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The purpose of this scientific article is revealing the phenomenon of phantasmagoria and its embodiment in the chosen theatrical genre. The round of investigative methods in relation to this research consists next sequence. There are historical method for detailed examining the phenomenon of phantasmagoria in art and the structural-analytical method when referring to the musical text of particular individual scenes into the opera-ballet „Viy”. We are also emphasizing the comparative scientific method for the proportional characterization of the artistic novel by celedrated and well-known writer N. Gogol as well as the opera-ballet by outstanding contemporary Ukrainian musician, composer and pedagogue V. Gubarenko. The scientific novelty in reference to above-mentioned investigative thematic vector lies in the identification of the concepts relatively „phantasmagoria” and „double world” in famous artistic literature, renowned academy music and scenography, which lead to the discovery of brilliant phenomena such as simultaneity, editing drama as well as polystylistics. Conclusions. The double peace that Gogol is implies to be present in popular Gubarenko’s musical work from the beginning. Simultaneity, as a psychological category, pervades both literary and musical-dramatic work. Nevertheless, with Gubarenko it seems to be enlarge, artistic increase at times and grows into a dramatic means, bright creates not only an atmosphere of phantasmagoric horror, but also unforgettable artistic impressions of an extraordinary work of musical art. The stage production allows us the more clearly revealing the Gogol mansion and to emphasize the main points that we can only guess in the story. There is no center in the created world of V. Gubarenko, and therefore there are no ordinary borders.

THE DOUBLE WORLD OF M. GOGOL’S „VIY” AND IT’S OPENING IN V. HUBARENKO’S OPERA-BALLET