War-torn King Lear: Adaptation as Catharsis

Abstract

Ukrainian director Vyacheslav Yehorov staged King Lear around war-torn Ukraine, and then in 2024 toured this Ukrainian King Lear to Stratford-upon-Avon (Royal Shakespeare Company; see Christie Carson’s article in this volume). Yehorov and Dmytro Hreshko collaborated in producing a film documenting the challenges and experiences of staging King Lear in such a context: ‘King Lear’: How We Looked for Love during the War. This paper examines the significance of King Lear as a refuge for Ukrainian communities grappling with the ravages of war, and explores how Yehorov and Hreshko’s adaptation serves as a source of catharsis. At the heart of King Lear lies the theme of seeking shelter, a resonant motif for communities impacted by war. The characters’ struggles for refuge mirror the plight of Ukrainian refugees displaced from their homes. The parallels extend further as Lear’s fragmented Britain symbolically reflects the fractured state of Ukraine, pervaded by loss and destitution. The paper traces Lear’s evolution from an isolated victim to a figure who discovers solace in human connections, mirroring the journey of many Ukrainians enduring hardship, as it is depicted in the film. By examining testimonies from the ad-hoc Ukrainian actors involved in Hreshko and Yehorov’s film alongside Lear’s development, the study seeks to shed light on how King Lear acquires healing powers for communities in distress, offering a portrayal of collective destitution and emphasizing the importance of solidarity, empathy, and love in adversity. Ultimately, Yehorov and Hreshko’s initiative is interpreted as a form of bibliotherapy on stage, harnessing the therapeutic potential of theatre to provide solace during tumultuous times. Through their adaptation of King Lear, the two Ukrainian artists offer Ukrainian audiences a narrative that reflects their experiences and fosters a sense of communal resilience, showcasing the enduring power of Shakespeare’s plays to heal and unite even in the darkest of times.