Abstract
The article analyzes the new senses that appeared in the 2021–2022 Ukrainian theater performances of canonical works. Two of the productions in question are based on Ukrainian classical texts, namely Taras Shevchenko’s “mystery poem” “Velykyi Lyokh” (The Great Dungeon) and Lesya Ukrainka’s dramatic poem Cassandra. The other two productions, based on Sophocles’ tragedy Oedipus Rex and Albert Camus’ play Caligula, consciously seek answers to the challenges of the new Ukrainian reality in the canon of world drama. The full-scale Russian invasion has made the well-known meanings in these works more clearly visible and added new ones. Against the backdrop of media discussions about the mental health of the Russian president, Caligula by the Ivan Franko Theater (Kyiv) reflects on the psychology of an authoritarian ruler. Oedipus Rex by the Theater on Podil (Kyiv) shows why the demand for justice is growing in wartime society and the moral side of actions is becoming increasingly important. The Great Dungeon by the Poltava Puppet Theater tells the dramatic story of the Russo-Ukrainian War through the prism of Shevchenko’s historical analogies. Cassandra by the Ivan Franko Theater creates the atmosphere of an vulnerable, open-air space where every inhabitant, except for the protagonist, prefers to protect themselves with fanciful constructions of ephemeral illusions. While the tragic reality of the Russо-Ukrainian War has led to the emergence of a large body of contemporary drama that interprets the new experience of Ukrainian society, the war reality has become a prerequisite for a significant rethinking of theatrical texts from the Ukrainian and Western European canon. Thus, Ukrainian theater is actively engaging with the new reality, intervening in various ways in current public discussions that aim to comprehend the drama of the war, and creating a safe space for a common emotional response to the latest tragic experience.
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