Постать Миколи Лисенка в контексті проблем ідентичності

Abstract

У статті досліджено диригентську діяльність М. Лисенка у контексті проблем ідентичності. Акцентуючи увагу на деяких історичних фактах з біографії митця, окреслено риси, характерні для класика української музики, чий вплив на мистецтво є масштабним та незаперечним. Охарактеризовано національно-культурну ідентичність М. Лисенка, що підкреслено нерозривністю його композиторської, виконавської та диригентської діяльності з національним фольклором і поезією. У контексті проблем ідентичності проаналізовано творчу діяльність М. Лисенка та визначено основні характерні ознаки культурної і національної ідентичності, а також самоідентичності, які він проявляв упродовж творчого життя. Зроблено висновок, що постать М. Лисенка є синтезом різних компонентів ідентичності і не може бути зведена до котроїсь із них через масштабність та інтегративний тип таланту митця.

В статье исследована дирижерская деятельность Н. Лысенко в контексте проблем идентичности. Акцентируя внимание на некоторых исторических фактах из биографии композитора, обозначено черты, характерные для классика украинской музыки, чье влияние на искусство является масштабным и неоспоримым. Охарактеризовано национально-культурную идентичность Н. Лысенко, что подчеркивается неразрывностью его композиторской, исполнительской и дирижерской деятельности с национальным фольклором и поэзией. В контексте проблем идентичности проанализировано творческую деятельность Н. Лысенко и определено основные характерные признаки культурной и национальной идентичности, а также самоидентичности, которые он проявлял в течение своей творческой жизни. Сделан вывод, что фигура Н. Лысенко является синтезом различных компонентов идентичности и не может быть сведена к любой из них из-за масштабности и интегративного типа таланта композитора.

Starting from the second half of the twentieth century the concept of identity has become a universal explanatory paradigm, a universal tool for research. Linguistic and cultural divisions, “split” society, which is unfortunately Ukraine today, need realization of the national identity policy, which should be implemented in all areas of civil, social and cultural life. The aim of the research is to study the figure of Mykola Lysenko in the context of identity issues. To achieve this, the following objectives have to be addressed: discover and process the necessary reference database; to identify manifestations of various identity types in the life and creative activity of Mykola Lysenko and their influence on the further development of the Ukrainian choral art. Mykola Lysenko spent his childhood in the Hrynky village, Kremenchug district in Poltava region. And then in his childhood, when he was living close to the people and perceiving their traditions, the seed of his national consciousness was planted. Over the time the seed was shaped into a national vocation, as it is well known, that self, i.e. self-identity, cannot be formed without the influence of an external factor. Since 1860 M. Drahomanov, T. Rylsky, V. Antonovich and many others pro-Ukrainian students of St. Volodymyr Kyiv University played a key role in the formation of M. Lysenko. The national and cultural identity of M. Lysenko is emphasized by the inseparability of his composing, performing and conducting activities from the national folklore and poetry. In the nineteenth century there was a form of class identity, thus aristocracy and common people were separated from each other. Classes gave rise to limitations as the folk culture could only partially penetrate into the higher circles due to its “commonality”. At the same time by limiting its “high culture” the aristocracy was defending their own interests. The fact that M. Lysenko came from a “higher” class gave him the opportunity to present the folk art in a professional way which “suited” aristocratic taste. That was one of the key elements of Lysenko’s influence on the development of the Ukrainian music as by his creative work he began to unite different class groups demonstrating their affiliation to the same culture. Despite the existence of the Ukrainian people, from the point of view of the official Russian Empire policy of the nineteenth century, Ukraine as such did not exist. Ukrainian language and national culture were outlawed. Persistent and long-term work of M. Lysenko on folklore and its presentation at the concert venue brings the master in the limelight of national identity. Practical significance of Lysenko’s folklore works is unification of Ukrainians around the national idea, and his conductor-choral activity became a tool of this union. His creativity, which demonstrated his clear national identity, M. Lysenko spread throughout Ukraine. His trips with choruses to Ukrainian cities not only initiated concert tours as such, but put the Ukrainian song in his adaptation on the unprecedented pedestal. M. Lysenko’s merit as a conductor is that he was rather demanding and strict and that way he taught and showed how to perform a Ukrainian song, always treating seriously the performance of musical works. It is difficult to imagine the Ukrainian music culture of the second half of the nineteenth and early twentieth centuries without M. Lysenko as a musician and luminary. Almost every family that had a piano at that time also had his “collections”. And the songs from his “forties” and “dozens” were performed by many amateur choirs. We cannot fully understand a historical figure of M. Lysenko in the context of identity issues without considering the political tension of that period. Therefore the author tries to outline the features of the master, whose impact on the art is huge and undeniable, by emphasizing some historical facts in his biography. While analyzing Lysenko’s activity, the article defines and outlines features of cultural and national identity and self-identity displayed by the master through his creative life. The conclusion has been drawn that the figure of Mykola Lysenko is a synthesis of various components of identity and cannot be reduced to one of them due to the scale and integrative type of master’s talent. The significance of this study lies in the fact that it takes a new look at M. Lysenko who is intertwiningly connected with the formation of Ukrainian identity as a whole. This modern factor is decisive in the development of country’s own socio-cultural and civilizational autonomy Studies of the national, cultural and self-identity of Ukrainian conductors create the basis for shaping the policy of the Ukrainian nation in the field of culture. The further development of this study is intended to consolidate the society around the acute ideas and principles of national self-affirmation on the basis of common national interests. In this way, reliable foundations are laid for awareness of the common national identity.