Archive

« 2019. #1 (145)

The Ethnology Notebooks. 2019, 1 (145), 266—271

UDK 792.028028″1922/1933″(092)
DOI https://doi.org/10.15407/nz2019.01.266

JOSYP HIRNIAK’S ACTOR UNIVERSALITY DURING 1922—1933 IN THE CONTEXT OF LES` KURBAS THEORETICAL MANIFESTOES

BOIKO Tetiana

ORCID ID: https://orcid.org/0000-0001-6941-8868

Ph.D in History of Art,

Senior Research Fellow,

Kyiv National University of Culture and Art,

Department of directing and acting,

36, Yevhen Konovalets str., 01133, Kyiv, Ukraine

Contacts: e-mail: tetiana.boyko@gmail.com

Abstract. The purpose of the article is to highlight some of the aesthetic-artistic vectors of the acting art of the 1920’s and 1930’s and to expand the knowledge of Y. Hirniak’s work, in particular the theorizing of those episodes that are associated with the formation of a universal artist’s performing style.

Research methodology: the process researches provided a phenomenological (generalization of individual characteristics of the performing manner of Y. Hirniak), historical, comparative and comparative-typological methods designed to reveal the similarity and distinction between the phenomena of the theater of the 1920’s and 1930’s, to determine the genetic affinity, general and specific in their development.

The scientific novelty is in the derivation of new theoretical generalizations of the creative work of Y. Hirniak on the Berylsky stage. In particular, author’s attention was focused on the concepts of «reasonable harlequinade», which related the stage practice of the actor with director’s reflections Les Kurbas on the model of universal actor of that time.

Conclusions: one of the vectors of the directing practice of Les Kurbas was to find technological mechanisms for the formation of a universal actor. Y. Hirniak’s stage performance in «Berezil» reflected the effectiveness of these searches both in the sense of transforming the psychological states of the character, and purely technical means of creating an image. Accordingly, the professional formation of Y. Hirniak, to a large extent, was carried out according to the concepts of «reasonable harlekinady», because the artistʼs manner of acting was versatile and intellectual.

Keywords: «reasonable harlequin», universal actor, performance practice, Les Kurbas, director’s guides.

Received 27.01.2019

REFERENCES

Bachelis, T. (2007). Gamlet i Arlekin (Hamlet and Harlequin). Moskow: Agraf [in Russian].
Boboshko, Yu. (1987). Rezhyser Les Kurbas (Director Les Kurbas). Kyiv: Mystetstvo [in Ukrainian].
Veselovska, H. (1997). Yak narodzhuvavsia Arlekin (How was born Harlequin). Ukrainian theate, 2, 6—9. Kyiv [in Ukrainian].
Volytska, I. (2007). Kurbasova definition of creativity of the actor and the category of «prolongation». Kurbasov readings, 2, 82—93. Kyiv [in Ukrainian].
Hirniak, I. (1982). Memories. New York: Suchasnist [in Ukrainian].
Ermakova, N. (2008). Actor in terms of pedagogy: (from the practice of the Art Association «Berezil»). Ukrainian Theater, 2, 21—24. Kyiv [in Ukrainian].
Kornienko, N. (2007). Les Kurbas: rehearsal of the future. Kyiv: Lybid’ [in Ukrainian].
Kurbas, L. (1988). Berezil: From the Creative Heritage. Kyiv: Dnipro [in Ukrainian].
Les Kurbas: Articles and memories of Lesbas Kurbas. Literary heritage: (1987). (Compilation M.G. Labinskii, L.S. Tanyuk). Moskow: Iskusstvo [in Russian].
Meyerhold, Vs., & A. Fevralsky (Ed.). (1968). Articles. Letters. Speeches. Conversations: 2 parts. Part 1: (1891—1917). Moskow: Iskusstvo [in Russian].
Cherkashin, R. (1990). Master of tragigrotesque. Ukrainian Theater, 1, 4—17. Kyiv [in Ukrainian].
Shevchenko, N. (2003). «Intelligent Harlequin» — between the temple and the area: (to the science of acting transformation). Arcadia, 1, 49—52. Odesa [in Ukrainian].

Read»

Our authors
Traditional folk clothes of velikobychkovsky hutsuly of XIX — the first half of XX century
In the study based upon numerous field materials, literature sources as well as ethnographic, historio-cultural and regional museum collections has been performed complex analysis in traditional folk clothes by Hutzul population of Velyky Bychkiv village in Transcarpathian region. Detailed descriptions of femi­nine and masculine clothing complexes of the mentioned area have been presented. In characterizing of those main attention has been paid to the detail of cut in separate components of dress; cut of feminine shirt has been added as an illustration.
Read »

On field exploration of russian and belarusian ethnologists and etnolinguists in Ukrainian Polisia 1945—1980s
In the study based on a wide range of literary materials have been comprehensively characterised field research in Polisia of Ukraine, performed by Russian and Belarusian ethnologists during 1945—1980s as well as Moscow ethnolinguists and other researchers from ethnologic centres of Russia, Ukraine and Belarus in the course of realization of Ethnolinguistic Atlas of Polisia program. Particular attention has been paid to geography, methods, themes and research results of scientific projects.
Read »

Boikos’ pandemonium: categories of evil deceased
In the article have been presented some research-work on peculiarities of Boikos’ traditional demonological notions as for so-called evil deceased; on the basis of field records and ethnological literary sources quite a number of scum categories have been defined as well as essential habits, modes of behavior and functions of these personages of people’s demonology.
Read »

Wax candle as ukrainian Christmas and epiphany ritualistic text
For the first time in native ethnology the article has brought some results of special study in sign functionality of a wax candle under the context of Ukrainian Christmas and Epiphany ritualistic text (ritualism of Christmas Eve, New Year, Epiphany Eve and Feast of Epiphany). The study has stated extremely high semiotic position of a wax candle as projection of Sun, mediator between the spheres of sacral and prophane elements, symbolic analogue of human existence, apotropy, cultural symbol re-establishing borders of acculturated space.
Read »