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1

Маніхвэст… (1987) як літаратурна-грамадская праграма Таварыства маладых літаратараў „Тутэйшыя”

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Кавалёў С.

Studia Białorutenistyczne

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2017

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vol. 11

EN

The article deals with the literary and social program of the Association of Young Writers “Tuteyshyya” (“Locals", 1986–1989), which played an important role in the formation of the new Belarus literature and gave the name to a whole generation of writers. The program of the Association is set in a Manihvestse Tuteyshyh (Manifest of the Locals), written by Sergei Dubovtsev at the request of Ales Beliatski and Anatoly Sys. Analyzing the legendary text, the author of the article comes to the conclusion that the prevalence of social and political ideas of the aesthetic program “Tuteyshyh” and emphasizes the collective nature of the Manifest…, the main provisions of which are reflected in the individual speeches of the Association’s participants in the Belarusian press in 1987–1989.

PL

„Manifest…” (1987) jako program literacki i społeczny Stowarzyszenia Młodych Literatów „Tutejsi”W artykule rozpatruje się program społeczno-literacki Stowarzyszenia Młodych Literatów „Tutejsi” (1986–1989), które odegrało ważną rolę w tworzeniu nowej literatury białoruskiej oraz dało nazwę całemu pokoleniu pisarzy. Najbardziej wyraźnie i zwięźle program społeczno-literacki został przedstawiony w Manifeście Tutejszych napisanym przez Siarhieja Dubauca na prośbę Alesia Bielackiego i Anatola Sysa. Analizując legendarny tekst na podstawie egzemplarza z własnego archiwum, autor artykułu stwierdza przewagę postulatów społecznych i politycznych nad estetycznymi w programie „Tutejszych” i podkreśla zbiorowy charakter Manifestu…, którego podstawowe założenia znalazły odzwierciedlenie w indywidualnych wystąpieniach uczestników stowarzyszenia w białoruskiej prasie w latach 1987–1989.

RU

У артыкуле разглядаецца літаратурна-грамадская праграма Таварыства маладых літаратараў “Тутэйшыя” (1986–1989), якое адыграла важную ролю ў станаўленні новай беларускай літаратуры і дало назву цэламу пісьменніцкаму пакаленню. Найбольш яскрава і лаканічна літаратурна-грамадская праграма суполкі выкладзена ў Маніхвэсце Тутэйшых, напісаным Сяргеем Дубаўцом па просьбе Алеся Бяляцкага і Анатоля Сыса. Аналізуючы легендарны тэкст паводле экзэмпляра з асабістага архіва, аўтар артыкула прыходзіць да высновы пра перавагу грамадска-палітычных ідэй над эстэтычнымі ў праграме “Тутэйшых” і падкрэслівае калектыўны характар Маніхвэсту…, асноўныя палажэнні якога знайшлі адлюстраванне ў індывідуальных выступленнях удзельнікаў суполкі ў беларускім друку ў 1987–1989 гг.

2

Альгерд Бахарэвіч, Бэзавы і чорны. Парыж праз акуляры беларускай літаратуры, Мінск:Выдавец Зміцер Колас, 2016, 278 с.

100%

Кавалёў С.

Studia Białorutenistyczne

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2017

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vol. 11

3

Мастацкая інтэрпрэтацыя вобраза Кастуся Каліноўскага ў беларускай драматургіі ХХ–ХХІ стст.

100%

Кавалёў С.

Studia Białorutenistyczne

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2014

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vol. 8

EN

The person of Kastuś Kalinoŭski is of major importance for Belarusian culture: the image of the legendary insurgent is found in many literary works, adorns artists’ canvases, and periodically appears on the stage of Belarusian theatres. On the wave of the renaissance movement and policy of Belarusification in the 1920s the dramatist and producer Jeuścihniey Mirovič wrote and brought to the stage of BDT-1 a historical drama Kastuś Kalinoŭski (1923). In the 1930s the image of Kalinoŭski became dangerous for the Communist government, and the next time the public were able to see the rebel on stage was only in 1947 in an opera by Dźmitry Lukas, Kastuś Kalinoŭski, with a libretto by Michaś Klimkovič. A vivid example of romantic drama was the production by Valery Mazynski at the Jakub Kolas Belarusian Academic Theatre, based on the play of the same name by Uladzimir Karatkievič. Karatkievič’s idealization of the main hero exactly suited the metaphoric and symbolic style of the director. Staged in 1978 – fifteen years after the play was written – Mazynski’s production became a model representation of the image of Kalinoŭski in the second half of the 20th century. Great possibilities for an excellent theatrical embodiment were given by the dramatic poem by Arkadź Kuliašoŭ, Chamucius (1975), in which he painted a deep psychological portrait of the hero. It is symptomatic that contemporary Belarusian theatres do not feel the need for Aleś Pietraškievič’s play Rytsar svabody, written in 2003.

PL

Artykuł nie zawiera abstraktu w języku polskim

4

Dramatic works of the “Bum-Bam-Lit” generation

100%

Кавалёў С.

Studia Białorutenistyczne

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2013

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vol. 7

EN

The article presents the works of young Belarusian dramatists who write in Belarusian: Viktar Zhybul, Volga Gapeyeva, or Hanna Tsikhanava. It compares their works with the dramas authored by their peers, Belarusian Russian-speaking dramatists: Pavel Pryazhko, Andrei Kureichik, Diana Balyko, and others. The author maintains that most plays in Belarusian were written in the aesthetics of the theater of the absurd, which already became history for contemporary art and was never popular with Belarusian audiences. In contrast, Russian-speaking authors imitate the tradition of the Russian psychological school or follow the model of Russian new drama; their works are more modern and more varied in terms of genres.

RU

Artykuł nie zawiera streszczenia w języku białoruskim.

5

Aгляд

45%

Паляшчук Н., Ярмоленка Э., Кавалёў С., Kozłowska-Doda J., Kozłowska-Doda J.

Studia Białorutenistyczne

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2013

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vol. 7

EN

Artykuł nie posiada streszczenia w jezyku angielskim

RU

Artykuł nie posiada streszczenia w języku białoruskim.

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5 Studia Białorutenistyczne

5 Кавалёў С.

1 Kozłowska-Doda J.

1 Паляшчук Н.

1 Ярмоленка Э.

2 2017

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Маніхвэст… (1987) як літаратурна-грамадская праграма Таварыства маладых літаратараў „Тутэйшыя”

Альгерд Бахарэвіч, Бэзавы і чорны. Парыж праз акуляры беларускай літаратуры, Мінск:Выдавец Зміцер Колас, 2016, 278 с.

Мастацкая інтэрпрэтацыя вобраза Кастуся Каліноўскага ў беларускай драматургіі ХХ–ХХІ стст.

Dramatic works of the “Bum-Bam-Lit” generation

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