The innovation of visual-plastic imagery in the productions of A. Zholdak

Abstract

The purpose of the article is to identify the features of the visual-plastic imagery of theatrical productions of A. Zholdak through the prism of specific changes in the aesthetics of plastic directing of the late XX - early XXI century. The methodology is determined by the nature of the tasks and includes the following set of methods: a systematic and comparative typological method (for identifying common models used in the evolution of plastic directing in post-dramatic theater, analyzing the development of visual-plastic imagery in Ukrainian theater art); cognitive method (to justify the specifics of visual-plastic imagery in the productions of A. Zholdak); a method of art history and figurative-stylistic analysis (to identify theatrical methods and compositional techniques) and other. Scientific novelty. The artistic and aesthetic features of the plastic directing of the beginning of the XXI century are considered on the example of the productions of A. Zholdak; an art historical analysis of the director’s theatrical methods was carried out; The main artistic methods and methods for creating visual-plastic imagery in the performances “The Month of Love,” “Wojcieck” and “Zholdak Dreams: Captivators of Senses” in the context of the specifics of the stage existence of the actor, the peculiarities of the interaction of visual and verbal dramaturgy are defined and characterized. Conclusions. In the process of creating a visual-plastic image, A. Zholdak focuses on two main aspects of his presentation - the subject environment and space. The study revealed that the director’s visual poetic language of productions is a complex game with visual meanings, which shifts attention from technical and constructive techniques to semantic space - A. Zholdak seeks to switch the viewer's perception from the direct meaning of the subject to metonymic (one value is replaced by another, provided a certain dependence, for example, temporal or spatial) and metaphorical (figurative, based on similarity, comparison, analogy). The artist modulates and constructs a new reality in accordance with the peculiarities of the inner world in the style of the poetical and theatrical direction, gravitates to maximum conventionality and provides for the creation of “artificial” reality. Theatrical performance is a reflection of his worldview, fantasies, dreams and ideas, since the inner space of the subjective-emotional world is translated into the stage space, determining its open conditionality.