EVOLUTION OF THE STAGE IMAGE OF A UKRAINIAN WOMAN IN THE THEATRICAL ART OF THE BEGINNING OF THE 20TH CENTURY

The purpose of the article is to study the evolution of the stage image of a Ukrainian woman in the theatrical art of the beginning of the 20th century. The research methodology consisted in the combination of the art-critical and historical-logical methods, which allowed for revealing the main reasons that preconditioned the dynamics of the evolution of the stage image of a Ukrainian woman in the theatrical art of the beginning of the 20th century. To fulfill the research purpose, the following tasks had to be completed: to characterize folk and modernist directions in the theatrical art of the beginning of the 20th century; to analyze the evolution of the stage image of a Ukrainian woman in the context of the interaction of folk and modernist tendencies; to reveal the importance of the influence of the limited Ukrainian theatrical space on the evolution of the stage image of a Ukrainian woman. The scientific novelty of the work lies in a complex analysis of the evolution of the stage image of a Ukrainian woman in the theatrical art of the beginning of the 20th century from the viewpoint of art criticism. It was discovered that the Ukrainian dramaturgy of the 20th century had two main and distinct directions - folk and modernist. Conclusions. Classical Ukrainian theater, resting upon a strong stratum of traditional culture, was concerned with preserving spiritual values of the people and also contributed to the Europeanization of national theatrical art. At the beginning of the 20th century, along with the traditional stage image of a Ukrainian female - the heroine of social-domestic drama and comedy – a new heroine appeared on the stage of the theater of corypheus in modern plays by Lesia Ukrainka, V. Vynnychenko and O. Oles, whose images revealed new facets of the female character. The evolution of the stage image of a Ukrainian woman reflected the changes in the life of the nation and the role of theater. Functioning in the limited theatrical space hampered the natural development of Ukrainian theatrical art, which affected the dynamics of the evolution of the stage image of a Ukrainian woman. The organic combination of folk and modernist directions in the repertoire of the classical Ukrainian theater provided for substantiating the conclusion about the peculiar ambivalence of the Ukrainian theatrical art of the beginning of the 20th century. The baselessness of contrasting modernist and folk tendencies in the context of the Ukrainian theatrical art of the beginning of the 20th century was confirmed