Репозитарій Національної академії керівних кадрів культури і мистецтв України

КУЛЬТУРОЛОГІЧНІ ВИМІРИ РЕЖИСЕРСЬКИХ ПРАКТИК У ДРАМАТИЧНИХ ТЕАТРАХ ХАРКОВА ДРУГОЇ ПОЛОВИНИ ХХ - ПОЧАТКУ ХХІ СТ.

КУЛЬТУРОЛОГІЧНІ ВИМІРИ РЕЖИСЕРСЬКИХ ПРАКТИК У ДРАМАТИЧНИХ ТЕАТРАХ ХАРКОВА ДРУГОЇ ПОЛОВИНИ ХХ - ПОЧАТКУ ХХІ СТ.

МІЗЯК, ВІТАЛІЙ ДМИТРОВИЧ
URI: http://elib.nakkkim.edu.ua/handle/123456789/2995
Дата: 2018

Короткий опис(реферат):

Уперше на прикладі державних драматичних театрів Харкова виокремлено й узагальнено різноманітні режисерські практики в театральній культурі України другої половини ХХ - початку ХХІ ст. Виявлено культурні парадигми режисури драматичних театрів, що сформувалися як на основі міфології радянської державності, так і за часів незалежності в умовах зростання національної свідомості та під впливом філософії постмодернізму. Окремо досліджено результати впровадження принципів театру образного перетворення Курбаса, що були частково спотворені або призабуті за умов ідеологічного тиску прихильників соціалістичного реалізму. На прикладі трьох драматичних театрів Харкова - академічного театру української драми імені Т. Шевченка, академічного російського драматичного театру імені О. Пушкіна та театру юного глядача (нині - для дітей та юнацтва) здійснено ретроспективний аналіз репертуарної політики, виявлено особливості режисерського рішення вистав О. Барсегяна, О. Бєляцького, І. Бориса, А. Жолдака, А. Літка, Б. Мешкіса, В. Ненашева, Б. Норда, В. Оглобліна, В. Петрова, Л. Садовського, М. Яремківа та багатьох інших представників харківської режисерської школи.

Суть розробки, основні результати:

Through the example of Kharkiv drama theatres, the study specified and generalized different directing practices in the Ukrainian theatre culture since the second half of the XX to the early XXI century. It is explained why the interdisciplinary synthesis in this study caused the appropriate changes in its discourse within the culturological approach, that is the new understanding of culture in the diversity of its forms, functions and contexts. The compatibility of theatre studies and culturology is based on the fact that history and theory of art are considered as a component of history and theory of culture, while scientific projections of culturology determine a wider field for multilevel analysis of directing practice and theatre process. A key concept that allows to effectively combine theatrical and cultural strategies is the concept of "culture phenomena as a text". On this basis the methodological guidelines of culturology oriented theatre science are based.In the multilevel study, the cultural paradigms of directing drama theatres have been revealed. These paradigms were formed on the basis of the Soviet statehood mythology and during independence (when the national consciousness was rising), under the influence of postmodernism philosophy. The effects of implementing the principles of the Kurbas character transformation theatre, which were partially distorted or forgotten under the conditions of the ideological pressure of socialist realism supporters, were studied separately. The stylistic and genre variability of the directing art is analyzed on the material of particular performances, their critical review, as well as by the biographical retrospective of the directing masters’ work in the context of ideological transformations in the late Soviet and post-Soviet Ukrainian culture. The features of the directing solutions of the plays of O. Barsehian, O. Biliatskyi, I. Borys, A. Zholdak, A. Litko, B. Meshkis, V. Nenashev, B. Nord, V. Ogloblin, V. Petrov, L.Sadovskyi, M. Yaremkiv and many other representatives of the Kharkiv directing school were identified. The research features the main contemporary objects of theatrical topography - Taras Shevchenko Kharkiv Academic Ukrainian Drama Theatre (previously - L. Kurbas’ Berezil Theatre), Kharkiv Russian Academic Drama Theatre named after O. S. Pushkin and Young Spectators' Theatre. Their creative history is the subject of the directing art analysis. It is proved that devastation of the Kurbas Theatre and the organization of the Russian Theatre and Young Spectators’ Theatre named after M. Gorky in 1933 isn’t a coincidence. It serves as a direct evidence that the totalitarian system attacked not only L. Kurbas personally, but also progressive Ukrainian theatrical art, trying to replace it with the one controlled more by Moscow and more predictable one from the point of view of theatrical techniques of expressiveness. As for the Kharkiv Russian Academic Drama Theatre named after O. S. Pushkin, its chief director and subsequently artistic director O. Barsehian pursued an unproductive policy: new directors were allowed to work with great restrictions and very rarely in general. Gradually, this tendency got the false direction and led to the unification and uniformity of expressive means in almost all Barsehian’s plays. Creative work of I. O. Borys and his organizational efforts in the position of the main director of the Taras Shevchenko Kharkiv Academic Ukrainian Drama Theatre were aimed at supporting and developing the traditions established in the 1920s - 30s by the head of the Berezil Theatre Les Kurbas. In the Soviet period, the ideological factor of art in the cultural environment has always occupied a leading place. A director of theatrical performances was also considered as their ideologist. Hence, the ideology had priority over artistic value, which led to a certain crisis of directorial techniques.The disappearance of the fundamental principle of ideological mythologization - that is motivating the legitimacy of the existing power - leads to destructiveness in the conflicting essence of the dramatic works, the discovery of a falsehood, a double bottom, ambiguity of characters and contradictions, or to the "game in the game", which, in fact, revealed the real nature of things. On the examples of selected performances of A. Zholdak in a position of chief director and artistic director of Taras Shevchenko Kharkiv Academic Ukrainian Drama Theatre in 2002-2005 it has been proved that eclecticism, mosaicism and the principle of collage; loss of value of the individual style; mixture styles within a single play (polystylistics), context-based thinking; irony, parody and grotesque, conceptual unification of dichotomous concepts (high and low, elitist and mass, tragic and funny, paradoxical and banal); the principled refusal from the idea of innovation and the desire for interpretation - are manifestations of postmodernism in artistic practice. In the period defined by the framework of this study, the merging of the cultural and theatrical processes took place with varying degrees of intensity with the help of the leading directors of the Kharkiv scene. This fact can historically be recorded as the strategic foundation of culture, its spiritual and aesthetic resource, not fully demanded and supported by the society of consumption.

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