THE ROLE OF IVAN NEBESNYI’S MUSIC IN THE PLAY «ON SUNDAY EARLY MORNING SHE WAS DIGGING POTION HERBS»

Abstract

The role of Ivan Nebesnyi’s music, its interaction with other stage means of expressiveness is determined. Attention on the folklore and ethnographic aspect of the stage is emphasized. The music reveals the characters of the main heros is determined. The composer uses the leit timbres of the violin and trembita to characterize the Gypsies and Hutsuls. Staging of Ukrainian writer Olga Kobylianska’s works is of great importance in the history domestic theatre. One of these is a play, based on the novel «On Sunday early morning she was digging potion herbs». Its stage age counts over fifty years. It became part of repertoire of the domestic theatres as a specimen of Ukrainian socio-psychological classic literature. The presence of a great number of choreographic scenes, playing a considerable role in the piece is characteristic of the staging. The director T. Slavinska and the ballet master D. Kalakai realistically recreated specific features of different rituals (youth holiday celebrations, holiday of Ivan Kupailo, wedding) by musical and choreographic means. In the article presented the semantics of choreographic action during the play is analyzed. The objective of the article is definition of the musical filling of the play in the context of its development and interaction with other stage means of expressiveness. The theoretical, interpretive, comparative, complex methods, and the method of generalization comprise the methodology of the research. Their combination enables achieving the aim of the article. Scientific novelty. The music in the context of theatrical playing on the stage of Vinnytsia M. Sadovskyi’s Academic Ukrainian Music and Drama Theatre on the example of romantic drama, based on O. Kobylianska’s novel «On Sunday early morning she was digging potion herbs», is analyzed for the first time in the article. Musical filling is an important part of the staging. It is helping drama development and commenting the events. Music, connected to Mavra’s character, is of great expressiveness. It reveals the heroine’s mental pain. Ethnomusical compositions, reflecting Hutsul life, embody the symbolism and mythopoetics of O. Kobylianska’s novel.