OPERETTA INCORPORATION IN PROSE 1920–1930’S («UNTITLED STORY» OF P.VANCHENKO)

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OPERETTA INCORPORATION IN PROSE 1920–1930’S («UNTITLED STORY» OF P.VANCHENKO)

Journal Title: Проблеми сучасного літературознавства - Year 2017, Vol 0, Issue 24

Abstract

In literary discourse (1920-1930's) operetta reaches to the field of avant-garde discredit – tagging impaired cultural practices, experiences ironic, satirical parody, and even comical transformations («Golden Spider» of O.Donchenko, «Honor» (1929) of M.Mohylianskyi, «Holland» (1929) of D.Buzka). Presenting the commerciall mass culture, operetta, – musical and entertaining stage shows in which vocal and dance numbers alternate with spoken scenes, – crisis post-war decades were diagnosed. However, the authors of the 1920s have not left «operetass» touching upon the importance artistic incorporation in the formation of a new art-image system, but mutually determine features operetta genre and identity poetic prose texts («Poodle» (1923) of M.Hvylovyi, «Mammoth Tusks» (1924) of Yu.Yanovskyi, «Untitled story» (1930) of P.Vanchenko). For special literature reacts to fashion operetta of Hungarian composer of I.Kalman (1882 – 1953): «Baiadera» (1921) transformed into «Woodcock» (1927) of M.Hvylovyi and «Short Drama» (1930) of V.Pidmohylnyi; «Silva» (1915) subject to vulgarization in the novel «City» (1927). Popular operettas performance aroused interest in the pre-war theater of the century and beyond is not included in the scope of interests post war elitary but even was associated with art as such, experiencing skeptical denial and negation. Such antagonistic opposition between generational preferences that in the Y.Rot's novel was highlighted «Tsipper and his fater» (1928), is indicative of the literature of both European and Ukrainian «lost generation». Translator of operettas Yu.Tuvim in mid-1920 had diagnosed artistic insignificance of the «silly spectacle» in humorously mosking tone, called him «kill» in the skit «A few words regarding the operetta» (1924), which serves as a moto into inter medial analysis of Ukrainian «Untitled story» (1930) in which art reception of operetta was refracted through the destructive prism. The theme of operetta in the version of P.Vanchenko was depth of imitation: the text of the story lies the analogy between operetta and literary stereotype, in which discredit the writer means engaging comic culture. The autor of humorous prose, the contributor to the magazine «Red Pepper» of P.Vanchenko chooses «operetta» as a symptom of time, warning of literary banality, kitsch and fashion, from massism and primitive; in text intentions of analyzed composition conceptualized totalitarian tendency of political operetta. And the evidence is not only numerous parades and demonstrations, but also forged the process of IEDs, which coincided with the emergence of the «Untitled story» (1930) and what happened is known in the opera house in Kharkiv, entered the history of the national injury of annoying emblematisation of «SVU opera, music GPU».

Authors and Affiliations

Yryna Bestyuk

Keywords

EP ID EP392041
DOI -
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