{"id":826,"date":"2022-07-01T14:13:54","date_gmt":"2022-07-01T14:13:54","guid":{"rendered":"https:\/\/www.critical-stages.org\/25\/?p=826"},"modified":"2022-07-03T09:32:25","modified_gmt":"2022-07-03T09:32:25","slug":"%d1%96%d1%81%d1%82%d0%be%d1%80%d1%96%d1%8f-%d1%83%d0%ba%d1%80%d0%b0%d1%97%d0%bd%d0%b8-historia-ukrainy-history-of-ukraine","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/25\/%d1%96%d1%81%d1%82%d0%be%d1%80%d1%96%d1%8f-%d1%83%d0%ba%d1%80%d0%b0%d1%97%d0%bd%d0%b8-historia-ukrainy-history-of-ukraine\/","title":{"rendered":"\u0406\u0441\u0442\u043e\u0440\u0456\u044f \u0423\u043a\u0440\u0430\u0457\u043d\u0438 \/ Historia Ukrainy \/ History of Ukraine"},"content":{"rendered":"\n

Sofiia Onishchenko<\/strong>*<\/a>, Daria Bohdan<\/strong>**<\/a> and Vasylyna Martseniuk<\/strong>***<\/a><\/p>\n\n\n\n

Abstract<\/strong><\/h5>\n\n\n\n

Sofiia Onishchenko\u2019s, Daria Bohdan\u2019s and Vasylyna Martseniuk\u2019s essay adds new perspectives on corporeal and temporal experiences of exile and war, and temporality in general. They discuss their creative process and performances of History of Ukraine. The devised and documentary production was created in refuge in Poland after they had to leave Ukraine following the invasion of February 24th. Onishchenko, Bohdan and Martseniuk argue for the close links between arts and politics and speak about theatre as a cultural war front. They discuss their strategies to facilitate conversations with and about Ukraine, and how their exile and the war led to the development of new working methods and aesthetics.

Keywords:<\/strong> devising, choreography, liveness, documentary theatre, autobiography, affect.<\/p>\n\n\n\n

Sofiia Onishchenko (SO):<\/strong> My name is Sofiia; I was born in the village of Kysliwka, in the Kharkiv region. I am an actress at the Kharkiv theatre Neft<\/a>, and until the full-scale R<\/s>russian invasion of Ukraine, I studied in Kharkiv. I came to Wroc\u0142aw in Poland in March, and I am continuing my acting training there. I am interested in documentary theatre, plasticity and performativity in art.<\/p>\n\n\n\n

Daria Bohdan (DB):<\/strong> My name is Dasha, I am from Kharkiv. I also studied at the Department of Animation Theatre Acting and Directing at the Kharkiv National Kotlyarevsky University of Arts. Until the full-scale R<\/s>russian invasion of Ukraine, I played in the Neft theatre. Due to the full-scale R<\/s>russian invasion of Ukraine, I moved to Wroc\u0142aw. Here, I study at the Puppetry Department, like Sofiia. I am interested in performance and theatre of movement and dance.<\/p>\n\n\n\n

Vasylyna Martseniuk (VM):<\/strong> My name is Vasilina; I\u2019m 18. I was born in Bakhmut, Ukraine. Now, I am interested in exploring new forms of animation and the performative form of theatrical art.<\/p>\n\n\n\n

SO:<\/strong> From the beginning of April, Dasha, Vasylina and I started working on the History of Ukraine<\/em>. After two weeks of rehearsals, we showed it for the first time at the Stanis\u0142aw Wyspia\u0144ski National Academy of Theatre Arts in Wroc\u0142aw.<\/p>\n\n\n\n

VM:<\/strong> The idea for the show came from our conviction that we are responsible for the cultural war front. Many of our friends and acquaintances who are great directors and actors are now Armed Forces fighters and volunteers. We wanted to create art that would be their voice and ours. We made this performance because we cannot NOT talk about the war.<\/p>\n\n\n\n

DB:<\/strong> The title of the play History of Ukraine,<\/em> on the one hand, sounds like a school subject. But we assume that we are telling history of the whole of Ukraine through our own stories.<\/p>\n\n\n\n

SO:<\/strong> The show is called a performative documentary. Performativity lies in the fact that we allow the performance to change\u2014from one performance to another.<\/p>\n\n\n\n

We also have scenes, such as \u201cmy life story in the body,\u201d where we talk about the period from birth through bodily texts. These corporeal texts are always performative and come from what is here and now in the body.<\/p>\n\n\n\n

The documentary nature of the performance is based on the fact that we tell our own life stories. We write our texts. They are different in each performance because we change through performances, and the situation at the war front changes. For example, we have a scene where we read texts about the house from our diaries. They are different in each performance, and we write them before the performances.<\/p>\n\n\n

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\u0406\u0441\u0442\u043e\u0440\u0456\u044f \u0423\u043a\u0440\u0430\u0457\u043d\u0438 \/ Historia Ukrainy \/ History of Ukraine. <\/em>Photo: Nata Korenowska<\/figcaption><\/figure>\n<\/div>\n\n\n

The performance begins with the audience entering the auditorium. On each seat, we leave small postcards with photos taken earlier in our house. On the other side, there is an inscription: \u201cI am giving you a piece of my house. Date of performance. Signature.\u201d Thus, from the beginning, we make it clear that we will be honest about it.<\/p>\n\n\n\n

VM:<\/strong> The performance uses Polish, Ukrainian and English. There are also Polish subtitles. Our reality now is in these three languages. Multilingual performance also helps us to reach more people.<\/p>\n\n\n\n

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