A New Paradigm of Ukrainian Classics: Performances of Ivan Uryvskyi on the Kyiv Chamber Stages

The purpose of the article is to highlight the features of the new paradigm of Ukrainian classics and analyse the concepts of I. Uryvskyi in the plays "Stolen Happiness" (2016) and "Lymerivna" (2019) on the chamber stages of Kyiv. The research methodology is based on general scientific methods: analytical (to comprehend the aesthetic and artistic guidelines of the modern theatrical process and understand the stages of the formation of a new paradigm of Ukrainian classics), historical and comparative (to determine the features of Ivan Uryvskyi’s directorial concepts in the retrospective of the national theatre), phenomenological (to reveal the specific nature of Uryvskyi’s directing and outline its original features and creative techniques). The scientific novelty of the article consists in the introduction into the scientific context of a part of Ivan Uryvskyi’s directorial work, and in the analysis of the genre and stylistic features of his chamber performances. Conclusions. The artistic work of director Ivan Uryvskyi is based on creativity, intellectualism, and a dominant interest in the texts of classical drama. The search for symbols of the historical time-space of the plays and motivating them to a fantasy reality became the main concept of the plays “Stolen Happiness” (Ivan Franko) and “Lymerivna” (Panas Myrny). In these performances, the director works with natural materials (or their skilful imitation) and subject scenography, pays great attention to the plastic work of the actors, light and noise effects to create the atmosphere of the stage action. His presentation of stage classics does not deny traditional meanings, but rather deepens and enriches their figurative vocabulary. The young director develops his versions as a sublimation of ethnographic and folklore colouring and the universality of plot collisions