PERSPECTIVE

“In Avignon, performances start on time, the numbering of seats is strange, and it was better not to wear an earring with Ukrainian flag. I will explain the last one. Our flag really triggers foreigners. It seems that Ukrainians for them are like a piece of meat stuck between their front teeth, which not only interferes, but also aesthetically spoils the picture. “The agenda of the festival for 2024 is democracy and environmental protection”, announced from the stage. No, not the threat of war in Central Europe, not the impact of 8 million immigrants from Eastern Europe. What should we do to be present at European festivals? Pack your messages to the world in ecological wrappers that decompose in 10 days and do not harm the environment. My gratitude to the organisers of the study trip knows no bounds: first of all, it is important to communicate with like-minded people about general perspectives of the theatre, and even more important to see examples of the theatre that will be in Ukraine. As a producer, I would love to make plays about “that girl” now that would be a continuation of our feminist focus but I will make plays about Ukrainians and for Ukrainians. However, we have to work on export plays in co-production with European colleagues because the image of “Ukraine that is suffering”, “Ukraine that is begging” must be eliminated both here and there”.

“Talking about Ukraine and representing it at such international events is critically important. The trip demonstrated what information Europeans can accept about us in order to get our points across. Ukraine actually disappeared from the French agenda because of the aggressive narratives, radical position. Therefore, it is difficult but necessary to think about other, softer approaches that will affirm our cultural and historical subjectivity, introduce us to intellectual heritage and modern art. Many thanks to Ukrainian Institute and ONDA, Olga Dyatel and Anastasia Haishenets and other organisations for such a fantastic opportunity. It will definitely change and enrich my further professional path both in Ukraine and in the field of cultural diplomacy”.

“For me, Avignon 2023, in addition to discovering new interesting names, is also an understanding of new directions and current topics of modern theatre. I once again realised the relevance of the theatre and its importance right now, during the war in our country, having the opportunity, thanks to the work of Ukrainian Institute, to establish processes that will help the full integration of Ukrainian theatre, its adaptation in the European environment. And for this, there is a good basis in our country – a galaxy of modern theatre managers I was lucky to meet at this year’s festival”.

“We had meetings with representatives of the field, practising managers, producers and program directors from France. Thanks to this, I was able to better understand the economic basis of theatre activity. The festival itself becomes a huge marketplace for companies and producers. During this period program directors and curators create the repertoire for the next 2-3 years and look for the most interesting performances to invite”.

“Now Ukrainian theatre artists all over the world are creating projects to popularise Ukrainian culture and talk about what we care about through it. Along with it, an important task for theatre managers is to carefully study those tools and formats that can be used in different countries to effectively promote Ukrainian works and ideas that are important to us through them. Visiting such an event is a bunch of impressions, both emotional and purely artistic, which turn into practical experience, which allows you to make plans more confidently. Ukrainian performances are worthy of being presented at major theatre festivals, this is a process that has been going on for quite some time and nowadays it is gaining even greater importance and relevance”.