Формування ідентифікаційної парадигми Тернопільського академічного обласного українського драматичного театру імені Т. Г. Шевченка як засіб збереження генетичної, історичної та культурної пам’яті

Abstract

У статті досліджено витоки Тернопільського академічного обласного українського драматичного театру ім. Т. Г. Шевченка. Розглянуто історичні та соціокультурні фактори, що впливали на формування національної та регіональної ідентифікації. Запропоновано чотири моделі самоідентифікації театру.

В статье исследовано истоки Тернопольского академического областного украинского драматичного театра им. Т. Г. Шевченко. Рассмотрены исторические и социокультурные факторы, которые влияли на формирование национальной и региональной идентификации. Предложены четыре модели самоидентификации театра.

The article deals with historical and socio-cultural factors that influenced the formation of national and regional identification. After the proclamation of state independence, the issue of national self-identification became one of the most important. The current state of Ukraine’s development is characterized by a crisis of identity. The lack of a state policy aimed at restoring historical memory, the absence of a common pantheon of heroes and a single position on some historical events led to the formation of regional identities. Ukrainian society remains a hostage of the Soviet-imperial identity that has been imposed for decades. As the historical memory “is not a history or historical knowledge, and primarily a property of a social group or community to seek justification of its existence and “otherness” the appropriate scientific toolkit was used in the article to determine the genesis and the “passport” of the theatre. The sources of Shevchenko Ternopil Academic Regional Ukrainian Dramatic Theatre were investigated. In Soviet times, from 1930, started the tradition to commemorate the Shevchenko Ternopil Academic Regional Ukrainian Dramatic Theatre jubilee dates, that is, from the date of Okhtyrka mobile workers and peasants’ theatre formation. Thus, one of the two main identifying branches of the theatre generic tree, the so-called Okhtyrka branch, was deliberately given preference to. Instead, the other branch, Galician, which reaches: a) to the “Ternopil theatrical evenings” (1915); b) then to the beginnings of three traveling Galician theatres (1920’s) – Sadovskyi theatre under the leadership of P. Karabinevych, the Ukrainian folk theatre “Promin” under the leadership of M Komarovskyi, Saramaga dramatic-operetta theatre; c) and finally, to the Franko State Regional Ukrainian Dramatic Theatre, formed in 1939 on the basis of the three traveling groups. As a result of the theatre identification paradigm formation, it was determined that one of the four proposed theatre self-identification models should be chosen. It will give the opportunity to abandon the Bolshevist regime’s need to see the beginnings only in the Okhtyrka collective-farm theatre. Return to the Galician identification generic branch of the theatre, regardless of whether it is the “Ternopil theatre evenings” (1915) founded by Les Kurbas or the three traveling Galician collectives, on the basis of which the studied theatre was founded (1924), or Franko State Regional Ukrainian Dramatic Theatre in Ternopil (1939), will contribute to the restoration of historical memory, the acceleration of self-identification process not only of Shevchenko Ternopil Academic Regional Ukrainian Dramatic Theatre, but also of many other Ukrainian theatres.