As part of this special issue, we are delighted to host a conversation by the journalist, Dr. Olha Kvasnytsia, with Prof. Nataliya Torkut, the Head of the Ukrainian Shakespeare Centre and Honorary Senior Research Fellow at the Shakespeare Institute of the University of Birmingham. The aim of this contribution is to highlight the intellectual and cultural activities of the Ukrainian Shakespeare Centre (USC), its history, conceptual foundations, and present-day mission in response to contemporary challenges and the shifting cultural and civic paradigm. The USC's objective involves selecting appropriate development strategies, particularly in areas of scholarships, translations, and public education. Its mission focuses on overcoming entrenched stereotypes about Shakespeare, de-ideologising his image, freeing it from the remnants of "vulgar sociologism" inherited from the past, and revitalising academic Shakespeare studies in Ukraine. It also seeks to expand research through interdisciplinary approaches, foster international collaboration with global Shakespearean institutions, and promote the multifaceted dissemination of the USC's achievements. This includes popularising Shakespeare's works through various forms, establishing a dedicated Shakespeare Library, founding and publishing specialised scholarly journals such as Shakespeare Discourse and Renaissance Studies, creating the Ukrainian Shakespeare Portal website, and organising Shakespeare Days in Ukraine, among other initiatives. With the onset ofthe Russian-Ukrainian war, the USC redefined its objectives, using public communication tools to decolonise perceptions of Ukraine and Ukrainian Shakespeare studies, particularly through the organisation of the first Ukrainian Shakespeare Festival. The activities of the USC-and Ukrainian Shakespeare scholarship as a whole, both in mainland Ukraine and in the diaspora-serve as a powerful example of cultural diplomacy, demonstrating the presence of Ukrainian culture within the global context.
The study of precarity has emerged as a new theoretical interest in the humanities in response to contemporary global crises such as military conflicts, terrorist attacks, the COVID-19 pandemic, ecological disasters, and climate change. In the Ukrainian context, where war and geopolitical instability remain ever-present, the exploration of precarity resonates deeply. This article examines the exploration of the precariousness of human existence in William Shakespeare’s plays through a distinctly Ukrainian lens. It engages with the ongoing war in Ukraine, the nation’s experiences of trauma, loss, resilience, and with the therapeutic potential of Shakespeare-related programmes. Drawing on Judith Butler’s theory of precariousness and precarity, this essay analyses how Shakespeare’s plays address the fundamental vulnerabilities of human life linked to health, race, and social inequities. It pays particular attention to the precariousness of human existence, with a focus on the realities of war, political power, and the system of government. The plays used in the analysis are Hamlet, Othello, King Lear, Romeo and Juliet, The Merchant of Venice, Henry V, Richard II, and Richard III. The paper concludes that Shakespeare’s exploration of precarious existence speaks not only to the fragility of life in his time but also mirrors the existential challenges faced by Ukrainians today, making his works relevant to both local and global audiences.
This paper examines two recent Shakespeare productions by the Ivan Franko Night. The classic tragedy is directed by Rostyslav Derzhypilskyi, and the celebrated comedy by the actor Oleksii Hnatkovskyi, who also plays the title role in Hamlet. Both productions function as a shelter, in a literal and metaphorical sense. The Hamlet production opened in 2017 and became known for its use of a contemporary-sounding new translation by the Ivano-Frankivsk native, Yurii Andrukhovych, as well as the new basement stage adapted for the post-apocalyptic production. It soon literally became a bomb shelter, used as temporary housing for refugees from Eastern Ukraine, as a result of the full-scale Russian invasion in 2022. The staging of Twelfth Night as literally drama therapy in action consisted of a performance by Ukrainian soldiers utilising an abridged English text of the play. The performance served as a psychotherapeutic session and demonstrated the healing power of Shakespeare's plays. The present article focuses on how this regional Ukrainian theatre has unexpectedly become a cutting-edge venue for Shakespeare performance and, more importantly, a spiritual and intellectual shelter for not only the audience, but also the performers.
The article offers an overview of the reception history of Romeo and Juliet in Ukraine. In the Ukrainian lands that were part of the Russian Empire, Romeo and Juliet began to be staged at Russian-language theatres at the end of the 19th century. In the Ukrainian SSR, the tragedy was performed in Ukrainian translations from the late 1930s. Leading theatres in independent Ukraine also adapted Romeo and Juliet. For instance, the Frankivsk Drama Theatre (2021, directed by Rostyslav Derzhypilskyi) staged Romeo & Juliet using Yurii Andrukhovych’s translation. Since the start of the Russo-Ukrainian war, this performance has been experimental in its spatial design and approach to the characters, reflecting the pain of the time.
Ukrainian director Vyacheslav Yehorov staged King Lear around war-torn Ukraine, and then in 2024 toured this Ukrainian King Lear to Stratford-upon-Avon (Royal Shakespeare Company; see Christie Carson’s article in this volume). Yehorov and Dmytro Hreshko collaborated in producing a film documenting the challenges and experiences of staging King Lear in such a context: ‘King Lear’: How We Looked for Love during the War. This paper examines the significance of King Lear as a refuge for Ukrainian communities grappling with the ravages of war, and explores how Yehorov and Hreshko’s adaptation serves as a source of catharsis. At the heart of King Lear lies the theme of seeking shelter, a resonant motif for communities impacted by war. The characters’ struggles for refuge mirror the plight of Ukrainian refugees displaced from their homes. The parallels extend further as Lear’s fragmented Britain symbolically reflects the fractured state of Ukraine, pervaded by loss and destitution. The paper traces Lear’s evolution from an isolated victim to a figure who discovers solace in human connections, mirroring the journey of many Ukrainians enduring hardship, as it is depicted in the film. By examining testimonies from the ad-hoc Ukrainian actors involved in Hreshko and Yehorov’s film alongside Lear’s development, the study seeks to shed light on how King Lear acquires healing powers for communities in distress, offering a portrayal of collective destitution and emphasizing the importance of solidarity, empathy, and love in adversity. Ultimately, Yehorov and Hreshko’s initiative is interpreted as a form of bibliotherapy on stage, harnessing the therapeutic potential of theatre to provide solace during tumultuous times. Through their adaptation of King Lear, the two Ukrainian artists offer Ukrainian audiences a narrative that reflects their experiences and fosters a sense of communal resilience, showcasing the enduring power of Shakespeare’s plays to heal and unite even in the darkest of times.
The article describes a unique theatre project recently implemented by an international team of directors, actors, and stage designers representing the Bremer Shakespeare Company, the Prague Shakespeare Company and the Ukrainian Vasyl’ko Theatre in Odesa. The project’s product is a production titled We Are Hamlet that was performed in several European cities in 2023. Directed by Guy Roberts, We Are Hamlet examines, through the text of Shakespeare’s Hamlet, what defines and makes possible the existence of human beings, despite their social, political, economic, educational, and even ecological differences. The discussed performance can be considered a conceptual statement, one made with the help of traditional artistic means but conveying meanings that acquire particular significance today. The production is analysed with recourse to the impact of media-broadcast images of the collective international support for Ukraine as a victim of the Russian aggression. The article looks into the artistic process itself, focusing on how the very idea of collective support is realised on stage through the so-called chorus atomisation.
This article analyses the activities of the Ukrainian Shakespeare Society between 1957 and 1990 as a unique project of the Ukrainian diaspora. It draws attention to the organisational, scientific and publishing activities of its most prominent members, with a particular focus on Ihor Kostetskyi and Jaroslav Rudnyckyj. The materials analysed in the article provide new insights into the organisational and promotional activities of the Society (UShT). The Ukrainian Shakespeare Society was a significant cultural and scientific project. Aiming to represent the true values and traditions of Ukrainians, fundamentally different from those proclaimed by propaganda in the Soviet Union, the members of the Society contributed to the spread of Ukrainian culture beyond the borders of Soviet Ukraine. The Society’s activities involved the publication of translations of Shakespeare’s works and Shakespeare studies by authors banned in Soviet Ukraine for being “enemies of the nation” (such as Todos Osmachka). Founded in 1957 and active for over thirty years, the Society’s primary goals were to develop and promote Ukrainian culture in the European and global context, in contrast to the presentation of the Soviet version of Ukrainian culture as the only “correct” one. This activity focused on two basic goals. On the one hand, it was a continuation of the Ukrainian tradition in translations and studies of Shakespeare, initiated by Osyp Fedkovych, Panteleimon Kulish, and Ivan Franko. On the other hand, the Society became a significant Ukrainian cultural institution that promoted the study and translation of Shakespeare’s works by Ukrainian authors abroad.
Several aspects of the development of Shakespearean studies at the Department of Theatre Studies and Acting at Ivan Franko National University of Lviv are explored, highlighting its role as an academic centre fostering theatrical research. Special attention is given to Shakespeare studies, a field initiated by Professor Maiia Harbuziuk. She investigated Shakespeare’s theatrical interpretations in Lviv, particularly the tragedy Hamlet, and made a significant contribution to the development of Ukrainian Shakespeare studies. Her research sheds light on the multicultural growth of Lviv, the influence of theatre on audiences, and national self-identification through stage productions. The department’s publishing activities, including the release of Shakespearean research and translations, continue to advance the study and popularization of Shakespeare’s works in Ukraine. Harbuziuk’s scholarly ideas are carried forward by modern young theatre researchers. The impact of Shakespeare’s works is also revealed in the academic process of students enrolled in the “Dramatic Theatre and Film Acting” program. It is emphasized that working with Shakespeare’s plays enables future actors to gain a deeper understanding of archetypal characters, honing rhythm through body, voice, and movement. Shakespeare’s texts provide useful guidance for character development, making them an integral part of the educational process.
The article comments on the intersemiotic translation of Shakespeare’s works in Vladyslav Yerko’s conceptual illustrations to Hamlet (2008), Romeo and Juliet (2016), and King Lear (2021), translated by Yurii Andrukhovych and published by the Ukrainian house A-BA-BA-HA-LA-MA-HA. The paper investigates the way in which Yerko’s richly symbolic visual narratives engage in dialogue with Ukrainian culture and history. Situated within a broader tradition of Shakespearean illustration, Yerko’s work exemplifies illustration as metatext. His imagery blends Renaissance allegory, surreal detail, and postmodern irony, reflecting influences ranging from Albín Brunovský’s art to Kozintsev’s cinematic Hamlet. The article demonstrates how Yerko’s visual interpretations, paired with Yurii Andrukhovych’s witty and provocative Ukrainian translations, create a multilayered conversation between Shakespeare’s England and contemporary Ukraine. By highlighting the dialogical nature of illustration as a form of adaptation and translation, the study contributes to ongoing discussions about the global afterlives of Shakespeare in new cultural contexts. Yerko’s illustrations reveal how visual arts reimagine the Shakespeare’s works as both Ukrainian and universal, reaffirming the vitality of printed books as sites of cross-cultural exchange, aesthetic reflection, metatextual play and deep reading.
A translation project of Shakespeare’s sonnets undertaken by a prominent representative of the Ukrainian diaspora in Western Europe, Ihor Kostetskyi, aimed to reconstruct and revitalise the modern Ukrainian language through translation in the 1950s. Kostetskyi saw the creative laboratory of Shakespeare’s sonnets as a tool of transformative influence on the state of the Ukrainian literary language, which in the Soviet Union suffered from censorship and countless bans aimed at depriving and Russifying its lexical, grammatical and stylistic diversity. Most Ukrainian writers in the diaspora after the Second World War sought to reconstruct and develop the Ukrainian language. Kostetskyi’s formalist translation of the complete sonnets into a creatively stylised “Shakespearean” Ukrainian is the object of the present study.
The article examines the first stage performances of William Shakespeare’s Hamlet in Ukrainian puppet theatres, which appeared as late as the twenty-first century. The authors examine productions by directors Oleksii Kravchuk (Lviv Academic Theatre of Variety Miniatures “Both People and Puppets”, Lviv, 2017), Oksana Dmitrieva (Viktor Afanasyev Kharkiv Academic Puppet Theatre, Kharkiv, 2018) and Nikita Pertsev (Zhytomyr Academic Puppet Theatre, Zhytomyr, 2021), which are characterized by an innovative combination of live action and puppetry. The article analyses the transformation of the performance idea, the construction of Hamlet in these performances, and scenographic solutions that reflect the characters’ internal conflicts and expand the boundaries of the tragedy.
