NADIA MIROSHNICHENKO (NEDA NEZHDANA)
... Dramaturgy - is absolute, because it encodes universal
models of the world in instant displays “here and now”...
... the word in a play is a variant of the mask. The more dissimilar
faces are able to hide behind that mask the more varied the
interpretation of the text can be...
... I would term the Ukrainian variant of post-colonial post-modernism
“whimsy” or “whimsical”. Whimsy is creation that mutates from
real forms into paradoxical hybrids, without establishing any
single style, changing, unafraid of “incorrectness", lack
of norm, even repetitiveness. Applied to drama, it is a mutation
of realism, with elements of modernism and absurdity, whose
core features a pedestrian perception of brutality, cynicism,
and degenerecy. It is characterized by a combination of carnivalization
and pitiless confessionalism, irony bordering on black humour,
absolute tragedy. In general, “whimsy” is analogical to the
post-Chornobyl situation, when rather than being a product of
a smug imagination longing for a “force-major”, monstrosity
is pedestrian reality.
Culturologist, playwright, art-critic, translator, member of
the NWUU, laureate of the P. Kravets’ Prize. Graduated from
Kyiv’s Art School, Kyiv Linguistic University (French philology)
and the Kyiv-Mohyla Academy (culturology). Continuing work on
her candidate’s dissertation. Research interests include 20th
century Ukrainian drama in all its contexts, and neo-ritualism
in post-modern theatre.
Headed Kino-Teatr’s theatre division, publishes in
numerous periodicals. Author of Kotyvyshnia, a collection
of poems (Smoloskyp, 1996, awarded publisher’s second prize).
Editor and chapter author of In Await of a Theatre,
an anthology of modern drama (Smoloskyp, 1998). Collaborated
with the A. Diachenko Centre for Contemporary Experimental Drama.
Author of the plays Dirigible, A Column of Turtles, The
Eleventh Commandment, or Night of the Clowns, And I’ll Betray
After All (Kyiv Kamernyi Theatre, 1996, Luhans’k Ukrainian
Theatre, 1999), The One Who Opens the Door (V. Vasyl’ko
Odessa Ukrainian Theatre, 1998, “From the Lamp” Rivne Theatre-Studio,
2000), Tale about the Silent Gopher (Kyiv Kamernyi
Theatre, 1999), Honore, and Where’s Balzac (Franco-Ukrainian
project with O. Mykolaichuk, Suziria Theatre, awarded prize
for best Ukrainian play of 1999), Whimsical Messalina, The
Second from Last Judgement Day.
Productions of plays were laureates of the following festivals:
“Pivostriv-1994 (Kyiv), “Contemporary Ukrainian Drama” (Odessa,
1998, Kyiv, 1999), “Ternopil Theatrical Evenings. Debuts” (Ternopil,
1999), “Riba” (Klaipeda, Lithuania, 1999). Is compiling a Ukrainain
drama library for the Ukrainian Mime Centre’s VIRTEP internet
project. Is also developing a program for the Les’ Kurbas Centre