As if they are deliberately spoiling such a beautiful, such a melodious language … “.

N. Kuzyakina, analyzing the stage history of the play in detail, noted: ‘Kulish’s comedy was trawled quite widely – in Dnipropetrovsk, Zhytomyr, Kherson, Odessa, Vinnytsia, Mariupol. In Kyiv, next to the play by the people of Frankivsk, “Mina Mazailo” lived on the stage of the regional mobile theater (ORPS) … The tour of the Kyiv theater of the ORPS in Ukraine proved the significant popularity of “Mina Mazailo “. During the year the comedy “Mina Mazailo” was published. Originally in one of the 123helpme.me most original and “European” Ukrainian publications of the late 1920s – the humorous and satirical almanac “Literary Fair” (sixth issue in 1929), around which, as we know, united former members of VAPLITE, among which were M. Khvylovy, O. Dosvitniy, M. Kulish, Y. Yanovsky, G. Kosynka, V. Saussure, G. Epik, I. Dniprovsky, P. Punch, M. Bazhan, and others. And later, all in the same 1929, the play was published in Kharkov as a separate book. After staging on a theatrical horse and publishing, the comedy quickly gained recognition. Problems, artistic realities of the work were lively discussed in the press, became the subject of discussions, in the process of which many high and very high marks were expressed. Thus, the large-scale esthetician M. Khvylovy assessed the comedy “Mina Mazailo” as an “epoch-making” artistic phenomenon for Ukrainian literature. The subtle Ostap Vyshnya spoke of the play as an “extraordinary beauty thing” and considered the level of artistic perfection of Kulishev’s work in this comedy unattainable not only for critics but also for fellow writers, and noted: “We will not talk about the author : it is higher than us “. Replicas and aphorisms, mise-en-scène and passages of comedy were variously quoted and discussed by various representatives of Ukrainian society. The images and characters of the play “Mina Mazailo” were actively projected on the modern Ukrainian reality and were interpreted as living and original types from the surrounding life. The issues, the artistic realities of the work were hotly and ardently discussed in newspapers and magazines, and this gave researchers reasons to emphasize that “it is difficult to list everything printed in the press of the time about” Mina Mazaila “; it would be several hundred titles. ” Les Tanyuk, characterizing the popularity of “Mini Mazail” wrote: “In a word, it was a triumph, national recognition, long-awaited success.” The comedy “Mina Mazailo” is an interesting and grateful artistic material to study at school. The play has an original plot, which intertwines cultural, social and family-intimate aspects, contains a gallery of expressive characters with individualized cultural and national worldview (Mina Mazailo, Mokiy, Ulya Rozsokhina, Baronova-Kozino, Aunt Motya, Uncle Taras), rich witty, parody, caricature, farce scenes. The work actively uses a wide range of lively and therefore colorful language, which reflects the specifics of the spiritual and national values ​​of the main characters. The comedy is characterized by a wide palette of intonations and melodic patterns – cheerful, tender, major, romantic, elegiac, sad, tragicomedy and even phantasmagoric. The principles and methods used in the analysis of non-comedy genres, such as drama, novel, short story, etc., are often used to analyze “Mini Mazail”. But “Mina Mazailo” is a comedy, and therefore in the process of considering this masterpiece it is advisable to identify and analyze the points that, in fact, give this play the features of comedy, participate in the organization of purely comedic qualities of the work. “Mina Mazailo” is a comedy of types and positions. It thoroughly develops the actors who make up the plot-collision and conceptual-worldview pairs. These are Mina Mazailo and Mokiy, Rina and Ulya, Aunt Motya and Uncle Taras, their remarks, dialogues, actions form both the main plot and conflict framework of the work, and act as factors that carry a purely comic principle. The images of Mina and Mokiya, Aunt Moti and Uncle Taras immediately appear as spiritual antitheses from the moment they appear in the work. The images of Uli and Rina at the beginning of the play are depicted as consonant, they share their maiden interests, secrets, Rina presents Ulya as “my girlfriend”. But with the course of the comedic collision, these images also become antithetical, they begin to be dominated by various spiritual and ideological values. It is worth emphasizing that “Mina Mazailo” is a lyrical and social comedy. M. Kulish combines the social phenomenon of Ukrainization and the various cultural, spiritual, national and ideological tendencies and processes connected with it with a deeply developed intimate line, with motives of romantic infatuation and tender love. Intimate vicissitudes play a significant conceptual and structural-compositional role in the play, they are one of the important factors in the movement of action intrigue, psychological aggravation, the development of comedic tone and comic situations, the disclosure of ethical and value essence of characters … “Mina Mazailo” is not only a firework of artistic types, conceptual clashes, worldview fights, honed scenes, witty dialogues, outrageous remarks, aphoristic expressions, humorous inferences, tragicomic judgments, speech-phonetic game. “Mina Mazailo” is also a refined play in terms of structure and composition, characterized by the presence of numerous findings, “secrets” in terms of organization and dynamics of comedic action. In the work, the playwright widely used the technique of the game. The idea to start the game arises at the beginning of the play – in the second scene of the first act. It belongs to Rina and is connected with the balance of power in the Mazail family: the father, Mina Mazailo, wants to change his surname to Russian, the maximalist with a romantic soul Mokiy, his son, on the contrary – a supporter of everything Ukrainian, Rina and her mother seek to influence on Mokia and support Mina. The comic “arrangement” of the initial situation gives organicity to the cunning proposal that Rina makes to her friend in a passionate, temperamental form: “Oh Ulya, oh Ulyunya! When you love me, make Mokiy fall in love with you. Maybe he will give up his Ukrainian fantasies. maybe, though the surname will change … “. Ryna’s calculation is as follows: Ulya will play a lover – Mokiy will admire her – having admired him, he will move away from “his Ukrainian fantasies” – his father will issue a new surname for himself and his family – they will not be ashamed of the old Ukrainian surname Rina is an active, strong-willed nature and immediately develops a script for Uli, in which way, with the help of purely feminine techniques, she can fall in love with Mokiya as much as possible. The game began with the fifth scene of the same action. Rina Mazailo creates the image of Ulia in the eyes of Moki as an avid Ukrainophile, Ulya supports this game in order to attract the young man’s attention to herself, Moki and Ulya are getting closer. The playwright emphasizes that initially the game of Rina and Uli develops in the river that Rina outlined. she managed to interest Mokiya in her friend, she skillfully leads her party, easily fantasizing on the themes of Ulina’s love for Ukrainian films, inscriptions, posters. M. Kulish singles out the fact that Rina is a subtle psychologist, well aware of the psychology of interests and requests, sympathies and preferences of her brother. At the same time, she appropriately emphasizes Uli’s fictitious interest in “whether it is written in pure Ukrainian language, whether it is made, whether it is spoiled,” “whether it is written in real language, or whether it is false.” Playing on Moki’s preferences, Rita subtly and logically calculated: the fabrication of Uli’s Ukrainophile interests would turn out to be close to Moki’s heart, because he is “himself.” Supporting his sister’s trap themes, he describes his Ukrainophile preferences and national sympathies with his own remarks: “For example, the inscriptions in Zvenyhor are beauty! Stylish, poetic, written in the real Ukrainian language. With flies! As if deliberately spoiling such a beautiful, such a melodious language … “. Or Mokiy expresses his essence in this way: “I will see an incorrectly written poster, sign or table – and you will be annoyed for the whole day. And what horrible posters happen, how they distort the Ukrainian language …”. M. Kulish shows that, at first glance, everything is thought out in Ryna’s calculations: the national orientation of her brother’s worldview, the charming appearance of her friend, who has “wonderful lips, a beautiful bust” and Ryna’s ability to influence people. She is portrayed in the comedy as a strategist and tactician of the collision to “neutralize” Mokiya. It is Rina who develops the plan and script of the game, seeks to control Uli’s behavior and Mokiya’s reactions, introduces her friend to her brother, blesses Uli and their joint “love project” designed for Mokiya. Rina’s play plays the role of the initiator of one of the leading comic intrigues. The peculiarity of M. Kulish’s interpretation of the reception of the game is that everything develops on the principle of “vice versa”. The playwright depicts that Uli’s behavior ceases to be a game and grows into deep intimate feelings, that Mokiya’s ideas proved to be much more effective than Rina expected, that the spiritual and psychological vicissitudes of the “Ulya – Mokiy” line proved unpredictable and unregulated. Already at the beginning of the second act M. Kulish depicts the nuances in the behavior of Uli, hinting at changes in the original plan of friends. In comedic tones, the playwright emphasizes that Ulya admires Mokiy. The line “Ulya – Mokiy”, which originally appeared as a romantic game, is transformed into a new, unforeseen plot. The comical situation is exacerbated by the fact that Rina does not feel these changes and wants to believe that Moki fell in love. According to the logic of comedy, her impatience to implement her plan as soon as possible only grows, and she turns to her friend and asks her: “I think he fell in love … At least he falls in love. Only you, for God’s sake, hurry, Ulyunya, speed up this process It is necessary that he did not dream at all in the Ukrainian language, but you, darling, with your eyes, lips, bust, etc … Well, do so, Ulya , well, what do you need? From the second scene of the same, the second, action, M. Kulish shows more and more clearly that Uli’s interest in Mokiya is based on sympathy for the young man, and not on Ryna’s intrigues. Describing the relationships of young people, the artist uses humorous and ironic intonations. The fourth scene is characteristic in this respect, where Mokiy proves the “Ukrainian” anthropology of Ulina’s appearance. The vicissitudes of comedy develop in such a way that, compared to the original plan, Ulya and Mokiy change places: the girl is fascinated by the young man, he – the Ukrainian theme, this theme begins to master Ulya, she (Ulya) “Ukrainianizes”.