Avant-gardism in the work of director Andrii Zholdak: Ukrainian and global context

Tetiana Sovhyra; Maryna Tatarenko; Andrii Kasianenko; Yevheniia Skrypnyk; Liliana Belymenko

doi:10.34069/AI/2022.53.05.15

Tetiana Sovhyra Kyiv National University of Culture and Arts, Kyiv, Ukraine. https://orcid.org/0000-0002-7023-5361
Maryna Tatarenko Kyiv National University of Culture and Arts, Kyiv, Ukrainе. https://orcid.org/0000-0001-6838-3560
Andrii Kasianenko Kyiv National University of Culture and Arts, Kyiv, Ukrainе. https://orcid.org/0000-0001-6085-2190
Yevheniia Skrypnyk Kyiv National University of Culture and Arts, Kyiv, Ukraine. https://orcid.org/0000-0003-0481-9147
Liliana Belymenko Kyiv National University of Culture and Arts, Kyiv, Ukrainе. https://orcid.org/0000-0002-7323-9528

DOI: https://doi.org/10.34069/AI/2022.53.05.15

Keywords: avant-gardism, theater, art, director, decree.

Abstract

The article deals with the essence of avant-gardism in art (theater, cinema, music). The study aims to analyze the avant-garde techniques in dramatic productions directed by A. Zholdak. The representatives of the avant-garde direction in the works of different countries of the world are marked and the historical aspect of the emergence of avant-gardism in theatrical art is briefly outlined. The main life stages of Zholdak's formation as a creative unit are elaborated on the basis. Noted individual features and ways of presenting interpreted performances, including the integration of political issues in the content of the work, the play on the contrasts, the emphasis on the role and meaning of the theatrical space, dynamism. The research methodology is based on the principles of objectivity, historicism, multifactoriality, systematicity, complexity, development, and pluralism. Examples of the main controversial productions of classical plays in the interpretation of the famous director AndriiZholdak are given. Also described are the attitudes of the public in different European countries, including Ukraine, to the work of AndriiZholdak as an innovator and avant-garde artist. The peculiarities of the audience's perception of AndriiZholdak's productions in different European countries are indicated.

Downloads

Download data is not yet available.

Author Biographies

Tetiana Sovhyra, Kyiv National University of Culture and Arts, Kyiv, Ukraine.

PhD in Art, Assistant professor Department of Variety Direction and Mass Holidays Faculty of Theatre, Cinema and Variety Art Kyiv National University of Culture and Arts, Kyiv, Ukraine.

Maryna Tatarenko, Kyiv National University of Culture and Arts, Kyiv, Ukrainе.

Candidate of Pedagogical Sciences Assistant Professor Department of Directing and Acting Skills, Faculty of Theater, Cinema and Variety Art, Kyiv National University of Culture and Arts, Kyiv, Ukrainе.

Andrii Kasianenko, Kyiv National University of Culture and Arts, Kyiv, Ukrainе.

Teacher Department of Variety Direction and Mass Holidays Faculty of Theatre, Cinema and Variety Art Kyiv National University of Culture and Arts, Kyiv, Ukrainе.

Yevheniia Skrypnyk, Kyiv National University of Culture and Arts, Kyiv, Ukraine.

Assistant Department of Directing and Acting Skills, Faculty of Theater, Cinema and Variety Art, Kyiv National University of Culture and Arts, Kyiv, Ukraine.

Liliana Belymenko, Kyiv National University of Culture and Arts, Kyiv, Ukrainе.

Teacher Department of Variety Direction and Mass Holidays, Faculty of Theatre, Cinema and Variety Art, Kyiv National University of Culture and Arts, Kyiv, Ukrainе.

References

Armand, L. (2020). ‘Barbaric Peoples of the Earth’: The Avant-Garde and the Revolt Against Civilisation. Open Library of Humanities, 6(1). https://doi.org/10.16995/olh.453

Botsman, O. (February 2, 2022). Zholdak: If I hadn't gotten into art, I would have been either a "crowned" bandit or killed [Zholdak: Yakbyya ne potrapyv u mystetstvo, yabuv by abo “koronovanym” bandytom, abo vbytym]. Excluding «Hordona» [Ekskliuzyv «Hordona»]. Gordonua.Com. Retrieved April 9, 2022, from https://gordonua.com/ukr/publications/zholdak-yakbi-ya-ne-potrapiv-u-mistectvo-ya-buv-bi-abo-koronovanim-banditom-abo-vbitim-1590071.html

Condee, W. F. (2002). Theatrical Space: A Guide for Directors and Designers. The Scarecrow Press, Inc.

Faulina, V. (2021, December 30). Andriy Zholdak in Kyiv: master class for theatergoers and dreams of staging in Ukraine (photo report). [Andrii Zholdak u Kyievi: maister-klasdliateatraliv ta mrii pro postanovku v Ukraini (fotoreportazh)] Mirror Weekly; Zn.ua. https://zn.ua/ukr/CULTURE/andrij-zholdak-u-kijevi-majster-klas-dlja-teatraliv-ta-mriji-pro-postanovku-v-ukrajini-fotoreportazh.html

Fazan, K., Kobialka, M., & Lease, B. (Eds.). (2021). A History of Polish Theatre. Cambridge University Press. https://doi.org/10.1017/9781108619028.009

Grinyshyna, M., Raevskaya, Yu., & Boklan, M. (2021). Presentation of theatrical surrealism: "I will kill the king, or the Poles" by Alfred Jarry (1896). Bulletin of the Kyiv National University of Culture and Arts. Series: Performing Arts, 4(1), 8–16. https://doi.org/10.31866/2616-759X.4.1.2021.234229

Heinz, E. (2020). John Rodker on Theatre: Rethinking the Modernist Stage from London’s Jewish East End. Open Library of Humanities, 6(1), 1–27. https://doi.org/10.16995/olh.455

Müller-Schöll, N. (2021). Brecht and contemporary experimental theater. In Bertolt Brecht in Context (pp. 282–290). Cambridge University Press. https://doi.org/10.1017/9781108608800.036

Nerubasska, A., Palshkov, K., & Maksymchuk, B. (2020). A Systemic Philosophical Analysis of the Contemporary Society and the Human: New Potential. Postmodern Openings, 11(4), 275–292. https://doi.org/10.18662/po/11.4/235

Petrovici, I., & Ivan, D. (2019). Film as aesthetic experience and work of art. Postmodern Openings, 10(3), 135–150. https://doi.org/10.18662/po/86

Pinchbeck, M. D., & Egan, K. (2022). Staging scores: Devising contemporary performances from classical music. Open Library of Humanities, 8(1). https://doi.org/10.16995/olh.4684

Puchner, W. (2017) . Greek Theatre between Antiquity and Independence A History of Reinvention from the Third Century BC to 1830. Cambridge University Press, pp. 16 – 51 https://doi.org/10.1017/9781107445024.003

Rojas, O., Mota, K., & Valenzuela, M. (2021). Perspectiva de los docentes acerca del teatro y sus aportes al aprendizaje significativo en la Comuna de Rengo, Chile – 2021. Revista Ibero-Americana de Estudos Em Educação, 2345–2357. https://doi.org/10.21723/riaee.v16i4.15684

Rosati, L. (2019). Mechanical Kingdoms: Sound Technologies and the Avant-Garde, 1928–1933. CUNY Academic Works.
https://academicworks.cuny.edu/gc_etds/3237

Rutkovskij, V. (2019, April 3). Wild Tchaikovsky. "The Enchantress" directed by Andriy Zholdak [DikijChajkovskij. “Charodejka” v postanovke Andrija Zholdaka]. Radio Svoboda. https://www.svoboda.org/a/29849568.html (in Russian)

Sandu, A., & Unguru, E. (2017). Several Conceptual Clarifications on the Distinction between Constructivism and Social Constructivism. Postmodern Openings, 8(2), 51–61. https://doi.org/10.18662/po/2017.0802.04

Schor, R. (2021). German Reception. In Ibsen in Context (pp. 166–174). Cambridge University Press. https://doi.org/10.1017/9781108381130.025

Taylor, L. (2018). Negotiating theatrical space in performances of Marguerite duras’s later plays. In Marguerite Duras (pp. 118–134). Leiden/Boston: Brill.

Turoiu, L., Griga, A., Arapu, V., Gurguta, A., & Tica, A. (2019). A Romanian-French Season. Postmodern Openings, 10(1), 280–295. https://doi.org/10.18662/po/67

Usakli, H. (2021). Inner sound or forum theater to resolve communicational problems. International Journal of Education and Science, 4(1), 26–32. https://doi.org/10.26697/ijes.2021.1.3