ETHNOGRAPHIC ITEMS IN CROWD SCENES IN PRODUCTIONS OF FEDIRE STRYGUN, DIRECTOR OF THE NATIONAL ACADEMIC UKRAINIAN DRAMATIC THEATER NAMED AFTER MARIA ZANKOVETSKA IN THE WORKS OF UKRAINIAN CLASSICS (2009-2015 YEARS)
Journal Title: Записки історичного факультету - Year 2016, Vol 0, Issue 27
Abstract
This article considers the elements of ethnography in crowd scenes in productions of classical works by Ukrainian director of the National academic ukrainian dramatic theater named after Maria Zankovetska Fedire Strygun carried out in 2009-2015 years. Among art achievements of Fedir Strygun more than 130 roles in theater and cinema, he is the artistic director and director of the National theater named after Maria Zankovetska since 1987. There are about 25 performances based on writings of Ukrainian classics included in whole amount of his director works. The external features of Fedire Strygun performances are inclusion a large part of actors of theatre, that leads to necessity of the layout of crowd scenes which become an integral part of the action. Over the years, the directing method of constructing mass scenes of Helmsman of Zankovetska’s theatre acquired certain specific forms. For the last 10 years Fedire Strygun produced such a performances based on writings of Ukrainian classics – «Svatanya na Honcherivci» G. Kvitka-Osnovyanenko, «Nazar Stodolya» T. Shevchenko, «Rizdvyana Nich» by M. Gogol, «Nevolnyk» by T. Shevchenko. There are such a features of Fedir Strygun directing, focusing on crowd scenes: use of national costumes, staging of Ukrainian customs and rituals, actors singing of folk (and adapted for folk) Ukrainian songs, others. National theater named after Maria Zankovetska is the successor of the traditions of theater luminaries, today thanks to the performances of Fedire Strygun is possible to trace the connection of generations and imagine what kind of theatre was the traditional ukrainian one, feel its melody and hidden meanings. The ethnographic part in crowd scenes takes a leading position in this process, because there is not only functional theater technique, but also a means of bringing beauty to the modern viewer customs and traditions of their ancestors.
Authors and Affiliations
T. Dobrovolska
Keywords
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