The article analyzes the aspect of the aesthetic and ideological priorities of the writer L. Starytska-Cherniakhivska arising in one of her most prominent works. The emphasis is placed on the significance of the spiritual and creative harmony of L. Starytska-Cherniakhivska and her father M. Starytskyi, the famous writer and theater actor. It has been emphasized and proved that in these memoirs, which today are still qualified as a unique historiographical and theater work, the assessment of M. Starytskyi’s activity that is correlated not so much with the author’s subjective feelings, but with the analysis of social and political factors that primarily prevented the process of the of Ukrainian theater formation: official prohibition of the Ukrainian word, discrediting of the very idea of the Ukrainian theater by the authorities, undermining the authority of leaders, actors, authors of the national theater repertoire, including, of course, M. Starytskyi. The attention is drawn to the extent to which the author adequately and demonstrably explains the priorities of the father as a Ukrainian patriot and a representative of the Ukrainian elite, who, despite the pressure of the authorities on his initiatives, selflessly implemented the idea of the Ukrainian theater because he had a clear cultural and historical strategy. In this study, the spectrum of L. Starytska-Cherniakhivska’s optics in the assessment of the figure of M. Starytskyi as a theater actor is additionally confirmed by the opinions of contemporaries, I. Franko above all. The article affirms the primacy of M. Starytskyi in the process of the Ukrainian theater formation.
Keywords: Ukrainian drama, national theater, imperial ideology, national selfawareness, cultural-historical strategy.
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DownloadDOI: https://doi.org/10.17721/2520-6346.2(65).16-28