A Dictionary Of Ukrainian Emotions

In the sixth episode of the A Dictionary of Ukrainian Emotions podcast, Kathleen Chalfant, an iconic figure in the world of American theatre and film, reads a text by Ukrainian playwright Iryna Harets, Planting an Apple Tree.Iryna Harets created this text in the most disturbing days, at the very beginning of the full-scale invasion, when the familiar world seemed to be shattered into pieces. In it, the author focuses on the amazing ability of humanity to build and create something new even when all circumstances seem to be against it. Her work becomes a metaphorical ‘Victory Garden’ - a symbol of the power of the spirit and faith that grows through chaos and despair. Despite the loud accompaniment of the war cacophony, this garden gives hope, reminds us of the steadfastness of the human desire for life and creation. This text is not just a reflection or a memory, but a symbol of an invisible but important front in the struggle for faith in the future.After reading the text, the podcast host, writer and translator John Freedman, initiates a fascinating discussion with Kathleen Chalfant, during which they discuss in detail the daily struggle of Ukrainians against the aggressor, seeking to protect their right to exist and preserve their national identity. The conversation also touches on the complex issues of family relationships when families find themselves on opposite sides of the conflict, including how war affects the ties between loved ones on opposite sides of the barricades.

In the fifth episode of A Dictionary of Ukrainian Emotions podcast, acclaimed British actor Kevin McMonagle performs a reading of Survivor’s Syndrome by Andrii Bondarenko. The reading, brought to life under the direction of Simon Usher, artistic director of Presence Theatre, captures the essence of a work that is both haunting and profound.Survivor's Syndrome is a dramatic poem written in the early days of the war. It lays bare the harrowing experiences of Ukrainians, caught between a familiar past and an uncertain future. Opening with the word ‘end’ and closing with ‘beginning’, the poem speaks to a life shattered yet resilient, embodying the unyielding spirit and hope for renewal even amid the deepest despair. Far more than a fictional narrative, it serves as a poignant testament to history, chronicling a shared trauma.Following the reading, podcast host John Freedman, a writer and translator, engages in an insightful conversation with the author. They explore whether the poem can be seen as a historical document. Bondarenko reflects on how the war has reshaped his life, his evolving sense of normalcy, and his search for new meaning in a world irrevocably altered.

In the fourth episode of the A Dictionary of Ukrainian Emotions podcast, iconic American actor Joe Spano reads Call Things by their Names, a text by Ukrainian playwright Tetyana Kytsenko.Written in the early days of the full-scale invasion, Kytsenko piece delves into questions of national identity and cultural heritage. She contemplates how war reshapes self-awareness, urging a renewed understanding of the names and meanings behind familiar places, including streets bearing the names of foreign cultural figures.After the reading, podcast host and acclaimed writer and translator John Freedman joins Spano in a thought-provoking discussion on the complexities of national identity: its roots, evolution, and the impact of historical events. Together, they explore how past and present weave together to shape a people’s collective consciousness and the elements that form a sense of national belonging.

In the third episode of the A Dictionary of Ukrainian Emotions podcast, American actor, director, and producer Wayne Maugans, known for his work in theatre, film, and television, reads from The Peed-Upon Armoured Personnel Carrier, a play by Ukrainian playwright Oksana Grytsenko.The play tells the story of life in a small village in southern Ukraine during the Russian occupation. The villagers, initially confused and terrified, watch the invasion unfold, unsure of how to react. Over time, their fear gives way to anger, and they decide to resist — though in an unexpected and unusual manner.After Maugans reading, the podcast host, writer and translator John Freedman, engages in a thoughtful discussion with him, exploring the themes raised by Grytsenko’s work. How does fear reshape a community’s sense of security? What compels people to remain in occupied towns and villages despite the looming dangers? These reflections offer listeners deeper insight into how, even in the bleakest circumstances, human resilience and humour can transform despair into a bold act of defiance.

In the second episode of a Dictionary of Ukrainian Emotions podcast, star Kristin Milward reads Oksana Savchenko's powerful monologue, I Want to Go Home.This emotionally charged piece portrays a woman living through the war, reflecting on how it alters people's lives, perspectives, and dreams. The author contrasts memories of past happiness and freedom with the harsh realities of the present. Although the protagonist is safe abroad, her thoughts continually return to her beloved Kyiv, where her heart and loved ones remain.Following the reading, podcast host John Freedman, a writer and translator, speaks with Kristin Milward about her impressions of visiting Ukraine during the war. Kristin shares her experiences and highlights the importance of supporting Ukrainian culture in the face of Russian military aggression.

The first episode of "A Dictionary of Ukrainian Emotions" centres on Anastasiia Kosodii’s short play "How to Talk to the Dead", written in the aftermath of Russia’s full-scale invasion of Ukraine. The play was inspired by the horrors witnessed in cities like Bucha, Mariupol, and others.The podcast itself grew from the anthology "A Dictionary of Emotions in a Time of War", initiated and translated by John Freedman and published by Laertes Press, under the leadership of Nina Kamberos.In this debut episode, renowned American actress Alessandra Torresani performs a reading of Kosodii’s play, followed by an insightful conversation between Freedman and Kosodii about the work’s themes. The episode concludes with an interview with Nina Kamberos, who shares her experience publishing this important collection of Ukrainian plays, written during the first months of the war.