Abstract

The main character of Volodymyr Vynnychenko’s play entitled The Law, a young woman eager to have a child, programs her life the way she desires and solves a difficult life situation, as if she were acting as her own life’s stage director. The play is a chamber family play of five characters. However, Vynnychenko’s family collisions always have a global dimension. The play expresses concern about a totalitarian mindset that tends to achieve a higher goal without considering objective laws of nature and society. The genre of the chamber play and the tragic monumentality of the plot are peculiarly combined in the work allotting it with a sort of artistic integrity. A psychologically compelling story ultimately turns into an intellectual drama and reaches the verge of tragedy. A unity of generic and stylistic aspects is to emphasize the element of play, the use of the “theatre-in-the-theatre” method while the theatre is presented as a prerogative not only of art but also of life.

Highlights

  • Творчество Владимира Винниченко (1880–1951), одной из самых значительных фигур украинской культуры первой половины ХХ в., писателя, который едва ли не с первых шагов своей литературной деятельности был признан живым классиком и в то же время непредвиденным новатором, мало еще известно современному читателю

  • The play expresses concern about a totalitarian mindset that tends to achieve a higher goal without considering objective laws of nature and society

  • The genre of the chamber play and the tragic monumentality of the plot are peculiarly combined in the work allotting it with a sort of artistic integrity

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Summary

Introduction

Творчество Владимира Винниченко (1880–1951), одной из самых значительных фигур украинской культуры первой половины ХХ в., писателя, который едва ли не с первых шагов своей литературной деятельности был признан живым классиком и в то же время непредвиденным новатором, мало еще известно современному читателю. И дело даже не в том, что их осудили такие традиционно мыслящие литературоведы, как Сергей Ефремов. Винниченко (что является одним из выразительных модерных признаков его художественной речи), семейные проблемы являются одновременно художественным воплощением проблем глобальных.

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