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Театр імені Івана Франка: становлення та тенденції розвитку (20-ті рр. ХХ століття)

Театр імені Івана Франка: становлення та тенденції розвитку (20-ті рр. ХХ століття)

Процик, Леся Лукашівна
URI: http://elib.nakkkim.edu.ua/handle/123456789/3346
Date: 2005

Abstract:

На підставі аналізу джерел у дисертації досліджуються історичні і соціально-культурні умови та шляхи становлення і розвитку театру імені І. Франка в 20-х рр. ХХ ст. Простежено еволюцію театральної культури в Україні зазначеного періоду, репрезентовану інтеграцією національної й світової культури, розквітом української драматургії, пошуком нових сценічних форм, тяжінням до стилістики авангарду, що загалом відповідало світоглядно-гуманістичним ідеалам епохи „українського Відродження”. В роботі проаналізовано передумови становлення театру ім. І.Франка, позначені синтезом традицій українського класичного театру й мистецтва корифеїв з новаторською діяльністю театральних труп початку зазначеного століття, й передусім „Молодого театру”. Виявлено тенденції розвитку театру ім. І.Франка 20-х рр. ХХ ст., втілені в ідейній боротьбі театральних течій, взаємозв’язку традицій та новаторства, жанровому та стильовому оновленні.

Description:

On the basis of the analysis of the sources the historical, social and cultural conditions both ways of formation and development of the Ivan Franko Theatre in the twenties of the ХХth century are investigated in the dissertation. The evolution of theatrical culture in Ukraine of the specified period is observed, which is submitted by integration of national and world culture, by the growing of the Ukrainian dramatic art, by the searching of the new scenic forms, gravitation to stylistics of avantguarde, that in general answered ideological and humanistic ideas of epoch "of the Ukrainian Renaissance". In the work the preconditions of the formation of the Ivan Franko Theatre are analysed. These preconditions are designated by synthesis of traditions of the Ukrainian classical theatre and art of coryphaeus with innovative activity of theatrical troupes in the beginning of the specified century, and first of all "of Young theatre ". The tendencies of development of the Ivan Franko Theatre of the specified period are revealed. They embodied in ideological struggle of theatrical currents, interrelation of traditions and innovation, genre and style updating. In the dissertation it is marked, that formation of creative style and art principles of the Ivan Franko Theatre occurred in conditions of ideological and art rise, having promoted the statement of national originality of domestic theatrical process, expressive means and producing receptions of young Ukrainian dramatic art. The inclination for synthesis as indispensable condition of maintenance of integrity of performance, waste from entertainment and etnographity were observed in scenic creativity. The raising of the Ukrainian dramatic art of the specified period is integrally connected to names V. Vinnichenko, M. Kulysh, О.Oles’. Numerous pleiad of the talented masters is brought up on the best samples of foreign and domestic theatrical culture, the traditions of theatre of coryphaeus are inherited and enriched. Dominant in scenic practice become the director's didactical principles of K. Staniskavsky and V. Meyerhold. During interaction of traditions and innovation in the art practice of the Ivan Franko Theatre it is possible to see the following stages: the Vinnitsa period of activity of theatre (1920-1923) - preservation of democratic bases "of an old household stage ", orientation to products of the domestic and world literature; the Khar’kov period (1923-1926) - interpretation of heroic romantic types in style of a psychological drama; the Kiev period (beginning from 1926) - revolution romantic orientation on the basis of psychological realism. The preconditions of occurrence of the Ivan Franko Theatre reach by the roots of depths of a history of pre-revolutionary Ukrainian theatre, and first of all of school drama, vertep and interlude, dramatic art of I. Kotlyarevsky and Т. Shevchenkj, coryphaeus’ theatre. The important role in the formation of the Ivan Franko Theatre as the creative collective played the “Young theatre” under the management of L.Kurbas. Creative evolution of the Ivan Franko Theatre occurred in еру dialectic interaction of art traditions and innovation. Traditional in scenic practice is submitted by a support on the real “people’s theatre”. As innovative achievement it is lawful to consider: formation of ideological platform for an embodiment of original director's ideas; crystallization of idea and art receptions; orientation to creation of modern dramatic art. The tendency of genre-stylistic updating is traced in the refusal from spontaneity, accident of application of art receptions and styles to the realized searches. There are following characteristic for theatrical practice of the Ivan Franko Theatre in the twenties of the ХХth century: polystylizm, association of reserve and grotesque, pathetic and vital truth. The manner of performance with emotional plasticity and improvisation, inherent to theatrical collective, is gradually formed on the basis of realness and psychologism. The social drama, psychological and drama of every day life drama, heroic play, lyrical comedy dominate among dramatic genres of the theatre. It is necessary to note flexibility of the repertoire politics and dimensions of the repertoire range. The statements of the plays with motives of struggle for progressive ideals of mankind are carried out. The social satire at a level frank grotesque is the important direction of scenic activity of theatre. Social-psychological dramatic art (the performance of the classical plays of I. Karpenko-Karyj, the staging of the works of M. Gorky) was and remains traditional for scenic activity of the Ivan Franko Theatre to them. And. Ex.

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