Berezil Art Association – Berezil Theater in Archival and Museum Collections of Ukraine (to the 100th Anniversary of Its Creation)
Notice bibliographique
Résumé
The aim of the work is to consider a wide range of archival documents related to the peculiarities of the unique theatrical ensemble of the Berezil Art Association – Berezil Theater and its founder – the outstanding director, theater reformer Lesya Kurbas. Research methodology. Methods of socio-cultural, cultural-historical and systemic approaches were used in the development of the issue. Historical, source, phenomenological and analytical methods were also used. The culturological approach made it possible to study the activities of the Berezil Art Association – Berezil Theater as a culturological phenomenon. Scientifi c novelty. For the fi rst time, a comprehensive review of the documentary heritage of the Berezil Art Association – Berezil Theater in the archival and museum collections of Ukraine. The volume of collections of the Museum of Theater, Music and Cinematography of Ukraine, the scientifi c archive of the MT Rylsky Institute of Art History, Folklore and Ethnology of the National Academy of Sciences of Ukraine, the Central State Archive-Museum of Literature and Art of Ukraine , archival repositories of Kharkiv, private collections, etc. Conclusions. The publication emphasizes the specifi cs of the source study of theatrical creativity, as well as the signifi cant potential of national archives and museums in the study of an exceptional phenomenon of Ukrainian culture – the Berezil Art Association – Berezil Theater. Prospects for further research. A full-fl edged reproduction of all the circumstances of the Berezil Art Association – Berezil Theater is impossible without examining a large set of iconographic materials, which includes programs and posters of performances, sketches of costumes and decorations, models for performances and more. At the same time, a comprehensive review of the theatrical and organizational activities of the Berezil Art Association – Berezil Theater will not be complete without taking into account administrative and economic documents, as well as documents on investigative cases of actors, directors and other employees of the theater. References: Bertelsen, O. (2016). Les Kurbas i teatr «Berezil». Arkhivni dokumenty (1927–1988) [Les Kurbas and the Berezil Theater. Archival documents (1927–1988)] (Vol. 2). Kyiv: Smoloskyp. [in Ukrainian]. Cherkashyn, R. & Fomina, Yu. (2008). My – bereziltsi. Teatralni spohady-rozdumy [We are bereziltsi. Theatrical memories-reflections](V. Sobiianskyi, Comp.; N. Yermakova, Foreword). Kharkiv: AKTA. [in Ukrainian]. Gale, M. B. & Featherstone, A. (2011). The Imperative of the Archive: Creative Archive Research / Research Methods in Theatre and Performance(Baz Kershaw and Helen Nicholson, Ed.) (p. 18). Edinburgh: Edinburgh University Press Ltd. [in English]. https://doi.org/10.1515/9780748646081-004 Hordieiev, S. (2000). Osobysta biblioteka Lesia Kurbasa [Lesya Kurbas's personal library]. In Z knyzhkovoi kolektsii Lesia Kurbasa: kataloh. [in Ukrainian]. Hrabar, N. (2015). Materialy pro teatr «Berezil» z kolektsii Iryny Steshenko u fondakh MVDUK [Materials about the Berezil Theater from Iryna Steshenko’s collection in the Ministry of Internal Affairs fonds]. In N. Hrabar, O. Hural, O. Mokanu (Comps.), X naukovyi seminar «Rol vyznachnykh osobystostei – myttsiv, diiachiv nauky ta kultury u protsesi formuvannia natsionalnoi samosvidomosti naprykintsi ХІХ – na pochatku ХХ st.», pryurochenyi do dnia narodzhennia Mykhaila Petrovycha Starytskoho: materialy (pp. 35–46). Kyiv. [in Ukrainian]. Ivanova, N. (2017). Kharkivskyi Derzhavnyi Ukrainskyi Akademichnyi Dramatychnyi Teatr imeni T. H. Shevchenka» (za materialamy zbirky KhIM imeni M. F. Sumtsova) [Taras Shevchenko Kharkiv State Ukrainian Academic Drama Theater (based on collection materials named after M. F. Sumtsov]. Abstract of papers ’17: Dvadtsiat treti Sumtsovski chytannia: zbirnyk materialiv Vseukrainskoi naukovoi konferentsii «Muzei u hlobalnomu sviti: innovatsii ta zberezhennia tradytsii», prysviachenoi 100-richchiu podii Ukrainskoi revoliutsii 1917–1921 rokiv (pp. 170–177). Kharkiv: Maidan. [in Ukrainian]. Labinskyi, M. (2001). Les Kurbas. Filosofiia teatru [Les Kurbas. Philosophy of a theater] (pp. 47–66). Kyiv: Vydavnytstovo Solomii Pavlychko «Osnovy». [in Ukrainian]. Melnyk, T. (2010). Pohliad na stsenohrafichnu spadschynu Vadyma Mellera (Pamiatky iz zibrannia Derzhavnoho muzeiu teatralnoho, muzychnoho ta kinomystetstva Ukrainy). [A look at Vadim Meller’s scenography heritage (Artifacts from the State Museum of Theater, Music and Cinematography of Ukraine collection)]. Prostsenium, 1–3(25–26), 14–25. [in Ukrainian]. Revutskyi, V. & Zinkevych, O. (1989). Les Kurbas u teatralnii diialnosti, v otsinkakh suchasnykiv: dokumenty [Les Kurbas in theatrical activities, in the assessments of contemporaries: documents]. Baltymor; Toronto: Smoloskyp. [in Ukrainian]. Sapolkina, A. (2018). Fundatory Ukrainskoho teatralnoho muzeiu [Founders of the Ukrainian Theater Museum]. Richnyk MTMK Ukrainy: zbirnyk naukovykh statei, 2, 7–10. [in Ukrainian]. Skrypnyk,A. & Dovzhenok, H. V. (2005). Putivnyk po osobovykh fondakh Arkhivnykh naukovykh fondiv rukopysiv ta fonozapysiv Instytutu mystetstvoznavstva, folklorystyky ta etnolohii imeni M. Rylskoho [Guide to the personal fonds of the Archival Scientific Fonds of Manuscripts and Phonographs at the M. Rylsky Institute of Art History, Folklore and Ethnology]. Kyiv. [in Ukrainian]. Tsymbal, (2012). Rarytetni eksponaty Kharkivskoho literaturnoho muzeiu do yuvileiu Lesia Kurbasa [Rare exhibits of the Kharkiv Literary Museum dedicated to Les Kurbas’ anniversary]. Abstract of Papers ’12: Les Kurbas v konteksti svitovoi ta vitchyznianoi kultury. Materialy mizhnarodnoi naukovoi konferentsii do 125-richchia vid dnia narodzhennia Lesia Kurbasa (pp. 196–201). Kharkiv. [in Ukrainian]. Vaschenko, N. (2004; 2005; 2006). Frahmenty spohadiv pro Kurbasa [Excerpts from memoirs about Kurbas]. Teatralna besida, 2, 35–39; 1, 43–46; 2, 37–43. [in Ukrainian].
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Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,001 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,000 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».