ЕСТЕТИКА НОНКОНФОРМІЗМУ В ДИЗАЙНІ СЦЕНІЧНОГО ПРОСТОРУ ДАНИЛА ЛІДЕРА (1965–1975 рр.)
AESTHETICS OF NON-CONFORMISM IN DESIGN OF STAGE SPACE BY DANIEL LIDER (1965–1975)

Summary/Abstract: The purpose of the article is to identify the specifics of the manifestation of non-conformism tendencies in the work of Danylo Lider, People's Artist of Ukraine, chief artist of the Ivan Franko National Academic Drama Theatre in Kyiv in 1965–1975. Research methodology. The article uses a typological method (to identify the peculiarities of non-conformism in accordance with the specifics of stage design); a functional and typological method, which helped to identify the specifics of non-conformism in D. Lider's plastic solutions; a method of art historical, figurative and stylistic, formal and stylistic analysis of the design of the stage space of performances developed by D. Lider in 1965-1975. Scientific novelty. Non-conformism as a method of artistic thinking in the context of the specifics of the design of theatrical art of Ukraine in the 1960s-1990s is studied. The specificity of the manifestation of non-conformist tendencies in the work of one of the leading Ukrainian theatre artists D. Lider is revealed. Based on the analysis of architectonic elements and features of the visual image of the stage space of the plays "Diary Page" by O. Korniichuk (directed by V. Lyzogub, 1965), "Yaroslav the Wise" by I. Kocherha (directed by B. Meshkis, 1970), "The Time of Yellow Leaves" by O. Kolomiiets (1973), "Hello, Pripiat!" by O. Levada (directed by S. Smiian, 1974) revealed the characteristic features of Danylo Lider's non-conformism. Conclusions. The non-conformism of national theatre artists, in particular D. Lider, has a number of specific features that distinguish it from non-conformism in literature and the visual arts. The artist expresses a huge ideological, spiritual and artistic protest by means of multidimentional metaphorisation. Using myths and the tendency of his own consciousness to deep philosophical mystification of reality, he creates amazing, fantastic worlds within a given stage space. A peculiar reaction to the limitations of positivist aesthetics and naturalistic tendencies of socialist realism in D. Lider's work was the play of metaphors and associations. Non-conformism in the design of D. Lider's stage art is manifested in a complex synthesis of the master's philosophical, ideologicall and aesthetic concepts with the actual searches for new artistic forms. Its characteristic features are: a tendency to an highly complex, symbolic portrayal of one's own ideas and impressions, to a sophisticated coding of artistic means; immersion in the spiritual world and unusual forms of expression of new psychological material obtained as a result of comprehending the literary source of the stage production; creation of a figurative and plastic structure of the performance that goes far beyond the dramatic material; destruction of the canons of traditional artistic design in the style of socialist realism in search of a new reality; emphasis on the nuances of the deep shades of human feelings.

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