Main representatives of Ukrainian theater

Kropyvnytsky, Marko, b 22 May 1840 in Bezhbairaky (now Kropyvnytske), Yelysavethrad county, Kherson gubernia, d 21 April 1910 en route from Mykolaiv to Kharkiv, buried in Kharkiv. Renowned actor, stage director, playwright, and composer; a founder and director of the first professional Ukrainian theater in Russian-ruled Ukraine. Working as a petty official of the county court or the municipal government in Bobrynets and Yelysavethrad, for ten years he was active as an actor and play director in amateur theater groups with Ivan Tobilevych (Ivan Karpenko-Kary). In 1871 he moved to Odesa and joined the professional theater of Russian popular drama owned by the brothers I. and D. Morkov and M. Chernyshov, where he played mostly the roles of Ukrainian characters. In 1882 Kropyvnytsky organized his own touring theater troupe in Yelysavethrad. As the first Ukrainian professional troupe, it marks the beginning of a new period in the history of the Ukrainian theater. Kropyvnytsky performed diverse character roles, ranging from the dramatic to the comedic genre, in which he excelled. Creating his own school of acting, Kropyvnytsky perpetuated the traditions of Karpo Solenyk and Mikhail Shchepkin and promoted the trend to realism on the stage. Kropyvnytsky's work as a dramatist, which began in 1863, was determined to a large extent by the immediate demands of the stage. Accepting the principles of the romantic-populist theater, Kropyvnytsky subordinated his depiction of reality to the standards of romantic theater. His best plays are Dvi sim'ï (Two Families, 1888) and Zaidyholova (The Dreamer, 1889). The comedic opera Poshylys’ u durni (They Made Fools of Themselves, 1882) is a witty composition in the style of Molière. Kropyvnytsky successfully adapted for the stage Oleksa Storozhenko's story ‘Vusy’ (Whiskers, 1885), depicting the life of Ukrainian landowners in the 1840s. The comedy Chmyr (The Dirty Fellow, 1890) presents a gallery of village characters. Kropyvnytsky wrote over 40 original plays and stage adaptations, that are recognized as classics of the 19th century Ukrainian drama.

Karpenko-Kary, Ivan (pen name of Ivan Tobilevych), b 29 September 1845 in Arsenivka, Bobrynets county, Kherson gubernia, d 15 September 1907 in Berlin. Famous Ukrainian actor and playwright; the brother of the theater figures Panas Saksahansky, Mykola Sadovsky, and Mariia Sadovska-Barilotti. In 1863 he met Marko Kropyvnytsky and with him became involved in producing amateur theater in Yelysavethrad. From 1887 until his illness in 1904 he lived on his farmstead, wrote, and worked as a stage actor and director, mostly in the traveling troupe of his brother P. Saksahansky. He was acclaimed for his principal dramatic and comic roles in many Ukrainian plays, some of them his own. Karpenko-Kary was renowned as a playwright. Some of Karpenko-Kary's plays were an important step forward in Ukrainian theater. In them he abandoned the sentimental populist-ethnographic approach and melodramatic, operatic forms; instead he highlighted social relations and conflicts and concentrated on psychological portrayal and character development, thereby creating the finest examples of turn-of-the-century Ukrainian didactic plays about peasant life and laying the foundations of modern Ukrainian theater. His plays are still often produced in Ukraine.

Sadovsky, Mykola (real surname: Tobilevych), b 13 December 1856 in Kamiano-Kostuvate, Yelysavethrad county, Kherson gubernia, d 7 February 1933 in Kyiv. Theater director, actor, and singer; brother of Ivan Karpenko-Kary, Mariia Sadovska-Barilotti, and Panas Saksahansky. Sadovsky was the artistic director of the Ukrainska Besida Theater (1905–6) and then organized the first resident Ukrainian theater in Kyiv, which was active until 1919. He also played with success as the Komandor in Lesia Ukrainka's Kaminnyi hospodar (The Stone Host) and was a key force behind the flowering of Ukrainian operatic theater, in which genre he staged operas by composers such as Mykola Lysenko, Denys Sichynsky.

Zankovetska, Mariia (née Adasovska; married name: Khlystova), b 4 August 1854 in Zanky now in Nizhyn raion, Chernihiv oblast, d 4 October 1934 in Kyiv. Actress, singer, and theater activist.

Zankovetska was educated in a Chernihiv private school and at the Helsinki Conservatory. Zankovetska performed as leading actress in the troupes of Kropyvnytsky (1882–3, 1885–8, 1899–1900), Mykhailo Starytsky (1883–5), and Mykola Sadovsky (1888–98), in Saksahansky's Troupe (1900–3), in Onysym Suslov's troupe (1903–4), in the Society of Ukrainian Actors (1915–17), and in the State People's Theater (1918–22). Her last performance on stage was in Kyiv in 1922, and that same year a theater in her name was founded see. Zankovetska's stage career spanned over 30 dramatic-heroic roles from the populist-ethnographical repertoire, which she played with innate subtlety and intelligence. Her best performances were opposite Mykola Sadovsky (Tobilevych), and her talent was praised by Konstantin Stanislavsky.

62.PROMINENT SCHOLARS OF THE 19^TH CENTURY (M.MAKSYMOVYCH, M.KOSTOMAROV, V.ANTONOVYCH, O.POTEBNIA)

Maksymovych, Mykhailo, b 15 September 1804 at the Tymkivshchyna estate, near Zolotonosha, Poltava gubernia, d 22 November 1873 at the Mykhailova Hora estate, near Prokhorivka, Zolotonosha county, Poltava gubernia. Historian, philologist, ethnographer, botanist, and poet. In 1834 he was appointed professor of Russian folk literature at Kyiv University, and that year he became the university's first rector, a post he held until 1835. Owing to ill health he retired in 1845, and he devoted the rest of his life exclusively to scientific and literary work, which he engaged in on his estate, Mykhailova Hora. As a folklorist Maksymovych published collections of Ukrainian folk songs Malorossiiskie pesni (Little Russian Songs) in Moscow in 1827 and Ukrainskie narodnye pesni (Ukrainian Folk Songs) in 1834. A third anthology, Sbornik ukrainskikh pesen (A Collection of Ukrainian Songs, pt 1), was published in Kyiv in 1849. Maksymovych's publications on folklore had a major influence on Ukrainian folklore studies, even in Galicia. They also created interest in Ukrainian folklore in other Slavic nations (especially among Russians, Poles, and Czechs) and also in Great Britain and America. In the field of philology Maksymovych published many papers on the classification of Slavic languages (1838, 1845, and 1850), in which he extensively used examples from Ukrainian. He was also the author of an etymological spelling, the maksymovychivka. Maksymovych adhered to the then-popular idea of romanticism and identification with the peasant ethnos (narodnist'). He defended the theory of the organic link between the Princely era and Cossack era in Ukrainian history, to which he devoted much research and many articles, critical notes on sources, and other writings. He wrote many articles on the history of the Cossack period, the Hetman state, and the haidamaka uprisings (on Hetman Petro Konashevych-Sahaidachny, for example) and Istoricheskie pis’ma o kazakakh pridneprovskikh (Historical Writings on the Dnieper Region Cossacks, 1863–5), Pis’ma o Bogdane Khmel’nitskom (Writings about Bohdan Khmelnytsky, 1859), and Bubnovskaia sotnia (Bubniv Company, 2 vols, 1848–49). His research in those areas was significant for the development of Ukrainian historiography. Maksymovych also worked in the field of Ukrainian archeology and was the author of the first archeological report using the typological method in Ukraine, Ukrainskie strely drevneishikh vremen... (Ukrainian Arrows of More Ancient Times..., 1868). His historical and philological work has been collected in three volumes, edited by Oleksander Kotliarevsky and published in Kyiv in 1876–80. His correspondence has been only partially published, in Kievskaia starina (1904); his autobiography also appeared there (1904, no. 9).

Kostomarov, Mykola (pseuds: Iieremiia Halka, Ivan Bogucharov), b 16 May 1817 in Yurasivka, Ostrohozke county, Voronezh region, d 19 April 1885 in Saint Petersburg. Historian, publicist, and writer. In 1846 he was appointed assistant professor in the Department of Russian History at Kyiv University. Kostomarov wrote a number of fundamental works on the history of Ukraine in the 16th–18th centuries. He also wrote a series of books on Russian history. His historical monographs and articles were published by the Literary Fund in Saint Petersburg. Its last edition of his works, in eight volumes, came out in 1903–6. Kostomarov was the founder of the populist trend in Ukrainian historiography. He believed that the purpose of the historical sciences was to describe the past of human communities. In his historicophilosophical studies, such as ‘Mysli o federativnom nachale v drevnei Rusi’ (Reflections on the Federative Principle in Ancient Rus’), ‘Dve russkie narodnosti’ (Two Rus’ Peoples), and ‘Cherty narodnoi iuzhnorusskoi istorii’ (Characteristics of Popular South-Rus’ History), which were all published in Osnova (Saint Petersburg), nos 1–3 (1861), and in his journalistic articles, such as ‘Pravda moskvicham o Rusi’ (The Truth about Rus’ for Muscovites), ‘Pravda poliakam o Rusi’ (The Truth about Rus’ for Poles), and his letter to the editor of Kolokol in 1860, as well as in his historical monographs, Kostomarov argued for the national distinctiveness of the Ukrainian people and the uniqueness of their historial development, which, unlike for the Poles and Russians, was manifested in the Ukrainian freedom-loving, democratic, and individualistic spirit.

The same ideas formed the basis of his ethnographic research. He published a series of ethnographic studies, including ‘Istoricheskoe znachenie iuzhnorusskogo narodnogo pesennogo tvorchestva’ (The Historical Significance of the South-Rus’ Folk Song Tradition, in Beseda, vols 4–12 [1872]) and ‘Istoriia kozachestva v pamiatkakh iuzhnorusskogo narodnogo pesennogo tvorchestva’ (The History of the Cossacks in the Monuments of the South-Rus’ Folk Song Tradition, in Russkaia mysl’, nos 1–8 [1880], nos 7–8 [1883]).

Antonovych, Volodymyr, b 18 January 1834 in Makhnivka, Kyiv gubernia, d 21 March 1908 in Kyiv. Historian, archeographer, archeologist, professor of history at Kyiv University from 1878.

Antonovych edited several collections of historical documents. Antonovych was a major representative of the populist school in Ukrainian historiography. He founded the so-called Kyivan school of historians, which consisted of his students at Kyiv University. These historians laid the foundations of modern Ukrainian historiography. In his writings Antonovych avoided synthetic theories and concentrated on documentary research. Only in his more popular lectures, such as Besidy pro chasy kozats'ki na Ukraïni (Conversations on the Cossack Period in Ukraine, 1897; 2nd ed, Vyklady pro chasy kozats'ki na Ukraïni [Lectures on the Cossack Period in Ukraine], 1912), did Antonovych give a general survey of Ukrainian history from the origin of the Cossacks.

As a member of the Khlopoman movement, Antonovych published a reply to the Polish journalist Z. Fisz (pseud T. Padalica), entitled ‘Moia ispoved’ (My Confession), in Osnova (Saint Petersburg), 1 (1862), in which he defended the ideology of the ‘peasant lovers.’ He was head of the Old Hromada of Kyiv. Through his initiative the Poles and Ukrainians in the Galician Diet reached an agreement in 1890. He played an important role in Mykhailo Hrushevsky's move to Lviv and the city's emergence as an important center of Ukrainian learning and publishing. For almost half a century Antonovych played a leading role in Ukrainian civic and political life. He wrote over 300 scholarly studies.

Potebnia, Oleksander (Aleksandr) [Potebnja], b 22 September 1835 on his family's khutir near Havrylivka (now Hryshyne), Romen county, Poltava gubernia, d 11 December 1891 in Kharkiv. Linguist, folklorist, and literary scholar. In 1874 he was appointed professor of Russian language and literature at Kharkiv University. He also presided over the Kharkiv Historical-Philological Society (1877–90) and was a member of the Czech Scientific Society (from 1887). He was particularly interested in the relations among language, thought, and reality. Language for him was primarily the means by which the mind ordered the influx of impressions and stimuli. Words carry not only a meaning, but also the past experience of the individual and the nation, through which all new experience is filtered. Thus a word usually has three aspects: an external form, a meaning, and an internal form. It is through the internal form that the objective world is subjectivized. In many cases the internal form is rooted in myth and, hence, acts as a bridge between language and folklore (with its symbols). These ideas constitute the framework of Potebnia's master's thesis, O nekotorykh simvolakh v slavianskoi narodnoi poezii (On Some Symbols in Slavic Folk Poetry, 1860; expanded edn 1914), and his monumental work Obiasneniia malorusskikh i srodnykh narodnykh pesen (Explanations of Little Russian and Related Folk Songs, 2 vols, 1883, 1887). With time the consciousness of a word's internal form fades, and one of the tasks of literature is to restore this consciousness. According to this theory, literature is a hierarchy of genres; the simplest ones (the proverb, riddle, and fable) directly recall or renew the word's internal form, and the other genres do so in a more complicated, sometimes hardly detectable, way through a complex system of subjective (in poetry) or seemingly objective (in the novel) images. Potebnia's principal works on this subject were published posthumously: Iz lektsii po teorii slovesnosti: Basnia, poslovitsa, pogovorka (From Lectures on the Theory of Literature: The Fable, the Adage, the Proverb, 1894; repr 1970; Ukrainian trans 1930), Iz zapisok po teorii slovesnosti: Poeziia i proza, tropy i figury, myshlenie poeticheskoe i mificheskoe, prilozheniia (From Notes on the Theory of Literature: Poetry and Prose, Tropes and Figures, Poetic and Mythical Thought, Addenda, 1905; repr 1970), and ‘Chernovyia zametki... o L.N. Tolstom i F.M. Dostoevskom’ (Preliminary Remarks... on L. Tolstoy and F. Dostoevsky) in Voprosy teorii i psikhologii tvorchestva (vol 5 [1914]). From the 1870s Potebnia concentrated on the study of the historical syntax of the Slavic languages against a comparative Indo-European background. Before his work the field of Slavic historical syntax consisted mostly of inventories of constructions collected from literary monuments of various periods. He revised it to create a broadly drawn picture of category and construction changes tied to changes in ways of thinking, by integrating historical, dialectal, and folkloric materials. His comparative analysis uncovered remnants of prehistoric syntax in later constructions and reinterpretations of archaic constructions in later syntactic systems; that is, it demonstrated the historical character of syntactic categories and parts of speech. Anton Budilovich equated Potebnia's contribution to the field of historical syntax with C. Darwin's contribution to the study of the origin of species.

Potebnia was far ahead of his contemporaries and not very popular during his lifetime. In the field of historical syntax his only immediate followers were A. Popov and, to a certain extent, Dmitrii Ovsianiko-Kulikovsky (in his outline of Russian syntax). His ideas on literature were adopted as a theoretical framework by the ‘Kharkiv school’ grouped around the serial Voprosy teorii i psikhologii tvorchestva (8 vols, 1907–23). They also had a significant impact on the esthetics of the Russian Symbolists (particularly A. Bely) and an indirect influence on the Ukrainian Symbolists.

63. Ukrainian writers of the 19th century (P.Kulish, Marko Vovchok, M.Kotsiubynsky, S.Rudansky)
Nicholas Kulish
(1892-1937 AD.)
Nicholas Kulish Hurovych born on 18 December (December 6) in 1892 in the village. Chaplinka.
Nicholas Kulish was playwright, whose creativity has opened up new directions in the development of world drama XX and XXI centuries.
показать полностью..63. UKRAINIAN WRITERS OF THE 19TH CENTURY (P.KULISH, MARKO VOVCHOK, M.KOTSIUBYNSKY, S.RUDANSKY)
Nicholas Kulish (1892-1937 AD.)
Nicholas Kulish Hurovych born on 18 December (December 6) in 1892 in the village. Chaplinka.
Nicholas Kulish was playwright, whose creativity has opened up new directions in the development of world drama XX and XXI centuries.
Nicholas Kulish engaged in literary activities of almost all his life - 30 years from 45. The playwright wrote, even if was at Solovki in prison. During 1923 - 1934 рр. Nicholas Kulish has created about 15 pieces. However, the text of the first ("On Fishing rыbnoy ') and last (" Such') works were seized from the writer during the arrest, and therefore are lost. Theme of these plays - hypocrisy ideals of the Communist revolution, national accommodating and false bourgeois environment.
In December 1934 the playwright was arrested, accused of belonging to a terrorist organization and relations with the OUN. During the trial of "Case Borotbists" in March 1935 Kulish sentenced to 10 years in Solovki camps. At Solovki kept in strict isolation.
In November 1937 M. Kulish, V. Pidmohylny, Y. Mazurenko, G. Epik by order of three special NKVD in Leningrad region. of 9. 10. In 1937 were shot in Sandarmokh Medvezhohorskoho district, Karelia, a part of the so-called. "Solovetsky stage" in the number of 1111 persons.
Major works: "Maklena Graça," "Farewell Village," "Turn of Mark," "Eternal rebellion", "97", "Mina Mazal," "People Malachi," "Pathetic Sonata."
Marko Vovchok
(1833-1907) Real name - Maria Vilinskiy.
Maria Vilinskiy born December 22, 1833 in the village of Catherine Eletski County Orel province in the family of an impoverished nobleman.
In 1839r. her father died, the mother married a second time to February serf who znuschavsya and serfs, and his family (seen in childhood later became material for the works of Mark Vovchok). In 1845-1846 pp. Maria studied in the female guest houses in Odessa. During 1847-1850 pp. raised children's aunt K. Mardovinoyi in Orel, took part in literary evenings, met future husband, folklorist and ethnographer Opanas Markovic, who was exiled in Eagle for participation in the Cyril and Methodius Brotherhood.
In 1851 Mary married Alexander Markovich, and her husband moved to Ukraine, studied folklore and ethnography, studied Ukrainian language.
In 1856. Maria started literary career, took the nickname of Marco Spinning Top. The following year in St. Petersburg Kulish gave "Folk stories" - the first book Mark Vovchok. In 1859r. Maria seriously ill and left for treatment in Germany.
In 1860. in the journal "Otechestvennыe Notes" appeared story Mark Vovchok "Schoolmiss" with dedication TG Shevchenko Ivan Turgenev in translation.
During 1860-1867 pp. writer was abroad (France, Germany, Switzerland, Italy). Met with leading writers, scientists, cultural figures.
In one thousand eight hundred and sixty-one -1862 pp. were opublikuvani story "Three Fates", the second volume of "People's stories." In 1867r. Marco Vovchok returned and lived in St. Petersburg, wrote in Russian ("soul", "Notes prychetnyka", "Selskaya ydyllyya"), many translated.
After ill health, due to increasing persecution tsarist censorship, along with second husband Michael Lobach-Zhuchenko (O. Markovic died) in 1878r. writer ever left St. Petersburg, many moved until it settled on Bohuslavschyni I spent almost seven years.
Kotsyubynsky Michael was born September 17, 1864 in the winery in small family official. In the city of Bari, where parents have moved, Mikhailik first studied privately and in autumn 1875 came immediately to the third, the last class of the local public school. In the age, as he recalls in his autobiography, the writer began to write songs in Ukrainian folk pattern. 1876 have carried him to Shargorodskogo spiritual school, called Bursa. After it, he adds his knowledge self-education, dreams to join the university. But family Kotsyubynsky misfortune has happened: blind mother, father left her with five children.
In late 1881 Kotsyubinsk