Interpretation Of Art Research Articles

THE EARTH FROM ABOVE: FROM BELOW

The evolution of aerial surveying from its nascent stages in the early 20th century to the contemporary era of satellite imagery is a narrative of technological and methodological advancement. Initially, the ability to interpret landscapes from above was rudimentary, limited by the infancy of aeronautical activities. However, as aviation developed, particularly spurred by wartime needs, the significance of aerial perspectives grew. The use of photography from aircrafts became a pivotal method for understanding and documenting the Earth's surface, aiding in military strategies through the development of camouflage techniques. This paper explores the historical context in which aerial photography emerged as a critical tool for mapping and reconnaissance, highlighted by examples of camouflage used during World War II and the innovative use of aerial imagery in art and education, such as at the Pratt Institute of Art. It further discusses the transition from manual, piecemeal photographic surveys to the modern era's comprehensive, real-time digital mapping technologies. This transition not only marks a significant technological leap but also a shift in our perceptual understanding of the Earth's surface, as detailed through the examination of aerial imagery of airstrips and the conceptual art project "Earth From Above." This project, which organizes aerial images of airstrips and includes simulations of fictional runways, exemplifies the blend of artistic interpretation and geographic analysis. The paper concludes by reflecting on the philosophical implications of this evolution, drawing on Gaston Bachelard's notions of scale and the miniature, to underscore the changing relationship between humans and their ability to conceptualize and visualize their environment from aerial perspectives.

Interpretation of technical and expression aspects on Mauro Giuliani’s “Grand Overture, Op.61”

The Mauro Giuliani’s “Grand Overture, Op. 61” poses a diverse and intricate task for classical guitar musicians, as it involves a complex interweaving of technical elements, profound emotional expression, and intricate structural components. The significant of this study is to acquire a more profound comprehension of the dynamic correlation between composition and artistic interpretation within the framework of this renowned classical guitar composition. There are two research objectives in this study. The first is to interpret the various elements of “Grand Overture, Op. 61” in terms of its composition, encompassing its challenging technical aspects, profound emotional depth, and intricate structural intricacies. The second is to interpret how these facets impose specific artistic expectations on the performer. This study was conducted within the paradigm of artistic research. The data collection technique employed in this study will involve a combination of library research, personal experience, direct observation, and self-reflection. The artistic processes and revelations in this study emphasize the resolution of technical challenges, the development of an approach to achieve a high level of technical proficiency, the analytical examination of compositional elements, and the crafting of sound profiles. These aspects were thoroughly explored through theoretical and practical investigations of “The Grand Overture” by Mauro Giuliani. This ultimately results in the development of distinctive and captivating interpretive decisions that successfully encapsulate the fundamental nature of Giuliani’s composition. The beneficial features of the basic interpretive concepts in this study are highly recommended for future studies to be applied in the form of various classical repertoires and other fields of musical instrumentation.

Поетика крові та лайна у творчості Олеся Ульяненка

The radical character of Oles Ulianenko’s literary works stems from the fact that the author utilizes some highly controversial motifs, namely blood and excrement, in constructing his poetics. The aim of the article is to defi ne the characteristics and outline of the writer’s artistic world, taking into consideration corporal substances as world-building tools. To achieve the stated goal, both the traditional methods such as cultural-historical and comparative-typological analysis are used, as well as hermeneutics and the rather innovative corporal-mimetic method. The author concludes that Oles Ulianenko incorporates substances like blood and excrement in his artistic imagery because, in his highly skeptical artistic interpretation, the writer can only reach the depthts of inner, corporally determined motives which condition the ontological sense of human being when resorting to such measures.

THE CONCEPT OF THE NATIONAL HERO «QUONAKH» IN PAINTING AND GRAPHICS DURING THE CHECHEN CRISIS (90S OF THE TWENTIETH CENTURY)

The paper is devoted to the research and study of the artistic interpretation of the concept of “Quonakh” (national hero) in Chechen painting and graphics in the 1990s.
 The novelty of the paper is the appeal to the origins of the concept of “Quonakh” in the works of Chechen artists, which found manifestation in certain historical conditions, respectively. The chronological scope of the study covers the period of the so-called “the First Chechen War” or the operation to restore constitutional order in Chechnya (1994-1996) and the post-war years (1996-1999). In the visual culture of this time, images of national leaders appear, carrying at this stage not so much an aesthetic, but an ideological load. Beybulat Taimiev, Zelimkhan Kharachoevsky, Baysangur Benoevsky and other heroes become, in a certain sense, symbols of Chechen culture and are still present in it to nowadays.
 Heroic images (in their close connection with the most important national concept), embodied in the interpretation of Chechen artists of the late 90s (XX century), are analyzed. The most professionally executed and deep in content works of Sultan Abaev, Kharon Isaev, Said Bitziraev, Khasan Sediev, which are characterized not only by a patriotic orientation, but also by a veiled form of perception of the atmosphere of modernity, were selected for the research.
 The purpose of this article is to identify and describe the structural and semantic features of the image-concept “Quonakh” and its reflection in professional national fine arts, which is very important in the context of not only Chechen, but also Russian culture. The methodology is based on art criticism, comparative and system-constructive analysis. The use of the historical-biographical method allows us to trace the influence of specific historical personalities on the process of creating a pictorial image.
 The conclusions of the study include the recapitulation about the possibilities of “artistic and figurative interpretation of philosophical concepts” that contribute to the creation of new artistic realities by transmitting feelings of heroism, patriotism, honor, using educational techniques based on the traditions of the Chechens/Nokhchiis. The image-concept “Quonakh” is one of the axiological dominants on which the existence of a distinctive ethnic culture is based. In fact, real “Chechenness”, as a property of the national character, is manifested by the presence in it of connections with the “Quonakhalla” code.

Mocny przedmiot pożądania. O istotnej roli rekwizytu we współczesnych filmach elevated genre

The aim of the article is to analyze the use of props in the contemporary elevated genre – in particular in post-horror films, but also other artistic interpretations of genre cinema, often realized under the auspices of A24 studio and “refined” with a strong, political theme (concerning, for example, racism, class differences, gender inequality, etc.). Props, which have always had important semantic functions in genre cinema, are now becoming even more crucial tools than in the 1960s or 1970s (in which context Italian giallo, spaghetti westerns and American progressive genres are alluded to). Significantly marked objects perform symbolic and narrative functions and become part of visual communication (they appear on posters and in advertising materials).

Емансипаційний бунт чи інтелектуальний поступ? Осмислення проблеми конфлікту поколінь у творах Елізи Ожешко Примари та Наталії Кобринської Дух часу

The article is devoted to the study of intergenerational conflicts that resulted in the older generation’s non-acceptance of the new worldview and emancipation vectors that shattered the established order and rules of morality. The features of the artistic interpretation of the problem are analyzed in the works of E. Orzeszkowa and N. Kobrinskaya. Both writers presented the problem of intergenerational conflict as an extremely important and inevitable stage - a clash between patriarchal traditions and new emancipatory trends resulting from social and intellectual progress.

Plots and motifs of legends about Taas Ullungakh in folklore and literature: on the question of continued folklore traditions in the literature

The relevance of the research is due to the need to study the specifics of the interaction of folklore and literature from the point of view of the continuity of oral literature traditions and their artistic interpretation and transformation in Yakut literature. The problems of functioning and interpretation in the structure of the literary text of the folklore narrative are still poorly studied. Meanwhile, folk legends and legends are one of the important genre- and plot-forming components of Yakut literature. A comparison of plots and motifs of legends in folklore narratives and literary works is considered in the context of the interaction of two poetic systems: oral (recorded in written “book form”) and literary. The novelty of the research lies in the fact that for the first time in Yakut literary studies, the process of forming a plot-motif complex in folk legends about a separate mythological hero in various versions from different sources and its functioning in modern Yakut literature is considered. The purpose of the study is to identify the features of the formation of a plot–motif complex about Taas Ullungakh in folklore studies and the specifics of its artistic interpretation in various genres of Yakut literature of the second half of the twentieth and early twenty-first centuries. (in historical novel, drama poems and poem). Research objectives: 1) comparison and typology of the plot-motif complex in folk legends about Taas Ullungakh in the folklore and ethnographic works of G. V. Ksenofontov, A. E. Kulakovsky, D. I. Dyachkovsky-Sehen Bolo; 2) identification of the features of the functioning and transformation of the plot-motif complex that has developed in mytho-folklore texts, in the drama poems "The Valley of Keryaya" and the poem "Tygyn and Taas Ullungakh" by I. M. Gogolev – Kyndyl, the historical novel "Tygyn Darkhan" by V. S. Yakovlev – Dalan, in the "little" poem "Taas Ullungakh" by N. I. Kharlampieva. The study uses a source analysis of the origin of the main plots and motifs in the legends about Tygyn's son Taas Ullungakh (Muos Uola) and their comparative analysis in literary works of the twentieth century. The comparison of the plots and motifs of legends in folklore narrative and literary work is considered in the context of the interaction of two poetic systems: oral (recorded in written "book form) and literary. This approach will allow you to detect some common properties of the artistic structure of both systems.

B. BRECHT: PROBLEMS OF TRANSFORMING A LITERARY TEXT IN THE SPACE OF PERFORMING ART

The article is devoted to the problem of transformation of Bertolt Brecht's drama into the stage space, technical and ideological accents of his work and analysis of the key problems of artistic interpretation of the text of plays. The problem of reproducing Brecht's works is closely related to the peculiarities of the "epic theatre" and the concepts introduced by the playwright. The article identifies the peculiarities of the created theatre, defines the accents that are important in the process of staging plays, in particular: preserving Brechtian conflict in translation, introducing the necessary artistic elements (scenery, music, costumes, etc.), understanding the technique of "alienation", etc. The effect of "alienation" is a key requirement of epic theatre and aims to portray a familiar phenomenon from an unexpected perspective. In addition, the actor becomes a part of the conventional world, does not transform into his character. In this case, the viewer becomes an actor himself, tries on the role of each character and is able to draw independent conclusions, not those dictated by the author and the plot.
 "The Threepenny Opera" is the most famous of the artist's other works. It is a synthesis of Brechtian innovations and complex interweaving of social themes that complement each other. When recreating this play on stage and on screen, directors must take into account the social and historical contexts, as well as the appropriateness of depicting theatrical scenes. A striking example of a misunderstanding of Brecht's work is the film by H. Pabst, in which the director pays more attention to artistic elements that shift the emphasis to visual rather than intellectual perception of the play.

ON THE SEARCH OF NEW AESTHETICS IN CONTEMPORARY UKRAINIAN LITERATURE (BASED ON THE NOVELS OF MAKSYM DUPESHKO)

Modern Ukrainian literature reacts to the collapse of the postmodern project and the emergence of a new cultural logic - metamodernism. This article is an attempt to prove it on the example of an analysis of the work of a modern Ukrainian writer. Maksym Dupeshko’s novels «The Story Worth an Entire Apple Orchard» [Istoriia varta tsiloho yablunevoho sadu] (2017) and «Near the Carriage under a Dead Fox» [Bilia karety pid mertvym lysom] (2021) served as the artistic material for the study. A scrupulous analysis of the novels testifies to the writer’s sensitivity to tectonic shifts in modern aesthetics. Both novels work with the phenomenon of the influence of historical memory on the present. And the strategies used by the author fully illustrate the theses of metamodernism theorists: oscillation between pre-modern, modern, and post-modern practices; fragmented «I» and attempts to integrate it into newmeaningful configurations; finding the multiplicity of human subjectivity; transition from parataxis to metaxy; a movement from melancholy to hope. Maksym Dupeshko’s texts testify listening to a new sensuality. The writer is not afraid to search for the truth, to be simple (both at the level of language and at the level of transmitted ideas), he consciously uses banality, he is deliberately pathetic, oscillates from irony to seriousness, from naivety to sincerity, always, however, without approaching cynicism. «The Story Worth an Entire Apple Orchard» is a novel-reflex on the modern Russian-Ukrainian war. The credit of the novel is that in its area there is a very important for our literature a change of modes in the artistic interpretation of reality — a transition from the obvious to the significant, after that we will no longer be ashamed to be heroes, to be from the provinces, to seek God and places of strength, we willstop confusing naivety and sincerity. «Near the Carriage under the Dead Fox» is a novel-anamorphosis - a construction that seems absurd to us if we look at it directly, but when we change the angle of view, it acquires clear and recognizable outlines. This novel engages the reader in the quest, it demonstrates a way to look into our modern existence - an endless chaos of things, events, ideas, aesthetics, fragments of sleeps, fragments of destinies, parts of dreams, hallucinations and fantasies.

INTERPRETATION OF ART AND ARCHITECTURE

The interpretation of art involves examining the meaning behind a work of art, which may include its historical, cultural, social, and political contexts. Similarly, the interpretation of architecture involves analyzing the meaning behind a building's design, style, and construction. The architecture was essentially practical in ancient times, offering shelter and security for individuals and communities. As cultures got more complicated, though, architecture became increasingly intricate and symbolic. Gothic architecture, for example, arose throughout the medieval period as a representation of Europe's spiritual beliefs.Architecture has evolved to reflect shifting ideals and views in the contemporary period. The Industrial Revolution resulted in the development of new materials and construction processes, which resulted in the rise of new architectural styles such as Art Nouveau and Art Deco. In architecture, the twentieth century saw a trend towards functionalism and minimalism, with architects like Le Corbusier and Mies van der Rohe arguing for a machine aesthetic. The aim of this study is to explore the interpretation of art and architecture, focusing on the subjective nature of interpretation and how it is dependent on the viewer's understanding and cultural context. The objective is to analyze examples of famous architects and buildings, such as Frank Lloyd Wright's Fallingwater, Zaha Hadid's Guangzhou Opera House, and Le Corbusier's Villa Savoye, to illustrate the different forms and styles of architecture and the various interpretations that they can elicit. By examining these examples, this study aims to provide insights into the ways in which architecture can reflect cultural, social, and political values, as well as the personal beliefs of the architect.

Being Water: how key ideas from the practice of Bruce Lee align with contemporary theorizing in movement skill acquisition

ABSTRACT The purpose of this insight article is to explore the relevance and value of some of Bruce Lee’s ideas that influenced his coaching philosophy, (re)viewed through the lens of contemporary discussions in movement skill acquisition. To achieve this aim, we highlight empirical and anecdotal examples of many of the important concepts that support Bruce Lee’s interpretation of martial arts, Jeet Kune Do (JKD). We contend that Lee’s approach to coaching and skill refinement was deeply aligned with ideas that underpin an ecological dynamics framework. Central to the philosophy of Bruce Lee and JKD is the need for coaches, practitioners, and athletes to embrace and express more water-like adaptability throughout their practice. Examining the various, nuanced insights of Bruce Lee, we can observe many practical lessons which have stood the test of time, remaining highly applicable to athletes of today seeking to move skillfully in sports.

Типологические параллели в эстетике Ивана Гончарова и Сёрена Кьеркегора

The aim of the study is to identify typological parallels in the creative work and aesthetic views of I. A. Goncharov and S. Kierkegaard. The paper describes the plot situation of seduction and the further development of this situation in Kierkegaard’s post-Romantic works “Shadowgraphs”, “The Unhappiest One” and in Goncharov’s novel “trilogy”. The role of female characters in the works of Kierkegaard and Goncharov was revealed, as wells as their place in the poetics of post-Romanticism, shifting the author’s interest from seducer characters to the inner world of their “victims”. A similar embodiment of religious ideas was found to be among the common features in the aesthetics of the authors under consideration (the text “The Immediate Stages of the Erotic, or Musical Erotic” is the most representative one in Kierkegaard’s creative work). The scientific originality of the study lies in the identified and described typological parallels in the aesthetics and worldview of the authors under consideration. As a result of the study, it was shown that the similarities in the works by Goncharov and Kierkegaard are due to the presence of typological parallels in their writings in the context of the post-Romantic paradigm. The paper proposed a term for the heroine of the plot situation of seduction, i.e., “a victim of seduction”, showed her typological features based on the essay “The Unhappiest One” by Kierkegaard. The researchers raised the question about the artistic interpretation of Christianity in the creative work of the authors in question.

Biography of Dr Terry Barrett: Teaching us how to look at art

The purpose of this article is to summarize the life, career and educational philosophy of Dr Terry Barrett. This article starts with Barrett’s early life, education, some of the books he has written, some philosophers that inspired him and a summary of his guidelines concerning art interpretation.

Interpretation of «Khutir’s philosophy» in the novel Liuko Dashvar «RAI. center»

At the beginning of the 21st century, a specific category of the artistic model of «peasantry», which is rooted in a peculiarly Ukrainian «philosophy of the heart» (cordocentrism), gets a new life and moves away from religious interpretation, turning towards national, spiritual, anthropological components. In the metaphilosophical sense and interpretation, Ukrainian cordocentrism is a national philosophy, which in artistic images and theoretical concepts expresses the awareness of human integrity and the understanding of the inseparable unity of man with God, spiritual reality, the transcendent. The study of changes and features of the transformation of this worldview in the work of domestic writers, in particular, Liuko Dashvar, would contribute to the continuity of artistic models traditional for Ukrainian literature. Therefore, there is a need for a thorough study of the features of the artistic interpretation of «khutir’s philosophy» as a specific worldview system in modern Ukrainian literature with taking into account its genre and style trends. Thus, in our study, through the prism of «khutir’s philosophy», an analysis of modern youth and the urban rich was carried out with emphasis on two spaces — the city and the small town. The system of characters is built according to two lines: images from the first,«people from the people» (carriers of true spiritual values), opposed to the immoral world of the city, in particular, those in power (the embodiment of social vices). Accordingly, the space of a district center, a town, a village is opposed to a metropolis as a center of decency and humanity to a space of greed and moral degradation. In the novel, the main worldview modes of the «khutir’s philosophy» are correlated with the system of character images and the organization of the artistic space. It was concluded that in Ukrainian literature, the «khutir’s philosophy» retains its significance as a holistic worldview which is manifested in the problematic of the works, the author’s principles of organization of the characters’ system and the chronotope.

Interpretation as Utilization. Some Remarks on the Types of Literary Recycling(Hemingway, Kundera, Bieńczyk)

From a comparative angle, the article describes the kind of artistic interpretation that canbe called the practice of literary recycling, because it consists in transforming one text into another.Artistic interpretation concerns here the transformation of a given work by another artist,on the one hand to explain it or comment on it, and on the other to create a new work. In thistype of artistic interpretation, a pattern becomes apparent, as its function changes from an inspirationto a dominant. Three contrasting interpretations of Ernest Hemingway’s story The HillsLike White Elephants have been used to exemplify this: Harold Bloom’s in his book How to Readand Why, Milan Kundera’s in his collection of essays Testaments Betrayed, and Marek Bieńczyk’sin The Pink Feeders (in Polish Różowe karmniki), included in his book Container (in Polish Kontener).Bieńczyk takes part in the process of literary recycling in a double sense – as a translatorhe paraphrases Kundera’s interpretation of Hemingway’s story, and as a writer he creates a stylizednarrative based on the Hemingway’s text. The article thus foregrounds the concept of artistic interpretationas a form of utilization.

Interpretation of Ballet Art Through Screen Directing Means

The purpose of the article is to carry out a holistic analysis and determine the specifics of directorial means of interpreting ballet art in showing the formation of an artistic personality and delineating scientific guidelines that will contribute to studying the phenomenon of ballet directing in the screen and stage space. Research methodology. The research used an interdisciplinary approach based on the following general scientific methods: induction, deduction, complex art analysis, and synthesis, which contributed to the elaboration of a broad factual basis of the screen interpretation of ballet creativity in the context of the formation of the ballet personality of the performer. Argumentation of the uniqueness of ballet directing in the context of screen art was provided by using methods of systematization and generalization. The typological method helped to consider common artistic principles in the creative pursuits of masters of screen and stage art. Analytical and systematic methods contributed to the study of the art history aspect of the problem. Scientific novelty. The article systematizes and expands scientific ideas about the place and role of screen and stage directing in the system of humanitarian knowledge. The art of directing is defined as a universal type of artistic and aesthetic activity; the mutual influence is clarified and the mutual enrichment of theatrical and audiovisual arts in the development of directing tools is shown. Conclusions. It has been found that the directors' screen creativity expands and deepens knowledge of ballet art, and gives impetus to the active development of the ballet masters’ creativity, ballet performers in the stage space, in particular, in the production of musicals.

What blind people can teach sighted viewers about art

ABSTRACT While sight and hearing have been privileged in the philosophical formulation of aesthetics, the significance of touch to the experience of art has not enjoyed much attention at all. In order to displace sight and reinstate touch as a viable mode of engagement for the interpretation of visual art, this article reports on a study in which blind individuals and sighted people who were blindfolded were interviewed about their experiences of artworks. The participants were invited to touch selected sculptures in South African artist, Willem Boshoff’s Blind Alphabet (1990 – ongoing) installation. The main aim of the study was to investigate the nature of the tactile aesthetic experience elicited by these sculptures when they are handled and not seen. Secondly, the study aimed to reach a deeper understanding of how tactile engagement with art enriches the experience, meaning and power of the work for both those who can and cannot see. Through the investigation it was revealed that visual art can forge a bridge between individuals with and without blindness.

The Influence of Structuralism on the Formation of Contemporary Ukrainian Plastic Art

The article examines the influence of structuralism on the formation of plastic art in Ukraine in the second half of the 20th and early 21st centuries. First of all, we are talking about the creativity of the artists working in the field of fine and decorative arts and using wood as a material. It was outlined the defining principles of structuralism based on the works of contemporary researchers. Various structuralist approaches in cultural studies, philosophy and art are considered. For a deeper understanding of the nature of the Ukrainian plastic art the prerequisites for the development of structuralism in the visual arts on the basis of C. Monet's creative revolution and P. Cézanne's deep structural study of nature through geometry have been determined. The importance of P. Mondrian's creative experiments and the concept of neoplasticism introduced by him has been emphasized. The structuralist manifestos of C. Biederman, E. Bornstein and E. Wilmott have been analyzed. The creative method of structural reliefs of the Canadian artist of Ukrainian origin R. Kostyniuk, his inspirations and his own concepts of constructed compositions based on geometric shapes have been studied. In contrast to regular mechanical units and new technical material, the structural sculptures of E. Zelenak revealed the use of biomorphic forms built on the basis of repeating modules. D. Samil's constructed canvases of folded bright planes are mentioned. The article demonstrates the importance of the phenomenon of nonconformism in the Ukrainian artistic environment. Certain peculiarities of the application of theoretical developments in the figurative and plastic author's models of contemporary Ukrainian artists have been highlighted. A number of artistic interpretations and stylistic features in the formation of plastic art in Ukraine in the second half of the 20th and early 21st centuries have been revealed. The works of Ukrainian and diaspora artists who worked and continue to work in the second half of the 20th and early 21st centuries in Ukraine and abroad, namely R. Kostyniuk, E. Zelenak, D. Samyla, S. Savchenko, I. Stefiuk, V. Andrushko, Y. Titenkov, N. Symotiuk, D. Shavala, A. Savchuk, and I. Solovyov, have been considered. The research objective is to identify and investigate the influence of structuralism on the formation of contemporary Ukrainian plastic art, as well as to analyze the works of artists who used the structural method in their works. Research methodology. The methods of observation, comparison, analogy, experiment, formal analysis and synthesis have been used. Relevance and scientific novelty. In Ukrainian art history, the concept of "structuralism" in three-dimensional structures, sculpture, and plastic art remains poorly understood and requires a deeper study of the connections between the artist's intentions, materials, as well as the historical and cultural context in which the artwork has been created. The research of the influence of structuralism on contemporary Ukrainian sculpture and other forms of plastic art, which are formed on such basic principles of the structural method as code, sign, structure, symbol, and color, reveals a new critical approach to the interpretation of creative experiments as an identifier of a completely new artistic paradigm.

Linguodidactic potential of coloratives in M. Prishvin’s works

The article raises the issue of the linguodidactic potential of coloratives (color denoting words) based on the analysis of M. Prishvin’s tale-story “The Carvel Thicket”. We suggest that any analysis of a literary work involves the study of emotional, psychological, aesthetic and linguodidactic functions of the language used by the author. It helps to show the writer’s world view and the world seen through the eyes of the characters, and to convey the atmosphere of the epoch, scene and events. At the same time, each color, while having its own national and cultural symbolic meaning, has an individual artistic interpretation, thus a special linguocultural comment is required. This Prishvin’s work includes examples of the color semantics extension of the colorative yellow enhancing its meaning. This color, in contrast to ‘red’ and ‘green’, which are used to describe the living pine forest causing admiration, symbolizes the loss of this earthly beauty at the end of the story. “The yellow mass of the round forest”, “skinned yellow whips”, “the dead ones” – in this way M. Prishvin describes the forest emphasizing this color polarity. The article pays special attention to the linguadidactic potential of coloratives: by using the linguistic analysis of coloratives we can develop speech skills formation and international students’ figurative and aesthetic thinking in the course of Russian language learning and reading Russian literature.

Artistic interpretation of real traumatic events in Maria Ogneva’s play “Following the White Rabbit”

The article considers the documentary and fictional components of M. Ogneva’s play “Following the White Rabbit”, which raises the theme of the trauma experienced in the past. The play is based on real events related to the violent death of two teenage girls. In this play, the tragic event is taken out of the storyline and the attention is focused on the understanding of the tragedy by a female friend and the mothers of the girls. The article studies the techniques used by the author to create the fictional world of the play: allegory, allusion, a combination of real and fantasy elements, division and montage, work with documentary materials of a judicial practice, the “verbatim” technique, different types of discourse and different “points of view” to describe one and the same event. As a result of the analysis, we conclude that the strategy used by the author is comparable to a fairy tale therapy (the method of psycho-correctional work): the therapeutic effect is achieved by pronouncing the traumatic experience in the presence of the audience, by the characters’ searches for various options for getting out of the spiritual crisis, by launching the process of continuous moral and ethical self-identification at the viewer’s level, i.e. by correlating the characters’ experience with their own destiny.