ОСОБЛИВОСТІ СТАНОВЛЕННЯ ТЕАТРАЛЬНОЇ КУЛЬТУРИ ПІВНІЧНОГО ПРИАЗОВ’Я У XIX ст.

Author(s): Olga Demidko / Language(s): Ukrainian / Issue: 4/2015

The article deals with the features of theatre culture formation in North Priazovye in 19th century. The theatrical life of North Priazovye has not been investigated yet as an original art phenomenon, and therefore, it demands the detailed studying. The main purpose of the article is to research the features of formation of North Priazovye basing on examples of theatres of Mariupol and Berdyansk during XIX c. Besides that point, one more our task is also to analyze the repertoire, the profit and contribution of guest touring troupes, the degree of interest and attendance of the theatre in Mariupol and Berdyansk. The information was collected from literature, newspapers, playbills and funds of local lore museums.The study showed that the difficult conditions of social and economic life of the Ukrainian people affected on the cultural development of North Priazovye during XIX century. For a long time, there wasn’t any stationary theatre in the region. At the beginning of the XIX century, the presence of guest touring troupes has become the significant factor of the formation of theatrical culture in Mariupol and Berdyansk. The first guest touring theatre has appeared with lots of professional actors in Berdyansk, 1845. And in Mariupol the first theatre performance was presented to see it in 1847. It is necessary to emphasize that the theatre troupes from other cities have become to show up more and more often in the region. For several years, the theatre has become the centre of culture of citizens’ life in Mariupol. One Mariupol merchant, N. Popov, opened his own theatre accommodation, which could make profit up to 300 rubles.The process of opening the theatre in Berdyansk was an important part for the development of the cultural area of the region. The building of the Berdyansk theatre was built in the best architectural traditions. On the opening day, the theatre was filled with spectators. However, the performance of the troupe’s ensemble and theatre’s orchestra were quite weak. Soon, theatre business of Berdyansk considerably was improved due to the activity of Mr. Markov, new impresario. The prevailing performances in theatres’ repertoire of North Priazovye were Russian ones. The audience of Mariupol could watch genius works written by N.Gogol, A.Griboedov, A.Pisemsky, A.Ostrovsky and also plays created by W.Shakespeare and F.Schiller. The charity activity of Berdyansk theatre workers developed actively. However, quite insignificant part of funds were sent to poor and other was spent on various devices of amateur rehearsals, music, scenery and other theatrical accessories. It was connected with the fact, that the work of theatres was constructed on public starts. They rarely could get a salary. Ordinal performances didn’t raise but the third part of the money, which were brought by charitable performances.In 1878, V. Shapovalov created the first professional troupe in Mariupol. It consisted of many quite talented actors, who worked in that theatre cast troupe.A new theatrical season of 1887 in Berdyansk began with the problems connected with public. The audiences indifferently behaved to the theatre, theatricals were several times put aside in connection with the shortage of funds.At the same time the Mariupol impresario, V. Shapovalov, continued to make enormous efforts for the construction of own theatre. Despite financial complications, due to persistent labor in 1887, V. Shapovalov realized his dream into reality – he constructed theatre and called it as "concerto hall".If there was a high level of attendance observed in Mariupol, then in Berdyansk impresarios and artists quite often grumbled on bad collections, indifference of public to the theatre or cooling to the art. If there was a high level of attendance of theatre in Mariupol, then in Berdyansk often complained about indifference of public and bad attendance.Special place in theatrical life of Mariupol at the end XIX of century occupied the Ukrainian musically-dramatic theatre. Habitants of city due to the guest performances of great masters of the Ukrainian stage as M. Kropivnitski, P. Saksaganski, I. Karpenko-Kary, and M. Sadouskaya-Barilotti had the opportunity to become familiar with national theatrical dramatic art. V. Shapovalov managed a theatre in Mariupol during eight years and made everything’s possible for development and success of theatrical business of city.The study showed that the leading types of dramatic art in a region were musical (opera, vaudeville, musical drama and comedy) and dramatic (tragedy, comedy, drama). The results of the study showed that the features of initial period of activity of theatrical establishments in Mariupol and Berdyansk became: permanent presence of touring troupes in the region, musical and entertaining direction of many theatricals, raising of theatricals of the Ukrainian, Russian and foreign classics, development of the amateur motion and active charity activity of actors.

Особливості творчої взаємодії українського музично-драматичного театру з етнічними театрами національних меншин Наддніпрянської України: кінець XIX - початок XX століття

Author(s): Irina Mykolayivna Yan / Language(s): Ukrainian / Issue: 2/2017

The purpose of work. The article considers the features of the creative interaction of the Ukrainian music and drama theatre with ethnic theaters of national minorities of the over-Dnieper Ukraine in the context of sociocultural processes of late XIX - beginning XX century. The research methodology consists in the use of historical-cultural, comparative methods and art techniques, which provide an opportunity to explore the ideological and aesthetic content of the creative activity of ethnic theaters and to analyze the genre-style palette of the repertoire. The scientific novelty of the work lies in the analysis of cultural and artistic connections of Ukrainian music and drama theatre with ethnic theaters of national minorities of the over-Dnieper Ukraine, justification of their nation-forming, ethnic-consolidating and ethnic-creating role in the processes of the nation creation. Conclusions. It was concluded, that despite state censorship and harassment, creative activity of outstanding Ukrainian, Jewish, and Polish theatrical figures contributed to the fact that the ethno-national theatre in Ukraine became an aesthetic source of national spirit, a vivid historical and cultural phenomenon and a important factor in ethno cultural identification.

Особливості творчої діяльності Полтавського академічного обласного українського музично- драматичного театру ім. М. Гоголя (1936-1950 рр.)

Author(s): Yuriy Zlobin / Language(s): Ukrainian / Issue: 32/2017

The research examines the activities of the Poltava Regional Academic Ukrainian Gogol Theater of Musical Drama in 1936-1950 years of the twentieth century, the formation of the creative team and repertoire in pre-war years, the years of the Second world war (1941-1944), and the repertoire policy in the first postwar season in front of the face of increasing ideological pressure. Due to the fragmented nature o f the existing historical and artistic works, the aim of the paper is a cultural study of musical drama theater in Poltava in 1936-1950.

Особливості творчої і педагогічної діяльності Леоніда Михайловича Осики

Author(s): Oleksandr V. Bezruchok / Language(s): Ukrainian / Issue: 2/2010

The article investigates the specific of pedagogical activity of the famous Ukrainian film director Leonid Osyka (1940–2001). The author reconstructs the process of Leonid Osyka’s formation as a pedagogue and an artist, making a deep analysis of a wide variety of sources. The researcher has defined the factors that had influenced formation of Osyka’s pedagogical views, as well as a structure and the peculiarities of functioning of the cinema faculty of Ivan Karpenenko-Kariy’s Kyiv institute of theatrical arts institutions where an artist taught, presented the list of his students.

Особливості тембрового колориту фортепіанної музики Чу Ванхуа (на матеріалі концерту для фортепіано з оркестром «Жовта ріка»)

Author(s): Fan Lu / Language(s): Ukrainian / Issue: 31/2017

The article reveals the peculiarities of timbral color in piano music by Chu Wanhua taking for an example the «Yellow River» Piano Concerto – the main work of the Chinese piano music of the twentieth century, where a brilliantly original creative talent of the composer was fully realized. Methodology. The research methodology is based on the principles of holistic analysis of musical composition, using elements of style and performance analysis. The comparative method reveals the relationship between the national musical tradition and style specifics of the Chu Wanhua music. Scientific Novelty. The scientific novelty of this study lies in examination of the timbral color in the piano concerto «Yellow River» in the light of its connection with the reception of Chinese folklore. Conclusions. The piano concerto «Yellow River» shows a typical type of interaction of modal, rhythmic and textural organization of sound material, which determines the individual timbre color of Chu Wanhua’s music. The fundamental basis on the folk sources leads to the genre specificity of creative statement and the poliphonization of piano texture and defines the unique, national piano sound image.

ОСОБЛИВОСТІ ТЕХНІКИ ВИКОНАННЯ КОНКУРСНОГО БАЛЬНОГО ТАНЦЮ АМЕРИКАНСЬКОГО СТИЛЮ

Author(s): Miroslav Evgenovich Keba / Language(s): Ukrainian / Issue: 33/2018

The purpose of the article is to highlight the peculiarities of American Smooth and American Rhythm ballroom dance formation and techniques, the activities of the United Ballroom Dance System. The methodology of the study consists of the principles of objectivity, historicism, multifactor, systematicity, complexity, and pluralism; and to achieve the goal methods used: problem-chronological, concrete-historical, statistical, descriptive, logical-analytical. Scientific novelty. The peculiarities of the process of formation and standardization of ballroom dances American Smooth and American Rhythm are considered; Characterized by common and distinctive features of performance techniques, rates and rhythms; analyzed the main provisions of competitive competitions and championships, according to the requirements of the National Dance Board of America.

Особливості формування національної самосвідомості аматорів засобами українського народного танцю

Author(s): Sergey Robotko / Language(s): Ukrainian / Issue: 1/2012

The article examines approaches of the domestic and foreign scientists to determining the sense of national identity, its structure is determined, by the peculiarities of the formation of the national identity of amateurs by means of the Ukrainian folk dance.

Особливості хореографічної культури країн Латинської Америки - Венесуели та Колумбії

Author(s): Olga Yatsenko / Language(s): Ukrainian / Issue: 32/2017

The paper aims to provide analysis of folk choreography art of Venezuela and Columbia as well as data arrangements for folk dance of these Latin American countries in the modern epoch. Research methodology consists in the application of historical and cultural, analytical methods that allows reviewing the characteristics of the folk dance of Venezuela and Columbia, depending on the extent of the respective impact of various cultures — Indian, African and European. Scientific novelty means clarification for mutual influence and convergence of the folk choreography art of Venezuela and Columbia as well as the determination of features of the most popular dances which nowadays may be seen on the professional stage, — joropo and cumbia.

Останній період творчої і педагогічної діяльності Віктора Довбищенка (1945–1953 рр.)

Author(s): Oleksandr Viktorovich Bezruchko / Language(s): Ukrainian / Issue: 1/2010

The article investigates the last period of pedagogical activity of the famous Ukrainian theater and film director, teacher Victor Dovbyshenko (1910-1953) in a context of the development of art education in Ukraine. The author reconstructs the process of Victor S. Dovbyshenko’s formation as a pedagogue and an artist, making a deep analysis of a wide variety of sources and involving previously unknown archival sources in the academic discourse. The researcher has defined the factors that had influenced formation of Dovbyshenko’s pedagogical views, as well as a structure and the peculiarities of functioning of the Ukrainian artistic institutions where an artist taught.

Остро филмско око

Author(s): Živko Andrevski / Language(s): Macedonian / Issue: 24/2002

Анализите покажуваат дека младите во Република Македонија имаат високоразвиена филмска култура. Во однос на нивниот општ потенцијал – образовани, интелигентни, љубопитни, комуникативни – тоа е сосема природно и не претставува никакво изненадување

Осягнення драматургії народної пісні як умова розвитку артистизму виконавця

Author(s): Vanda Drinevskaya / Language(s): Ukrainian / Issue: 10/2018

Purpose of the article is analysis and understanding the connection between the comprehension of folk vocally-stage dramaturgy and the development of performer’s artistry. The methodology of the investigation is based on the principle of systematic and also on the method of art-comparative analysis for revealing a dialectical connection between the mutual influence of performer’s artistry and Ukrainian song dramaturgy. Scientific novelty concludes in opening the fact that while understanding the song dramaturgy, a vocalist improves the adequacy of the perception of artistic information, aspiration of creative self-expression and his musical performance skills, forms a “competent dramaturgical component” which correlates with vocally- performing artistry. Conclusions. It was established, while working under the dramaturgy, vocalist mobilizes and builds artistic potential, works out own approach to the scenic embodiment of tragic and heroic characters in lyrical-epic forms, which requires, firstly, a methodology of scenic perception (art-scenic thinking) and applications some methods of affecting on a voice apparatus, and, secondly, applying art- therapeutic methods which expand the actor’s apparatus potential, relieve muscle and psychological tension, increase the level of readiness for the stage realization of the work.

От „декорация“ към „сценография“. Развитие и тенденции в българската сценография – развитие на понятието

Author(s): Albena Tagareva / Language(s): Bulgarian / Issue: 2/2015

The term ‘scenography’ in Bulgarian theatre has developed undergoing a transformation in its own right. It is this transformation that is central to this study. This paper seeks to examine the ways in which both theatre and critics have perceived this component of a production. Another main point of this study is the issue as to what has necessitated the switch from the popular until the mid-twentieth century term ‘theatrical scenery’ to the term ‘scenography’. The development of the terminology resulted from the changes in the understanding in Bulgaria since the mid-1920s onwards of the significance to a theatrical production of the space and its design. That was an interesting process related to the changing mindsets and generations in theatre. The paper seeks to analyse the major processes that have resulted in the changes in the terminology and the understanding of stage imagery. It is first of all done using the examples of key productions staged at the National Theatre in the period between the 1920s and the early 1960s, where the periodization is tailored to the development of the term. The production designers, who have worked there being behind the transformation, are also covered by the research.

ОТ АВАНГАРДА К КЛАССИКЕ: КРИЗИС ЛЕВОГО ИСКУССТВА И ПРОБЛЕМА ТВОРЧЕСКОЙ ЭВОЛЮЦИИ СОВЕТСКИХ ПОЭТОВ

Author(s): I.E. Vasiliev / Language(s): Russian / Issue: 6/2013

The article is devoted to the problem of avant-garde’s development in the changing conditions of the Soviet reality, with a glance at social and biographical factors of transformation and movement of art toward the classical art paradigm.

От ритуалните жертви към ръченицата в минижупи (Импресии от България)

Author(s): Lubomír Tyllner / Language(s): Bulgarian / Issue: 4/2015

Отело / Othello / Двуезично издание

Author(s): William Shakespeare / Language(s): English,Bulgarian / Publication Year: 2016

Shakespeare’s Othello is the second book of the new bilingual library "English Poetic Classics" by the East-West Publishing House. The bilingual format of this library provides readers with the opportunity to get deeper into the subtleties of the text regarding some of the most valuable works of English literature by comparing original text and its translation, and also to get into the specifics of poetic translation of classical works. In Othello, Shakespeare creates powerful drama from a marriage between the exotic Moor Othello and the Venetian lady Desdemona that begins with elopement and mutual devotion and ends with jealous rage and death. Shakespeare builds many differences into his hero and heroine, including race, age, and cultural background. Yet most readers and audiences believe the couple’s strong love would overcome these differences were it not for Iago, who sets out to destroy Othello. Iago’s false insinuations about Desdemona’s infidelity draw Othello into his schemes, and Desdemona is subjected to Othello’s horrifying verbal and physical assaults.

ОТЕЛО И ДЕЗДЕМОНА НА КОВАЧЕВИЋЕВСКИ НАЧИН

Author(s): Rejhana Selmanović / Language(s): Serbian / Issue: 13 (3)/2014

Intertextual bonds of Kovacevic's works with other great works are a unique characteristic of his artistic creation. Such bonds among literary works are built on the standpoint of themes, motifs, genre and other numerous similarities. This paper deals with the analysis of Othello and Desdemona within the context of Kovacevic’s Claustrophobic comedy, i.e., the analysis of these archetypical heroes who were firstly shaped by the great Shakespeare. Thus, the paper illuminates intertextual, primarily citation and motif bonds that the Claustrophobic comedy establishes with Shakespeare’s Othello.

Отелотворување нa текстот

Author(s): Paula Willoquet-Maricondi / Language(s): Macedonian / Issue: 21/2001

Вклучувањето на други уметнички форми во филмовите на Питер Гринавеј стана веќе препознатлив заштитен знак на овој британски уметник. Термините „микс-медија“ и „мулти- медија“ се користат за соодветно да се опише користењето на различни медиуми во делото и низ делата и неговиот зголемен интерес за „хај-тек“ технологиите, како што се интернет и CD-ROM.

ОТЕЛОТВОРУВАЊЕ, ОВОПЛОТУВАЊЕ НА СЛОВОТО. СИСТЕМ НА ОЗВУЧУВАЊЕ НА ТЕКСТОТ ОД ТЕЛЕСНОТО КОН ДУХОВНОТО СО СТУДЕНТИТЕ НА ФДУ

Author(s): Tihomir Stojanovski / Language(s): Macedonian / Issue: 3/2015

System of mastering the given text from the physical to the spiritual voice, mental and emotional energy. System of mastering the text of the body to the spiritual sound in the round dance. System spiritually speaking. We talk about the process of revival of text written by someone else and the process of touching the hearts and souls of viewers actors. Process relationship to the words as to living people. How to learn a text to be alive. Where starts and where it end.

Още веднъж за универсалността на произведенията на изкуството. Някои примери от театъра

Author(s): Nikolay Yordanov / Language(s): English,Bulgarian / Issue: 2/2017

The text offers a critique of clichés inherited from the twentieth century by which we continue to think about art. It proposes a rethinking of the categories “timeless” and “universal” applied to the works of art in view of the ongoing changes of the contemporary world. What has happened with the European humanistic tradition during the fracture between modern and postmodern culture but also after that? How could we describe the artistic processes beyond Lyotard’s concept of postmodern situation? Some examples from European and Bulgarian theatre are quoted.

П.П. ВЕРШИГОРА: РЕЖИСЕР ТЕАТРУ ТА КІНО, ПЕДАГОГ, ПИСЬМЕННИК

Author(s): Oleksandr Viktorovich Bezruchko / Language(s): Ukrainian / Issue: 1/2014

Ukrainian cinema researchers did not explore life, creation and cinema pedagogical activity of the greatest Ukrainian and Russian writer, historian, director of cinema and theater, military and public figure, General-major, Laureate of the State Premium of the USSR (1947), Hero of Soviet Union Petro P. Vershigora (3.05.1905, v. Severinovka, Rybnickiy region, Moldova – 27.03.1963, Moscow), which was reputed not only the literary and CRT works, by pedagogical activity but also personal bravery and talent for organization during the Great Domestic war-time.In 1927–1929 years Petro Vershigora studied on the director faculty of the Odessa Musically-Dramatic Institute the named of Beethoven. After graduation of it Vershigora worked as actor, assistant of director in the Odessa Theater of Revolution.1930 P. Vershigora studied at the Kiev State Institute of Cinematography to the common group of scenario writers and film directors. During winter vacations (January-February of 1931) Peter Vershigora drive with so-called "culture train" on Donbas in town Stalin (now Donetsk), where future film director, operators and scenario writers, as reported in the student newspaper "Shots", organized the scenario club, three photo clubs, produced three photo newspapers in which showed life and way of life of Donbas workers and Kiev "culture train".As a result of one situation P. Vershigora was forced to abandon studies and begin to work as director and actor in created All-Donbas Theater of Working Young People of town Stalin.From 1932 to 1934 years Petro Vershigora worked in Theater of Working young People of Izhevsk and Gor’kiy (now Novgorod). Vershigora carried out the row of theatrical performances among which "Heaved up virgin soil" of M. Sholokhov, "Platon Krechyt" of O. Korniychuk, "Bunit – fasten!" Bondarovskiy etc.Knowledge’s are purchased Peter Vershigora generously passed to the young artists. For example, in 1934– 1935 teaching lectures and conducted the course of direction on the Moldavian faculty of Odessa Theatrical Collage. Together with students and like-minded persons Peter Vershigora organized the first Moldavian Theater of "Kostek". In future students of P.P. Vershigora became the famous Moldavian artists.In 1936 year Vershigora begin to study at Film director’s Academy of High State Institute of Cinematography in Moscow. In Academy he listened the lectures of S.M. Eyzenshteyn, passed practice on the Odessa film studios.After that Vershigora moved to Kiev film studio, where became student of O. Dovzhenko for the Film directory laboratory at the Kyiv film studios. Peter Vershigora on advice a teacher decided not to wait the scenario of feature film which would become him by diploma work, but made a few scientifically-artistic and documentary movies: "Collective farm the named of Stalin", "Beet", "Complex mechanization", "Soviet Moldavia".Under the direction of O.P. Dovzhenko Vershigora wrote a script feature films for an own start, which was not saved in the war-time.Soon Petro Vershigora, as well as his friends-directors on the Kiev film studio Viktor Ivanov, Тimofiy Levchuk, Mikhylo Vinyarskiy, Grigoriy Lipshic' et al, went a volunteer in the rows of the Red Army, where for short space a way passed from the commander of platoon to the commander of battalion. Petro Vershigora militated bravely, was injured, and after treatment in a hospital headed the brigade of the cinema of photo of correspondents. From April to June, 1942 studied on the courses of secret service agents at the Reconnaissance department of Bryansk front after successful completion of which was neglected in a rear to Germans for organization of reconnaissance work.In September in 1942 P. Vershigora was directed to partisan connection of Sydor Kovpak in which was a second in a command from secret service. After the recall of S.A. Kovpak on "large earth", P.P. Vershigora led the First Ukrainian partisan division the name of Sydor Kovpak, that under his wire carried out two raids – to Poland and districts of Western Byelorussia (Bilovez'ka dense Forest, Grodno) – so-called "Nemanskiy raid".Except for the rank of Hero Soviet Union P.P. Vershigora was the recipient of an award many battle rewards among which: two order of Lenin, Red Flag, "Bogdan Khmel'nickiy" of a 1 degree, by the medal "Partisan of Domestic war of a 1 degree" and others like that.After war of P.P. Vershigora tried to return to the cinema: on his scenario of Boris Dmokhovskiy in 1947 began to make the movie "People with a clean conscience". However, unfortunately, shooting were shut-down. In the next at-tempts of screen version Vershigora allowed to be only a consultant.To write a script movie for Vershigora was not a problem, Vershigora wrote the story of "Checoltan", a few sto-ries and play about Khotinsk of revolt "Oak Kotovskiy".The attempts of rising of other scenarios of Vershigora made off a failure. Most fruitful was literary activity ofP.P. Vershigora: he is an author of documentarily fiction works about partisans: "People with a clean conscience" (1946; State Premium of the USSR, 1947), "Karpatskiy raid" (1950), "Raid on Sun and Visla" (1959). "Ivan-hero" published collection of stories in 1960, novel "House is native" (1962). Author of book from history of partisan movement "Military creation of folk the masses" (1961), coauthor of work the "Partisan raids" (1962). P.P. Vershigora combined writer, public and pedagogical activity – teaching in Academy of General Staff of the USSR.