Творчість Лесі Українки в театральній рецепції: соціально- культурний феномен «Гармидера»

Анотація

The article explores the theatrical reception of Lesya Ukrainka’s works by the «Harmyder» theater and the specific changes in the artistic style of the theater in this context. The research is grounded in the concept of liminality by A. van Gennep and V. Turner, providing a characterization of the current period of theatrical development as liminal. The discovery of profound connections between Lesya Ukrainka’s artistic texts and the theatrical productions based on these texts motivated the vivid portrayal of the
author's imagery, which is reinterpreted and interpreted by contemporary researchers and theatrical directors. Changes in the theatrical aesthetics of the «Harmyder» theater and the quest for its own artistic style occurred parallelly with the artistic
interpretation of Lesya Ukrainka’s works. «Harmyder» turned to the author’s texts in the early stages of the theater's existence, returning to Lesya Ukrainka’s works once again. In the initial stages of working with classical texts, for which «Harmyder»
chose the mystery genre, productions of «On the Field of Blood» and «Apocrypha» were staged. During the subsequent stage, the theater implemented the «site-specific» format and embodied a renewed version of the immersive performance «On the Field of Blood». To realize socio-cultural projects, a mini-performance about Lesya Ukrainka’s childhood in Lutsk was presented. At the current stage of working with post-documentary post-dramatic texts, the theater is developing the performance «IAm Lesya». The images from Lesya Ukrainka’s dramas and poems, as perceived by the creative team at «Harmyder», form the basis for a communal ritual of transition, serving as a foundation for the formation of shared values. In each of the texts by Lesya Ukrainka selected by the theater, there is a juxtaposition of images of stable structures and an intermediate phase of trials for the characters