Інтермедії до драми Якуба Ґаватовича в романі О. Ільченка "Козацькому роду нема переводу, або ж Мамай і чужа молодиця"
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Date
2020
Authors
Пелешенко, Наталія
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Abstract
У статті крізь призму поетики шкільної драми XVII-XVIII ст. і форм народно-сміхової культури простежується введення у структуру роману Олександра Ільченка "Козацькому роду нема переводу, або ж Мамай і Чужа Молодиця" (1958) двох інтермедій до польськомовної драми Якуба Ґаватовича "Tragedia albo wizerunk smierci Przeswitego Jana Chrzciciela Przeslanca Bozego" ("Трагедія, або Образ смерти пресвятого Іоана Хрестителя, Предтечі Божого"), виставленої на ярмарку в день різдва Іоана Хрестителя в Кам’янці Струмиловій 1619 року. Перша інтермедія — "Про Климка і Стецька" в романі є самостійним сюжетом про виступ мандрівних акторів, студентів Києво-Могилянської академії, на міському ярмарку. Цей сюжет можна вважати міні-копією основного тексту, де відбиваються центральні ідеї, ключові символи, концепції та засади поетики роману. Також прочитується в романі й переспів другої інтермедії "Про Максима, Рицька та Дениса", де йдеться про небезпечну подорож трьох спудеїв-лицедіїв, яка допомагає побачити підступність одного з них.
У романі Олександра Ільченка широко представлені топоси гри, вистави, комедії, драми, сцени, ярмарку, помосту, майдану, базару тощо.
The article considers the inclusion of two intermedias written for Jakub Gawatowiczs mystery play Tragedia albo wizerunk fmierci PrzeSwi tego jam Chrzciciela Przedahca Bozego [Tragedy, or the Pattern of death of John the Baptist, first performed in 1619 in Kamianka Strumilova, into Oleksandr Ilchenkos novel Kozats’komu rodu nema perevodu, abo zh Mamay i Chuzha Molodytsia ("A Cossack never dies, or Mamai and the Other Woman", 1958) through the prism of poetics of school drama of the 17—18“1 century and culture of popular laughter. The first one — "About Klymko and Stets’ko" — occurs in the novel as an independent plot, concentrated on the performance of wandering actors, students of Kyivan Molwla Academy, performance at the town fair. This narrative element can be treated as a mini-copy of the main plot, in which central ideas, key symbols, conceptions, and poetic features are mirrored. The role of image of Death is to underline varietivity, as well as wandering character of the story about Klymko and Stets’ko. It is shown that the novel contains adaptation of the second intermedia "About Maxim, Ryts’ko and Denys" that is based on the dangerous journey of tree wandering students- actors, in which the trickery of one of them is detected. Comic effects, such as techniques of dressing-up, unrecognition, dramatic illusion, were usecf as the pivotal plot elements in the both intermedias. It is proved that Oleksandr Ilchenkos novel, from which the phenomenon of Ukrainian chimerical novel of 1960-80-s is derived, is characterized by deep penetration of Baroque codes, especially theatric code, into narrative structure. Tire main features of Ukrainian chimerical prose are syncretism, antitype, intertextuality, grotesque, the presence of fantastic elements and references to the theatrical action that can be identified on the different layers of the text: theme, plot, ideology, and formal dimension of the narration). Ilchenkos novel, the topos of spectacle, stage, public square, market, and fair are transparently represented. Despite the fact that Ilchenko sets Baroque school drama in contrast with the tneater-in-the-round, neglecting any relationship between “upper and grassroots Baroque literature in his authors footnotes, the plot of his novel illustrates its existence.
The article considers the inclusion of two intermedias written for Jakub Gawatowiczs mystery play Tragedia albo wizerunk fmierci PrzeSwi tego jam Chrzciciela Przedahca Bozego [Tragedy, or the Pattern of death of John the Baptist, first performed in 1619 in Kamianka Strumilova, into Oleksandr Ilchenkos novel Kozats’komu rodu nema perevodu, abo zh Mamay i Chuzha Molodytsia ("A Cossack never dies, or Mamai and the Other Woman", 1958) through the prism of poetics of school drama of the 17—18“1 century and culture of popular laughter. The first one — "About Klymko and Stets’ko" — occurs in the novel as an independent plot, concentrated on the performance of wandering actors, students of Kyivan Molwla Academy, performance at the town fair. This narrative element can be treated as a mini-copy of the main plot, in which central ideas, key symbols, conceptions, and poetic features are mirrored. The role of image of Death is to underline varietivity, as well as wandering character of the story about Klymko and Stets’ko. It is shown that the novel contains adaptation of the second intermedia "About Maxim, Ryts’ko and Denys" that is based on the dangerous journey of tree wandering students- actors, in which the trickery of one of them is detected. Comic effects, such as techniques of dressing-up, unrecognition, dramatic illusion, were usecf as the pivotal plot elements in the both intermedias. It is proved that Oleksandr Ilchenkos novel, from which the phenomenon of Ukrainian chimerical novel of 1960-80-s is derived, is characterized by deep penetration of Baroque codes, especially theatric code, into narrative structure. Tire main features of Ukrainian chimerical prose are syncretism, antitype, intertextuality, grotesque, the presence of fantastic elements and references to the theatrical action that can be identified on the different layers of the text: theme, plot, ideology, and formal dimension of the narration). Ilchenkos novel, the topos of spectacle, stage, public square, market, and fair are transparently represented. Despite the fact that Ilchenko sets Baroque school drama in contrast with the tneater-in-the-round, neglecting any relationship between “upper and grassroots Baroque literature in his authors footnotes, the plot of his novel illustrates its existence.
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Keywords
український химерний роман, Олександр Ільченко, барокова шкільна драма, інтермедія, Козак Мамай, стаття, Ukrainian chimerical novel, Oleksandr Ilchenko, Baroque school drama, intermedia, Cossack Mamay
Citation
Пелешенко Н. І. Інтермедії до драми Якуба Ґаватовича в романі О. Ільченка "Козацькому роду нема переводу, або ж Мамай і чужа молодиця" / Наталія Пелешенко // Сміхова культура старої України : збірник наукових статей / [упорядкував архиєпископ Ігор Ісіченко]. - Харків : Акта, 2020. - С. 176-196.