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Еволюційні шляхи розвитку фортепіанного етюду в українській музиці XIX-XX століть

Author(s): Diana Gultsova / Language(s): Ukrainian Issue: 2/2020

The purpose of the article is to identify the poetic-intonational and genre specifics of Ukrainian piano etude XIX-XX centuries. in the context of the style searches of the mentioned period, as well as the general evolution of the genre. The methodology of the work is the intonational concept of music from the perspective of intonational-stylistic, etymological analysis inherited from B. Asafiev and his followers. The following approaches also proved to be essential for this work: analytic musicology; genre-style; interdisciplinary, giving the opportunity to attract concepts from other areas of knowledge-philosophy, art history, cultural studies, etc.; historical and cultural, allowing to identify the factors that contribute to the identification of spiritual-semantic and stylistic specificity of Ukrainian piano etude as an essential component of European instrumentalism of the XIX-XX centuries. The scientific novelty of the article is determined by its analytical perspective, which takes into account not only the identification of the genre-style specificity of a piano etude in Ukrainian music of the late XIX – first half of the ХХ century but also its inscription into the context of the general evolution of the genre. Conclusions. Ukrainian piano etude XIX-XX century – a significant contribution to the historical development of this genre. His samples in the heritage of V. Kosenko, B. Lyatoshinsky, A. Shtogarenko, and others demonstrate not only the stylistic signs of creativity of the authors mentioned but also the familiarity of the Ukrainian piano music with the conceptual and avant-garde typology of the etude, which was formed at the intersection of genre-style searches of European modern culture (neoclassicism, baroque, romanticism), the formation of the Ukrainian national instrumentalism and performing arts.

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ФЕНОМЕН ПРИДВОРНОЇ МАСКИ У ТВОРЧОСТІ АНГЛІЙСЬКОГО ПОЕТА І ДРАМАТУРГА БЕНДЖАМІНА ДЖОНСОНА

Author(s): Alla Sokolova / Language(s): Ukrainian Issue: 1/2020

The purpose of the study is to analyze the work of the English court playwright and poet B. Johnson, to identify the genre features and principles of dramaturgy in the structure of the musical-theatrical performances of Masques composed by B. Johnson. The research methodology assumes the unity of such methodological approaches as a system-historical and comparative analysis method. The system-historical method allows us to trace the main stages of the work of the playwright B. Johnson. The comparative method was applied to identify the genre features of B. Johnson's Masques and the basic principles of the genre's dramaturgy. Scientific novelty lies in an attempt to comprehend B. Johnson’s creative activity and determine the reasons for the flourishing of the Masques genre, which coincided with the period of B. Johnson’s work as a court playwright at the Stuart’s royal court. Conclusions. Thanks to the talent of B. Johnson, the Masque reaches its peak. It was revealed that the plots of Masques composed and staged on the White Hall stage by B. Johnson were associated with ancient themes, folklore and contemporary English plots. Medieval allegorism, characteristic of the early Tudor Masques in England, is being transformed into a form that is characterized by subtle poetry, intelligent dialogue, aristocratic dance and music, incorporating the best traditions of French and Italian musical culture. B. Johnson's Masques are complete, integral musical theatrical performances.

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Періодизація і метод історії театру: маркери

Author(s): Olexander Klekovkin / Language(s): Ukrainian Issue: 1/2020

The purpose of the article is to identify markers of research methods based on the analysis of periodizations suggested by the Ukrainian theater historians of the twentieth century, having analyzed the motives, which they were guided by, instead of the dates, which they relied on. Methodology: comparative analysis of Ukrainian theater history periodizations and identification of key terms in it, which serve as markers of theater research methods. Scientific novelty resides in the fact that the terms used by theater historians themselves are chosen to be the unit of the analysis of periodization principles, as an indirect marker of the research method. Conclusions: In the historiography of the Ukrainian theater, several types of periodizations are singled out as a marker of the research method: I. Publicistic: a) eponymous ("the theater before Kotlyarevsky", "the theater before Kropyvnytsky", etc.); b) canonical, aimed at creating a canon of the Ukrainian culture; c) "accumulative" (accumulation of "achievements" d) temporal accumulation of "positive features" includes periodizations on the basis of such terms as "old", "new", "newest". ІІ. Aesthetic (partially eponymous). IІІ. Cultural-historical: a) ethnocentric — the emphasis is on the inculturation of the theater and determination of its place in the national culture; b) cultural-historical with the addition of certain genre features. ІV. Problematic: identifying local historical plots and demythologization of events. The prospect of further exploration of the problem and the creation of objective periodization is to shift attention from biographies of eminent artists and their works to the features that structure the theatrical culture.

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Вплив графічних технік на розвиток образотворчого мистецтва і дизайну в Україні

Author(s): Elena Khramova-Baranova,Inna Yakovets / Language(s): Ukrainian Issue: 1/2020

The purpose of the article is to perform an art history analysis of some graphic techniques and their influence on the development of fine art and design in Ukraine in the twentieth century from the position of representation and popularization of Ukrainian culture, which will allow showing the prospects of graphic techniques in art. The methodology of the research is to use a concrete historical method to analyze the influence of graphic techniques and achievements in popularizing Ukrainian art, as well as using the method of comparative analysis and historical-cultural approach, which will help identify the main trends in the development of graphic techniques in the work of Ukrainian artists in the global context. The scientific novelty consists in an attempt to identify the main trends in the development of graphic techniques in the representation of Ukrainian culture and the work of Ukrainian artists in the 20th century, which is due to historical, social, and cultural processes. Conclusions. The development of graphic techniques is a significant contribution to the national fine arts and design, to the culture of Ukraine. It can be argued that graphic techniques have undergone significant changes since their inception. At the beginning of the XXI century, their technology becomes more complex and the texture of the print and the color solution becomes more complicated. Today, abstract, futuristic forms that are most characteristic of improvisational art are used, and contemporary artists continue to search for new tools and techniques for enriching graphic techniques. An analysis of the essence and representation of graphic techniques in the works of Ukrainian artists points to the interdependence of the long-standing cultural heritage and achievements of the early twentieth century, which helps the development of graphic techniques and should influence the visual arts and design in Ukraine.

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Production of high faience at the Pacykyvska faience factory during 1912–1939

Author(s): Olha Voldimirivna Shkolna / Language(s): English Issue: 1/2020

The purpose of the article. The goal is to outline the main creative achievements of the Patsykyvska faience factory. The methodology consists of the totality of the application of the historical-chronological approach, historical-cultural, axiological and art history methods, which allow you to review previously known information regarding the mentioned production. The scientific novelty consists in the addition and refinement of information regarding the activities of the outlined enterprise and the addition of newly revealed data regarding the owners of the Patsykyvska faience factory. Conclusions. Based on the latest information regarding the formation, development, and activities of the Patsykyvska faience factory, it was possible to verify previously known information on the start of production, which, judging by archival sources, has been operating since 1912. Local history studies of the village of Pidlissya, which, according to the new administrative-territorial division, covers Patsykyv’s former territories in the vast modern Ivano-Frankivsk region made it possible to supplement the information on the stages of reconstruction and modernization of the enterprise, previously unknown to the general public related to the wartime of 1914–1918. The identification of the latest archival data, photographs, and sights from various state and private collections of Ukraine and Poland over the past years made it possible to clarify the names of the production of different periods, which was originally called the Erst Galician Factory of Faience and Terracotta in Patsykyv near Stanislavov, and in the interwar period – Polish factory of faience «Patsykyv» near Stanislavіv.

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СЦЕНІЧНИЙ СИНТЕЗ МИСТЕЦТВ МОДЕРНУ

Author(s): Marina Soroka / Language(s): Ukrainian Issue: 2/2019

The purpose of the article is to determine the synthetic dimensions of modern culture as a particular communicative space. The methodology of the research is based on the application of methods of analysis of scientific literature, art-style analysis of works of fine arts to identify their subject-shaped series, and principles of form formation in the context of artistic communications. The scientific novelty is to find out the structure of synthetic trends of Art Nouveau style in its stage space. Conclusions. Art Nouveau style presents the subtle principles of stylism, which combined organism, ornamentalism. The harmony of style was more hypothetical than existing. In each work, one can see how harmoniously, disharmonious, and polyphonically the realities of the world of architecture, synthesis of arts, stage synthesis are combined. Thus, the modernist I. Stravinsky, O. Benoit, M. Vrubel, M. Roerich are not remakes that are mystified and transformed into a specific heroic epic. It is an authentic outburst of the spirit of breaking the classical culture. Art Nouveau is now emerging as a modeling system that actualizes the nostalgic scene. A. Tarkovsky, at one time, was very close to modern installations of culture (eternal juvenility and absolute spirituality), which is especially noticeable in his cinematic interpretation of S. Lem's Solaris. The director dreamed of some mystical power that exists outside of practice, outside the world, beyond individual choice, beyond the courage to be. The Art Nouveau style has a vast scene of world culture, in which its unique synthesis of the arts has formed. Theatricality is present in architecture, interior decoration, painting, graphics. Based on style invariance, all kinds of arts interacted in a shared communicative space and in separate stage ensembles, in particular opera, ballet art, etc.

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АФЕКТ В ТЕОРІЇ ТА ВИКОНАВСЬКІЙ ПРАКТИЦІ «STYLUS PHANTASTICUS» (НА ПРИКЛАДІ «ХРОМАТИЧНОЇ ФАНТАЗІЇ» Й. С. БАХА)

Author(s): Natalia Fomenko / Language(s): Ukrainian Issue: 2/2019

The purpose of the article is to discover the means of expressive and stylistically correct performing of Baroque pieces in "Fantasy style." Methodology: historical-stylistic, interpretative analysis, semantic, and etymological analysis of the musical text. Scientific novelty covered with current research views on the problems and features of musical rhetoric and the category of affect in particular. Conclusions. As a systemic category of Baroque aesthetics and musical thinking, affect determines not only the compositional and stylistic features of musical text but also the ways and means of its performing embodiment. The disclosure of the affect inherent in the composer in the sound idea of the work should not be based solely on the intuition of the interpreter; For the correct and artistically authentic embodiment of the affect, specific knowledge is needed that will provide the relevant choice of articulation, fingering, agogics and more. And for the correct articulation of musical-rhetorical figures, besides their own identification, "reading" by the performer in the musical text, it is essential to form each intonational figure independently, and therefore to convey to the listener the relation of motives between themselves and the place of each in a universal symbolic-sound continuum.

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АНДЕГРАУНД В УКРАЇНСЬКІЙ МУЗИЦІ НЕАКАДЕМІЧНОЇ ТРАДИЦІЇ

Author(s): Olga Beda / Language(s): Ukrainian Issue: 2/2019

The purpose of the article. The study considers underground music of a non-academic tradition in the context of the development of Ukrainian musical art in the Soviet and post-Soviet times. The methodology of the research involves the use of the historical-cultural method, which allowed to highlight the milestones of the Ukrainian underground non-academic music. The scientific novelty of the research consists in the fact that for the first time in the Ukrainian science the underground in the music of the non-academic tradition in its historical dynamics was considered, two types of underground music were defined and characterized – nonconformist and niche. Conclusions. Underground as “underground” art in different types of society has different socio-cultural functions. The totalitarian underground is both elitist and mass art, which has a pronounced nonconformist character, and its content is aimed at overcoming the restriction of human rights and freedoms, as well as the creative will of the artist. In open societies, the underground becomes peculiar self-expression of the creative elite and is aimed at a narrow audience; today, it has a pronounced niche character. The creativity of the Ukrainian jazz groups "Jungleman," "4.A.Y.K.A.", "Luk" is a representative of the underground of the post-Soviet era, which is characterized by the elitist nature of music and the lack of promotion adopted in the show business.

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ОГЛЯД НАУКОВОЇ ЛІТЕРАТУРИ З ПРОБЛЕМ СТАНОВЛЕННЯ ПРОФЕСІЙНОЇ КРИМСЬКОТАТАРСЬКОЇ МУЗИКИ

Author(s): Usein Bekirov / Language(s): Ukrainian Issue: 2/2019

Purpose of Article is to analyze the state of scientific literature of the 20 – the beginning of the 21 century on the problems of professional Crimean Tatar music. Methodology. The analytical, historical, and comparative methods were used. Scientific novelty. For the first time in scientific research, the history of the composer school of the Crimean Tatar people is analyzed. It was emphasized creative figures who build professional Crimean Tatar music based on the folk (song and dance) tradition. Conclusions. The archaeologist and anthropologist G. Bonch-Osmolovsky stood in the origins of the study of the Crimean Tatar culture, including music, in the 20-century directions. One of the original features of Crimean Tatar academic music is its philosophical character, as most of the Crimean Tatar composers (E. Emir) are not only professional musicians and artists in the broad sense of the word, but also true philosophers, which, of course, influences their creativity, elevating it to the highest stage of emotion, spirituality, depth of imagined images and ideas. The reason for this, in our opinion, is the complex history of these people, which required them of the spirit and willpower, the ability to reflect on their lives and events in it, and move forward without losing hope. That is why we find uncommon wisdom, philosophy, and depth of ideas in the works of Crimean Tatar composers. The second feature is that music at the professional level during the last and present century was created not only by composers but by unique personalities that combine different types of activity (Ya. Sherfedinov - ethnographer, musician, poet, and folklorist; A. Refatov - musician, folklorist, teacher, and researcher; N. Amedov - composer, performer; E. Emir - musician, teacher; E. Nalbandov - composer, researcher).

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БАЛЕТНЕ МИСТЕЦТВО В УМОВАХ СОЦІОКУЛЬТУРНИХ ТРАНСФОРМАЦІЙ ПЕРІОДУ ХРУЩОВСЬКОЇ «ВІДЛИГИ»

Author(s): Ekateryna Lukyanenko / Language(s): Ukrainian Issue: 2/2019

The purpose of the article is to determine the development trends of Ukrainian ballet art following the specifics of the transformation processes of the sociocultural space of 1953–1964. Methodology. Given the multidimensional nature of the problems, the study has a complex interdisciplinary nature. The historical-cultural method was applied, which helped in the study of the historical dynamics of Ukrainian ballet art in the context of the specifics of the then sociocultural space; typological method (to determine the factors of influence on the process of reforming the ballet theater and identify its features in the work of domestic choreographers); the method of the stylistic approach (to study the specifics of the transformation of the principles and methods of choreography), as well as the method of theoretical generalization (to summarize the study). Scientific novelty. The activity of the collectives of Ukrainian ballet theaters of the Khrushchev "thaw" period was examined in accordance with the specifics of the progressive and conservative trends in the regulation of cultural processes in the country; the features of the evolution of Ukrainian ballet art are analyzed in the context of the issues identified at the All-Union Conference on the Development of Soviet Choreography (1960); The specificity and influence of transformation processes on the staging activities of domestic choreographers is determined. Conclusions. The radical internal political changes that took place in the Soviet Union after the election of the first secretary of the Central Committee of the CPSU N. Khrushchev contributed to a large-scale reform of Ukrainian ballet art. Based on art history analysis, it was determined that the leading trends in the work of choreographers of Ukrainian ballet theaters A. Andreev, V. Boychenka, V. Vronsky, S. Drechin, M. Zaslavsky, R. Vizirenko-Klyavin, M. Koryagin, M. Tregubov, A Shekers and others were: the search for innovative forms and means of choreographic expression; desire for conditional symbolism; development of innovative choreographic language of Ukrainian ballet art through the synthesis of elements of folklore and vocabulary of classical dance; integration of the principles of thematic development and an end-to-end system of choreographic keynotes; modernization of classical ballets by rethinking famous stories; a harmonious combination of the achievements of dramatic ballet models with innovative means of revealing poetic musical and choreographic images, etc.

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УКРАЇНСЬКИЙ АМАТОРСЬКИЙ ТЕАТР У КУЛЬТУРНИХ ПРОЦЕСАХ ХХ – ХХІ СТОЛІТТЯ

Author(s): Svitlana Sobolevska / Language(s): Ukrainian Issue: 2/2019

The purpose of the article is to consider the phenomenon of amateur theatrical art and its influence on the spiritual life of society and the worldview of people not only in the present cultural environment, but also in the cultural and social processes of the 20th century, which became the basis for the development and formation of the modern Ukrainian amateur theater. The methodology of the research includes a historical method for systematizing the material, a method of analysis used to compare the state of Ukrainian amateur theaters during the periods of complex social transformations and their impact on cultural processes during the XX and the beginning of the XXI century, and the method of synthesis for the synthesis and summing up of the research. Scientific novelty is that the research of the Ukrainian amateur theater and its influence on the spiritual life and the worldview of people in the context of the cultural development process in the time frame of the end of the XX - the beginning of the XXI century are based on the historical experience and cultural traditions of Ukrainian theatrical art. Conclusions. The amateur theater creates conditions for unity and rapprochement of people; its research must be carried out after having grasped the historical processes and the socio-cultural environment in which the cultural life of Ukrainians was formed because the theatrical art of Ukraine is based on rich historical experience and national cultural traditions.

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СТАРОВИННИЙ ТЕАТР ТА МУЗИЧНЕ МИСТЕЦТВО КИТАЮ

Author(s): Marina Olegovna Antoshko / Language(s): Ukrainian Issue: 37/2020

The purpose of the article is to study the problem of ancient Chinese theater and the influence of musical art on the ancient traditions of the country. The methodology of the study is to use historical and biographical methods in the study of this topic. The scientific novelty of the article is to study the feasibility of the problem of the worldview of ancient China, based on the musical traditions and theatrical life of the country. The historical names of the philosophers who influenced the development of the system of music and education, which affected the cultural traditions of the countries of the East, were distinguished. Conclusions. Based on a study of ancient theater and music, the country has identified a distinctive Chinese culture. The problem of studying the worldview system of ancient China as the basis for the emergence of the musical tradition has interested many scholars because it influenced the cultural life of the countries of the East. Philosophical views influenced both theatrical life and the musical art of the country. Thus, China's cultural traditions were based on ancient Chinese philosophies: Confucianism, Taoism, and Buddhism. Special attention was paid to the issue of education, in particular aesthetics, in China. Music education has played an important role in China's culture. Confucius emphasizes the comprehensive development of man while emphasizing the morality of the individual. Therefore, China's theatrical art is distinguished by cultural unity and originality. Musical load played a big role. The Chinese worldview is based on a vision of nature as a living organism. The first sprouts of musical and theatrical art emerge. XII-XIII centuries marked the birth of Chinese opera. The Chinese theater was in full understanding of the people. The musical side of the classical theater is characterized by an unbroken unity of sound, words, and dance. Circle of images, moods, techniques of acting is characterized by a certain type of melody, rhythm, composition of the orchestra. The topics of the ancient theater and Chinese art are interesting and not fully understood, which necessitates further development in the study of this issue.

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АРХЕОГРАФІЧНИЙ АНАЛІЗ РУКОПИСНИХ ЗБІРНИКІВ ОКТОЇХІВ XVI СТ. З КОЛЕКЦІЇ ІНСТИТУТУ РУКОПИСУ НБУВ

Author(s): Mykola Pidhorbunskyi / Language(s): Ukrainian Issue: 37/2020

The purpose of the article is to analyze the manuscript collections of Oktoikhov in the collection of the Institute of Manuscript of the Vernadsky National Library Of Ukraine; conducting an archaeographic description and identifying characteristic features in the songbooks of the Ukrainian Orthodox Church in the 16th century. The research methodology includes system analysis, which made it possible to analyze and explore handwritten singing collections. To determine the temporal and quantitative characteristics of the analyzed material, statistical and chronological methods were adopted. Scientific novelty – is to clarify the differences: in the design of the text in manuscript collections, in the use of ekfonetics and neume notations, and the gradual modernization of the Ukrainian half-order. Conclusions. The archaeographic description of the manuscript Oktoikhs revealed common features in the design of ancient collections. The texts of manuscript collections are written by the Ukrainian half-mouth. Each section begins with a heading written in the cinnabaric script, and the end of each section has a certain design in the form of a colophon or a small graphic image. And also certain differences were revealed: in the design of liturgical texts and the gradual modernization of the Ukrainian half-order. Ekfonetics and neume notations in the singing manuscript collections of Oktoikha of the 16th century has a certain variability. Church hierarchs did not consider this a violation of certain norms, but any variability in relation to the texts of worship was unacceptable since they were canonical. The unresolved issue is the decoding of ekfonetics and neume notations, which accompanies the texts of the songbooks. It is possible to solve this problem with the active cooperation of Ukrainian medieval scholars with scientists from Western European countries.

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ХОРОВА ТВОРЧІСТЬ ДЖОАККІНО РОССІНІ В КОНТЕКСТІ ДУХОВНО-РЕЛІГІЙНИХ ШУКАНЬ ІТАЛІЙСЬКОЇ КУЛЬТУРИ ЕПОХИ РІСОРДЖИМЕНТО (НА ПРИКЛАДІ STABAT MATER)

Author(s): Anzhelika Anatoliyivna Tatarnikova / Language(s): Ukrainian Issue: 37/2020

The purpose of the article is to identify the poetic and intonational features of the choral works of G. Rossini, including Stabat Mater, in the context of the specifics of the existence of spiritual genres in the cultural and historical realities of Risorgimento. The methodology of the work is based on the intonation concept of music from the perspective of stylistic analysis, as well as on interdisciplinary and historical-cultural approaches that allow revealing the spiritual-semantic and poetical-intonational features of Stabat Mater G. Rossini in line with Italian culture of the first half of the 19th century. The scientific novelty of the work lies in the fact that for the first time in cultural studies and art studies, attention is focused not only on the genre-style evolution of the composer's work but also on the idea of the spiritual unity of the nation, which is essential for his time, based on the principles of restoring Christian traditions and sacred-ethical function musical art. Conclusions. Comprehension of the multilevel quality of the Stabat mater, within the framework of which the idea of suffering on the cross and its inner empathy comprehension becomes not only a guarantee of a person's spiritual transformation but also an anticipation of the image of Divine glory as one of the defining ones in the Christian worldview. The indicated semantic subtext of G. Rossini's work reveals its correlation not only with the deep traditions of Italian choral music but also with the spiritual attitudes of the Risorgimento and European romanticism in general.

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ІСТОРИЧНІ КОРЕНІ УКРАЇНСЬКОГО РОМАНСУ У ВИЗНАЧЕННІ ВИКОНАВСЬКИХ ПРИНЦИПІВ ЙОГО ІНТЕРПРЕТАЦІЇ

Author(s): Lai Yuege / Language(s): Ukrainian Issue: 37/2020

The purpose given work is a history argumentation of the "entering" of genre genetic Spanish romance in Ukrainian artistic world with his forming on wave of the biedermeier and solo chamber vocal in him, inheriting traditions to have music of aristocracies of the Ukraine and national song cultures as a whole on her actual social-political directivity. Methdological base of the work forms intonation approach of the school B. Asafiev in Ukraine, with special separation genre-сstyle cоmparison and hermeneutics forshortening of the last, as this bequeathing great G.Adler, which directed studies Asafiev, as well as it was perceived and built in system music history hermeneutics in works Liu Binjang, E.Markova and others. Scientific novelty of the work is determined that that for the first time in Ukrainian and Chinese musicology musical history hermeneutic is attracted for explanation of the romance phenomenon in Ukrainian music and straightening to concepts madrigal type of Ukrainian romance as independent culture of the expression in composer and in performance practical person. For the first time in specified forshortening appear the tumblings from Ukrainian lyrical chant to romance type and presence in it practical persons of the spiritual singing, honoure biedermeier and generation of T. Shevchenko, formed poem-romance preference in compositions and in performance art. The findings. Ukrainian romance as genre quality was defined in chronologies of his shaping from XVIII to XIX cl. on intersection spiritual lyric poets edging and European-actual " spanisms", which were historically brought forth with the end XVIII on the first half XIX centuries, saving early-operatic performance installation, going from madrigal border position of spiritual and worldly in art. Border situation of Russian and Ukrainian romances is determined chant headwaters that and the other, but with special accentuation of instructivity and philosophical contemplation in Ukrainian romance, firmly saved the song-mаdrigal basis its lyric poets. Essential for Ukraine poem - admiring – orientation of romance figurativeness, inspired poem shall adjust of the poetries T.Shevchenko, culled and in heritage of Ossian, and in irish-briton headwaters to monastic poetry, supplied in due course art of the itinerant players on a kind of lute – bandore-players in parallel and in continuation creative activity bards-felleds. Accordingly, Ukrainian romance contains mainly philosophical-inctructive hymn motives, which concentrate the facility of expressiveness in riverbed self-significant vocal type and has not that of autonomy to song-madrigal type, which characterizes other national romance layers creative activity. For Ukrainian romance lyric poets specifically significant line romance-elegies and corresponding to mental mindset lyrics lachrymal penitent faith that dictates the corresponding to performance skills of acceptability from church singing traditions and spiritual forshortening tragic amorous lyric poets madrigal.

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ПРОБЛЕМА СПРИЙНЯТТЯ «АКТУАЛЬНОГО» ТВОРУ У КОНТЕКСТІ ПАНМОДЕРНІСТСЬКОЇ ТЕОРІЇ «ДЕГУМАНІЗАЦІЇ МИСТЕЦТВА» (НА ПРИКЛАДІ «САЛОМЕЇ» ОСКАРА УАЙЛЬДА)

Author(s): Nataly Vladimirova,Marina Grynyshyna / Language(s): Ukrainian Issue: 37/2020

Purpose of the article is to outline “actual” artwork’s perception problems after the example of Oscar Wilde “Salome” literary and stage history in 1890 – 1900ths, using as a historical-&-culturology studies’ objectification mechanism basic theses of Jose Ortega y Gasset “dehumanization of art” panmodernistic theory. The methodology presupposed multidiscipline approach – – simultaneous implementing of the sociological and historical-&-culturology methods with the elements of the hermeneutics and structural analytics. The scientific novelty of the study means that for the first time stage interpretations of the early European Modern emblematic play have been analyzed, leaning for the basic principles of the panmodernistic theory, hitherto popular in the worldwide culturology and fine arts research quarters. Conclusions. “Actual” artwork’s perception by the literary-&-stage product consumer is an important part of each epoch historical segment of the dramatic-&-theatre discourse. The dramatic destiny of Oscar Wilde one-act tragedy “Salome” and its interpretations in the European theaters of the late 19th – early 20th century helped to display the main point of the problem –– the contradiction between the realistic-&-romantic art, preferred by the audiences and art critics of those days, to early modernistic creative works, needed another communicative format for its adequate perception. Step-by-step, but evident changes of the esthetic paradigms and artistic systems, characterizing the Ukrainian theatre process from 1990ths, actualize the extrapolation of the designated problematics to the nowadays theatrical reality.

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Renata Tanczuk (Editor) und Slawomir Wieczorek: Sounds of War and Peace. Soundscapes of European Cities in 1945

Author(s): Daniel Morat / Language(s): German Issue: 3/2020

Review of: Daniel Morat - Sounds of War and Peace. Soundscapes of European Cities in 1945. Hrsg. von Renata Tańczuk und Sławomir Wieczorek. (Eastern European Studies in Musicology, Bd. 10.) Peter Lang. Bern u. a. 2018. 268 S., 29 Ill. ISBN 978-3-631-75336-1. (€ 59,95.)

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Protagonisti izvedbi u komadima hrvatske drame na mostarskim scenama u međuratnom razdoblju (1918.-1941.)

Author(s): Maja Lasić,Srđan Vukadinović / Language(s): Croatian Issue: 14/2018

Consideration of the implementation of Croatian drama in the theater life of Mostar in the period between 1918 and 1941 includes the existence of the theater in three national legal framework. One is the Kingdom of SCS, Kingdom of Yugoslavia, second, and third Littoral Banovina, that Banovina Croatia. Theater Life in the mentioned period, the Mostar scenes related to the operation of amateur theater groups. Of especial interest were the Mostar drama amateurs, in the respective period, occurs for by Peter Pecia Petrovich, of which 16 pieces is staged. Performed the works by this author in the production of Croatian singing society “Hrvoje” from Mostar, and Yugoslav teachers, then RKUD a “Abrasevich”, but Muslim society “Gajret ‘and Workers’ amateur section of Mostar. What is interesting is that the idea of Yugoslavia caused the formation of the Kingdom of Yugoslavia, and in this kind of engagement has a specific and significant presence, as the works are performed Pecia companies and amateur troupes that represent almost all the peoples that exist in Mostar. In addition Peter Petrovich Pecia play and Milan Ogrizovich, Milan Begovich, Mladen Sirola, Josip Freudenreich, Ivo Vojnovich, and others. The period between the two world wars marked a continuity in quantity apparition Croatian drama by amateur theater groups who followed serious efforts to extend on both qualitatively raised to a higher level.

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Cultural Policy and Memory of the Fighters of the People's Liberation War: The Central Role of the Army in Political Legitimation of the New Political Structure

Author(s): Marta M. Vukotić Lazar,Olivera S. Marković Savić / Language(s): English Issue: 3/2020

The fighters of the People's Liberation War (PLW) enjoyed the social prestige and the monuments of the killed fighters served the role of the ideological interests of the ruling class at the time. The aim of this paper is to show the link between the alive social actors and the chosen dead ones (fighters of the PLW, partisans) through the use of the anthropological anxiety of the cessation of life through metaphorical immortality and eternal memory. Essentially, this was the illusion for ideological foundation, special thematic and ideological orientation of sculptures within the public space. Via symbolic contents, such as monuments in this case, death is shown as the transition, that is, new beginning of life and not its end. Active involvement of a number of artists from all parts of former Yugoslavia within the units of the Partisan army in the PLW is the phenomenon which unequivocally testifies about the link of their political commitment and artistic creation, which also got particularly strong momentum immediately after the Liberation. The most important social task in the Socialist Federal Republic of Yugoslavia (SFRY) was nurturing of the revolutionary tradition, especially seen in the erection of memorials, then in (re)naming of the towns with Tito's name or the names of the local heroes, as well as streets, schools, factories, but also in organizing marches to places where the famous battles and Partisan sessions during the PLW occurred, etc. This paper, among other things, deals with extremely fruitful production of the sculptors in the liberated country, especially from the aspect of extensive social orders, which at the same time encouraged and enabled fast and diverse development of the public monuments within urban areas on the ground of the whole former Yugoslavia, whose modus operandi was reshaping of the political and ideological map of The New Yugoslavia and ideological and political battle with "relapses of the past".

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Luxurious Cinema Palaces in the Roaring Twenties and the Twenty-First Century: Critical Analyses of Movie Theatres by Siegfried Kracauer and Their Relevance Today

Author(s): Viola Rühse / Language(s): English Issue: 10/2020

Impressive cinema palaces with exterior facades illuminated appealingly at night were significant for the big city life of the roaring twenties. The film screenings in the prestigious buildings were framed by a diverse supporting programme. Siegfried Kracauer dealt critically with the formative tendency towards theatricality in the new large cinema buildings such as the Gloria-Palast in Berlin in 1926. He also discussed the supporting programme and the aspect of distraction in the context of modern mass and leisure culture in a progressive and extraordinary way. Over the past decade, luxury cinemas have been enjoying a revival. In order to examine today’s high-end boutique movie theatres, Siegfried Kracauerʼs thoughts on large cinemas in the “roaring twenties” in Berlin provide critical impulses. In the first part of my paper, two important texts by Kracauer are analysed. In contrast to previous research, Kracauer’s arguments are also compared in greater detail with those by contemporary progressive critics not only in Germany but also in other countries, such as Joseph Roth, Kurt Pinthus, Fritz Olimsky, Kenneth Macpherson, Harry Alan Potamkin and Philip Morton Shand, among others. This also reveals the special nature, quality, and depth of Kracauer’s essays. An analysis of modern luxury movie theatres inspired by Kracauer’s train of thought follows in the second part of this paper.

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