Panas Karpovych Tobilevych (15 May [O.S. 3 May] 1859 – 17 September 1940), better known by the pseudonym of Panas Saksahansky, was a Ukrainian theatre actor, playwright and translator. The youngest member of the Tobilevych family of actors, Saksahansky was best known as a character actor in comedies, though he later became a playwright and theatre manager. He was a proponent of realism, and his translation of William Shakespeare's Othello (1926) served as the basis for performances of Shakespeare's works in Ukraine under the Soviet Union and the Soviet Union as a whole, though it was later los
Panas Karpovych Tobilevych (15 May [O.S. 3 May] 1859 – 17 September 1940), better known by the pseudonym of Panas Saksahansky, was a Ukrainian theatre actor, playwright and translator. The youngest member of the Tobilevych family of actors, Saksahansky was best known as a character actor in comedies, though he later became a playwright and theatre manager. He was a proponent of realism, and his translation of William Shakespeare's Othello (1926) served as the basis for performances of Shakespeare's works in Ukraine under the Soviet Union and the Soviet Union as a whole, though it was later lost. Born to a family of szlachta which had become commoners following the 1830–1831 November Uprising, Tobilevych served in the Russian military during the 1877–1878 Russo-Turkish War, and witnessed performances by Ernst von Possart and Mykhailo Starytsky's troupe, shaping his views towards theatre and leading him to leave the military. he became an actor in the Theatre of Coryphaei troupe, taking on the pseudonym of Saksahansky after his mother's birth village. Following the Russian Revolution Saksahansky became a director, working under both the Ukrainian State and the Soviet Union. As a director, Saksahansky's translations were well-received by the Soviet authorities, and he was…
0 comentarii0 vizualizări0 reacții
Panas Saksahanskya adăugat o fotografie
acum un minut
R.I.P Panas
Family and early life Panas Karpovych Tobilevych was born on 15 May 1859 (3 May according to the Julian calendar in place at the time) in the village of Kamiano-Kostuvate, in what was then the Russian Empire and is now southern Ukraine. A member of the Tobilevych family of szlachta, Panas was the youngest of Karpo Tobilevych's six children, among whom would later be contemporary Ukrainian actors Maria Sadovska-Barilotti, Ivan Karpenko-Karyi and Mykola Sadovskyi. The Russian government, following the 1830–1831 November Uprising, mandated that all szlachta families provide evidence of their noble origin. As Karpo Tobilevych had no such documents, the family was stripped of their status and became commoners. Panas's mother was Yevdokiia Sadovska, a serf of Cossack noble descent from the village of Saksahan in Yekaterinoslav Governorate (now Dnipropetrovsk Oblast). Karpo Tobilevych purchased Sadovska from the Zolotonytskyi family of nobles, which owned her, and moved with her to Mala Vyska, where Tobilevych worked under a local landlord. As a serf, Sadovska attended theatrical performances with her master, and, possessing eidetic memory, later retold these stories to her children, leading to the children of the Tobilevych family becoming interested in theatre. Panas studied at Yelisavetgrad real school (now in…
0 comentarii0 vizualizări0 reacții
Panas Saksahanskya adăugat o fotografie
acum 2 minute
R.I.P Panas
Theatre of Coryphaei and troupe leadership Saksahansky joined the Theatre of Coryphaei, run by Kropyvnytskyi as a successor to Starytsky's troupe, upon its formation in 1885. Kropyvnytskyi's leadership caused a schism, with those who viewed Kropyvnytskyi's leadership as autocratic leaving the troupe. Saksahansky was among Kropyvnytskyi's closest supporters at the theatre, affectionately calling him "old cachalot", but privately admitted that Kropyvnytskyi's uncompromising nature and tendency to threaten resigning from the troupe were unfitting of a director. Saksahansky was the youngest member of the Theatre of Coryphaei, and would be its last living member; the troupe's formation, which resulted in the rapid expansion of Ukrainian theatre over the next decade, is compared to the Irish Literary Revival by Irene Rima Makaryk in terms of its impact on Ukrainian theatre. In the explosion of Ukrainian theatre that followed the Theatre of Coryphaei's founding, other actors chose to establish their own troupes, and Saksahansky was no exception. He first joined his brother Mykola's troupe in 1888 before founding his own in 1890. Known as the Society of Russian and Little Russian Artists, Saksahansky's troupe operated throughout the western Russian Empire, including in Moscow, Saint Petersburg, Warsaw, Minsk, Smolensk, in Bessarabia, the Don, the…
0 comentarii0 vizualizări0 reacții
Panas Saksahanskya adăugat o fotografie
acum 3 minute
R.I.P Panas
Translations of Schiller and Shakespeare The Russian Revolution led to Ukraine's independence from Russia and the abolition of the Ems Ukaz. This enabled Ukrainian playwrights working outside of Austrian-ruled Galicia to perform their works (or Ukrainian translations of foreign works) legally for the first time since the Ems Ukaz had been enacted. In Saksahansky's case, this was marked by a performance of Friedrich Schiller's The Robbers in Kyiv, in 1918. Saksahansky sought to avoid modernist themes in his work that were common during the revolution, and The Robbers, as a melodrama with a good ending, was a welcome form of escapism from the horrors of the revolution, the Ukrainian War of Independence and World War I. Nonetheless, in choosing to translate The Robbers Saksahansky was influenced by the contemporary events of Ukraine's independence and the revolution, as well as part of a desire to increase productions of Western European plays in Ukraine. In his translation of The Robbers Saksahansky cut substantial portions of the text, largely relating to protagonist Karl von Moor acting in immoral ways. In doing so, Saksahansky simplified the story. Later Soviet critics interpreted it as an emphasising of the play's revolutionary ideas of equality, freedom and…
0 comentarii0 vizualizări0 reacții
Panas Saksahanskya adăugat o fotografie
acum 4 minute
R.I.P Panas
Othello (1926) The works of Saksahansky and other playwrights, who primarily worked in boulevard theatre focusing on rural Ukrainian life, were strongly condemned by a group of emergent modernist playwrights (led by Les Kurbas) beginning in the 1920s. The modernists regarded Ukrainian boulevard theatre as emphasising a colonial view of Ukraine, in contrast to their own self-perception as encouraging critical thinking and development of a progressive and modern Ukrainian community. In response to the modernists, namely Kurbas's 1924 avant-garde production of William Shakespeare's Macbeth (the first adaptation of Shakespeare to be performed in Ukraine), Saksahansky oversaw a production of Othello in 1926. Saksahansky's Othello was a historical constume drama and a romance, seeking to depict a realist take on the play. Saksahansky, in contrast to the modernist view of theatre as revolving around the story and action, saw actors' individual performances as the most important part of a play. Borys Romanytskyi, a student of Saksahansky and Othello's actor, deliberately sought to create an image of Othello as a sympathetic character. Dramatist Yevhen Krotevych notes that Saksahansky was well-positioned to translate Shakespeare due to his intricate knowledge of the author's works; Saksahansky had written the entire translation of Othello himself, based…
0 comentarii0 vizualizări0 reacții
Panas Saksahanskya lăsat un gând
acum 5 minute
Final years and death Saksahansky remained in a positive public light in the years leading up to his death, being awarded the title of People's Artist of Ukraine in 1925 and People's Artist of the USSR in 1936. In his final years, Saksahansky was praised for his commitment to realism and his Othello became recognised as the basis for future performances of Shakespeare, not only in the Ukrainian Soviet Socialist Republic, but throughout the entire Soviet Union. In the press, he was praised as a consistent adherent of realism and opponent of the West and its theories, as well as of capitalism and liberalism; it was also emphasized that he had never opposed the cultural ties between Ukraine and Russia. In the last years of his life, Saksahansky was fond of Soviet leader Joseph Stalin for his rejection of modernism; at his final public appearance before his death (a celebration of his theatrical career), Saksahansky joined observers in exclaiming "long live Stalin!" In 1934, Saksahansky became very ill. His wife, Nina, became his full-time caretaker. He died on 17 September 1940 in Kyiv at the age of 81, and was buried in Baikove Cemetery. Following his death, Nina handed over…
