The "stage within a stage" means in ukrainian dramaturgy at the end of the 19th - beginning of the 20th century

Abstract

The author of this article analyzed the Ukrainian drama works written at the end of the 19^th - the beginning of the 20^th century, which are partially or completely composed on the basis of 'the text within a text.' There was confirmed that the aforementioned compositional factor, albeit not always dealing with the display of a theatrical action, can be a propeller of the interaction between several formal and substantial dimensions within a single drama. This interaction is apparent in Lesya Ukrayinka's heritage: taking into consideration that her early drama 'Blakytna troyanda' ('The Light-Blue Rose') is the only one to be connected with the scenic arts, we should point out that the other plays - 'U puschi' ('In the Wliderness'), 'Lisova Pisnya' ('The Forest Song') and 'Kaminnyi Hospodar' ('The Stone Master') the method of the included sketch would work at the revelation of the specifications of the characters' internal world and psychic intentions.

On the other hand, in the masterpieces 'Zhyteiske more' ('The Sea of Life') by Ivan Karpenko-Karyi and 'Talan' ('The Talent') by Mykhailo Starytskyi, directing or acting out the classical play, namely Shakespeare's 'Othello' or the tragedy by an unknown dramatist, based on the events occurred in the 17^th century Ukraine, is inextricably connected with the collisions of life and activity of the actors themselves. All the factors studied would symbolize the persevere movement to the event initials of the theatrical art as it is, providing that the events shown in the play are extraordinary and thenceforth serve as the basis for the dramatic conflicts to emerge and be solved (or remain open).

The further detailed research on the drama works based on 'the stage within a stage' means, either in Ukrainian or in any other literature, would be relevant as well in terms of receptional esthetics, especially when it comes to the observations on the actors' activity. Apart from the 'illusion crash' traditional to such kind of dramas, the constant 're-creation' of the certain scenic masterpiece in various temporal and spatial dimensions becomes the signpost in the play studied.