THEATRICAL AND PEDAGOGICAL PRINCIPLES OF V. I. TSVIETKOV IN THE FORMATION OF THE UKRAINIAN ACTOR AND DIRECTOR

Vsevolod Ivanovych Tsvietkov (1918–2011) belongs to the famous artists of Kharkiv region. His name is associated with an extremely fruitful period in the activities of the leading theatres and theatre universities, in particular, O. S. Pushkin Kharkiv Drama Theatre, Kharkiv Institute of Arts (now – I. P. Kotlyarevsky Kharkiv National University of Arts) and Kharkiv State Academy of Culture. V. I. Tsvietkov’s acting, directing and pedagogical activity dates back to 1937–2005, he acted as a teacher in the 1960s. The background of V. I. Tsvietkov’s pedagogical principles was, first of all, his own creative experience gained during acting and directing, theoretical and practical achievements of outstanding masters from the school of psychological theatre (K. Stanislavsky, V. Petrov, A. Kramov, F. Shishigin, G. Tovstonohov). In the critical heritage dedicated to V. Tsvietkov, the problems of the stage originality and pedagogical creativity based on the specifics of his directorial views, are revealed only fragmentary (Sedunova, 2005; Kolchanova, 2015; Botunova, 2017). The stage and pedagogical activity of the artist has not yet become the subject of in-depth scientific research, so this article is the first attempt in this direction. The author of the article sets the purpose to systematize, generalize, supplement and expand information about the work of V. Tsvietkov and his principles of educating acting and directing youth, with the aim to reproduce his image of an actor, musician, director, and theatre teacher, addressing, first of all, to personal archival materials and previous works. V. Tsvietkov’s scenic searches are rooted in the creative discoveries of outstanding masters of Ukrainian and foreign theatre of the XX and the beginning of the XXI century, his “personal” page of aesthetic, professional, methodological research in the field of acting and directing, which are organically continued in theatrical pedagogy. The main part of the article examines the stages of formation and creative activity of V. Tsvietkov as an actor, director and theatre teacher. Summed up, that V. Tsvietkov, a talented director who was long seeking his way in directing theatre and cinema, methods of upbringing the actor, and finally found it, basing on the pedagogical discoveries of K. S. Stanislavsky, staged 80 plays, brought up a whole galaxy of Ukrainian actors, directors, theatre teachers, who nowadays successfully work in national theatres and abroad. Based on the analysis of the creative and pedagogical work of V. Tsvietkov, his contribution to the formation and development of the Ukrainian theatre school is determined. The artist successfully embodied the traditions of K. Stanislavsky and heuristic discoveries in the psychology of creativity in his directing and pedagogical method. Not least important for V. Tsvietkov’s creative method was the experience of joint pedagogical work with the luminaries of the Ukrainian theatre, who passed the school of Les Kurbas on educating a “synthetic actor”. V. Tsvietkov’s multifaceted scenic and pedagogical activity, which unfolded in 1937–2005, significantly expanded creative possibilities of acting and directing, and became an integral part of domestic theatrical culture.