Ідеться про творчість Миколи Гоголя в репертуарі театру корифеїв (80- ті й пізніші роки ХІХ ст.). Зародження його базувалося на існуючих тоді двох- трьох п"єсах українських авторів: "Наталка Полтавка", "Назар Стодоля" і "Запорожець за Дунаєм". Для розширення свого репертуару корифеї – Іван Карпенко-Карий, Марко Кропивницький, Михайло Старицький та ін. – почали інсценізувати поетичні та прозові твори українських авторів. Найчастіше – Тараса Шевченка, а згодом і Миколи Гоголя. Автор розкриває особливості гоголівських сюжетів, які лягли в основу театрального репертуару корифеїв. Зосереджено увагу на специфіці драматичної творчості, на цензурних утисках української тематики в театральних виставах та художніх особливостях гоголівських творів. Ідеться переважно про інсценізацію повістей із циклу "Вечорів на хуторі біля Диканьки", а також "Миргорода", в якому вперше була опублікована історична повість М. Гоголя "Тарас Бульба".
The article considers the genre features of M. Kropyvnytsky"s plays, clarifiesthe specifics of the form and content of comedy and tragicomedy, and attempts to distinguish them by genre in the context of the playwright"s creative work. Based on the analysis of specific texts, the peculiarities of the re prese&ntation of poetic features and genre principles of comedy and tragi comedy are traced, the consistency of creative searches within the genr e-style forms of dramatic works by M. Kropyvnytsky and J.-B. Moliere. T&o understand the works of Ukrainian playwr ights of the XIX century, the most acceptable and appropriate is the side of the nature of the comedy genre, which was considered by a famous re searcher from the United States E. Bentl&ey. Story situations related to adulte ry (this French word means adultery) were not common in Ukrainian drama. Only the outward rese mblance to their schemes can be seen in the comedic structure of I. Kotlyarevsky "s "The S&oldier Magician." Family and household motives of this type ("unequal" or forced marriage, dissatisfaction with married life, the emergence of a new love, etc.) become in Western European drama the basis of rather ambiguous plo&ts. An alyzing them, E. Be ntley proposes "the definition of comedic dialect ic" as "the contrast between frivolous manner and gloomy content." More specifically: "The tone of the comedy seems to say: life is fun. &And the semitone makes it clear that life is a catastrophe". It should be added that the features of the tragicomedy genre ar e formed in such a way that the scientist dedicates a special section in the quoted boo k to it. In parti&cular, he dwells on two types of genre: the first – "tragedy w ith a happy ending" and the second – "comedy with an unhappy ending". It is the works of J.-B. Moliere (in particular "Misanthrope") refers to E. Bentley,& when he thinks about the common in comedy and tragedy, in particular about the feelings th at do not necessarily differ from the feelings expressed by the tragedy, rather different way not direct, veiled – their& manifestation. means suffering. "It is important that in the comedy "everything that looks happy is ironic" and that "Moliere gives this irony a special sharpness." Detailed artistic elaboration of social and ev eryday motives&, themes of adultery, moral degradation and their variants and emotional manifestat ions is the plot of the comedy J.-B. Moliere"s "Georges Danden, or the Deceived Man." A similar thing happens in the reworking & of this work, which was carri ed out by M. Kropyvnytsky, giving his version the name "At least from the bridge into the water with my head down" (1909), for which he used the last words of the play by J.-B. Moli ere. I&
