UDC 792.034(477)
Ihor Matiushyn
Mariupol State University, Mariupol.
ORCID ID 0009-0008-2254-3045
DOI: https://doi.org/10.37627/2311-9489-28-2025-2.113-123
Keywords: Baroque, stage culture, adaptation, actualization.
Abstract.
This article examines the genesis and stage evolution of Yakub Havatovych’s interlude within the context of the formation of Ukrainian national theatrical culture. Special attention is given to the textological analysis of the work and to resolving the problem of attributing its title – “Klymko and Stetsko” (also known as “The Cat in the Sack”). The author demonstrates the absence of an original authorial title and reconstructs the mechanisms behind the emergence of the interlude’s dual designation in scholarly discourse.
The study clarifies the date of the premiere of the drama “Tragedy, or The Pattern of Death” (1619) and reveals a paradoxical discrepancy between the character roles declared by the author and their actual stage functioning. This is interpreted as a manifestation of the distinct nature of the Baroque interlude, which serves as a space of creative freedom, in contrast to the strict canon of spiritual drama.
The interlude’s status as an autonomous theatrical unit is substantiated, showing how it combines a European Renaissance form with national content, integrating everyday realism into the sacred space of drama. The concluding part of the work analyzes the reasons for the limited reception of the piece in the contemporary theatrical process and proposes strategies for the revitalization and adaptation of Baroque heritage within the context of modern stage direction.
Author’s biography.
Ihor Matiushyn, postgraduate student, Department of Cultural Studies, Mariupol State University, Mariupol.
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The article was received by the editorial office on 04.12.2025.
The article was accepted for publication after review on 14.12.2025.
The article was published on 31.12.2025.
Section: UKRAINIAN CULTURE.