Traditions Background in the Ukrainian Professional Theatre (Through Outstanding Theatre Artists' Work)

The purpose of the article is to analyse the continuity of traditions in the Ukrainian drama theatre, its signs in the work of outstanding theatre artists and the study of artistic phenomena that reflect the national heritage of theatre culture in Ukraine. With this objective in view, and to justify the need for a combination of skill, innovation and tradition for updating the culture of society, we have used methods of analysis and synthesis, an interdisciplinary approach and the principle of historicism. The scientific novelty lies in the fact that the development of the national Theatre is analysed taking into account cultural traditions, their influence on the work of leading theatre figures, and the main principles and traditions of the performing arts. Conclusions. We have found out that Ukrainian artists, despite the Imperial pressure, in the 80-90s of the 19th century got an opportunity to stage performances in the Ukrainian language, although with certain restrictions, and subsequently organise the Coryphee Theatre. Since that period the national tradition had been developed in professional Theatre. We can state that for the support of Maria Zankovetska and the activities of Hnat Khotkevych, the Hutsul theatre of folk art and a combination of cultural traditions with the theatrical art of that time was founded. It is shown that the success of creative searches and experiments of stage figures of the 1920–1930s, which is evident in the activities of Les Kurbas and Hnat Yura and defined as a new chapter in the development of the Ukrainian drama theatre that took place as a result of the synthesis of the tradition of Coryphee Theatre stage school with innovative methods and acting skills. In the future, Serhii Danchenko was able to take the national theatre art to a new level. Particular attention should be paid to Bohdan Stupka’s experimental search. He founded a Theatre in the Foyer, and later a Chamber stage at the Ivan Franko National Academic Drama Theatre, which created new hottest features for communication with the audience, helped to reach the potential of the so-called “small stage”. The plot and sense-creative series tend more towards poetic utterance. It is proved that only a combination of skill, innovation and tradition can provide a high-quality result for performances are filled with deep meaning, awaken thought, emotionally unite the audience, vibrant and exciting to watch. Introduction of new elements gives an impetus to the development of Ukrainian theatre and updates the culture of society