Performance in Twentieth- and Twenty-First-Century Ukrainian Cultural and Art Space

The purpose of the study is to study the performance production cases in the context of cultural and artistic processes in Ukraine in the 20th and 21st centuries. Research methodology. The author has used topic scientific system analysis methods, analysis and synthesis, and generalization methods to determine the results. As a methodological guide on basics in research, the author has applied philosophical (dialectical), general theoretical and (epistemological, structural and functional), special (comparative legal, inductive) and intersectoral methods of scientific knowledge (historical, analytical), the use of which is determined by a systematic approach. Scientific novelty. Referring to illustrative examples from history and modern practice, the article provides the source research of traditions of Ukrainian performing art and current trends in the development of performances in Ukraine. Conclusions. Considering Ukraine’s analysis of the cultural and art space in the 20th and 21st centuries, it can be argued that theatre performance dominates in Ukraine. In addition to fine arts, it has absorbed the characteristic features of performing art, in particular, stage space and the presence of spectators. In their productions, directors like Les Kurbas staged provocative actions that correspond to the performance in terms of characteristics; the formative principles of performance are often traced in the steps of various experimental groups represented at many Ukrainian festivals. Considering the analysis of some Ukrainian performances can be claimed that the performance is developing very rapidly in the vast expanses of Ukraine. There is sufficient experience and practice, however, each time, there are different activities and a range of opportunities. Taking into account the manifestations of the last decade in the field of performance in Ukraine, it is clear that this phenomenon is progressing. It interests art historians and artists, including young people, giving hope for further activity and development. Ukrainian performance is gradually becoming competitive, comprehensive and more enjoyable, captivating with its profound simplicity, and claims its proper place in art studies research. Cultural features of the formation of performance in the space of Ukrainian culture are that despite censorship, financial limitations of the cultural sector and the closure of art institutions, performance was not only born, and it became able to give a new impetus to the world’s theatrical art. Specifics of the phenomenon consist in rethinking the value of culture, and overcoming the break in ties between the presently available people and their ethnocultural traditions.