Voices from Ukraine: Two Plays (NHB Modern Plays) E-Book

Neda Nezhdana

• Herausgeber: Nick Hern Books
• Kategorie: Poesie und Drama
• Sprache: Englisch

Veröffentlichungsjahr: 2022

Beschreibung

Two powerful plays about the shattering impact of war, and the astonishing resilience of those living through it, written by two of Ukraine's leading playwrights. 'They've mobilised all the living now, the fifth call took the last of the living. But the war keeps on. So high command asked us.' Sasha, a Colonel in the Ukrainian Army, has died suddenly of a heart attack, leaving his relatives Katia and Oksana to mourn for him. But a year later, as war intensifies, the army has resorted to recruiting the dead. Sasha is anxious to be resurrected so he can rejoin the fight, but can his family bear to lose him all over again? Take the Rubbish Out, Sasha by Natal'ya Vorozhbit blends reality and the supernatural in a startling exploration of the effects of war and conflict. 'I want to report a robbery... I was robbed. What was stolen from me? Almost everything... Home, land, car, work, friends, city, faith in goodness…' Donbas, 2014. A nameless woman stands in the street, trying to sell a basket of kittens. She has lost everything else she holds dear. Her only remaining hope is to find a home for the kittens, since she cannot offer them one herself. Pussycat in Memory of Darkness by Neda Nezhdana is an unflinching examination of Russia's war on Ukraine through the brutalised eyes of one woman. The two plays were translated by Sasha Dugdale and John Farndon, respectively, and performed in English at the Finborough Theatre, London, as part of their #VoicesFromUkraine season in 2022. 10% of the proceeds from sales of this book will be donated to the Voices of Children Charitable Foundation, a Ukrainian charity providing urgently needed psychological and psychosocial support to children affected by the war in Ukraine.

Leseprobe

VOICES FROM UKRAINE:

Two Plays

Take The Rubbish Out, Sasha Natal’ya Vorozhbit

Pussycat in Memory of Darkness Neda Nezhdana

NICK HERN BOOKS

London

www.nickhernbooks.co.uk

Contents

Original Production Details

Introduction

Take The Rubbish Out, Sasha

Pussycat in Memory of Darkness

Afterword

About the Authors and Translators

Copyright and Performing Rights Information

Voices from Ukraine: Two Plays premiered at the Finborough Theatre, London, on the 9 August 2022.

TAKE THE RUBBISH OUT, SASHA

SASHA

Alan Cox

OKSANA

Issy Knowles

KATYA

Amanda Ryan

Director

Svetlana Dimcovic

Set and Costume Designer

Ola Kłos

Lighting Designer

Peter Harrison

Sound Designer

Duncan F. Brown

Choreographer

Siân Williams

Video Design

Arik Weismann (Andriy Bazyuta)

Stage Manager

Rebecca Julia Jones

Creative Producer

Margaret Cox

Assistant Producer

Anna Pokorska

PUSSYCAT IN MEMORY OF DARKNESS

SHE

Kristin Milward

Director

Polly Creed

Set and Costume Designer

Ola Kłos

Lighting Designer

Peter Harrison

Stage Manager

Rebecca Julia Jones

Introduction

The Finborough Theatre is proud to be part of the Worldwide Ukrainian Play Readings series (run by the Center for International Theatre Development and the Theatre of Playwrights, Kyiv), presenting work from contemporary Ukrainian playwrights including some work written in direct response to the invasion. In addition to this live double bill, we are also currently presenting #VoicesFromUkraine, an ongoing season of online readings and performances of Ukrainian work in English. Current releases include Otvetka by Neda Nezhdana, The Peed-Upon Armoured Personnel Carrier by Oksana Grytsenko, A Dictionary Of Emotions In A Time Of War by Yelena Astasyeva and a response to the war – Stand Up For Ukraine by poet and composer Bréon Rydell. As well as the works from the Worldwide Ukrainian Play Readings series, and true to our policy of pairing vibrant new writing with unique rediscoveries, we will also be presenting readings and performances of classic Ukrainian drama and poetry in English. All our online content is available on the Finborough Theatre’s YouTube channel and also available with subtitles on Scenesaver. It is all free to view, although we are asking for donations for the Voices of Children Foundation, a Ukrainian charity providing urgently needed psychological and psychosocial support to children affected by the war in Ukraine. https://voices.org.ua/en/donat/. New releases will continue be announced throughout the year.

The Finborough Theatre is also a recent member of the WEST Association (World of English Speaking Theatres) with its headquarters in Kyiv, uniting theatres and theatrical organisations all over the world.

Natal’ya Vorozhbit writes:

‘When I wrote this play in 2014, the war in Ukraine had already begun. It continued in the east of the country, and it was impossible to believe. I tried to wear this war, as did my family, I wrote about my fears and premonitions and hoped that they would never come true, that humanity would be horrified and stop the war at that stage. But humanity pretended that nothing was happening and bought gas from Russia. Eight years have passed and everything that I described in the play, only much worse, has happened to the whole of Ukraine, hit all of us and touched all of you.

For eight years, neither Ukraine nor the world has coped with the evil that came without hiding. It really hurts me that this text is only now so relevant. Can it change anything? It seems that art does not become a warning and does not change the world at all. And only the human ability not to lose hope moves us further, makes us write, fight, and believe that good and truth will win.’

Sasha Dugdale writes:

‘I translated Take The Rubbish Out, Sasha in late 2014 for A Play, A Pie and A Pint at Òran Mór in Glasgow, directed by Nicola McCartney. The war in Donbas had begun earlier that same year, so by the time Natalka wrote her short play the initial shock of war and invasion had worn off. In her lithe, funny and poignant work, Natalka looks back to the Soviet period, and the confusion of the nineties, and shows how ideas of masculinity have shifted over a period of turbulent change. With her “sly writer’s heart” (a phrase she uses in her 2017 classic Bad Roads) and her abundant compassion and humour, she depicts a family operating under all sorts of strains: the burden of alcoholism, divorce, poor health, death, financial constraints, and the various toxins of a corrupt and venal late- or post-Soviet military system.

It is a surprise when war interrupts this mess of ordinary lives and their tensions – as much as a surprise to the viewer as it appears to be for the characters. They are wrenched backwards into a time when masculinity counted for something – and yet paradoxically it is women now managing, holding the fort, buying the supplies: the men turn out to be absent, shadowy or supernatural.

I have translated Natalka’s work for many years and it has been a privilege and a responsibility. Over the period of our collaboration she has documented the emerging Ukraine and its process of self-definition, through protest and uprising, into the woeful period of Russian aggression which has dominated Ukraine’s recent history. I love and relish her deft, wry dialogue and its humour, and the power female protagonists have in her writing. Most of all I love her joy in humanity, in all its forms, and I take this into my translating, often laughing aloud at her sheer cleverness and wit as I strive to find English equivalents.’

Neda Nezhdana writes:

‘Since the Revolution of Dignity, I have “mobilised” my “literary soldiers”; all my texts have been related to the Maidan and the war. At the beginning of 2014, my native city of Kramatorsk in Donetsk region was occupied by Rashists (Russian fascists) for several months. My relatives managed to escape, and I wanted to write a play about it: what it is like to become a refugee. They had had their whole world stolen from them: home, work, friends, city… And the total lies of Russian propaganda – about the Maidan, Donbas, Ukraine in general – were outrageous. Nothing to do with reality. On the contrary, they called the Maidan’s international goal of association with the EU “Nazism”, and described their own aggression, terror and looting as “liberation”. Time has shown that their hybrid occupation brought only grief: tens of thousands killed, wounded, orphaned, millions of refugees, destroyed houses and destinies… And people, provoked by propaganda, became murderers, executioners and traitors…

I searched for a long time to find the right form of the play. The impetus was the true story of Iryna Dovgan, a beauty-salon worker who was captured and tortured by the Russians. Her words suggested the title of the play: she saw “darkness” in the eyes of her executioner. This is what I wanted to talk about. I wanted to warn the world about this “darkness” – the impunity of criminals turning into a “tsunami” that can engulf all of us in a terrible nightmare of terror… Yet “in dark times, bright people are clearly visible,” as Erich Maria Remarque wrote. The second impetus for the play was photos of our retreating soldiers rescuing dogs, cats and parrots. Animals, whose owners had been killed or captured, sensed where they would be helped, and went to Ukrainian soldiers. I believe that humanity begins with our attitude towards animals. This is how the eventual image of a volunteer heroine who helps soldiers and saves kittens was born. White, grey and black are the three steps in the war of light and dark… Documentary stories from relatives and friends, my own memories and news, such as the shooting down of a passenger plane by the Russians in Donbas, were intertwined with fantasy. It was a cry for help: people, stop this horror before it’s too late… But millions of crimes in the Russian Federation remain unpunished, and unpunished evil is growing progressively.

Since 24th February 2022, this “darkness” has spread over the whole of Ukraine. When I wrote this play, I didn’t know, like my character, how it was to be with children and animals under fire from rockets and bombs, what it meant to be a refugee. But now I know this from my own experience in the Kyiv region, and my relatives in Kramatorsk live next to the train station that was hit by Russian rockets on 8th April… Tens of millions of people are going through this now, dozens of countries around the world are helping displaced people and the wounded from Ukraine. More than two-thirds of Ukrainian children are refugees, others are under fire, in infiltration camps, deported, wounded, killed… Now refugees are a problem for the whole world. Rashists destroy entire cities and villages, especially schools, hospitals, museums, theatres, churches, burn books… And they also “denazify” animals: horses are burned in stables and cows are blasted by “hail”… They even attack plants – mining forests and burning grain fields… This is not only the most terrible war in terms of weapons, it is genocide, the attack of barbarism on civilisation, slavery on freedom. It is important to understand: leaving the occupied territories of Ukraine to the Russian Federation means condemning people to death and torture. Unfortunately, this play has only grown in relevance. I believe that such texts help those traumatised by the war and those who want to understand what is really happening. All over the Earth, which is becoming absorbed by the “darkness”. However, I remain in Ukraine and continue to write, because I believe in the victory of light. Thanks to all “warriors of light” in the world.’

John Farndon writes: