The importance of M. Kropyvnytskyi’s children’s theater for the formation of a professional musical children’s theater in Ukraine
Introduction and statement of the problem. Before the revolution of 1917, artists, writers, musicians and teachers created a rich literary fund that could be the basis for professional musical children’s theater in Ukraine. That is why there is a need to study the children’s musical and dramatic heritage of the past, which is an inexhaustible treasury of cultural and educational ideas that can be creatively developed and successfully applied in modern conditions. The process of creative development of the genre of children’s musical performance is today one of the most pressing problems of professional theater for children, take in account its growing popularity, both in the world and in Ukrainian musical culture. The lack of scientific research that fully and comprehensively cover the scientific and practical significance of musical children’s plays by Marko Kropyvnytskyi for the development of musical children’s theater in Ukraine indicates the need for more in-depth researching of the chosen topic. In our research, we rely on the works and articles of authoritative experts – in particular, I. Franko (1910), M. Voronyi (1913), D. Antonovich (1925), P. Rulin (1929), I. Mar’ianenko (1953), P. Kyrychok (1985), N. Yosipenko (1958), P. Perepelitsa (1956), A. Novikov (2007; 2011), L. Moroz (1990). The vast majority of researchers noted the great merits of the artist to the national drama in particular and Ukrainian culture in general. Among the scientific works devoted to Kropyvnytskyi as a children’s playwright, one can distinguish the research by A. Novikov (2007), which focuses on the history of creation of the first children’s troupe in the country, which had no analogues in the history of the world theater, since the actors in it were peasant children. In mentioned critical and scientific works, the innovative features of the playwright’s creative heritage are outlined, attention is focused on the specifics of the genre and problem-thematic range, literary-aesthetic, socio-political, and pedagogical views. The literary and theatrical activity of M. Kropyvnytskyi has been thoroughly studied. However, there is still no work that comprehensively reveal his musical and dramatic creativity for children. The purpose of the article is to show the significant role of M. Kropyvnytskyi in the development of children’s musical theater in Ukraine based on the research of children’s musical and dramatic creativity by the artist. The research methodology is integrative. The work uses knowledge of various fields of art history and related sciences: history and theory of theater, music theory, music and theater psychology, vocal and theater pedagogy. Presentation of the main material. A great pride of the playwright is the foundation by him on the territory of his village Zatyshok of the children’s theater, “actors” in which were his own and peasant children. This event was and remains unprecedented, since nothing like this has been observed in the history of Ukrainian and European culture. The troupe consisted of peasant children aged 10–13. For performances, Kropyvnytskyi assigned the largest room (hall) in the old house, where, as in a real theater, the stage was equipped. The first performance, “Goat‑Dereza” (“Koza-dereza”), took place on Christmas day, 1906. The playwright drew the scenery himself, and prepared the costumes together with the children. The play was a great success. A few days later, the children’s troupe was invited to a “tour” in the neighboring village, and the entire theater with the scenery on five carts went on a journey of six versts (Novikov, 2007: 33). In the children’s repertoire at that time, there was, in fact, only one work – the opera by M. Lysenko “Goat-Dereza” (“Koza-dereza”) (libretto by Dniprova Chaika). Ukrainian children’s repertoire did not exist at that time, and in 1907, Kropyvnytskyi created two plays for young performers based on folk tales – “Ivasyk-Telesyk” and “At the behest of the pike” (“Po shchuchomu velinniu”). The performances included vocal numbers composed by M. Kropyvnytskyi on the themes of Ukrainian folk melodies. In a letter to his good friend entrepreneur A. Suslov in January 1908, the writer, in particular, notes: “I have assembled a troupe of peasant children and I am staging in the villages: Goat-dereza, IvasykTelesyk, and At the behest of the pike (the latter both are my)” (Kropyvnytskyi, 1960: 530). Based on the plot of folk tales of the same name, he wrote original musical and dramatic works for children of great educational value. The plays are quite simple in meaning and clearly depict the images of all the negative and positive characters. The first represent such social vices as lies and insincerity, and the second are carriers of eternal positive qualities – sincerity, candor, hard work. The plays are written in an exquisite Ukrainian language, close to the oral poetic creativity. All this, as M. Yosypenko rightly notes, is evidence of “a serious approach of M. Kropyvnytskyi to the business of writing plays for children, a deep knowledge of the psychology of the young audience and its cultural and educational needs and demands” (Yosypenko, 1958: 265). The performances require participation of music, which organic include into the language range of the play itself. Music explains and complements the true meaning of the situation to the young audience. Ukrainian musical folklore material formed the basis of the musical solution of M. Kropyvnytskyi’s children’s performances. Most often, folk songs served as a means to create the image and were introduce before the dramatic action mainly by the method of self-presentation: performing a particular song, the characters showed certain traits of their nature. The songs help to reveal the inner world of the characters, to express their state of mind and moods; often they contributed to the creation of the necessary stage atmosphere: festivities, fun and jokes. A significant part of the characters could not be imagined without songs. Using some folk melodies, Kropyvnytskyi mainly wrote original music, close in melody to the folk-song sources. Solo numbers, ensembles, and choirs are organically woven into the dramaturgy of these plays. A clear reflection of the integrity and unity of the musical and dramatic process is the principle of end‑to‑end development of the main musical idea of performances. In preparation for productions of his children’s plays, Kropyvnytskyi wrote an orchestration for them also. Intending to put these plays on the professional stage, Kropyvnytskyi wrote down advice to future directors regarding the production of their children’s plays. He began to think of broader horizons for them. In the spring of 1910, small artists had to show their art to the audience of the neighboring county town Kupyansk. However, the premature death of the Ukrainian playwright did not allow this plan to be realized. The children’s troupe soon ceased to exist. Kropyvnytskyi children’s troupe and the repertoire he created for it became a prologue to the development of the Ukrainian theater’s creativity for young viewers. In nowadays from the repertoire do not go off the pearls of drama for children “Ivasik-Telesik’ and “At the behest of the pike”. Conclusions. Marko Kropyvnytskyi’s creative heritage and practical activities wrote the gold pages to the history of Ukrainian musical children’s drama and Ukrainian children’s theater. Children’s musical and dramatic works of the writer based on song folklore are the effective mean to educate positive attitude of young Ukrainians to folk tradition as well as to form positive nature traits: generosity, hospitality, goodwill, charity.