Ukrainian Intellectual Drama of the 2000s
In spite of the presence in contemporary scientific works, the terms ‘intellectual drama’ and ‘intellectual theater’ have blurred boundaries. The aim of the article is to identify productive genres and methods of intellectualization in Ukrainian drama of the 2000s. The category of genre was taken as the basis for material structuring. Genre analysis is combined with a poetics analysis of a literary work and an analysis of theatrical techniques that promote intellectualization. Regardless of the genre determined by a writer for a work, no matter what generation an author identifies himself with, the play-writers are common in the importance of keeping eye on the today’s world. But this does not condition the realism of the content of scripts or when performed on the stage. The study confirms that parable drama, intellectual and philosophical drama, biographical drama, drama of the absurd belong to the actual genres of intellectual drama. The synthesis of styles, arts, and acting provocations is dominated on the Ukrainian stage of the 2000s. Escalation of conflict is emphasized by means of special stage features (a moving platform, specific color or sound, etc.). The conflict of self-identification is among the variety of inner conflicts presented in plays.
Chyrkov, O. (2019). Time and times: plays. Zhytomyr: O. Jevenok.
Comte, A. (1858). The Catechism of Positive Religion. London: Harvard College Library.
Doshch, I. (2012). In search of freedom: a new feeling of reality in theatre diagnosis. An overview of contemporary playwrights. Dnipro, 3, 146–149. Retrieved from http://www.dnipro-ukr.com.ua/rubrik_description-21339.html
Esslin, M. (2001). The Theatre of the Absurd. New York: Vintage Books.
Kononchuk, T. (ed.). (2013, April 04). Critics about theatre’s drama. Ukrainian literary newspaper, p. 14. Retrieved from https://litgazeta.com.ua/articles/krytyky-pro-dramu-teatru-2/
Koval, I. (2005). Pagan Saints. Marinated Aristocrat: Plays. Kyiv: Fakt. ISBN 966-359-026-2.
Kuzhelnyi, O. (2009). “More important than text…”. Kino-Teatr, 4, 8–9. Retrieved from https://elib.nlu.org.ua/view.html?&id=3085
Moroz, L. (2012). Nostalgia for intellectual communication. Kino-Teatr, 6 (104), 45. Retrieved from https://elib.nlu.org.ua/view.html?&id=2977
Pavis, P. (1998). Dictionary of the theatre: terms, concepts, and analysis. Toronto and Buffalo: University of Toronto Press.
Pavis, P. (2012). Semiology after semiology. Theatralia, 15(2), 37–49.
Shton, H. (2012, October 19). “I write the way I write: no cry and buskins, no escaping into the shadow of the classics and no right to make a mistake.” Mykhailo Sydorzhevskii’s conversation with Hryhorii Shton. Ukrainian literary newspaper, p. 6. Retrieved from https://litgazeta.com.ua/interviews/grygorij-shton-pyshu-tak-yak-pyshu-bez-lementu-i-koturniv-bez-vtech-u-tin-klasyky-i-bez-prava-na-pomylku/
Shton, H. (2013). Plays. Book second. Kryvyi Rih: Vydavnychyi dim. ISBN 978-966-177-160-3.
Tuzhyna, V. (2011). Like ships in the sea. Dnipro, 2, 114–115. Retrieved from http://www.dnipro-ukr.com.ua/rubrik_description-5293.html
Ushkalov, S. (2006). ESC: seven absurd plays. Kharkiv: Maidan. ISBN 966-372-024-7.
Vyshnevsky, A. (2006). Patchwork breed: plays. Rivne: Azalia.
White, J. P. (1903, February 1). The pandarism of the intellectual drama. The New York Times.
Williams, H. (1920). Outlines of modern English literature, 1890–1914. London: Sidgwick & Jackson.
Yermolenko, V. (2018). Flowing ideologies: Ideas and politics in Europe, 19th to 20th century. Kyiv: Spirit and Letter.