UNDERSTANDING WORLD CULTURE AND ARTS THROUGH THE PRISM OF NATIONAL HISTORY (MEDIVALS) IN THE DRAMATIC WORKS OF IHOR PAVLIUK

Abstract

This article is an attempt at a systematic analysis of artistic, particularly literary, musical, and pictorial materials (from medieval folklore sources to variations on classical themes in the twenty-first century) that are actively represented in various forms and genres of theatrical culture, particularly in vaudeville, farce, dramatic poems, lyric dramas, fairy tale dramas, and mystery dramas. The historical successes and catastrophes of our civilization, particularly during the times of Rus-Ukraine, the Hetmanate, and the USSR, are interestingly recreated through the performing arts. One of the most interesting authors, translated into world languages, known in theatrical circles, and well interpreted on stage regardless of genre, is Igor Pavlyuk. The expression of national philosophy and technogenicity is what captivates the reader, viewer, and listener, not by presenting the naked truth, but by contrasting the comic and the tragic to bring about catharsis, scaling emotions to concern for the future of human civilization and planet Earth. The impact of Igor Pavlyuk's dramatic poems, written on the borderline the 20th and 21st centuries on the consciousness of modern man is directly related to the fact that the consciousness of his contemporaries is tired of the large epic form and gravitates towards a more dynamic form, where it is possible to perceive not only the extraordinary but also catastrophism through playful content without risk. In contemporary world art, as well as in art history discourse, in particular, in several important areas that study culture, namely - in literary studies, in folklore studies, in musicology, in cultural studies, etc., along with the problems of the evolution of art forms, the reasons for the expansive behavior of individual ethnic groups and states (in particular, kingdoms, empires) are revealed, the problems of national and state resistance to expansionists are considered, attention is focused on the heroism and the intellectual, cultural potential of the peoples of the world, in particular Europe, who survived the expansion and recovered at the level of statehood, which can also be said about Ukrainians. All this is in the way of the interests of modern musical and dramatic theater, modern drama, which has long ceased to be properly ethnographic, latent and, let us emphasize the nuances, insensitive to local, total, global changes.