СЦЕНІЧНА ЄДНІСТЬ ПЛАСТИЧНОЇ КОНЦЕПЦІЇ СЦЕНОГРАФІЇ Д. ЛІДЕРА ТА ТЕАТРАЛЬНОЇ РЕЖИСУРИ С. ДАНЧЕНКА
STAGE UNITY OF D. LIDER’S PLASTIC CONCEPT OF SCENOGRAPHY AND S. DANCHENKO’S THEATRE DIRECTION

Summary/Abstract: The purpose of the study is to highlight the stage unity of the plastic concept of D. Lider’s scenography and S. Danchenko’s theatre direction, to characterise the original concept of the image of the performances, their uniqueness of artistic solution. The research methodology is to apply the functional and typological method to consider the scenographic activity of D. Lider as an innovative form of artistic creativity in the context of the formation and development of the direction of effective scenography, as well as to assess its significance in the development of scenographic vocabulary of the Ivan Franko National Academic Drama Theatre. The art method is used to analyse the scenographic solution of the performances directed by S. Danchenko and to identify the main conditions and principles of scenographic solutions, compositional techniques and components of D. Lider’s scenography, as well as to determine their influence on the artistic image of the productions. An axiomatic method helped consider Danylo ider's worldview prerogatives in the context of the peculiarities of the formation of his philosophy and artistic and aesthetic position as a master of effective scenography. The novelty of the study. The article comprehensively examines the stage unity of the plastic concept of D. Lider’s scenography and S. Danchenko’s theatre direction in the context of the formation and development of the scenography of the Ivan Franko National Academic Drama Theatre. Conclusions. As a philosopher of theatre, D. Lider’s scenography is not guided by any prescribed rules, and it is impossible to judge it by means of a defining judgment, by imposing certain already known categories on his scenographic vocabulary. The scenery created by the master testifies to an innovative form of the sublime that allows for the acquisition of creative energy – D. Leader sought to overcome the dictates of sensual perception of reality in order to reflect the essential, hidden characteristics of existence. The associative connection and drawing parallels between the actual problems of the present and the problems of a literary work as the basis for deep philosophical and aesthetic reflections introduced by D. Lider is the basis of Ukrainian stage art of the twenty-first century.

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