Використання традиційної інструментальної музики в українському аматорському театрі кінця ХІХ – початку ХХ століття

Abstract

У статті висвітлено питання використання традиційної інструментальної музики у виставах українського аматорського театру в період національно-культурного відродження кінця ХІХ – початку ХХ століття. Проаналізовано взаємозв’язки між етносоціальною функцією аматорського сценічного мистецтва і широким контекстом функціонування традиційних жанрів народної інструментальної музики.

В статье освещены вопросы использования традиционной инструментальной музыки в спектаклях украинского любительского театра в период национально-культурного возрождения конца XIX – начала ХХ века. Проанализированы взаимосвязи между этносоциальной функцией любительского сценического искусства и широким контекстом функционирования традиционных жанров народной инструментальной музыки.

The article covers the use of traditional instrumental music in the performances of the Ukrainian amateur theater during the period of national-cultural revival of the end of the XIX and the beginning of the XX century. The coverage of this problem is due to the fact that in the relevant historical period, these genres performed not only aesthetic tasks, but also a number of ethnosocial functions – ethnosaving, ethnoconsolidating, nation-building. The issue of the relationship between traditional instrumental music and the activities of amateur theater groups was not yet the subject of consideration of individual scientific works. The chronological boundaries of the given material cover the second half of the nineteenth and early twentieth centuries. This period is characterized, on the one hand, by the intensification of the onset of Russian tsarism in Ukrainian culture, and on the other by the further growth and spread of the national liberation movement. It was during those years that the first Ukrainian professional drama troupe arose, the amateur stage movement spread and became popular, regular theatrical connections between the Ukrainians of the Dnipro region and Halychyna developed. Analysis of literature and sources shows that in the 60’s and 70’s of the nineteenth century. The theater was the basis of Ukrainian theatrical life. He played an important role in spreading the use of the Ukrainian language and the development of national drama. Family performances were first of all organized by representatives of the democratic intelligention. The home theater remained popular and popular in the coming decades. In the 80’s and 90’s of the nineteenth century there is a process of expanding the social base of the amateur theater. Amateur circles appear among representatives of different sectors of society: among learners, students, in the military environment, among workers and peasants. This process took place under the influence of new socio-political and economic conditions. Leading stage figures of this period are M. Starytskyi, M. Kropyvnytskyi, I. Tobilevych and others tried in the conditions of colonial oppression to realize not only artistic functions of stage art, but also no less important tasks of the cultural stage of the Ukrainian liberation movement. To do this, they used the entire creative toolkit – a specific household repertoire, an ethnographic character of costumes, scenery, appropriate choreographic and musical accompaniment of performances using traditional folk instruments. The process of gradual entry into the stage of traditional instrumental music was due to its participation in amateur theatrical performances. In amateur theatrical performances, instrumental music performed the following functions: musical accompaniment to dancing, which included as a separate number in the script; separate musical instruments or whole ensembles were accompanied by independent vocal numbers that were performed in the performances; the use of instrumental works when changing scenery and intermissions. Thanks to the participation in the national amateur theater, traditional instrumental music consolidated its stage existence. Thus, the phenomenon of the interaction of traditional instrumental music and amateur theatrical performances contributed to the propagation of the ethnographic principles and customs of Ukrainians, intensified the awakening of ethnic consciousness in a certain part of the performers and spectators. Folk-artistic creativity of the studied period became an important factor of national-cultural revival.