KYIVAN CAVE MONASTERY (Kyievo-Pecherska Lavra). An Orthodox monastery in Kyiv. It was founded by Saint Anthony of the Caves in the mid-11th century near the village of Berestove in a cave that the future metropolitan of Kyiv, Ilarion, had excavated and lived in until 1051. The first monks excavated more caves and built a church above them. The monastery’s first hegumen was Varlaam (to 1057). He was succeeded by Saint Theodosius of the Caves (ca 1062-74), who introduced the strict Studite rule. The Kyivan princes and boyars generously supported the monastery, donating money, valuables, and land, and building fortifications and churches; some even became monks. Many of the monks were from the educated, upper strata, and the monastery soon became the largest religious and cultural center in Kyivan Rus’. Twenty of its monks became bishops in the 12th and 13th centuries...

Kyivan Cave Monastery

KYIVAN CAVE PATERICON (Kyievo-Pechers’kyi pateryk). A collection of tales about the monks of the Kyivan Cave Monastery. There exist two extant redactions: the Tver or Arsenian redaction of 1406, and the Kyiv or Cassianian redaction of 1462. The original version arose after 1215 but not later than 1230 out of the correspondence of two monks of the monastery-monk Simon (by then the bishop of Suzdal and Vladimir) and monk Polikarp, who used the epistolary form as a literary device. The letters contain 20 tales about righteous or sinful monks of the monastery based on oral legends and several written sources, such as the Life of Saint Anthony of the Caves and the Kyivan Cave and Rostov chronicles, which have not survived...

Kyivan Cave Patericon

KYIVAN CAVE MONASTERY ICON PAINTING STUDIO (Lavrska ikonopysna maisternia). Main centre of Ukrainian icon painting for many centuries. Its founding at the end of the 11th century was connected with the painting (1083-9) of the Dormition Cathedral of the Kyivan Cave Monastery by Greek masters and the Kyivan artists Master Olimpii and Deacon Hryhorii. The studio developed a distinctive style that is evident in its frescoes, icons, and book illuminations. From the late 16th century, collections of prints by western and local artists and of student drawings were kept for educational purposes. The studio's finest masterpieces of the 18th century are the mural paintings of the Dormition Cathedral (1724–31) and the Trinity Church (1734–44) above the Main Gate of the Kyivan Cave Monastery. Many noted icon painters and engravers were trained at the studio...

Kyivan Cave Icon Studio

SAINT ANTHONY OF THE CAVES (Sviatyi Antonii Pecherskyi; secular name: Antyp), b ca 983 in Liubech, Chernihiv region, d 1073 in Kyiv. As a youth he joined the monastery at Mount Athos, where he was tonsured and adopted the religious name Anthony. After many years he returned to Ukraine; reputedly he took up residence in a cave in which Metropolitan Ilarion had lived, near the village of Berestove, on the outskirts of Kyiv. Anthony’s deeds and fasting attracted other monks, including Saint Theodosius of the Caves. This monastic community became the nucleus of the Kyivan Cave Monastery, and Anthony emerged as the founder of monasticism in Ukraine...

Saint Anthony

DORMITION CATHEDRAL OF THE KYIVAN CAVE MONASTERY. The main church of the Kyivan Cave Monastery. Built in 1073–8 at the initiative of Saint Theodosius of the Caves during the hegumenship of Stefan of Kyiv and funded by Prince Sviatoslav II Yaroslavych. According to the Kyivan Cave Patericon, Master Olimpii was to have been one of the mosaic masters. At the end of the 11th century many additions to the cathedral were built, including Saint John's Baptistry in the form of a small church on the north side. In the 17th century more cupolas and decorative elements in the Cossack baroque style were added. As the Soviet Army retreated from Kyiv on 16–17 September 1941, mines were placed under the cathedral, and on 3 November it was blown up. The reconstruction of the cathedral began in 1998 and was completed in time for its reconsecration during the Ukrainian Independence Day ceremonies in August 2000...

Dormition Cathedral of the Caves Monastery

KOBZARS. Wandering folk bards who performed a large repertoire of epic-historical, religious, and folk songs while playing a kobza or bandura. Kobzars originally composed and performed their own historical songs and dumas in the recitative style and later added songs of various other genres (religious and humorous songs, dance melodies) to their repertoires, which were passed on to their students. Kobzars were held in high esteem by the Zaporozhian Cossacks. In the late 18th century the occupation of kobzar became the almost exclusive province of the blind and crippled, who organized kobzar brotherhoods to protect their corporate interests. In the 19th century, the few hundred remaining kobzars in Poltava, Kharkiv, and Chernihiv gubernias and their artistry aroused the interest of various ethnographers, composers, and painters, including Mykola Lysenko, Oleksander Rusov, and Lesia Ukrainka...

Kobzars

BANDURA. A Ukrainian musical instrument similar in construction and appearance to a lute. The bandura has 32–55 strings: the 8–14 bass strings (bunty) are stretched along the neck, and the 24–43 treble strings (prystrunky) run along the side of the soundboard. Before the 20th century the bandura had various shapes and tunings (basically diatonic), but in recent times it has been standardized. The oldest record of a bandura-like instrument in Ukraine is an 11th-century fresco of court musicians (skomorokhy) in the Saint Sophia Cathedral in Kyiv. This lute-like instrument is probably the ancestor of the bandura and the kobza. The two instruments were related, but distinct. The kobza was smaller in size and had fewer strings, but these were fretted. Around the 16th century prystrunky were added to the bandura, and from that time only one note was obtained from each string...

Bandura

DUMA. Lyrico-epic works of folk origin about events in the Cossack period of the 16th–17th century. The dumas differ from other lyrico-epic and historical poetry by their form and by the way in which they were performed. They did not have a set strophic structure, but consisted of uneven periods that were governed by the unfolding of the story. Each period constituted a finished, syntactical whole and conveyed a complete thought. The dumas were not sung, but were performed in recitative to the accompaniment of a bandura, kobza, or lira. The chanting had much in common with funeral lamentation. Scholars connect the dumas with the poetic forms that appeared in Ukraine in the 12th century, particularly with the Slovo o polku Ihorevi. One widely accepted theory of the origin of the dumas is that proposed by Pavlo Zhytetsky, according to which they were a unique synthesis of popular and ‘bookish-intellectual’ creativity...

Duma

LIRNYKS. Wandering folk minstrels, often blind, who accompanied themselves on a lira, a folk string instrument introduced in Ukraine from the West in the 15th century. The sound of a lira is produced by cranking a rosined wheel against strings within the instrument. Most frequently, the lira has three strings; the two lower strings are monotonic, and the higher string leads the melody. Lirnyks appeared in Ukraine in the 15th century and had formed a guild by the end of the 17th century. There were special schools for them. Their repertoire consisted mainly of religious songs, although humorous and satirical songs were also popular. Some lirnyks specialized in historical songs and dumas. The lifestyle of lirnyks (as well as kobzars) is described by N. Kononenko in Ukrainian Minstrels: And the Blind Shall Sing (1998)...

Lirnyks

VERESAI, OSTAP, b 1803 in Kaliuzhyntsi, Pryluka county, Poltava gubernia, d April 1890 in Sokyryntsi, Pryluka county, Poltava gubernia. Kobza player and singer (tenor). A peasant who became blind in his early youth, he studied from 1818 with S. Koshovy and other kobzars. By the 1860s he was the most renowned performer of Ukrainian epic and historical songs. In 1873 he appeared in recital for the Southwestern Branch of the Imperial Russian Geographic Society and in 1875 concertized in Saint Petersburg. His repertoire included the dumas Kinless Fedir, Three Brothers from Azov, and Oleksii Popovych. Veresai's artistry was studied by ethnographers such as Oleksander Rusov and Pavlo Chubynsky, as well as by Mykola Lysenko, who wrote a monograph on the works in Veresai's repertoire (1873, 1978)...

Ostap Veresai

PARKHOMENKO, TERENTII, b 28 October 1872 in Voloskivtsi, Sosnytsia county, Chernihiv gubernia, d 23 March 1910 in Voloskivtsi. Kobzar. Having lost his sight at 10 he studied the kobza under A. Hoidenko and others and then for five years wandered with Hoidenko through Ukraine. At 30 he began to teach the kobza. Some of his students (Petro Tkachenko-Halashko, Serdiuk-Pereliub, and Avram Hrebin) became noted folk singers. He corresponded with Mykola Lysenko, Opanas Slastion, Oleksander Malynka, Mikhail Speransky, Lesia Ukrainka, Ivan Franko, and Volodymyr Hnatiuk. He gave concerts in Kyiv, Poltava, Nizhyn, Mohyliv-Podilskyi, Uman, Vinnytsia, Yelysavethrad, and Warsaw. His repertoire included dumas, historical songs, psalms, lyrical songs, and satires. Because his songs awakened national consciousness among the peasants, he was harassed by the authorities. He died as a result of a police beating...

Terentii Parkhomenko

BROTHERHOODS. Fraternities affiliated with individual churches in Ukraine and Belarus that performed a number of religious and secular functions. The origins of brotherhoods can be traced back to the medieval bratchyny, which were organized at churches in the Princely era. Brotherhoods as such appeared in Ukraine in the mid-15th century, with the rise of the burgher class. They began to play a historical role in the second half of the 16th and at the beginning of the 17th century. The brotherhoods endeavored to reform the Orthodox church from within by condemning the corrupt practices of the hierarchy and of individual clergymen. They brought about a revival in the life of the church by promoting cultural and educational activity. They founded brotherhood schools, printing presses, and libraries...

Brotherhoods

BROTHERHOOD SCHOOLS. Schools founded by religious brotherhoods for the purposes of counteracting the denationalizing influence of Catholic (Jesuit) and Protestant schools and of preserving the Orthodox faith began to appear in the 1580s. The first school was established in 1586 by the Lviv Dormition Brotherhood. The school served as a model for other brotherhood schools in various towns of the Polish-Lithuanian Commonwealth, most of them in Ukraine and Belarus. In the first half of the 17th century even some villages had brotherhood schools. The most prominent schools were the Lviv Dormition Brotherhood School and Kyiv Epiphany Brotherhood School. In 1631, the latter was merged with the Kyivan Cave Monastery School to form the Kyivan Mohyla College, which later became the Kyivan Mohyla Academy…

Brotherhood schools

LVIV DORMITION BROTHERHOOD. An Orthodox religious association founded in the 15th century by Lviv merchants and tradesmen at the Dormition Church in Lviv. It is the oldest and one of the leading Ukrainian brotherhoods, and it served as an example to other brotherhoods. There are historical references to it dating back to 1463. According to its charter, which was confirmed by Patriarch Joachim V of Antioch in 1586 and Patriarch Jeremiah II of Constantinople in 1589, the brotherhood was independent of the local bishops (right of stauropegion) and subject directly to the Patriarch of Constantinople. It had the right to oversee the activities not only of secular members of the church but also of the clergy and even the bishops…

Lviv Brotherhood

KYIV EPIPHANY BROTHERHOOD. A church brotherhood established ca 1615 at the Kyiv Epiphany Brotherhood Monastery in the Podil district by wealthy burghers, nobles, clerics, and Cossacks to defend the Orthodox faith from the onslaught of Polish rule and Catholicism. Hetman Petro Konashevych-Sahaidachny gave it a great deal of support and joined it ‘with the entire Zaporozhian Host' in 1620. That same year the Orthodox Kyiv metropoly was restored and the brotherhood acquired stauropegion status and the right to establish a ‘brotherhood for young men' from the visiting patriarch of Jerusalem, Theophanes III. The Polish king Sigismund III Vasa granted the brotherhood a royal charter in 1629…

Kyiv Brotherhood

LUTSK BROTHERHOOD OF THE ELEVATION OF THE CROSS. A renowned Orthodox brotherhood founded in 1617 in Lutsk by H. Mykulych, the hegumen of the Chernchytsi monastery located near the city. The Lutsk Brotherhood included monks, priests, bishops, nobles, aristocrats, and members of the middle class from Lutsk and Volhynia. It received a charter from the Polish king Sigismund III Vasa in 1619 and was granted the status of stauropegion by the Patriarch of Constantinople in 1623. It ran the Lutsk Brotherhood of the Elevation of the Cross School and operated a printing press in the monastery. After Bohdan Khmelnytsky's era the brotherhood entered a period of steady decline…

Lutsk Brotherhood

KYIVAN MOHYLA ACADEMY. Established by Petro Mohyla through the merger of the Kyiv Epiphany Brotherhood School (est 1615–16) with the Kyivan Cave Monastery School (est 1631 by Mohyla), the new school was conceived by its founder as an academy, ie, an institution of higher learning offering philosophy and theology courses and supervising a network of secondary schools. Completing the Orthodox school system, it was to compete on an equal footing with Polish academies run by the Jesuits. Fearing such competition, King Wladyslaw IV Vasa granted the school the status of a mere college or secondary school, and prohibited it from teaching philosophy and theology. It was only in 1694 that the Kyivan Mohyla College (Collegium Kijoviense Mohileanum) was granted the full privileges of an academy, and only in 1701 that it was recognized officially as an academy by Peter I...

Kyivan Mohyla Academy

MOHYLA, PETRO, b 10 January 1597 in Moldavia, d 11 January 1647 in Kyiv. Ukrainian metropolitan, noble, and cultural figure; son of Simeon, hospodar of Wallachia (1601–2) and Moldavia (1606–7), and the Hungarian princess Margareta. After his father’s murder in 1607, Mohyla and his mother sought refuge in Western Ukraine. He was tutored by teachers of the Lviv Dormition Brotherhood School, and pursued higher education in theology at the Zamostia Academy and in Netherlands and France. After his return to Ukraine he entered the military service and fought as an officer in the Battle of Cecora (1620) and Battle of Khotyn (1621). In 1621–7 he received estates in the Kyiv region and became interested in affairs of the Ukrainian Orthodox church. In September 1627 a dietine in Zhytomyr chose Mohyla to succeed the late Zakhariia Kopystensky as archimandrite of the influential Kyivan Cave Monastery...

Mohyla, Petro

PROKOPOVYCH, TEOFAN, b 18 June 1681 in Kyiv, d 19 September 1736 in Saint Petersburg. Orthodox archbishop, writer, scholar, and philosopher. He graduated from the Kyivan Mohyla Academy in 1696 and continued his education in Lithuania, Poland, and at the Saint Athanasius Greek College in Rome. In 1704 he returned to the Mohyla Academy to teach poetics, rhetoric, philosophy, and theology. He also served as prefect from 1708 and rector in 1711–16. He gained prominence as a writer and as a supporter of Hetman Ivan Mazepa. His most famous work, Vladimir, is dedicated to the hetman, whom he depicted as the figure of the Grand Prince of Kyiv. Following Mazepa's unsuccessful revolt against Tsar Peter I in 1709, however, Prokopovych denounced him and expressed his complete allegiance to Peter...

Teofan Prokopovych

YAVORSKY, STEFAN, b 1658 in Yavoriv, Galicia, d 27 November 1722 in Moscow. Orthodox hierarch, theologian, poet, and philosopher. A graduate of the Kyivan Mohyla College (ca 1684), he completed his education in Polish Jesuit colleges. After returning to Kyiv in 1687, he renounced Catholicism, became an Orthodox monk (1689), and taught rhetoric (1690), philosophy (1691–3), and theology (1693–8) at the Kyivan Mohyla Academy. He was hegumen of Saint Nicholas's Monastery in Kyiv from 1697; in 1700 he was appointed metropolitan of Riazan and Murom in Russia, and on 1 December 1701, exarch in Moscow of the Russian Orthodox church, by Emperor Peter I. Yavorsky helped Peter to reform the church and education. Eventually his defense of church autonomy, criticism of Peter, opposition to Teofan Prokopovych, and intolerance of Protestantism cost him the tsar's favor...

Stefan Yavorsky

SKOVORODA, HRYHORII, b 3 December 1722 in Chornukhy, Lubni regiment, d 9 November 1794 in Pan-Ivanivka, Kharkiv vicegerency. Philosopher and poet. He was educated at the Kyivan Mohyla Academy (1734–53, with two interruptions). He sang in Empress Elizabeth I's court Kapelle in Saint Petersburg (1741–4), served as music director at the Russian imperial mission in Tokai, Hungary (1745–50), and taught poetics at Pereiaslav College (1751). He resumed his studies at the Kyivan academy, but left after completing only two years of the four-year theology course to serve as tutor to V. Tomara (1753–9). He spent the next 10 years in Kharkiv, teaching at Kharkiv College. After his dismissal from the college he spent the rest of his life wandering about eastern Ukraine, particularly Slobidska Ukraine. Material support from friends enabled him to devote himself to reflection and writing...

Hryhorii Skovoroda

HROMADAS. Clandestine societies of Ukrainian intelligentsia that in the second half of the 19th century were the principal agents for the growth of Ukrainian national consciousness within the Russian Empire. The first hromada, established in Saint Petersburg, was already active by the fall of 1858. It consisted of some former members of the Cyril and Methodius Brotherhood, including Mykola Kostomarov, Panteleimon Kulish, and Taras Shevchenko. With financial support from the landowners Vasyl Tarnovsky and Hryhorii Galagan, works of Ukrainian writers began to be published and the journal Osnova appeared. Another hromada outside Ukraine sprang up at the University of Moscow in 1858-9. In Ukraine the most important hromada, the Hromada of Kyiv, was organized in 1859 by students who were active in the Sunday-school movement. In Kharkiv a student circle that collected ethnographic material formed around Oleksander Potebnia at the end of the 1850s, but the first hromada arose probably in 1861-2...

Hromadas

HROMADA OF KYIV. The most active and enduring hromada in Russian-ruled Ukraine. It was not only the chief cultural, and to some extent political, society of Ukrainian intelligentsia in Kyiv but also, through its contacts with similar societies in other cities, the most important catalyst of the Ukrainian national revival of the second half of the 19th century. Founded in 1859 mostly by students who felt morally obligated to improve the condition of the people through education, the hromada initially focused on teaching at Sunday schools. In the early 1860s a khlopoman group lead by Volodymyr Antonovych joined the hromada. In 1862, at the height of its activity, the hromada's membership reached 200, and included representatives from various social strata and from different nationalities--Jews and Poles as well as Ukrainians. Under the close surveillance of the authorities, the hromada reduced its activities and limited itself to cultural, apolitical goals, devoting much attention to publishing a journal, Kievskaia starina, devoted to Ukrainian studies...

Hromada of Kyiv

KHLOPOMAN. Adherent of a populist movement of Ukrainian students and intelligentsia in Right-Bank Ukraine in the 1850s-1860s. The derogatory Polish term 'chlopoman,' meaning lover of the peasantry, was adopted eventually by those who propagated the notion of 'love for the simple Ukrainian people.' The movement, which was greatly influenced by French socialists (P-J. Proudhon, L-A. Blanqui) and democratic populism, originated among students of Kyiv University who belonged to the Polonized nobility. Recognizing the duty to serve 'the people among whom one lives,' they turned away from Polish student organizations and established a Ukrainian society. The khlopoman movement also had an impact on young people in Left-Bank Ukraine, particularly in Kharkiv, Poltava, Chernihiv, and Odesa. The movement's founders included Volodymyr Antonovych, Tadei Rylsky, Borys Poznansky, Pavlo Zhytetsky, and Pavlo Chubynsky...

Khlopoman

ANTONOVYCH, VOLODYMYR, b 18 January 1834 in Makhnivka, Kyiv gubernia, d 21 March 1908 in Kyiv. Historian, archeographer, archeologist, professor of history at Kyiv University from 1878, editor in chief of the publications of the Kyiv Archeographic Commission, patron and head (from 1881) of the Historical Society of Nestor the Chronicler in Kyiv, and head of the Hromada of Kyiv. Antonovych was a major representative of the populist school in Ukrainian historiography. He founded the so-called Kyivan school of historians, which consisted of his students at Kyiv University (among them Mykhailo Hrushevsky), who later laid the foundations of modern Ukrainian historiography. In his writings Antonovych avoided synthetic theories and concentrated on documentary research. For almost half a century Antonovych played a leading role in Ukrainian civic and political life. He wrote over 300 scholarly studies...

Volodymyr Antonovych

KIEVSKAIA STARINA. A learned monthly for Ukrainian studies printed in Russian and published in Kyiv from 1882 to 1906. In 1907 it was renamed Ukraina and appeared in Ukrainian. The journal was founded by Teofan Lebedyntsev, Volodymyr Antonovych, Oleksander Lazarevsky, and Pavlo Zhytetsky, and was financed mostly by Vasyl Symyrenko. It was the unofficial organ of the Hromada of Kyiv, which in 1893 became its real owner. For over 25 years Kievskaia starina was the only printed medium of Ukrainian scholarship in Russian-ruled Ukraine. It published a wealth of research and documentary materials in history, archeology, ethnography, philology, and bibliography. In 1890 it began to publish belles-lettres, which from 1897 appeared in Ukrainian. The leading Ukrainian scientific minds and cultural figures of the time were grouped around the journal, forming something like a learned society. At the turn of the century Kievskia starina became a sort of encyclopedia of Ukrainian studies...

Kievskaia starina

KURBAS, LES (Oleksander), b 25 February 1887 in Sambir, Galicia, d 3 November 1937 in a Soviet prison on the Solovets Islands. Outstanding organizer and director of Ukrainian avant-garde theater, filmmaker, actor, and teacher. In 1907-8 he studied philosophy at the University of Vienna and drama with the famous Viennese actor Josef Kainz. After graduating from Lviv University in 1910, he worked as an actor in the troupes of the Hutsul Theater (1911-12) and Lviv's Ukrainska Besida theater (1912-14), founded and directed the Ternopilski Teatralni Vechory theater in Ternopil (1915-16), and worked at Sadovsky's Theater in Kyiv (1916-17). After the February Revolution of 1917 Kurbas reorganized an actors' studio he had founded in 1916 into the Molodyi Teatr theater (1917-19) in Kyiv and became the secretary of the journal Teatral'ni visty...

Les Kurbas

BEREZIL (March). A theater established in 1922 in Kyiv by the Berezil artistic association as an experimental studio under the artistic direction of Les Kurbas. Achieving recognition as Soviet Ukraine's national theater, it was located in Kyiv until 1926 and then moved to the then capital, Kharkiv. At its height Berezil included six actors' studios (three in Kyiv, one each in Bila Tserkva, Boryspil, and Odesa), close to 400 actors and staff members, a directors' lab, a design studio, a theater museum, and ten committees, including a 'psycho-technical' committee that used applied psychology to develop new teaching methods for actors and directors. Berezil also published a journal, Barykady teatru (Theatrical Barricades)...

Berezil theatre

MOLODYI TEATR (Young Theater). A theatre troupe in Kyiv headed by Les Kurbas from 1917 to 1919. The core group of actors consisted of graduates of the Lysenko Music and Drama School. Most of the productions were directed by Kurbas, although Hnat Yura, V. Vasilev, and Semen Semdor also directed shows. Anatol Petrytsky was the main stage designer, but Mykhailo Boichuk was invited to create sets for several important productions. Kurbas's articles, such as the 'Manifesto' (in Robitnycha hazeta, 1917), called for a new Ukrainian theatre and outlined the artistic goals of the group. Molodyi Teatr rejected the Ukrainian ethnographic repertoire and presented modern Ukrainian plays and world classics. Kurbas strived to create an intellectual and philosophical theater whose ultimate aim was to return to its ritualistic roots and to become once again some form of a religious act...

Molodyi Teatr

KRUSHELNYTSKY, MARIAN, b 18 April 1897 in Pyliava, Buchach county, Galicia, d 5 April 1963 in Kyiv. Actor and play director of Les Kurbas's school; educator. Making his stage debut in 1915 in the Ternopilski Teatralni Vechory theater, he subsequently acted in the Ukrainian Theater in Ternopil (1918, 1920-1), the New Lviv Theater (1919), the Franko Ukrainian Drama Theater in Vinnytsia (1920), and the Ukrainska Besida Theater in Lviv (1922-4). Then he was one of the leading actors of the Berezil theater, and after Les Kurbas's arrest and the dissolution of Berezil, Krushelnytsky was appointed in 1934 artistic director and chief play director of the Kharkiv Ukrainian Drama Theater. He modified the theater's profile, particularly its repertoire, according to the demands of socialist realism...

Marian Krushelnytsky

BUCHMA, AMVROSII, b 14 March 1891 in Lviv, d 6 January 1957 in Kyiv. Prominent stage and screen actor, director, and teacher. Buchma began his stage career at the Ruska Besida theater in Lviv in 1910. In 1917 he studied at the Lysenko Music and Drama School in Kyiv. In 1920 he worked in the Kyiv Ukrainian Drama Theater and in 1923-6 in the Berezil theater, where he played such memorable roles as Jimmie Higgins in an adaptation of Upton Sinclair's novel, Leiba in an adaptation of Taras Shevchenko's Haidamaky, Jean in Prosper Merime's La Jacquerie, and the Fool in William Shakespeare's Macbeth. At the same time he became a film actor and later left the theater to devote himself solely to the cinema (1926-30). The main roles in which he appeared in these years were those of Jimmie Higgins, Mykola Dzheria, Taras Shevchenko, Taras Triasylo (in films of the same titles), the leading role of Hordii in The Night Coachman and the German soldier in Oleksander Dovzhenko's Arsenal...

Amvrosii Buchma