Suchergebnisse

У статті досліджено дискусію між учнем Леся Курбаса Михайлом Верхацьким та ректором Харківського музично-драматичного інституту Дмитром Грудиною, яка розгорнулася на шпальтах журналу "Радянський театр" у 1930-ті роки. Розглянуто особливості теоретичного становлення М. Верхацького в "Березолі". Охарактеризовано ідеологічні та художні тенденції театрального мистецтва у кінці 20-х – на початку 30-х років ХХ століття. ; The article is an attempt to present and analyze the discussion between the student of Les Kurbas, Mykhailo Verhatsky and the rector of the Kharkiv Music and Drama Institute, Dmytro Grudyna, which unfolded on the pages of the Soviet theater magazine in the 1930's. At the same time, the peculiarities of the theoretical formation of M. Verkhatsky in the "Berezil" are accentuated in the context of sociopolitical processes of that time. Mykhailo Verhatsky is a director, historian and theoretician of the theater, a theatrical teacher, whose creative activity left a noticeable mark in the history of the Ukrainian theater of the twentieth century. Of particular interest is the emergence of the artist in the "Kharkiv" period: during his studies at the Theater Institute (1925–1935) and in the theater "Berezil" – because he still remains almost unexplored. In particular, it concerns the theoretical evelopment of the artist and the scientific and theoretical developments of this period, which require separate consideration. The purpose of this article is to discover and investigate theoretical work of M. Verkhatsky in the"Kharkiv" period in the context of the theatrical process of the late 1920's – the first half of the 1930's.In 1926 the theater "Berezil" moved to the Kharkiv. M. Verkhatsky was so enthralled with the plays of Berezil, which eventually became an integral part of the theatrical collective and entered the last set of the regiment with B. Balaban, V. Voronov, L. Dubovyk and V. Sklyarenko. M. Verkhatsky developed the understanding of the theater in the "Berezil" and subsequently demonstrated the theoretical developments on the pages of professional editions. This is about the article "To the question of dialectics at the theater", published in number 3–5 of the journal "Soviet Theater" for 1930. In this article the author violates fundamentally important issues regarding the development of the Ukrainian theater and, in fact, represents the theoretical basis of the Berezil. At a time when the harassment of the theater "Berezil" becomes the so-called "trend", each creative step of the actors of "Berezil" was regarded first of all from ideological positions. Therefore, Dmytro Grudyna, as a representative of Kurbas's criticism and rector of the Kharkiv Music and Drama Institute, could not fail to respond to the article by M. Verkhatsky. For the magazine "The Art Tribune" No. 3 of 1931, D. Grudyna wrote an article "A glass from Berezil".Due to the fact that M. Verkhatsky aesthetically formed as a actor of "Berezil", he was able to oppose the postgraduate position of the position of the rector of the institute D. Grudyna and respond to a squall of crushing criticism. Therefore, on the pages of the magazine "Soviet Theater" number 5–6 of 1931, we encounter two published articles: M. Verhatsky's "Against the Critique of Invented Mistakes", in which he opposed the misrepresentation of D. Grudyna's various facts; and D. Grudyna "The glass ." "is warriors" ("honesty" of the t. Verhatsky)", which not only gave a rebuke to M. Verkhatsky, but also caused another revealing "blow" "Berezil".M. Verkhatsky's discussion with D. Grudyna is an example of a fierce struggle that lasted in the artistic circles of the 1930's. Various aesthetic preference – one supporter of the classical theater, another so-called left – did not allow them to get to know each other. In addition, D. Grudyna fought with M. Verhatsky, attributing to him political perversions, and thus the theatrical discussion took on forms of political character. The position of M. Verkhatsky in this discussion is an attempt to present and defend the artistic guidelines, the theoretical foundations of the Berezil. His scientific terminology does not always seem convincing and requires clarification and concrete examples. Probably such records were, but the author did not manage to print them after the accusations. The artist remained faithful to the creative principles of Berezil and its leader, Les Kurbas, and even at the beginning of the political oppression of the theater, he boldly defended the Berezilian concept.

У статті досліджено дискусію між учнем Леся Курбаса Михайлом Верхацьким та ректором Харківського музично-драматичного інституту Дмитром Грудиною, яка розгорнулася на шпальтах журналу "Радянський театр" у 1930-ті роки. Розглянуто особливості теоретичного становлення М. Верхацького в "Березолі". Охарактеризовано ідеологічні та художні тенденції театрального мистецтва у кінці 20-х – на початку 30-х років ХХ століття. ; The article is an attempt to present and analyze the discussion between the student of Les Kurbas, Mykhailo Verhatsky and the rector of the Kharkiv Music and Drama Institute, Dmytro Grudyna, which unfolded on the pages of the Soviet theater magazine in the 1930's. At the same time, the peculiarities of the theoretical formation of M. Verkhatsky in the "Berezil" are accentuated in the context of sociopolitical processes of that time. Mykhailo Verhatsky is a director, historian and theoretician of the theater, a theatrical teacher, whose creative activity left a noticeable mark in the history of the Ukrainian theater of the twentieth century. Of particular interest is the emergence of the artist in the "Kharkiv" period: during his studies at the Theater Institute (1925–1935) and in the theater "Berezil" – because he still remains almost unexplored. In particular, it concerns the theoretical evelopment of the artist and the scientific and theoretical developments of this period, which require separate consideration. The purpose of this article is to discover and investigate theoretical work of M. Verkhatsky in the"Kharkiv" period in the context of the theatrical process of the late 1920's – the first half of the 1930's.In 1926 the theater "Berezil" moved to the Kharkiv. M. Verkhatsky was so enthralled with the plays of Berezil, which eventually became an integral part of the theatrical collective and entered the last set of the regiment with B. Balaban, V. Voronov, L. Dubovyk and V. Sklyarenko. M. Verkhatsky developed the understanding of the theater in the "Berezil" and subsequently demonstrated the theoretical developments on the pages of professional editions. This is about the article "To the question of dialectics at the theater", published in number 3–5 of the journal "Soviet Theater" for 1930. In this article the author violates fundamentally important issues regarding the development of the Ukrainian theater and, in fact, represents the theoretical basis of the Berezil. At a time when the harassment of the theater "Berezil" becomes the so-called "trend", each creative step of the actors of "Berezil" was regarded first of all from ideological positions. Therefore, Dmytro Grudyna, as a representative of Kurbas's criticism and rector of the Kharkiv Music and Drama Institute, could not fail to respond to the article by M. Verkhatsky. For the magazine "The Art Tribune" No. 3 of 1931, D. Grudyna wrote an article "A glass from Berezil".Due to the fact that M. Verkhatsky aesthetically formed as a actor of "Berezil", he was able to oppose the postgraduate position of the position of the rector of the institute D. Grudyna and respond to a squall of crushing criticism. Therefore, on the pages of the magazine "Soviet Theater" number 5–6 of 1931, we encounter two published articles: M. Verhatsky's "Against the Critique of Invented Mistakes", in which he opposed the misrepresentation of D. Grudyna's various facts; and D. Grudyna "The glass ." "is warriors" ("honesty" of the t. Verhatsky)", which not only gave a rebuke to M. Verkhatsky, but also caused another revealing "blow" "Berezil".M. Verkhatsky's discussion with D. Grudyna is an example of a fierce struggle that lasted in the artistic circles of the 1930's. Various aesthetic preference – one supporter of the classical theater, another so-called left – did not allow them to get to know each other. In addition, D. Grudyna fought with M. Verhatsky, attributing to him political perversions, and thus the theatrical discussion took on forms of political character. The position of M. Verkhatsky in this discussion is an attempt to present and defend the artistic guidelines, the theoretical foundations of the Berezil. His scientific terminology does not always seem convincing and requires clarification and concrete examples. Probably such records were, but the author did not manage to print them after the accusations. The artist remained faithful to the creative principles of Berezil and its leader, Les Kurbas, and even at the beginning of the political oppression of the theater, he boldly defended the Berezilian concept.

The article discusses the techniques of commedia dell'arte in the practice of the acting duet of Yosyp Hirniak and Marian Krushelnytskyi. The introduction emphasizes that the "Mikado" operetta, staged by director Valery Inkizhinov in 1927, has not been comprehensively considered and historically reconstructed. This performance is interesting because it embodied the scenic symbiosis of East aesthetics with a testimony of commedia dell'arte techniques in the acting practice of the berezil-actors. Therefore, the purpose of this article is to highlight the techniques of commedia dell'arte in the practice of the acting duet of Hirniak and Krushelnytskyi. According to the goal, the task was to carry out a historiographical analysis of the 1927 Mikado performance and to clarify the specifics of the work on the stage images.Presentation of the main material. The "Mikado" operetta was created in London in 1885 by the efforts of playwright William Gilbert (1836-1911) and composer Arthur Sullivan (1842-1900). From the original work of "Mikado", the authors of the Berezil stage version borrowed only the plot, equipping it with satirical interludes on contemporary topical topics. They ridiculed the authoritarian form of government of the fictional Japanese city of Titipu, which resonated with the realities of the bureaucratic system of the then capital of Ukraine. Invited to "Berezil", director Valery Inkizhinov gladly took up this confusing scenario. Because in his staging practice he synthesized the theatrical aesthetics of previous centuries, had an original directorial style, created vivid eccentric spectacles.As a result of the serious work of the whole group, the play turned out to be a fairytale, it was one of the leading places among the operetta productions of the 1920s at the back of Ukrainian theaters. In this performance, the performance potential of many theater actors has been re-opened. Extraordinary, eccentric images were created by Y. Hirniak, M. Krushelnytskyi, V. Chistyakova and others.Yosyp Hirniak created a comedy image of Pu-Ba in this play. The main means of artistic expression in creating the image of Pu-Ba were dance and singing. To the exceptional versatility of his performing style, Yosyp Hirniak organically played a person from the East, recreated the inherent mentality, plasticity, and ceremonial behavior. Externally, Pu-Ba-Hirniak was tossed into a "clown in a kimono." The bright makeup of the actor expresses a cheerful mask, suitable for instant changes of facial expressions. Y. Hirniak's partner - M. Krushelnytsky, who in this performance created the image of the state executioner Ko-Ko, similarly resembled a clown. Actors could "get out of the image" and make fun of their own characters, and in these performing techniques the echo of the famous Vakhtangov's "Princess Turandot" was felt as a symbol of the accentuated theatricalization and game elements of the 1920s.The scientific novelty is the expansion of ideas about the processes of creating musical performances at the "Berezil" scene in the 1920s. The example of the "Mikado" operetta outlines the stylistic features of the entertainment genres of the time and describes the techniques of commedia dell'arte as the dominant meaning factors in the work.Conclusions. Taking into account Hirniak-Krushelnytskyi's cooperation in many performances in "Berezil", it should be emphasized that this bright duet was finally formed precisely in the "Mikado" performance. The phenomenon of their successful collaboration was a harmonious combination of comism, eccentricity and a subtle intuitive sense of the aesthetics of commedia dell'arte. ; Цель статьи — осуществить историографический анализ спектакля «Микадо» в 1927 году и осветить специфику приемов commedia dell'arte в практике актерского дуэта Йосипа Гирняка и Марьяна Крушельницкого.Методология исследования. Процессу исследования послужили аналитический (проанализированы предпосылки создания оперетты «Микадо» на сцене «Березиля»), историко-биографический (рассмотрены этапы формирования актерского дуэта Й. Гирняка и М. Крушельницкого) и сопоставимо-типологический (определены стилистические особенности березильской оперетты в контексте развития театрального искусства 1920-х гг.) методы.Научная новизна заключается в расширении представлений о процессе создания музыкальных спектаклей на сцене «Березиля» 1920- х гг. На примере оперетты «Микадо» обозначена специфика развлекательных жанров того времени и охарактеризованы приемы commedia dell'arte как доминантные факторы актерской работы Й. Гирняка и М. Крушельницкого в этом спектакле.Выводы. Принимая во внимание сотрудничество Гирняка и Крушельницкого в березильских спектаклях «Остались в дураках» (1924), «Золотопуз» (1926), «Король забавляется» (1927) стоит отметить, что этот яркий дуэт окончательно сформировался именно в спектакле «Микадо». Феномен их успешного тандема заключался в гармоничном сочетании комизма, эксцентрики, психологической глубины и тонкого интуитивного ощущения эстетики commedia dell'arte. ; Мета статті — здійснити історіографічний аналіз вистави «Мікадо» 1927 року та висвітлити специфіку прийомів commedia dell'arte у практиці акторського дуету Йосипа Гірняка та Мар'яна Крушельницького.Методологія дослідження. Процесові дослідження послугували аналітичний (проаналізовано передумови створення оперети «Мікадо» на кону «Березоля»), історико-біографічний (розглянуто етапи формування акторського дуету Й. Гірняка та М. Крушельницького) та зіставно-типологічний (визначено стилістичні особливості березільської оперети у контексті розвитку театрального мистецтва 1920-х рp.) методи.Наукова новизна полягає у розширенні уявлень про процес створення музичних вистав на кону «Березоля» 1920-х рp. На прикладі оперети «Мікадо» окреслено специфіку розважальних жанрів того часу та схарактеризовано прийоми commedia dell'arte як домінантні смислотворчі чинники акторської праці Й. Гірняка й М. Крушельницького у цій виставі.Висновки. Беручи до уваги співпрацю Гірняка та Крушельницького у березільських виставах «Пошились у дурні» (1924), «Золоте черево» (1926), «Король бавиться» (1927) тощо варто наголосити, що цей яскравий дует остаточно сформувався саме у виставі «Мікадо». Феномен їх успішної співпраці полягав у гармонійному поєднанні комізму, ексцентрики, психологічної глибини й інтуїтивного відчуття естетики commedia dell'arte

The article discusses the techniques of commedia dell'arte in the practice of the acting duet of Yosyp Hirniak and Marian Krushelnytskyi. The introduction emphasizes that the "Mikado" operetta, staged by director Valery Inkizhinov in 1927, has not been comprehensively considered and historically reconstructed. This performance is interesting because it embodied the scenic symbiosis of East aesthetics with a testimony of commedia dell'arte techniques in the acting practice of the berezil-actors. Therefore, the purpose of this article is to highlight the techniques of commedia dell'arte in the practice of the acting duet of Hirniak and Krushelnytskyi. According to the goal, the task was to carry out a historiographical analysis of the 1927 Mikado performance and to clarify the specifics of the work on the stage images.Presentation of the main material. The "Mikado" operetta was created in London in 1885 by the efforts of playwright William Gilbert (1836-1911) and composer Arthur Sullivan (1842-1900). From the original work of "Mikado", the authors of the Berezil stage version borrowed only the plot, equipping it with satirical interludes on contemporary topical topics. They ridiculed the authoritarian form of government of the fictional Japanese city of Titipu, which resonated with the realities of the bureaucratic system of the then capital of Ukraine. Invited to "Berezil", director Valery Inkizhinov gladly took up this confusing scenario. Because in his staging practice he synthesized the theatrical aesthetics of previous centuries, had an original directorial style, created vivid eccentric spectacles.As a result of the serious work of the whole group, the play turned out to be a fairytale, it was one of the leading places among the operetta productions of the 1920s at the back of Ukrainian theaters. In this performance, the performance potential of many theater actors has been re-opened. Extraordinary, eccentric images were created by Y. Hirniak, M. Krushelnytskyi, V. Chistyakova and others.Yosyp Hirniak created a comedy image of Pu-Ba in this play. The main means of artistic expression in creating the image of Pu-Ba were dance and singing. To the exceptional versatility of his performing style, Yosyp Hirniak organically played a person from the East, recreated the inherent mentality, plasticity, and ceremonial behavior. Externally, Pu-Ba-Hirniak was tossed into a "clown in a kimono." The bright makeup of the actor expresses a cheerful mask, suitable for instant changes of facial expressions. Y. Hirniak's partner - M. Krushelnytsky, who in this performance created the image of the state executioner Ko-Ko, similarly resembled a clown. Actors could "get out of the image" and make fun of their own characters, and in these performing techniques the echo of the famous Vakhtangov's "Princess Turandot" was felt as a symbol of the accentuated theatricalization and game elements of the 1920s.The scientific novelty is the expansion of ideas about the processes of creating musical performances at the "Berezil" scene in the 1920s. The example of the "Mikado" operetta outlines the stylistic features of the entertainment genres of the time and describes the techniques of commedia dell'arte as the dominant meaning factors in the work.Conclusions. Taking into account Hirniak-Krushelnytskyi's cooperation in many performances in "Berezil", it should be emphasized that this bright duet was finally formed precisely in the "Mikado" performance. The phenomenon of their successful collaboration was a harmonious combination of comism, eccentricity and a subtle intuitive sense of the aesthetics of commedia dell'arte. ; Цель статьи — осуществить историографический анализ спектакля «Микадо» в 1927 году и осветить специфику приемов commedia dell'arte в практике актерского дуэта Йосипа Гирняка и Марьяна Крушельницкого.Методология исследования. Процессу исследования послужили аналитический (проанализированы предпосылки создания оперетты «Микадо» на сцене «Березиля»), историко-биографический (рассмотрены этапы формирования актерского дуэта Й. Гирняка и М. Крушельницкого) и сопоставимо-типологический (определены стилистические особенности березильской оперетты в контексте развития театрального искусства 1920-х гг.) методы.Научная новизна заключается в расширении представлений о процессе создания музыкальных спектаклей на сцене «Березиля» 1920- х гг. На примере оперетты «Микадо» обозначена специфика развлекательных жанров того времени и охарактеризованы приемы commedia dell'arte как доминантные факторы актерской работы Й. Гирняка и М. Крушельницкого в этом спектакле.Выводы. Принимая во внимание сотрудничество Гирняка и Крушельницкого в березильских спектаклях «Остались в дураках» (1924), «Золотопуз» (1926), «Король забавляется» (1927) стоит отметить, что этот яркий дуэт окончательно сформировался именно в спектакле «Микадо». Феномен их успешного тандема заключался в гармоничном сочетании комизма, эксцентрики, психологической глубины и тонкого интуитивного ощущения эстетики commedia dell'arte. ; Мета статті — здійснити історіографічний аналіз вистави «Мікадо» 1927 року та висвітлити специфіку прийомів commedia dell'arte у практиці акторського дуету Йосипа Гірняка та Мар'яна Крушельницького.Методологія дослідження. Процесові дослідження послугували аналітичний (проаналізовано передумови створення оперети «Мікадо» на кону «Березоля»), історико-біографічний (розглянуто етапи формування акторського дуету Й. Гірняка та М. Крушельницького) та зіставно-типологічний (визначено стилістичні особливості березільської оперети у контексті розвитку театрального мистецтва 1920-х рp.) методи.Наукова новизна полягає у розширенні уявлень про процес створення музичних вистав на кону «Березоля» 1920-х рp. На прикладі оперети «Мікадо» окреслено специфіку розважальних жанрів того часу та схарактеризовано прийоми commedia dell'arte як домінантні смислотворчі чинники акторської праці Й. Гірняка й М. Крушельницького у цій виставі.Висновки. Беручи до уваги співпрацю Гірняка та Крушельницького у березільських виставах «Пошились у дурні» (1924), «Золоте черево» (1926), «Король бавиться» (1927) тощо варто наголосити, що цей яскравий дует остаточно сформувався саме у виставі «Мікадо». Феномен їх успішної співпраці полягав у гармонійному поєднанні комізму, ексцентрики, психологічної глибини й інтуїтивного відчуття естетики commedia dell'arte