Повний текст - Інститут проблем сучасного мистецтва

The distinctive features of the fine arts in the Soviet Ukraineso-called «Great land», in the offices of the Kremlin. At the end of 1942 theUkrainian headquarters of the partisan movement sent a secret staff report to theCentral Committee of the Communist Party of Ukraine. The paragraph «Theatersas the form of the national propaganda» stated: «the fascist occupants with thehelp of the Ukrainian nationalists managed to open a number of theaters in somecities and towns of Ukraine, namely in Lviv, Ternopil, Stanislav, Stalino, Kyiv,Kharkiv, Dnipropetrovsk, Poltava, etc.» The famous scene designers were in theoccupation — D. Narbut, Yu. Myts, L. Cherleniovsky, M. Symashkevych,N. Barova, S. Danylyshyn, L. Kosmina, M. Matkovych, O. Bobrovnykov,I. Kurochka-Armashevsky, M. Nedilko and others.The repertoire of the drama and opera theaters in the post-war times wasbroadened at the account of not always professional works. The drama theater,being much dependent on the repertoires and handles, was in quite a miserablesituation in the provinces. The leading theaters were not in a better position. Therepertoire policy of the regime forced the theaters to earn on tour and to stage«crowd-puller» plays. The ideologically recommended performances werebeneath criticism and had no success with the public — they often quitted thestage after the first night. It was that very time when the theater became thearena of great-power struggle with «cosmopolitism» and «nationalism». The keymasters of the scenography and stage-directors courageously broke the ideologicaland «highly» approved canons. They tried to find proves of their creativesearches in the social life of post-war Ukraine, differentiating the aspiration ofpeople to the new life (the first post-war years gave many hopes and legendsabout the bright future) and the ideological and false activity of the governmentpropaganda. The leading masters of the Ukrainian art felt and predicted the drasticchanges that took place in the middle of the fifties.The iron curtain and isolation of the Ukrainian creators from the free communicationwith the foreign masters was a barrier to integration of the Ukrainianscenography into the world culture but this could not strangle its gradual development.The principles of the Ukrainian scenography production enriched withthe further active mastering of the national art — decorative painting, ornamentaldesign, architecture, easel-painting and folklore crafts. Theater scenery andcostumes became more saturated with the bright characters of the images; theartists applied more liberated and deeper plastic techniques in the traditional andnew forms of the scenography. The ideological instructions, which were directed599