The Poetics of the Frontier in the Volyn Theater „GaRmYdEr”: Trends and Perspectives

Abstract

Utilizing the methodology of the liminal approach, this article characterizes significant processes in modern art through the lens of the Volyn theater „GaRmYdEr.” The theater exemplifies the aesthetics of the frontier, which permeates various spheres of contemporary art, notably drama and theater. The „GaRmYdEr” theater underwent all stages of the „rite of passage” (as conceptualized by A. van Gennep and V. Turner) – separation, liminal phase, and incorporation. The particularly productive liminal stage, spanning from 2013 to 2020, anticipated the broader Ukrainian trend in incorporation. The primary focus of the theater’s creative endeavors was the exploration of border states of consciousness and the fringes of identity: life/death, past/future, self/other, Ukrainian/Polish, conscious choice/ entrenched tradition.

„GaRmYdEr” delves into the intricacies of the „Volyn identity,” shaped at the crossroads of states and mentalities. Thus, the theater opts to embody the works of Polish authors, artists, and historical figures who lived and worked in both Poland and Ukraine. It reflects upon the issue of identity, explores and brings to life remarkable figures from Volyn through various social and touristic projects. The chosen performance formats by the theater’s team straddle the line between traditional performances, plastic and multimedia productions, socially significant projects, „site-specific” theater, and more. The collective of „GaRmYdEr” exemplifies a sense of community („communitas”) – equal participants in the creative endeavor.

In the context of literary studies, the example of „GaRmYdEr” underscores the significance of creating collective texts in modern theaters, especially those that experiment with post-dramatic forms.