In the dissertation, for the first time, the specifics of the interpretation of V.
Vynnychenko’s works by means of theatre and cinema are comprehensively
investigated. The main works related to the problems of understanding the works of
V. Vynnychenko in the Ukrainian theatre and cinema of the 20th – early 21st centuries
are analyzed and systematized.
It is that noted until now this problem has not attracted the attention of
researchers; the conceptual provisions underlying the dissertation have been
characterized. The historiography of the problem consists of the works of
H. Veselovska, M. Voronyi, I. Volytska, V. Humeniuk, A. Hurbanska,
L. Demianivska, O. Kyrylova, N. Korniienko, P. Kravchuk, A. Lypkivska, V. Mark,
S. Mykhyda, L. Moroz, V. Panchenko, S. Trykolenko and others. It is noted that in
fundamental scientific works the problem of interpretation of V. Vynnychenko’s
works by means of theatre and cinema is not given enough attention. During
the study, letters, diaries, archival materials (reviews, comments, testimonies,
memoirs, interviews) were processed, which reveal the personal attitude of authors
and researchers, which did not always coincide with the official position in evaluating
the works of V. Vynnychenko and interpreting them in theatre and cinema.
The use of the principles and approaches of modern sciences – Aesthetics, Art
History, Cultural Studies, the Theory of Theatre and Cinema, etc. – is determined by
the methodological principles of studying theatrical and cinematographic
comprehension of a literary text, which are connected with the concepts of
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“interpretation”, “staging”, “screening”, and the position that the problem of
the interaction of the arts (literature, theatre, cinema, painting, music, etc.) is one of
the central ones in modern scientific discourse, and that the arts themselves interact
and synthesize with each other. Conceptual approaches include the theory of
intermediality, which is actively developing in foreign and Ukrainian sciences,
culturological, socio-cultural and communicative approaches.
Based on a comparison of literary sources (plays “Lie”, “Sin”, “Black Panther
and Polar Bear”, “The Road to Beauty”, “Natus”, the short story “The Moment”, the
novel “Notes of the Snub-Nosed Mephistopheles”, etc.) and performances based on
these works by Ivan Marianenko, H. Yura, Les Kurbas, A. Babenko, M. Voloshyn,
M. Horokhov, R. Derzhypilskyi, T. Zhyrko, K. Chepura and films by O. Biima, V.
Dombrovskyi, Yu. Liashenko, A. Kuchmiyi and others in plays and films of the late
20th – early 21st century, experiments and new forms were discovered (derivation of
some heroes from the plot-image series, introduction of others, symbolic details, use
of multimedia means, video series, expression of topical ideas, etc.), that is due to the
democratization of socio-political life in modern Ukraine.
The main and little-known theatrical performances from different regions of
Ukraine “Sin” (Kropyvnytskyi), “Lie” (Dnipro), “Intimate Zone” (“Law”) (IvanoFrankivsk), “The Road of Beauty”, “Natus” (Kyiv) have been analyzed. The range of
artistic phenomena of modern theatre and cinema, which were not previously
analyzed by Ukrainian art criticism in academic research, has been expanded.
Performances and film adaptations of V. Vynnychenko’s works in the
Ukrainian theatre and cinema in the period of the first third of the twentieth and the
end of the 20th – the beginning of the 21st century were studied at the level of various
components of stage and screen action (director’s concept, way of actor’s expressing,
scenography, etc.), as well as in connection with the socio-historical and cultural
context of life in Ukraine, which determined the methods and forms of literary basis
interpretation and determined the specifics of its perception by professional critics
and the mass audience.
It has been found out that in the modern interpretation of V. Vynnychenko’s
works theatricals and cinematographers direct the director’s concept, acting, stage
design, lighting effects, musical accompaniment, etc. to reproduce the psychologism
of the literary basis, the expression of hidden details and current ideas.
Artistic technologies that reflect the dynamics of formation and transformation
of spiritual meanings in the projection on language and communication parameters
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(repertoire policy of Ukrainian theatre and cinema within the modern demands and
needs of the audience) are analyzed. Leading tendencies in a modern understanding
of V. Vynnychenko’s works (emergence of new themes and heroes, a departure from
traditional conflicts, attention to spiritual and political life, etc.) in the aspect of
understanding art as a factor of national self-identification and cultural unity of
mankind are revealed.
Keywords: V. Vynnychenko, theatre, cinema, director, play, film, plot-image
series, interpretation, staging, film adaptation.
