The embodiment of a national character in the inonational dramaturgy at the Ukrainian stage of the 60- 80s of the XX century

Abstract

The purpose of the research is to study the participation of Ukrainian theaters in social and political life and show their position in the coverage of the most important moments of the history of the country and its social problems of the 60-80s of the XX century. The research methodology lies in the use of comparative and historical-logical methods. While solving the problems the author was guided by the principles of objectivity and historicism. The author's worldview was formed on the works of T. Shevchenko, M. Gogol, P. Kulish, M. Dragomanov, I. Franko, Lesya Ukrainka and other luminaries of the Ukrainian theater. He also used the principles elaborated in the works of V. Vernadsky, P. Florensky, L. Gumilyov and other eminent scientists and took into account the achievements of sociology and Ukrainian studies, including works created by the Diaspora, – O. Subtelny and A. Kaminsky. The specified methodological approach and scientific principles of eminent thinkers and masters of the stage allowed the author to justify his views on the problem solution. Scientific novelty of the work lies in the fact that in the Ukrainian theatre studies it is the first historical research   of the problem of stage impersonation of foreign drama on Ukrainian stage, conducted by the author in early 90s of the XX century. It examines one of the most important problems that arosed before the Ukrainian masters of the stage – the embodiment of the national character of a hero. Conclusions. The article shows how Ukrainian theaters while producing foreign plays and dramas have appropriately used different principles of conveying a national character and national spe- cifics, going deep into the aesthetic world of various national cultures and as a result enriching their own art.