Досліджено особливості інтеграції пан’європейських театральних традицій епохи Бароко в історичну драму корифеїв. Особливу увагу приділено дослідженню специфіки творення барокової драматургії XVIII ст. та її впливу на формування драматичної традиції корифеїв. Виокремлено основні європейські тенденції, репрезентовані в історичних барокових драмах. Доведено, що спадкоємність проявляється насамперед на рівні національної ідентичності. Проаналізовано історичні драми Ф. Прокоповича “Володимир”, анонімного автора “Милість Божа” та М. Старицького “Богдан Хмельницький”, І. Карпенка-Карого “Сава Чалий” у порівняльному аспекті. З’ясовано спільні й відмінні риси в інтерпретаційних моделях центральних образів державних діячів.
The article represents the study of the peculiarities of the integration of Pan- European theatrical traditions of the Bar oque epoch into the historical drama by Ukrainian coryphees. Particular attention is paid to the study of the specifics of the creation of baroque drama of the XVIII centu ry and its influence on the formation of the dramatic tradition of the Coryphees. Th e main European tendencies represented in historical baroque dramas are singled out. It is proved, t hat succession is& manifested primarily at the level of nati onal identity. The historical dramas of F. Prokopovych "Volodymyr", the anonymous author "God"s Grace" and M. Starytsky "Bogdan Khmelnytsky", I. Karpenko-&Kary "Sava Chaly" in the comparative aspect are analyzed. Common and different features in the interpretive models of the central images of statesme n are clarified. Act ually, F. Prokopovich has developed his own theory &of drama with a division into five acts. It was found out, that such a structure is also characte ristic of the works of I. Karpenko-Kary "Sava Chaly" and M. Starytsky "Bogdan Kh melnytsky", which testifies& to the preservation of the baroque dramatic trad ition. At the same time, the Coryphees have significantly deepened the compositi onal structure of the drama, adding new elements. The works of the anonymous autho&r "God"s Grace" and M. Starytsky "Bogdan Khmelnytsky" have the genre of hi storical drama, th e central image of hetman B. Khmelnytsky. However, in the historical drama of M. Starytsky "Bohdan Khmelnytsky" the interpre&tative model of th e image of the statesman is significantly expanded, in particular, the psychological aspect of the figur e of the hetman is deepened. At the same time, the idea of messianism, especially the interpretation of the &National Liberation War as the highest le vel of self-sacrifice, is common in the interpretation of the image of B. Khmelnytsky by the anonymous author and M. Starytsky. Pan-European traditions of Ukrainian baroque & drama of the XVIII century has become one of the sour ces for the formation of the original professional Theater of luminaries, in particular historical dramas.
