Бондарева, Олена Євгенівна (2023) Are our bad roads wrong? Курбасівські чітання (18). pp. 96-137. ISSN 1997-8642
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Abstract
Goal. To offer an interpretation of Natalka Vorozhbyt's play «Bad Roads» in terms of the modern theory of identity/identities in the context of Russia’s armed aggression against Ukraine and the cultural, educational and creative activities of this playwright. Research methodology. Concepts of identity, postcolonial studies, the concept of linguistic and cultural policy, J. Lacan’s hypothesis about a dynamically decentered subject. Scientific novelty. For the first time, the article summarizes the experience of the previous scientific, literary-critical and art critic reception of Natalka Vorozhbyt's controversial text «Bad Roads» in its dramaturgical, theatrical and cinematographic versions and offers its own concept of reading the play. Formulation of the problem. In artistic versions of Russian aggression against Ukraine, the optics of the story are always important. After all, we know that the Russians simultaneously create their extremely ideological cultural product with their own war narratives and confidently push this product to international consumers of cultural content, imposing a «fair» version of their aggression against Ukraine. Therefore, it is important for Ukrainian artists in creating an artistic meta-canvas of war not to mislead and not harm their country and the perception of Ukrainian resistance to aggression, especially in those countries whose support we count on, as well as in those to whom we still need to reach out. «Bad Roads» is a dramatic text in which, in my opinion, Natalka Vorozhbyt, exploiting the theme of war, implemented exactly the criteria by which, in her opinion, the relevance of modern Ukrainian drama is determined: the basis for «hooligan, provocative, evil performances with a reaction on our reality», without depth and philosophy (Natalia Vorozhbyt, 2011). Let's consider together how these criteria and their practical implementation correspond to our understanding of the war and the messages that we want to convey to the world about the new Russian-Ukrainian war: this is an extremely relevant conversation in view of the numerous artistic translations of the text «Bad Roads», the colossal touring performance experience and thousands of viewings of the film based on this work outside of Ukraine. Conclusions. As we can see, «Bad Roads» is not a universal work of art that tells the «truth» about Russian aggression and the resistance of Ukrainians to this aggression, since even in the short-term perspective, the author’s vision of this text underwent transformations and reinterpretations. Rather, it is a text about the author’s own fears, the most important of which for her was the fear of slipping into «hoorah-patriotism», which marked everything that in dramaturgy is mentally alien from the standpoint of the Russian «new drama».
Item Type: | Article |
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Uncontrolled Keywords: | war; identity; Other; own/others; collaboration in culture; tolerance; resistance |
Subjects: | Це архівна тематика Київського університету імені Бориса Грінченка > Статті у журналах > Збірники наукових праць |
Divisions: | Це архівні підрозділи Київського університету імені Бориса Грінченка > Факультет української філології, культури і мистецтва > Кафедра української літератури, компаративістики і грінченкознавства |
Depositing User: | Олена Бондарева Бондарева |
Date Deposited: | 16 Dec 2024 13:54 |
Last Modified: | 16 Dec 2024 14:01 |
URI: | https://elibrary.kubg.edu.ua/id/eprint/50633 |
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