THE ORIGINS OF UKRAINIAN STAND-UP AS A CULTURAL PHENOMENON

Abstract

The aim of this article is to study the influence of sociocultural, political, and media factors on the formation and development of Ukrainian stand-up comedy as an independent genre of comic art, as well as to identify its historical origins in the national cultural context. The relevance of the study is due to the rapid growth in popularity of stand-up comedy in Ukraine, its role in the formation of new cultural identities, and the need for scientific understanding of this phenomenon in the light of social transformations, particularly in the context of war. Research methodology. Attention is paid to the American experience of stand-up comedy, in particular through the research of authors such as L. Mintz, M. Douglas, W. Turner, J. Boskin, as well as the peculiarities of this genre in a multicultural society. The analysis examines how stand-up comedy performs ambivalent social functions, ranging from emotional therapy to an instrument of social control. Scientific novelty. Ukrainian stand-up comedy is considered as a new phenomenon that has evolved from a borrowed model to a full-fledged artistic genre with a distinct national context. The stages of its formation are traced: from the first media projects of the early 2010s to the modern industry with an extensive infrastructure of clubs, shows, online platforms, and charitable initiatives. The article examines the contribution of key figures in Ukrainian stand-up comedy – Serhiy Lipko, Anton Tymoshenko, Lera Mandziuk, Vasyl Baidak, Sviatoslav Zagaiyevych and others – to the development of the genre and its aesthetic, ideological and linguistic transformation. Conclusions. The article examines the impact of social changes – in particular, the full-scale invasion of Russia – on the content of stand-up comedy, its function as an instrument of cultural resistance and a means of rethinking traumatic experiences. The main trends in the development of the genre are highlighted: from the regionalisation of the linguistic palette to the formation of an alternative humorous discourse aimed at young people and a critically thinking audience. In conclusion, the author emphasises the role of stand-up comedy as an important factor in national self-identification and public reflection on social reality.