VASYL STUS IN THEATRICAL PRACTICE OF THE 2000S

This paper is the second in a series of studies aimed at modeling a holistic view of the perception and artistic interpretation of Vasyl Stus’s life and work in the history of Ukrainian theater. It focuses on four productions that premiered in the first decade of the 2000s. The practice of creating the image of Stus through the stage art is examined on the basis of critical reviews, comments by directors and actors, and the broader cultural and historical context. Special attention is given to identifying the distinctive features of these performances. In 2001, the premiere of the dramatic symphony “Marko the Cursed, or Eastern Legend,” directed by V. Kuchynskyi, took place. The foundation of this reformist performance is the genre-compositional technique of the ‘symphony.’ The action is based on the principle of structuring Stus’s words and thoughts, which convey the profound meaning of Ukrainian cultural archetypes. In 2004, the one-actor play “Palimpsest (based on the works of Vasyl Stus and not only...),” directed by M. Merzlikin, was presented. Actress G. Stefanova embodied on stage the idea of the poet’s human self-identification, filled with the joy of being. Her monologue included fragments of memories and characterizations provided by the poet’s mother and friends, along with Stus’s own images and recollections. It brought the viewer closer to understanding Stus’s personality, with his principles of self-awareness embracing the notions of humanity, diversity, and dignity. A radio version of the one-actor play “Palimpsest” was created in 2021. In 2006, the stage composition “Vasyl Stus. I’m Going over the Edge…”, directed by O. Havryliuk, was presented. The image of V. Stus was embodied by actor Roman Semysal, who naturally recreated the emotional states of a person in a hopeless situation, yet standing tall. R. Semysal also played the role of a poet in the literary and musical project “Stus Circle” (2008) directed by S. Proskurnia. Embedded in a biographical context, Stus’s poems in the performance contributed to the portrayal of a person who, through poetry, created his own world.