UDC 792.97:75.054(477) «202»(045)
DOI: https://doi.org/10.59694/ped_sciences.2025.14.187
TRANSFORMATION OF TRADITIONAL VERTEP STAGE DESIGN IN THE PERFORMANCES «BLACK ROCK» and «HEROD»
Embedded Files
KULCHYTSKA Inessa Oleksandrivna
chief
artist of the Lviv Academic Regional Puppet Theater,
postgraduate student of the Department of Puppet
Theater Art, Faculty of Theater Arts, Kyiv National
University of Theater, Cinema and Television named
after I. K. Karpenko-Kary.
ORCID іD: https://orcid.org/0009-0000-1303-2536
Abstract:
The article carries out a comprehensive analysis of scenographic solutions of modern productions of puppet theaters of Ukraine, in which the canonical nativity scene space is transformed, in particular, semantic elements of the nativity scene box are used.
The subject of the study will be the performances «Black Rooster» of the Kherson Academic Regional Puppet Theater and «Herod» of the Transcarpathian Academic Regional Puppet Theater, created in 2024 and 2025. Nativity scene design is a visual language of archetypes that structures stage reality through a sacred-profane dichotomy. Its principles are worth highlighting, because they constitute a universal and practically applicable tool of visual thinking that can modernize the theater while preserving its deep meanings. This approach opens up the possibility of combining theater studies with anthropology, philosophy, Jungian psychology and religious studies - which allows for a broader interpretation of the visual code as a manifestation of the collective unconscious.
The identified principles can be integrated into the teaching of scenography, theater studies, and visual arts as the basis for understanding stage space as a semiotic system. The article conducts a comparative analysis of the spatial and scenographic solutions of the above-mentioned performances, and based on the results obtained, their close connection with the idea of a two-story structure of the architecture of the nativity scene is proven, and the evolution of the archetypal nature of nativity scene characters from the phenomenon of folk culture to modern postmodernity is also traced. Thus, this study allows us to fill the existing gap in scientific knowledge about the scenographic possibilities of nativity scene theater in the present conditions and contribute to the further development of this field of art history.
Keywords: puppet theater, Ukrainian nativity scene, transformation, nativity scene architecture, nativity scene scenography, nativity scene man.
References:
Vashkel, M. (1997). Lyalʹkovyy teatr. [Puppet Theater].
Volytska, I. (1992). Teatralʹni elementy tradytsiynoyi obryadovosti ukrayintsiv Karpat kintsya XIX – pochatku XX stolittya. [Theatrical elements of traditional rituals of Ukrainians of the Carpathians of the late 19th – early 20th centuries]. Kyiv.
Gavrosh, O. URL: https://www.facebook.com/permalink.php?story_fbid
Gavrosh, O. «Tsar Irod». [«King Herod»].
Herus, L. (2017). Shopka v ukrayinsʹkiy khrystyyansʹkiy tradytsiyi: heneza, istoriya, symvolika. [Shopka in the Ukrainian Christian tradition: genesis, history, symbolism].
Hrytsay, M. (1978). Vertepna drama. [Vertepna drama]. Kyiv.
Hrytsay, M. S. (1963). Khudozhni zasoby ukrayinsʹkoyi vertepnoyi dramy. [Art tools of Ukrainian vertepna drama]. Kyiv.
Danylets, O. URL: https://www.facebook.com/permalink.php?stor
Zinov’eva, T. (2003). Do pytannya arkhetypnykh rys personazhiv ukrayinsʹkoho vertepu. [On the question of archetypal features of the characters of the Ukrainian nativity scene].
Zinov’eva, T. (2008). Do pytannya interpretatsiyi otsinky natsionalʹnykh heroyiv ukrayinsʹkoho lyalʹkovoho teatru. [On the issue of interpreting the assessment of national heroes of the Ukrainian puppet theatre].
Zinovieva, T. (2001). Evolyutsiya arkhitektury lyalʹkovoho teatru v khronotopichnykh vymirakh Serednʹovichchya ta baroko. [The evolution of the architecture of the puppet theatre in the chronotopic dimensions of the Middle Ages and Baroque].
Ivanova, D. (2022). Dyptykh vystav «Vse bude dobre» ta «Fridlʹ Diker»: Trahediya Holokostu krizʹ sakralʹnu-profannu dykhotomiyu vertepu. Mystetstvoznavstvo. [Diptych of the performances «Everything Will Be Alright» and «Friedl Dicker»: The Tragedy of the Holocaust through the Sacred-Profane Dichotomy of the Nativity Scene. Art History].
Ivanova, D. (2015). Kontseptsiyi pokhodzhennya ukrayinsʹkoho lyalʹkovoho vertepu. [Concepts of the Origin of the Ukrainian Puppet Nativity Scene].
Ivanova-Hołołobowa, D. (2022). Funktsionuvannya vertepu v profesiynomu lyalʹkovomu teatri Ukrayiny na suchasnomu etapi rozvytku. [Functioning of the nativity scene in the professional puppet theater of Ukraine at the current stage of development].
Ivanova-Hołołobowa, D. (2022). Vizerunok Kozaka v lyalʹkovomu vertepi. [Wizerunek Kozaka w lalkowym wertepie].
Klym-Kashuba, T. URL: https://www.facebook.com/permalink.php?story
Kovalchuk, O. V. (2019). Stsenohrafichna praktyka v prostori 20 stolittya: kyyivsʹki realiyi. [Scenographic practice in the space of the 20th century: Kyiv realities]. Kyiv.
Kurochkin, O. (2022). Pastukhy «Vifleyemsʹki ihry ukrayintsiv Zakarpattya». [Shepherds «Bethlehem Games of Ukrainians of Transcarpathia»].
Luhova, T. (2022). Ukrayinsʹkyy vertep: syntaksys, semantyka, prahmatyka, dynamika. [Ukrainian Nativity Scene: Syntax, Semantics, Pragmatics, Dynamics].
Malyshka, N., Oreshnikova, N. (2021). «Chornyy pivenʹ». [«Black Rooster»].
Page updated
Report abuse