The phenomenon of the artist's self-realization

The purpose of the article is to reveal the specifics of the use of painting tools in the creation of a modern author's film by a director, painter, cameraman. The author analyzes the scientific works of domestic and foreign scientists who investigate the problems of modern visual culture. The researcher chooses Ukrainian author's films as the object of her research and tries to determine the specifics of the use of painting tools in the production of a screen work, creating its visual imagery. The article shows that in the initial period of cinema, artists were involved in the production of films, and cinematographic plots were sometimes screen adaptations of paintings. It is indicated that early cinematographers were fascinated by various directions and currents in the visual arts and transferred their achievements to the screen. The author focuses special attention on the work of the theater artist and director J. Mеliеs, who used screen graphics, combined shooting, frame design and made a significant contribution to the development of the visual culture of cinema. The article examines and analyzes the theoretical and practical works of the Ukrainian cameraman and director-author Yu. Ilyenko. It is shown that the master's films present a high level of culture of composition, perspective, color and color, light and shadow. The author's directorial work is examined in the context of the visual culture of the film and is the subject of a special scientific study for the first time. The symbolism and semantic significance of color in the author's cinematography is considered on the example of the films of O. Sanin, V. Chabanyuk, and Z. Buadze. The essence of the directors' subjective attitude to the use of color gamut in screen arts through the prism of national identity is revealed. It is shown that color in the works of these directors performs the function of a substitute for the verbal component of the narrative and is a means of author identification. A figurative and stylistic analysis is carried out and the peculiarities of the production of a screen work by means of visual arts, in particular painting, are revealed. The examples of the films “Mamay”, “Povodyr”, “Dovbush”, “Black Cossack”, “My Carpathian Grandfather” show the ability of directors-authors to convey a wide palette of colors and reveal the semantic significance of color in screen arts. A complex methodological approach was used in the study of the means of painting in the visual culture of author's films, in particular, the method of analysis and synthesis, systematization and generalization, the method of comparison, the comparative method was used. The results of the study expand the arsenal of knowledge regarding the specifics of the visual culture of the director's screen language in the author's worldview models.

Art and Music Programs Prove Their Worth

The creative activity of the outstanding Ukrainian composer M. Berezovsky as an opera singer, which continued at the Small Imperial Court in Oranienbaum, was studied. It has been established that as an opera singer he participated in the performance of not two,as was generally known, but at least three opera performances. All these operas were staged in Oranienbaum, at the court of Grand Duke Peter Fyodorovych, during the years 1759-1761. Main objective of the study – introduce into scientific circulation one of the previously unknown facts of Maksym Berezovsky's biography, established on the basis of documentary sourcesduring his lifetime. The work is based on a combination of several methods: source studies - for finding everyday documents and understanding the information they contain; historical - to establishhistorical and cultural parallels and draw perspectives for further study of the highlighted issues, theoretical - to systematize musical and stylistic factors and create certain generalizations. Information about the opera "Seleuco" by F. Araja, in which M. Berezovsky sang the part of the main character, the Syrian king Seleucus, was introduced into scientific circulation. This fact was established according to a documentary source during hislifetime - the printed libretto of the specifiedopera (1761). It is proven that M. Berezovsky's performance in the opera "Seleuco" became a milestone on the way to mastering the chosen profession, related to musical art in general and Italianopera singing in particular. Written for a tenor, this part together with the opera parts of Por (1759, soprano) and Irkan (1760, contralto) gives an idea of the physiological development of the young M. Berezovsky's voice, the gradual lowering of the range, the transition from a childish to an adult register, the formation of a singing timbre . It was concluded that the parts of Pora in the opera "Alexander nell`India" by F. Araja, Irkana in the opera " Semiramide riconociuta" by V. Manfredini,and Seleucus in the opera of the same name by F. Araja, prepared and sung in Oranienbaum, correspond to the physiological age of M. Berezovsky at the time as teenager in the period of mutation: the first (soprano) part was sung at the age of 14, the second (alto) at the age of 15, the third (tenor) at the age of 16. All of the above once again confirms our position that it is necessary to study Maksym Berezovsky's creative life based on realtime documentary sources, and not to repeat information from articles of the 19th century and not to add non-existent details to the false facts presented in them.

This book examines Shakespeare's fascination with the art of narrative and the visuality of language. Richard Meek complicates our conception of Shakespeare as either a 'man of the theatre' or a 'literary dramatist', suggesting ways in which his works themselves debate the question of text versus performance. Beginning with an exploration of the pictorialism of Shakespeare's narrative poems, the book goes on to examine several moments in Shakespeare's dramatic works when characters break off the action to describe an absent, 'offstage' event, place or work of art. Meek argues that Shakespeare does not simply prioritise drama over other forms of representation, but rather that he repeatedly exploits the interplay between different types of mimesis - narrative, dramatic and pictorial - in order to beguile his audiences and readers. Setting Shakespeare's works in their literary and rhetorical contexts, and engaging with contemporary literary theory, the book offers new readings of Venus and Adonis, The Rape of Lucrece, Hamlet, King Lear and The Winter's Tale. The book will be of particular relevance to readers interested in the relationship between verbal and visual art, theories of representation and mimesis, Renaissance literary and rhetorical culture, and debates regarding Shakespeare's status as a literary dramatist.

The article examines the creative work of Ukrainian graphic artist Serhiy Yakutovych, related to the illustration of works of world classics, including Shakespeare's. The introduction is outlined the problem of the state and nature of the certainty of book illustrations by S. Yakutovich based on the works of W. Shakespeare. It is determined that over the last decade, scientific interest in under-standing the work of the master has increased. Researchers study the artist's artistic work in the di-rection of his easel and book graphics, in the context of the artistic activity of the Yakutovych family circle, as well as through the prism of general trends in Ukrainian graphic art of the last quarter of the twentieth century. The exposition of the main part is divided into three paragraphs, in which the graphic activity of S. Yakutovych's ideological predecessors, features of the artist's graphic activity in the 1980s, analysis of S. Yakutovych's illustrations to Shakespeare's works are consistently considered. It is determined that S. Yakutovych's artistic heritage, widely known to the domestic art circle of researchers, consists of graphic works, which S. Yakutovych himself identified as the most valuable and most often exhibited at exhibitions. It is easel series of social etchings of the 1980s., book graphics of works by M. Gogol, M. Dostoevsky, O. Pushkin, O. Tolstoy, L. Tolstoy, O. Dumas, O. Gonchar, L. Kostenko, French and Estonian epics, Ukrainian Cossack history. The conclusions of the study emphasize the uniqueness of little-studied aspects of the artist's work, which deepens the knowledge of the development of the author's style and handwriting, details topics covered by the graphic artist and understanding of his artistic goals.

Culture as a means of consolidation of the nation and a method of forming the world outlook in the current conditions of development of Ukrainian society, unfortunately, does not correspond to the socio-political changes in the country and world development trends due to a number of different circumstances. Therefore, it needs some modernization and reform. The purpose of the article is to analyze the specifics of functioning and to identify problems of development of the field of culture and art as well as to outline directions of their solution. The results of the study of the functioning of culture and art sphere are presented. The problems of this industry development over the last ten years are identified. Among the most important are the following: reduction of the role of culture and art in people’s lives; low level of budget support; moral aging of the material and technical base of cultural institutions; inefficient management of cultural institutions; low material remuneration of cultural workers and low social prestige of their work. The peculiarities of functioning of the sphere of culture and art are revealed. The peculiarities of the industry are revealed as following: some institutions are focused both on cultural services and on the development of culture and human beings (creation of conditions for creativity); institutions perform the state function of creating, preserving, collecting and studying the cultural heritage of funds and works of art, although this function is not directly related to the specific consumer; it is difficult to unambiguously measure the end results of cultural and artistic activity, which are expressed mainly in the delayed social effect and are manifested in the increase of intellectual potential, changes in values and norms of human behavior, etc. Emphasis is placed on the challenges of further development caused by the ongoing reforms. The directions of solving the problems are outlined regarding the improvement of regulatory support and mechanisms for attracting additional financial resources, etc.

The purpose of the article is to provide essential justifications for the validity of the definition of “folklore work”. The main sources were the works of philosophers, culturologists, art historians, and folklorists in the field of definitional analysis of the “work of art” category and directly folklore texts. The research methodology includes a structural and functional approach to the analysis of the features of the existence of artistic texts, a phenomenological and anthropological interpretation of folklore artifacts with the inclusion of elements of textual analysis. The question of terminology in the Humanities is quite acute. The use of terms without an exact designation of their subject field can lead not only to discrepancies, but also to significant errors in understanding the essence of phenomena. Moreover, this may lead to claims that the use of certain terms is incorrect. This is the case with the term “folklore work”, which is used in scientific terms. A number of studies, primarily of art criticism, deny the validity of its application on the grounds that the status of stability of works of art contradicts the variant character of folklore texts. This contrast between constancy and variability is explained by a somewhat simplified view of the phenomena being compared. The basis of the folklore work is avantext, which generates equal variants, but performs the function of a stable image structure. It should be interpreted quite broadly: as a kind of conditional matrix within which elements vary without changing the cultural meaning. This is why folklore works are recognizable, preserved and recreated in each case. This variation, in turn, expands the set framework, filling the tradition with relevant content, enriching it with new artistic images, etc. A similar situation occurs with the author's works of art, which for a long time included improvisational fragments. It is the execution and perception of a literary text (and not just the fact that it is fixed in a sign system) that turns it into a work itself, with the inevitable variability. Of course, these changes are not as obvious as in the case of folklore works, but they do not exclude them. Thus, any work of art does not act as a constant system, but as a phenomenon that is quite mobile in the dynamics of cultural activity. In addition, it should be remembered that a work of art is always the result of a specific activity for the production of artifacts. In this case, any created artifact acts as a work of art or, more generally, a work of culture. Therefore, the creation of an artifact in the sphere of folklore culture is the same artistic production as creativity in the sphere of author's musical culture, literature, painting, etc. The use of the term “folklore work” is not only quite justified, but also corresponds to the essential structural, functional and semantic characteristics of this phenomenon.

“ B A N I S H E D T O T H I S O T H E R P L A C E ” : A T W O O D ’ S L A D Y O R A C L E CATHERINE SHELDRICK ROSS University of Western Ontario I n a revealing passage in Lady Oracle, the narrator, Joan Foster, says: I longed for the simplicity of that world, where happiness was possible and wounds were only ritual ones. W hy had I been closed out from that impossible white paradise where love was as final as death, and banished to this other place where everything changed and shifted?1 Atwood has frequently made this distinction between ritualized art and our shape-shifting world — for example in the clearly marked opposition between “ The animals in that country” who are “ceremonial” and “heraldic” and the animals in “ this country” whose “eyes / flash once in car headlights / and are gone.” 2 More recently, the last of the “Circe/Mud Poems” in You Are Happy begins: “ There are two islands / at least, they do not exclude each other.” On the first island, the pattern of events has the ritualized shape of a familiar story; on the second, events are open and their outcome not yet decided: On the first I am right, the events run themselves through almost without us The second I know nothing about because it has never happened.3 The people in Atwood’s universe have typically sought the permanence of that first world and are turned into works of art — a statue, a billboard fig­ ure, a photograph.4 In You Are Happy, however, Atwood seems to be cele­ brating the second world. At the end of the poem quoted above, Circe and Odysseus leave the repeatable rituals of the first island for a more risky place: this land is not finished This body is not reversible. [YAH , p. 69) Joan in Lady Oracle wants both landscapes. The novel’s pattern of referE n g l is h St u d ie s in C anada, vi, 4, Winter 1980 ences to the conventions of art on the one hand and to metamorphosis, shapeshifting , and double identities on the other serves to distinguish between the two worlds. Joan’s usual strategy is to keep these two worlds separate but to live in both, and this involves splitting herself in two. She both desires and fears the process of becoming whole, saying: “ If I brought the separate parts of my life together. . . surely there would be an explosion” (p. 218). The explosion that occurs is the blowing up of the literary conventions as they come into contact with Joan’s own life, hence the novel’s repeated pattern of the romance convention being undercut by the parody of that convention. The ending is ironic, with no comforting resolution of the tension between the two worlds. The world of art — opera, music, films, poems, and Gothic romances —■ is one source for sustained patterns of imagery and allusion. The cluster of references to opera includes the Walt Disney movie about the whale who wanted to sing at the Met (pp. 5, 16, 276, 283) ; the Texaco Saturday after­ noon opera broadcasts with Milton Cross discussing “lovers being stabbed or abandoned or betrayed . . . jealousy and madness . . . unending love triumph­ ing over the grave” (p. 74) ; and the various crippled singers who make comebacks in tearjerkers like With a Song in M y Heart and Interrupted Melody (pp. 78-80, 82). Various motifs come together here: the fatness of Joan, the whale, and the opera singers; the extravagant costumes; the stock characters of opera and their “passionate, tragic and preposterous events” (p. 74); and the frightening obligation to succeed, like Susan Hayward and Eleanor Parker, despite obstacles. Most important of all, opera represents for Joan a way of triumphing over this world’s pain by transmuting its ugli­ ness into the serene beauty of art. Throughout her life she has “learned to stifle” “a legion of voices, crying, What about me? What about my own pain? When is it my turn?” (p. 90). But as an opera singer she would be “ able to stand...

The relevance of the study. The perception and understanding of works of culture and art, the formation of their contents continue to be one of the most pressing issues of the functioning of artistic culture in society. This is due to a significant number of reasons, among which several demonstrative ones stand out. First of all, let's mention the significant complexity of language and expressive means used by composers during the 19th-21st centuries. We also consider the insufficient cultural competence of a significant number of readers/listeners to be the effective reason, caused primarily by the lack of experience in perceiving complex works of art. We should also note the forward-looking guidance on the availability of averaged contents and the clarity of meanings when perceiving works of art. A purposeful study of the process of forming the contents of prescribed works of art requires a careful study of the status of the precedents involved in it. The problem of studying the peculiarities of such mechanisms of perception and understanding of art, used by authors and interpreters, is also minimally developed and requires a thorough understanding and rethinking. In our opinion, the solution of these questions is also important for a whole group of humanitarian sciences, which use paramusical and cross-cultural realities in the processing. A number of important issues of such processing actually became the subject of our consideration. The main objective of the study is to us the example of the musical piece "Anthem (The Eternal Revolutionary)" by Ivan Franko - Mykola Lysenko to find out the implicit or hidden sources of content creation in musical works, the subject of which is based on the use of a wide field of socio-cultural realities; to reveal reactualized precedent phenomena in the song, which, on the one hand, enrich the content resource of the work, and, on the other hand, are the main reason for the transformation and change of its original contents. The methodology uses source studies and biographical methods (to clarify the involved facts and cultural-historical context), stylistic method (to highlight the peculiarities of creative priorities, style and content creation in the works of I. Franko, J. Słowacki, and M. Lysenko), as well as structural-functional method and method of precedent analysis. Results and conclusions. The issue of content transformation as a manifestation of the precedent nature of musical works has been investigated. It has been proven that content changes are mostly the result of many reasons. These primarily include: 1) the complexity of the language and expressive means used in the work; 2) insufficient cultural competence and ignorance of the recipient; 3) guidance on the recipient's accessibility of basic contents and clarity of meanings when perceiving works of art; 4) superficial acquaintance of the recipient with the ideological and artistic content and "approximate" awareness of it; 5) purposeful influence on the recipient of factors of ideological influence. On the material of the song "Anthem (The Eternal Revolutionary)" by I. Franko - M. Lysenko, the status of precedent phenomena actualized when perceiving the work has been characterized in detail - names, situations, texts. For this purpose, a number of source studies, historical, socio-worldview and semantic discourses of an interdisciplinary and cross-cultural nature have been involved. The importance of taking into account the transformation of contents as a result of historical and socio-cultural changes has been demonstrated, the necessity of adjusting the processes of content creation in view of such transformations has been proved. The influence on the perception of the works of involuntary misconceptions about certain historical realities of a sociocultural nature has been also shown ("The Eternal Revolutionary" is somehow related to the October revolution in Russia; "peaks and lowlands" are elements of the Carpathian mountain landscape; Ivan Franko was an atheist; the expression "The Eternal Revolutionary" belongs to I. Franko; the Spirit is an emotionally marked mood of certain groups of people, and not a higher divine power originating from Jesus and the Holy Trinity, etc.). The effective possibilities of musical and expressive means to strengthen / weaken the degree of emotional saturation of values, to change and reformat them, bringing to the fore primary precedents, has been proved.

The object of this study is acting speech in modern theater and cinema. The subject of the study is the influence of the aesthetics of screen speech on the theatrical word in the 21st century. The author explores in detail the phenomenon of "microphone speech" in modern drama theater, analyzes the reasons for the rapid expansion of microphone sound and, in particular, the influence on stage speech of the aesthetics of post-drama theater. With numerous examples, various options for using microphones in a drama theater are considered - from local to radical. The author pays special attention to the category of "naturalness" of the acting speech in the screen arts and on the theatrical stage. The novelty of the study lies in a comprehensive study of the phenomenon of "microphone speech" in drama theater and the category of naturalness in stage and screen speech. The author concludes about the overwhelming influence of cinema on modern theatrical speech. The article scientifically substantiates the impact on the speech art of a modern theater actor both the aesthetics of post-dramatism and the new standard of naturalness that has developed in the screen arts and has formed spectator perception. The opposite influence of stage speech on the aesthetics of speech in screen arts is mediated, realized almost exclusively through the theater school. In the final part of the study, the author concludes that changes are necessary in the speech education of future theater and film artists.

The aim of the article is to identify problems of adaptation of ballet productions based on literary sources in the audiovisual space and to determine scientific landmarks that will contribute to a comprehensive study and analysis of the phenomenon of ballet art on the screen. Research methodology. An interdisciplinary approach based on the use of a number of general scientific methods was used in the study of the topic, in particular: a system of theoretical methods (induction, deduction, identification, complex art analysis, synthesis), which made it possible to develop a historical and factual basis. Methods of systematization and generalization came in handy to argue the originality of the phenomenon of ballet in the context of the screen arts. The typological method allowed us to consider common artistic principles in the creative experiments of screen and performing arts. In addition, analytical and systematic methods were used in their unity, which is necessary to study the art aspect of the problem. The scientific novelty of the study is to define directing as a universal and multi-vector variety of artistic and aesthetic activities; in clarifying the interaction and mutual enrichment of performing, screen arts and literature in the use of pictorial and expressive means; in certain features of the director's activity through screen adaptation of literary work and stage means of ballet art in film and television productions of theatrical productions, which for the first time became the subject of special research; in identifying the original principles of construction of screen works based on ballet productions. Conclusions. It is proved that the audiovisual work of directors contributes to the widespread popularization of ballet, choreographers, and ballet dancers, as well as calls into question the claims of film and television theorists about the danger of invading stage culture on the screen.
 Key words: directing, screen arts, ballet, directing means, stage production, film adaptation.

The purpose of the article is to study, based on the analysis of the works of foreign and Ukrainian scientists, a historiography of the development of such a phenomenon as PR in the sphere of culture. The methodology of the research is based on the use of analytical, systematic, historiographic and comparative methods of analysis, which allows to identify the main stages and characteristic features in the development of the historiography of the PR phenomenon in the sphere of culture on the basis of studying both the foreign body of work and domestic research. Scientific novelty of the work is that for the first time the essential scientific actions on the development of PR activity in the sphere of culture through their historiographic analysis and determination of common trends of foreign and domestic research are summarized. Conclusions. The historical and cultural digression into the development of PR in the sphere of culture allows us to say that the local forms of this phenomenon during all periods of their formation - and up to the period of independence adequately embodied the acquired cultural experience, adapting the general artistic process and acting to some extent as a generator of the new, expressing new worldview changes. To date, the issue of popularizing cultural events and institutions is very relevant from developing a PR strategy. The problems of introducing the services of cultural institutions and related procedures for determining the quality, efficiency, and impact on the needs of the population in cultural goods have become the subject of discussion in the sectoral periodical press and, in general, have entered into the theoretical scientific discourse.

The rapid changes in the development of contemporary society drive exhibitions to create more diversified ideas and ways to cope with the needs of different audiences. In the field of curation, the diversification of ideology and artistic resources is also presented. Commercial curation is a mode of production significance in the field of curation, which leads to the constant elimination of the boundary between art and business. More and more exhibitions are connected with commercial activities. For the modern society with increasingly vigorous material and cultural demands, curation plays an essential role in the transmission of culture and spirit. The space presenting 'artistic works' and 'artistic activities' combined with the drive of the capital market and commercial curatorial exhibition has enough prospects for development. Curatorial commerce integrates aesthetics into people's life, which combines characteristics of The Times and science and technology. However, it the success of curatorial commercialization needs the curators' correct planning to improve the art collection's universality and not let the curators deviate from the focus and become overly commercialized. At the same time, this requires calling on the world to respect human intellectual property rights.

Italian opera stars of the Kharkiv stage: the 80s of the 19th – early 20th centuries

In terms of aesthetics, the Uzbek translators were able to translate the works of the English writer into the Uzbek language. In 1941, the Uzbek State Drama Theater (now the Uzbek National Academic Drama Theater) in Tashkent presented the performance "Othello" by our esteemed artists A. Hidoyatov (Othello), L. Nazrullaev (Iago), and S. Eshonto'raeva (Desdemona) (translation by G. Gulom, 1940 y.). In 1939-1949, he performed in the play "Hamlet" by O. Khojaev (Hamlet) (translation by A. Cholpon, 1934) and in 1958, he played the role of "Brutus" in the play "Julius Caesar" (translation by Uygun, 1958). Additionally, he performed in other stage works. The scenes that these artists performed were such a sensation at the time that, in a certain sense, the interest of the Uzbek people in Shakespeare's work increased significantly.