THEORETICAL AND METHODOLOGICAL JUSTIFICATION FOR THE PRODUCTION OF THE PLAY «MACLEN GRASS» BASED ON THE PLAY BY M. KULISH

Abstract

The aim of this work is to provide a theoretical and methodological justification for the staging of the play
Maklena Grasa based on Mykola Kulish’s drama, revealing the dramatic conflict through the analysis of human
qualities, moral contradictions, and social inequality as the driving force of action.
Thorough understanding of key artistic principles in the director’s interpretation, characterization of the epic method
and its functioning in the stage space of the performance, as well as detailed analysis of characters, scenes, and stage solutions.
Research methodology. The paper analyzes the text of the play, studies by Ukrainian literary and art scholars (N.
Kornienko, I. Gnidenko, N. Polyarush, V. Atamanchuk, O. Khomenko, etc.), and principles of Bertolt Brecht’s epic theater.
Results. The conclusion is drawn that Maklena Grasa is not merely a reflection of its era but a timeless warning
about dehumanization, where social inequality deforms human essence. The epic staging format, with the «alienation
effect», transforms the play into a moral-philosophical experiment, distancing the audience for critical reflection. The
image of the Musician is reinterpreted as an ironic commentator, breaking the fourth wall.
Novelty. An attempt is made to adapt Brecht’s epic theater to the Ukrainian context, emphasizing the step-bystep
(epic) method for revealing systemic dehumanization. The Musician’s «show» concept is introduced as a modern
ironic device, contrasting with Les Kurbas’s original production.
The practical significance. The work can serve as a foundation for further scientific research on Kulish’s dramaturgy
in contemporary theater and may be used in developing curricula for directing and acting programs in art institutions.