RECEPTION OF THE SATYR PLAY (DRAMA) IN THE ARTISTIC CREATIVITY OF BORIS MIKHAILOV

Abstract

The aim of this research is to substantiate the influence of the ancient Greek Satyr play (drama) on the formation of the system of artistic images in the work of the Ukrainian artist Boris Mikhailov (born August 25, 1938, Kharkiv) and to identify the forms of mimesis used by the artist in his artistic activities from a historical perspective. The methods of historical-cultural and comparative analysis, along with hermeneutics, made it possible to identify and interpret selected works of B. Mikhailov, considering certain provisions of The Poetics by Aristotle (384–322 B.C.E.). Elements of the ancient Satyr play are evident in numerous works by B. Mikhailov. The artist, his relatives, friends, and others appear in photographic series, exhibitions, and publishing projects as characters engaged in playful activities.
Mimic play involving unusual clothing, imitations of Dionysus (Bacchus), Silenos, Satyrs, Pan, and other mythological figures is a significant form of play activity in Mikhailov's work.
Ancient Greek mythological, Christianized religious, and everyday motifs in the artist’s work are imbued with ambivalent grotesque-carnival laughter. This research clarifies the typology of artistic genres in the works of B. Mikhailov and his collaborators. Social dramas (or comedies, in the ancient definition) by B. Mikhailov imitate ritual plays of antiquity, where the artist creates parody doubles of symbols from world culture. ‘The Social Play’ by B. Mikhailov–encompassing satirical social dramas and everyday mimic plays–has been produced using photographic material. The artist focuses on the existential challenges of the Post-Soviet individual in the 1990 s and 2000 s. He poses a philosophical question: can humans overcome their fear of the world (external circumstances and the transcendent)?
Mikhailov's «phallic songs» and «dancing» reference fertility festivals, while his «wedding songs» oscillate between chaste «girlish laughter» regret, crying, and «funeral songs». The results of this research expand our understanding of the forms of mimesis and the system of images in Mikhailov's play activities. These insights contribute to the scholarly exploration of play as a critical aspect of artistic creativity.