For a year now, Kharkiv has been home to the independent, young “Ocheret” Theater, founded in the spring of 2023 and initially positioned as a “natural” theater. Actor and director of “Ocheret,” Anastasiia Nesmiian—who also heads the theatrical direction at the DRUK cultural and community center—together with theater director Oleksandr Shanidze and artistic director Hlib Shestakov, shared in an interview with Gwara Media their views on “naturalness” on stage, the difficulties of working in a frontline region, and the significance of theater that can continue evolving despite all obstacles.
Even during massive shelling of the city and amidst blackouts, the theater never stopped holding rehearsals or preparing performances. Over time, this dedication enabled them not only to perform for the public but also to begin forming an additional cast. However, the path was far from easy: the theater’s creators emphasize that they faced countless organizational challenges and problems finding suitable locations in a city so close to active conflict.
The theater has strong professional ties with the “Tvorche Nezhyt” association, based at the DRUK cultural and community center. One of the first premieres of “Arabesky” was held there, achieving an intriguing ambiance reminiscent of the 1920s. Additionally, the “Ocheret” Theater has run a variety of events in this space—movie nights, script readings, acting workshops, and casting calls, among others. Currently, under the leadership of Anastasiia Nesmiian, they are actively restoring their own space in DRUK. All proceeds from shows, workshops, and events go toward renovations.
The team notes that despite all the trials, each member continues to believe in the idea of a “natural theater” and strives to unite like-minded people. For audiences, this is an opportunity to immerse themselves in a distinctive atmosphere, devoid of familiar conventions, where what happens onstage reminds everyone just how closely actor and nature can intertwine.
The collaboration between director Oleksandr Shanidze and artistic director Hlib Shestakov began back in their student years, when both worked on productions at the “Politekhnic” Theater. Their creative paths later diverged, but they soon realized they shared an interest in new forms of acting. That led them to reunite, aiming to move away from traditional views and create a theater focused on merging with nature.
Oleksandr mentioned that the concept of “natural” art came to him during a period spent in Dnipro, where he was surrounded by picturesque landscapes: a lake, swans, and reeds. This environment gave him space to rethink what theater could be in such a dramatic historical era. That reflection sparked the inner desire to form a company to serve as a “laboratory” for discovering new forms.
Right after deciding to establish the theater, Oleksandr sought out people who shared his outlook. He explained that he was looking for actors who were as open as possible and ready to experiment. It was then that Hlib joined in, soon becoming the artistic director. The director felt that Hlib possessed the necessary courage and talent to elicit strong emotional responses from people.
The theater’s managing director, Anastasiia Nesmiian, recalled that during the casting for “Ocheret,” she was made to sing a song she barely knew and was then advised to take off her shoes—since, as they said, folk songs were better performed barefoot. That approach, it turned out, helped quickly gauge whether a person was open and ready for practical tests. Hlib specifically focused on uncovering the natural voice and removing unnecessary barriers, while Oleksandr was responsible for directing and staging.
Later, Anastasiia realized she wanted more active changes on the organizational side. They had been rehearsing for quite some time but hadn’t staged a full production for the public. She decided to organize events, promote the theater on social media, oversee finances, and handle public relations. Over time, in addition to her acting, Anastasiia took on various management responsibilities, which helped the theater grow in a more structured way.
Officially, the group became a non-profit: the actors have other jobs and come to rehearsals several times a week. Yet, as the team explains, if someone is serious about acting, they find a way to balance their main job with theater. They’re inspired by the fact that people keep showing up for rehearsals despite major obstacles. Kharkiv has suffered constant shelling and blackouts that disrupted transportation, yet the actors somehow made it to performances. All this drove them to push forward even more.
The group’s name carries rich, layered symbolism. Oleksandr explained that reeds on a lakeshore often hide both the underwater and surface world. This can be compared to a stage, behind which, like a curtain, any reality can unfold. The director describes a moment when an audience sees only the light and space, but no one knows who will appear. It’s as if countless spirits and creatures hide among the thick reeds, ready to appear suddenly and completely transform one’s perception of reality. The stage represents the lake, the surrounding light is like the sky, and the audience are observers sitting on the shore while these “spirits” emerge and vanish in the depths.
In “Ocheret,” “naturalness” is understood as returning to three core elements: body, voice, and rhythm. According to the director, these belong to nature: in spring, everything awakens and explodes with energy, and similarly on stage, the moment an actor steps out of the darkness of the wings, the overall calm is disrupted. The creators believe that most people subconsciously adhere to linear notions of life and aren’t always open to absurdity, while in reality many events happen chaotically and without logic. The “natural theater” thus symbolizes non-linearity and rejects the standardized ideas imposed by classic traditions. The director recalled that in rural areas, people commonly sing in the fields from childhood without feeling embarrassed, because it’s a natural expression of emotion. “Ocheret” effectively seeks to restore that primary sense of naturalness, then adapt it to an urban context, drawing on the tradition of Ukrainian modernism and merging it with urban culture.
Regarding their repertoire, the members note that their first major production was “Arabesky” by Mykola Khvylovyi. They emphasize that it’s a complex text without explicit stage directions or clear roles, yet it contains profound symbolism and exemplifies a modernist style. The director found it especially important to return to that spiritual source right in Kharkiv, where Khvylovyi created his works. The theater has future plans for Shakespeare, ancient dramas, and a leading role for Ukrainian literature in its productions.
Anastasiia points out that “Ocheret” does not aim to “educate” the audience; rather, it seeks communication. The theater strives for dialogue: audience members may either engage with the play or reject it, while the director and actors remain free to respond in turn. This, she says, creates a space for unfettered dialogue that goes far beyond ordinary viewing. Additionally, “Ocheret” wants to establish a community around itself, one that can discuss material, creative exploration, and experiments with form.
To achieve this, the group hosts workshops, literary evenings, and various performances at the DRUK cultural and community center, endeavoring to involve as many Kharkiv residents interested in creativity as possible. “Ocheret” believes that in genuine openness and direct contact with the audience, a modern Ukrainian theater is born, one capable of reviving and growing even in the most challenging historical times.
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