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The article considers the theatrical and cultural aspects of Alexander Vampilov's work "The Eldest son". The aim of this study is to determine the significance of Comedy in the XX and XXI centuries. It is also worth considering why interpretation producer are currently not bypassing this comedy. What they see as its appeal both for themselves and for the audience. Is making is a farce in theatrical film, as the author Alexander Vampilov himself designated it, or whether the producer resort to their own interpretation, both in the past and in the present. Are there any differences in the production part of the play in different theaters and theater schools? Does it matter in which city and at what time, as well as by whom the play "The Eldest son" was staged? To reveal the cultural concept of the theatrical production "The Eldest son" of the XX and XXI centuries., В статье рассмотрены театрально-культурологические аспекты произведения Александра Вампилова «Старший сын». Целью данного исследования является определить значимость жанра комедии в XX и в XXI веке. Также стоит рассмотреть, почему театральные режиссеры в настоящее время не обходят стороной данную комедию. В чем они видят ее притягательность, как для себя, так и для зрителя. Является ли само произведение в театральных постановках комедией, как обозначил это сам автор, Александр Вампилов, или режиссеры прибегают к собственной трактовке, как в прошлом, так и в настоящем времени. Существуют ли различия в постановочной части спектакля в разных театрах, театральных школах. Имеет ли большое значение, в каком городе, в какое время, а также кем был поставлен спектакль «Старший сын». Выявить культурологическую концепцию театральной постановки «Старший сын» XX и XXI веков.

The O. Frejdenberg“s concept of Metaphors of archaic consciousness gives the opportunity to restore the already lost meanings of things, phenomena and processes of the past cultures. These restored meanings of the phenomena of ancient culture can be found in the notes to the article. These are questions for the student exam after giving lectures on cultural studies, which the author has read for a long time at Odessa universities. The application of Frejdenberg’s concept in the study of the origin of tragedy and comedy led to the fact that outdated views on the origin of these types of drama were refuted. This refutation was based on facts that baffled scholars. It was believed that tragedy is a tragodia, a song of the goats, the Satyrs, who had a goat-like enclosure. But the first images of these satyrs appeared only in the 5th century BC. At that time, the tragedy had already blossomed. Based on the works of O. Frejdenberg, the article shows that the dominant moment in the genesis of the tragedy was fertility rites (alimentaryism as a «food metaphor»), and therefore it originates not from the «song of the goats» (tragos-odia), but from songs, dedicated to food (“tragein” is «to eat»). For this reason, the origins of the tragedy should be seen in the rituals accompanied by songs of food (tragein-odia). From this word came the words-derivatives related to food. Tragema and trogalias are a fruits and other edible products, as well as dessert as part of a dinner. The tragemates are the bean cereals and beans themselves. The tryuge are the gifts of the «golden autumn», and the word tryugos means wine. The term tragos, therefore, refers not only to the goat, but also to food products (grain, spelled), etc. Similarly, the origins of comedy cannot be reduced to the «merry song» of the komos, the rampant precession alone (as the meaning of the word comedy was interpreted). But we cannot replace the object itself with one of the properties of this object. The gaiety of the song is a manifestation of the cheerful character of the whole Komos, which is a multi-valued ritual complex. The origins of the Komos also go to fertility rites, in the semantic centre of which is food in the form of drunkenness and gluttony. The essence of the Komos is à mirth. A cheerful song and a joyful procession are just a concrete manifestation of this essence. And, when we are searching for the essence of the Komos, it is important not that the komasts sang a funny song, but why they did it. The meaning of the Komos stands close to the Ukrainian name of the nuptials, wedding, as “vesillja“ (gladness, fun, rejoicing, etc.). This closeness of the meanings of the Komos and the wedding can be justified by the fact that the Êomos was essentially the wedding of the deity and the goddess of fertility. Just as the wedding did not boil down to fun alone, for in this rite the mourning of the bride took place, so the Komos did not boil down to just a fun song. It included moments of crying and sadness, as well as aggressive actions in their contamination with the information code (invectives, scolding of getters). Geter (as a substitute for the fertility goddess) was the ultimate goal of the procession, ending with a symbolic copulation with her of the leader of the procession (who played the role of the fertility deity). This sexual intercourse occurred simultaneously with the sunrise. The rising sun conquered the darkness of the night, what has meant that life conquered death, which was confirmed by the «productive act» (O. Frejdenberg) on the threshold of the beloved”s house. The main reason for the cheerful nature of the Komos was the triumph of life. Obviously, the comedy has absorbed all these phenomena and therefore its usual understanding only as a procession of joyful revellers with a fun song is not enough. It is proposed to derive “comedy“ from the whole spectrum of the meanings of a Komos, first of all, from the triumph of life, the continuation of which is guaranteed by a rich harvest and gifts of orchards and vineyards (that is, not as a com-odia, but as a comos-odia), as spee. So, komos also means feast, game, booze (in English there is a similar word, spree, which means fun, booze, binge, game, pranks, feasting, etc.) accompanied by merry revelry and drunken orgies (that is, not as a «funny song», comedyodia, but as a comos-odia, a song of the «wedding»). The food origins of comedy also are seen in the names of the varieties of this type of drama. “Satire” – comes from «satura», a dish full of seeds and fruits like panspermia and pankarpia, ‘Farce” comes from the Greek lentil soup “fake(s)“ (sakes), and then from “farsch” «minced meat» (as filling of pie, sausage gut, dumplings). The Roman analogue of “sakes“ – “faba“ gave the name to the mimic genre, faba-mim (theatre of satirical improvisation). In addition, among many nations of the world, a clowns in comedy performances have a food names (Sausage, Herring, Soup, Pasta-Macaroni, Pudding, Parsley, Peas etc.). Thus, the tragedy got its name not from the «song of the goats», but from the «food song» (trageinodia), and the comedy is not just a «funny song», but the song of the Komos such a complex rite with its grandiose eating and drinking, komos-odia., Концепция метафор первобытного сознания О. Фрейденберг позволяет восстановить уже утраченные смыслы вещей, явлений, процессов культуры. Применение этой концепции к поиску аутентичных источников трагедии и комедии позволило пересмотрены устаревшие взгляды на происхождение этих видов драмы. Доминирующим моментом генезиса трагедии и комедии была алиментарнисть («метафора еды»), и поэтому они берут свое начало не с «песни козлов» (трагос-одии»), и не совсем с «веселой песни» (комед-одии), а с «одий» еды (трагейн-одия) и с обряда комоса с его обжорством, пьянством и публичным« браком, воспетых в «свадебной песне» (комос-одия)., Концепція метафор первісної свідомості О. Фрейденберг дозволяє відновити вже втрачені смисли речей, явищ, процесів культури. Застосування цієї концепції до пошуку автентичних джерел трагедії та комедії дозволило переглянуті застарілі погляди на походження цих видів драми. Домінуючим моментом генезису трагедії та комедії була аліментарність («метафора їжі»), і тому вони беруть свій початок не з «пісні козлів (трагос-одії»), і не зовсім з «веселої пісні» (комед-одії), а з «одій» їжі (трагейн-одія) та з обряду комосу з його обжерством, пиятикою та ще й із прилюдним «шлюбом», оспіваних у «пісні весілля» (комос-одія).

The article is dedicated to the mutual influence of scientific and artistic discourses of 1920s, analyzed on the works of K. Vaginov and Y. Tynyanov. The article contains the comparative analysis of some formal peculiarities of Vaginov’s prose and scientific texts of Bakhtin and Pumpyanskij, who worked out the questions of comic and tragic lines in romantic genre., Статья посвящена взаимообогащающему влиянию научного и художественного дискурсов 1920-х годов, рассмотренному на примере творчества К. Вагинова и М. Бахтина. Статья содержит сопоставительный анализ некоторых формально-содержательных особенностей прозы Вагинова и научных текстов Бахтина и Пумпянского, которые разрабатывали вопросы комического и трагического в романном жанре.

Біографія Сократа розглядається як своєрідний художній текст/твір, свідомо звернений філософом до всіх громадян афінського полісу, побудований в етичних і естетичних координатах, актуальних у плані розвитку античної драми, її двох провідних жанрів – комедії та трагедії. Доля Сократа тлумачиться як така, що потребує осмислення в площині перетину трагічного й комічного, вимагає взаємодоповненого переживання трагедійного та комедійного катарсису. Невідповідність між трагічною долею Сократа і його зображенням у комедії Арістофана „Хмари” проявляє сутність взаємозв’язку індивідуального і загального в процесі художньої творчості та рецепції., Биография Сократа рассматривается как своеобразный художественный текст, сознательно обращенный философом ко всем гражданам афинского полиса, построенный в этических и эстетических координатах, актуальных в плане развития античной драмы, двух ее ведущих жанров – трагедии и комедии. Судьба Сократа трактуется как требующая осмысления в плоскости пересечения трагического и комического, взаимосвязанного переживания трагедийного и комедийного катарсиса. Несоответствие между трагической судьбой Сократа и его изображением в комедии Аристофана „Облака” обнаруживает сущность взаимосвязи индивидуального и общего в процессе художественного творчества и рецепции. Сократический диалог, а также античные трагедия и комедия характеризуются с точки зрения их роли в становлении индивидуального литературно-художественного творчества., Biography of Socrates is regarded as a kind of artistic text, deliberately turned philosopher to all citizens of the Athenian Polis, built in ethical and aesthetic coordinates that are relevant in the development plan of the ancient drama, its two leading genres of tragedy and Comedy. The fate of Socrates interpreted as requiring reflection in the plane of intersection of the tragic and the comic, the interrelated experiences of tragic and comic catharsis. Fear and compassion of catharsis tragic, laughter and pleasure of catharsis comedy cover the fullness of the emotional spectrum, characterizing the relationship between the individual and the human community in their movement from the past through present to future. Comic unity of people takes place in space history, the background of the established, time-tested values. Tragic overcoming fragmentation one and many – to-background values are desirable or antivalues unwanted catastrophic future, the road to which pave risky individualistic actions of the tragic hero, artistically meaningful in the tragedy, under control of the human community. The discrepancy between the tragic fate of Socrates and his image in the Comedy of Aristophanes “Clouds” shows the essence of the relationship of individual and shares in the process of artistic creation and reception. Socratic dialogue, as well as ancient tragedy and Comedy are characterized from the point of view of their role in the formation of individual literary and artistic creativity. Ahead of the author of the literary works of his contemporaries associated with the process of artistic creativity, facing in the future. This is ahead of the curve generates the contradiction between the past and the future in the space of literary works, which may be resolved by the reception and interpretation.