潘特莱蒙·库利什的戏剧:历史与精神哲学特征

Larysa Moros
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摘要

本文探讨了库利什意识形态剧的思想、情节和冲突方案的基础。其中两个是有条件的象征,而其他三个是基于真实的历史材料。音乐剧《从农庄来的女人,或在婚礼宾客面前唱颂新娘》的歌词和多面剧《希律王的麻烦》结合了圣经即国际的元素,而后者也包含了乌克兰圣诞剧的传统民俗特征。另一组作品构成了三部曲,尽管P.库利什以不同的方式解释选定的主题,每次都使用特殊的文学技巧。悲剧《维什涅维茨基公爵拜达》描写了真实的历史人物——哥萨克正规军队的创始人和民间传说人物与哥萨克贫民的代表之间的冲突,即骑士与恶棍之间的冲突。戏剧“Petro Sahaidachnyi”的主人公是17世纪乌克兰当局,教会和文化的杰出人物,因此主要冲突是由对文化生活发展的关注决定的;它在知识和哲学领域展开。这些人物反映了对抗、信仰与科学的结合、精神或政治斗争的可能性等问题。“老鲁塞尼亚”戏剧“沙皇纳利瓦伊”(Tsar Nalyvai)(故事发生在炎热的1596年)是最具活力的;它有着最复杂的阴谋,但这里的重点是深刻的象征语言,而不是揭示人物的情感或智力世界。库利什的所有戏剧也有一些共同的特点。作者将历史现象和人物与象征性的(圣经和民间传说)形象和细节相结合,以意识形态冲突的方式解释了被认为是最重要的历史事件。
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Panteleimon Kulish’s Dramaturgy: Historical and Spiritual-Philosophical Features
The paper explores the ground of the ideas, plots, and schemes of conflicts in ideological dramas by P. Kulish. The two of them are conditionally symbolic while the other three are based on real historical material. The libretto of the musical performance “A Woman from the Farmstead, or Singing Praise to the Bride in front of the Wedding Guests” and multifaceted drama “Herod’s Trouble” show combination of biblical, i. e. international, elements, while the latter also contains traditional folklore features of the Ukrainian Nativity Play. The other group of works makes up the trilogy, although P. Kulish interprets the selected topics in different ways and every time uses special literary techniques. The tragedy “Baida, Prince Vyshnevetskyi” depicts the conflict between the real historical figure, who was the founder of the regular Cossack army and folklore character, and representative of the Cossack poor, therefore between the knightly and lumpen forces. The heroes of the drama “Petro Sahaidachnyi” are prominent figures of the Ukrainian authorities, church, and culture of the 17th century, so the main conflict is determined by the concern for the development of cultural life; it unfolds in intellectual and philosophical sphere. The characters reflect on the problems of confrontation, combination of faith and science, possibility of spiritual or political struggle, etc. The ‘Old Ruthenian’ drama “Tsar Nalyvai” (the action takes place in the hot 1596) is the most dynamic; it has the most elaborate intrigue, but here the focus is rather on the deep symbolic language than on revealing the emotional or intellectual world of the characters. There are also some common features in all the dramas by Kulish. The author interpreted historical events estimated as the most important in a way of ideological conflict, combining historical phenomena and figures with symbolic (biblical and folklore) images and details.
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