Existential dramaturgy of Lydia Chupis

Abstract

Background. Dramaturgy is a unique phenomenon, as it combines the verbal and visual into a whole. The writer's idea is first embodied in a literary text, which is later developed by the screenwriter and director and presented in a performance. The division of dramatic works into "for reading" and "for stage performance" is very conditional, because the content and sensory expressiveness are the key to theatrical interest and audience success. In addition, if the first dramatic attempts for national theatrical art were focused on the formation and establishment of a new Ukrainian dramaturgy and theater and reaching as many recipients as possible, then the dramatic texts of the 20th century are multi-level psychological studies intended for both an egalitarian and an elitist perceiver. It is precisely such works that belong to the authorship of Lydia Chupis.

Methods. The following main methods were used in the work: philological (a thorough study of works, formal and content components), biographical (prototypes of characters) and intertextual (the role of autoallusions, allusions and reminiscences), analysis and synthesis (the actual study of texts and generalization in conclusions).

Results. The genre diversity of Lydia Chupis's drama is studied in the literary and authorial dimension (dramatic poem, drama proper and monodrama; poetic interpretation, melodramatic tragicomedy, dramatic extravaganza), which reveals certain semantic accents in the works. The themes and issues of the works are highlighted, which remain relevant given the universal issues raised, highlighted in the existential aspect (life and death, good and evil, righteousness and sinfulness). The portraits of the characters are analyzed according to external and internal characteristics and actions (emotions, thoughts and actions, reasoning and communication, visions and delusions). The peculiarities of the interpretation of iconic figures, the author's understanding of their worldview positions, and their evaluation by the environment, themselves and future generations, in the specific present and on the scale of world time, are studied. The writer's findings in showing conflicts in the essence of the characters, in attempts at self-justification or in a fierce struggle to preserve one's essence, when existential concepts (borderline situation, borderline existence) dominate, are clarified.

Conclusions. It is proven that Lydia Chupis's drama is timeless. The writer raises topical issues related to knowing herself through observation, the search for cause-and-effect relationships, self-reflection, etc. The borderline situation acts as a border of no return and a test of value priorities, and the choice of heroes becomes the beginning or end of being (physical / spiritual). At the same time, the author's texts become her self-disclosure.