The Part of Maksym Kryvonos in "Bohdan Khmelnytskyi" Opera by K. Dankevych's in the Embodiment of Theatrical Typology of the Image of the Reasoner

Abstract

The purpose of the study is to highlight the performatively significant stage attributes of the part of one of the leading characters of the above-mentioned opera by K. Dankevych, whose timbre – bass – corresponds to the vocal qualities of the author of this study. The research methodology is based on the positions of the intonation approach of B. Asafiev's school in Ukraine, represented by I. Liashenko and I. Kotliarevskyi, and their numerous students who formed their own scientific schools (O. Kozarenko, O. Markova, O. Roschenko, to name a few). At the same time, we single out hermeneutical-comparative, biographical-descriptive, style-genre methods, as they reflected the discoveries of the psychology of creativity in the works of J. Huizinga, M. Eliade, and other cultural and art critics. The scientific novelty of the study is conditioned by the independence of the performance approach to understanding the artistic meaning of the character image, the performance indicators of which are correlated with the vocal capabilities of the author of the study. Conclusions. The historical contradictions of the events embodied in K. Dankevych's opera, which caused the rejection of the original author's version of the opera and subsequently led to numerous editions in the interpretation of the finale and the opera as a whole, should not obscure the undoubted value of both the historical material included in the opera libretto and the outright creative talent of K. Dankevych as the author of the music and the concept of the work, which is marked by the features of a new seria, in which the hagiographic presentation of the miracle of the Orthodox nation's salvation from extermination in the religious and civil war unfolded at the level of the basses. The composer's high talent was evident in the presentation of the characters, especially such an objectively heroic personality as Maksym Kryvonos. The function of the latter in the stage scenario is marked by the features of a resonator, i.e. an exponent of ethical positivity in the contradictions of the stage situation, reflecting the complex relations in the war in Ukraine against the Polish-Lithuanian Commonwealth.