Pub Date : 2020-12-21DOI: 10.31500/2309-8813.16.2020.219989
Ганна Веселовська
The article is dedicated to the early period in the professional career of outstanding Ukrainian theatre director Serhiy Volodymyrovich Danchenko (1937–2001). The main attention is paid to the very first performances staged by Danchenko at the Lviv Theatre namedafter Maria Zankovetska in 1965–1966. These include the debut performance ‘The First Day of Freedom’ based on a play by Polish playwrightLeon Kruchkovsky as well as stage versions of such dramas as ‘The Widower’ by Aleksander Shtein, ‘Man Overboard’ by Arkadiy Shkol’nikand ‘On the Road’ by Viktor Rozov. Based on memoirs, press critiques and documentary materials, namely the minutes of the Theatre Arts Council’s meetings, the author reconstructs the circumstances in which the work on the performances was undergoing, discusses the peculiarities of how the actors were interpreting their roles as well as the reception by critics and spectators. The article emphasizes the conceptual approach employed by the director and makes generalisations about the consonance of themes and issues in three plays. The principled research aspect of the article is that Danchenko’s performances are examined in the context of the shestydesiatnyky (sixtiers) movement. For the first time in the domestic art studies, it is argued that Danchenko’s productions of that period can be related, by theiraesthetic and substantive characteristics, to the phenomenon of the shestydesiatnyky art. This makes it possible to talk about a collective action by shestydesiatnyky taking as an example the works created in the Lviv Theatre named after Maria Zankovetska.
本文致力于乌克兰杰出戏剧导演Serhiy Volodymyrovich Danchenko(1937-2001)职业生涯的早期。主要关注的是丹琴科于1965年至1966年在以玛丽亚·赞科维斯卡命名的利沃夫剧院上演的第一次演出。其中包括根据波兰剧作家克鲁奇科夫斯基(leon Kruchkovsky)的戏剧改编的处女作《自由的第一天》(the First Day of Freedom)，以及亚历山大·施泰因(Aleksander Shtein)的《鳏夫》(the鳏夫)、阿尔卡季·施科尔(Arkadiy Shkol)的《落水男子》(Man Overboard)和维克托·罗佐夫(Viktor Rozov)的《在路上》(on the Road)等戏剧的舞台版本。根据回忆录、新闻评论和纪录片材料，即戏剧艺术委员会的会议记录，作者重建了演出工作进行的环境，讨论了演员如何解释他们的角色以及评论家和观众的接待的特点。本文强调了导演所采用的概念方法，并对三部戏剧的主题和问题的一致性进行了概括。本文的原则性研究方面是在“六十层”运动的背景下考察丹琴科的表演。在国内的艺术研究中，首次提出了将丹琴科这一时期的作品，从其审美特征和实质特征上，与“审美艺术”现象联系起来的观点。这使得我们有可能谈论她的集体行动，以在以玛丽亚·赞科维茨卡命名的利沃夫剧院创作的作品为例。
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Pub Date : 2020-12-21DOI: 10.31500/2309-8813.16.2020.219987
Оксана Чепелик
The Ukrainian project of the Open Group «The Shadow of Dream (Mriya) cast upon Giardini della Biennale» is researchedin the fairway of Ralph Rugoff’s curatorial concept «May You Live in Interesting Times» of the 58th Venice Biennale 2019 and the themesdeveloped in the other projects, taking into account the projection of these issues on the Ukrainian and world contexts are analyzed. Thecontexts with which the project works in Ukraine and in the world are compared. The issues addressed within the Venice Biennale onglobal environmental challenges, extensive growth, war and peace, ongoing confrontation of democratic and totalitarian worlds, migration crisis are studied. The process of revealing by artistic means how political manipulation works is revealed with a critical commentaryon the reality marked by economic and social inequality that provokes indignation, and as a result — populism. The mechanism of workwith trauma on the territory of art is determined. The multi-vector projects and different types of connection with reality are identified demonstrating the productive artistic strategies.The themes and artistic features of the films presented at the 2019 Venice Film Festival and its winners are analyzed and compared.The features of the Ukrainian film-winner of the Venice Film Festival 2019 «Atlantis» by Valentyn Vasyanovych are described. The chronology of the development of Valentin Vasyanovich’s film achievements is tracked.The main trend topics characteristic of the Venice Forums of 2019 are identified, such as the threats of the Anthropocene and the ecological crisis, anti-globalism in its economic, social and national aspects, and the orientation on the human values in the post-truth era.The influence of intellectual practice in the formation of meanings for dialogue with society challenging for the art world is determined.The role and place of Ukrainian contemporary art and cinema on the international stage are revealed. The problems and peculiaritiesof the cultural policy of Ukraine and the necessity of its reforme in order to support the development of contemporary art are outlined.
Open Group的乌克兰项目“The Shadow of Dream (Mriya) cast on Giardini della双年展”是在拉尔夫·鲁戈夫(Ralph Rugoff) 2019年第58届威尼斯双年展的策展概念“愿你生活在有趣的时代”的基础上进行研究的，并在其他项目中开发了主题，考虑到这些问题在乌克兰和世界背景下的投影。比较了该项目在乌克兰和世界范围内的工作情况。威尼斯双年展探讨了全球环境挑战、广泛增长、战争与和平、民主与极权世界的持续对抗、移民危机等问题。通过艺术手段揭示政治操纵如何运作的过程，揭示了对以经济和社会不平等为标志的现实的批判性评论，引发了愤怒，结果是民粹主义。确定了艺术领域中创伤工作的机制。确定了多向量项目和与现实的不同类型的联系，展示了生产性艺术策略。本文对2019年威尼斯电影节参展影片和获奖影片的主题和艺术特征进行了分析和比较。介绍了Valentyn Vasyanovych在2019年威尼斯电影节上的乌克兰电影获奖者“亚特兰蒂斯”的特点。瓦伦丁·瓦西里亚诺维奇的电影成就的发展年表被跟踪。确定了2019年威尼斯论坛的主要主题特征，如人类世的威胁和生态危机，经济、社会和国家方面的反全球化，以及后真相时代的人类价值取向。智力实践在形成与社会对话的意义方面的影响对艺术界的挑战是确定的。揭示了乌克兰当代艺术和电影在国际舞台上的作用和地位。概述了乌克兰文化政策的问题和特点，以及改革乌克兰文化政策以支持当代艺术发展的必要性。
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Pub Date : 2020-12-21DOI: 10.31500/2309-8813.16.2020.219995
Олександра Халепа
On the example of iconic foreign festivals “Ars Electronica” (Linz, Austria), “Transmediale” (Berlin, Germany), “Gamma”(St. Petersburg, Russia) and domestic — “KIMAF” “Carbon Media Art Festival”, “Carbonarium” (Kyiv Ukraine) (Kyiv, Ukraine), “Nonstopmedia” (Kharkiv), “Transformer” (Lviv, Ukraine), “Terra Futura” (Kherson, Ukraine), “Hamselyt “ (Ternopil, Ukraine); analyzed the festivalformat as the most suitable for experimental synthesis of different types of media art, including in post-industrial locations.
以国外标志性节日“Ars Electronica”（奥地利林茨）、“Transmediale”（德国柏林）、“Gamma”（俄罗斯圣彼得堡）和国内的“KIMAF”、“Carbon Media Art Festival”（乌克兰基辅）、“Nontopmedia”（哈尔科夫）、“Transformer”（乌克兰利沃夫）、“Terra Futura”（乌克兰赫尔松）为例，“Hamselyt”（乌克兰捷尔诺波尔）；分析了节日形式最适合不同类型媒体艺术的实验合成，包括在后工业地区。
{"title":"Фестивалі медіаарту на постіндустріальних локаціях","authors":"Олександра Халепа","doi":"10.31500/2309-8813.16.2020.219995","DOIUrl":"https://doi.org/10.31500/2309-8813.16.2020.219995","url":null,"abstract":"On the example of iconic foreign festivals “Ars Electronica” (Linz, Austria), “Transmediale” (Berlin, Germany), “Gamma”(St. Petersburg, Russia) and domestic — “KIMAF” “Carbon Media Art Festival”, “Carbonarium” (Kyiv Ukraine) (Kyiv, Ukraine), “Nonstopmedia” (Kharkiv), “Transformer” (Lviv, Ukraine), “Terra Futura” (Kherson, Ukraine), “Hamselyt “ (Ternopil, Ukraine); analyzed the festivalformat as the most suitable for experimental synthesis of different types of media art, including in post-industrial locations.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44303026","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-21DOI: 10.31500/2309-8813.16.2020.219997
І. І. Савчук
The article examines the communicative mechanisms of the Borys Liatoshynsky cultural initiatives in Polish culture in the1950s — 1960s. The Polish component is an integral part of the artist’s ideological, professional and cultural identity. The study of thesevectors through the Liatoshynsky cross-cultural activities in the field of European cultures builds his dialogue with the mental image ofUkrainian culture and forms the main ideas about Liatoshynsky as a national cultural figure.
{"title":"Борис Лятошинський у комунікативних форматах української музичної культури ХХ століття","authors":"І. І. Савчук","doi":"10.31500/2309-8813.16.2020.219997","DOIUrl":"https://doi.org/10.31500/2309-8813.16.2020.219997","url":null,"abstract":"The article examines the communicative mechanisms of the Borys Liatoshynsky cultural initiatives in Polish culture in the1950s — 1960s. The Polish component is an integral part of the artist’s ideological, professional and cultural identity. The study of thesevectors through the Liatoshynsky cross-cultural activities in the field of European cultures builds his dialogue with the mental image ofUkrainian culture and forms the main ideas about Liatoshynsky as a national cultural figure.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45115633","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-21DOI: 10.31500/2309-8813.16.2020.219982
Олеся Авраменко
The creative work of Uzhhorod artist Lyudmila Korzh-Radko is considered. Attention is focused on a number of series ofeasel works, which figuratively and sharply illuminate the extremely relevant topic of women in the social and thus cultural field. The author of the article highlights the philosophical and imaginative artistic solutions of the stated theme and compares it with other incarnations of this socially important and artistically devalued theme
{"title":"Феміна без фемінізму, або Сокровенна тема творчості Людмили Корж-Радько","authors":"Олеся Авраменко","doi":"10.31500/2309-8813.16.2020.219982","DOIUrl":"https://doi.org/10.31500/2309-8813.16.2020.219982","url":null,"abstract":"The creative work of Uzhhorod artist Lyudmila Korzh-Radko is considered. Attention is focused on a number of series ofeasel works, which figuratively and sharply illuminate the extremely relevant topic of women in the social and thus cultural field. The author of the article highlights the philosophical and imaginative artistic solutions of the stated theme and compares it with other incarnations of this socially important and artistically devalued theme","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42608273","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-21DOI: 10.31500/2309-8813.16.2020.219999
Тетяна Міронова
{"title":"Понятійно-категоріальна система сучасного українського мистецтва в новій естетичній парадигмі ХХІ століття","authors":"Тетяна Міронова","doi":"10.31500/2309-8813.16.2020.219999","DOIUrl":"https://doi.org/10.31500/2309-8813.16.2020.219999","url":null,"abstract":"","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45717316","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-21DOI: 10.31500/2309-8813.16.2020.219994
Руслана Іванівна Безугла
{"title":"Методологічні проблеми сучасного мистецтвознавства: історичні передумови та соціокультурні реалії","authors":"Руслана Іванівна Безугла","doi":"10.31500/2309-8813.16.2020.219994","DOIUrl":"https://doi.org/10.31500/2309-8813.16.2020.219994","url":null,"abstract":"","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49122943","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-21DOI: 10.31500/2309-8813.16.2020.219985
Леся Даниленко
The article examines the history of the formation and design activities of some of the most famous design studios in London, which have gained a reputation in Europe and other parts of the world — Wolf Olins, Minale Tattersfield, Fletcher Forbes Gill; thesocio-economic circumstances of the development of British design after the Second World War and the peculiarities of the design activity of these design studios are revealed; the most popular directions of work of these design studios are analyzed: the development of packaging for production and elements of corporate identity of private enterprises and state institutions
{"title":"Дизайн-студії Лондона: «Вольф Олінз», «Мінале Таттерсфілд», «Флетчер Форбс Джилл». Їхнє значення для розвитку графічного дизайну на Британських островах","authors":"Леся Даниленко","doi":"10.31500/2309-8813.16.2020.219985","DOIUrl":"https://doi.org/10.31500/2309-8813.16.2020.219985","url":null,"abstract":"The article examines the history of the formation and design activities of some of the most famous design studios in London, which have gained a reputation in Europe and other parts of the world — Wolf Olins, Minale Tattersfield, Fletcher Forbes Gill; thesocio-economic circumstances of the development of British design after the Second World War and the peculiarities of the design activity of these design studios are revealed; the most popular directions of work of these design studios are analyzed: the development of packaging for production and elements of corporate identity of private enterprises and state institutions","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46206404","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-12DOI: 10.31500/2309-8813.16.2020.220007
І. О. Сорока
The scientific novelty of the work lies in the fact that for the first time specific commonalities and differences of “subtext”and “internal monologue” in the verbal action of the actor are pointed out. The scheme of existence of the process of “internal monologue” in the pause (on the partner’s remark) and in the phrase (when pronouncing the text) is considered. The identity of “subtext” and “internal monologue” in the indirect text (dialogue) and the transformation of “internal monologue” in the sense of expression are indicated.
{"title":"«Підтекст» та «внутрішній монолог» у словесній дії актора","authors":"І. О. Сорока","doi":"10.31500/2309-8813.16.2020.220007","DOIUrl":"https://doi.org/10.31500/2309-8813.16.2020.220007","url":null,"abstract":"The scientific novelty of the work lies in the fact that for the first time specific commonalities and differences of “subtext”and “internal monologue” in the verbal action of the actor are pointed out. The scheme of existence of the process of “internal monologue” in the pause (on the partner’s remark) and in the phrase (when pronouncing the text) is considered. The identity of “subtext” and “internal monologue” in the indirect text (dialogue) and the transformation of “internal monologue” in the sense of expression are indicated.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41382790","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-12-12DOI: 10.31500/2309-8813.16.2020.220008
Ірина Яцик
The article is devoted to the problem of creating an archive of the platform “The Newest Directions” —a long-term project initiated by MARI. From 2011 to 2020, more than 10 exhibition projects were implemented at various locations, the theoretical competition, discussion panels, public discussions. The entire amount of visual and theoretical information needs to be preserved and organized according to a certain strategy. The study of possible strategiesof this work is also the subject of this investigation. In the last part the projects of the platform of 2018 and 2019 “Anatomy of simulacrum” and “Alchemy of motivation” are analyzed, and further prospects of development of the platform “The Newest Directions” are outlined.
{"title":"«Новітні спрямування» 2011–2020-го років. Візуальний часопис десятиліття: можливість архіву","authors":"Ірина Яцик","doi":"10.31500/2309-8813.16.2020.220008","DOIUrl":"https://doi.org/10.31500/2309-8813.16.2020.220008","url":null,"abstract":"The article is devoted to the problem of creating an archive of the platform “The Newest Directions” —a long-term project initiated by MARI. From 2011 to 2020, more than 10 exhibition projects were implemented at various locations, the theoretical competition, discussion panels, public discussions. The entire amount of visual and theoretical information needs to be preserved and organized according to a certain strategy. The study of possible strategiesof this work is also the subject of this investigation. In the last part the projects of the platform of 2018 and 2019 “Anatomy of simulacrum” and “Alchemy of motivation” are analyzed, and further prospects of development of the platform “The Newest Directions” are outlined.","PeriodicalId":34369,"journal":{"name":"Suchasne mistetstvo","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43633977","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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