Fernand Crommelynck’s dramaturgy and its interpretation by Vsevolod Meyerhold and Les Kurbas

O.N Kalenichenko

doi:10.34064/khnum1-51.05

Abstract

Fernand Crommelynck’s dramaturgy and its interpretation by Vsevolod Meyerhold and Les Kurbas

Highlights

They are interpreted as “psychological dramas that combine farce and tragedy”, “the characters of Crommelynck’s plays are tragic jesters, the embodiment of the “eternal” principles of love, jealousy, and stinginess. His highlight is human passions, paradoxes, absurdity” [15]. His pieces are considered and as varieties of drama filled with elements of the grotesque, and “characters often act as personifications of certain moral qualities: jealousy (“Le Cocu magnifique” – “The Magnanimous Cuckold”), stinginess (“Tripes d’or” – “The Golden Womb”), played out virtues (“Carine, ou la jeune fille folle de son âme” –“Carine, or the Mad Girl of self soul”)”, etc. [11]
The purpose of this study is to identify the peculiarities of the Crommelynck’ dramas produced by stage directors and the lines of the pioneering searches of two great representatives of the theater went when staging Crommelynck’s plays
Realizing his concept in life, it is not by chance that the director chooses for the premiere of the first season of “Berezil” in Kharkov the play “Tripes d’or” (“The Golden Womb”) just written by Crommelynck (1925)

Summary

Introduction

В. Мейерхольд звернувся до гротесково‐фарсової п’єси «Великодушний рогоносець» для створення постановки, яка повинна була показати один з видів відпочинку робітників. Мейерхольд, Лесь Курбас, «Великодушний рогоносець», «Золоте черево». Critics evaluate the genre features of Crommelynck’s plays They are interpreted as “psychological dramas that combine farce and tragedy”, “the characters of Crommelynck’s plays are tragic jesters, the embodiment of the “eternal” principles of love, jealousy, and stinginess. His highlight is human passions, paradoxes, absurdity” [15]. Neither Vsevolod Meyerhold (production of the play “The Magnanimous Cuckold” in 1922), nor Les Kurbas (production of the play “The Golden Womb” in 1926), who were innovators in theatrical field, revolutionists of the Soviet theater, could not pass by the creativity of the contemporary modernist playwright

Objectives

Methods

Conclusion