VISUAL PLASTIC EXPRESSIVENESS IN THE CONTEXT OF THE UKRAINIAN THEATRE ART DEVELOPMENT (the 1990s – early 2000s)

Abstract

The purpose of the article is to identify the characteristic features of the use of visual plastic expressiveness by the Ukrainian stage directors in the 1990s and the early 2000s based on art review of theatrical productions of avant-garde, drama theatres and studio theatres. Research methodology. The typological method is applied to identify influence factors of the actualization of visual plastic expressiveness; due to the semiotic method the means of plastic expressiveness are considered according to the theory of signs and sign systems as artistic and aesthetic symbols that carry generalized sense information; art review method was used to identify the main features of using plastic expressive means by the Ukrainian theatre directors. Research Novelty. For the first time in domestic art studies, the problems of visual plastic expressiveness in the works of the Ukrainian directors of avant-garde, drama theatres and studio theatres in the 1990s and the early 2000s were studied; art review of theatrical stage production of V. Bilchenko, V. Troitskyi and A. Zholdak identified the individual features of the use of plastic expressive means by the Ukrainian theatre directors with the aim of revealing sense and meaning content of stage works. Conclusions. The study showed that in the Ukrainian theatre art of the late 20th – early 21st centuries directorial search in the field of visual plastic expressiveness was manifested primarily in the context of the active integration of various plastic elements as an addition to the verbal structure of the stage production and/or its replacement at certain moments of the stage action, in accordance with the author’s vision, in order to enhance the sense and meaning loading of the work. The correlation of expression and image in the modern Ukrainian theatre art generates innovative approaches to the understanding and mastering of plastic art.