Metaphors, Symbols and Allegories as the Basis of the Figurative Structure of German and Ukrainian Stage Design in the 1920’s

The purpose of the research is a comprehensive analysis of the newest German theatre compositional structures of the 20s of the twentieth century (on the example of the creative practice of the scenographer Oskar Schlemmer). It is essential to compare and prove the influence of the new German scenography on Ukrainian art, using the example of the work of the artist Anatol Petrytskyi, who was inspired by modern ideas but created his Ukrainian theatrical language. The research methodology is a systematic approach with synthesis, generalisation, and comparison methods. To study contemporary approaches to scenography, the researcher used art historical and comparative historical approaches, which allow us to trace the trends of renewal and reform in the symbolic vocabulary of the performance. The study’s theoretical and practical results reveal previously unresolved art historical research issues. The scientific novelty lies in identifying contemporary compositional and spatial solutions in the Ukrainian scenography of the Ukrainian artist A. Petrytskyi under the influence of new European trends, namely the German scenography of the artist O. Schlemmer. Conclusions. It has been proved that A. Petrytskyi is a high-level stage designer. He managed to create the newest Ukrainian theatre, based on centuries-old folk nativity scene traditions with recognisable Ukrainian flavour and national symbols. It is emphasised that A. Petrytskyi’s probable interest in the latest developments of the German school of scenography contributed to the renewal of art in Ukrainian scenography, and the peculiar influences not only enriched but also revealed the essential elements of folk art through metaphor, symbol, and allegory.