‘Ukrainian Theater Cannot Exist Outside the War Today – It Must Be Its Voice’ – Interview With Rostyslav Derzhypilsky

After 18 years at the helm of the Ivano-Frankivsk drama theater, Rostyslav Derzhypilsky has extended the legacy of a stage founded in the Austro-Hungarian era and reshaped it for a country at war. Make us preferred on Google Share Facebook X (Twitter) LinkedIn Bluesky Email Copy Copied Rostyslav Derzhypilsky. (Photo courtesy of the Ivano-Frankivsk National Drama Theater) Content Share Facebook X (Twitter) LinkedIn Bluesky Email Copy Copied Flip Make us preferred on Google Despite the prolonged war, the Ivano-Frankivsk National Academic Drama Theater is launching the Ukrainian Shakespeare Festival. It has become a full-fledged member of the European Shakespeare network, organizing a new international festival this summer, presenting its original vision of world classics abroad, and earning well-deserved recognition. Kyiv Post presents an exclusive interview with Rostyslav Derzhypilskyi, the theater’s general and artistic director. Follow our coverage of the war on the @Kyivpost_official . Kyiv Post: This year, the Ivano-Frankivsk theater marked its 115th anniversary. How do you interpret its more than century-long history in light of its current transformations? Rostyslav Derzhypilsky: I’ve been in Ivano-Frankivsk since 2008 – and on April 17, 2026, it will be 18 years since I took over the theater. I very quickly felt: This is my place. As the 18th-century Ukrainian philosopher Hryhoriy Skovoroda said, “congenial work is the sweetest thing in the world” – when your profession aligns with your inner calling. Even as a student, I was struck by this theater – actors of different generations here were always capable of bold, unexpected work. When we later explored its history in depth, it became clear why. The theater was founded on Oct. 10, 1910, with the registration of the “Ukrainian People’s Theater named after Ivan Tobilevych.” We have found all the documents confirming the continuity of its existence – and we are its direct successors. The first premiere, Natalka Poltavka by Ivan Kotliarevsky, took place on Feb. 12, 1911. Other Topics of Interest Chornobyl Wildlife, Nature is Mostly Thriving 40 Years Post-Accident Radiation and the Russian forces are harmful, but overall, nature in northern Ukraine has proven itself resilient. Our theater has deep roots: Its troupe, shaped within a Western European tradition, dates back to the Austro-Hungarian period. A century ago, people would say: If you need actors who sing, dance, and command their bodies flawlessly, you go to the Tobilevych Theater in Stanislaviv (now Ivano-Frankivsk). In the 1920s and 1930s, it was among the most representative theaters in Eastern Galicia. The repertoire staged here mirrored what was being performed on Broadway, as well as in London, Paris, and Vienna. Of course, occupations – Soviet and Nazi – left their mark. Things permitted in Kyiv were often banned here, as this region was labeled “Bandera territory.” Ukrainian theater was being destroyed. Destroyed – but not erased. Just like our nation: For centuries, the best were killed. But the roots remained. Everything revived – and continues to produce new, even stronger, heroic shoots. The war has reshaped all aspects of life. How has it changed your theater – and your directorial language? For me, the war began back in 2014 – after the Euromaidan and the Heavenly Hundred. After that, you can no longer pretend nothing has happened. On the day the first shootings began, I was on Maidan, on Instytutska Street, with Oleksiy Hnatkovskyi. It feels like a miracle we weren’t hit – bullets were flying, people were dying right next to us. It changes you completely. I remember hearing “Plyve Kacha” [a mournful Ukrainian Lemko folk song], seeing the fallen carried away… On the way home, I felt frozen inside. I didn’t understand what I should stage next. After that, it was impossible to carry on as if nothing had happened. Then came the occupation of Crimea, Donbas, Luhansk. I didn’t stage anything for almost half a year. Then I reread Eneida by Ivan Kotliarevsky – and discovered that its final chapter is about war. Whether we weren’t taught this at school or it was deliberately omitted – I don’t know. But I was shocked: The text speaks directly to our present, to Maidan. That’s when our theater began to change. Looking back, it feels like we were preparing for the full-scale invasion. Feb. 24, 2022, simply made everything explode. Today, no normal Ukrainian can pretend there is no war. Ukrainian theater cannot exist outside of it. Our language and culture are both a weapon and a shield. Theater must be the voice of this reality. This isn’t about better or worse – it’s about responsibility: Not to lose spirit, and to give people faith. Rostyslav Derzhypilsky. (Photo courtesy of the Ivano-Frankivsk National Drama Theater) Your recent premiere of “Marusia Churai” has drawn major attention. What shaped your interpretation of this poetic drama by Lina Kostenko today? “Marusia Churai” is absolutely about our time. It’s about a war that has lasted for centuries. When Bohdan Khmelnytsky [Editor’s note: Bohdan Khmelnytsky was a 17th-century Ukrainian military and political leader (Hetman), who established the Cossack Hetmanate – an early form of Ukrainian statehood] pardoned Marusia, he said that victory requires weapons, money – and her songs. It was with her songs that Poltava went into battle. Marusia Churai was essentially a star of her time. In many ways, she was among the first to place the individual at the center of song – not just ritual or sacred themes. This significantly changed the course of our musical history. By the way, last year marked 400 years since her birth, although it is still not entirely clear whether she was a historical figure or a collective, symbolic image. The task of theater is to give faith – to energize people. I’ve lived with this text since childhood. It was in our family library; I first read it in school. Twenty years ago, when I was still an actor here, we staged it. I think it’s impossible not to live with the genius of Lina Kostenko’s texts – “Marusia Churai” has always been with me. Two and a half years ago, during the full-scale invasion, it “knocked” again. At first, I was afraid – it’s almost a sacred text for me, like the Bible, and the author is still alive. I put it aside. But last summer it returned, very clearly. I realized: If I don’t open this “window” now, it may never open again. Thank God. I believe it’s a sin not to use what you’re given. If you don’t multiply your talent, you bury it. When I’m afraid, I remember that – and the solution comes. I immediately saw how it should look visually. I knew we had strong actors – a very musical company. As I immersed myself deeper, I understood: It had to be a musical performance. That’s how the idea of a “drama-song” was born. It was also important to me that Marusia and Hryts are not “from the past,” but contemporary – so the audience recognizes themselves in them. Ukrainian theaters play a special role abroad. You often perform for international audiences. How is Ukrainian theater perceived in the West? RD: We tour regularly. Our theater is actively developing a Shakespearean line – in 2024, we held the first Ukrainian Shakespeare Festival. We’ve performed at international festivals in Gdańsk, Kraków, York – and will return this year. It’s important to distinguish: Performing for the Ukrainian diaspora is one thing – for them, it’s often therapy. But engaging a foreign audience is a different task. We’ve had strong examples. One is “Dziady” by Adam Mickiewicz, staged by Polish director Maja Kleczewska. At the Boska Komedia Festival, critics said our interpretation made them reread Mickiewicz anew. We performed in Gdańsk, Katowice, Warsaw – and 95% of the audience was Polish. Another is “1975,” directed by Slovenian director Tomi Janežič – an international production about war and memory that gained recognition at festivals in Slovenia. These tours are effective cultural diplomacy. But I’ve learned that each country requires a tailored approach – you must consider its historical and political context. In Poland, we went on stage with our flags – and felt support. In Slovenia, it was more complicated, due to a certain nostalgic background. It reminded me that international cultural dialogue is always delicate work. But the most important thing is the audience’s reaction. Everywhere, people say, “Your actors are like gods.” That may be the best form of cultural diplomacy today. We want to launch an International Art Festival – the name is already set. It will be a Ukrainian showcase featuring the best productions and directors. Of course, during wartime, it’s difficult – especially to build a full international program. So this year, we’ll likely focus on a Ukrainian program as a foundation, to gain experience and organizational capacity. It’s something we are thinking about and dreaming of – tentatively, for mid-June. Myroslava Makarevych has more than 30 years of experience as a journalist and editor. She has worked for BBC Ukrainian Service; for a number of publishing houses in Ukraine, like HFS (ELLE Ukraine), Edipresse and Sanoma Media (Sensa.Ukraine editor-in-chief). She collaborates with various socio-political media including zn.ua; nv.ua. She is the author of 7 original fairy tale books for children, and 3 publicist books.