Порівняння творчості всесвітньо відомих архітектора та сценографа Ф. Кізлера і сценографа і архітектора Є. Лисика

Abstract

За результатами дослідження творчої спадщини всесвітньовідомих архітектора і сценографа Ф. Кізлера та сценографа і архітектора Є. Лисика були виявлені деякі спільні риси в творенні ними архітектури і сценографії. Головною з яких виявилося бажання митців надавати своїм формальним творам архітектурно-сценографічного мистецтва якостей безмежності в часі і просторі.The end of the XIX and XX centuries, among other things, in architecture, design, scenography, was marked by the unique work of two famous artists: F. Kiesler, who was born on September 22, 1890, in Chernivtsi and E. Lysyk, who was born on September 21, 1930, in the Shnyriv village near Brody. Their birth, life, and creative heritage showed and proved that the era of great theatre artists of a universal type, who synthesized architects, painters, sculptors, and decorators, among whom K. F. Shynkel was a leader, didn't end yet. Both Kiesler and Lysyk showed that such creativity not only did not end but thanks to their activities it was revived, developed and acquired their features. Having started his artistic career in the theatre with spiral, spatial, collapsible scenes, “infinite” and “boundless” spherical theatres, F. Kiesler designed and implemented many scenographic solutions for the performances of Karel Chapek's “R.U.R.”, “In the Pasha's Garden” at the Metropolitan Opera, New York, “No Exit” and “The Soldier's Stories”, in which he used mechanical devices for scenographic solutions, elevators in the stage space, plasticizing ideas, and fountains. Later, F. Kiesler put forward the idea of a theatre complex, which, in addition to halls and stages, should have cinemas, TV studios, radio stations, publishing houses, recording studios, and exhibition spaces. Having created about 85 opera and ballet drama, film and concert performances, such as “Spartacus”, “War and peace”, “Romeo and Juliet”, “The Nutcracker”, “creation of the world”, etc. in 8 countries of the world, whose scenography he created according to the laws of architecture, E. Lysyk, a set designer, came to ideas close to the ideas of F. Kiesler. One of which he dreamed to implement in the proposed theatre, cultural and educational structure, the purpose of which is to accumulate, preserve, restore and demonstrate monumental works of scenographic theatrical art, as well as perform the function of a museum, exhibition, theatre studio, etc.