpose of the article is to analyze T. Borovyk’s creative work and define the main stages of her creative path on the stage of Taras Shevchenko National Opera and Ballet Theater of Ukraine (now the National Opera of Ukraine); to identify the characteristic features of the performing style of the ballerina. The research methodology consisted in the use of the following culturological methods of research: general-historical, comparative-historical, analytical, biographical, etc. The scientific novelty of the work lies in the publication of art critical analysi

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Ognieva, T. K. "ARTISTIC AND FIGURATIVE STATEMENTS IN UKRAINIAN SCENOGRAPHY OF THE XX CENTURY." UKRAINIAN CULTURAL STUDIES, no. 2(9) (2021): 67–83. http://dx.doi.org/10.17721/ucs.2021.2(9).13.

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The article "Artistic and figurative statements in the Ukrainian scenography of the XX century" analyzes the conditions and factors of develop- ment of the art of theater and scenography as a component during the XX century in Ukraine. The scenographic space provides an opportunity to synthesize elements of plastic arts to create an artistic and figurative solution and to form the emotional climate of a theatrical performance. During the development of the art of theater, an evolution of the scenography took place. The level of scenography in Ukraine in the 1920s and 1930s not only corresponde

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Krotofil, Maciej, Hennadij Nadtoka, and Ihor Sribnyak. "Cultural and Artistic Component of the Camp Leisure of Interned Ukrainian Soldiers in Aleksandrów and Łańcut, Poland (end of 1920 – 1921)." Eminak, no. 1(41) (April 13, 2023): 134–47. http://dx.doi.org/10.33782/eminak2023.1(41).626.

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The purpose of the article is to conduct an analysis into the cultural and artistic component of the camp everyday life of interned UPR Army soldiers in the camps Aleksandrów and Łańcut (Poland) at the end of 1920 and in 1921. The scientific novelty lies in the multi-faceted study of the essence of cultural and artistic activity conducted by creative groups from among camp residents, whose events helped enrich everyday life in the camps for interned soldiers. Conclusions. The cultural and artistic life of interned soldiers was manifested most fully in three categories – songwriting

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Щукіна, Ю. П. "ІНТЕРПРЕТАЦІЇ ТВОРІВ У ЖАНРАХ «ВІДЕНСЬКОЇ» ТА УКРАЇНСЬКОЇ ОПЕРЕТИ РЕЖИСЕРОМ ЮРІЄМ СТАРЧЕНКОМ". Традиції та новації у вищий архітектурно-художній освіті, № 5 (5 січня 2019): 120–23. https://doi.org/10.5281/zenodo.2532063.

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The article analyzes the approach of Yuriy Starchenko (in the period from 1985 to 1996 – the main director of the Kharkiv Academic Theater of Musical Comedy) to the implementation of classical operettas and their domestic genre analogues. Yu. Starchenko’s work was multifaceted: these were the first productions of rock operas in Ukraine, the resuscitation of intelligent viewer’s curiosity to the classical operetta, and the embodiment of dramatic quality works in the genre of musical. Background. Unlike the productions in the genre of rock opera by this director, the topic for

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Churpita, Tetiana. "Zinaida Lurie: a High-ranking Ballerina." Dance Studies 2, no. 1 (2019): 29–38. https://doi.org/10.31866/2616-7646.2.1.2019.172182.

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The purpose of the article is to recreate the creative way of the Honored Artist of the USSR Zinaida Lurie which is based on the analysis of archival documents, periodicals and special literature. Methodology. The author has prepared an article using historical, historiographic and analytical approaches that have allowed to comprehend Zinaida Lurie’s creative path from an intern, a ballet dancer to a recognized teacher. Scientific novelty. The article is the first attempt to recreate little studied part of the Zinaida Lurie’ creative way, including her perf

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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”

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Rizaieva, Ganna. "The opera «Dialogues of the carmelites»: Lviv premiere in the light of modèle parisien by Francis Poulenc." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 142 (March 13, 2025): 88–103. https://doi.org/10.31318/2522-4190.2025.142.327883.

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The relevance of the study. Francis Poulenc’s opera «Dialogues of the Carmelites» is one of the greatest works of the 20th century. Since its premiere at Milan’s La Scala theater in January 1957, it has not left the world’s leading opera stages. At the same time, the composer considered the Paris performance at the Opera Garnier to be la représentation modèle of his second opera, which, in his opinion, perfectly embodied the composer’s idea and the spirit of Bernanos-Poulenc. The Ukrainian premiere of «Dialogues of the Carmelites» on the stage of the Lviv Opera in 2024 revealed the problems of

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Kolesnyk, Yevdokiia. "Interpretation of the Main Heroine's Image in Operas by Christophe Willibald Gluck "Iphigenia en Tauride"." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 146–59. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251818.

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The author emphasizes the urgency of the appeal to С. Gluck's opera "Iphigénie en Tauride" as a work of sublime-majestic, tragic-dramatic character with strong passions, emotional struggle and inner experiences of the heroes. The approach proposed by the author serves as an alternative to the trends of modern theater, in which is rapidly spreading a mass culture of entertainment, show business, ideology consumption and pleasure. The process of the embodiment "Iphigénie en Tauride" in the Komische Oper Berlin with the participation of director V. Felzenstein, conductor K. Mazur and Ukrainian si

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