The White Disease: A Theatrical Journey of Reflection and Restoration

Last year, the White Disease: Fantastic Realism of the Times of One War project took Ukrainian theater beyond its borders, presenting Karel Čapek’s play through the unique perspective of the Virymo! Dnipro Drama Youth Theater.

The project aimed to spark important conversations about war, recovery, and the values shaping post-war Ukraine both at home and across Europe. With performances in Austria and the Czech Republic, followed by discussion forums, the project reached international audiences, deepening their understanding of Ukrainian realities and the ongoing struggle for restoration.

Although written in 1937, The White Disease feels disturbingly relevant today. Čapek’s dystopian play tells the story of a deadly pandemic sweeping through a militarized dictatorship, where the ruling elite prioritizes war over human lives. The protagonist, Dr. Galen, discovers a cure but refuses to share it unless war is stopped—a moral dilemma that raises questions about power, responsibility, and human nature. The play’s themes resonate deeply in the current geopolitical climate, making it a compelling choice for international performances.

We spoke with project manager Anastasia Beridze and communications manager Olga Dogotar about the challenges of taking this production abroad, the role of theater in healing communities, and the significant impact their work has had on international audiences.

Could you please tell us about your role in the White Disease: Fantastic Realism of the Times of One War project? What was your personal motivation for joining this project?  

Our organization, Narodna Dopomoha Ukraine, is the main executor of the project. We are responsible for management, logistics, organizing all events, media, and social media coverage, as well as reporting. This includes coordinating all aspects of the work, from planning trips and scheduling performances to ensuring informational support that helps convey the project's ideas to the widest possible audience.  

Our motivation to participate in this project stems from our strong belief in what the Virymo! theater is doing. We consider it essential that as many viewers as possible, both in Ukraine and abroad, see and believe in this work as well. This theater doesn't just entertain the audience. It addresses current, important, and often painful issues that make people think and, perhaps, even change. Our goal is to help build a high image of Ukrainian performative arts and to promote contemporary Ukrainian ideas and values. This is not our first joint project with the Virymo! theater and experience has shown that combining the efforts of talented artists and experienced cultural managers is both effective and vital for the realization of such cultural initiatives.

How did the idea of combining a dramatic performance with forum discussions on the topic of reconstruction come about? What was the main concept behind such a synergistic approach?  

Such an idea is not new to us. We first used it in the project The Orgy of the Third Millennium, which included the creation and presentation of the play Orgy, based on Lesya Ukrainka's work, in ten cities across Ukraine and abroad. This synergistic approach proved to be very successful, both for the audience, as we gathered from their responses, and for the performance creators and the project managers. Feedback is extremely important to us. The forum-discussion format allows everyone who watched the play to get a bit closer to the director, the set designer, and the cast. Every guest has the chance to express their thoughts and feelings about what they’ve seen, and to share their reflections. These meetings are not only an occasion for introductions but also a chance to feel a sense of community, to ask questions to the creators of the play, and, after receiving answers, to continue their personal reflections.

Why did you choose Karel Čapek's play The White Disease for international performances? What relevant Ukrainian themes were you aiming to convey through this choice?  

Right now, we find ourselves in unprecedented circumstances in the history of drama, where Karel Čapek's fantastical play, written in 1937, transcends the boundaries of dystopian fiction and takes on elements of realism. This is due to the striking resonance between its plot and ideas and the events the world has experienced in recent years: the COVID-19 pandemic and the war in Ukraine. The White Disease: Fantastic Realism of the Times of One War project aims to initiate an open and broad cultural dialogue about the values and meanings that are currently significant for Ukraine, as well as the new and old social norms and relationships between people, both within Ukrainian society and for the Ukrainian diaspora and refugees abroad. We also believe it is crucial to remind the international community that the war in Ukraine is ongoing. The world must remember that we need continued support.

What were the main challenges during the preparation and staging of the play outside of Ukraine, particularly in Austria and the Czech Republic? How did you manage to overcome these difficulties?

The Virymo! theater began work on Karel Čapek's play The White Disease in early February 2022. Three weeks later, on February 24th, Russia launched its full-scale invasion of Ukraine, forcing the theater to halt its activities. Two of the actors were mobilized into the Armed Forces of Ukraine from the first days of the war, while others volunteered to assist the army and refugees. It was only six months later that the theater resumed its work, with the first priority being to return to rehearsals for The White Disease. Rehearsing during wartime was an immense challenge: bombardments, regular power outages, curfews, sleepless nights, and constant air-raid sirens. Progress was slow and exhausting, but in the end, the play was completed. And the world needed to see it!  

Organizing international performances from a country at war is an incredibly difficult and painstaking task. Securing permits for male actors to leave the country, logistics, transporting the troupe and set pieces across three countries, finding venues for performances, providing informational support, and spreading the word among the Ukrainian diaspora and residents—all of this required extensive effort. We received significant support from the authorities in Chernivtsi and Dnipro, as well as the experience of our Austrian partners. We would also like to extend a special thanks to our aides in the Czech Republic, who supported our idea and assisted in its realization—finding a venue, creating subtitles, and spreading information, among other things.

How did the local Ukrainian diaspora and refugees react to the performance? Were there any emotional moments that left a lasting impression on you?  

The response was deeply emotional. For many, it was a chance to connect with art that not only spoke their language but also echoed their personal experiences and pain. The play acted as a mirror, reflecting the audience’s struggles and reminding them that they are not alone in their fight to find a new place in life.

After the performance or during the forums, people often approached us to share their personal stories about the war and forced displacement. Many said the play gave them a new perspective on their experiences, helping them release emotions they had kept bottled up for a long time. These moments were incredibly moving, as we witnessed how art became a way for people to process their trauma and find the strength to move forward.

For the Ukrainian diaspora, the performance also held deep meaning. They mentioned that the play made them feel even more connected to Ukraine and its current realities. For many, it was a vital moment of reconnection with their culture, helping them strengthen their ties to their homeland despite the physical distance. The play reminded them that they remain part of the Ukrainian community, which is currently facing severe challenges.

These experiences reaffirm that theater plays a vital role in the healing and support of our community, especially in times of war and forced migration. They also show how essential cultural support and connection with Ukraine are for those living abroad. This inspires us to continue our work and create projects that truly resonate with people.

The forum discussions about reconstruction are a crucial part of the project. What were the main conclusions and recommendations that emerged from this discourse?

There were many reflections, which is not surprising. The parallels practically draw themselves, as the world of The White Disease has, in one way or another, touched each of us. One piece of audience feedback during a forum was particularly striking: 

Almost a century has passed since The White Disease was written, yet it seems that it was read too little and too superficially if humanity has ended up where it is now.

In every city—whether in Ukraine, Austria, or the Czech Republic—the audience at the forums expressed the same thought: this play needs to be seen by as many people as possible in different countries.

One of the key tasks was the importance of preserving cultural heritage and adapting it to contemporary circumstances. Forum participants emphasized the need to create new cultural narratives that can help make sense of current events and sustain national identity. There was also a significant focus on the role of art as a tool for emotional and psychological rehabilitation. Many noted that theater can be a powerful means of overcoming the traumas of war, helping people find new meanings and the motivation to rebuild their lives and society.

There was a lot of emphasis on the importance of international cultural diplomacy, too. Forum participants agreed that taking performances like this abroad helps people around the world better understand what’s happening in Ukraine and strengthens global support for the country’s reconstruction. These discussions gave us plenty of valuable ideas for our future work and strengthened our belief that our art can play a meaningful role in the recovery process

How do you see the role of art, particularly theater, in the rebuilding of society after the war? How does your project contribute to this process?

Art, especially theater, plays a crucial and multifaceted role in rebuilding society after the war. Theater has a unique ability to reflect and reinterpret collective experiences, giving voice to different aspects of reality, including pain, loss, hope, and aspirations. It helps society process what it has gone through, heal wounds, and find new meaning in difficult times. The White Disease: Fantastic Realism of the Times of One War project contributes to this process by creating a space for dialogue and reflection. The Virymo! theater’s production combines fantastical realism with contemporary Ukrainian realities, allowing the audience to engage with the events of the war in a metaphorical and emotionally resonant way. This not only helps the audience better understand the current context but also provides emotional and psychological relief, which is essential for recovery.

Additionally, the project included forums and discussions with the audience and key cultural figures, encouraging collaboration in supporting cultural heritage and developing new forms of artistic expression. These activities strengthen national identity and shape new societal narratives that are essential for building a peaceful future.

The impact on the international community is an important part of this project. How do you assess the reaction of the European audience to the performance and the forum discussions? Has their understanding of Ukrainian realities evolved?

Both the performance and the post-show forums made a strong impression on the international community. The reaction of the European audience —expressed in theaters, during forums, in guestbooks, and on social media—shows a deep engagement with the values and messages we conveyed. Audiences realized that the realities of the situation in Ukraine, though they may seem distant, are, in fact, very close and affect each of us. 

This served as an important reminder that the world must not ignore these issues and must keep the conversation going.

The performance and discussions helped the European audience see that the threat of war and instability is not just a problem for one country, but a danger to all of Europe. As Karel Čapek noted, “These days, there are so many people who hold or wish to hold the destinies of entire nations, or even all of humanity, in their hands...” This shows the importance of solidarity in times of crisis. As a result, our project deepened European audiences’ understanding of what’s happening in Ukraine, raising awareness of the importance of mutual support in the face of global challenges.

Do you plan to continue the project after success in Austria and the Czech Republic? If so, which countries or cities are you considering for future performances?

After the project's conclusion, the play remains in the repertoire of the Virymo! theater and continues to be highly popular with audiences. Every time we see reactions in the audience and read their feedback after each performance, we know we must continue. We plan to bring The White Disease to other cities in Ukraine, and we are actively looking for opportunities and resources to take it to other European countries. We are considering places like Poland and Germany, and we are very eager to bring the play back to the Czech Republic.

What role did the support of international organizations and donors play in the project? Why do you think they were drawn to participate in your project?

The support was absolutely essential. Thanks to the grant from Izolyatsia, we were able to take the project to the international level and bring the play to audiences abroad. Without this backing, we wouldn’t have had the chance to reach an international audience or contribute to cultural exchange on the European stage.

Based on our experience with numerous cultural projects, including international ones, it’s always tough to say exactly what draws donors in. However, we can assume that the relevance and significance of the material we work with played a big part. Our project deals with critical socio-political issues and reflects the current realities in Ukraine, which makes it highly relevant and necessary within a wider cultural context. Additionally, our organization’s and our partners’ previous experience in executing international cultural projects likely demonstrated our ability to successfully carry out large-scale initiatives and make good use of the resources provided.

This support allowed us to realize the project on an international level and also highlighted the importance of continuing cultural exchanges and collaboration across borders.

How do you assess the impact of the project on Ukraine's cultural image in Europe? What were the main reactions from European media and cultural institutions?

As previously mentioned, one of the key goals of the project was to elevate the image of Ukrainian performing arts and to promote contemporary Ukrainian ideas and values. We aimed to present a Ukrainian theater that tackles current issues through artistic expression conveyed in the language of modern theatrical art.

Virymo! is an auteur theater that evolved from the theater studio led by director and educator Volodymyr Petrenko. The troupe consists of his students, and the repertoire includes plays by Petrenko and young directors who have grown within the theater. In each new production, they strive to blend deep meaning with vibrant theatrical form. Each new performance is a quest for a new theatrical language, a new way of connecting with the audience. Being a repertory theatre, Virymo! creates performances that captivate the audience without pandering and surprise without shocking.

In conclusion, what do you consider the most significant achievement of the project? What lessons have you learned from this experience that will help you in future initiatives?

The project’s greatest achievement is its ability to create a meaningful cultural impact that goes beyond a typical artistic experience. The performance and the discussions that followed resonated deeply with international audiences and played a crucial role in raising awareness about the realities in Ukraine, encouraging a deeper understanding and sense of solidarity.

This experience has taught us several important lessons. First, we’ve seen that art can serve as a powerful bridge for communication and understanding between cultures. The importance of cultural diplomacy and international collaboration became clear in building connections between nations. Second, we learned the value of providing a safe space for open conversations, where people feel free to share their experiences and emotions. This approach helps break down psychological barriers and contributes to creating new cultural narratives with lasting impact. Third, the project showed us that approaching complex topics creatively can significantly enhance how they are received and discussed. The performance provided a platform for exploring the themes of war and recovery in depth, showing that cultural projects can play a vital role in global healing and reflection.

These insights will guide us as we move forward with future initiatives, particularly in developing new cultural projects that aim to deepen understanding and support between Ukraine and Europe.

Author: Mariia Akhromieieva

ZMINA: Rebuilding is a project co-funded by the EU Creative Europe Programme under a dedicated call for proposals to support Ukrainian displaced people and the Ukrainian Cultural and Creative Sectors. The project is a cooperation between IZOLYATSIA (UA), Trans Europe Halles (SE) and Malý Berlín (SK).