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An elusive link exists between theatre as a momentary, mirage-like art born and disappearing before our very eyes, and one of the oldest of traditions, mentioned as far back as by Plutarch. It was not only olden sage King Numa, who decreed to be buried along with his works, thereby depriving posterity of his texts. The secrets of spirit, thought, and feeling in olden high consciousness were not entrusted to cold script-they were passed on orally only to the most worthy, those capable of committing them to memory in order to pass them on, maintaining the oral chain. It is these arguments that lay at the base of the ethics of non-commitment to paper and the teachings of the Pythagorians and other sages. Tiutchev’s later postulate that “a thought spoken is a lie” represented truth in antiquity. We work with the Word-in script. But how enticing it would be to discover the silence of profound theatre criticism. Of silence and the multiple-essentiality Of the Black Triangle.

Director of the Les' Kurbas Centre, holds a doctorate in art criticism. Member-correspondent of the Ukrainian Academy of Arts, laureate of the Les’ Kurbas Prize, and Chevalier of the Order of Princess Ol’ha. Candidate’s dissertation is entitled "Les' Kurbas, the Director", doctoral dissertation is entitled "Theatre as a Diagnostic Model of Society. Some Universal Mechanisms of the Self-Organization of Artistic Systems". Has worked at the Sociology Division of the Institute of the Theory and History of the Arts (Moscow) and at UNESCO United Publishers (Moscow-Paris). From 1992 on has lived in Ukraine and is employed by the National Academy of Sciences and the Les’ Kurbas Centre. Author of close to 200 scholarly works, including the following monographs and books: Theatre Today-Theatre Tomorrow, Les’ Kurbas: A Rehearsal of the Future, Ukrainian Theatre at the Brink of the Third Millennium: A Search (Images of the World, Valuable Orientations, Language. Prognosis, Gordon Craig and his Theory of “Ideal Theatre”, Ukrainian Theatre of the 1920s-1990s (The World Encyclopedia of Contemporary Theatre, London-New York, Toronto), Hryhorii Skovoroda: Hypothesis on Happiness, Olena Rerykh’s Noosphere, Mass and Elite Culture in the “Interior” of Post-Modernism. Special interests include national cultures (Armenian, Abkhazi, Assyrian, Jewish, Uzbek, Roma, Lithuanian, among others). Has lectured in the US, Canada, Poland, Israel, Russia, and elsewhere.

Works at an intersection of disciplines: art criticism, the sociology of art culture, culture studies, synergetics, semiotics, and hermeneutics. Has been translated into 32 languages.