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Współczesny teatr ukraiński: między dyskursem posttotalitarnym a postkolonialnym

100%
Harbuziuk M.
Miscellanea Posttotalitariana Wratislaviensia
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2016
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vol. 4: POKOLENIE — TRANSFORMACJA — TOŻSAMOŚĆ Gardzienickie czytania teatroznawcze… i nie tylko
79-89
EN
The attempt to divide into periods the activity of Ukrainian theatre in the era of Independence is made. The main features of these periods are revealed and the regional differences indicated. Attention is paid to the influence of crisis phenomena in social and political life of the post-totalitarian and post-colonial society on the development of theatrical art. Constructive changes in the progress of Ukrainian stage in the period of 1986–1991 are underlined, for example: lifting the censorship, opening acces to forbidden national anti-totalitarian and anti-colonial drama and others. The emphasis is put on the problems of the loss of continuity of generations of directors, reduction of positive phenomena, artificial creation of Ukrainian culture, the complex of “being secondary” in the next period. Manifestations of a new, in both form and meaning, theatre are related to the emergence of a new generation of directors and playwrights that began to explore the themes of contemporary private life and modern forms of dramatic writing.
2

Scena a przedstawienie traumy historycznej: dramaty/spektakle, twórcy/odbiorcy we współczesnym teatrze ukraińskim

100%
Harbuziuk M.
Miscellanea Posttotalitariana Wratislaviensia
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2017
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vol. 6: TRAUMA KULTUROWA JAKO PALIMPSEST: (post)komunizm w kontekście porównawczym nowoczesności, totalitaryzmów i (post)kolonializmów
119-130
EN
The aim of this article is to analyse theatrical performances based on plays of contemporary Ukrainian authors. The analysis is made from the position of their work with traumatic (historical and modern) experience of community. A short evaluation of modern state of Ukrainian theatre is made. Ukrainian theatre as “positivist” worldview art excludes pictures and themes of traumatic experiences irrational by nature. The attention is paid to the importance of empathy mechanism in the process of elaboration of collec­tive structural and historic traumas. It is presented how transgressive trauma comes out in the creativity of modern directors, blocking empathy mechanisms and leading to autoaggression. The paper empha­sises the importance of personal experience and worldview maturity of the authors of the texts and performances, as well as their readiness and skill to cross boundaries of various stereotypes imposed by complex collective and historical traumas.
RU
В статье сделано попытку анализа спектаклей профессиональных театров по пьесам со­временных украинских авторов, с позиций их работы с травматическим (историческим и со­временным) опытом общества. Коротко дана оценка современному состоянию украинского театра как искусства в целом мировоззренчески «позитивистического», исключающего ирраци­ональные по своей природе картины и темы травматических переживаний. Обращено внима­ние на важность механизмов эмпатии в процессе прорабатывания коллективных структурных и исторических травм. Продемонстрировано, как трансгрессивная травма проявляет себя в творчестве современных режиссеров, блокируя механизмы эмпатии, приводя к автоагрессии. Подчеркнуто важность личностного опыта и зрелость мировоззрения авторов текстов и спек­таклей, их готовность и умение выходить за пределы разного характера стереотипов в работе со сложными коллективными историческими травмами.
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