Anastasiia Kosodii – författare

Ukraine’s remarkable aptitude for resilience and grassroots activism, as witnessed since February 2022, is closely connected to a process that began with the Euromaidan Revolution in 2013-14, when over two million Ukrainians took to the streets in defense of democracy and human rights. In the months directly following the Revolution, Russia illegally occupied Ukraine’s Crimean Peninsula, and began funneling both arms and troops into the eastern region of Donbas to fuel a conflict between the Ukrainian army and a small group of radical separatists. Since that time, Ukrainians have been working diligently to build the society in which they have wanted to live, all while fighting Russia and its proxies in Europe’s forgotten war. Ukrainian New Drama After the Euromaidan Revolution brings together key works from the country’s impressively generative post-Revolutionary period, many of them published here in English for the first time. As well as established voices from the European theatre repertoire such as Natalka Vorozhbyt and Maksym Kurochkin, this collection also features iconic plays from Ukraine’s post-Maidan generation of playwrights Natalka Blok, Andrii Bondarenko, Anastsiia Kosodii, Lena Lagushonkova, Olha Matsiupa, and Kateryna Penkova. Considered together, these plays reflect the diversity of voices in Ukraine as a country seeking to comprehend both the personal and political consequences of the Revolution, the war, and all that has come since.A key element to the remarkable culture of defiance and resistance that Ukrainians created in these years has been new approaches to arts activism, particularly in the performing arts. In the eight years between Euromaidan and the full-scale invasion, Ukraine witnessed an incredible boom in socially engaged performance practice. Playwriting in particular has become an essential genre through which artists have sought to bear witness to the repercussions of the war and to create spaces for the reclaiming of historical and cultural narratives; Ukrainian New Drama After the Euromaidan Revolution captures this spirit and published this necessary and vital work in English for the very first time.

Ukraine’s remarkable aptitude for resilience and grassroots activism, as witnessed since February 2022, is closely connected to a process that began with the Euromaidan Revolution in 2013-14, when over two million Ukrainians took to the streets in defense of democracy and human rights. In the months directly following the Revolution, Russia illegally occupied Ukraine’s Crimean Peninsula, and began funneling both arms and troops into the eastern region of Donbas to fuel a conflict between the Ukrainian army and a small group of radical separatists. Since that time, Ukrainians have been working diligently to build the society in which they have wanted to live, all while fighting Russia and its proxies in Europe’s forgotten war. Ukrainian New Drama After the Euromaidan Revolution brings together key works from the country’s impressively generative post-Revolutionary period, many of them published here in English for the first time. As well as established voices from the European theatre repertoire such as Natalka Vorozhbyt and Maksym Kurochkin, this collection also features iconic plays from Ukraine’s post-Maidan generation of playwrights Natalka Blok, Andrii Bondarenko, Anastsiia Kosodii, Lena Lagushonkova, Olha Matsiupa, and Kateryna Penkova. Considered together, these plays reflect the diversity of voices in Ukraine as a country seeking to comprehend both the personal and political consequences of the Revolution, the war, and all that has come since.A key element to the remarkable culture of defiance and resistance that Ukrainians created in these years has been new approaches to arts activism, particularly in the performing arts. In the eight years between Euromaidan and the full-scale invasion, Ukraine witnessed an incredible boom in socially engaged performance practice. Playwriting in particular has become an essential genre through which artists have sought to bear witness to the repercussions of the war and to create spaces for the reclaiming of historical and cultural narratives; Ukrainian New Drama After the Euromaidan Revolution captures this spirit and published this necessary and vital work in English for the very first time.

Ukraine''s remarkable aptitude for resilience and grassroots activism, as witnessed since February 2022, is closely connected to a process that began with the Euromaidan Revolution in 2013-14, when over two million Ukrainians took to the streets in defense of democracy and human rights. In the months directly following the Revolution, Russia illegally occupied Ukraine''s Crimean Peninsula, and began funneling both arms and troops into the eastern region of Donbas to fuel a conflict between the Ukrainian army and a small group of radical separatists. Since that time, Ukrainians have been working diligently to build the society in which they have wanted to live, all while fighting Russia and its proxies in Europe''s forgotten war. Ukrainian New Drama After the Euromaidan Revolution brings together key works from the country''s impressively generative post-Revolutionary period, many of them published here in English for the first time. As well as established voices from the European theatre repertoire such as Natalka Vorozhbyt and Maksym Kurochkin, this collection also features iconic plays from Ukraine''s post-Maidan generation of playwrights Natalka Blok, Andrii Bondarenko, Anastsiia Kosodii, Lena Lagushonkova, Olha Matsiupa, and Kateryna Penkova. Considered together, these plays reflect the diversity of voices in Ukraine as a country seeking to comprehend both the personal and political consequences of the Revolution, the war, and all that has come since. A key element to the remarkable culture of defiance and resistance that Ukrainians created in these years has been new approaches to arts activism, particularly in the performing arts. In the eight years between Euromaidan and the full-scale invasion, Ukraine witnessed an incredible boom in socially engaged performance practice. Playwriting in particular has become an essential genre through which artists have sought to bear witness to the repercussions of the war and to create spaces for the reclaiming of historical and cultural narratives; Ukrainian New Drama After the Euromaidan Revolution captures this spirit and published this necessary and vital work in English for the very first time.

Ukraine''s remarkable aptitude for resilience and grassroots activism, as witnessed since February 2022, is closely connected to a process that began with the Euromaidan Revolution in 2013-14, when over two million Ukrainians took to the streets in defense of democracy and human rights. In the months directly following the Revolution, Russia illegally occupied Ukraine''s Crimean Peninsula, and began funneling both arms and troops into the eastern region of Donbas to fuel a conflict between the Ukrainian army and a small group of radical separatists. Since that time, Ukrainians have been working diligently to build the society in which they have wanted to live, all while fighting Russia and its proxies in Europe''s forgotten war. Ukrainian New Drama After the Euromaidan Revolution brings together key works from the country''s impressively generative post-Revolutionary period, many of them published here in English for the first time. As well as established voices from the European theatre repertoire such as Natalka Vorozhbyt and Maksym Kurochkin, this collection also features iconic plays from Ukraine''s post-Maidan generation of playwrights Natalka Blok, Andrii Bondarenko, Anastsiia Kosodii, Lena Lagushonkova, Olha Matsiupa, and Kateryna Penkova. Considered together, these plays reflect the diversity of voices in Ukraine as a country seeking to comprehend both the personal and political consequences of the Revolution, the war, and all that has come since. A key element to the remarkable culture of defiance and resistance that Ukrainians created in these years has been new approaches to arts activism, particularly in the performing arts. In the eight years between Euromaidan and the full-scale invasion, Ukraine witnessed an incredible boom in socially engaged performance practice. Playwriting in particular has become an essential genre through which artists have sought to bear witness to the repercussions of the war and to create spaces for the reclaiming of historical and cultural narratives; Ukrainian New Drama After the Euromaidan Revolution captures this spirit and published this necessary and vital work in English for the very first time.

Egal ob diese ukrainischen Theaterstücke vor oder nach dem 24. Februar 2022 entstanden sind: Der Krieg ist allgegenwärtig, aber nicht allbeherrschend. So gibt der achte Drama-Panorama-Band Einblick in eine vielfältige, lebendige ukrainische Dramatik und versammelt neun zeitgenössische Theatertexte aus den Federn ukrainischer Autor*innen, die im deutschsprachigen Theater bereits bekannt oder noch zu entdecken sind. Die Anthologie Zeitreisen durch die Gegenwart gibt entsprechend dazu Anlass, das hiesige Interesse an ukrainischer Dramatik auch abseits des russischen Angriffskriegs zu festigen.Während Andrii Bondarenko in Was man im Dunkeln hört (2022) den paranormalen Alltag im Luftschutzraum beschreibt, unternimmt Anastasiia Kosodiis Time Traveller's Guide to Donbas (2018) eine surreale Zeitreise aus dem Jahr 2036 ins Jahr 2013, auf der Suche nach dem Ursprung des Krieges.Quer durch die Zeiten geht es auch in Luda Tymoshenkos Stück Fünf Lieder aus Polesien (2021), das fünf bittere Episoden aus den Jahren 1940, 1959, 1973, 1997 und 2020 fernab der Metropolen schildert. Gorkis Mutter von Lena Lagushonkova (2019) verfolgt aus Sicht der jungen Generation die epochalen Umbrüche zwischen den 1960er Jahren in der Sowjetunion und unserer Gegenwart. Die Ereignisse des Maidan und der Beginn des Krieges 2014 stehen im Zentrum von Tetiana Kytsenkos Die Frauen und der Scharfschütze (2014/15), während Maksym Kurochkin mit Drei Versuche den Alltag zu verbessern (2022) an das Leben eines Soldaten heranzoomt.Sowohl Oksana Savchenkos Die Nacht verdeckt den Morgen (2022) als auch Natalka Vorozhbyts Green Corridors (2022/23) nähern sich Erfahrungen der Flucht aus der Ukraine mal verzweifelt, mal mit bitterer Ironie. Und auch fernab der Front hallt der Krieg in Olha Matsiupas Stück Öko-Ballade (2015) nach, für das die Autorin 2017 den internationalen Autor*innenpreis des Heidelberger Stückemarkts erhielt.Aus dem Ukrainischen übersetzt und mit einem einleitenden Essay von Lydia Nagel.Mit den TheaterstückenAndrii Bondarenko: Was man im Dunkeln hört (2022)Anastasiia Kosodii: Time Traveller's Guide to Donbas (2018)Maksym Kurochkin: Drei Versuche den Alltag zu verbessern (Kurztext, 2022)Tetiana Kytsenko: Die Frauen und der Scharfschütze (2014/15)Lena Lagushonkova: Gorkis Mutter (2019)Olha Matsiupa: Öko-Ballade (2015)Oksana Savchenko: Die Nacht verdeckt den Morgen (2022)Luda Tymoshenko: Fünf Lieder aus Polesien (2021)Natalka Vorozhbyt: Green Corridors (2022/23)