‘I decided to be silent’: Dina Pronicheva, Theatre, and Trauma in Wartime and Post-War Soviet Ukraine

Dina Pronicheva is well known as a survivor of Babyn Yar. Rarely discussed, however, is her work in theatre. She was an actor who trained in Kyiv and worked in puppet theatre before and after the war. During the war, it was her skills as an actor and her network of contacts that helped her survive for over two years, passing as a non-Jew working in Ukrainian theatre. This chapter places Pronicheva in the historiography of Ukrainian theatre and in particular Ukrainian theatre under Nazi occupation, which uncovers the Jewish experience that was an inextricable part of Ukrainian theatre history. In turn, her story shows how the Ukrainian context provides insights into post-war Yiddish theatre in Ukraine. Finally, Dina Pronicheva’s testimony suggests the embodied nature of theatre and survival.

Authors

Publication Details

Journal
Polin :
Published
2025-12-31
DOI
https://doi.org/10.3828/polin.2026.38.173
Primary Topic
Soviet and Russian History
Type
article
Field-Weighted Citation Impact
0.00
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article

‘I decided to be silent’: Dina Pronicheva, Theatre, and Trauma in Wartime and Post-War Soviet Ukraine

Mayhill C. Fowler
Polin :
Soviet and Russian History
article

‘I decided to be silent’: Dina Pronicheva, Theatre, and Trauma in Wartime and Post-War Soviet Ukraine

Mayhill C. Fowler
article en

Abstract

Dina Pronicheva is well known as a survivor of Babyn Yar. Rarely discussed, however, is her work in theatre. She was an actor who trained in Kyiv and worked in puppet theatre before and after the war. During the war, it was her skills as an actor and her network of contacts that helped her survive for over two years, passing as a non-Jew working in Ukrainian theatre. This chapter places Pronicheva in the historiography of Ukrainian theatre and in particular Ukrainian theatre under Nazi occupation, which uncovers the Jewish experience that was an inextricable part of Ukrainian theatre history. In turn, her story shows how the Ukrainian context provides insights into post-war Yiddish theatre in Ukraine. Finally, Dina Pronicheva’s testimony suggests the embodied nature of theatre and survival.

Polin :Vol. 38
Gender equality
Openalex Percentile: Top 19%
Soviet and Russian History
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