Комедія “Приблуда” Владислава Лозинського (1862): автор, сценічна доля п’єси та питання міжнаціональної театральної комунікації

Abstract

У статті вивчено обставини створення комедії “Приблуда” В. Лозинського, окреслено постать її автора, проаналізовано головні ідейно-естетичні й жанрово-сюжетні особливості твору. Коротко охарактеризовано сценічну історію п’єси на польському кону, її критичну рецепцію. Закцентовано увагу на факті та причинах переходу твору зі сцени польської на українську як на прикладі міжнаціональної театральної комунікації.

В статье изучено обстоятельства создания комедии “Приблуда” В. Лозинского, охарактеризовано индивидуальность автора, проанализировано идейно-эстетические и жанрово-сюжетные особенности произведения. Дано короткую сценическую историю пьесы на польской сцене, ее критическую рецепцию. Акцентировано внимание на факте и причинах перехода комедии с польськой на украинскую сцену как на примере междунациональной театральной коммуникации.

For the first time in the Ukrainian theater studies, V. Lozinskyi’s “Prybluda” comedy (1862) was chosen as a subject of a separate study. The relevance of the scholar analysis of this little-known work of the Polish playwright is explained by its ideological and aesthetic symptoms, in particular, the need to find out the tradition and specificity of the functioning of the Arcadian image of Ukraine and Ukrainians at the time of the Polish stage, the importance of considering the causes and circumstances of the appearance of the work itself, its stage history, as well as motives for its further transition to the Ukrainian stage. The aim of the work is to uncover the prerequisites for the creation of a comedy, its stage history, critical reception, issues of intercultural interaction between Polish and Ukrainian theater in the 1860’s in Galicia, the specifics of the creation of hetero-images and auto-images of Ukraine on the Polish and Ukrainian stages. In this work a set of methods is used, aimed at fulfilling the stated purpose, namely: microbiographic – for the definition of philosophical features and creative engagements of the author; genetic and historical-typological – to find out the sources and influences, as well as the contextualization of the work on certain historical and aesthetically formed traditions; method of analysis of remarks – for accurate reproduction of time-spatial characteristics of scenes; imogalogical – for the disclosure of strategies for representing Ukrainian images as a ghetto (on the Polish stage) and auto-image (on Ukrainian stage); post-colonial criticism – to identify and deconstruct the colonial strategies of the author, hidden in the work. Comedy “Prybluda” was considered one of the earliest works of V. Lozynskyi, created by the author-schooler at the age of 18 years. Based on the description of the life circumstances of the young playwright, a number of good reasons for the appearance of the first play was reveaed: the excitement about the theater, the beginning of theatre-critical activity, engagement with the current problems of the Rus population of the region, the relevance of the “Rus” issue among the Polish intelligentsia in the early 1860’s before the January uprising of 1863. All this together led to the creation of a comedy with singing and dancing from the life of Ukrainians of the Sambir Carpathians – a region well known to V. Lozynskyi from his childhood. Due to these and a number of other circumstances, the first (and last) dramatic work of the future prominent art historian, historian, public and cultural figure, and theatre critic V. Lozynskyi had features of artistic secondary and low stage quality. Analyzing the ideological and aesthetic, genre and plot parameters of the work, we open the borrowed motifs and characters of the famous Polish and Ukrainian comedy repertoire (Krakivians and Gurals, V. Boguslavsky, “The Wedding on the Goncharivka” by H. Kvitka-Osnovyanenko). “Folk painting”, “folk comedy” with compulsory singing and dancing for this genre typologically continued the tradition of popular folk comic operas and musical and dramatic works that V. Lozynskyi transferred to well-known Carpathian soil. But neither the level of author’s stylization of “folk songs” and images, nor the very content of the work corresponded to the actual aesthetic demands of time. The premiere of the work on the Polish stage in Lviv (1865) was not successful, but when transposed to the Ukrainian stage in 1866 in the translation of Podusivskyi and music by M. Verbytskyi, it received recognition. The complex of problems of the contemporary Ukrainian theater in Galicia is outlined, in particular, the phenomenon of substituting the image of Ukraine and Ukrainians by hetero-images from the works of Polish-speaking authors as a consequence of the underdeveloped national Ukrainian repertoire. The issue of the impact of such translated works on the processes of forming the Ukrainian identity of the audience in the language of the theater, colonial and anticolonial discourses in the context of which this and a number of other similar facts of the Polish-Ukrainian theatrical relations should be considered is emphasized.