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https://doi.org/10.29013/EJA-21-1-29-33
Yankevych Sofiia Oleksandrivna, postgraduate student of Department of Theory and History of Arts Kharkiv State Academy of Design and Arts, Kharkiv, Ukraine
E-mail: sayankevich@gmail.com
W. SHAKESPEARE AND THEATRICAL SCENERY OF UKRAINE OF THE EARLY TWENTIETH CENTURY
Abstract. The article considers the peculiarities of the creation of visual design of performances by W. Shakespeare in Ukraine in the early twentieth century. The study is based on the artist's theatrical scenery P. Andriiashev.
Keywords: Ukrainian art, fine arts, theatrical scenery, works by W. Shakespeare.
Formulation of the problem. The article is based on the artistic activity of the artist P. Andriiashev and productions based on the works of W. Shakespeare, made in Kyiv and Kharkiv in the 1900 s. The artist created the first examples of scenery of Shakespeare's productions in Ukraine, but his work is little known in Ukrainian, let alone European art. The study of the problems of the visual component in Shakespeare's performances has the prospect of highlighting the general patterns of scenographic practice in Ukraine in the early twentieth century. In order to improve the scenography of today, it is important to know its historical movement, preserve traditions and get rid of things that are unacceptable in art.
Purpose of the study. Consider the first known productions of W. Shakespeare in Ukraine, which had a scenery solution. To study the peculiarities of the visual design of performances to the works of W. Shakespeare in the sketch projects of P. Andriiashev. To establish the place of the artist P. Andriiashev in the history of the art of stage design.
Degree of research of the topic. The name of Pavlo Andriiashev is surprisingly rare in the modern history of fine and theatrical arts. Today there are isolated cases of restoration of information about the creative heritage of the artist by researchers, historians, culturologists: V. Chechyk ("Theatrical and decorative art of Kharkiv: the avant-garde search of
1910-1920", 2006 [1]; "Projections of early modernism in Ukrainian scenography early twentieth century", 2013 [2]), A. Khilkovskyi "About the artist Pavel Ivanovich Andriyashev", 2013 [3]), V. Za-vershynskyi "Unknown Pavlo Andriiashev", 2016 [4]), Yu. Poliakova ("Artist Pavlo Andriyashev and Kharkiv Theater of the early twentieth century", 2017 [5]). Mentions of theatrical and decoration activities of P. Andriiashev are contained in the memoirs of the director M. Synelnykov ("Nikolai Nikolaevich Sinelnikov", N. Slonova, 1956 [6]; "Memories", M. Synelnykov, 1975 [7]), collections of modern theater ("History of Ukrainian theater: in 3 volumes", 2009 [8]; "Essays on the history ofnon-national theater in Ukraine in the XX-early XXI century", 2017 [9]). Valuable information for the study, which has remained archival, is the personal notes of the artist and director H. Haievskyi [10].
Statement of the main part. Historically, the first famous artist who worked with Shakespeare's text in Ukraine was P. Andriiashev. His activity coincided with the beginning of the formation of the actual Ukrainian scenography, along with the first artists who worked in the theater (P. Diakiv, M. Py-monenko, S. Vasylkivskyi, V. Krychevskyi, I. Buria-chok), evidence of which is available in the work of O. Krasylnykova [8, P. 155]. P. Andriiashev worked in Russian-language theaters of Ukraine in the early
twentieth century in the enterprises of M. Solovtsov and M. Synelnykov. The artist had experience in scenery activities in the Lithuanian theater, and also designed stage versions of works by A. Chekhov, F. Shyller, Ye. Chyrykov, Ye. Zhuravskyi, and others. However, Shakespeare's productions, the work of P. Andriiashev on which lasted for a decade, took a special place in the work of the master and the Ukrainian theater in general. It is known that in the stage practice of the theaters of Ukraine at that time Shakespeare's plays were used extremely exclusively. Exceptions were Russian-language theaters, in which professional decoration was absent for a long time.
It is established that in the period 1906-1908 P. Andriiashev worked on the scenography for "Hamlet" and "Much Ado About Nothing" in Kyiv (Solovtsov Theater), in the period 1913-1915 -designed the performances "The Merchant of Venice", "Hamlet", "Romeo and Juliet" in Kharkiv (City Theater). The artist's sketches for them are a rarity, some are kept in private collections and are waiting for professional attribution.
P. Andriiashev's name is most often associated with M. Synelnykov's directing activities. It is well known about the period of their joint work on the performances The "Merchant ofVenice" and "Hamlet" in Kharkov after 1909 [8, P. 159]. There is little evidence of other Shakespearean projects by P. Andriiashev. There are two sketches by the artist (in the format of photo leaflets) for the performance "Much Ado About Nothing", which are publicly available (exact date and director are unknown). It is probable that the production was staged at the Solovtsov Theater, along with performances by the artist for the director K. Mardzhanov (A. Chekhov's "Three Sisters", Euripides' "Hippolytus", O. Wilde's "Salome", Ye. Chyrykov's "The Witch"). K. Mardzhanov attached P. Andriiashev to the modern trends in art of that time, as well as the prospects of technical development of the theatrical structure of the stage (turning circle), which contributed to the frequent change of the artist's scenery plans [8, P. 159]. Given
the theatrical letters to the play "Much Ado About Nothing" in the scenery solution P. Andriiashev used the technique of "theater in the theater", the mechanism of which is reflected in the sketch of the proscenium. The additional theatrical stages built on the stage reminded of the Middle Ages (imitation of a stone wall with a wide arched opening and a curtain of the lubochny style placed in it), to a town on the island of Sicily, whee was an action in Shakespeare's comedy. In the sketch, marked "Leonato's Court", the artist depicts the scene of the main part of the performance - the courtyard, which is a painted architectural enclosure of the building and the columns preceding it. Light and shadow nuances are registered in the artistic drawing. The sketch does not need of it because there is special lighting in the theater, but such a diligence of the painter becomes a characteristic feature of the principles of work on the scenery design of P. Andriiashev's performances.
The first known appeal of the artist to the philosophical tragedy "Hamlet" took place at the Theater "Solovtsov" during the activities of director H. Haievskyi, as is known from the director's development of the performance [10]. The production was to be performed during the period ofjoint work of the artists in the theater - between 1906 and 1908. The original sketch of the work of the artist P. Andriiashev, which is stored in the archives of the State Museum of Theater, Music and Cinematography of Ukraine, indicates 1906. H. Haievskyi was not only one of the founders of Ukrainian directing (he created the manual "Tasks of directing", 1930), but also a theatrical artist, and therefore could independently create a visual solution to their own productions. In work on the performance "Hamlet" H. Haievskyi had a clear idea of the visual image of the tragedy. The director has developed a general plan of the scenery installation and purely technical aspects of moving the decoration elements between the paintings. The main condition for the visual presentation of the performance was the contrasting lighting of the scenes, in which the foreground of the scenery
was in semi-darkness, and the others on the contrary were well lit. H. Haievskyi cites the poetic description of the landscape he wants to see during the stage action: "The town of Elsinore lies among the harsh northern nature. Autumn night caught the viewer at the wall of the royal castle. It's already close to midnight. The moon is not visible. It is hidden by clouds. Next to the twilight, the outlines of the towers of the ancient castle are looming. There is a mysterious silence around. Only occasionally the wind howls in the loopholes, the mournful sound of the tower bell is barely heard, and the relentless murmur of the sea waves is heard" [10]. The scenery of the "castle terrace in Elsinore" is depicted in a sketch by P. Andriia-shev. Described by the director of the landscape, the artist depicted quite accurately. The artist managed to feel and embody the idea of "mysterious silence" with the help of a gloomy architectural landscape. The severity of the local nature is embodied in the sketches of barely noticeable snow, which enters the open passages of the castle with gusts of wind. P. Andriiashev's sketch looks raw and empty, as for an easel painting, because it is already the theatrical scenery. P. Andriiashev took into account the needs the director into two planes with light and shadow contrast, as well as the need for mise-en-scène. The scenery of the artist conveys the necessary for the director the mood of the picture: "The first mournful chords of longing and mystical awe, which transform most scenes of tragedy". It is worth noting that the created visual image serves as a beautiful functional background, and does not claim more. P. Andriiashev's scenery does not enter into a dialogue with the director's plan, but only obeys him.
P. Andriiashev was work on the next "Hamlet" (1914) in Kharkiv. Director M. Synelnykov prepared the premiere for several years. M. Synelnykov had exhibited "Hamlet" before, and the next time he wanted experiments, tests for established principles of work. The artist dreamed of moving away from the naturalism of K. Stanislavsky and from G. Kreg's abstract schematism [6, P. 77; 7, P. 105]. The director worried
about the form of the production, even more than its content. M. Synelnykov wanted to grow above himself by advancing the external, formative aspects of the performance, which brings him closer to the activities of contemporary artists. The question of the primacy of content and form arose in M. Synelnykov at the level of protest, but was not perceived by either the public or critics [6, P. 78]. The artist's inner need for change in the 1910 s, on the threshold of world and civil wars, was logical. M. Synelnykov's activity in Kyiv and Kharkiv preceded the revolutionary art of L. Kurbas, whose young temperament was picked up by the "wind of change" (realizing the needs of the theater in new art).
The director chose illustrations for the tragedy of the English artist of the early twentieth century W Simmonds as the basis for the production of "Hamlet". "I completely followed this new for me English artist" [7, P. 105],- the director recalled. M. Synelnykov deliberately deprived P. Andriiashev of the opportunity to create a unique artistic solution for the performance. Thus, the artist was again only a performer of clear instructions of the director, was the decorator of the performance. It is difficult to comment on the work of P. Andriiashev, as no specific sketches were found. From the description ofW. Simmonds' illustrations by M. SynelnHkov it is possible to understand what the director wanted to see himself performance: "Denmark of the XII century. Slender blond heroes with stern features of the north, in simple, home-woven costumes. Whole leather shoes with long straps that cross the entire leg. Ceilings with thick slats. Furniture with heavy northern carvings. On the walls and on the floor - skins. The cemetery has rocky ground, graves with roughly carved tombstones that look like obelisks. I was fascinated by the severity, simplicity and inner solemnity of its interpretation" [7, P. 105]. The director used every detail in W. Simmonds' graphic works for his performance: "Scenery, costumes, clothes, furniture, accessories - I took everything from Simmonds" [7, P. 106]. A large number oftheater workers took part in the preparatory work, and a carpenter-turner who
made various furniture was involved. So, even trying to get away from the historical pseudo-authenticity, the director could not get rid of the naturalistic-domestic type ofstage design ofthe production. The peculiarity ofM. Synelnykov's performance was that the fine arts themselves influenced the creation of the production, and not vice versa.
The edition of M. Synelnykov's memoirs contains a photo for the performance "The Merchant of Venice" ("Sheilock") of the 1912/13 theatrical season. The photo looks realistic, reminiscent of a frame from a movie. It clearly shows that the artist P. Andriiashev used the familiar architectural enclosures with a two-tier system of mise-en-scène. The imitation of masonry used as a ready-made scenery from the performance (after getting acquainted with similar projects in the format of a sketch) forms the final idea of the artist's work. With the help of volume painting, P. Andriiashev embodied the ancient atmosphere ofVenetian streets.
Another sketch by P. Andriiashev for Shakespeare's play "Romeo and Juliet" (M. Synelnekov's Theater, 1915) is known [11]. The scenery illustrates the final scene of the tragedy "crypt". The artist worked with color accents, filling the cold petrified room with warm light from a lighted candle. The figure shows a chamber crypt with a compositional structure of the first and second plan, which is characteristic of the style of painting by P. Andriiashev for Shakespeare's scenery backgrounds. This work of the artist became known only in the XXI century, when it was exhibited at an online auction. Apart from the sketch, there are no scientifically confirmed data on the implementation of this production by M. Synelnykov and P. Andriiashev.
P. Andriiashev's scenery work preceded the appearance of modernism in the Ukrainian theatrical
and decorative art, was focused on the realism of the depicted objects. The general technique in the artist's work on the visual solution of productions was to create painted scenery. Watercolor sketches and full-scale sketches were involved in the work on theatrical sketches. Plein air, direct impressions were of great importance. The artist created changeable scenery for each act of the play. P. Andriiashev's sketches appeal to the exact artistic reflection of a specific past epoch and meet the needs of theatrical scenery of his time (1900 s). Thus, for the scenographic art of Ukraine, which originated in the early twentieth century, the artistic skill of P. Andriiashev was important.
Conclusions. The first known productions of W. Shakespeare in Ukraine, which had a scenery solution (early twentieth century), was considered. It is determined that the basis of the visual solution of all Shakespeare's productions in P. Andriiashev's scenery is typical: descriptive-narrative scenographic image and architectural-perspective scenery, established in the theater from the XV-XVI centuries (neighborhood in "Hamlet"). The peculiarity of the artist's work is using the light and shadow nuances; taking into account mise-en-scène; following the idea of the director. Biplanarity, perspective and scenery volume are realized through the use of backdrops and architectural enclosures (imitation of masonry for both dark gloomy walls and for the inner castle space). The stage design of the artist P. Andriiashev corresponds to the term "theatrical and decorative art", as his works fit into the traditional historical principle of interpretation of time and place of action, and therefore do not claim originality today. However, for Ukraine in the early twentieth century, the decoration work of P. Andriiashev became a solid basis for the fruitful work of the artist in the field of theatrical art.
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