The Palgrave Handbook of Theatre and Edited by Yana Meerzon S.E. Wilmer palgrave macmillan CHAPTER 40 Ukrainian Theatre in Migration: Military Anthropology Perspective Robert Boroch and Anna Korzeńiowska-Bihan Recent events in Ukraine have shown that modern wars are waged not only on the battlefield but also on a massive scale through cultural means (see Korzeniowska-Bihun 2014; Boroch 2016, 81-94). Since the beginning of the Russian-Ukrainian war in 2014, the Ukrainian theatre has been combatting not only the increasing migration of its internally displaced audiences, but also the ongoing cultural propaganda from Russia that denies the independent status of Ukraine. This chapter develops the theory of anthropological defence whereby a nation wages a cultural war at the same time as a military war. It focuses on two Ukrainian theatre companies: the Theatre of Displaced People (TDP) and the Luhansk Regional Theatre. The TDP was founded in 2014 to provide psycho­ logical and organisational aid for people forced to flee their homes in eastern Ukraine. The Luhansk Regional Theatre has shared the fate of the migrants them­ selves, having to change their place of operation because of the Russian invasion. In this chapter, we study how theatre—both as an artistic practice and as a cultural institution—can play a unique role in the practices of the anthropo­ logical defence. Theatre’s primary functions—we argue—are inextricably linked to culture. As a weapon of the anthropological defence, theatre can enable resistance against negative information from the enemy; and it can provide artistic sup­ port and information through its creative work. Moreover, during the time of R Boroch (EJ) University of Warsaw, Warsaw, Poland A. Korzeniowska-Bihun Academy of the East. Independent Research Center, Warsaw, Poland © The Author(s), under exclusive license to Springer Nature Switzerland AG 2023 Y. Meerzon, S. E. Wilmer (eds.), The Palgrave Handbook of Theatre and Migration, https://doi.org/10.1007/978-3-031-20196-7_40 499 500 R. BOROCH AND A. KORZENIOWSKA-BIHUN war, theatre can serve as a supporting agency to the residents in their daily lives. It can give them physical and emotional shelter, but also it can create a special place of engagement for leading voices in society, to reinforce the cohesion of local social groups, and to shape a sense of community (see Boroch and Korzeniowska-Bihun 2017; Boroch and Korzeniowska-Bihun 2021; Boroch 2018, Boroch 2020, Boroch 2021). Historical Background: Ukrainian Theatres in the Face of War Ukraine did not secure statehood for centuries. Apart from the short period of independence in 1918-1919, it achieved independence only in 1991, after the collapse of the USSR. Historically, the eastern regions of Ukraine had been under the influence of the Russian administration for much longer than the western ones. They were also subjected to intense Russification processes, including the physical destruction of Ukrainian culture and its signifiers. Due to the weakness of the young Ukrainian state from 1991, the eastern territories were heavily influenced by Russian propaganda. The Russian Federation car­ ried out unrestrained anthropological aggression there. The primary objective of the Kremlin was not only to prevent building Ukrainian national identity, but also to promote the regional breakup of Ukraine. In 2014, the Russian Federation attacked and annexed the territory of Crimea and promoted the formation of two quasi-states: the Donetsk People’s Republic and the Luhansk People’s Republic. These actions initiated the eight­ year war between Russia and Ukraine from 2014 to 2022. The annexation of Crimea by the Russian Federation in 2014 and the first stage of the RussianUkrainian war triggered a massive wave of migration. As a result, complete cultural institutions as well as people were forced to relocate to other cities, predominantly in central and western Ukraine. The Ukrainian Ministry of Social Policy registered 1,590,056 internally displaced persons (IDPs) from 2014 to 2017 (Nalyvayko and Furina 2017,45), while unofficial data recorded about two million IDPs from Crimea and the Donbas area alone. From the start of the full-scale Russian invasion on 24 February 2022 until July 2022, one-third of the Ukrainian people have been forced to leave their home (UNHCR 2022), and eight million people have been internally dis­ placed within Ukraine (IOM 2022, 1) out of a total of almost fifteen million displaced persons (i.e., IDPs and refugees fleeing across national borders). The reaction of the Ukrainian theatre to these hostilities should be divided into two stages. The first period (from 2014 to the beginning of 2022), char­ acterised by kinetic military actions in eastern Ukraine and intense hybrid cul­ tural attacks by Russia, was when Ukrainian cultural workers began to intensively develop tools of anthropological defence. In this phase of the war, the main objective of the Ukrainian theatres—and one of the tactics of their anthropological defence—was the psychological pro­ tection of the IDPs and the integration of Ukrainian society, which faced mass migration for the first time in its history as an independent state. 40 UKRAINIAN THEATRE IN MIGRATION: MILITARY ANTHROPOLOGY... 501 Until 24 February 2022, Ukrainian cultural institutions, among them the­ atres, took actions aimed at helping IDPs to integrate into a new environment. The theatres created a dialogue and welcoming space where city dwellers could meet newcomers. It was an essential opportunity under Ukrainian conditions that not only helped IDPs feel better in a strange region but also worked to combat mutual stereotypes. For decades, Russian propaganda persuaded east­ ern and western Ukrainians that their language differences and historical expe­ riences were irreconcilable. Thanks to working with migrants and locals, the Ukrainian theatre put the alleged problems in perspective. It showed that the differences were not as huge and that Ukrainians could overcome them by put­ ting in an appropriately directed effort. This purpose was achieved through various projects involving IDPs. Some companies created joint performances; others invited migrants to existing projects. A second tactic in anthropological defence was to use theatre as a place for discussion. After the performance, the creators encouraged the audience to exchange opinions. It was important that when the theatre discussed political issues, the audience included representatives from the eastern and western regions of the country. The discussion did not have to lead to consensus, but a moderated debate made it possible to listen to both sides of the argument. Given that a difference of views is a common element of the political landscape in a democracy, disagreement did not imply that the country was torn apart. In the second phase of the warfare—that is, after the launch of the full-scale Russian invasion on 24 February 2022—workers of Ukrainian mainstream stages concentrated on the physical protection of IDPs and the survival of the­ atres as state institutions. At the same time, representatives of independent theatres dealt with documenting the war and its victims. According to the Ukrainian intellectual Mafia Harbuziuk, Ukrainian state theatres began to serve a few functions: (I) theatre as a volunteer—for example, collection of humanitarian aid, fundraising, and assistance to IDPs; (2) theatre as IDPs shelters; (3) theatre as a bomb shelter. Furthermore, Harbuziuk points out that ‘the actors became service personnel who enabled the functioning of the shelter.’ In the most general terms, ‘the theatre as a building’ and ‘the the­ atre as an institution,’ together with its personnel, performed essential admin­ istrative functions, sometimes replacing state institutions (Harbuziuk 2022). In addition, theatre makers also documented current events, focusing on social emotions or the sociocultural context that showed war trauma as it is. There is no doubt that, as a feature of anthropological defence, members of the theatre company acted as high-impact leaders—both by their personal involvement, leading by example, and by taking responsibility for IDPs to build a feeling of security among IDPs and residents. It is therefore not surprising that the enemy would attack theatres. The enemy regarded theatres as crisis management cen­ tres and places of asylum for civilians run by social leaders who are the first line of civil defence. Russian actions were aimed at intimidating leaders and civilian residents, leading to unprecedented acts of violence and brutality. 502 R. BOROCH AND A. KORZENIOWSKA-BIHUN Case Studies: The Theatre of Displaced People and the Luhansk Regional Theatre Since the beginning of the Russian-Ukrainian war in 2014, the Ukrainian the­ atre has responded to Russian anthropological aggression, creating a network of grassroots initiatives, many of which were directed at IDPs. In January 2015, the Theatre of Displaced People (TDP) was established. It was an independent initiative founded by two Ukrainian playwrights—Nataliya Vorozhbyt and Maksym Kurochkin—the German theatre director Georg Genoux, and the military psychologist Oleksii Karachynskii. Vorozhbyt and Kurochkin are representatives of the artistic movement known as the New Ukrainian Drama, a recent initiative that gathers playwrights of various creative temperaments. They began to act not so much in opposition to the official conservative Ukrainian theatres as creating an alternative voice. Both Vorozhbyt and Kurochkin were first associated with the Russian indepen­ dent theatre community. Vorozhbyt returned to Ukraine before the Revolution of Dignity (2013-2014). Kurochkin did the same a little bit later. Their return became an essential stimulus for the consolidation of contemporary Ukrainian playwrights. Following the outbreak of war, Vorozhbyt and Kurochkin felt that they were morally obliged to assist victims of the Russian invasion. Thus, the Theatre of the Displaced People was born. The word ‘displaced’ in the name of the theatre, according to Genoux, means more than a fugitive or IDP because it contains an element of alienation (8 opova 2018). The TDP set itself the goal of helping the IDPs and integrating the inhabit­ ants of the eastern and western regions of Ukraine. During the five years of its operation, it launched eighteen projects, most of which took into account the needs of the IDPs and involved migrants in theatrical productions. Over time, volunteers and soldiers of the Ukrainian Armed Forces (both active and demo­ bilised) also became participants in the actions of the TDP. The theatre used mainly ‘verbatim’ techniques. Their documentary perfor­ mances usually took place in ordinary rooms, on makeshift stages, without set or unnecessary props. Nothing distracted the actors and the audience. The auditorium was often randomly placed, and the viewers’ seats were organised in a hurry. Minimal lighting was used, playing with light and darkness, and the TDP experimented with music and video footage. The first stage of the theatre’s work was collecting interviews with IDPs with the help of the psychologist Karachynskii. Then Vorozhbyt and Kurochkin transformed the interviews into dramatic material, and Genoux, the director, adapted them for the stage. As Vorozhbyt claimed, her role as a playwright boiled down to listening to people’s stories and picking out those threads which could form a short story. These short stories became parts of the perfor­ mance. Genoux believed that telling your own stories had a therapeutic effect: ‘So from a victim of your story, you eventually become a hero of your story’ (Grytsenko 2016). 40 UKRAINIAN THEATRE IN MIGRATION: MILITARY ANTHROPOLOGY... 503 On 27 October 2015, in Kyiv, the TDP presented the premiere of a verba­ tim performance, Gdie Vastok? (Where Is the West?)—a series of stories about tire problems of people who were forced to abandon their homes and everyday lives. The performance took on a therapeutic character. IDPs from eastern Ukraine were invited to participate in it. On stage, they talked about their own experiences. Fifteen actor-migrants came out in front of the audience without rehearsals to avoid losing the spontaneity of the event. After the premiere per­ formance, the line-up of actors changed so that the presented stories changed as well. The theatre makers paid great attention to child and youth victims of the war. Working with them took many formats. On the one hand, various activi­ ties were organised at die places of their resetdement. On the other hand, the TDP travelled to cities on the front line to work with local teenagers and Ukrainian soldiers stationed there. Many of the TDP’s projects took place in Kyiv because many migrants from Donbas and Crimea gathered there. In December 2015, the TDP launched a Displaced Kids project dedicated to children who had difficulty adapting to a new place. The theatre company began to organise free activities for them. For example, in September 2017, within the framework of the GOGOLfest theatri­ cal festival, the TDP set up a week of exercises with theatre specialists, includ­ ing playwrights, actors, and other artists. During the Displaced Kids project, the curators and their pupils prepared a cartoon, I Believe 1 Can Fly, using stop-motion technique. The children wrote a screenplay, and the movie’s main heroes were their favourite toys which young migrants carried with them while escaping from the war zone. The migrant issue was treated by the theatre much more broadly than the standard definition of the term TDP.’ Genoux said: ‘It also concerns the gen­ eral situation in eastern Ukraine, the situation of losing your place in the world. We think people near the front line are displaced because they no longer realise where they live. The war also displaces the soldiers: they are not at home’ (Lopova 2018). Accordingly, tire TDP came to towns near the front line where the curators conducted activities to integrate Ukrainian military men and women with inhabitants, mainly young people. Although Ukrainian troops were stationed on Ukrainian-controlled terrain, they faced the consequences of decades-long Russian propaganda. The propa­ ganda had a powerful impact on Russian-speaking inhabitants in the eastern regions of Ukraine. Above all, it exacerbated stereotypes, making relations between soldiers and locals much more difficult. The soldiers blamed the Russified inhabitants for the war. The inhabitants believed that the Mar was caused by the soldiers stationed there. However, the curators understood that the youth were looking for dialogue with the soldiers because they were inter­ ested in the situation in Ukraine and the front. The TDP wanted to help both sides to overcome fear and stereotypes. 504 R. BOROCH AND A. KORZENIOWSKABIHUN In addition, military personnel also wanted to establish contact with the residents. Many soldiers were conscripts, and in civilian life, they were special­ ists in various fields (e.g. teachers, athletes). If they were not on duty, they often were willing to use their free time to work with the local youth. However, they were afraid of the reaction. In 2016 and 2017, the TDP launched the Dity ta viyskovi (Children and Soldiers) project, organising verbatim performances in three eastern cities: Popasna, Sloviansk, and Shchastia. The performances were prepared for a week by teenagers and soldiers and then presented to a local audience, mainly the teenagers’ families. Due to such actions, both groups—locals and military per­ sonnel—ceased to be anonymous to each other. Additionally, they began to understand that despite their differences, they had more in common. The TDP stopped operating in 2019, partly due to its founders’ occupational burnout. The TDP was a theatre that dealt with migration issues. In contrast, there are also theatres in Ukraine that have become migrants themselves because of the war. One such company is the Luhansk Regional Theatre (LRT). This Ukrainian institution experienced migration in both stages of the RussianUkrainian war. The LRr had operated in the eastern Ukrainian city of Luhansk since 1970. For more than forty years, it was part of the cultural map of the region. Although it was the only Ukrainian-language theatre in the area, the LRT was very popular among the Russian-speaking audience. They performed contem­ porary, modern, and often experimental pieces in their repertoire. Unfortunately, Russian aggression in 2014 forced the company to move to Severodonetsk. Some of the theatre’s employees moved to other cultural institutions in Ukraine. Others went to Russia or stayed in occupied Luhansk. A symbolic delegation consisting of the director, an accountant, and an actor came to Severodonetsk. From this seed a new company was born bearing the name LRT. This was also understood by members of the audience who had fled to Severodonetsk from Luhansk, continuing to neat the LRT as their the­ atre, although they no longer recognised any of the actors. This symbolic rec­ ognition of the continuity of a state institution has become one of the manifestations of statehood during war time. The Luhansk Regional Theatre took over the building of the local Severodonetsk Drama Theatre, after almost the entire company left for Russia as the result of the Russian invasion in 2014. However, the premises of the Severodonetsk Drama Theatre were in terrible technical condition. Until mid-2015, the LRT in Severodonetsk existed only on paper. In 2015, Serhii Dorofieiev was appointed director of the theatre, and there were less than ten actors in the company: the mentioned actor from Luhansk, art school gradu­ ates who had worked there for a few weeks, a married couple of actors from Luhansk who had been students of the former director of the LRT Volodymyr Moskovchenko, and three actresses who had worked for the Severodonetsk Drama Theatre and refused to go to Russia with other members of its com­ pany. Several Luhansk actors who had already worked in other Ukrainian cities 40 UKRAINIAN THEATRE IN MIGRATION: MILITARY ANTHROPOLOGY... 505 returned to the company in time. The theatre also began attracting art school graduates, for example, from Dnipro, Kyiv, and Kharkiv. The acting team was very young. Three-quarters of the company were people in their twenties. During the 2015-2016 theatrical season, the LRT held rehearsals in the wrecked building of the former Severodonetsk Drama Theatre and performed on the stage of the city’s Palace of Culture. Each time the company had to transport all its costumes and set. In addition, the Palace of Culture stage did not meet all the requirements of a professional theatre. There were also situa­ tions where the LRT could not have a dress rehearsal before the premiere because the stage was occupied for other purposes. In the 2015-2016 season, the LRT created twelve performances but could not present them to the public because the Palace of Culture stage was only available to the LRT for four or five times a month. In August 2016, a significant renovation of the theatre building began. The team was unable to conduct rehearsals and was forced to leave. It continued its work in a former kindergarten. One of the plays being worked on at the time had two-level sets. Due to the small room size, the actors had to rehearse on all fours. They were only able to practice playing on that set in an upright position on stage in the Palace of Culture. In 2017 the LRT finally moved into its prem­ ises in Severodonetsk. As the LRT left its entire technical and material base in Luhansk, it willingly accepted support from other institutions. This was pro­ vided, among others, by the Theatre in Kherson, which presented to the Luhansk colleagues costumes and set for a performance that the Kherson com­ pany was not staging anymore. Thanks to the Theatre in Kherson, the LRT was able to premiere in 2018 the play Idzanami by Tetiana Iwashshenko, directed by Serhiy Pavluk, an artist also associated with the theatre in Kherson. Idzanami was advertised as an ‘erotic melodrama.’ It was pure entertainment and did not touch on the subject of war in any way. However, the donation of this perfor­ mance by one theatre to another is an excellent example of artistic solidarity in wartime conditions. As the only theatre in the Luhansk region that used the official state language (i.e., Ukrainian), the LRT had to respond to all artistic needs. Therefore, it worked in all genres and addressed various categories of viewers. When the LRT moved to the renovated building, in addition to the reper­ toire work, it also started organising a Ukrainian theatre festival called SvitOhlad. As Dorofieiev says: ‘One of its purposes was to show Ukraine to the Severodonetsk [people]’ (Korzeniowska-Bihun 2022a). Local theatregoers left the region very rarely and hardly knew the theatre arts of other Ukrainian cit­ ies. However, due to the festival, they had the opportunity to meet them, while other theatrical companies had the chance to get to know the Luhansk region. Consequently, the Ukrainian-speaking theatre performed the function of integrating the Russian-speaking community with the rest of the state organ­ ism. Like all eastern regions of Ukraine, the Luhansk region has long been the target of intensified Russian anthropological aggression. Therefore, the pres­ ence of Ukrainian culture in the area, especially high culture, has become truly 506 R. BOROCH AND A. KORZENIOWSKA-BIHUN significant. The repertoire of the festival was vast and included Ukrainian clas­ sics and contemporary drama, as well as world classics translated into Ukrainian. This helped to increase the value of Ukrainian culture. Earlier, people in these areas discovered classics of world literature, for example, through Russian interpretations. But unfortunately, this gave the mistaken impression that everything valuable in the civilisation was in the Russian language. For festival participants, all-Ukrainian art events (including theatre festivals) also helped to create a network of personal contacts that work as reliable information sources in wartime. The migratory fate of the LRT found its stage reflection in a verbatim per­ formance, Bayky Severn (Legends from Severe, 2022), with a meaningful sub­ heading, Pro shcho movchat pereselentsi? (What the IDPs Are Silent About?) Andriy May directed the play in 2016. It was a story based on the real-life experiences of four actors. Being IDPs, they raised questions such as: ‘Run to a bomb shelter, which is unlikely to protect you or not?’ ‘Will you participate in the illegal and falsified referendum or not?’ ‘How to maintain relations with parents who categorically support the other side of the conflict?’ It would seem that the similarity of experiences and choices should have cre­ ated a specific thread of understanding between the actors and the Luhansk audiences. However, that did not happen. On the contrary, the performance was very well received in various cities of Ukraine, whereas the Severodonetsk public rejected it. In the opinion of Dorofieiev (Korzeniowska-Bihun 2022b), this was because people in Severodonetsk were not ready for such open discus­ sions about their own experiences. Therefore, they were not able to rework traumatic emotions themselves. As a result, the project lacked the element of art therapy that, for example, the TDP offered to its viewers. After the full-scale Russian invasion in February 2022, the LRT was forced to relocate for a second time. As a result, the company has been divided into two groups, operating in two cities: central Ukrainian Dnipro and western Ukrainian Drohobych. In both cases, the LRT actors were received by local theatres that housed them on theatrical premises. Once again, the LRT left all its technical and artistic facilities behind. On 30 May 2022, the newly renovated theatre building in Severodonetsk was destroyed by Russian occupation troops. The soldier who targeted the theatre knew that civilians were hiding in the theatre’s basement (Sluzhba bezpeky Ukrayiny 2022). Their fate is unknown. Since moving to new locations, the LRT has been engaged in voluntary work. For example, in Dnipro, the company presents concerts for the Ukrainian army. In Drohobych, they also give charity concerts to raise money for prod­ ucts and prepare dinners for Ukrainian military men and women (Ostrohliad 2022). 40 UKRAINIAN THEATRE IN MIGRATION: MILITARY ANTHROPOLOGY... 507 After the second forced move, the theatre has only one play in its repertoire: Khto ya? (Who Am I?) directed by Stanislav Sadakliyev. There are only two actors in the show. Besides, it is undemanding in terms of stenography. It was easy to recreate the performance under new conditions, especially since the version had to be adapted from a large stage to a small one. In Dnipro, the LRT has presented Who Am I? a few times, hosting a lot of migrant-viewers from the Luhansk region. In 2022 a performance took place at the Ukrainian theatrical festival Melpomena Tavriyi, which can also be treated as a kind of migrant. The event is considered to be one of the most famous Ukrainian theatrical events that has been held in Kherson for a very long time. As Russia currently occupies the city, a new festival formula was created. Each participant presented a perfor­ mance on their stage, and the video recording was made available on the Internet. The LRT’s general director Dorofieiev plans to gather the entire company in one place to resume the work of the theatre. However, his hopes are much more far-reaching. This is how he describes the future of his theatre team: I will go to my home city of Luhansk. I haven’t been there for eight years, since the war started. We [the theatre team] have decided that we will surely return to our home city. Firstly, we will clean up the debris on the theatre grounds. Then, we will sign up for a volunteer squad to clean up and reconstruct the ruined buildings and infrastructure of the city. Like it was after WWII when culture workers and other state employees performed the reconstruction works. Anyway, we will handle it all after. Now, we have to defeat the enemy. (Ostrohliad 2022) Summary Theatre performances, or more generally the activities of theatres and theatre company members, are one of the most effective forms of social activism— entirely positive. There can be no doubt that armed conflict is any nation’s most traumatic social experience. Therefore, it is also no surprise that the art of theatre, theatre as an institution or a building, has significant social and symbolic functions. In this sense, the work of the theatre transforms the trauma of war into collective art therapy. But on the otiter hand, the institution of theatre plays a leadership and organisational part in the social life of the habitants. All this results in the theatre becoming a means of spontaneously arranged social defence, an anthropological defence in the paradigm of military anthro­ pology. Finally, and most importantly, and worth noting, theatre art docu­ ments, reconstructs, and re-frames social emotions concerning specific events, 508 R. BOROCH AND A. KORZENIOWSKA-BIHUN eternalising them in the collective memory, influencing the strategic culture of a nation, ethnic group, or society. This function cannot be underestimated. References Bajki Severa. ‘The Luhansk Regional Theatre.’ Accessed July 30, 2022. https:// ukrlugteatr.com. Boroch, Robert. 2016. ‘Agresja-wojna antropologiczna a nauki o kulturze — wielkie tematy kulturoznawstwa na marginesie krytycznej analizy dyskursu’ [Aggressionanthropological warfare and the cultural sciences—the great themes of cultural stud­ ies on the margins of critical discourse analysis], Kultura Bezpieczeństwa. Nauka-Praktyka-Refleksje, 22: 81-94. -------- . 2018. ‘Granice agresji i obrony antropologicznej w przestrzeni kultury materi­ alnej Warmii’ [The limits of anthropological aggression and defence in the material culture space of Warmia]. In Wyzwania bezpieczeństwa międzynarodowego w XXI wieku. Bezpieczeństwo społeczno-kulturowe, edited Marta Gębska and Paweł Majdan, 2: 171-182. Warszawa: Akademia Sztuki Wojennej. -------- . 2020. ‘Sprzeczności agresji antropologicznej na przykładzie konfliktów kul­ turowych’ [Contradictions of anthropological aggression on the example of cultural conflicts]. In Wyzwania I zmiany społeczne w XXI wieku, edited by Aleksandra Surma, Ewelina Chodźko, 40. Lublin: Tygiel. -------- . 2021. ‘Military Anthropology — Specialisation Frame.’ Wiedza Obronna, 274(1): 63-73. Boroch, Robert, and Anna Korzeniowska-Bihun. 2017. ‘Ukrainian Theatrical Projects as an Example of Anthropological Defence in Terms of Anthropology as Contemporary Social Warefare.’ Security Dimensions. International & national Studies, 24: 122-36. -------- . 2021. ‘Conflict and Performing Arts—Class Act Project—Ukrainian Theatre as an Anthropological Defence.’ Wiedza Obronna, 274(1): 119-36. Grytsenko, Oksana. 2016. ‘Theatre of reconciliation.’ Kyiv Post, December 10, 2016. Accessed July 9, 2022. https://www.kyivpost.com/ukraine-politics/theater-ofreconciliation.html. Harbuziuk, Maiia, 2022. ‘Theatre as a Humanitarian Mission: Ukraine’s Experience 2022. Critical Stages/Scenes critiques, 25. Accessed July 13, 2022. https://www. critical-stages.org/25/theatre-as-a-%ce%b7umanitarian-mission-ukrainesexperience-2022/. IOM UN Migration. 2022. Ukraine Internal Displacement Report. General Population Survey. Round 4. Korzeniowska-Bihun, Anna. 2014. ‘Sztuka w czasach zarazy’ [Art in the Time of Cholera]. Teatr, 10: 12-15. -------- . 2021. ‘Cultural Projects as a Tool of Anthropological Defence. Ukrainian Example.’ Wiedza obronna, 274(1): 35-47. -------- . 2022a. Unpublished interview with Serhii Dorofieiev. June 30, 2022. -------- . 2022b. Unpublished interview with Serhii Dorofieiev. July 26, 2022. Nalyvayko, L., and A. Furina. 2017. “Pravove zakripleniya statusu vnytrishnio peremeshchennykh osib”. Porivnyano-analitychnepravo, 5: 44-47. Ostrohliad, Yulia. 2022. ‘Serhii Dorofieiev.’ The TheAtre National. Accessed July 9, 2022. https://www.thcatrenational.be/en/articles/2755-serhii-dorofieiev. 40 UKRAINIAN THEATRE IN MIGRATION: MILITARY ANTHROPOLOGY... 509 Sluzhba bezpeky Ukrayiny. 2022. ‘Narodnyj milicioner DNRvojuvav proty vlasnoho syna i rozstriluvav z tankiv budynky v Severodonec'ku’. Accessed July 30, 2022. https://www.youtube.com/watch?v=C5GCg5QOvtw. Sopova, Alisa. 2018. ‘Teatr vijny: psykhodramatychnyy proiekt, yakyy dopomahaye ukrayinciam podolaty travmu.’ Krytyka, 2. Accessed July 9, 2022. https://krytyka. com/ua/articles/teatr-viyny-psykhodramatychnyy-proiekt. UNHCR. 2022. ‘Internally Displaced Persons (IDP).’ The UN Refugee Agency. Accessed July 2, 2022. https://www.unhcr.org/ua/en/internally-displaced-pcrsons .