At the ways of becoming a stage director : Mykhaylo Verhatsky and the theatrical school of Kharkiv (1925–1935).
Objects and novelty of the article. This article is the attempt for the first time to explore the features and the stages of professional evolution of famous director, teacher and theater critic M. Verkhatsky in the Kharkov period: in the Kharkiv Music and Drama Institute in 1925–1933, “Berezil” theatre (1929–1933) and Kharkiv Music and Theater College (1933–1935). At the same time, the features of educational process in Kharkiv Music and Drama Institute of the second half of the 1920‑s and the first half of the 1930‑s are focused here, in particular, the influence of Les` Kurbas and his students on the formation of theatre education in Kharkiv. Research methodology based on historical and comparing methods, which allow to research features of M. Verkhatsky’ artistic formation in Kharkiv period of his life (1925–1935). Òîpicality of the research. Mikhail Verkhatsky is one of the prominent figures in the history of the Ukrainian theater of the twentieth century: a director, historian and theoretician of the theater, a theater teacher. However, the Kharkiv period of his studies and creativity (1925–1935) remains completely unexplored. Although, during this time, the artist studied at the Kharkiv Music and Drama Institute (1925–1930, 1930–1933) worked and perfected in the theater “Berezil” (1929–1933), was artistic director of the Kharkov theater of young spectator (1932–1933), taught and headed the KharkivMusic and Theater College (1933–1935). Consequently, the relevance of the study is due to the need to reveal and characterize the main areas of creative and pedagogical activity of M. Verkhatsky in the Kharkiv period, which was decisive in the choice of further professional guidelines. Results. During his studies at the institute, M. Verkhatsky studied the following disciplines: directing, actor education, actor’s art, biomechanics, mimodrama, revruh, dance, voice, make‑up, stage design, psychophysiology, drama, the history of the theater, the history of arts, artistic reading, listening to music, German language, phonetics, specialty hygiene, political economy, historical materialism. The theater “Berezil”, which moved to Kharkiv in 1926, participated in many pedagogical work ; G. Ignatovich (Dean in 1929–1934), B. Tyagnon, V. Meller, V. Vasilko, L. Gakkebusch, L. Dubovik, D. Vlasyuk, M. Krushelnytsky and others made a special contribution to the development of the Musical and Drama Institute. M. Verkhatsky enjoys performances of “Berezil”; at the same time, the upbringing of his artistic taste begins, his ideas about the tasks of theatrical art, which will help him later to become a member of the theater, takes forme. In the theater “Berezil” the artist studied with B. Balaban, V. Voronov, L. Dubovik and V. Sklyarenko. Among the innovations in the institute is the O. Biletsky’s seminar on the history of theater and the practical lessons with L. Kurbas.We also learn about the creation of a research laboratory, the functions of which were implemented in four sections: the study of the viewer (Prof. Chuchmaryov), the socialist education (Svetich), the artistic collective reading (D. Grudyna), as well as the section which was called “Philosophy, sociologics” (Kruchinin). Obviously, the opportunity to be a participant in the dramatic process of “Berezil”, to communicate with talented artists, and especially with Kurbas, could not but affect to the personality of M. Verkhatsky and his subsequent destiny. With regard to training, there was almost no time for him, and this fact could not be ignored by his teachers as evidenced by one of the protocols of the institute. However, the interest of the artist in pedagogy involves attempts to move forward in this sense, and it is for this purpose that, apparently, M. Verhatsky after graduating from the Institute in 1930, continued his studies and entered the postgraduate study at the Kharkiv Music and Drama Institute (1930–1933). M. Verkhats’kyi did not limit himself to pedagogical work, and in the theater season of 1932–1933 he headed the Kharkiv Theater of Young spectators, and at the same time he worked as a director of the “Merry Proletarian” Theater – the fact that is the characteristic feature of the “Berezil” school. As both the “Merry Proletarian” and the Kharkiv Theater of Young spectators are essentially the product of the “Berezil”, it is not surprising that such a person as M. Verhatsky continues creative work in these theaters. After the arrest of Kurbas, according to M. Verkhatsky, he left the theater “Berezil” on his own accord, but continued to teach at the Theater Technical School, and stayed in Kharkiv until 1935, when he was appointed artistic director of the Dnipropetrovsk Mobile Theater of the Ukrainian drama, where he worked within one year. Conclusions. Kharkiv Music and Drama Institute and Kharkiv period of “Berezil” have had large influence on the evolution of M. Verkhatsky – a stage director and a teacher. Moreover, his Kharkiv period become determinative for choise of his professional and artistic markers, which he was faithful for all life. Improvement pedagogical talent M. Verkhatsky takes place outside of Ukraine. He had to live in Uzbekistan in 1936–1952. The fact that M. Verkhatsky was one of initiators of creating Tashkent Theater Institute, and became its firstrector, speaks for itself. Researching of the professional evolution M. Verkhatsky in Kharkiv Music and Drama Institute, “Berezil” theatre and other theater and educational institutions of Kharkov in the period between second half of the 1920’s and the first half of the 1930’s is of great significance for historians of the Ukrainian theater as a whole, including researchers of Ukrainian theater education.