Les Kurbas

Oleksandr-Zenon Stepanovych Kurbas (Ukrainian: Олександр-Зенон Степанович Курбас; 25 February 1887 – 3 November 1937) was a Ukrainian movie and theater director. He is considered by many to be the most important Ukrainian theater director of the 20th century. He formed, together with Vsevolod Meyerhold, Yevgeny Vakhtangov and several other directors, the Soviet theater avant-garde in the 1920s and 1930s. He is one of the most prominent representatives of Ukrainian avant-garde art. He is considered to be one of the lead figures of the Executed Renaissance. He was murdered by the Soviet regime, during Stalin's Great Terror.

Kurbas was born in Sambir (then part of Austria-Hungary) on 25 February 1887, and was given a double name Oleksandr-Zenon, for short Les or Oles. His father, Stepan Pylypovych Kurbas (Yanovych) (1862–1908), was a Ruthenian actor who descended from Lithuanian lineage. His mother, Vanda Adolfivna (nata Kulczycka), born in Staryi Skalat, was also an actress, the daughter of an Austrian, Adolf Teichman. His parents' last name Yanovych was their pseudonym, for which they were better known, particularly in theater of "Ruska besida". Beside Les who was the first child there were three other children Kornylo (d. 2 July 1895), Nestor, and Nadia, however none of them survived past their teenage years.

At first Kurbas studied at Ternopil gymnasium. In 1907 he enrolled into the Philosophy Department of University of Vienna from where he transferred out in 1908, due to his father death enrolling later in Lviv University (1908–1910). This was determined by the need to lead Ukrainian culture out of the provincialism it had fallen into as a result of the century-long occupation by Poland and Russia.

In the midst of the first world war Kurbas formed the "Ternopil theatrical evenings" (1915–1916) and the Molody Teatr (Young Theater) in Kyiv in 1916, which was the first ensemble to experiment with both new and ancient acting techniques. Kurbas directed and acted in plays such as Gogol's Revizor and, most importantly and to much acclaim, Sophocles' Oedipus Rex. Due to the shortage in resources and the general political chaos towards the end of the First World War the ensemble was disbanded. Along with it he was a professor at the Kyiv Music-Drama Institute in 1916–1919 and later Kharkiv Music-Drama Institute in 1926–1933. In 1920–21 Les Kurbas has found a Kyiv Drama Theater "Kiydramte".

Kurbas' next major project was Haydamaks (several stagings from 1920 on), a poem on the eighteenth-century Ukrainian upsurge against Polish occupation by Ukrainian poet laureate Taras Shevchenko. The production was the most important Ukrainian theater production of the twentieth century and went on to be staged even after Kurbas' death (without mention of his name, though). Kurbas integrated all the techniques of the Molody era, most notably in his treatment of the choir.

It was only in 1922 that conditions in the now Soviet-ruled Ukraine were stable enough to allow Kurbas to found the "Berezil'" ("spring" or "new beginning") in Kyiv. In a same year Les Kurbas invited Vadym Meller to cooperation as a chief artist of the "Berezil'" Theater. Vadym Meller joined "Berezil'" with the experience of both easel artist and scenographer. The expressively unchained drawing, characteristic of V.Meller's early work, will become foundation, the origin in later stage productions done together with Les Kurbas. Since 1922 Les Kurbas also worked for the Odesa Film Studio where he directed such movies as "Shvedskaya spichka" (1922), "Arsenaltsy" (1925), and others. In 1925 Vadim Meller was awarded a gold medal for the scenic design of the "Berezil'" theatre (Exposition Internationale des Modernes, Paris ). "Berezil'" was not merely a theater, but a study and research institution which until today is nearly unequalled in its organisation. Every theater department has its own committees and workshops, and several branches were established in other Ukrainian cities. "Berezil'" attracted not only the best actors of its time: dozens of future Ukrainian actors and directors received their education here, going through a curriculum involving a whole series of acting techniques, rhythmic exercises, voice training and ensemble play. Kurbas aimed at a scientific grounding of every development in "Berezil'", which could sometimes lead to endless discussions in one of the committees. He wrote: "Today the comedy is over. The actor entered the stage, the only one by which the theater will live. Theater—tribune and spectacle, court and school, thought and folly of new man".

In its early years the theater suffered from a shortage of suitable plays that the productions could be based on. Kurbas was only one of several directors, if the most important one, and an outstanding organizer. His stagings of the time included "Gas" by the German author Georg Kaiser and "Jimmy Higgins" by Upton Sinclair. Kurbas made mostly use of the expressionistic techniques he had developed during the Molody era, but increased further the rhythmic organisation of the entire production.

In 1927 Kurbas met up-and-coming playwright Mykola Kulish in the Ukrainian capital of the time, Kharkiv, where the "Berezil'" had moved in 1926. Kulish's early plays had been staged by other theaters in the rigid Soviet realist manner that would become the standard all over the Soviet Union in the 1930s. The collaboration between Kulish and Kurbas proved to be both fortunate and unfortunate for the ensemble. While productions as The People's Malakhii (1928), Myna Mazailo (1929) and Maklena Grassa (1933) set new standards in ensemble play and dramatic rigor, they also fell foul with the official Soviet propaganda policy.