scholarly journals Oleksandr Ivashutych, a student of Les Kurbas, as a universal figure in the theater of musical comedy

2020 ◽  
Vol 19 (19) ◽  
pp. 345-357
Author(s):  
Yuliia Shchukina
Keyword(s):  
Marriage Market ◽  
Early Period ◽  
Charlie Chaplin ◽  
Avant Garde ◽  
Musical Comedy ◽  
History Of ◽  
Dash Line ◽  
Set Up ◽  
First Time ◽  
Shed Light

Background. Analyzing the origins of the school of Kharkiv Academic Theater of Musical Comedy, we cannot ignore its founders. People’s Artist of the UzSSR O. Ivashutych was a director, head of the theatre (during the 1940s), drama actor from the year of its founding (1929) to 1971. Methods and novelty of the research. The research is based on historicalchronological, biographical, typological, and comparative methods with an element of performances and roles reconstruction. Not much is known about O. G. Ivashutych. The only encyclopedic reference about him (from the “Encyclopedia of Modern Ukraine”) does not shed light on the director’s method, indirectly giving an idea only of the acting range. The work of Yu. Stanishevsky (1970) on the first forty years of musical comedy theaters of Ukraine (“Colors of Ukrainian operetta”) has several useful elements of reconstructions of the roles in the early period of O. Ivashutych’s work. N. Yermakova’s (2012) monograph “The Berezil Culture…” contains facts and important assessments of O. Ivashutych’s activity as a member of the Berezil Art Association. The author of this paper has collected more than 30 articles in the funds of scientific libraries and Specialized music and theater library of Kharkiv, as well as in the archives of KhATMK, and for the first time the information about the work of O. Ivashutych is analyzed. In addition, the actresses who worked with O. Ivashutych were interviewed. Therefore, this study is the first to reveal and systematize peculiarities of the creative path of O. Ivashutych, an actor, director, head of Kharkiv Theater of Musical Comedy. The director made about 40 productions on the stage of Kharkiv Theater of Musical Comedy and in Central Asia, where he was later evacuated. As an actor, O. Ivashutych played more than 100 versatile roles. The article aims to identify and characterize the main stages of the creative path of O. Ivashutych as well as differences between his acting and directing in different aesthetic eras. Results. O. Ivashutych’s creative individuality leaned towards the tragicomedy of Charlie Chaplin and Maryan Krushelnytsky. As a student of Les Kurbas in the Berezil Art Association and a member of the director’s laboratory of this theater, Les Ivashutych mastered the method of the famous avant-garde company, Les Ivashutich mastered the stage method of the famous avant-garde company, skillfully building rhythm of a performance and a role, turning to circusize, grotesque sharpening of images. In his directing work on the stage of the Musical Comedy Theater, O. Ivashutych, as a pupil of “The Berezil”, sought to consistently develop two repertoire trends: the embodiment of the best European classics (often exclusive in the country salon repertoire) and Ukrainian works (musical comedies and operettas by M. Verykivsky, M. Lysenko, O. Riabov). In our opinion, during these years L. Ivashutych drew a dash line of the European repertoire in his theater: he presented unique in the history of Kharkiv Theater of Musical Comedy operettas “The Borgia’s Garter” by K. Kraus, “Jeanne Who Cries and Jean Who Laughs” by J. Offenbach, “Ball at the Savoy” by P. Abraham (1940), “The Marriage Market” by V. Jacobi (1947), “The Eagle Feathers” by F. Farkas (1957), “Fraskita” by F. Lehár (1959), “The Waltz King” by J. Strauss (1961) and the first productions of famous operettas “Rose Marie” by G. Stotgardt and L. Friml (1942), “The Circus Princess” (1947), “Zorika (Gypsy Love)” by F. Lehár (directed by O. Ivashutych in the year of the composer’s death). In addition, O. Ivashutych staged four performances based on the musical comedies of the classic of Ukrainian operetta O. Riabov. The only performance, which could directly reveal the methodology of “The Berezil” was a fantastic comedy “Viy” (1951). The director also impressed with frank theatricality in circus scenes from the Milyutin’s operetta “Circus lights the fires” – together with choreographer A. Gulesco he managed to set up the style related to “girls” from “The Berezil” revues. Conclusions. Olexandr Ivashutych’s acting naturally evolved from the avantgarde of the 1920s – early 1930s, when he created, in particular, an eccentric image of Orpheus in the production of J. Offenbach, to the realistically psychological roles of 1950–1960, performed in a soft comedic manner (Amadeus in “The Bat”, Rooster in “Akulini”, Underwud in “The Kiss of Cianita”). L. Ivashutych worked as a director only during the period of the theater of “socialist realism”, which resulted in the corresponding realistic principles of his productions. However, even in such circumstances the director appreciated and skillfully used bright elements of theatrical imagery (fantasticality in “Viy” by M. Gogol, choreography in the spirit of the revue in “Circus lights the fires”). O. Ivashutych’s activity in Kharkiv Theater of Musical Comedy was based on the significant personal culture of the artist and his worldview of an intelligent leader.

Ivan Kavaleridze`s dramaturgy on the Sumy stage

2021 ◽  
Author(s):  
D.V. Budianskyi
Keyword(s):  
Large Scale ◽  
Musical Comedy ◽  
Historical Figures ◽  
Wide Range ◽  
Socialist Realist ◽  
History Of ◽  
Characteristic Features ◽  
Old Men ◽  
The Impact ◽  
First Time

The characteristic features of I. Kavaleridze’s drama is considered in the article. It is noted that there are signs of the artist’s individuality, attraction to expressionist forms, artistic techniques characteristic for the art of sculpture: symbolism, monumentality, hyperbole. I. Kavaleridze was well versed in the drama laws, understood the specifics of the stage events construction, had a large arsenal of literary means, thanks to which the characters’ monologues and dialogues were extremely expressive and colorful. In his work, he implemented original solutions that were ahead of time. Therefore, many of the artist’s ideas and achievements received due recognition only after his death. I. Kavaleridze’s creative heritage covers a wide range of both purely artistic and general philosophical problems. Among them the formation of the era of modernism and its features in the Ukrainian art of the early XX century, the impact of revolutionary ideas on the work of the 1920s, the role of spiritual leaders of the Ukrainian people T. Shevchenko and G. Skovoroda in the formation of national consciousness, political and ideological pressure on figurative art language and the formation of a socialist-realist canon, etc. The analysis of the productions of I. Kavalerizde’s plays “The First Furrow” and “Gregory and Paraskeva” on the stage of the Mykhailo Shchepkin Sumy Theater of Drama and Musical Comedy in 1970-1972. The article notes that these plays were staged in Sumy for the first time in the history of Ukrainian theater. The premiere of “The First Furrow” (the play was called “Old Men”) took place on March 19, 1970. The figure of the national genius Hryhoriy Skov oroda was als o embodied for the first time on t he stage in Sumy in th e play “Hryhoriy and Paraskeva”. It premiered on October 21, 1972. I. Rybchynsky, Honored Artist of the USSR, performed the production. Creating generalized historical outlines of people’s life, features of life at that time, depicting psychological portraits of people in various, sometimes-dramatic collisions, in the productions of I. Kavaleridze’s plays on the Sumy stage the emphasis was on universal values such as virtue, love. The main character was the Ukrainian people, who nurtured such large-scale historical figures, gave them strength and wisdom for great achievements. Based on publications in periodicals of that time, memoirs of Ukrainian directors, the peculiarities of the director’s interpretation, stenographic and musical design of these plays on the Sumy stage are considered. Considerable attention is paid to the analysis of acting works in I. Kavaleridze’s plays. In particular, the peculiarities of the actor’s embodiment of the image of the national genius Hryhoriy Skovoroda on the stage are presented. It is noted that I. Kavaleridze’s plays, created in a difficult political, social and ideological context, are rightly considered to be highly artistic works of Ukrainian drama. Their staging was carried out on various theatrical stages, including Mykhailo Shchepkin Sumy Theater of Drama and Musical Comedy is an important page of national theatrical art.

scholarly journals In the garden of the world

2020 ◽  
Author(s):  
Miriam Castorina
Keyword(s):  
19Th Century ◽  
The West ◽  
The World ◽  
History Of ◽  
Journey To The West ◽  
First Time ◽  
Shed Light

In the garden of the world. Italy to a young 19th century Chinese traveler. On September 14th, 1859, at the first light of dawn, a young Chinese traveler named Guo Liancheng 郭連城 (1839-1866) landed in Civitavecchia, Italy, after a long journey of overland travel and months of navigation. Coming from a small village far from the capital, he was only 20 years old and was in the company of an Italian priest, Luigi Celestino Spelta. Guo was not the first Chinese man to visit Europe but before leaving, he decided to keep a daily journal of his experience, published soon after his return with the title of Xiyou bilüe西游筆略 (Brief Account of the Journey to the West). This book presents for the first time the story of Guo Liancheng, exploring a still little-known aspect of the history of the contacts between Italy and China. Following the pages of Guo Liancheng’s journal, the author tries to shed light on its contents and features and to analyze the image of Italy described in the pages of Brief account of the Journey to the West, the earliest firsthand account on the Bel Paese ever published in China.

scholarly journals FROM THE STUDIES ON ‘DEGENERATE ART’ TWENTY YEARS AFTER THE WASHINGTON CONFERENCE. SZCZECIN’S CASE (MUSEUM DER STADT STETTIN)

Muzealnictwo ◽  
2019 ◽  
Vol 60 ◽  
pp. 126-142
Author(s):  
Dariusz Kacprzak
Keyword(s):  
Fine Arts ◽  
Departure Point ◽  
Art Collections ◽  
New Objectivity ◽  
Avant Garde ◽  
Art Dealers ◽  
History Of ◽  
German Revolution ◽  
Degenerate Art ◽  
First Time

On 5 August 1937, fulfilling the orders of the Chairman of the Reich Chamber of Fine Arts (Reichskammer der bildenden Künste), a confiscation committee showed up at the City Museum in Stettin, and demanded to be presented by the Director of the institution the Museum’s collection in view of ‘degenerate art’. While ‘hunting’ for the Avant-garde and ‘purging museums’, the Nazis confiscated works that represented, e.g. Expressionism, Cubism, Bauhaus Constructivism, pieces manifesting the aesthetics of the New Objectivity, as well as other socially and politically ‘suspicious’ art works from the late Belle Époque, WWI, German Revolution of 1918–1919, or from Weimer Republic Modernism of the 1920s and 30s. The infamous Munich ‘Entartete Kunst’ Exhibition turned into a travelling propaganda display, presented in different variants at different venues. A three-week show (11 Jan.–5 Feb. 1939) was also held in Stettin, in the Landeshaus building (today housing the Municipality of Szczecin). Provenance studies: biographies of the existing works, often relocated, destroyed, or considered to have been lost, constitute an interesting input into the challenging chapter on German and European Avant-garde, Szczecin museology, and on Pomerania art collections. Side by side with the artists, it was museologists and art dealers who cocreated this Pomeranian history of art. The Szczecin State Archive contains a set of files related to ‘degenerate art’, revealing the mechanisms and the course of the ‘museum purge’ at the Stettin Stadtmuseum. The archival records of the National Museum in Szczecin feature fragments of inventory ledgers as well as books of acquisitions, which provide a particularly precious source of knowledge. The published catalogue of the works of ‘degenerate art’ from the Museum’s collections covering 1081 items has been created on the grounds of the above-mentioned archival records, for the first time juxtaposed, and cross-checked. The mutually matching traces of information from Polish and German archives constitute a good departure point for further more thorough studies.

scholarly journals Features of the avant-garde directions of European modernism during 1900–1910 in the Ukrainian avant-garde

2019 ◽  
pp. 208-214
Author(s):  
A. Puzyrkova
Keyword(s):  
Turning Point ◽  
Fine Arts ◽  
Russian Empire ◽  
Artistic Expression ◽  
Avant Garde ◽  
History Of ◽  
The Russian Empire ◽  
Specific Manifestation ◽  
Distinct Features ◽  
First Time

During 1900–1910, there was a process of intensive cooperation and mutual enrichment between artists in Western European artistic centers and representatives of the Ukrainian and Russian avant-garde. At the same time, the avant-garde, both in Europe and in the territory of the Russian Empire, forms its own face and features that are reflected in the specificity of the artistic expression of specific groups and trends. The art of the 1900–1910 became a turning point in the history of avant-garde in Europe and in the Ukrainian lands, finally affirming the irreversibility of the phenomenon of avant-gardism. The avant-garde movements evolved rapidly during the period from 1900 to 1930, however, despite certain differences in manifestations, the revolutionary gains of cubism, expressionism and futurism became the foundation of the entire Ukrainian avant-garde. The publication, using examples of cubism, futurism and expressionism, which, deriving from European centers, laid the foundation for the artistic expression of the Ukrainian, as well as Russian avant-garde – cubofuturism, suprematism, constructivism, scrutinizes the features of the avant-garde on Ukrainian territories in the European context. For the first time, it is focused on the differences between the manifestations of Cubism, Futurism, and expressionism in the Ukrainian and European avant-garde. There is a lack of formed groups and program documents of cubism, futurism, and expressionism in the Ukrainian fine art of the 1900-1910, with absolute domination of these areas of artistic expression and formulation. It focuses on the specific manifestations of the Ukrainian and Russian avant-garde that emerged on their base, as well as on the specific manifestation of the Ukrainian avant-garde, the neoprimitivism, which includes the school of Mykhailo Boichuk. The publication emphasizes the importance of suprematism in the Ukrainian avant-garde as a classical avant-garde movement, which had such distinct features as breaking with tradition and well-formed ideological principles outlined in the program documents, which was generally not typical for the Ukrainian avant-garde in the fine arts. As it is known, even the ideological foundations of cubofuturism were not clearly formed by its representatives, Oleksandr Bohomazov and Oleksandra Ekster. It is possible to speak of a formed and declared platform only with respect to the Ukrainian literary avant-garde, where it were the futurists who most clearly positioned themselves.

The Ballad of John Latouche

2017 ◽  
Author(s):  
Howard Pollack
Keyword(s):  
Musical Theater ◽  
Leonard Bernstein ◽  
Carson Mccullers ◽  
Frank O'hara ◽  
Stephen Sondheim ◽  
Avant Garde ◽  
Baby Doe ◽  
Ned Rorem ◽  
History Of ◽  
First Time

Born into a poor Virginian family, John Treville Latouche (1914–1956), in his short life, made a profound mark on America’s musical theater as a lyricist and librettist. The wit and skill of his lyrics elicited comparisons with the likes of Ira Gershwin and Lorenz Hart, but he had too, as Stephen Sondheim noted, “a large vision of what musical theater could be,” and he proved especially venturesome in helping to develop a lyric theater that innovatively combined music, word, dance, and costume and set design. Many of his pieces, even if not commonly known today, remain high points in the history of American musical theater, including Cabin in the Sky (1940), Beggar’s Holiday (1946), The Golden Apple (1954), The Ballad of Baby Doe (1956), and Candide (1956). Extremely versatile, he also wrote cabaret songs, participated in documentary and avant-garde film, translated poetry, and adapted plays. Meanwhile, as one of Manhattan’s most celebrated raconteurs and hosts, he established friendships with many notables, including Paul and Jane Bowles, Carson McCullers, Frank O’Hara, Dawn Powell, Ned Rorem, Virgil Thomson, and Gore Vidal—a dazzling constellation of diverse artists all attracted to Latouche’s brilliance and joie de vivre, not to mention his support for their work. This book draws widely on archival collections both at home and abroad, including Latouche’s diaries and the papers of such collaborators as Leonard Bernstein, Duke Ellington, Douglas Moore, and Jerome Moross to tell for the first time the story of this fascinating man and his work.

Gay Pride on Stolen Land: Homonationalism and Settler Colonialism at the Vancouver Winter Olympics

2016 ◽  
Vol 33 (1) ◽  
pp. 54-65 ◽  
Author(s):  
Heather Sykes
Keyword(s):  
First Nations ◽  
Settler Colonialism ◽  
Gay And Lesbian ◽  
Community Center ◽  
Winter Olympics ◽  
Colonial Studies ◽  
History Of ◽  
Two Spirit ◽  
Set Up ◽  
First Time

A new form of sporting settler homonationalism emerged in the Pride Houses at the 2010 Vancouver Winter Olympics. For the first time ever, Pride Houses were set up where gay and lesbian supporters watched and celebrated the Olympic events. Drawing on poststructuralism, queer and settler colonial studies, the paper analyzes how the Pride Houses were based on settler colonial discourses about participation and displacement. A settler discourse about First Nations and Two-Spirit participation in the Pride Houses allowed gay and lesbian Canadian settlers to both remember and forget the history of settlement. Another settler discourse took for granted the displacement of Two-Spirit youth from their community center and Indigenous people from their traditional territories in order for the Olympics and the Pride Houses to take place. The paper suggests that queering settler politics in sport means confronting, rather than disavowing, colonialism and challenging homonational forms of gay and lesbian inclusion in sport mega- events.

scholarly journals Multivariate performance principle of “Sicilian and burlesque” by A. Casella in stylistic conception of neoclassicism

2021 ◽  
Author(s):  
Nazar Kravchenko
Keyword(s):  
20Th Century ◽  
Sonata Form ◽  
Methodological Basis ◽  
Religious Symbols ◽  
History Of ◽  
Set Up ◽  
First Time

The purpose of the article is the detection of neoclassicism characteristics of A. Casella in the composition “Sicilianna and burlesque”. Methodology. The intonational approach from the unity of music and speech from B. Asaief’s school in Ukraine has become the methodological basis for this work. The scientific novelty of the work. The analysis of A. Casella’s composition “Sicilianna and burlesque” has been made for the first time in the history of Ukrainian music studies. It has been done in a stylistic direction. Conclusions. The analysis has shown the polystylistic complex, which is determined by a variety of instrumental set-up, where the elements of the ancient sonata form were united with programmable and playing filling for entire. It unites the neo-baroque and neo-renaissance style characteristics with a primitivistic interpretation of semantic elements in genre typology, also generating a variety of ensemble and orchestra line-ups. The specified combination of semantic components creates the negligence in dealing with religious symbols, which is characteristic of the Italian modern (compare with atheistic beliefs of the futurists and neo expressionists in the second half of the 20th century).

scholarly journals Habitar una bóveda metálica. Quonset Huts en la Base Aeronaval de Rota

2021 ◽  
Vol 8 (2) ◽  
pp. 91-116
Author(s):  
María del Pilar Salazar Lozano ◽  
Antonio José Cidoncha Pérez
Keyword(s):  
World War Ii ◽  
The United States ◽  
World War ◽  
American Military ◽  
Cylindrical Metal ◽  
History Of ◽  
Set Up ◽  
Unknown Case ◽  
Shed Light ◽  
Design Construction

During World War II, and even in the years that followed, thousands of American soldiers lived in prefabricated semi-cylindrical metal huts that could be dismantled and reused: Quonset Huts. Their singular design and their multiple uses made Quonset Huts an American military design icon. The daring construction system made it possible to manufacture them in the United States and take them across the Atlantic, armed with a comprehensive instruction manual. The Seabees, American soldiers posted to Spain to build the Naval Station Rota, set up a provisional camp in 1959 comprising fifty-three Quonset Huts. Assembling them in Spain provided housing for 500 soldiers and they were fitted with all types of facilities for their functions.  This text aims to shed light on this unknown case of prefabricated dwellings in our country, contextualising the history of their design, construction and installation, and analysing the repercussion of this constructive experiment in the early days of prefabricated construction in Spain.

scholarly journals The Secret of the Byzantinist Dmitry Ainalov

2020 ◽  
Vol 162 (6) ◽  
pp. 171-184
Author(s):  
L.A. Sychenkova ◽  
◽  
M.D. Pirgo ◽  
Keyword(s):  
Early Period ◽  
Family Tree ◽  
Research Focus ◽  
Greek Culture ◽  
Byzantine Art ◽  
Archival Documents ◽  
History Of ◽  
First Time ◽  
Important Evidence ◽  
Insight Into

This paper, for the first time, considers the Mariupol period of D.V. Ainalov’s life, as well as the history of his family and his ancestry from the Crimean-Azov Greeks. D.V. Ainalov’s personal documents concerning his family tree and the early period of his life were introduced into scientific circulation. His research focus (Hellenistic and Byzantine art) was determined by the inherent bond with the Greek culture, which had survived and flourished among the Azov Greeks. With the help of the archival documents, the atmosphere in D.V. Ainalov’s family was revealed in order to understand the conditions under which he developed his artistic abilities. Our findings confirm that the inner circle of D.V. Ainalov’s family, which included artists, prompted him to visual thinking and, therefore, played a key role in his subsequent interest in the study of art. An important evidence of D.V. Ainalov’s artistic abilities is his iconographic legacy. Refining the details of D.V. Ainalov’s biography helps to get a better insight into his creative “laboratory” and personal motives, thereby adding new dimensions to his historiographical image. The paper raises the issue of the urgent need for a special monographic research summarizing and covering in detail all stages of personal and creative biography of D.V. Ainalov.

scholarly journals Art Nouveau in the context of realism: Ilya Repin at the turn of two centuries

2022 ◽  
pp. 1-10
Author(s):  
Olga Sergeevna Davydova
Keyword(s):  
Two Dimensions ◽  
Art Nouveau ◽  
Main Subject ◽  
Avant Garde ◽  
Documentary Sources ◽  
Dynamic Potential ◽  
Complex Reconstruction ◽  
History Of ◽  
Artistic Image ◽  
First Time

The main subject of this research is the specificity of I. E. Repin's perception of the dynamics of artistic-aesthetic tasks formed under the influence of changing modernity. In view of this, one of the compositional centers of the research is the history of relationship that developed between I. E. Repin and the artists of the “first wave of symbolism” – members of the association “The World of Art” (primarily, the editor-in-chief of the eponymous journal S. P. Diaghilev, A. N. Benois, K. A. Somov, Y. Y. Lanceray). Special attention is given to the question of perception of I. E. Repin by certain representatives of the avant-garde in 1910s. Developing in the range “attraction – negation”, full of dramatic and comic moments, the dialogue between Repin and younger generation indicates the hastiness of univocal view of realism and Art Nouveau as opposing imagery systems. For the first time, on the current level of scientific comprehension of the aesthetics of symbolism and neo-romanticism, the article analyzes the attitude of I. E. Repin towards the innovative imagery pursuits of the Art Nouveau artists. At the same time, the very concept of Art Nouveau is interpreted in two dimensions: as a certain milestone in the context of the development of the history of art of the late XIX – early XX century; and as an inner dynamic potential embedded by I. E. Repin in his works since the beginning of his creative path. Based on systematization of the artistic and documentary sources and  the method of complex reconstruction of the views of Peredvizhniki and symbolist artists upon the objectives and nature of art, the author concludes that the poetics of art of Ilya Repin, synthesizing the ideas of time, tends to reflect a complicated and distinctive artistic image formed by realistic and idealistic principles.

Sign in / Sign up

Export Citation Format

Share Document