The dissertation is devoted to solving an actual scientific problem – the cultural-creative function of Ukrainian amateur theater of the late XX – early XXI centuries. A model of Ukrainian amateur theater as a non-institutional theatrical form has been created, combining non-professional performers acting on a voluntary basis. It is proved that, being an autonomous component of artistic culture an inherent to him immanent specificity and implementation of certain functions in sociocultural practice, amateur theater has the general features of a culture, its values and patterns of behavior, which manifests the uniqueness of the nation.
The concept of the cultural-creative role of this phenomenon in the post-Soviet period as a moderator of the formation of Ukrainian identity has been developed. The mechanisms of its influence on the process of inculturation and self-identification of the individual are analyzed. Based on the paradigm of socialization and inculturation as two aspects of a single process of individual entry into the sociocultural system, the role of modern Ukrainian amateur theater as a means of purposeful construction of the inner space of creative personality, assimilation and active reproduction of sociocultural experience of society (social norms, values, standards of behavior, customs, cultural traditions), accumulated in theatrical forms. Emphasis is placed on the role of amateur theater in the rehabilitation and relaxation of children with identified disabilities. Theater for children and teenagers performs the сulture-creative function through their introduction to national and world culture. It is determined that in the context of the сulture-creative function the repertoire of amateur theater becomes a means and result not only of artistic and creative, but also educational process, the purpose of which is the assimilation of individual socio-cultural patterns, norms and values of society. The repertoire serves as a mechanism for the formation of self-identification and socio-cultural identification of the individual and becomes an instrument of its inculturation.
The concept proposes and verifies the periodization of the development of the Ukrainian amateur theater of the Soviet – post-Soviet period, which is based on the paradigm of the connection of the content, forms and functions of the theater with socio-cultural realities. The typology of Ukrainian amateur theater is carried out according to certain criteria (according to the species principle, the form of performance of the stage work, the age of the participants, etc.). Analysis of the typology of Ukrainian amateur theaters allows us to conclude that, despite the different organizational and substantive basis, different stage training of actors, excellent material and technical capabilities, stage sizes, there is a process of gradual approximation of amateur theater to professional. Innovative forms of amateur theater (verbatim, postmodernist theater, metaphorical theater, book theater, theater-museum, etc.) are identified. The hypothesis that in the XXI century the border of binary opposition of amateur-professional theater becomes transparent, interpenetrating is substantiated.
