ТЕАТРАЛЬНА РЕЖИСУРА ПІТЕРА ХОЛЛА: СПЕЦИФІКА ХУДОЖНЬОЇ ІНТЕРПРЕТАЦІЇ ДРАМАТУРГІЇ В. ШЕКСПІРА
THEATRE DIRECTION OF PETER HALL: SPECIFICITY OF ARTISTIC INTERPRETATION OF W. SHAKESPEARE'S DRAMATURGY

Summary/Abstract: The purpose of the article is to reveal the peculiarities of the artistic interpretation of W. Shakespeare's drama by the British theatre director Peter Hall and to develop a periodisation of his interpretive strategies in the second half of the 20th century. Research methodology. The research is based on the achievements of the domestic school of theatre studies and the principles of study and analysis of the play, in relation to the historical and cultural context, as well as in relation to the worldview and individuality of the director. The research methodology is based on the traditions of domestic theatre and art studies and modern approaches that combine the methods of related humanitarian disciplines – cultural studies, philosophy, and aesthetics. A complex theatre analysis of the features of the artistic interpretation of W. Shakespeare's plays by P. Hall determines the logic of the research: Through the identification of the director's orientation of the drama, the formation of the principles of play theatre in the director's reading of W. Shakespeare's plays, to the definition of the aesthetic foundations of Peter Hall's direction. The bibliographical method, the method of art analysis, the stylistic method, the systematic method, and the method of comparative analysis are applied. The scientific novelty of the article lies in the fact that, for the first time, it attempts a comprehensive art analysis of the interpretive strategies of the British director Peter Hall in the context of W. Shakespeare's theatrical discourse of the second half of the 20th century (on the material of the performances “Coriolanus”, “War of the Roses”, “Henry VI”, and “Hamlet”); little known facts from the life and work of P. Hall were introduced into domestic scientific circulation, and an art analysis of the director's most resonant performances was carried out; for the first time, the periodisation of P. Hall's work is proposed, based on the analysis of his performances from the perspective of the given theme, the study of the specifics of the artistic interpretation of W. Shakespeare's drama and the evolution of the master's philosophical and aesthetic vision. Conclusions. The figure of Peter Hall is one of the most significant in the history of British theatre of the 20th and early 20th centuries. The famous theatre director changed the situation and, in many ways, determined the direction of the development of the British theatre by creating repertory troupes based mainly on the works of W. Shakespeare. Based on the art analysis of Peter Hall's work from the perspective of the given topic, the periodisation of his interpretive strategies was developed in accordance with the specifics of the artistic interpretation of W. Shakespeare's drama and the evolution of the director's philosophical and aesthetic vision in the second half of the 20th century. The first period, 1955–1959, is characterised by high creative activity and the ease with which the young director masters the theatrical language, the system of stage thinking of the English theatre of the 1940s–1950s, develops an author's handwriting, emphasising devotion to traditions; performances are distinguished by the delicacy of the reading of W. Shakespeare's drama, aesthetic perfection and the presence of meaningful and verified innovation (for instance, “Twelfth Night”, 1958). The second period, 1959–1968, is characterised by mastering and rethinking the problematics and poetics of W. Shakespeare's drama; in the performances of the 1960s, the aesthetics of the deromantic Brechtian style of P. Hall was formed; the emphasis in productions shifts to the problem of repetition of historical patterns, to the de-aestheticization of events and historical figures; the stylistics of interpretative thought and modern theatrical vocabulary receive a new development. The third period, 1968–1970s, is characterised by the desire to preserve the theatrical tradition from excessive conceptualisation of direction; the strengthening of the importance of protecting W. Shakespeare's drama from modernist interpretations and P. Hall's desire to convey to the viewer the full content of the world's masterpieces due to an in-depth study of the classical text. The fourth period, 1980–1990, marked by the creation and development of a new style of Shakespearean productions, caused by the rethinking of approaches to the figurative translation of classical drama into stage language in accordance with the trends of postmodernism.

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