Abstract
After the full-scale Russian invasion of Ukraine on 24 February 2022, many Ukrainian artists (mainly women) were forced to leave. Among them were playwrights and theatre directors. One of the leading countries in which they sought refuge was Poland. There, they began to organize their theatrical projects or were included in the activities of Polish theatres. The actions of Ukrainian theatre in Poland can be observed in the following areas: (1) Ukrainian theatre artists using original Ukrainian dramaturgical materials; (2) the movement of Polish theatre makers using Ukrainian dramaturgical materials; and (3) Ukrainian theatre makers involved in the work of Polish cultural institutions. Collaborations such as these point to solid Polish-Ukrainian cultural communication and emphasize the possibility of distinguishing Ukrainian culture in the European sociocultural space as aesthetically valuable and independent of Russian influence. Therefore, it is not surprising that Ukraine's foreign policy is shaped by culturally significant factors, such as theatre. Consequently, this shows that the Ukrainian nation is not an ideological group, as is portrayed in Russian propaganda, but a cultural- historical community. Moreover, the Ukrainian experience also indicates that theatre as an idea is vital to a nation's national consciousness. At the same time, it can serve as a tangible representation of the state's institutions in the event of circumstances, such as war, when state institutions are incapable of performing their functions properly. Furthermore, theatrical activism effectively counteracts hybrid strikes, placing it within a broader framework of anthropological defense as a counterweight to anthropological aggression. As a result, it can be said that Ukrainian writers, directors, and actors have contributed significantly to the cultural struggle against a warmongering country such as Russia – In line with Russian war doctrine, culture has been incorporated into military and non-military operations since 1999.
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