Interpretation of the Painter’s Image in Modern Screen and Stage Practices

Abstract

The purpose of the article is to reveal the artistic specificity and cultural conditioning of the means of screen and theatrical direction in the interpretation of the image of the artist and sculptor in audiovisual and stage discourse. Research methodology. The methodological basis is the culturological approach. A systematic approach was applied that integrates culturological and art history analysis to generalise empirical material on screen and stage directorial interpretations of the image of the artist in the context of modern spiritual culture. The structural-functional method was used to analyse screen and stage means of direction and their functional multidimensionality. Content analysis was used to study collective authorship in the process of representing the image of the painter and sculptor in the screen and stage space. Scientific novelty of the research. It consists in substantiating the potential of interartistic interaction and transdisciplinary exchange between the visual, audiovisual and performing arts in the process of rethinking and screen-stage representation of the personality and creative work of famous artists and sculptors with the involvement of the latest directorial tools. Conclusions. It is proven that the use of innovative directorial strategies in cinema and theatre expands the possibilities of both popularising certain aspects of the life and work of outstanding artists among a wide audience, and actualising the potential of modern screen practices – in particular, reproduction, visualisation and animation – in representing the creative process and artistic heritage of masters of the visual arts.