ІНТЕРСЕМІОТИЧНЕ ПЕРЕКОДУВАННЯ ДРАМИ В. ВИННИЧЕНКА «ЧОРНА ПАНТЕРА І БІЛИЙ ВЕДМІДЬ»: PRO ЕT CONTRA

Abstract

The article is devoted to the intersemiotic translation of Volodymyr Vynnychenko’s play “Black Panther and White Bear” by means of cinematography. The goals and objectives of this studio were achieved with the help of the semiotic approach, which allowed us to consider literature and cinematography as symbolic systems. The biographical analysis method was utilized as well, it contributed to revealing the details of the author’s biography in artistic works. In particular, it clarified Vynnychenko’s close attention to the problem of parenthood. The study revealed that during the transfer of the dramatic work to the screen, it was possible to maintain the main conflict of the original source as well as convey the sharp confrontation in the family of the talented artist Korniy Kanevych. The intense family conflict was caused both by the need to save a sick child and by the bohemian environment of the painter, who primarily sought to realize himself in art, even at the cost of his child’s life. It was identified that the cinematic version of the play basically corresponds to the overall picture of the original literary source. This fact accounts for the preservation of the title of the film, the names of the main characters, and the central conflict. However, there are also differences in the film script caused, apparently, by the limited budget of the film, which, in turns, forced the director to choose the city of Sevastopol, that is the former Chersonese, instead of Paris as the setting. The change of location, on the one hand, made it possible to convey the artistic atmosphere and the bohemian way of life, accentuated by the repetition of the scene that reproduces the dance of a woman with the amphora. And on the other hand, it made the viewer think about where the sick Lesyk should have been taken, since the climate of the Black Sea is quite favorable in contrast to the Paris depicted by Vynnychenko. Oleg Biyma’s cinematic version ends with a symbolic scene of floating bodies in the sea, which does not contradict the original, since it depicts the destruction of the unfinished painting by Ryta, and once again confirms the symbolic nature of the resolution of the conflict in the film.