48. Petro Horbenko (1897-?)
Revoliutsiinyi lial'kovyi teatr
(Revolutionary Puppet Theater)
Kyiv, 1924.
This book was designed by students of the Kyiv Institute of Plastic Arts under the guidance of Sofiia Nalepins'ka-Boichuk. She, along with her husband, Mykhailo Boichuk, was a member of the Association of Revolutionary Art of Ukraine which was dissolved by Soviet authorities in 1932 for it its “nationalist tendencies and formalism.”
Gift of the Harvard Ukrainian Research Institute, October 1978.
49. Vasyl Verkhovynets' (pseudonym of Vasyl' Kostiv, 1880-1938)
Teoriia narodnoho ukrains'koho tanka
(Theory of the Ukrainian Folk Dance)
Poltava, 1920.
Verkhovynets' (1880-1938) chaired the Department of Fine Art at the Poltava Institute of People's Education from 1919 to 1932. He is the author of the first Ukrainian ethnochoreographic textbooks, including Ukrains'ki narodni tantsi (Ukrainian Folk Dances, 1913), and Teoriia narodnoho ukrains'koho tanka (1919). Prysidy are performed by male dancers. The dance step involves kicks done from a squatting position.
Gift of the Harvard Ukrainian Research Institute, October 1978.
50. Anatol' Petryts'kyi (1895-1964)
Teatral'ni stroi
(Theater Costumes)
Kharkiv, 1929.
Petryts'kyi (1895-1964) worked as a stage designer for Ukrainian operatic and drama theaters in Kharkiv, Kyiv, and Odesa. His work was influenced by cubism and futurism, as well as Ukrainian popular print and ornamentation. For example, in Ostap Vyshnia's Vii, directed by Hnat Iura in Kharkiv in 1924, he united screens with stylized costumes.
Bohdan Krawciw Fund, 1979-80. Courtesy of the Harvard Theatre Collection.
51. Volodymyr Vynnychenko (1880-1951)
Velykyi sekret
(The Great Secret)
Kharkiv, 1928.
Vynnychenko (1880-1951) was both a statesman and a writer. He turned to drama in order to postulate solutions to various social and moral problems. In the 20 plays that he wrote, Vynnychenko would examine the consistency of human behavior with the then accepted morality, especially the morality of the “new revolutionary man.”
Gift of the Harvard Ukrainian Research Institute, October 1978.
52. Mykola Kulish (1892-1937?)
97
Kharkiv, 1929 (3rd edition)
Kulish (1892-1937?) wrote 13 plays, 6 of which were published during his lifetime. His first play 97 (1924), a portrayal of peasant life after the Revolution, was well received. In 1934, Soviet authorities condemned his plays as nationalist and harmful.
Gift of the Harvard Ukrainian Research Institute, October 1978.
53. Photographs of the Teatr Berezil'.
a. Fernand Crommelynck (1885-1970)
Zolote cherevo (Tripes d'or, or Gold in the Guts)
Directed by Les' Kurbas (1887-1942?) and stage designed by Vadym Meller (1884-1962) in Kharkiv, 1926.
b. Mykola Kulish (1892-1937?)
97
Directed by Leontii Dubovyk (1902-1952) in Kharkiv, 1930.
Berezil' was established in Kyiv in 1922 by Les' Kurbas (1887-1942?), an avant-garde director who believed that theater shapes rather than reflects life. The theater moved to Kharkiv in 1926. Plays continued to be staged there until Kurbas's arrest for “nationalism” in 1933. Dubovyk joined the Berezil' theater company in 1925; Meller, a leader of modernist constructivism in Ukrainian theater design, stage designed plays for Berezil' from 1922 to 1934, including the Belgian playwright Crommelynck's farce about avarice and greed.
Dana Collection, Russian Theatre Series. Courtesy of the Harvard Theatre Collection.
54. Iaroslav Iaroslavenko (1880-1958)
Ukrains'ki marshi na fortepian. “Tym, shcho liahly holovamy: zhalibnyi marsh”
(Ukrainian Marches for the Piano. “For Those Who Gave Their Lives: Mournful March”)
L'viv: Torban, n.d.
Iaroslavenko (1880-1958) helped organize the music publishing house Torban, which he directed for more than thirty years. In addition to his pieces for piano, he composed an opera, operettas, choral works, solo songs, and church music. Graphic artist and painter Leopold Levyts'kyi (1906-1973), whose early work was influenced by cubism and expressionism, designed the cover exhibited here.
Gift of the Harvard Ukrainian Research Institute, 1974. Ukrainian Sheet Music. Courtesy of the Harvard Theatre Collection.
55. Nova generatsiia
(New Generation)
Kharkiv, 1927-30.
Monthly journal published in Kharkiv under the directorship of Mykhailo Semenko. The unique organ of the Ukrainian futurists, it was equally important for its literature and for its graphics. The journal includes contributions by Mykola Srkypnyk, Kazimir Malevich, Vasyl' Iermilov, and Pavlo Kovzhun, et al.
Gift of Dr. Ihor Galarnyk, December 1976.