Гамлетівська "пастка" як літературний і мистецький прийом у драмі та театрі ХХ століття

Abstract

У статті проаналізовано твори новітніх письменників та їх театральні постановки, де по-різному інтерпретується формозмістовий прийом третьої дії шекспірівського “Гамлета” – так звана “пастка”: чинник непрямого викриття зла й створення катарсичної компоненти у взірцях передусім комедійного жанру, елемент широкого культурного контексту окремо взятого твору. Завдяки цьому автори п’єс надають нового звучання не лише зазначеному, а й інших образам, тематичним і сюжетним колізіям шекспірівського оригіналу, відкриваючи їх до подальших модифікацій – як комедійних, так і серйозних.

The article gives an analysis of drama works by modern writers (Italian –Giulio Scarnacci and Renzo Tarabusi, Croatian – Ivo Brešan, Bulgarian –Nedyalko Yordanov, Russian – Mikhail Bulgakov) who variously interpreted the crucial compositional means in the third act of Shakespearian Hamlet – the so-called ‘trap,’ thereinafter the factor to create the cathartic component in the previously comedian action. In Scarnacci and Tarabusi’s My Profession a Senior from Beau Monde, ‘the trap’ is a hidden metaphor to expose malicious deeds indirectly; therefore, it contributes into the wide cultural context of the brilliant Italian comedy published in 1956 and successfully acted by now in many Ukrainian theatres (including Ivan Franko Ukrainian Drama Theatre in Kyiv, where it was set twice – in 1981 and 2014). Sometimes the dramatists use ‘the trap’ – in both Shakespearian and their own interpretations – as a strong political philosopheme to emphasize the omens of great social revolts in the future. However, the possible consequences of the latter seem to be delegated to the spectators to predict; this is the factor of a ‘happening,’ or involving the recipients into the game. This phenomenon is usual for comedies by Slavic-language writers: Ivo Brešan (Acting Hamlet in the Village Mrduša Donja, 1965), Nedyalko Yordanov (Murder of Gonzago, 1983), and Mikhail Bulgakov (The Scarlet Island, 1927). Although fictitious a priori, ‘the trap’ in each of the 20th century dramatists, regardless of a certain plot and the set of details, tends to turn into reality, showing the infinity of a game as a reflection of human life. Thanks to this means, the analyzed playwrights give the new colors to traditional images, thematic and narrative collisions of the original, opening them to the newer modifications, either comical or serious. The author of this article made an attempt to uncover these modifications in performances of several outlined plays in Kyiv theatres, scrutinizing the literary and scenic elements.