THE DRAMATIC DISCOURSE OF OLEKSIY CHUGUY’S IN THE EVALUATION OF CRITICISM AND LITERARY COURSES

Abstract

The article analyzes the views of literary critics on modern Ukrainian drama, in particular on the dramaturgical discourse of Oleksiy Chuguy’s. The object of the study was primarily the literary and critical works of two thousand years, aimed at highlighting the ideological and artistic originality of the playwright’s individual plays (“Forest Guests”, “Invincible Cathedral”, “Steppe Eagle”, “Red Ruta”, “Red Tornado”, “Crimean Mermaids”). It is noted that among the numerous explorations of recent years devoted to the artistic work of Oleksiy Chuguy, there is a general tendency to read the dramatic works of the artist through the prism of their semantic features, leading motives, certain elements of poetics, etc. First of all, the scientific articles of A.Novikov, O.Telekhova and I. Kurylenko (Fesenko) are included in the analysis, since they express their conceptual vision of O.Chuguy’s dramatic texts, which can be useful not only for teachers of higher and secondary schools, but also for everyone to fans and masters of the artistic word, music and theatrical art, and therefore deserve a stage embodiment. It is emphasized that the artistic value of the analyzed plays of O.P.Chuguy is highly appreciated in numerous scientific studios of researchers, the vast majority of which are distinguished by their relevance, as they reveal to the modern reader the truth about the policy of the Soviet regime, which was hidden from the Ukrainian people for many years. It has been proven that the merit of Chuguy the dramatist is primarily that the plot of many of his plays is based on the facts of real reality, without any misunderstandings, even artistic conjecture. Attention is also focused on the fact that modern literary studies illuminates not only the artistic originality of O.P. Chuguy’s plays, but also the biographical facts of the Ukrainian playwright (his outlook, morals, preferences, temperament), which are considered by researchers primarily as a kind of key to the creative work the artist, in which, in turn, autobiographical motifs are often read. Prospects for a further, more in-depth reading of O.Chuguy’s works as integral and artistically unique examples in the context of the artist’s multifaceted dramatic work are also outlined.