BETWEEN ART AND POLITICS: LVIV OPERA AND BALLET THEATRE UNDER THE CONDITIONS OF SOVIETIZATION IN 1939 – 1941

Abstract

The purpose of the research is to find out, on the basis of the archival and published materials, scientific works, the formation of Lviv Opera and Ballet Theatre under difficult conditions of the Bolshevik ideology forced imposition, the spread of denunciations, humiliations, arrests, repressions, deportations, terror in 1939 – 1941; to trace a real situation of actors, personnel, financial, ideological, material and technical and other support. The methodology of the research is based on the socio-cultural and biographical approaches, principles of historicism, scientificity, objectivity, systematicity with the use of general scientific (synthesis, analysis, generalization), special (historical comparative, historical typological, hermeneutic) and specific (systemic, prosopographic) methods. The scientific novelty is due to the introduction into the scientific circulation of the previously unknown archival documents, decrees and resolutions of state structures of the Ukrainian SSR, little-known works, memoirs and publications, which make it possible to trace the competitive struggle between theatre troupes of Galicia for theatre premises, to see a real situation and position of actors, management work, etc. Conclusions. The occupying Bolshevik authorities attached great importance to the cultural and artistic institutions activities in Western Ukraine in order to promote their political ideas. The former City Velyky Theatre had a leading role among them in Lviv, which was nationalized with all its property upon the Soviet power emergence. It was called Lviv State Opera and Ballet Theatre. The Ukrainians had great hope of having their own national theatre for the first time. However, very soon the theatre troupe recruited the Jewish, Polish, and several Ukrainian artists. The theatre troupe was also flooded with the Soviet actors, vocalists, choirmasters, ballet masters, choreographers, conductors, and other artists who came from different cities of the USSR. The theatre was headed by the Russian-speaking communist O. Holtsman, and Ya. Poliansky became the Head of the party organization. The theatre was staffed by NKVD employees, who meticulously “looked after” the personnel and their families, performances, controlled the ideological purity of the staff, etc. The logical continuation of the Soviet occupation was denunciations, arrests, massacres, and deportations. The theatre did not stage any Ukrainian national performance in the 1940 season, limiting itself to the Russian, Soviet and European classics. There was planned only one Ukrainian production for 1941 among the others, but the war and the German occupation became a new reference point and catalyst in the theatre’s activities.

Key words: Lviv Opera and Ballet Theatre, culture, art, performance, play, artists, repressions.