А. Чехов та І. Карпенко-Карий: реформа драматургії та сценічної практики. Основні аспекти

A. Chekhov's drama has long been considered in the context of the problem of the birth of a new theatrical system, important for the twentieth century. While the work of I. Karpenko-Karyi does not evoke direct associations with theatrical reform, remaining, rather, closed in the context of the traditions of the theater of coryphaeus. This article proposes to look at his dramatic heritage as works in which there was a gradual and not as radical as of A. Chekhov, the reform of theatrical rules in force at the time. Chekhov's reform, which became a serious challenge for actors and directors, was based on observations of contemporary for him theatrical life. The origins of the reform of drama by I. Karpenko-Karyi’s can be seen in his own acting and directing practice. When we compare the work of these two authors, we must consider the socio-cultural context in which each of them was formed and worked, but it is obviously that their search in the process of reforming theatrical practice is similar. The dramaturgy of A. Chekhov and I. Karpenko-Karyi can be considered an anachronism in the context of their time. The aesthetic changes that take place in their works seem to be ahead of their time, actualizing the problems of stage practice. In the works of each of them, the results of one theatrical system are summed up and other laws of stage expressiveness are formed. Their works can be considered not only on the scale of the individual creative path of each author, but as an important stage in the development of theatrical art. When considering these two playwrights in the context of the problem of updating drama and stage practice, we can choose not only the ideological and thematic approach, but to emphasize the new principles of organization of dramatic material, then the innovative potential becomes obvious. And this opens the basic aesthetic systems for each of them and is revealed in new trends in theatrical thinking.