ПСИХОЛОГІЯ ТВОРЧОСТІ АЛЄКСАНДРА ФРЕДРА: ТРАНСФОРМАЦІЯ ТВОРЧОГО ДИСКУРСУ, УКРАЇНСЬКА РЕЦЕПЦІЯ

Abstract

The article studies reception of the work of Alexander Fredro, the comedy playwright in the Ukrainian Galician theater culture. the sources of his artistic development and, at the same time, the reasons that led to the completion of the publication of new works almost at the peak stage of his creative burning. Already in the first quarter of the 19th century, the dramaturgy of Alexander Fredro gradually turned Galicia into a center of Polish culture. The article ex- amines the peculiarities of the psychology of creativity, the transformation and creative development of the playwright: from children’s plays to juvenile obscene poetry during the Napoleonic Wars, and then to comedies. Fredro’s comedies are not a theater of characters, schematized and precisely outlined by the classicist cutter of stylistic devices. These figures go beyond the boundaries of schematism. Fredro moves away from presenting his characters as special human types, unambiguous in their weaknesses and passions. His char- acters are alive and complete – even in their pettiness, worthless passions and the neediness of their ideals and aspirations. All this makes them real. Together they create a great theater of the life of Galicia. S. Goszczyński really insisted: the cosmopolitanism of A. Fredro’s comedies can be seen from the fact that his heroes are not national characters: they are borrowed from French classical comedy and linguistically stylized according to French ease. He was the last prophet of Clas- sicism, who heralds the dawn of Romanticism, destroying the poetics of classicist comedy, laying bridges and paving new ways of development for comedy. The Ukrainian Galician theatre, which began to form somewhat later than the Polish theater in Galicia, was not interested in A. Fredro’s comedies. The most important reason for this is the huge gap between the mental and cultural spaces of the Poles and Ukrainians of Galicia. The world of Fredro’s comedies is often a timeless world of aristocratic courtyards and city residences, aristocratic families with their values, traditions and ideas of the noble people of the old Polish-Lithuanian Commonwealth.