Contribution of theatre composer Iryna Hubarenko to the performances of Oleksandr Biliatskyi (Kharkiv Theatre for Children and Youth)

The relevance of the study. The musical history of the First Kharkiv Theatre for Children, that began to take shape in 1920 and is associated with the names of prominent composers of that time. The music was written by graduates and composers of the Kharkiv Conservatory — Isaac Dunaievskyi, Lev Yampilskyi, Josip Schillenger, Borys Yanovskyi, Kostiantyn Bohuslavskyi and many others. The most recent period in the musical history of the Kharkiv Theater is associated with the work of Iryna Hubarenko, a composer genetically linked to the musical essence of the dramatic theatre. There is still no separate study of her contribution to theater performances. The purpose of the study is to clarify the role of I. Hubarenko as a composer-co-author of O. Biliatskyi in the dramatic performances of the evening repertoire of the Kharkiv Theatre for Children and Youth. The methodology of the study includes methods of analysis and synthesis, comparative, biographical method, method of reconstruction of the performance methods. The results of the study. A graduate of Kharkiv Institute of Arts, I. Hubarenko lived through a theatrical and musical dynasty: she was the daughter of the “Berezil” actors Roman Cherkashyn and Yuliia Fomina, the daughter of the famous Ukrainian composer Vitalii Hubarenko and Academician of the National Academy of Arts of Ukraine Maryna Cherkashyna-Hubarenko. Over the course of a quarter of a century, Iryna Vitaliivna, who has been serving the theatre, has written original music and selected works by other authors for nearly two dozen performances. She created melodies to the heights of powerful authorship, including many romances based on W. Shakespeare’s sonnets. Her uniqueness as a theatre composer meant that she immediately knew the exact genre key before the show. The most diverse music of Iryna Hubarenko sounded in the performances of Oleksandr Biliatskyi, who added significant respect to the sound design of the stage performance. “The Forest Song” by Lesia Ukrainka had an elegy-extravaganza that combined the light and dark lyricism with the fairy-tale atmosphere of the dramas of Lesia Ukrainka. In her musical interpretation of “Viy” by Marko Kropyvnytskyi, Iryna Hubarenko created a tragic farcical effect, skillfully combining comic and tragic moments. Folk melodies organically complemented the original music, adding color and reinforcing the cultural context of the festival, without disturbing the author’s style. In “A Midsummer Night’s Dream” by W. Shakespeare Iryna turned to romance, which functions as a leitmotif, reinforcing the force of dramatic tension. The artistic effect was achieved through the unity of the top and musical interpretation. The unique combination of text and music created a whole emotional essence of the show, and the melody acted as a leitmotif, uniting the loving, phantasmagorical and comical style of stage acting. In order to combine three genre layers — love drama, farcical scenes and metaphorical moments in the forest — Iryna Hubarenko developed a special approach to musical dramaturgy. Conclusions. Irina Hubarenko’s music organically interacted with the director’s idea of Oleksandr Biliatskyi, forming a “cut-through action” that supported the dramatic conflicts and emotional development of the characters. In this way, Hubarenko’s work demonstrates the synthetic function of music in dramatic theatre: it acts as a bearer of genre, symbolic and psychological meanings that bury the spirits of the world and protect the artist integrity.

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