Dmytro Hnatyuk Working on Giuseppe Verdi's Opera "La Traviata"

Abstract

The author described the working process on the new production of Verdi's "La Traviata" at the Taras Shevchenko National Opera of Ukraine (1988) realized by Dmytro Hnatyuk, Lev Venediktov, Leonid Kanevsky, and Ivan Gamkalo. Features of the director's version by Dmytro Hnatyuk in the staging of Giuseppe Verdi's opera "La Traviata" are highlighted as innovative in the opera art of Ukraine. The author of the article sheds light on the complex process of forming the staged version of the play by using unique archival materials about the work of the artistic council at the theater. The article considers the plan of the production version of the play. The basic principles of formation, development and embodiment of the dramaturgy of the performance and its stage solution are outlined. The efforts of the theater creative team, aimed at supporting and implementing the director's concept of D. Hnatyuk were of great importance for the production version. The results of processing archival materials and their temporal attribution were described through the use of source and textual research methods. The facts of D. Hnatyuk 's life and creative way are proved on the basis of the use of the biographical method, and also the analysis of the director's version of the opera production by the method of hermeneutics is carried out. D. Hnatyuk's close collaboration with the theater's creative team during the directing of J. Verdi's "La Traviata" is emphasized, which testifies to the artist's artistic maturity, the integrity of his directorial thinking, formed not only by the Ukrainian opera tradition but also by general artistic trends of the 20th century. Attention is focused on D. Hnatiuk's desire to recreate the synthetic essence of the genre, considering its elements as complementary and defining each other. The determinants of the artist's shift of emphasis from the general construction of the play's dramaturgy to the main, conceptually leading moments are substantiated, contrasting it with intimacy and intimacy as a reflection of the heroine's inner state, her fragile and deeply penetrating world full of inner experience and anxiety, and not only the splendor of the ball and mass scenes. It is proved that D. Hnatyuk took care of the expression by the elements of the stage design of play dramatic content, its internal contradictions and its confrontation factors