The phenomenon of the artist's self-realization

Galyna  POGREBNІAK; Vladyslava  НRANOVSKA

doi:10.51209/platform.1.11.2025.284-316

Galyna POGREBNІAK Kyiv Municipal Academy of Circus and Performing Arts
Vladyslava НRANOVSKA State Art Lyceum named after T. G. Shevche

DOI: https://doi.org/10.51209/platform.1.11.2025.284-316

Keywords: self-realization, culture, fine arts, painter, graphics, screen arts, theater, stage, director, television, musical art, opera, composer, biographicalism, creative personality

Abstract

The article raises the problem of self-realization of the artist in various spheres of artistic activity. The definition of the concept of “self-realization” is clarified. The scientific works of domestic and foreign scientists who study the problems of self-realization of artists in theater, cinema, television, problems of adaptation of artistic works, problems of functioning of musical theaters, problems of directing and screen adaptation of opera are analyzed. The goal is to determine the specifics of the artist's self-realization in various spheres of artistic activity and to identify the features of the director's and artist's means in the presentation of opera and dramatic performances in theatrical and screen arts. A historical excursion is made and the self-realization of artists in the sphere of culture in different eras is shown. The work of the outstanding artist and architect Franco Zeffirelli became an example of the comprehensive realization of the artist in theater, cinema and television. The influence of the outstanding master of stage and screen, representative of Italian neorealism L. Visconti on F. Zeffirelli's work is shown. It is found out that under the guidance of L. Visconti, the architect and artist F. Zeffirelli mastered the main cinematographic professions, especially the director's specialty. The importance of W. Shakespeare's work in F. Zeffirelli's creative life is outlined. The master's theatrical and cinematic works based on W. Shakespeare's works are analyzed and the specifics of their visual culture are substantiated. The features of the master's scenography and the specifics of his work with actors and opera singers, composers are revealed. The most prestigious opera houses and opera singers with whom F. Zeffirelli worked are shown. The specifics of the directorial means used by the master are revealed, the essence of the main elements of the artist's author's language is revealed. The specifics of F. Zeffirelli's creative style are determined. The main opera performances, performances in drama theaters, and screen works of F. Zeffirelli are analyzed, in which his powerful talent as an artist and director was revealed. The features of the artist's work on television in the film adaptation of opera performances are shown. The phenomenon of biographicalism in the artist's work is revealed through the analysis of his works on stage and screen. The phenomenon of beauty in the master's artistic work is investigated. In studying the phenomenon of the artist's self-realization in modern culture, a comprehensive methodological approach was applied, in particular, culturological and art history approaches, the method of analysis and synthesis, the method of systematization and generalization, the method of comparison, the comparative and biographical method were used. The results of the study expand the arsenal of knowledge regarding the specifics of the artist's self-realization in various spheres of cultural and artistic activity.

References

1. Afonina, O. (2025). Muzychno-teatralni vystavy v paradoksakh i refleksiiakh [Musical and theatrical performances in paradoxes and reflections]: monohrafiia. Sumy: FOP Tsoma S.P. [in Ukrainian].
2. Bordwell, D. ( 1979). The Art Cinema as a Mode of Film Practice. Film Criticism. 4, 1, Film Theory (Fall 1979), 56-64 [in English].
3. Brovko, M., Shutov, O. (1997). Aktyvnist mystetstva i problema vzaiemodii khudozhnoho ta sotsialnoho prohresu [The activity of art and the problem of the interaction of artistic and social progress]. Aktualni filosofski ta kulturolohichni problemy suchasnosti: Zb. nauk. prats. 3-15 [in Ukrainian].
4. Donadio, R. (2009). Maestro Still Runs the Show, Grandly. Available at: https://surl.li/ltsdgm [in English].
5. Fawkes, R. (2000). Opera on Film. London: Duckworth. 185-186 [in English].
6. Horevalov, S., Desiatnyk, H. (2014). Vstup do spetsialnosti kino-, telemystetstvo [Introduction to the specialty of film and television art]: navch. pos. Kyiv: KNU [in Ukrainian].
7. Izvarina, O. (2018). Operna rezhysura v ukrainskomu opernomu teatri 20-kh rokiv ХХ stolittia [Opera directing in the Ukrainian opera theater of the 20s of the 20th century]. Muzychne mystetstvo v osvitnomu dyskursi. 3, 66-70 [in Ukrainian].
8. Maddaus, G.(2024). Judge Again Dismisses ‘Romeo and Juliet’ Lawsuit Over Underage Nude Scene. Available at: https://surl.lu/nqdalz [in English].
9. Musiienko, O. (1995). “Nova khvylia” u frantsuzkomu kinematohrafi: dzherela, teoretychnyi grunt, maistry [“New Wave” in French Cinema: Sources, Theoretical Ground, Masters]. Kyiv: Mystetstvo [in Ukrainian].
10. Musiienko, O. (2016). Lukino Viskonti: trahediia estetyzmu [Luchino Visconti: The Tragedy of Aestheticism]. Naukovyi visnyk Kyivskoho natsionalnoho universytetu teatru, kino i telebachennia imeni I. K. Karpenka-Karoho. 19, 90-91 [in Ukrainian].
11. Pohrebniak, H. (2016). Avtorske kino yak vidobrazhennia dukhovnoho vidrodzhennia natsii [Author's cinema as a reflection of the spiritual revival of the nation]. Naukovyi visnyk Kyivskoho natsionalnoho universytetu teatru, kino i telebachennia imeni I. K. Karpenka-Karoho. 19, 106-113. [in Ukrainian].
12. Pohrebniak, H. (2017). Kino, telebachennia i radio v stsenichnomu mystetstvi [Cinema, television and radio in the performing arts]. Kyiv, NAKKKiM [in Ukrainian].
13. Pohrebniak, H. (2020). Avtorskyi kinematohraf u kulturnomu prostori druhoi polovyny ХХ – pochatku ХХI stolittia [Author's cinema in the cultural space of the second half of the 20th – early 21st century]. Kyiv: NAKKKiM [in Ukrainian].
14. Pohrebniak, H. (2021). Avtorskyi kinematohraf u khudozhnii kulturi druhoi polovyny ХХ – pochatku ХХІ stolittia [Author's cinema in the artistic culture of the second half of the 20th – beginning of the 21st century]. Avtoreferat dysertatsii na zdobuttia naukovoho stupenia doktora mystetstvoznavstva: 26.00.01 – Teoriia ta istoriia kultury. Kyiv: NAKKKiM [in Ukrainian].
15. Pohrebniak, H. (2023). Stsena yak obshyr mystetskykh rozvidok rezhysera-avtora. Chastyna 4. Lukino Viskonti: teatralni praktyky kinorezhysera [The stage as an expanse of artistic explorations of the director-author]. Mystetstvoznavchi zapysky. 44б 174-181 [in Ukrainian].
16. Svyato, R. (2010). Artists and their art in world cinema: possible forms of interaction. Cinema-Theater. 5. Available at: https://surl.li/kqaggn [in Ukrainian].
17. Solovianenko, A. (2010). Stanovlennia natsionalnykh form opernoi rezhysury. K syntezu teatralnykh tradytsii: kyivska stsena [The formation of national forms of opera directing. Towards a synthesis of theatrical traditions: the Kyiv stage] Kultura i suchasnist. 2, 177-181 [in Ukrainian].
18. Stanislavska, K. (2009). Opera na ekrani: estetychni osoblyvosti stvorennia ta spryimannia [Opera on the Screen: Aesthetic Peculiarities of Creation and Perception]. Visnyk Derzhavnoi akademii kerivnykh kadriv kultury i mystetstv. 4, 67-72 [in Ukrainian].
19. Russano, H. B., Weinstock, H. (2025). Оpera. Available at: https://surli.cc/byexyi [in English].
20. Sadul, G. (1955). Histoire de lʾart du cinema. Des origins a nos jours [History of cinema]. Paris: Flammarion [in French].
21. Schmadel, L. (2003). Dictionary of Minor Planet Names. Springer Science & Business Media [in English].
22. Vecchi, G. G. (2007). Zeffirelli: Silvio ti supplico. Meglio le vecchie barzellette [Zeffirelli: Silvio, please. Old jokes are better]. Available at: https://surli.cc/kwjtbc [in Italian].
23. Vovkun, V. (2020). Tendentsii suchasnoi rezhysury v opernomu mystetstvi Ukrainy [Trends in contemporary directing in the operatic art of Ukraine]. Mystetstvoznavchi zapysky. 37, 207-211 [in Ukrainian].
24. Wood, M. (2021). Delivering the Quality Experience: Franco Zeffirelli]. Available at: https://surli.cc/usbazi [in English].
25. Zeffirelli, F. (2006). Autobiografia [Autobiography]. Milano: Mondadori [in Italian].
26. Zhukova, N. (2010). Elitarnist yak komponent kulturotvorennia: dosvid neklasychnoi estetyky [Elitism as a component of cultural formation: the experience of non-classical aesthetics]. Kyiv: PARAPAN [in Ukrainian].
27. Zhuravlova, T. (2019). Opera “Natalka Poltavka” Mykoly Lysenka na ukrainskomu ekrani: osnovni problemy interpretatsii [The opera “Natalka Poltavka” by Mykola Lysenko on the Ukrainian screen: main problems of interpretation]. Ukrainske mystetstvoznavstvo: materialy, doslidzhennia, retsenzii. 5, 157-164 [in Ukrainian].
28. Zhuravlova, T. (2020). Ekranni interpretatsii opernoi klasyky [Screen interpretations of opera classics]. Chasopys Natsionalnoi muzychnoi akademii Ukrainy im. P. I. Chaikovskoho. 2-3 (47-48), 37-50 [in Ukrainian].
29. Zubavina, I. (2009). Khudozhnie modeliuvannia chasoprostoru u kinematohrafi yak semantyko-estetychnyi poshuk [Artistic modeling of space-time in cinema as a semantic and aesthetic search]. Naukovyi visnyk Kyivskoho natsionalnoho universytetu teatru, kino i telebachennia imeni I. K. Karpenka-Karoho. 4-5, 224-239 [in Ukrainian].
30. Zubavina, I. (2016). Onovlennia smyslovoi matrytsi yevropotsentrychnoi kultury ХХ-ХХI st. Dosvid ekrannoho “prochytannia” [Updating the semantic matrix of Eurocentric culture of the 20th-21st centuries. The experience of screen “reading”]. Naukovyi Visnyk Kyivskoho natsionalnoho universytetu teatru, kino i telebachennia imeni I. K. Karpenka-Karoho. 19, 98-105 [in Ukrainian].