Вплив “Віденської” культури на розвиток українського музичного театру в Галичині

Abstract

У статті досліджено особливості розвитку русько-українського музичного театру в Галичині у першій половині та середині ХІХ століття. Розглянуто роль Відня як "культурного” та “інституційного вузла”, котрий сприяв поширенню соціальних структур, задіяних в організації музичного театрального життя. Охарактеризовано театральну творчість галицьких композиторів у контексті тогочасних тенденцій панівної культури Відня.

В статье исследованы особенности развития украинского музыкального театра в Галичине в первой половине и середине XIX века. Рассмотрено роль Вены, как "культурного” и “институционального узла”, который способствовал распространению социальных структур, задействованных в организации музыкальной театральной жизни. Охарактеризовано театральное творчество галицких композиторов в контексте тогдашних тенденций господствующей культуры Вены.

The article explores the peculiarities of the development of the Russ-Ukrainian musical theater in Galicia in the first half and the middle of the nineteenth century. The emphasis is on the heterogeneity of the culture of the Austrian Empire, reflected in the works of the Galician composers of the middle of the nineteenth century. The contemporary Austro-Hungarian city culture was characterized by the same lifestyle and shared values, which was a unifying factor among the multicultural population of Galicia. The first theater in Lviv was German, which, for its centennial history of its existence, managed to form a versatile repertoire: from operas and dramatic performances – to the operettas, vaudvils and farce. This influenced the development of the Ukrainian national theater, whose repertoire reflected the specifics of the Ukrainian urban environment that had just been formed and which had access to the German-speaking culture. After all, the Austrians themselves have largely formed Galician composers and writers with an idea of what the national theater should be, if not take into account the plays of I. Kotlyarevsky, offering them, on a par with other Slavic peoples, ready-made cultural models represented in productions the then German state theater. The Ukrainian theater in Galicia made a special emphasis on the musical component of the plays. Theatrical models for the Galician composers of the older generation could be opera and operetta of Austrian composer Wenzel Müller (1767–1835) and especially Adolf Müller (1801–1866) – one of the most mature Vienna composers in the genre of operettas and melodrama. The repertoire of Ukrainian theaters is also dominated by operettas – one of the most popular in the Austrian empire genres of theatrical art. The Ukrainian theater of the 40’s and 60’s of the nineteenth century in Galicia was a controversial phenomenon. On the one hand – it borrowed from the dominant Austrian culture certain forms in which he tried to represent himself to the general public. On the other hand, in it there was a significant advantage of the ethnographic element, which is connected with the process of constructing its own national identity. Operettas of M. Verbytsky, I. Lavrivsky and their followers are national in nature, therefore cannot be the subject of cultural exports. This is due to their deep folk roots, and hence the impossibility, with some exceptions, to translate into the language of another culture, because the national element here is not exotic or an ornament, but in all comic and farce is the problem of human existence. If to analyze the musical component of the Galician theater, then one can speak of the ambivalence of the contemporary performances in which the intonations of Ukrainian folklore calmly coexist with the melody borrowed from German, Italian and French operas and operettas. The theatrical music of the Galician composers, as a typical artistic phenomenon in the Central European region, has introduced into Ukrainian culture new meanings and codes, with the dominant Austrian in the process of interaction, mutual influence and acculturation.