Ulysses unter den Drohnen, in Kiew die Odyssee der Azov-Militärs

A dramatic theatrical production titled The Odyssey has taken place in Kyiv, performed by soldiers of Ukraine’s Azov battalion, blending ancient myth with modern warfare. The performance unfolded amid the backdrop of ongoing conflict, with drones flying overhead and smoke lingering from nearby battlefields. Soldiers portrayed Odysseus and other Greek heroes, while the play’s narrative reflected their real-life struggles against Russian forces. The play, staged at Kyiv's Ivan Franko Theatre, was written and performed by members of the Azov battalion, a military unit known for its controversial political alignment. According to Darya Legeyda, who played Penelope, the production does not aim to replicate Homer’s epic but instead draws upon timeless themes of heroism, longing for home, and the pain of loss. The soldiers, dressed in olive-green uniforms, slept in canvas sleeping bags, echoing the hardships faced by warriors throughout history. Danylo Mireshkin, portraying Odysseus, described the emotional toll of reliving his experiences onstage. “It was the hardest part,” he told reporters. “Replaying this experience again and again. It’s a sacred duty. But sometimes, it’s just too much.” His words underscored the psychological burden carried by many Ukrainian soldiers, who have endured prolonged war and uncertainty over whether they will ever return home. The play is part of a broader initiative by the Azov battalion to raise awareness and funds for prisoners of war. Proceeds from the show will go toward supporting those still held captive in Russia, which continues to use them as leverage in its propaganda campaign against Ukraine. The performance also serves as a symbolic act of defiance, reinforcing the battalion’s role as a national symbol of resistance. The setting of the play, however, diverges significantly from the original Homeric tale. Instead of the Mediterranean, the story unfolds in the region of Mykolaiv, historically known as Tavria, which today includes Mariupol. This area, once briefly occupied by Russian forces in 2014, became a battleground during the larger invasion four years ago. The Azov battalion, renowned for its association with far-right ideologies, fought fiercely to reclaim the territory, earning recognition for its tenacity. During the 2014 conflict, the battalion was among the last to hold out against Russian advances, resisting encirclement for days before eventually surrendering. The play metaphorically portrays this struggle as a confrontation with a Cyclops, an allegory for the Russian military. Despite their efforts, many soldiers remain imprisoned in Moscow, used to bolster Russia’s narrative of denazification. At the theatre, banners bearing the slogan “Liberation of Azov fighters” hung prominently outside, reflecting public sentiment. The Azov battalion has long been a point of contention, both revered and criticized for its political stance. Yet, for many Ukrainians, the unit represents resilience and sacrifice, especially given the ongoing war. The production faced logistical challenges due to the volatile security situation. Emergency sirens, which are routine in Kyiv, forced the company to cancel one performance. The director, Ivan Uryvskyi, expressed concern over the risks, noting that while he had directed numerous plays, none had felt as precarious as this one. “The Azov is often perceived as a kind of myth,” he said. “This play brings that myth to life.” Unlike the traditional ending of Homer’s Odyssey, where Odysseus returns triumphantly to his homeland, the Ukrainian version leaves the protagonist’s fate ambiguous. Darya Legeyda, playing Penelope, suggested that the audience might not find closure. “Perhaps we won’t have a happy ending in the classical sense,” she said. “Maybe we need to talk. And cry. And move forward.”