Characteristics of Kharkiv theatre development in1840–1860’s (on the materials of State Archive of the Kharkiv Region)
Authors: Lybo O.L. 
Published: June 2019

Problem statement. In this study, attention is focused on the Kharkiv theatre development in the 1940–1960’s, the activities of the theatrical entrepreneur Liudvih Mlotkovskyi and the directors of the Kharkov Theatre: Hendrikov, Alferaki, Petrovskyi, Lvov and Shcherbyna. The theatre directors served as intermediaries between the entrepreneur and the Provincial Offices authorities, while addressing issues of organization and contract negotiation with actors, maintenance of theatre premises. They played an important role on repertoire policies controlled with the censorship committee of the Tsar Russia. Research and publications. The subject of Kharkiv theatre as a part of Ukrainian theatre history development in noted period was highlighted in XIX century by the famous writer, literary critic, culture and public activist Hrigoriy Kvitka-Osnovianenko and by Mykola Cherniaiev – a journalist, literary and theatre critic, reviewer of the newspaper “Yuzhnyi krai” (one of the largest provincial newspapers of the XIX century), where his articles about history of theatre organization in Kharkiv was published. In the XX century this period is covered by famous theatre critics: Alexander Klinchin (in the monographs about the Ukrainian theatre prominent figures Mykhailo Shchepkin, Mykola Rybakov, Liubov Mlotkovska), Arkadii Pletniov (in the study “At the origin of the Kharkiv theatre”), Rostyslav Pylypchuk (in “Materials about the Ukrainian theatre history. From the foundation to the beginning of the twentieth century”), Yu. Polyakova (in numerous publications and the preface to M. Cherniaiev’s book “From Kharkiv’s theatrical antiquity”); ethnographers Andrii Paramonov, Volodymyr Titar (in “The materials for the Kharkiv Theatre history of 1780–1934”). The objective of this study is to attempt to supplement the scientific research of famous theatrical scholars (primarily A. Pletnov and M. Cherniaiev) with materials that were found in the Kharkiv region State Archives. The main material. Entrepreneur Liudvig Mlotkovskyi, who headed the Kharkiv theatre from the autumn of 1834 to the spring of 1843, played a significant role in the theatre history of above mentioned period. In 1839 Mlotkovskyi was allocated a piece of land in Kharkiv free of charge to build a theatre. The first stone building of the theater for 1020 seats was opened in 1841. Furthermore, the land was allocated to Mlotkovskyi’s ownership, he was obliged to comply with some terms among which was compulsory that the theatre director was appointed by the governor. As the first director of the new theatre the Count Hendrikov Oleksandr Ivanovych (1806–1881) was elected and approved. Unfortunately, no materials or documents about Hendrikov’s activity in the theatre were found. However, it is known that during the time of his directorship, due to difficulties and debts, the entrepreneur Mlotkovskyi left Kharkiv. The theatre’s premises were first leased to touring troupes (companies), and in 1853, Mlotkovsky donated it to his daughter, the dramatic actress Vera Liudvygovna Mlotkovska-Diukova. Thus, further theatrical activities in Kharkiv were connected with the Diukov’s entrepreneurial family and the managers of the theatre: Alferaki, Petrovskyi, Lviv and Shcherbyna. They faced the difficult task of theatre revival and getting back its fame. Mykola Dmytrovych Alferaki (1815–1860), Collegia Advisor, a nobleman, held the post from 1845 to 1849. As the director, he paid the debts and additionally invested his own money for the theatre development and improvement. From 1849 to 1856 Engineer-Lieutenant Colonel Petrovskyi was the director of the theater. Archival materials describing Petrovskyi’s directorship were located. He tried to save the situation by means of more democratic drama repertoire that was interesting for general public. Mykhailo PavlovychLvov (1819–1867) was the next theatre director appointed. He was an architect, the member of St. Petersburg Academy of Arts, the professor of Kharkiv University. Lvov purchased costumes, scenery, and library; he spent some money to restore the theatre premises. In addition to being in charge of the Kharkiv Theatre, Lvov rented Poltava Theatre and the railway station for 8 years. What his administration was like is not definitely known, but he served as the director to 1857. At the end of 1850’s and beginning of 1860’s the post of the theatre director was taken up by an experienced entrepreneur Ivan Oleksandrovych Shcherbyna (1821–1869). He had the theatre boxes reconstructed, started a permanent ballet company that worked in the theater for 3 years, alternating ballet performances with spectacles of touring companies and the permanent drama troupe stage enters. The time of Shcherbyna directorship at the Kharkiv Drama Theatre appeared to be the most favourable for the Ukrainian repertoire, when along with Russian drama products the plays by Ukrainian authors were staged, such as I. P. Kotliarevskyi, H. F. Kvitka-Osnovianenko, D. Dmytrenko etc. Conclusions. Basing on previously published studies of famous theatre critics and ethnographers and attempting to combine the results of their research with the materials found in Kharkiv State regional archive we conclude: Kharkiv was one of the provincial theatre art centers in the XIX century. Not only theatrical entrepreneurs, but also provincial authorities took part in theatre formation and development. The latters tried to control the repertoire policy through the theatre directors appointed by them. Despite the discouraging conditions connected with the difficulties and censorship oppression some progressive theatre directors, such as Petrovskyi and Shcherbyna, ignored the bans and staged prohibited by censorship dramas. It happened not only for the sake of commercial benefits, but also because the banned drama pieces were the most interesting for the general population, it were modern, democratic and satisfied the needs of the audience. This study does not claim to be complete. Its objectives are to combine some historical finds with modern researches about Kharkiv theatre development, and partly fill in the gaps relating to the activity of the entrepreneurs and directors who headed the Kharkiv theatre in 1840–1860s; the work in this direction will continued.