UKRAINIAN MODEL OF POSTDRAMATIC THEATRE: CONTEXT AND PRAXIS

Abstract

The article characterizes the Ukrainian model of the postdramatic theater in the framework of global culture of modern times. As new historical realities prescribe changes in artistic pathways of modern art development, the issue related to processing of the specific features of postdramatic stage business becomes relevant. The author defined the particular characteristics of the Ukrainian postdramatic theater as illustrated by artistic experiments of such Ukrainian directors as O. Apchel, O. Seredin, A. Mai, R. Sarkisian, S. Brama, A. Vusyk. The result of the research conducted is the disclosure of the specific features that the Ukrainian postdramatic performance acquires: total hybridization with the dominated visual component; understanding of the text as a multivariable use of signs; deconstruction, deformation, multi-code nature and pluralism as a communicative space; the audience as a co-author of the performance etc. It is established that the postdramatic theater as a cultural phenomenon of the postmodern era is the newest form of stage representation and an intermediate between the permanent institution of the classic Ukrainian theater and theatrical practices of the twentieth century. According to the art history analysis the author proved that in the postdramatic theater there was a permanent hybridization: from types and genres to template formations, causing transformation of the morphological theatrical system into autonomous theatrical practices. Generation of the textual basis of the postdramatic theater during the very performance ensures an availability of the interactive system, a frame in which the personality of the performer, being a “performative” representative, is actualized. The relevance of the article has emerged due to a need in advanced study of the very Ukrainian model of the postdramatic theater.