DIRECTING AND ORGANIZATIONAL ACTIVITY OF STANISLAV MOYSEV IN THE CONTEXT OF THE REFORM OF THE KYIV ACADEMIC YOUTH THEATER
Abstract
The aim of the article is to identify the specifics of S. Moiseyev's directing and organizational activities as the artistic director of the Kyiv Academic Young Theater (1996–2012) and to determine its influence on the development of Ukrainian theatrical art of the late XX – early XXI centuries.
Research methodology. The methods used in the study are based on established and new theoretical and methodological approaches and principles, primarily on the interdisciplinary integration of leading methods of modern culturology and art history.
Results. Artistic practice, theoretical and methodological positions of S. Moiseyev, as well as his organizational activities as artistic director of the Kyiv Academic Young Theater, which contributed to the opening of new untapped opportunities, demonstrates a new modern system, the importance of which is manifested not only in the study of creative achievements theater 1996–2012, but also the Ukrainian theatrical art of this period as a whole.
Based on the analysis of organizational and managerial activities of S. Moiseev 1996–2012, it was found that his strategy for the development of the theater was to: strengthen the artistic level of productions through directing experiments; text searches; significant renewal and expansion of the repertoire, cooperation with foreign directors, active participation in festival activities; involving actors from other groups in theater productions.
Novelty. The directorial and organizational activity of Stanislav Moiseyev as the artistic director of the Kyiv Academic Young Theater (1996–2012) has been studied. The artistic and aesthetic principles of the master's directing activity in 1996–2012, which make up the concept of Sviatoslav Moiseyev's director's theater, are analyzed. The influence of S. Moiseyev's activity on the development of Ukrainian theatrical art in general and Kyiv Academic Young Theater in particular is revealed.
The practical significance of the results obtained lies in the possibility of using the content and conclusions of the research in the further development of issues related to the activities of the Kiev National Academic Young Theater, the peculiarity of S. Moiseev's activities and the Ukrainian theatrical art of the late XX – early XXI centuries in general.
