Author(s): Roman Yesipenko / Language(s): Ukrainian
Issue: 1/2013
The dramaturgy of neighboring countries, or as it was officially termed in the period of studies, in the 1960s – the 1980s – the dramaturgy of the USSR nations, played a huge role in the development of the Ukrainian national theater. At the time when being severely censored by the authorities, Ukrainian dramatic literature experienced hard times, it was the writers from other republics constituting one unified state allowed the Ukrainian theater to achieve the greatest creative achievements, to , highlight a number of important social issues both of their present and earlier stages of history, and ultimately play a major role in shaping the social consciousness of the people. The intensified censorship can be justified by the fact that, that paying great attention to Ukraine, the party – state authorities especially fervently followed the observance of this official ideology: it is a well known fact that a number of problematic plays which enjoyed great success with the audience in other republics, Moscow, Leningrad, were banned in Ukrainian theaters. The issue of the relations between the national and the international at various stages of history present general interest today. But, as it often happens after a long stagnation, under the condition of being able to express different opinions today, in the process of a just struggle for the restoration of national dignity of peoples, some irresponsible politicians incite ethnic conflicts, discrediting internationalist ideas. Indeed, the noble principles of internationalism have been compromised by practical actions of the leading party-state beauraucracy, aimed at merging nations, which were mispresented as flourishing. However, when we discard everything which is non-pertinant to universal humanistic principles, there is no alternative to the idea of friendship. Today, in the search of other variants of solving the national issue, while deviating from the old dogmas, many a people are turning to the new authority, to little known in the Soviet times works by V. Vernadsky, P. Florensky, L. Gumilev and D. Likhachev and many others. And what of it? They assume the unity of all people of the world to be a law of nature. While walking along this path, we may wish to come down to the biblical times and remember internationalist statement of the apostle Paul that in the world there is neither Jew nor Greek, that all men are equal. As far as the theatrical art with its specifics is concerned, the process of mutual enrichment evolves more actively and is displayed more vividly in the plays of international dramaturgy. The need for reorganization measures in the Ukrainian theater was universally felt in the 1950s and when positive social and political changes took place there appeared an opportunity to revive the spiritual life. However, the state authorities were too slow to take an advantage of the situation. The first serious measures aimed at comprehensive development of theatrical art in Ukraine, were conducted only in the early sixties. It was then, when there was gained certain experience in organizational work that contributed to the rise of theater. By the way, the great importance of such organisational events in the domain of the ideal art level was mentioned by the researchers of the Russian and Byelorussian theaters. These measures eventually yielded positive effects, promoted Ukrainian theater to a new level, allowed a better use of all the dramatic achievements of other nations, and ultimately contributed to the development of Ukrainian national theater and increased its influence in shaping public consciousness. Of particular significance in the history of the Ukrainian theater there was the national review of the best performances of the 1970–1971 season. Needless to say that it was dedicated to the 50th anniversary of the country, and all without exception dramatic and musical theaters and youth theaters of Ukraine took part in it. They staged 113 play by playwrights from thirteen Soviet republics and three autonomous republics. This festival greatly enriched the repertoire in terms of content and genre. On the posters, apart from famous Russian writers, having been introduced earlier, there appeared new names such as: A. Makayonok, O. Ioseliani, Y. Drutse, M. Karima, R. Kauhvera and others. However, over a certain period of time, from the second half of the seventies such festivals were conducted in Ukraine every two – three years . Like many other activities these festivals were a sheer formality even those who were awarded prizes didn’t enjoy participating in them. And it is a pitty since a fair competition is a wonderful incentive for creative growth.
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