[000:00:00;00] and world , other, and european literature of drama, this is such a cool recipe for me, which now, it is already working in the ukrainian theater, very quickly, good theaters, good - good managers, directors react to it, and it is already being created a lot of good, theatrical products, again based on our ukrainian. ukrainian material, and then we understand that we have to familiarize ourselves and our viewers with world literature and drama, well, you know, mr. yuriy, that i think that mr. rosyslav, he already touched on a very important point that we have in our heads, many people have always had, and this is russian-centricity, you see, in european theaters they put chekhov beyond

doubt, they even invited russian... was not the center of suffering and they wish, well, there is such a good play, we will stage it this season, forget it, next season we will stage some serbian or italian or german playwright, this is just part of our theatrical work, we try to diversify the repertoire with various interesting things from different parts of the world or europe, and for the ukrainian director, it was always the center of creative possibilities, it was the same with everything, here are our poets, they can be like no, not pushkin, my god, like akhmatova and tsvitaeva , although akhmatova and tsvitayeva believed that the princess poet was better, not them, they looked at european literature as a model, at the germans or the french, in ukraine it was necessary to look at them, and here i am, it is difficult for me to understand how it is quickly overcomes, not in

not in. artists, and viewers and readers, first of all, well, i remember such a time, this, this it was somewhere in the 80s, when i came from russia, the moscow theater staged sladnik shcherdyan, it was like a sanitization, in my opinion, the town of glupov, or something like that, and the people threw a terrible work there, because they modernized it, they are there made there are some such stories that were read in our time, but there is no need to engage in stupid ones, there are stupid ones in modern russia, nothing has changed there, they just added more pepper there, but why did people pour there, because the ukrainian theater is not could afford such that he could afford

moscow, and even if you recall the literary newspaper, which publishes humor, and not only humor, articles were also published there that were economic and generally polemical, which the ukrainian press also could not, because moscow was the city of the permitted and this also attracted, and that is why it was always fun to think that everything is the best in russia and so on, although when we began to have more contact with the baltic countries, we saw that they publish very cool literature, again such there could be no literature in ukraine, i fell into our hands, an anthology of estonian stories, my god, such caucasian things were printed there, there were such modern, modern stories, well, besides, in general, the entire baltic region, armenia, georgia, even azerbaijan, the poetry was

mostly verlibrov's. we had zaverliberb critics, they didn't publish those guys, a number of poets, they couldn't publish their books, it's always this in ukraine, ukraine has always been more backward culturally than all the other, union republics, and here there is such a question that this is also overcoming provincialism, mr. rostislav, in fact, i i think, in fact, that your theater is in in frankivsk, and not in kyiv, this is already a huge victory for civilization, because we were always taught that everything should be in the capital, if not in moscow, then in kyiv, that's what i have, and everyone should go to the capital to the theater, to weekend, but, you know that now you have to go to frankivsk to see a good theater , of course there is a good theater in kyea with kolomyyskyi was famous and everything is fine, thank god there are now good examples everywhere, but now you

have caught this one. all this provincialism, we we know very well that the province is a state of mind, it's not a geographical factor , eh, but um, actually, i know when i ran into it, it was also my old dream, god willing, it's possible... now it's coming true, because i hurt coronavirus, then a full-scale invasion, creation, holding in ivano-frankivsk, of a shakespeare festival, and this is such a worldwide network of shakespeare festivals , we were at one time, how did i learn about it, because we were invited to perform our hamlet in gdansk, and we are there got to know each other, well actually every self-respecting country does not have an international shakespeare festival, and i say, why, why is there not in ukraine, i say, let 's open up, we held talks with directors from different countries, and one of the issues that first

really bothered me they asked everywhere frankivsk, and why did shakespeare go to frankivsk, right there as hutsuls, everything is fine with us, i am a hutsul myself, i am a terrible patriot of all this, i say, yes, this is the thing about it, this is the expansion of ours, here you are ... beyond some limits, well, this is again probably one of the ways that i see god will provide at the end of june we will host this festival, we already have all the agreements with different countries, but each country can have its own different models, i said, besides that, i want it to be not only a shakespearean theater festival, but a multidisciplinary one, that different genres of art should be presented, as well as literature, music, visual art, uh, and one of my conditions is that in the future, for example, it should be shakespeare, well, conditionally speaking, and franko, because we are from frankivsk, we in

the theater named after ivan franko, shakespeare, shevchenko and so on, and so on, our writers, and in this way we, and, at these festivals, these are really very cool forums, you get into such a network, immediately global, very cool, well, i see it, they say, without question, and now they, again, because of the tragedy that we have, they say, well, we have been working on this for a long time to get there, they say that you need to, what help, so that such a festival in ivano -frankivsk was, i think that this is also one of our ways to overcome this and provincialism in the cities, and a post-colonial thing, and i am telling the world again about that, if we take theatrical art, decolonization, yes, we, in everything we say, and in theatrical art, the stanislavska system, which was there, was stupidly thrown at us 100 years ahead, and with it everyone came, and chekhov, dostoyevsky, pushkin, turgin, everything, everything, everything, and they threw it all at us at once,

they destroyed kurbas, the european theater school, cool, cool, what, what can only be, those plays that kurbas put 100 years ago, sometimes now they are state-of-the-art, they put it on, and so we need this in the cities, that is, i really took an acting course this year, and one of such motivators, motivation for me was the creation of a new, including a theater system, without stanislavsky, without chekhov, without all that which for centuries we we were simply coded that this is how it should be and that's all, if we talk about the european context, you, mr. yuri, mentioned the baltic letter. but the problem was that baltic literature reached us primarily through russian translation, and now i often read it in the polish translation of, say, lithuanian writers, and the baltic writers themselves, they translated ukrainian literature into their own language, there was a completely different cultural

situation, they were interested in us, not me, this is very important, to understand how we can return this cultural context, if we if we want to be in europe, it is not just about having trade privileges there, it must be a part of civilization, when i...' i think i was still a student, i was in riga, i wanted to write an article about translations of ukrainian literature, navis cnigos introduced me to the translator of latvian ukrainian literature, knut squinix, in the editorial office of the rist magazine, and i know knut squinix, he died last year, he translated ukrainian literature for many decades, but he learned the ukrainian language in the camp, yes. he was a dissident, he got into the camp, he became friends with them , they taught him the ukrainian language, then he translated ukrainian literature all his life, i interviewed him, then in no ukrainian publication, this interview was not even printed

could, because he was a former dissident, and what was possible in latvia, i was introduced to him calmly, we in the editorial office made this text, without any. problems in the editorial office of a serious latvian publication, that in ukraine was considered dangerous, and it shocked me a lot at the time, well, i was a young person, and now the question arises, how do we move in this new situation, in this european cultural context and people behind me, i would say, draw them into it, well , a lot of things are already being done, after all, we are being transferred, a lot of it is from abroad literature, although not as much as in other countries, because croatia is so small, and i see that they systematically translate, they will translate some, let's say we have a chaos of translation for the great char zakovsky translated two books there.

when i look in croatia, it is a huge selection of his books, including letters, notes of various kinds and so on, who would write us here, or notes of any kind, publish there or thomas mann, or others, it will not be bought, but there the state buys , 500 copies of each, each book, and somehow it turns out in them like this, besides, their books are quite expensive, and in this way they somehow manage to keep this whole thing afloat, they publish much more books than we do, although there are about 5 million of them there. we see the same thing in the czech republic, in poland, where in in poland, the ministry of culture supports a whole series of various magazines, a whole series of books, translations and so on , well, we have very little of this, but what is being done is, every

year, everything, the situation on the market is better, and if not war, i think we would have advanced far enough, it's just that now it's clear that it's war all these book publications and the fact that, many people left , and the solvency is low, the book... had to increase in price, because imported paper and so on, well, i still look optimistically to the future , that's why i'm not disappointed, i think it's an important thing, like art, to heal the traumas of society, both those that are and those that will be, i was at your performance of hotsulkans, they were brought to lviv, and it's not the first time i looked, but i just wanted to see how

she looks now, she looks different in you now, it’s such an almost military performance, with such actual appeals to the hall, then it’s different, i don’t know if you can call it a musical, it’s more of a dialogue with the audience, which has now become, well, if you rethink even musicals, then what will the ukrainian theater look like when it becomes so public like this, well, in short, i will also react to the translations to... actually now, when we started getting really closer, well, me and the theater , to get to know foreign literature and drama, it's actually , this is a big one for us there is a problem with the translation, it's just a problem, but even now it is one of the last, the last premieres that we had by sartre, so we know some very famous plays by him, but the lithuanian director offered sartre dead without burial, we don't have a ukrainian translation, a russian one, and that's a lot, a lot, a lot, and that's why

we translated and contacted our university, so this is a gap that we need to make up very quickly now, i think, regarding which theater, but i 'm back again now, well not now, was at the lithuanian showcase in lithuania, and the lithuanian theater in general, it is first of all, and in general, it is a dialogue with the public. and this is a very cool thing, well, again, there are and have always been different opinions, views about whether art, in general and theater, in particular , should be cosmopolitan and broadcast only some eternal values, or vice versa, i always said, that art, in general, and theater in particular, should be in the vanguard of the processes taking place, and in recent years have always

tried to be in dialogue with the audience, and this it's true, probably like gutsuka, now it's, well, it's absolutely, a reaction to what's happening today, and many of our other performances, which sometimes maybe just eh, so ethnographic, but it just seems to me, sometimes like, like the shots are anti-russian, and again, and when...' foreign directors, i'm telling you again for that maya klychevska, when she absolutely made a fool of herself for ukraine and you come to see it, by the way, we transferred it to us, there must be 30. that january there will be in-laws in lviv, now we are going to krakow, or sartre for that matter the same one, staged, again, where one of the elements of the scenery, well, it is clear that it is in an artistic form, a destroyed amphitheater, that it is a message to the mariupol theater, and it is

still about today, about the war, so it is there must be a theater, it must be alive, it must respond to what is happening today ... absolutely, then it is alive, then it is not contrived, then young people will go to it, then, well, then it is modern, alive, the one that is here, now and about today, well , this is about injuries, i don't know, literature can to heal the traumas of society, i don't think literature in general owes anything to anyone, and it can. if she sets some specific tasks for herself, then it will turn out to be something, the work will be, no, i am not about the task, i am about the inner, inner, if you want self-awareness, it is not a task, it comes out by itself, it is from

feedback, well if it is purely therapeutic , then this can be, but today an employee of this television company approached me and said that she moved to lviv and started reading my books, and this somehow made her stay in in a foreign city and she also walks the streets that i describe and so on, well no, not every book of yours can alleviate the situation, you have to tell the truth, well, yes, of course, well, but in every case there is something like that, well, let's say. lviv, which children study and walk and make whole excursions to the places that i described and so on, it still gives something for, well gives, instills love for this city, for some of its places, until now unknown

to them, and so what, and then say, we can...' can think about the fact that we can somehow restore the cultural context that was, if you look into the future, you immediately think about the past, you understand, because lviv and stanislaviv were completely different cities, so in the recent past, they were ukrainian-polish-jewish, armenian, german, such microcosms united into one , and this, in soviet times, it was all simply cemented, and then from this a completely different perception of the cultural and civilizational space began to be born, the question arises, how to restore it, how people can see this city that

existed and can this is also the way to europe, well to restore, it is difficult, because the population of lviv has changed by 90, the churches were destroyed, the poles left, and people from the village moved into the city, and just like my stanislavov, i have written more than once about the fact that it was necessary to return this name , er, but i don't want the village, the village doesn't like the city, and let's take chervonograd, they continue to vote for chervonograd to remain, they don't like that chrystina, potocka, why don't you like it, it's ours. ..' the gentry, and of course, a lot of things that happened in lviv, for example, in lviv there were a lot of cabarets, both polish, ukrainian, and jewish, there were separate ones, now we don’t have that, we were once revived in 1988 by a theater judge, in fact it was

a cabaret, and it was very popular, for several years, we were at their peak, and then there was already somewhere in 1992... a decline, and the decline was total, by 1992, magazines had a circulation of 15,000 to half a million , some newspapers had a circulation of up to a million, and then it all fell sharply, and because people began to survive in a new era, of course, well , this is a question for you, mr. rossislav, how to generally restore this civilizational european space, well, i really believe that i am doing it, we are doing it, that the theater can do it, specifically on the example that happened again and is happening now with our theater, when i was thinking about this, year for' the request of european directors to us, again in lithuania, in vilnius, i saw

a performance that i liked very much, it later became the best there, i thought it was a lithuanian director, i wanted to invite , i started correspondence to invite him to us, in theater, then it turned out during the production that he was not a czech, but a slovene, from ljubljana, in a word, then he was very cool there, and a professor and well-known in europe. and what interested him the most, i wrote, we are from ivano-frankivsk, once it was stanislavov and so on, and so on, and he was very interested, we became interested, we started, zoomed in, and he says: my, great-grandfather, eh, during the first world war, he told me that they were in stanislav, and he told a lot about it, we were one country, of course, they were from the same region this country, you are from another country, so he says, and here we are... well, he is there in ljubljana, well , slovenia is not so big, there is gorica, something like that, where he comes from, or something like that, and we are from

frankivsk, or i am there, or from kosovo, and, in fact, he says, ukrainian soldiers of the stanislavsky regiment are buried there , he sent photos and so on, i saw this burial, yes, we were there, yes, well, we actually later too were, because we were already at the workshop, we started, the cooperation is now ongoing, and we will be alone, with them they won there european capital of the 25th year, our theater will be one of the 12 european countries that will take part in this, and actually he is interested in this thing to show that once upon a time we were one society, austria-hungary, where all countries were, including ukrainians, and it was known, that is, for me too, it was a discovery, to be honest, that croatia, again these balkan countries, which are conditional. it’s not as far to go to them as it is to berdyansk to the sea of ​​azov, it’s the same distances and the same values , that’s where we come, now i understand that

we, well, it’s like some kind of one thing, it’s really like one the house is european, there are a lot of songs in common, i eat even more, i said, but it’s in general, well, i say, i’ll tell later, you know that there was great croatia, it’s not only austria-hungary there, the first world war was there, and we were once in the same country, where we had the same toponyms as ours. in slovenia, i say in our country, in ivano-frankivsk, between two fast schools, they say yes , we also have two fast schools there , so-and-so. about ourselves, about our parish, we can talk like this, and we come, he says, yes, we, together, we were one, and now we are coming back, or are they coming back, or are we together with once again proving that we have european values, i can put an end to

this dialogue is precisely on these thoughts of yours, and i think it is very important, because one way or another we are creating, even in times of such difficult trials, here is this civilizational space, which, as you rightly said at the beginning of this conversation, if it were not for this war may have been created would have been much longer, it took such a tragedy for ukrainians to see where their home is and what ukraine actually was and is a part of. thank you to our guests, writer and publicist yury venechuk, director and artistic director of the ivano-frankivsk academic regional music and drama theater rossislav djorzhepilskyi, who were on the air of tv channel uso. thank you, dear friends, and stay with us until

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