The study is devoted to the study of three sound projections of the female archetype, which have developed in the experimental work of the Moscow composer A.M. Bakshi. The purpose of the work is to identify stable models of the formation of female types in the musical components of a post-dramatic performance as the leading lines of dramatic development. The dynamics of musical images expressing the attitudes of deep structures are expressed by the model of the muse and the inspirer at the early stage of creativity, by the ideas of sacrifice at the mature stage, and by the type of enchantress in the culminating works. In the process of study, the defining means of the embodiment of female images in their stage organization are established. As indicators of stability, the models of female images have common features conveyed through ostinato figures, the softness of second-tone intonations, and the hanging incompleteness of endings. At the same time, the dynamic and changing features are unique each time, depending on the composer's thinking and the context of the composition. The method of analysis of compositions is based on identifying the defining principles of musical and sound implementation of images, comparing them, and systematizing them. The article outlines the features of the approach to the embodiment of musical material in the theater, which represents female stable types. The nature of the play and its dramaturgy determine the figurative content and development, particularly the symbolism of female characters. The scientific novelty lies in the study of the musical embodiment of the archetypal foundations of female images that have been formed throughout the composer's work and embody the fundamental traits of the female character. As a result, the relationship between basic stable structures, determined by archetypal nature, and forms of musical expression in the author's specific stage works has been revealed. The conclusion is made about the features of the embodiment of female archetypes in the conditions of modern post-dramatic theatre.
This paper presents an ontology describing Bulgarian dance folklore as part of Bulgaria's cultural and historical heritage. The study focuses on a specific dance piece – "Horo in Sofia", choreographed by Kiril Djenev. The ontology is developed in accordance with the CCO (Cataloging Cultural Objects) standard, which provides guidelines for data content standards. The created ontological structure serves as a knowledge base intended for use by intelligent agents. The application of standards significantly facilitates data dissemination, with CCO providing clear and precise definitions of the attributes an object should possess. The ontologies, developed in Protégé, are designed to meet the requirements of this standard. Five key characteristics were used to represent the dance: ethnographic area, artistic-social function, participant composition, number of participants, and musical accompaniment. Semantic modeling utilizes RDF, and the additional application of RDFS and OWL provides a powerful toolkit for modeling and creating ontologies. This work lays the foundation for the digital transformation of Bulgarian dance heritage and provides a valuable resource for researchers, teachers, and students. The development is part of a broader project focused on the digitization of cultural and historical heritage.
The performing arts. Show business, Dramatic representation. The theater
The present study is an attempt to examine the representation of patriotism and nationalism in Irish and Kurdish plays. Specifically, the researcher deals with two dramas one penned by the Kurdish playwright Gharbi Mustafa, and the other by the Irish dramatist William Butler Yeats. Their stage plays, Mustafa’s Leyla, The Kurdish Bride (2010), and Yeats’ Cathleen Ni Houlihan (1902), have been taken into account in order to analyze how the two aforesaid plays are patriotic in nature. For the purpose of achieving the aim of the study, i.e., investigating expressions of national pride and belonging, a careful attention is given to specific symbols, motifs, characterizations, and narratives present in the opted scripts. The analysis of the study signifies that Yeats makes use of an Irish myth-derived figure, namely Cathleen who, in reality, is an incarnation of Ireland, to depict national identity and political conflicts. Meanwhile, Mustafa fictionalizes the true events of a Kurdish martyr, Leyla Qasim, to enlighten the Kurdish case and how the Kurds have been deprived of their privileges for ages. The two dramatic works thematize persecution, foreign oppression, a longing for freedom among other related themes. The paper comes to the conclusion that although these two plays are written over a century apart, yet in tandem they shed light on political oppression, a wish to be free, and national belonging.
The literary text has the potential to combine the universe of the imaginary with a certain representation of reality, opening a range of possibilities for interpretation and attribution of meanings. Such amplitude, however, does not occur in a void: every text brings clues to possible interpretations, and the understanding of these clues occurs through literary literacy, which encompasses a differentiated dimension of the social use of writing and a way to ensure its effective mastery (Cosson, 2014). Thus, this article presents a proposal to work with the Theater genre as a way to optimize the teaching of literature and Portuguese language from the perspective of literary literacy and discursive/textual genres. Based on the concept of active methodologies (Moran, 2018), it is proposed to carry out a project aimed at the assembly of a theatrical play created by the students, taking into account the theoretical principles of educational theater (Boal, 2009; Spolin, 2010; Koudela; Santana, 2005). The theoretical apparatus, based on Bakhtin's (1997) sociointeractionism, adds the contribution of Candido (2002) regarding the conceptions of reading and the importance of literature in the formation of the individual, as well as the postulates of Schneuwly and Dolz (2004) and Marcuschi (2010) regarding textual genres. The methodology covers the study of the specificities of the dramatic text, the differences between it and the narrative text, linguistic analysis and intertextuality, combined with the factors inherent to the assembly of a theatrical play, which include the characteristics of body language, character development, costumes and scenarios. It is intended, with this, to encourage high school students to get closer to the fictional universe, developing their skills related to the enjoyment and understanding of literature.
The relevance of the study. Francis Poulenc’s opera «Dialogues of the Carmelites» is one of the greatest works of the 20th century. Since its premiere at Milan’s La Scala theater in January 1957, it has not left the world’s leading opera stages. At the same time, the composer considered the Paris performance at the Opera Garnier to be la représentation modèle of his second opera, which, in his opinion, perfectly embodied the composer’s idea and the spirit of Bernanos-Poulenc. The Ukrainian premiere of «Dialogues of the Carmelites» on the stage of the Lviv Opera in 2024 revealed the problems of highlighting the basis for Poulenc’s creation of la representation modèle and its main characteristics, raised the issue of the production concept of the Lviv spectacle and the original director's interpretation of the Poulenc’s opera. The article, for the first time in the Ukrainian musicological space, examines the history of the first, decisive for the future of this opera, productions in Milan and Paris, and also analyzes the production concept of the Lviv «Dialogues of the Carmelites» in the context of Poulenc’s la représentation modèle, which allows to understand deeper both the opera «Dialogues of the Carmelites» itself and the modern trends in the development of the opera theater. The main objective of the study is to identify the specifics of the the production concept of the premiere performance of «Dialogues of the Carmelites» by the Lviv Opera in the context of Poulenc’s parisian la représentation modèle. The research methodology: historical and biographical (in studying the history of the premiere performances of «Dialogues of the Carmelites» in Milan and Paris), comparative and analytical (for a comparative analysis of the production concepts of the Paris and Lviv performances of Poulenc's second opera). Results and conclusions: Based on letters, interviews of the composer, journalistic materials of the premiere year of «Dialogues of the Carmelites», the process of preparing the opera for the stage version is highlighted, Poulenc’s active participation in the organization of the Paris production, which the composer considered universal la représentation modèle, was revealed. The fundamental differences in the production concept of the opera’s world premiere in 1957 at the Teatro alla Scala in Milan and the Paris production at Garnier l’Opéra are explored. The relevance of the author’s interpretation of the score of Poulenc’s «Dialogues» by the team of directors of the Lviv Opera was revealed: the production strategy was investigated, the strengthening of the idea of the work’s cinematic nature was analyzed through cuts and re-emphasis of the opera’s key dramatic moments. It has been proven that by reemphasizing the deeply religious content of Poulenc’s work into the humanistic plane of human values, by raising the themes of human choice in a topical tragic reality and the manifestation of heroism in it by an ordinary person who suffered from fear and despair «yesterday», adding easily readable allusions to the modern russian-ukrainian war, the Lviv performance brilliantly demonstrated the possibilities of «modern actualized theater».
This research examines the transformation of a public coffee shop space into a theater performing arts space by applying environmental theater and post-dramatic theater approaches. Public spaces, especially coffee shops, have great potential as alternative spaces for theatrical performances, given their informal characteristics and ability to attract various levels of society. The environmental theater approach emphasizes interaction between audience and actors as well as non-conventional use of space, thereby blurring the boundaries between stage space and audience space. Meanwhile, post-dramatic theater, which emerged as a response to traditional theater structures, prioritizes elements such as visuals, sound, and movement over linear narrative. The performance Aku+Kamu=Bertemu moves the perspective form of the arena stage and proscenium to the public space, by reading the issues in the public space. The conclusion from the Aku+Kamu=Bertemu performance is that integrating public spaces such as coffee shops into theater performing arts practices can revive the local culture and create a space for dynamic social interaction. This study also offers practical guidance for theater practitioners and coffee shop owners in designing and executing performances that take full advantage of the potential of these public spaces. Thus, this thesis contributes to the development of new strategies in the performing arts and public space management.
El objetivo de este trabajo es exponer la manera en la cual se fueron relacionando, a lo largo de los años, las diferentes funciones que desarrollo en la Facultad de Arte de la Universidad Nacional del Centro: la docencia, la investigación y la extensión.
Esta interrelación, que puede pensarse como algo natural, fue producto de romper con cierta linealidad de acción y de entender que ninguna función tiene mayor relevancia que otra. Este desarrollo de una identidad múltiple emergente (que implica el entrecruzamiento de problemáticas propias del campo pedagógico, el artístico y el científico) me enfrentó a diversos cuestionamientos teóricos y metodológicos que serán desarrollados en este trabajo.
“Who Lives, Who Dies, Who Tells Your Story?”. These were the three questions that resonated within the walls of The Public Theater, New York City, as what critics would later describe as an outstanding performance came to an end on the 20th of January 2015. Hamilton: An American Musical’s author, Lin-Manuel Miranda, has been praised for turning the story of Alexander Hamilton, the United States’ first Secretary of Treasury, into an inclusive work of art which has since often been associated with the word “revolutionary”. It is undeniable that, much to some historians’ joy and others’ dismay (Herrera 2018), the musical based on Ron Chernow’s 2004 biography Alexander Hamilton succeeded not only in modernizing and “humanizing” the image of some of the Founding Fathers, therefore reintroducing them into popular culture, but also in redirecting the projectors towards non-white musical performers by turning what is often told as a white men centered narrative into an immigrant success story. Nevertheless, one ought to question whether the musical truly succeeds in its attempt to ‘revolutionize’ the historical narrative by analyzing an important aspect of the Founding Era: the lack of importance given to the women who are so often omitted from the narrative. This article will analyze Miranda’s representation of Angelica and Eliza Schuyler as well as Maria Reynolds in an attempt to highlight the simultaneous contemporary struggle to integrate feminism into the dramatic and male focused milieu of historical musical theater. To do so, equal importance will be given to the analysis of the audio-visual content of the performance and Miranda’s socio-cultural context.
The goal of this paper is to present the characteristics of Eugène Ionesco’s dramatic texts, a reason why the genre of avant-garde and theatre of the absurd are also considered, with a view to revealing their major ways of functioning. By pointing out the different dimensions of dramatic language, the emphasis is on those elements that differ from current oral and written language. Starting from the times of decadentism, a crisis of character can be noted in the theater around a type of individual who, as an alienated individual, cannot find his identity in a hostile surrounding world. One of the direct consequences of this crisis will be the impossibility of interpersonal communication, which will be best demonstrated with the concept and tenets of the theater of the absurd. In this context, the study of the theater of the 20th century is done from the perspective of cognitive semantics, as an autonomous level of language. The approach is organised around two notions: dramatic conventions and the actual language of the dramatic texts. The interpretative theory rooted in semantics is applied while analysing Ionesco’s short plays. The starting point is the linguistics of the text as described by Eugen Coşeriu. Capturing the meaning and the means by which it is constructed is one of the objectives in accord with the main principles of cognitive linguistics. The way of analysing the meaning in a text is given by the presence of some textual functions, as possibilities provided by language through relationships that the linguistic sign establishes in the discursive act. The specificity of the discourse comes from the combination of verbal and non-verbal elements, in order to highlight the playwright’s original style. The particularities of this type of language based on an ontological representation of the actional nature in human existence are also investigated. There are two dimensions recognisable in the language of literature: one is specific to the genre and the other one is particular, giving originality and uniqueness. The textual meaning in between these dimensions needs to be reconstructed from all their constituents identifiable at different levels of analysis. Ionesco distanced himself from the conventional and traditional theatre, finding a new formula for the dramatic genre in his own vision of what drama should be like. Ionesco’s dramatic work includes short plays and extensive plays in which the author expresses his adversity against totalitarian regimes. He is the representative of the theater of the absurd and anti-theater. The corpus for this research is composed mainly of the plays The Bald Soprano, The Lesson and The Chairs, the most representative plays for the avant-garde spirit, short plays on the theme of language emptied of meaning and non-communication. Language has an impact on thinking and the resulting actions, which relates it to the ontology of human existence. As dramatic language is preponderently structured on dialogical interactions (and less on monologues, soliloquies and asides), its essence can be revealed by decomposing and recomposing them, from the angle of the conventions specific to the dramatic genre. The analysis of the selected fragments from the corpus has the role to highlight their semantic features in terms of conceptual representations.
In the paper, the authors discuss the concept of staged readings, arguing that they are the predominant performance format for presentations of young playwriting. However, such presentations should not be understood as an intermediate stage between reading and performing but as a fully-fledged and independent artistic genre. Many staged
readings thus lose the function of “first information” about the text and its author. Instead, they have become a proper way of performing a text, thus opening up a wider area for theatrical experimentation. Using concrete examples, the authors will reflect on practices characterised by the text becoming the main or even the only thing necessary for a theatrical event and reading (in all its possible ways and forms) becoming the key
theatrical means.
This article emanates from a geospatial database of over 600 premieres of the Cines company’s Quo Vadis? (1913), an eight-reel film distributed by George Kleine, and nearly 250 premieres of the Quo Vadis Film Company’s Quo Vadis? (1913), a three-reel film of ambiguous origins distributed by Paul De Outo. By mapping local premieres of both films across the United States from 1913 through 1916, the data show with spatiotemporal precision the spread of Quo Vadis? as one of cinema’s early blockbuster titles. Yet within this national phenomenon, the two films’ footprints reveal differing cultural geographies served by competing efforts to feature Quo Vadis? using alternative practices of distribution and exhibition. The study finds that Quo Vadis? played a more complex role mediating the rise of features than is yet known, serving rival modes of cinema where longer, more expensive films were celebrated but also contested.
प्रस्तुत लेख विजय मल्लका नाटकको रङ्गमञ्चशिल्पको अभ्ययनमा केन्द्रित छ । रङ्गमञ्चशिल्पको वैशिष्ट्य निरूपण नाटकको रङ्गमञ्चीय प्रस्तुतिका रूप र अवस्थाको प्रत्यक्ष अवलोकनबाट हुन्छ तापनि रङ्गमञ्चीय प्रस्तुतिका समस्त रूप र अवस्थाको मूलाधार नाट्यमर्म हो । नाट्यमर्मलाई नै श्रव्यदृश्य परिणति प्रदान गर्ने उद्देश्यले नै आधारशिलाका रूपमा नाट्यपात्रका कार्यव्यापार सम्पत्र भएको स्थान, समय र परिस्थितिको प्रतिनिध्यात्मक वा प्रतीकात्मक ढङ्गमा रङ्गमञ्च तयार गरिन्छ । नाट्यकृतिलाई रङ्गमञ्चीय प्रस्तुतिमा लैजाँदा रङ्गकर्मीहरूले नाट्यालेखको अध्ययनबाट नाट्यपात्रका बाह्यान्तरिक रूप र अवस्थाको मानससाक्षात्कार गर्छन् र तत्सदृश रूपधारण गरी अन्यान्य भौतिक उपकरण र कलारूपहरूको समन्वयमा नाट्यमर्मलाई अभिनय कलामा रूपायन गरी श्रव्यदृश्य परिणति प्रदान गर्छन् । यस अवस्थामा रङ्गमञ्च नाटककारको सृजनकर्म, नाट्यमर्म र रङ्गकर्मीका रङ्गकर्मलाई सार्थकता प्रदान गर्ने एक मात्र आधारशिला रङ्गमञ्च बन्छ । त्यसैले रङ्गमञ्च भत्रु मानवरहित भौतिक संसार नभई रङ्गरमाइलो गर्न बनाइएको भौतिक संसारका विविध रूप, अवस्था र कलाकर्मीका रङ्गकर्मको समष्टि हो । यो रङ्गकर्मस्थल विशेषले समष्टिमा दर्शकलाई आनन्दानुभूति त गराउँछ नै; पूर्वदीप्तिका रूपमा नाट्यपात्रको व्यापक पृष्ठभूमि सङ्केत गरी नाट्यावलोकन गर्ने अभिरुचि पनि जगाइदिन्छ । नाट्यकृतिको रचना रङ्गमञ्चीय प्रस्तुतिका लागि रचिने र रङ्गमञ्चीय प्रस्तुतिमा नै यसले आफ्नो सार्थकता सिद्ध गर्ने हुनाले नाटकको मूल्याङ्कन रङ्गमञ्चीय शिल्पसौन्दर्यसँग जोडेर गरिनुपर्छ । तर अध्ययन परम्परामा विजय मल्लको रङ्गमञ्चशिल्प वैशिष्ट्य निरूपणलाई केन्द्रीय विषय बनाएर विशिष्टीकृत अध्ययन भएको पाइँदैन । यो अध्ययनले यही रिक्तता मेटाउनमा लक्षित छ । त्यसैले यो अध्ययन महत्त्वपूर्ण रहेको छ । प्रस्तुत अध्ययन गुणात्मक प्रकृति रहेको छ । पूर्वीय तथा यथार्थवाद र यथार्थवादोत्तर पाश्चात्य नाट्यमान्यता र पद्धतिबाट प्रेरित र प्रभावित विजय मल्लको नाट्यशिल्पी नूतन प्रयोगधर्मी रीतिबाट गतिशील भएको र उनको रङ्गमञ्चशिल्पको मूल्याङ्कन कुनै खास नाट्यमान्यता र शिल्पपद्धतिबाट हुन नसक्ने भएकाले पूर्वीय तथा यथार्थवाद तथा याथार्थवादोत्तर प्रयोगधर्मी नाट्यमान्यताको समन्वयबाट तथ्यहरूको विश्लेषणका लागि सैद्धान्तिक अवधारणा तयार परिएको छ । सोही ढाँचाअनुसार तथ्यको वर्णन तथा विश्लेषण गरिएको छ । रचनात्मक स्तरमा पहाड चिच्याइरहेछ र भोलि के हुन्छ ? नाट्यकृतिमा उच्च प्रयुक्तिको प्रयोगधर्मी शिल्प अवलम्बन गरिकोले यी दुई नाटकको रङ्गमञ्चशिल्प नाटकीय गुणसम्पदाले समृद्ध हुँदाहुँदै पनि उच्च प्रयोगधर्मी जटिलतातर्फ उन्मुख रहेको छ भने बाँकी नाटकका रङ्गमञ्चहरू सरल, सहज, समस्त नाटकीय गुणविशेषताले समृद्ध छन् । रचनात्मक स्तरमा सृजित हुने रङ्गमञ्चशिल्प पनि नाटकीय गुणविशेषताले समृद्ध हुने देखिन्छ र सबै नाट्यकृति रङ्गमञ्चीय प्रस्तुतिप्रदर्शनका दृष्टिले अभिनेय र दर्शकको संवोगात्मक जीवनलाई उद्दीप्त पार्न समर्थ देखिन्छन् भत्रे यस अध्ययनको निष्कर्ष हो । {The presented article is focused on the study of stagecraft of Vijay Malla's play. The characteristic of stagecraft is through the direct observation of the form and condition of the stage performance of the play, but the basis of all the forms and conditions of the stage performance is drama. With the aim of providing an audio-visual result to the drama itself, the stage is prepared in a representative or symbolic manner of the place, time and situation where the action of the character is the foundation stone.When taking the play to the stage performance, the actors study the external form and condition of the character through the study of the script, and in the coordination of other physical devices and art forms, they transform the drama into an acting art and give an audio-visual result. In this situation, the stage becomes the only cornerstone that gives meaning to the creativity of the dramatist, the drama and the performance of the artists.Therefore, Rangamancha Bhatru is not a physical world devoid of human beings, but a collection of various forms, conditions, and artistic actions of the physical world made to be colorful. This special venue not only brings joy to the audience as a whole; It also awakens the interest to observe the drama by indicating the broad background of the character as a prelude.Since the composition of the play is composed for the stage performance and it proves its worth in the stage performance, the evaluation of the play should be done in connection with the artistic beauty of the stage. But in the study tradition, it is not found that there has been a specialized study by making the representation of Vijaya Malla's color and theater characteristics as a central topic. This study aims to fill this gap.Therefore, this study is important. The present study is qualitative in nature.Inspired and influenced by eastern and realism and post-realism western theatrical values and methods, Vijay Malla's dramaturgy is moving in a new experimental way and his stagecraft cannot be evaluated by any specific theatrical values and craft methods, so a theoretical concept has been prepared for the analysis of the facts through the coordination of eastern and realism and post-realistic experimental theatrical values.According to the same format, the facts have been described and analyzed. On a creative level, the mountain is screaming and what will happen tomorrow? Due to the adoption of highly applied practical art in the drama, the stage art of these two plays is rich in dramatic qualities, but is oriented towards high practical complexity, while the rest of the plays are simple, easy, and rich in all dramatic qualities.Theater art that is created at a creative level seems to be enriched with dramatic qualities and all plays are capable of stimulating the emotional life of the actors and the audience from the point of view of theatrical performance, according to the conclusion of this study.}
Comprehending the meaning of body postures is essential for social organisms such as humans. For example, it is important to understand at a glance whether two people seen at a distance are in a friendly or conflictual interaction. However, it is still unclear what fraction of the possible body configurations carry meaning, and what is the best way to characterize such meaning. Here, we address this by using stick figures as a low-dimensional, yet evocative, representation of body postures. We systematically scanned a set of 1,470 upper-body postures of stick figures in a dyad with a second stick figure with a neutral pose. We asked participants to rate the stick figure in terms of 20 emotion adjectives like sad or triumphant and in terms of eight active verbs that connote intent like to threaten and to comfort. The stick figure configuration space was dense with meaning: people strongly agreed on more than half of the configurations. The meaning was generally smooth in the sense that small changes in posture had a small effect on the meaning, but certain small changes had a large effect. Configurations carried meaning in both emotions and intent, but the intent verbs covered more configurations. The effectiveness of the intent verbs in describing body postures aligns with a theory, originating from the theater, called dramatic action theory. This suggests that, in addition to the well-studied role of emotional states in describing body language, much can be gained by using also dramatic action verbs which signal the effort to change the state of others. We provide a dictionary of stick figure configurations and their perceived meaning. This systematic scan of body configurations might be useful to teaching people and machines to decipher body postures in human interactions.
The purpose of the article is to reveal the peculiarities of the interpretive theater direction of A. Prikhodka in the context of experiments with the representation of classical and modern texts. Methodology. Comparative and structural methods have been applied in order to reveal the versatility of the director's intention; the method of hermeneutic and the semiotic method, which contributed to the opportunity to explore the specifics of the director's representation; the hermeneutic method is dominant in the process of evaluating performances since it contributes to the perception of the production as an artistic whole, provided that the functionality of its individual components is understood; the method of semiotic analysis of postmodern stage works, etc. The scientific novelty of the article lies in the fact that the specificity of the representation of classical and modern texts in the work of theatrical director A. Prikhodka is considered in the context of the trends of this process in the modern theatrical space on the basis of comprehensive art history, theater, and cultural analysis. The theoretical views of A. Prikhodka are analyzed, the factors of influence on the production process and its specifics are revealed; an attempt is made to consider the phenomenon of the representation of literary texts from the perspective of postmodern trends in the development of modern Ukrainian theater. Conclusions. The work of A. Prikhodka is characterized by the reworking of the literary source of the production at the text level, including, among other things, a significant substantive reworking - highlighting plot lines, building plot lines, a successive reworking of prose characters into dramatic ones, the emergence of new, non-fictional characters, etc. - turning into a unique a literary script for the author's embodiment of a stage composition with the help of specific means of director's expressiveness of postmodern, realistic and avant-garde theater. The study revealed that the creative representations of classical and modern tests by A. Prikhodka reveal the hidden potential of the literary source, giving it a new philosophical and worldview understanding. The purpose of the article is to reveal the peculiarities of the interpretive theater direction of A. Prikhodka in the context of experiments with the representation of classical and modern texts. Methodology. Comparative and structural methods have been applied in order to reveal the versatility of the director's intention; the method of hermeneutic and the semiotic method, which contributed to the opportunity to explore the specifics of the director's representation; the hermeneutic method is dominant in the process of evaluating performances since it contributes to the perception of the production as an artistic whole, provided that the functionality of its individual components is understood; the method of semiotic analysis of postmodern stage works, etc. The scientific novelty of the article lies in the fact that the specificity of the representation of classical and modern texts in the work of theatrical director A. Prikhodka is considered in the context of the trends of this process in the modern theatrical space on the basis of comprehensive art history, theater, and cultural analysis. The theoretical views of A. Prikhodka are analyzed, the factors of influence on the production process and its specifics are revealed; an attempt is made to consider the phenomenon of the representation of literary texts from the perspective of postmodern trends in the development of modern Ukrainian theater. Conclusions. The work of A. Prikhodka is characterized by the reworking of the literary source of the production at the text level, including, among other things, a significant substantive reworking - highlighting plot lines, building plot lines, a successive reworking of prose characters into dramatic ones, the emergence of new, non-fictional characters, etc. - turning into a unique a literary script for the author's embodiment of a stage composition with the help of specific means of director's expressiveness of postmodern, realistic and avant-garde theater. The study revealed that the creative representations of classical and modern tests by A. Prikhodka reveal the hidden potential of the literary source, giving it a new philosophical and worldview understanding.
The signature scene shifts, pastoral settings, and perspectival instabilities of Andrew Marvell’s Upon Appleton House squarely align the poem with the theatrical tradition of the court masque, a tradition that was effectively moribund at the at the time of the poem’s composition in 1651. The influence of the masque on Upon Appleton House (and other Marvell works) has been widely noted, but the significance of his poem in the longer history of English theater––specifically, in the discourse of theatrical reform––has not been fully considered. In Upon Appleton House, Marvell not only applies the strategies and techniques of the masque, but he also engages with ideas central to the ongoing debate between opponents and defenders of the stage. As such, his poem anticipates the reforms and innovations attempted by William Davenant, Richard Flecknoe, and others who campaigned to revive theater in Interregnum England. However, Marvell’s appropriation of masque theatrics is not tethered to the goals of reform. His poem is distinctly the product of the post-regicide, pre-Protectorate imagination, when the theaters are shuttered, dramatic performance is driven underground, and the fate of the commonwealth is precarious. Accordingly, his method is not to establish a mode of theater palatable to republican interests, but instead to defamiliarize theatrical representation in a way that responds to the uncertainty of the moment.