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The relational experiments of one-to-one performance make the promise of offering a psycho-emotional intimate encounter, understood as unique and ephemeral. The theoretical discourse about intimacy in per-formance art usually is determined by the dramaturgical and ethical principles of an (a)“live”, co-presence, and authenticity in the performer-public dialogue.The paper analyses the work The Artist is Pre-sent by Marina Abramović and Mădălina Dan’s performance The Agency of Touch, questioning a perspec-tive of understanding these principles as essentialist aspects of one-to-one performance.These works are analysed starting from the dramaturgical dimension of the principles of co-presence and authenticity – coordinates that would be constitutive for a present-oriented ontology of performance art (Phelan, Gomme, Zerihan). I also discuss the two works, based on the ethical dimension of co-presence and authenticity – using Emmanuel Levinas’ and Martin Buber’s dialogical philosophy. I demonstrate how the performer’s authenticity is constituted in these performances as a self-reflective and not an interrela-tional process, as it is claimed by the artists. Moreover, the co-presence does not function as a symmet-rical one-to-one affective dialogue, but as a hierarchical positioning of the performer. Finally, I argue that, based on these principles, the model of relating in both of these performances might create an experience of collective participation.
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In the second half of the 1970s the implementation of new tendencies in the organisation of the scenic space in Moldovan theatrical scenery art continues. Relevant transformations are observed both in the elaboration of the semantic concept of the spectacle and in the methods and means of organising the decor. Thus, a new phase in the development of theatrical art comes into being, directing new solutions of expression in the artistic creation of Moldovan scenography. Concurrently with experienced scenographers like A. Şubin, B. Socolov, and C. Lodzeiski the younger plastic artists N. Andronati, A. Crivoşein, I. Puiu, A. Jeludev, V. Palii, P. Balan, V. Kantor, G. Kantor-Molotov are commencing their work. This generation of professionally trained artists has been able to realise in a practical manner the opportunities emerging at the time. Over the decades, the painters’ dependence on the theater has become more and more evident. Nevertheless, their research continued along the general course of Moldovan scenography development. This was arrived at by virtue of the critique, creativity and significant assimilation of the main achievements of the scenographers in the country, which contributed to a significant increase in theatrical culture. The work of the Moldovan theatrical plastic artists in the second half of the 70s echoed the main processes of the Soviet scenography. Although some subjective factors of the development of theatrical art in the republic influenced the terms and the degree of its manifestation, the Moldovan scenography took its rightful place in the Soviet art, promoting and augmenting its finest scenographic achievements.
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The relations between men and women have never been clearly defined, analysed or interpreted either in Hungarian dance folkloristics, or in folk dance education, which are based on a historical-geographical and structuralist research approaches. This paper deals with a part of a research started in 2012 focusing on the society’s legitimate and illegitimate aspects of touching in couple dance according to the experiences of revival dancers.
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Since 1989 (the fall of Communism) the performing arts in Bulgaria have suffered a long process of transition dominated by a certain dialectic tension between the necessity to meet economic needs and the desire to open new venues for dramatic art. Against this background and contributing its own perceptive “reading” of Heart of Darkness to Conrad’s Bulgarian reception, on the eve of the vigorous celebration of his 160th anniversary in 2017, stage director Valeria Valcheva’s theatrical adaptation represents a remarkable debut rendition of Conrad’s fiction. The aim of this article is to explore how her idiosyncratic, creative, poetically recognizable approach lends a new form to Conrad’s recurrent relocation in modern and contemporary Bulgarian art.
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The problems of functioning of carnival traditions in the countries of Western Europe are examined in the given article. The ancient holidays of Dionysius and Saturnalia are the genetic ancestors, these were the periods when golden age seemed to be approaching the earth – the kingdom of universal equality and freedom. The carnival became a mass folk holiday with street processions, games, and theatrical performances in masks in the Middle Ages due to the development of European self-governing cities and the formation of the bourgeois class. Carnival theory is a field of active scientific discussion. While criticizing the vulnerable aspects of the carnival concept of M. Bakhtin, a representative of the international scientific community, they recognize the priority of the component structure of the public square laughter culture revealed by him. Inversion is the main idea of carnival illustrates change of the age, gender, social status of the participants of the festive event. One might receive a comprehensive knowledge of the international fund of carnival forms while analyzing its national variants. Taking this into account, the researcher might reveal the genesis and historical transformation of the most popular European carnivals, which are regularly performed in such cities as Venice, Cologne, Bensch, London. The European Carnival is the antithesis of a totalitarian holiday, which is characterized by excessive seriousness, false pathos, a stereotypical set of ideological slogans and clichés. The experience of organizing carnival entertainment is interesting as an example of democratic festive communication, a bright artistic and aesthetic phenomenon, an example of successful self-organization of local communities.
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The article considers the area of distribution of the Malanka rite on the territory of Ukraine, Romania and the Republic of Moldova, focuses on its existence in Bukovina. The essence and results of research are to determine the original sources of origin. A comparative analysis of its existence in neighboring nations: Ukrainians, Romanians and Moldovans, fix common and distinctive features, mutual borrowings in past and nowadays. The purpose of this investigation is to clarify the main parameters of the changes made today in the rite on the example of the village of Krasnoilsk in Bukovina. The methodology is based on the analysis of source materials and own field of research. The method of comparative analysis helps in comparing the rite Malanka of Ukrainians and Romanians in Bukovina, and the methods of analysis and synthesis provide researcher in determining the parameters of changes in the elements of Malanka. Scientific novelty. For the first time is made a comparison with the current state of existence of the rite Malanka. Conclusions. The existence of the Malanka rite in the Bukovynian ethnographic zone is only a part of the huge area of its distribution, which is a marginal space in the zone of ethnocultural contacts and the interethnic border of Ukrainians and Eastern Romans. Conservation of the rite was facilitated by remoteness and isolation from the main area of their ethnic group. And today the evolution of this ancient ritual action takes place under great pressure of modern social processes. In the rite of “pereberiya” that accompanies Malanka as an organic element, dominates modern reality figures and historical characters as well.
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The purpose of the article is to generalize information about staffing choreographers of the National Opera of Ukraine, namely V. Yaremenko, V. Litvinova, A. Rekhviashvili, who worked there at the beginning of the XXI century. The methodology of the work includes the application of such culturological methods as general-historical, comparative-historical, analytical, etc. The scientific novelty of the publication is in the first complex research of creative work of such ballet-masters as Victor Yaremenko, Aniko Rekhviashvili, Victor Litvinov, who worked in this theater at the beginning of the century. Conclusions. Periods of work of the staffing ballet-masters of National Opera of Ukraine are as follows: V. Yaremenko (2000-2013), A. Rehviashvily (2013–2019), V. Litvinova (1985 till today, interrupted). Their work is characterized by their productive work, which was connected with the update and improvement of the repertoire of the theatre. Their art is also connected with the modernization of academic art-works («Le Corsaire», «Raymonda»), creation of modern classic(«The Marriage of Figaro», «Viennese waltz», «La Dame aux Camélias», «Snow Queen», «Julius Caesar»), experiment with neo-classical ballet art («Sheherazade», «Petrushka», «The Firebird», «Daphnis et Chloé», «Сaprices», «Тights in the gardens of Spain») and grotesque, comedy ballet(«Evenings on a Farm Near Dikanka», «Сhasing two hares»). Each of the choreographers made an incredible art contribution to the history of the National Opera of Ukraine.
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The purpose of the article is to identify the features of the artistic space of a choreographic performance based on the vocabulary of ballroom dance. Methodology. A systematic method was applied, which helped to consider the choreographic performance as an integral artistic system; a philosophical and aesthetic method - for considering and comprehending a choreographic performance in the context of a new stage concept of the 21st century; the typological method used to identify and analyze the components of the artistic space; the method of interpretive analysis of the ways of creating the artistic space of the choreographic performance and the hermeneutic-phenomenological method, which helped to study the possibilities of understanding the meanings of the text of the choreographic performance and methods of their formation. Scientific novelty. The significance of the auditory and visual non-plastic elements of a choreographic performance (scenography, musical arrangement, and dramatic basis) in the context of the development of a holistic image of stage work is considered. The preconditions for the harmonious combination of movement, sound, light, and color are analyzed, and their importance in the process of creating a single artistic image of a choreographic performance is revealed. It has been established that in accordance with the basic principles of interaction and mutual influence of these components, as well as the specifics of their relationship with choreographic vocabulary, a process of qualitative transformation of figurative characteristics occurs while maintaining their inherent aesthetic nature. Conclusions. Choreographic art specifically transforms the features of the artistic space – the artistically reflected and transformed space of reality, endowed with aesthetic meaning and content. Despite the originality of each specific choreographic performance, created on the basis of the vocabulary of ballroom dance, the specifics of the staging solution, etc., a stage choreographic work is an integral artistic phenomenon. The study revealed that the radical transformation of the story sources of stage ballroom dance does not imply violation of their figurative and poetic concept. But the use of specific techniques and methods by choreographers-producers contributes to the creation of a multi-layered artistic space of the performance, the organic interaction of many subtexts, the emergence of innovative semantic perspectives, the generation of semantic potential, and the production of new meanings.
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The purpose of the article is to determine the peculiarities of the revival of the unfinished N. Leontovich's opera "Water Nymph's Easter". The methodology consists of the application of methods of historiographic analysis and synthesis, comparison and generalization, personology, personality theory, cultural studies, and hermeneutic approaches. This made it possible to collect and investigate unknown and little-known facts about the writing of N. Leontovich's opera "Water Nymph's Easter", to reveal and characterize the stages of its revival. The scientific novelty of the work consists in identifying the innovative style of the musical language of the opera N. Leontovich ―Water Nymph's Easter,‖ its place and role not only in the musical work of the composer but also in the entire operatic art of Ukraine. Conclusions. The activities of the prominent Ukrainian composer N. Leontovich, despite the persecution, state, and censorship oppression, made a significant contribution to the development of national musical art, promoted the folklore foundations and traditions of the Ukrainian people. His opera ―On the Mermaid Easter‖ became a natural continuation of choral art, which is considered to be a composer‘s laboratory, where the skills of a polyphonist, an interpreter of poetic content were perfected, and an innovative search for a combination of national and universal human values took place.
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The purpose of the article is to study the peculiarities of the dynamics of the development of theatrical scenography by the solution of plot compositions, art forms, metaphorical images, specific features of mizantsen, national color. The methodology is based on the study of art history literature, conference materials, monographs, thematic literature, which corresponds to the disclosure of this work. The method of cultural and historical analysis helps to explore the tendencies of the development of Ukrainian scenography of the XX-XXI centuries. The comparative method, based on the consideration of the Ukrainian scenography in the context of world scenography. The scientific novelty of work is determined by a holistic analysis of the investigated processes and artistic features. The patterns of development of theatrical and decorative art are analyzed. Generalized preliminary studies in the art of scenography. Conclusions. Analyzing materials of research, a special phenomenon in scenographic art is the use of fundamental laws of science, fine arts, architecture and architectural styles, painting, sculptures, art design, bulky three-dimensional projections, colorful properties, national color. The evolution of the modern theatrical performance reflects the rains and the fall of this type of art, which specifically expresses the contradictions of man and society that are constantly updated. The world and national scenography are built on the global basis of the artistic design of stage space. The development of scenography is undoubtedly a continuous dynamic process, where the main component of the theater and its purpose is to build an artistic space of organization of action and its design, in other words, scenography. Undoubtedly important are personal indicators of the historical development of scenography art, using the experience of predecessors, adapting various architectural styles, artistic, applying harmonization and aesthetics in the stage space of theatrical action.
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The purpose of the article is to identify the role of Н. Aleksandrovych 's work in the choreographic culture of Ternopil region. Methodology. A set of methods was applied, including the analysis of the literature and source base, systematization of information, consideration of events on a chronological basis. Scientific novelty. For the first time, the creative activity of Halyna Stepanivna Aleksandrovych, a teacher-methodologist at the Terebovlya College of Culture and Arts, an excellent student of education in Ukraine, was comprehensively analyzed and her role in the choreographic culture of Ternopil region was clarified. Conclusions. Н. Alexandrovich is one of the leading specialists in the regional choreographic culture of Ternopil region, which for fifty years has been teaching, folklore, choreography, education and promotion. The basis of the repertoire of the folk dance ensemble "Dzherelo" created by her consists of works recorded by Н. Alexandrovich in the process of field research and skillfully processed for performance in the stage. In "Dzherelo" the teacher combines educational, upbringing and artistic functions: in addition to purely professional tasks (formation of a highly professional dancer and leader of the choreographic team) is the formation of students' choreographic worldview, the formation of national-patriotic values through joining, distinguished by the author's style, which are a significant contribution to the development of choreographic culture of the region and Ukraine as a whole.
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The purpose of the article has been to learn new historical, cultural and art sources have been posted between 2010–2020 years, related to the Virsky Ukrainian National Dance Company occupation that. The methodology includes the researching methods usage such as: overall historical, comparative-historical, dialectical, analytical, systemic, etc. The scientific novelty implies the novice in the researched historiographical sources made up between 2010–2020 years that have significantly boosted the scientific projection to learn the historical and art facts related to the Virsky Ukrainian National Dance Company occupation. Conclusions. The historical timeline between 2010–2020 years related to the Virsky Ukrainian National Dance Company art outcomes is presented by modern domestic researcher’s monographs and publications such as: T. Blagova, O. Burkovsky, N. Vadiasova, D. Vernygor, Y. Vernygor, E. Dosenko, M. Kurinna, V. Lytvynenko, E. Roy, R. Savchenko, N. Semenova, V. Chernets, V. Shulgina, V. Shumilova etc. Due to inquire the life and creative path the choreographers who have served for the USSR State Dance Ensemble (P. Virsky, M. Vantukh), the researchers analyzed the main phases to come up with their art approaches, determined to search the chiefs regarding to the extraordinary compositional consistency, observed the dynamic to develop the musical-choreographic drama by the Virsky Ukrainian National Dance Company modern dance performances etc.
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The purpose of the article is to trace the peculiarities of the phenomenon of "polyphony of consciousness" as one of the main patterns of artistic thinking of the early twentieth century, which became widespread in various arts and reflected artistic and aesthetic trends of such a bright movement of the first avant-garde as constructivism. On the examples of music, literature, theater, cinema, fine art to reveal this phenomenon as an important manifestation of the aesthetics of constructivism. In selected works of art, to identify and consider characteristics of the musical text polyphonic techniques, which in turn have been widely used and reflected the individual stylistic features of representatives of different spheres of creativity of the period. The methodological basis of this study is a comprehensive approach, which contains historical and cultural, stylistic, and holistic methods of analysis. The theoretical method acquires special significance among them, as it is aimed at identifying the principles of writing in various fields of art. The scientific novelty of this work is based on the originality of the generalized study of the phenomenon of "polyphony of consciousness". This phenomenon is being considered as an important manifestation of the aesthetics of constructivism, based on the examples of music, literature, theater, cinema, and fine arts. Such an understanding of the implementation of the polyphonic principles of writing in the context of such an artistic movement as constructivism is undertaken for the first time in Ukrainian musicology. Conclusions. Experiments and searches of the artists of the early twentieth century in the fields of expression, content, composition, and language that "provoked" the development of stylistic pluralism in all spheres of art, strengthened the role of polyphonic principles of writing, and, more broadly, artistic thinking. Polyphonic techniques find their place in the trends of the aesthetics of constructivism, going beyond the musical texture and penetrating into all kinds of art. Polyphony and its principle of combining self-developing lines, voices, and layers, was perhaps the most important means of artistic reflection of the contradictions of the world, as well as the direction of the search in the field of content and means of expression.
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The purpose of the article is to explore the main narratives of Myroslav Skoryk's opera "Moses" based on the poem by Ivan Franko, from the point of view of the classical-romantic aesthetic platform of the struggle for the ideal. The crisis of modern society motivates the composer to fulfill the role of the Guide, which requires urgent changes in the vector of artistic development in the direction of highly spiritual philosophical, and ethical orientation. The methodology is to consider the psychological narrative of the romantic creative orientation of I. Franko (R. Golod), to analyze modern problems of opera in Ukraine (I. Gamkalo), to use comparative analysis of epoch-making problems in Ukraine of early XX - XXI centuries and to compare egalitarian and elitist understanding the orientation of the work of M. Skoryk (L. Kiyanovska). The scientific novelty of the approaches is related to the consideration of the composer's narrative discourse as an appeal to the generalized intonation and figurative symbolism of musical stylistics, rather than the stylization of certain historical or ethnic components. For the first time, M. Skoryk's opera "Moses" was considered as a work that foretells a difficult path to freedom, prosperity, and happiness. Conclusions. The work expresses a narrative focus on the synthesis of the classical-romantic compositional-formative construct with a generalized symbolic "timeless" understanding of philosophical and poetic imagery. In this context, the church's monodic trichord or appeal to the figurative sphere of M. Lysenko's vocal works express narratives of turning to God and the idea of the dream homeland, which ultimately forms a personal mythological space of existence.
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The purpose of the article is to identify the features of speech characteristics in the context of the disclosure of the plot-content aspect of the performance of postmodern aesthetics. Methodology. A typological and systematic method is used to study the creative mechanisms of the actor's creation of the speech characteristic of the image in the context of the peculiarities of the aesthetics of postmodernism; cognitive method, thanks to which theoretical positions in the field of language psychology and speech therapy are extrapolated to the field of theatrical art; method of theoretical generalization, etc. Scientific novelty. The influence of postmodernist theater tendencies on the process of the actor's voice work on the creation of the image – the development and implementation of speech features of the character; the peculiarities of the process of decoding the sign system of a modern production on the basis of the interpretation of the speech characteristic of the images created by the actors are analyzed. Conclusions. The verbal characteristic of the image contributes to the actor's representation of certain internal characteristics of the character, his emotional state, deep reaction to events and/or actions of other characters, changes in lifestyle and worldview, etc., and in the context of postmodern aesthetics, when stage texts double coding" – a complex phenomenon of postmodernism, artistic and aesthetic means of which in theatrical art is a synthesis of different languages and codes of literature and philosophy in a holistic hypertext of performance, contribute to the understanding and comprehension of semantic aspects of theatrical production. The actor's use of elements of speech characteristic contributes to the expansion of his professional speech competence, the diversity of speech sound of the stage word. The components of speech characteristics can act as expressive means that reveal important aspects of the character; the necessary form of revealing the internal content of the stage image; an important element of the psychophysical structure of the role; an artistic technique that enhances the expressive possibilities of the stage word, and, accordingly, helps to form verbal symbolic means of expressing the artistic meanings of the performance.
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The purpose of the article is to consider the dichotomy of the actor's body as a meaningful tool for researching modern theatrical art and to reveal the features of the phenomenal and semiotic body of the performer in theater performances without an actor. Research methodology. A synergetic method is applied, due to which the essence of the dichotomy of the phenomenal and semiotic body of the performer and the mechanism of its transformation in the process of transition from traditional theater to the theater without an actor is considered; a systemic method for analyzing the phenomenal and semiotic body of the performer as a manifestation of integrity in the unity of all connections and relationships; the method of comparative analysis, which contributed to the comparison of the ways of perception and understanding by the spectator of the semantic content of the stage performance in the traditional, puppet theater and theater without an actor, etc. Scientific novelty. The problems of theater without an actor are considered in the context of the theory of body dichotomy by B.S. Turner and the model of the alternation of the phenomenal and semiotic body of the performer in the post-dramatic theater E. Fischer-Lichte; the absence of actors as traditional components of the stage production of the play is theoretically substantiated; it was found that, despite the absence of performers, a theater without an actor is a unique phenomenon of modern theatrical art, realized due to the dichotomy of the phenomenal-semiotic nature of the actor's corporeality. Conclusions. The study revealed that the dichotomy of the phenomenal and semiotic body of an actor is a meaningful tool for studying the interpretation of various types of modern theater. Based on the analysis of theater performances without an actor ("Feng Shui in a theater without an actor" B. Bulatovic, A. Mustar and J. Šimenc, Slovenia, Ljubljana, Cultural Center "Španski borci", 2011, etc.) it was found that in the absence of the phenomenal body of the actor in the stage action, scenography and props become the material vehicle of the semiotic body.
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The purpose of the article is to research the development of modern circus arts education in Ukraine, the o and creative structure of the training process, its features and functions, and the quality of education. Methodology. The research is based on the empirical data - archival information about the activities of the Kyiv Municipal Academy of Variety and Circus Arts (KMAVCA). This determines the methods’ choice: historical-factographic – to reconstruct the facts in the circus school’s development; structural-functional approach – for consideration of the organizational and creative structure of the training process and its functions; comparative method – to distinguish the disadvantages and advantages of circus education; systematization, etc. Scientific novelty. For the first time the organizational and creative aspects of the modern circus school in Ukraine are highlighted in their structural and functional context, and the circus education’s advantages and disadvantages are covered. Conclusions. Ukrainian Circus Academy is one of the leading schools of circus arts worldwide and it constantly increases its educational and qualification levels. An indicator of the effectiveness of the School is the frequent winning of its graduates and students at international contests, the high demand for Ukrainian circus performers abroad. The main advantages of the Ukrainian Circus Academy are comprehensive, multi-vector, and maximally applied-oriented training, orientation to international recognition, students’ access to prestigious performance stages. Among the weaknesses, there are: underfunding, lack of couches for some rare circus genre, lack of proper training premises, excessively high students’ workload exposure, and the future employers’ non-engagement into students’ graduation projects.
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«Там, де є українці, там завжди є мистецтво». Cлова Юрія Липи, відомого громадського діяча, літератора є одним із дороговказів Василя Гнатовича Чернеця – відомого українського вченого-культуролога, ректора Національної академії керівних кадрів культури і мистецтв, доктора філософії, професора, заслуженого працівника освіти України, лауреата Державної премії України в галузі науки і техніки, почесного академіка Академії мистецтв України, академіка Академії наук вищої освіти України, члена Національної спілки журналістів України, кавалера багатьох державних нагород і відомчих відзнак.
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The article presents the topics of death and dying in the works of the Israeli playwright Hanoch Levin, which are focused on them more or less. The text presents sources of the author’s obsessive focus on this subject (including the death of his father and personal experience of war), as well as selected examples of its implementation, with particular emphasis on the drama Requiem.
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