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Ukrainian School Christmas Drama of the XVIIth–XVIIIth Centuries and Puppet Nativity Play Theatre: Problem of Adaptation and Interpretation of a Musical Factor

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The authors of the publication:
Korniy Lidiya
p.:
5-14
UDC:
792.97:78](477)”16/17”
DOI:
https://doi.org/10.15407/nte2021.02.005
Bibliographic description:
Korniy, L. (2021) Ukrainian School Christmas Drama of the XVIIth–XVIIIth Centuries and Puppet Nativity Play Theatre: Problem of Adaptation and Interpretation of a Musical Factor. Folk Art and Ethnology, 2 (390), 5–14.

Author

Korniy Lidiya

a Doctor of Art Studies, a professor, a chief research fellow at the Department of Screen-Stage Arts and Culturology of the NASU M. Rylskyi Institute of Art Studies, Folkloristics and Ethnology 

 

Ukrainian School Christmas Drama of the XVIIth–XVIIIth Centuries and Puppet Nativity Play Theatre: Problem of Adaptation and Interpretation of a Musical Factor

 

Abstract

The article states that the Ukrainian baroque art has become differentiated into the high, middle and lower stylistic levels. There were certain connections between them, and new art genres appeared on the verges of these levels. The problem of the connection between distinct stylistic levels of the Ukrainian musical baroque has not yet attracted the attention of researchers. The study examines the links between the Ukrainian school Christmas drama of the XVIIth– XVIIIth centuries and the puppet Nativity play theatre.

It is noted that for the first time a comparison of these two kinds of theatrical art is drawn in terms of the use of a musical factor in them. It is established that the first act of the Nativity play drama is related to the high style of Ukrainian Christmas school drama. This is revealed on the basis of analysing the dramatic functions of a Choir in both school drama and Nativity play drama. A choir in these spectacles took an active part in revealing the Christmas story, playing the role of a character. What they had in common was the genre of spiritual chant with the syllabic versification. Despite its association with the high style of school drama, the Nativity play drama was a quite new theatrical genre that belongs to the middle stylistic level. Focusing on the folk environment, authors of the Nativity play drama intelligibly conveyed to a wide audience the sacred plot. It is noted that in the second act of the Nativity scene were adapted interludes of school dramas, which represented the lower stylistic level of the Baroque. In this act, a funny line came to the fore, and a musical component is marked by influences of the Ukrainian musical folklore with a predominance of its dancing variety. The interaction of folklore with the lower version of the Baroque had a great potential for the further development of the Ukrainian national theatre. Due to the fact that music was an integral part of the puppet Nativity play drama and played an important dramatic function, this theatrical spectacle, like some school dramas, had the features of the drama with music genre. Thus, school drama and Nativity play drama created the foundation, on which in the XIXth century, the Ukrainian dramaturgy emerged, with a significant role of the musical factor in it, which was essentially a drama with music.

 

Keywords

nativity play, school drama, interludes, chants, adaptation, singing of a Choir, baroque style levels.

 

References

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