Драматургія Володимира Винниченка. Проблеми поетики

В диссертации исследуются ведущие черты поэтики драматургии В. Винниченко, одного из наиболее выдающихся украинских писателей первой половины ХХ века, чье наследие, умалчиваемое во времена тоталитаризма, фактически только в наши дни становится предметом глубокого литературоведческого постижения. Основываясь на детальном художественном анализе пьес писателя, диссертант прослеживает творческую эволюцию Винниченко-драматурга, определяет ее этапы, которые главным образом совпадают с жанровыми изменениями в его драматургическом творчестве. Драматизм рассматривается как стилевая доминанта творчества автора, ощутимо явленная уже в его ранней прозе, а впоследствии выразительно раскрывшаяся в драматургии, где приобрела жанровое оформление. Винниченко плодотворно работает в жанрах интеллектуальной драмы, интеллектуальной мелодрамы, сатирической комедии, героико-психологической драмы, трагедии.

В диссертации уясняются главные черты художественного стиля драматурга, стиля, в котором парадоксально сочетаются энергичная экспрессивность и элегическая мягкость. Постигается проблема соотнесенности творческих исканий автора с ведущими художественными тенденциями конца ХІХ – первых десятилетий ХХ века. В основе образного строя пьес писателя лежит натуралистическая предметная фактура, которая все же приобретает символистскую таинственность, изысканно трансформируясь с помощью средств экспрессионизма, импрессионизма, сюрреализма, театра абсурда. Стиль писателя эволюционирует преимущественно за счет усиления в нем черт авангардизма. Автор диссертации полемизирует с реализмоцентристскими взглядами на творчество В. Винниченко и трактует его драматургию как явление переходное от раннего модернизма к авангардизму.

Ключевые слова: Винниченко, драма, поэтика, жанр, стиль, модернизм.

 

 

Humeniuk V. I. Dramaturgy by Volodymyr Vynnychenko. The Problems of Poetics. – Manuscript.

Dissertation for the degree of a Doctor of Philological Sciences in speciality 10. 01. 01 – Ukrainian Literature. – Taras Shevchenko Kyiv National University. – Kyiv, 2002.

The dissertation deals with the research of the main features of V. Vynnychenko's drama poetics. The heritage of one of the greatest Ukrainian writers of the first half of the XX century V. Vynnychenko was concealed and forbidden in the time of the totalitarism. It is becoming the theme of fundamental scientific research factually only nowadays. On the basis of the detailed artistic analysis of all of the 22 accomplished author's plays the critic researches the creative evolution of the playwrite, assigns its phases, which are mainly joined with genre alterations in his dramatic creativity. The dramatic effect is considered in the work as the style dominant of the author's creativity. The dominant appears at first in his early prose and than is uncovered in his dramatic works, where it obtains the genre shaping.

The first plays of the author (“Disharmony”, “Steps of Life”, “Great Moloch”, “Memento”) belong to the genre of intellectual drama, where the artistic comprehension of idea is the leading genre-shaping factor and the verbal duel (discussion) is the main poetic principle. Being the splendid innovator, originally adapting the principles of a new drama (expressiveness of stage detail, interaction of sub-texts, impressionable atmosphere, mosaic composition, artistic syncretism), the author also transforms the literary heritage of the past into modern style, effectively combines “drama of ideas” with “drama of passions”, gives the perfect samples of such unusual genre as intellectual melodrama. The plays “Lie” and “Black Panther and White Bear”, staged not only in Ukraine, but also in the theatres of Russia and of the West, enjoy particular success. Widening the horizons of his art searches, the dramatist, whose creative nature is open to various aspects of reality, works further in genres of satirical comedy and heroic-psychological drama. He effectively combines these and others genre aspects, assimilated in previous periods of his creative activity, particularly in such plays as “Young Blood”, “Something by Shaggy Legs”, “Miss Mara”.

The artistic unity of the structure of Vynnychenko's dramatic works is caused mainly by the prevalence of one genre feature in a certain play. But one can say of the genre polyphony as of the important indicator of the author's dramaturgy. The artistic structure of the works of the last period of Vynnychenko's dramatic activities (the end of 10 – 20 years of the XX century) is also complicated. But the tragedy aspect is most important in them, as we see it. The plays of this period, first of all such as “Among two Forces”, “Sin”, “Law”, “Song of Israel”, “Prophet”, are highly artistic models of modern tragedy, where monumental pathos and rigorous laconism are connected with Shakespearean immersion into the contradictions of human soul, with Meatherlink's tradition of profound symbolism, with existential feeling of the world and universe imperfections.

In the dissertation the main features of the author's individual style, where the energetic expressiveness is paradoxically combined with the elegiac mildness, are described. The author's complex style is displayed on various levels of the structure of his dramatic works. Puzzling internal conflicts are prominent in V. Vynnychenco's plays. These internal conflicts are nourished mainly by the clearly traced external ones. V. Vynnychenco does not reject the intrigues, but he subordinates it to wider tasks. The severely dramatic, often tragic incommensurability between the unusual, outstanding individuality and social stereotypes is revealed in the author's plays by the interaction of the different levels of conflict. V. Vynnychenko's style is open to the typical for the modernism art syncretism. The widening of the dramatic action with the help of the opening of epic horizons in it and also by the usage of the lyric elements is very perceptible in the author's plays. The artistic language of the writer is characterized by the original vividness, plastic expressiveness, correlation with the expressive means of music.

The critic investigates the problem of the correlation of the writer's creative searches with the main artistic tendencies in the end of the XIX – first decades of the XX century. The naturalistic plot is the basis of the artistic system of Vynnychenko's plays. However, it obtains the features of symbolic mystery, being in refined manner transformed by means of expressionism, impressionism, surrealism, absurd theatre. The writer's style is evolved mainly at the expense of the strengthening of the features of vanguardism in it. The author of the dissertation is open to the discussion with the scientists who interpretate Vynnychenko's works as the ones belonging to realism. He interprets the writer's dramaturgy as the phenomenon that is transitive from the early modernism to vanguardism.

Key words: Vynnychenko, drama, poetics, genre, style, modernism.