Концептуальні засади режисури сучасної української драматургії

The purpose of the article is to conceptualise the features of the directorial decision of works of modern Ukrainian dramaturgy through the prism of the trends in the development of theatrical art in 2014–2024. Research methodology. A complex of general scientific and art history methods was applied: the method of theoretical analysis, the system and typological method, the method of observation, the method of comparative analysis, the method of art history analysis. Scientific novelty. The features of theatrical directing were studied through the prism of the problems of staging works of modern Ukrainian dramaturgy. The intensification of the appeal of theatrical directors to the works of modern Ukrainian dramaturgy in connection with the strengthening of the national-patriotic movement during the Revolution of Dignity and the beginning of the Russian-Ukrainian war (from 2014 to the present day) is substantiated. Based on a comparative analysis, common and distinctive characteristics of directorial approaches to the production of modern Ukrainian plays on the stages of dramatic and independent theatres (documentary theatre) were identified. The specifics of the solution of the stage space, scenographic design and the use of multimedia technologies in the context of the features of the productions of modern works were analysed. Conclusions. The study revealed that modern Ukrainian dramaturgy is open to various directorial interpretations. Through the characterisation of the work, the understanding of the narrative, the visualisation of the plot development and the general direction of the stage action, the author's directorial understanding and the main professional settings of the representatives of modern Ukrainian theatre are noticeably manifested. Despite the individuality of the director's handwriting, the specificity of the author's interpretation and the uniqueness of the director's concepts, common production aspects are: minimisation of scenographic design, the use of multimedia technologies (video projections), recourse to conventional theatre techniques, the disclosure of the truth and frankness of the author's expression through original imagery. Characteristic for the productions of modern dramaturgy is the minimisation of scenographic design, in some cases playing on the concept of empty space by P. Brook, while at the same time shifting the emphasis to the representation of all aspects of the intimate and psychological time-space of the characters, the enhancement of their memories and personal experiences by the mise-en-scene drawing to the level of sacralisation; the ascetic world of objects in the performances is given special weight, bringing it to the level of a sign or symbol.