The Kharkiv actresses Polina Kumanchenko and Lidiya Krynytska in the image of a mother in the films “Human’s blood is not water”, “Dmytro Horytsvit”, “People don’t know the all” and “Lymerivna”
Background. Domestic cultural space is in urgent need of selfpreservation, and a renaissance of national self-identity of the Ukrainian cinema is connected with the state interest in this topic. There are the discussions around the attempts to revive the Ukrainian poetic cinema with its inherent mythological outlook erasing the boundaries between imaginary and real. It is logical, that the further development and studying of national cinema is impossible without revise of creative work of actors of the past; they were the bearers of poetic worldview, guided by folk traditions and customs. The tendency to the study of the forgotten names would help to bring back to their proper place the classics of Ukrainian cinematography. In the national scientific circles, there is an interest in the revival of forgotten names of cultural figures, and theater and filmmakers, in particular. Nevertheless, creativity of some Kharkiv actors, among them, Polina Kumanchenko and Lidia Krynytska, undeservedly deprived of attention in the scientific environment. The object of this research is the creativity of representatives of the Kharkiv acting school – Polina Kumanchenko and Lidiya Krynytska. The aim of the author is to study the performing manner of the actresses, to identify the peculiar facets of their playing, and, as a result, the certain traditions that are inherent the Kharkiv local artistic environment. The interpretation of the image of a mother in the performance of the mentioned actors is the subject of studying. Methods of analysis, synthesis, classification are the basis of this study and used for the scientific validity of the findings. We used the method of comparison in the considering of the mother images created by Kumanchenko and Krynytska. Research results. As the key in the cultural aspect, should be considered the fact that the image of the mother in Ukrainian mentality is iconic, associated with the image of the Earth, since the essence of both is the function of the “giver of life”, fertility. The worldview of Maria, the personage of P. Kumanchenko, is fixated on owning the land, because thanks to her, a person exists and continues his family. Like her ancestors, Maria is going to become a link in the further transfer of land to her descendants, passing to them the “genetic code” of love of Ukrainian peasants for the Earth. She is expecting a second child, and therefore, through her actions, she seeks to provide her children with stability, which is possible only with land. The actress focuses the attention of the viewer on expressive gestures, sudden movements to emphasize the active behavior of her heroine; at the same time, the extremely expressive regard of P. Kumanchenko, shown in close-up, convey the true thoughts and feelings of Maria, whose soul inhabits somewhere in her own, unreal world. In the first of the films of the trilogy by M. Makarenko (director) –“Human’s blood is not water”, – the actor’s decision of P. Kumanchenko presents a presentiment of happiness and stability that arises in her heroine’s soul against the background of her everyday suffering life – just like the Earth awaits spring blossoming after a long winter. Later we observe the changes that have occurred in the character of Maria along with her motherhood and confidence in the future. The actress gives her heroine a new external expressiveness: smooth movements, a gentle mysterious smile, elusive tenderness. The second part of the trilogy (“Dmytro Horytsvit”), presents P. Kumanchenko in a small episode. We see her in the light national costume, with tragic wringed hands, against the background of the burning home, where her child remained. The episode can be interpreted as an allegory: a mockery of fertile land devastated by fires, wars, destruction. However, just as a new cycle is needed for a ravaged Earth to bloom again, so for Maria the salvation of her daughter becomes the impetus for a new rebirth. The main idea of the film is embedded in this episode – the eternal pain of the Ukrainian land and its eternal revival. Based on the analysis of the role of Maria in the interpretation of P. Kumanchenko, we can talk about the embodiment in the mother image the idea of cyclicity of nature and life, coming from the ancient cults of the Earth. Thus, the influence of mythopoetics traced in the images created by the actresses, due to their symbolic similarity with the image of the mythological Mother Earth. In the film “Lymerivna” (directed by V. Lapoknysh) the image of a mother was created by actress L. Krynytska, which played Lymerykha – the mother of the main heroine. This is a passive woman, broken by life circumstances, who is going with the stream and is not able to deal with everyday problems. It would seem that both, Maria and Lymerykha, are united by a love for children and a desire to give them happiness. However, each of them has its own strategy of behavior. Unlike Maria, Lymerykha made tears the main tool on the way to her aim – to break the will of her daughter. It was her tears pushed Lymerykha’s daughter to a tragic death. The game of L. Krynitska outlines the “two-faced” path of the heroine’s behavior, reveals the “white” and “black” sides of her nature. That is, the actor’s task of L. Krynitska was to embody the image of a person with a “double bottom”. The manner of performing of this role may be partially explained by the etymology of the surname “Lymar”, which the heroine received when she got married. Lymar is a manufacturer, which make the harness for horses. Such a sign surname symbolizes her life – “horse harnessing”, a yoke that Lymerykha is afraid to throw off, because she does not know how to bear responsibility for her own destiny. There are also unifying links between the heroines of P. Kumanchenko and L. Krynytska: both manipulate by their motherhood. The cycles in the life events of both heroines are also clearly outlined. In Maria’s case, it is association with modifications in the state of the Earth due to natural changes in the seasons or terrible destructions, because of war or natural disasters. For Lymerykha, the cyclic existence is characterized, limited by the inability to overcome slavish psychology – to throw off the yoke, the “sword of Damocles,” which dominates her. In one of the scenes, the scenery symbolically emphasizes the essence of her being: a windmill, whose wings are constantly spinning. P. Kumanchenko and L. Krynytska are the Kharkiv actresses of the Drama Theater named after T. G. Shevchenko, and the influence of the actor’s system of his outstanding director Les Kurbas on the performing style of both cannot be overlooked. In the acting of the performers, the use of the “laws of Kurbas” is clearly traced: “the law of thrift”, “the law of fixation”, “the law of light-andshade”, etc. Conclusions. We analyzed both the differences and the unifying features in the interpretation of the image of the mother by Kharkov actresses. In the images created by P. Kumanchenko and L. Krynytska there is a relationship with the mythopoetic worldview. Òhanks to a number of artistic and meaningful associations, we can talk about the embodiment in the image of a woman-mother of the symbolic hypostases of Mother-Earth and the idea of the cyclical nature of life, which comes from ancient agricultural cults. The work with imaginary symbolism (a horse harness appears as a symbol of the enslavement of Women-Mother Earth) take place, as and a complete organics embodiment of the mythopoietic aspect inherent the Kharkiv acting school (Les Kurbas’s aesthetics) and, in general, the Ukrainian drama and cinema (A. Dovzhenko). A deeper analysis of various aspects of the performing work of Kharkiv actors, in particular, searching for the traditions in the actor’s game of Kharkovians, as well as more detailed studying of Les Kurbas’s methodological influence makes up the prospects of our study. The specifics of actor’s art of the Kharkiv school can serve as an example to follow in the training of actors and directors.