THE SYMBOLISM OF PLASTIC AND CHOREOGRAPHIC IMAGERY IN THE STAGE INTERPRETATION OF YURII LYPA’S POETIC DRAMA “OFIRA”

The development of Ukrainian performing arts features the emergence of new synthesized forms where word, action, and movement are equally important. A notable example is the performance “Ofira”, based on the poetic drama of the same name by Yuri Lipa. Created in 2001 by a group of artists under the direction of the “Nebo” theater, the directorial concept for this stage interpretation was developed by the People's Artist of Ukraine, Taras Zhyrko. The choreographic interpretation was carried out by director-choreographer Oksana Lan. Although the performance “Ofira” has been referenced in works and publications by K. Mosiesova, O. Lan, and V. Lyashkevych, it has not been extensively analyzed in art criticism as a synthesized stage work, especially regarding choreographic art. This article provides an analysis of Oksana Lan's plastic-choreographic interpretation of “Ofira”, focusing on the specifics of mise-en-scène construction and the symbolism of the artistic images, which deserve attention. The main cast includes: Yuri Lipa as People’s Artist of Ukraine Taras Zhyrko, Hetman Mazepa as People’s Artist of Ukraine Serhiy Hlova, Motrya as People’s Artist of Ukraine Anastasiya Sotnikova, and Angel Orlyk as Merited Artist of Ukraine Andriy Kozak. The article also highlights the contribution of Oksana Lan’s modern ballet “Aquerias”, particularly the performances of soloist N. Donska (Motrya) and People’s Artist of Ukraine Ye. Svetlytsia. Furthermore, it discusses the collaboration with set designer Maria Veres and costume designer Iryna Hev, with special emphasis on the choreographer’s use of “living moving decorations”. The research methodology includes description, definition, analysis, and interpretation to characterize the mise-en-scène and artistic imagery of the performance, as well as a historical and cultural-artistic analysis of the event in the context of the development of performing arts in Ukraine. The scientific novelty of this work lies in the in-depth study of the choreographic component of “Ofira”, detailing the choreographic and directorial techniques employed in the staging, including Oksana Lan’s modern ballet “Aquerias”. In conclusion, the study of performing arts in Ukraine, particularly the emergence of artistic works like “Ofira”, remains a relevant research topic and serves to preserve the achievements of directing and choreography for educational and practical applications.