{"id":6283,"date":"2022-04-03T16:38:16","date_gmt":"2022-04-03T14:38:16","guid":{"rendered":"https:\/\/artcenter.org.ua\/en\/?page_id=6283"},"modified":"2025-12-06T21:35:18","modified_gmt":"2025-12-06T19:35:18","slug":"andriy-sendetskyy","status":"publish","type":"page","link":"https:\/\/artcenter.org.ua\/en\/andriy-sendetskyy\/","title":{"rendered":"Andriy Sendetskyy"},"content":{"rendered":"\n
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Andriy Sendetskyy, M.A., is a cultural manager; director, actor, set and costume designer; and educator in art history, acting, and stage speech. He is the Artistic Director of the Centre for Cultural & Artistic Initiatives and the Lviv Authorial Drama Theatre ScenA8. His research explores the role of performing arts in cultural diplomacy from both political science and cultural studies perspectives. Multilingual, he has extensive experience teaching Ukrainian and Polish as second languages, as well as beginner-level English.<\/strong><\/em><\/h1>\n<\/div>\n\n\n\n
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\"Andriy<\/figure>\n<\/div>\n<\/div>\n\n\n\n

Professional experience:<\/strong><\/h2>\n\n\n\n

2024 – lecture “Ukrainian Theater Yesterday and Today” from the section “From the Auditorium and Behind the Scenes”. From the lecture series “The Place of Theater in the International Cultural Dialogue”, Institute of Art, Polish Academy of Sciences.
2023 – Lecture and workshop on the “Method of Drama”, Constantine the Philosopher University in Nitra, Slovakia;
2022 – lecturer in the spoken Ukrainian language, University of Warsaw;
Teacher of drama methods, University of Warsaw;
Lecture “Scenography in Theater”, Department of Visual Arts, Academy of Arts in Warsaw
Lecture “Theaters of Lviv: a view from the auditorium and behind the scenes” and “Scenography of Ukrainian Theaters as “soft power” of international relations”, Institute of Art, Polish Academy of Sciences.
2021 – to date – Ph.D. student at the National Academy of Culture and Art Management, Kyiv, Ukraine;
2020 – consultant in scientific activities, Kyiv National University of Culture and Art, LF;
2018 – lecturer in the art of actor and voice emission, Polonicum, University of Warsaw;
2017 – to date – deputy chairman of the National Association of Theater Activists of Ukraine LMD;
2011 – 2013 – lecturer at the Kyiv National University of Culture and Art, LF;
2010 – to date – artistic director of the Center for Cultural and Artistic Initiatives;
2009 – internship at the Teatr Wielki – Polish National Opera, Warsaw, Poland;
2005 – to date – actor, director, and artistic director LAD Theatre “ScenA8”<\/a>, Lviv, Ukraine;
2003 – to date – co-founder (Ph.D. Oleh Bolyuk), director, teacher of acting and choreography at the School of Arts “SPIROGRAPH”, CCAI in Lviv, Ukraine;
2002 – 2003 – artistic director of the School of Aesthetic Education “Reverence”, Lviv, Ukraine;
2000 – 2002 – costume history teacher, “Aelita” Model School, Lviv, Ukraine;
1999 – 2000 – lecturer in Art History and Fashion History, “Stars of Galicia” Model School, Lviv, Ukraine;
2004 – to date – artistic director of the Educational Theatre Laboratory “SPIROGRAPH”, Lviv, Ukraine;
2003 – to date – lecturer in the art of actor at the CIKA art school in Lviv, Ukraine;
1995 – to date – designer, costume designer, set designer at Sendetskyy Art Studio<\/a>, Lviv, Ukraine.<\/p>\n\n\n\n

International cultural and artistic projects:<\/strong><\/h2>\n\n\n\n

2019 – to date – general coordinator of the “Art Axis” international artistic project with no age limits (project aimed at professional artists);
2006, 2008, 2013, 2016, 2019 – president and artistic director of the International Fairy Tale and Fairy Tales Festival “KAZ.KAR.”;
2013 – to date – artistic director of the platform of international partnership in the field of theater “Intermediate curtain” as part of the international project “Pearls of the neighbor’s treasure open to the world” of the “TORBA” Foundation;
2011 annually until today – the general coordinator of the All-Ukrainian project for young artists “Just fairy tales” (Prosto nebylytsi).<\/p>\n\n\n\n

Organization member:<\/strong><\/h2>\n\n\n\n

International Association of Art to the UNESCO \u2013 since 2022
National Association of Theater Activists Lviv Interregional Department – from 2016,
from 2017 – to date – deputy chairman.
National Association of Artists of Ukraine – since 2012
All-Ukrainian Association of Designers of Ukraine – since 2014
Society of Polish Culture of Lviv Region – since 2010
International Association of Culture and Art – since 2007
Lviv Regional Charitable Foundation “TORBA” – since 2003<\/p>\n\n\n\n

Scientific activity:<\/strong><\/h2>\n\n\n\n

Publications<\/strong>:<\/h3>\n\n\n\n
    \n
  1. Sendetskyy, A (2025). \u041d\u0435\u0432\u0435\u0440\u0431\u0430\u043b\u044c\u043d\u0430 \u043a\u043e\u043c\u0443\u043d\u0456\u043a\u0430\u0442\u0438\u0432\u043d\u0456\u0441\u0442\u044c \u0443 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u043e\u043c\u0443 \u0434\u0456\u0430\u043b\u043e\u0437\u0456 \u043d\u0430 \u043f\u0440\u0438\u043a\u043b\u0430\u0434\u0456 \u0442\u0435\u0430\u0442\u0440\u0443 \u043b\u044f\u043b\u044c\u043e\u043a [Nonverbal Communicativeness in Cultural Dialogue: The Case of Puppet Theatre]. In \u0413\u0443\u043c\u0430\u043d\u0456\u0442\u0430\u0440\u043d\u0438\u0439 \u043a\u043e\u0440\u043f\u0443\u0441, 57 (pp. 23-26). \u0423\u043a\u0440\u0430\u0457\u043d\u0441\u044c\u043a\u0438\u0439 \u0434\u0435\u0440\u0436\u0430\u0432\u043d\u0438\u0439 \u0443\u043d\u0456\u0432\u0435\u0440\u0441\u0438\u0442\u0435\u0442 \u0456\u043c\u0435\u043d\u0456 \u041c\u0438\u0445\u0430\u0439\u043b\u0430 \u0414\u0440\u0430\u0433\u043e\u043c\u0430\u043d\u043e\u0432\u0430. https:\/\/lib.artcenter.org.ua\/handle\/123456789\/172<\/a><\/li>\n\n\n\n
  2. Sendetskyy, A. (2025). Teatr jako instrument bezpiecze\u0144stwa humanitarnego i soft power w stosunkach polsko-ukrai\u0144skich [Theatre as an Instrument of Humanitarian Security and Soft Power in Polish-Ukrainian Relations]. MKDUS 2.01. V Mi\u0119dzynarodowa Multidyscyplinarna Konferencja Doktorant\u00f3w Uniwersytetu Szczeci\u0144skiego<\/em>, 39. https:\/\/lib.artcenter.org.ua\/items\/f6700103-521a-4c27-b9bb-80e2dd2f37b1<\/a><\/li>\n\n\n\n
  3. Sendetskyy, A. (2024). \u0421\u0443\u0447\u0430\u0441\u043d\u0438\u0439 \u0442\u0435\u0430\u0442\u0440 \u0443 \u0440\u043e\u043b\u0456 \u0434\u0438\u043f\u043b\u043e\u043c\u0430\u0442\u0430 \u043c\u0456\u0436 \u041f\u043e\u043b\u044c\u0449\u0435\u044e \u0442\u0430 \u0423\u043a\u0440\u0430\u0457\u043d\u043e\u044e [Modern Theater as a Diplomat between Poland and Ukraine]. \u0424\u0435\u043d\u043e\u043c\u0435\u043d \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u0438 \u043f\u043e\u0441\u0442\u0433\u043b\u043e\u0431\u0430\u043b\u0456\u0437\u043c\u0443: \u043f\u043e\u0432\u043e\u0454\u043d\u043d\u0456 \u0441\u0432\u0456\u0442\u0438 \u0442\u0430 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u0430 \u0434\u0435\u043c\u043e\u043a\u0440\u0430\u0442\u0456\u044f. \u0417\u0431\u0456\u0440\u043a\u0430 \u043d\u0430\u0443\u043a\u043e\u0432\u0438\u0445 \u043f\u0440\u0430\u0446\u044c.<\/em> (\u0441. 33\u201336). Mariupol University. https:\/\/lib.artcenter.org.ua\/items\/69ded7f9-d998-4e18-a66f-2e23505fb2df<\/a><\/li>\n\n\n\n
  4. Sendetskyy, A. (2024). \u0423\u043a\u0440\u0430\u0457\u043d\u0441\u044c\u043a\u043e-\u043f\u043e\u043b\u044c\u0441\u044c\u043a\u0438\u0439 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u0438\u0439 \u0434\u0456\u0430\u043b\u043e\u0433 \u0442\u0435\u0430\u0442\u0440\u0430\u043b\u044c\u043d\u0438\u0445 \u043f\u0440\u0430\u043a\u0442\u0438\u043a \u0432 \u0443\u043a\u0440\u0430\u0457\u043d\u0441\u044c\u043a\u0456\u0439 \u0441\u043f\u0435\u0446\u0456\u0430\u043b\u0456\u0437\u043e\u0432\u0430\u043d\u0456\u0439 \u043f\u0435\u0440\u0456\u043e\u0434\u0438\u0446\u0456 2014\u20132023 \u0440\u043e\u043a\u0456\u0432 [Ukrainian-Polish cultural dialogue of theatrical practices in Ukrainian specialized periodicals 2014\u20132023]. \u0423\u043a\u0440\u0430\u0457\u043d\u0441\u044c\u043a\u0456 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043e\u043b\u043e\u0433\u0456\u0447\u043d\u0456 \u0441\u0442\u0443\u0434\u0456\u0457<\/em>, 1<\/em>(14), 78\u201386. https:\/\/doi.org\/10.17721\/UCS.2024.1(14).12<\/a>. (https:\/\/lib.artcenter.org.ua\/items\/5c369a28-83c4-4bb3-a60e-a51195f79480<\/a>)<\/li>\n\n\n\n
  5. Sendetskyy, A. (2024). \u041a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u0438\u0439 \u0434\u0456\u0430\u043b\u043e\u0433 vs \u0434\u0456\u0430\u043b\u043e\u0433 \u043a\u0443\u043b\u044c\u0442\u0443\u0440: \u043c\u043e\u0432\u0430 \u043f\u0440\u043e \u0432\u0456\u0439\u043d\u0443 \u0437\u0456 \u0441\u0446\u0435\u043d\u0438 [Cultural Dialogue vs. Dialogue of Cultures: Discourse About War from the Stage]. \u0423 \u043f\u043e\u0448\u0443\u043a\u0443 \u043d\u043e\u0432\u0438\u0445 \u0441\u0435\u043d\u0441\u0456\u0432 \u043f\u043e\u043b\u0456\u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u043e\u0433\u043e \u0441\u0432\u0456\u0442\u0443. \u041f\u043e\u0432\u043e\u0454\u043d\u043d\u0438\u0439 \u0434\u0456\u0430\u043b\u043e\u0433 \u043a\u0443\u043b\u044c\u0442\u0443\u0440 : \u043c\u0430\u0442\u0435\u0440\u0456\u0430\u043b\u0438 \u041c\u0456\u0436\u043d\u0430\u0440\u043e\u0434\u043d\u043e\u0457 \u043d\u0430\u0443\u043a\u043e\u0432\u043e\u0457 \u043a\u043e\u043d\u0444\u0435\u0440\u0435\u043d\u0446\u0456\u0457 (\u041a\u0438\u0457\u0432, 16\u201317 \u0442\u0440\u0430\u0432\u043d\u044f 2024 \u0440.)<\/em>. 89-93. https:\/\/lib.artcenter.org.ua\/items\/df67ee52-4d4f-47e9-807b-eb0e46f73f26<\/a><\/li>\n\n\n\n
  6. Sendetskyy, A. (2024). \u0423\u043a\u0440\u0430\u0457\u043d\u0441\u044c\u043a\u043e-\u043f\u043e\u043b\u044c\u0441\u044c\u043a\u0456 \u0442\u0435\u0430\u0442\u0440\u0430\u043b\u044c\u043d\u0456 \u043a\u043e\u043c\u0443\u043d\u0456\u043a\u0430\u0446\u0456\u0457: \u0434\u0435\u044f\u043a\u0456 \u0430\u0441\u043f\u0435\u043a\u0442\u0438 \u0440\u0435\u0442\u0440\u043e\u0441\u043f\u0435\u043a\u0442\u0438\u0432\u0438 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u043e\u0433\u043e \u0434\u0456\u0430\u043b\u043e\u0433\u0443 [Ukrainian-Polish Theatrical Communications: Some Aspects of the Cultural Dialogue Retrospective]. Culturological almanac<\/em>, (1 (9)), 373\u2013383. https:\/\/doi.org\/10.31392\/cult.alm.2024.1.48<\/a><\/li>\n\n\n\n
  7. Sendetskyy, A. (2024). \u0421\u0438\u0441\u0442\u0435\u043c\u0430\u0442\u0438\u0437\u0430\u0446\u0456\u044f \u0444\u043e\u0440\u043c \u0442\u0435\u0430\u0442\u0440\u0430\u043b\u044c\u043d\u0438\u0445 \u043f\u0440\u0430\u043a\u0442\u0438\u043a \u0441\u0443\u0447\u0430\u0441\u043d\u043e\u0433\u043e \u0443\u043a\u0440\u0430\u0457\u043d\u0441\u044c\u043a\u043e-\u043f\u043e\u043b\u044c\u0441\u044c\u043a\u043e\u0433\u043e \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u043e\u0433\u043e \u0434\u0456\u0430\u043b\u043e\u0433\u0443 [Systematization of Forms of Theatrical Practices in the Contemporary Ukrainian-Polish Cultural Dialogue]. Fine Art and Culture Studies<\/em>, (1), 218\u2013230. https:\/\/doi.org\/10.32782\/facs-2024-1-28<\/a><\/li>\n\n\n\n
  8. Sendetskyy, A. (2023). The Ukrainian Vertep \u2013 Nativity Performance: On the Question of Incorporating the Christmas \/ Koliada Celebrations into the National Register of Intangible Cultural Heritage of Ukraine. Ethnologies<\/em>, 45<\/em>(1), 151-171. https:\/\/doi.org\/10.7202\/1111899ar<\/a><\/li>\n\n\n\n
  9. Sendetskyy, A. (2023). \u0422\u0435\u0430\u0442\u0440\u0430\u043b\u044c\u043d\u0435 \u043c\u0438\u0441\u0442\u0435\u0446\u0442\u0432\u043e \u0423\u043a\u0440\u0430\u0457\u043d\u0438 \u0443 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u043e\u043c\u0443 \u0434\u0456\u0430\u043b\u043e\u0437\u0456 \u0437 \u043a\u0440\u0430\u0457\u043d\u0430\u043c\u0438 \u0404\u0432\u0440\u043e\u0441\u043e\u044e\u0437\u0443 2014\u20132023 \u0440\u0440. [Theatrical Art of Ukraine in Cultural Dialogue with European Union Countries 2014\u20132023]. \u0423\u043a\u0440\u0430\u0457\u043d\u0441\u044c\u043a\u0430 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u0430: \u043c\u0438\u043d\u0443\u043b\u0435, \u0441\u0443\u0447\u0430\u0441\u043d\u0435, \u0448\u043b\u044f\u0445\u0438 \u0440\u043e\u0437\u0432\u0438\u0442\u043a\u0443: \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043e\u043b\u043e\u0433\u0456\u044f<\/em>, (47), 103\u2013113. https:\/\/doi.org\/10.35619\/ucpmk.v47i.731<\/a><\/li>\n\n\n\n
  10. Sendetskyy, A. (2023). International Cultural Dialogue of Ukraine: Current Dimensions of Theatrical Communications. \u041a\u0443\u043b\u044c\u0442\u0443\u0440\u0430 \u0456 \u043c\u0438\u0441\u0442\u0435\u0446\u0442\u0432\u043e: \u0441\u0443\u0447\u0430\u0441\u043d\u0438\u0439 \u043d\u0430\u0443\u043a\u043e\u0432\u0438\u0439 \u0432\u0438\u043c\u0456\u0440<\/em> (pp. 26\u201328). \u041d\u0410\u041a\u041a\u041a\u0456\u041c. https:\/\/lib.artcenter.org.ua\/items\/dbeaa25c-fce4-4e25-aba5-0034e652c8cb<\/a><\/li>\n\n\n\n
  11. Sendetskyy, A. (2023). \u041a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u0430 \u0434\u0438\u043f\u043b\u043e\u043c\u0430\u0442\u0456\u044f \u0425\u0425\u0406 \u0441\u0442. \u0423\u043a\u0440\u0430\u0457\u043d\u0438 \u0456 \u041f\u043e\u043b\u044c\u0449\u0456: \u0441\u043f\u0456\u043b\u044c\u043d\u0456 \u0442\u0430 \u0432\u0456\u0434\u043c\u0456\u043d\u043d\u0456 \u043e\u0437\u043d\u0430\u043a\u0438 [Cultural Diplomacy in the 21st Century: Ukraine and Poland \u2013 Common and Unique Characteristics]. \u0423\u043a\u0440\u0430\u0457\u043d\u0430 \u0442\u0430 \u0404\u0432\u0440\u043e\u043f\u0430. \u041a\u0443\u043b\u044c\u0442\u0443\u0440\u0430 \u0432 \u0433\u043b\u043e\u0431\u0430\u043b\u044c\u043d\u0438\u0445 \u0432\u0438\u043a\u043b\u0438\u043a\u0430\u0445 \u0441\u044c\u043e\u0433\u043e\u0434\u0435\u043d\u043d\u044f<\/em> (pp. 124\u2013127). \u0406\u043d\u0441\u0442\u0438\u0442\u0443\u0442 \u043f\u0440\u043e\u0431\u043b\u0435\u043c \u0441\u0443\u0447\u0430\u0441\u043d\u043e\u0433\u043e \u043c\u0438\u0441\u0442\u0435\u0446\u0442\u0432\u0430. https:\/\/lib.artcenter.org.ua\/items\/b6def099-b74e-4b2c-9b7b-c234c21aec83<\/a><\/li>\n\n\n\n
  12. Sendetskyy, A. (2023). Contemporary Theater in Slovakia: Concept of Studying the Phenomenon and Initial Observation Results. Culturologica Slovaca<\/em>, 8<\/em>(1), 74\u201383. https:\/\/lib.artcenter.org.ua\/items\/4df01d49-8494-484d-983c-03740cfeaff0<\/a><\/li>\n\n\n\n
  13. Sendetskyy, A. (2023). Socio-Cultural Dynamics of Ukrainian-Polish Theatrical Dialogue in the 21st Century as Reflected in Professional Theatre Journals of Poland. \u041c\u0456\u0436\u043d\u0430\u0440\u043e\u0434\u043d\u0430 \u043d\u0430\u0443\u043a\u043e\u0432\u043e-\u043f\u0440\u0430\u043a\u0442\u0438\u0447\u043d\u0430 \u043a\u043e\u043d\u0444\u0435\u0440\u0435\u043d\u0446\u0456\u044f \u00ab\u041d\u0430\u0446\u0456\u043e\u043d\u0430\u043b\u044c\u043d\u0435 \u043c\u0438\u0441\u0442\u0435\u0446\u0442\u0432\u043e \u0432 \u0441\u0443\u0447\u0430\u0441\u043d\u0438\u0445 \u0433\u043b\u043e\u0431\u0430\u043b\u044c\u043d\u0438\u0445 \u043c\u0435\u0434\u0456\u044f\u0445. \u0421\u0432\u0456\u0442. \u041a\u0443\u043b\u044c\u0442\u0443\u0440\u0430. \u0412\u0456\u0439\u043d\u0430\u00bb<\/em>. \u0406\u043d\u0441\u0442\u0438\u0442\u0443\u0442 \u043f\u0440\u043e\u0431\u043b\u0435\u043c \u0441\u0443\u0447\u0430\u0441\u043d\u043e\u0433\u043e \u043c\u0438\u0441\u0442\u0435\u0446\u0442\u0432\u0430 \u041d\u0410\u041c, 204\u2013206. \u0423\u043a\u0440\u0430\u0457\u043d\u0438. https:\/\/lib.artcenter.org.ua\/items\/49dba13b-7aa8-4db5-a4fc-6a5d3d67c5b1<\/a><\/li>\n\n\n\n
  14. Sendetskyy, A. (2023). \u041d\u0435\u0456\u043d\u0441\u0442\u0438\u0442\u0443\u0446\u0456\u0439\u043d\u0438\u0439 \u0442\u0435\u0430\u0442\u0440 \u044f\u043a \u0456\u043d\u0441\u0442\u0440\u0443\u043c\u0435\u043d\u0442 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u043e\u0457 \u0434\u0438\u043f\u043b\u043e\u043c\u0430\u0442\u0456\u0457 \u0432 \u0443\u043a\u0440\u0430\u0457\u043d\u0441\u044c\u043a\u043e-\u043f\u043e\u043b\u044c\u0441\u044c\u043a\u043e\u043c\u0443 \u0434\u0456\u0430\u043b\u043e\u0437\u0456 [Non-Institutional Theater as a Tool of Cultural Diplomacy in Ukrainian-Polish Dialogue]. \u0422\u0440\u0430\u043d\u0441\u0444\u043e\u0440\u043c\u0430\u0446\u0456\u0439\u043d\u0456 \u043f\u0440\u043e\u0446\u0435\u0441\u0438 \u0441\u043e\u0446\u0456\u0430\u043b\u044c\u043d\u043e\u0457 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u0438 \u0432 \u0423\u043a\u0440\u0430\u0457\u043d\u0456<\/em> (pp. 217\u2013221). \u041a\u041d\u0423\u041a\u0456\u041c. https:\/\/lib.artcenter.org.ua\/items\/49a89178-064b-437c-96b8-6b2b7186f705<\/a><\/li>\n\n\n\n
  15. Sendetskyy, A. (2022). \u041a\u043e\u043c\u043f\u043b\u0435\u043c\u0435\u043d\u0442\u0430\u0440\u043d\u0456\u0441\u0442\u044c \u0443 \u043d\u0430\u0432\u0447\u0430\u043b\u044c\u043d\u043e-\u043f\u0456\u0437\u043d\u0430\u0432\u0430\u043b\u044c\u043d\u043e\u043c\u0443 \u043f\u0440\u043e\u0446\u0435\u0441\u0456 \u043c\u0456\u0436\u043d\u0430\u0440\u043e\u0434\u043d\u043e\u0433\u043e \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u043e\u0433\u043e \u0434\u0456\u0430\u043b\u043e\u0433\u0443: \u0444\u0435\u0441\u0442\u0438\u0432\u0430\u043b\u044c\u043d\u0456 \u043f\u0440\u0430\u043a\u0442\u0438\u043a\u0438 [Complementarity in the Educational-Cognitive Process of International Cultural Dialogue: Festival Practices]. \u041a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u0456 \u0434\u043e\u043c\u0456\u043d\u0430\u043d\u0442\u0438 \u0425\u0425 \u0441\u0442\u043e\u043b\u0456\u0442\u0442\u044f: \u043c\u0438\u0441\u0442\u0435\u0446\u044c\u043a\u0430 \u043e\u0441\u0432\u0456\u0442\u0430<\/em> (pp. 159\u2013163). \u041d\u0410\u041a\u041a\u041a\u0456\u041c. https:\/\/lib.artcenter.org.ua\/items\/310e3971-c88a-4362-8e35-b3deb7625558<\/a><\/li>\n\n\n\n
  16. Sendetskyy, A. (2022). \u0410\u0440\u0442\u0440\u0435\u0437\u0438\u0434\u0435\u043d\u0446\u0456\u044f \u044f\u043a \u0444\u043e\u0440\u043c\u0430 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u043e\u0433\u043e \u0434\u0456\u0430\u043b\u043e\u0433\u0443 \u0432 \u0443\u043c\u043e\u0432\u0430\u0445 \u0432\u0438\u043c\u0443\u0448\u0435\u043d\u043e\u0457 \u043c\u0456\u0433\u0440\u0430\u0446\u0456\u0457 \u043f\u0456\u0434 \u0447\u0430\u0441 \u0432\u043e\u0454\u043d\u043d\u043e\u0457 \u0456\u043d\u0442\u0435\u0440\u0432\u0435\u043d\u0446\u0456\u0457 [Art residency as a form of cultural dialogue in conditions of forced migration during the military intervention]. \u041a\u0443\u043b\u044c\u0442\u0443\u0440\u0430 \u0456 \u043c\u0438\u0441\u0442\u0435\u0446\u0442\u0432\u043e: \u0441\u0443\u0447\u0430\u0441\u043d\u0438\u0439 \u043d\u0430\u0443\u043a\u043e\u0432\u0438\u0439 \u0432\u0438\u043c\u0456\u0440<\/em> (pp. 24\u201326). \u041d\u0410\u041a\u041a\u041a\u0456\u041c. https:\/\/lib.artcenter.org.ua\/items\/6b425557-3d79-4629-a7e3-4f52c04e3940<\/a><\/li>\n\n\n\n
  17. Sendetskyy, A. (2022). \u041a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u043e-\u043c\u0438\u0441\u0442\u0435\u0446\u044c\u043a\u0438\u0439 \u0434\u0456\u0430\u043b\u043e\u0433 \u0443\u043a\u0440\u0430\u0457\u043d\u0441\u044c\u043a\u0438\u0445 \u0442\u0435\u0430\u0442\u0440\u0456\u0432 \u043d\u0430 \u0441\u0442\u043e\u0440\u0456\u043d\u043a\u0430\u0445 \u043f\u043e\u043b\u044c\u0441\u044c\u043a\u043e\u0457 \u043f\u0435\u0440\u0456\u043e\u0434\u0438\u043a\u0438 \u043f\u043e\u0447\u0430\u0442\u043a\u0443 \u0425\u0425\u0406 \u0441\u0442\u043e\u043b\u0456\u0442\u0442\u044f [Cultural and artistic dialogue of Ukrainian theaters on the pages of polish periodicals at the beginning of the 21st century]. \u0412\u0456\u0441\u043d\u0438\u043a \u041c\u0430\u0440\u0456\u0443\u043f\u043e\u043b\u044c\u0441\u044c\u043a\u043e\u0433\u043e \u0434\u0435\u0440\u0436\u0430\u0432\u043d\u043e\u0433\u043e \u0443\u043d\u0456\u0432\u0435\u0440\u0441\u0438\u0442\u0435\u0442\u0443. \u0421\u0435\u0440\u0456\u044f: \u0424\u0456\u043b\u043e\u0441\u043e\u0444\u0456\u044f, \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043e\u043b\u043e\u0433\u0456\u044f, \u0441\u043e\u0446\u0456\u043e\u043b\u043e\u0433\u0456\u044f<\/em>, (23), 131\u2013143. https:\/\/doi.org\/10.34079\/2226-2849-2022-12-23-131-143<\/a><\/li>\n\n\n\n
  18. Sendetskyy, A. (2022). \u0422\u0435\u0430\u0442\u0440\u0430\u043b\u044c\u043d\u0438\u0439 \u0434\u0456\u0430\u043b\u043e\u0433 \u044f\u043a \u0437\u0430\u0441\u0456\u0431 \u0440\u0435\u0430\u043b\u0456\u0437\u0430\u0446\u0456\u0457 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u043e\u0457 \u0434\u0438\u043f\u043b\u043e\u043c\u0430\u0442\u0456\u0457 (\u043d\u0430 \u043f\u0440\u0438\u043a\u043b\u0430\u0434\u0456 \u0432\u0438\u0441\u0442\u0430\u0432\u0438-\u043a\u0430\u0437\u043a\u0438 \u00ab\u041a\u0432\u0456\u0442\u043a\u043e\u0432\u0430 \u043a\u0440\u0430\u043c\u043d\u0438\u0447\u043a\u0430\u00bb) [Theatrical dialogue as a means of implementing cultural diplomacy (on the example of the fairy tale \u201cFlower Shop\u201d)]. \u00ab\u0421\u0443\u0447\u0430\u0441\u043d\u0438\u0439 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u043e-\u043c\u0438\u0441\u0442\u0435\u0446\u044c\u043a\u0438\u0439 \u043f\u0440\u043e\u0441\u0442\u0456\u0440: \u043a\u0440\u0435\u0430\u0442\u0438\u0432\u043d\u0456 \u0442\u0430 \u0456\u043d\u0444\u043e\u0440\u043c\u0430\u0446\u0456\u0439\u043d\u043e-\u043a\u043e\u043c\u0443\u043d\u0456\u043a\u0430\u0442\u0438\u0432\u043d\u0456 \u0442\u0440\u0430\u043d\u0441\u0444\u043e\u0440\u043c\u0430\u0446\u0456\u0457<\/em> (pp. 142\u2013144). \u041d\u0410\u041a\u041a\u041a\u0456\u041c. https:\/\/lib.artcenter.org.ua\/items\/01766e77-4330-4eb2-80c5-15aea1c764fc<\/a><\/li>\n\n\n\n
  19. Sendetskyy, A. (2022). \u0420\u043e\u043b\u044c \u043d\u0435\u0437\u0430\u043b\u0435\u0436\u043d\u043e\u0433\u043e \u0442\u0435\u0430\u0442\u0440\u0443 \u0443 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u0456\u0439 \u0434\u0438\u043f\u043b\u043e\u043c\u0430\u0442\u0456\u0457 [The role of independent theater in cultural diplomacy]. \u0413\u0443\u043c\u0430\u043d\u0456\u0442\u0430\u0440\u043d\u0438\u0439 \u043a\u043e\u0440\u043f\u0443\u0441. \u0412\u0438\u043f\u0443\u0441\u043a 46<\/em> (pp. 17\u201319). \u041d\u0430\u0446\u0456\u043e\u043d\u0430\u043b\u044c\u043d\u0438\u0439 \u043f\u0435\u0434\u0430\u0433\u043e\u0433\u0456\u0447\u043d\u0438\u0439 \u0443\u043d\u0456\u0432\u0435\u0440\u0441\u0438\u0442\u0435\u0442 \u0456\u043c\u0435\u043d\u0456 \u041c.\u041f. \u0414\u0440\u0430\u0433\u043e\u043c\u0430\u043d\u043e\u0432\u0430; \u0422\u041e\u0412 \u00ab\u041d\u0412\u041f \u0406\u043d\u0442\u0435\u0440\u0441\u0435\u0440\u0432\u0456\u0441\u00bb. https:\/\/lib.artcenter.org.ua\/items\/72a17458-39bc-4fdf-a808-d9fa5a0fc8bc<\/a><\/li>\n\n\n\n
  20. Sendetskyy, A. (2022). \u041d\u0430\u0446\u0456\u043e\u043d\u0430\u043b\u044c\u043d\u0456 \u043e\u043f\u0435\u0440\u043d\u0456 \u0442\u0435\u0430\u0442\u0440\u0438 \u0423\u043a\u0440\u0430\u0457\u043d\u0438 \u0432 \u0443\u043a\u0440\u0430\u0457\u043d\u0441\u044c\u043a\u043e-\u043f\u043e\u043b\u044c\u0441\u044c\u043a\u043e\u043c\u0443 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u043e\u043c\u0443 \u0434\u0456\u0430\u043b\u043e\u0437\u0456 \u043f\u043e\u0447\u0430\u0442\u043a\u0443 \u0425\u0425\u0406 \u0441\u0442.: \u0430\u043d\u0430\u043b\u0456\u0437 \u043e\u0444\u0456\u0446\u0456\u0439\u043d\u0438\u0445 \u0441\u0430\u0439\u0442\u0456\u0432 [National opera theaters of Ukraine in the Ukrainian-Polish cultural dialogue of the beginning of the 21st century: analysis of official websites]. \u0413\u0443\u043c\u0430\u043d\u0456\u0442\u0430\u0440\u043d\u0438\u0439 \u043a\u043e\u0440\u043f\u0443\u0441. \u0412\u0438\u043f\u0443\u0441\u043a 43<\/em> (pp. 25\u201328). \u041d\u0430\u0446\u0456\u043e\u043d\u0430\u043b\u044c\u043d\u0438\u0439 \u043f\u0435\u0434\u0430\u0433\u043e\u0433\u0456\u0447\u043d\u0438\u0439 \u0443\u043d\u0456\u0432\u0435\u0440\u0441\u0438\u0442\u0435\u0442 \u0456\u043c\u0435\u043d\u0456 \u041c.\u041f. \u0414\u0440\u0430\u0433\u043e\u043c\u0430\u043d\u043e\u0432\u0430; \u0422\u041e\u0412 \u00ab\u0422\u0412\u041e\u0420\u0418\u00bb. https:\/\/lib.artcenter.org.ua\/items\/de2173ca-51c3-4231-a335-47627c5aeebc<\/a><\/li>\n\n\n\n
  21. Sendetskyy, A. (2021). \u0423\u043a\u0440\u0430\u0457\u043d\u0441\u044c\u043a\u043e-\u043f\u043e\u043b\u044c\u0441\u044c\u043a\u0430 \u0442\u0435\u0430\u0442\u0440\u0430\u043b\u044c\u043d\u0430 \u0434\u0456\u044f\u043b\u044c\u043d\u0456\u0441\u0442\u044c \u043f\u043e\u0447\u0430\u0442\u043a\u0443 \u0425\u0425\u0406 \u0441\u0442.: \u043e\u0441\u043c\u0438\u0441\u043b\u0435\u043d\u043d\u044f \u0434\u0456\u0430\u043b\u043e\u0433\u0443 \u043a\u0443\u043b\u044c\u0442\u0443\u0440 \u0441\u0443\u0441\u0456\u0434\u0456\u0432 \u0456 \u0441\u0442\u0440\u0430\u0442\u0435\u0433\u0456\u044f \u0439\u043e\u0433\u043e \u0432\u0438\u0432\u0447\u0435\u043d\u043d\u044f [The Ukrainian-Polish theatrical activity of the beginning of the 21st century: understanding the dialogue of neighboring cultures and the strategy of its study]. \u041a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u0456 \u0442\u0430 \u043c\u0438\u0441\u0442\u0435\u0446\u044c\u043a\u0456 \u0441\u0442\u0443\u0434\u0456\u0457 \u0425\u0425\u0406 \u0441\u0442\u043e\u043b\u0456\u0442\u0442\u044f: \u043d\u0430\u0443\u043a\u043e\u0432\u043e-\u043f\u0440\u0430\u043a\u0442\u0438\u0447\u043d\u0435 \u043f\u0430\u0440\u0442\u043d\u0435\u0440\u0441\u0442\u0432\u043e<\/em> (pp. 26\u201328). \u041d\u0410\u041a\u041a\u041a\u0456\u041c. https:\/\/lib.artcenter.org.ua\/items\/43cc45ac-c05e-46bd-8899-0e2b3adf7fd5<\/a><\/li>\n\n\n\n
  22. Sendetskyy, A. (2021). \u0420\u043e\u043b\u044c \u0442\u0435\u0430\u0442\u0440\u0430\u043b\u044c\u043d\u043e\u0433\u043e \u043c\u0438\u0441\u0442\u0435\u0446\u0442\u0432\u0430 \u0443 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u043e\u043c\u0443 \u0442\u0440\u0430\u043d\u0441\u0444\u0435\u0440\u0456 \u043d\u0430 \u043f\u0440\u0438\u043a\u043b\u0430\u0434\u0456 \u0440\u0435\u0430\u043b\u0456\u0437\u0430\u0446\u0456\u0457 \u041c\u0456\u0436\u043d\u0430\u0440\u043e\u0434\u043d\u043e\u0433\u043e \u0411\u043b\u0430\u0433\u043e\u0434\u0456\u0439\u043d\u043e\u0433\u043e \u0424\u0435\u0441\u0442\u0438\u0432\u0430\u043b\u044e (\u0442\u0440\u0456\u0454\u043d\u0430\u043b\u0435) \u041a\u0430\u0437\u043e\u043a \u00abKAZ.KAR.\u00bb (2006\u20132019) [The role of theatrical art in cultural transfer on the example of the implementation of the International Charity Fairytales Festival (triennial) \u201cKAZ.KAR.\u201d (2006\u20132019)]. \u041c\u0438\u0441\u0442\u0435\u0446\u044c\u043a\u0430 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u0430: \u0456\u0441\u0442\u043e\u0440\u0456\u044f, \u0442\u0435\u043e\u0440\u0456\u044f, \u043c\u0435\u0442\u043e\u0434\u043e\u043b\u043e\u0433\u0456\u044f : \u0434\u043e\u043f\u043e\u0432\u0456\u0434\u0456 \u0442\u0430 \u043f\u043e\u0432\u0456\u0434\u043e\u043c\u043b\u0435\u043d\u043d\u044f<\/em> (pp. 304\u2013309). \u041b\u041d\u041d\u0411 \u0456\u043c\u0435\u043d\u0456 \u0412.\u202f\u0421\u0442\u0435\u0444\u0430\u043d\u0438\u043a\u0430. https:\/\/lib.artcenter.org.ua\/items\/797f1019-bf5c-481a-ae64-958e5ed716e3<\/a><\/li>\n\n\n\n
  23. Sendetskyy, A. (2020). \u041d\u0435\u0432\u0435\u0440\u0431\u0430\u043b\u0456\u043a\u0430 \u0432 \u043c\u0438\u0441\u0442\u0435\u0446\u0442\u0432\u0456 \u043d\u0430 \u043f\u0440\u0438\u043a\u043b\u0430\u0434\u0456 \u0442\u0432\u043e\u0440\u0447\u043e\u0441\u0442\u0456 \u041b\u044c\u0432\u0456\u0432\u0441\u044c\u043a\u043e\u0433\u043e \u0442\u0435\u0430\u0442\u0440\u0443 \u0435\u0441\u0442\u0440\u0430\u0434\u043d\u0438\u0445 \u043c\u0456\u043d\u0456\u0430\u0442\u044e\u0440 \u00ab\u0406 \u043b\u044e\u0434\u0438, \u0456 \u043b\u044f\u043b\u044c\u043a\u0438\u00bb [Nonverbals govern how in art on the example of the work of the Lviv Theater of Variety Miniatures \u201cAnd People and Dolls\u201d]. \u041c\u0438\u0441\u0442\u0435\u0446\u044c\u043a\u0430 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u0430: \u0456\u0441\u0442\u043e\u0440\u0456\u044f, \u0442\u0435\u043e\u0440\u0456\u044f, \u043c\u0435\u0442\u043e\u0434\u043e\u043b\u043e\u0433\u0456\u044f<\/em> (pp. 163\u2013164). \u041b\u041d\u041d\u0411\u0423 \u0456\u043c. \u0412. \u0421\u0442\u0435\u0444\u0430\u043d\u0438\u043a\u0430. https:\/\/lib.artcenter.org.ua\/items\/9b53c655-9248-4f2f-8303-cf894f356996<\/a><\/li>\n\n\n\n
  24. Sendetskyy, A. (2019). Metoda pracy Lwowskiego Autorskiego Dramatycznego Teatru \u00abSPIROGRAF\u00bb: od scenariusza do wyst\u0119pu (na przyk\u0142adzie spektaklu-ba\u015bni \u00abKwiatkowy sklepik\u00bb) [The method of work of the Lviv Author\u2019s Dramatic Theatre \u201cSPIROGRAF\u201d: from the script to the performance (on the example of the fairy-tale performance \u201cFlower Shop\u201d)]. \u0410\u041b\u042c\u041c\u0410\u041d\u0410\u0425 \u00abKAZ.KAR.\u00bb: \u043d\u0430\u0443\u043a\u043e\u0432\u043e-\u043f\u043e\u043f\u0443\u043b\u044f\u0440\u043d\u0438\u0439 \u0432\u0456\u0441\u043d\u0438\u043a<\/em> (pp. 46\u201350). \u0426\u0435\u043d\u0442\u0440 \u041a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u043e-\u041c\u0438\u0441\u0442\u0435\u0446\u044c\u043a\u0438\u0445 \u0406\u043d\u0456\u0446\u0456\u0430\u0442\u0438\u0432. https:\/\/lib.artcenter.org.ua\/items\/e28156c9-5fea-418f-9e34-7563965378b1<\/a><\/li>\n\n\n\n
  25. Sendetskyy, A. (2019). Niewerbalne praktyki translacji ba\u015bni (na przyk\u0142adzie spektakli w ramach Mi\u0119dzynarodowego Charytatywnego Festiwalu Ba\u015bni \u00abKAZ.KAR.\u00bb) [Non-verbal practices of fairy tale translation (on the example of performances as part of the International Charity Fairytales Festival \u201cKAZ.KAR.\u201d)]. \u0410\u041b\u042c\u041c\u0410\u041d\u0410\u0425 \u00abKAZ.KAR.\u00bb: \u043d\u0430\u0443\u043a\u043e\u0432\u043e-\u043f\u043e\u043f\u0443\u043b\u044f\u0440\u043d\u0438\u0439 \u0432\u0456\u0441\u043d\u0438\u043a<\/em> (pp. 35\u201339). \u0426\u0435\u043d\u0442\u0440 \u041a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u043e-\u041c\u0438\u0441\u0442\u0435\u0446\u044c\u043a\u0438\u0445 \u0406\u043d\u0456\u0446\u0456\u0430\u0442\u0438\u0432. https:\/\/lib.artcenter.org.ua\/items\/261f63a6-54b0-41c1-a4f8-703d424ece39<\/a><\/li>\n\n\n\n
  26. Sendetskyy, A. (2019). \u0414\u0435\u0432\u2019\u044f\u0442\u0430 \u0435\u0434\u0438\u0446\u0456\u044f \u0449\u043e\u0440\u0456\u0447\u043d\u043e\u0433\u043e \u0412\u0441\u0435\u0443\u043a\u0440\u0430\u0457\u043d\u0441\u044c\u043a\u043e\u0433\u043e \u043f\u0440\u043e\u0435\u043a\u0442\u0443 \u0434\u043b\u044f \u043c\u043e\u043b\u043e\u0434\u0438\u0445 \u043c\u0438\u0442\u0446\u0456\u0432 \u00ab\u041f\u0420\u041e\u0421\u0422\u041e \u041d\u0415\u0411\u0418\u041b\u0418\u0426\u0406\u00bb [The 9th edition of the annual All-Ukrainian project for young artists \u201cPROSTO NEBYLYTSI\u201d]. \u041d\u0430\u0440\u043e\u0434\u043e\u0437\u043d\u0430\u0432\u0447\u0456 \u0437\u043e\u0448\u0438\u0442\u0438<\/em>, (6 (150)), 1747\u20131750. http:\/\/nz.lviv.ua\/archiv\/2019-6\/42.pdf<\/a><\/li>\n\n\n\n
  27. Sendetskyy, A. (2019). Konflikty i konsekwencje jako odbicie spo\u0142ecznej \u201e\u015blepoty kolor\u00f3w\u201d \u2013 inscenizacja Riznytsia Lwowskiego Autorskiego Dramatycznego Teatru \u201eSPIROGRAF\u201d [Conflicts and Consequences as Reflection of Social \u201cColour Blindness\u201d (as based on the performance \u201cDifference\u201d of the Lviv Authorial Drama (LAD) Theatre \u201cSPIROGRAF\u201d]. E. Knopov\u00e1 (Ed.), Divadlo a dr\u00e1ma v kontaxtoch nepokojnej Eur\u00f3py. Zborn\u00edk vedeck\u00fdch prispevkov z medzin\u00e1rodnej Banskobystrickej teatrologickej konferencie (Bansk\u00e1 Bystica, 29 \u2013 30 novembra 2019)<\/em> (pp. 227\u2013242). Faculta dramatick\u00fdch umen\u00ed, Akad\u00e9mia Umen\u00ed v Banskej Bysrici. https:\/\/lib.artcenter.org.ua\/items\/275c627d-44d1-4851-97fd-6e162ca925a7<\/a><\/li>\n\n\n\n
  28. Sendetskyy, A. (2018). Przedsi\u0119biorstwo produkcji artystycznej w podr\u00f3\u017cy: wyzwania i sukcesy warszawskiego teatru Baj w latach 2015\u20132017 [Undertaking moving artistic production: successes and challenges of the Warsaw Baj theatre in the years 2015-2017]. E. Knopov\u00e1 (Ed.), \u00fa\u0107asn\u00e1 teatrol\u00f3gia a divadlo. Vz\u0165ah divadelnej vedy, vdzel\u00e1vania a sc\u00e9nicki\u00e9ho umenia v 21. storo\u010d\u00ed. Zborn\u00edk vedeck\u00fdch prispevkov z medzin\u00e1rodnej Banskobystrickej teatrologickej konferencie (Bansk\u00e1 Bystica, 30 novembra \u2013 1 decembra 2018)<\/em> (pp. 90\u2013105). Faculta dramatick\u00fdch umen\u00ed, Akad\u00e9mia Umen\u00ed v Banskej Bysrici. https:\/\/lib.artcenter.org.ua\/items\/9dda649c-eae1-491a-a013-cd668facb188<\/a><\/li>\n<\/ol>\n\n\n\n

    Statements at conferences:<\/strong><\/h3>\n\n\n\n
      \n
    1. Sendetskyy \u0410. (2025). Communicative Potential of Theatrical Practices in the Contemporary Ukrainian-Polish Cultural Dialogue. XV International Scientific and Practical Conference “The Activity of the Producer in the Cultural And Artistic Space of the 21st Century: communication strategies and innovations”. (Kyiv, December 4, 2025). Kyiv: National Academy of Culture and Arts Management.<\/li>\n\n\n\n
    2. Sendetskyy A. (2025). Mi\u0119dzy scen\u0105 a polityk\u0105 zagraniczn\u0105: praktyki teatralne w polsko-ukrai\u0144skiej dyplomacji kulturalnej czasu wojny. Og\u00f3lnopolska Konferencja M\u0142odych Naukowc\u00f3w: Rozw\u00f3j Nauk Humanistycznych i Spo\u0142ecznych – Spojrzenie M\u0142odych Naukowc\u00f3w. (Krak\u00f3w: December 3, 2025). Krak\u00f3w: Creativetime.<\/li>\n\n\n\n
    3. Sendetskyy \u0410. (2025). Soft power in Polish-Ukrainian relations: theatre as a tool of cultural dialogue in the narratives of artistic elites. \u0425\u0425\u0406 \u041c\u0456\u0436\u043d\u0430\u0440\u043e\u0434\u043d\u0430 \u043d\u0430\u0443\u043a\u043e\u0432\u043e-\u043f\u0440\u0430\u043a\u0442\u0438\u0447\u043d\u0430 \u043a\u043e\u043d\u0444\u0435\u0440\u0435\u043d\u0446\u0456\u044f \u00ab\u041d\u0430\u0446\u0456\u043e\u043d\u0430\u043b\u044c\u043d\u0430 \u0456\u0434\u0435\u043d\u0442\u0438\u0447\u043d\u0456\u0441\u0442\u044c \u043a\u0440\u0456\u0437\u044c \u043f\u0440\u0438\u0437\u043c\u0443 \u0441\u0443\u0447\u0430\u0441\u043d\u0438\u0445 \u043a\u0430\u0442\u0430\u043a\u043b\u0456\u0437\u043c\u0456\u0432: \u0406\u0441\u0442\u043e\u0440\u0438\u043a\u043e-\u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u0438\u0439 \u043a\u043e\u043d\u0442\u0435\u043a\u0441\u0442\u00bb. (Rivne, November 20-21, 2025). Rivne: Rivne State Humanities University.<\/li>\n\n\n\n
    4. Sendetskyy \u0410. (2025). \u0422\u0435\u0430\u0442\u0440\u0430\u043b\u044c\u043d\u0456 \u043f\u0440\u0430\u043a\u0442\u0438\u043a\u0438 \u044f\u043a \u0456\u043d\u0441\u0442\u0440\u0443\u043c\u0435\u043d\u0442 \u043c\u0456\u0436\u043d\u0430\u0440\u043e\u0434\u043d\u043e\u0433\u043e \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u043e\u0433\u043e \u0434\u0456\u0430\u043b\u043e\u0433\u0443: \u0443\u043a\u0440\u0430\u0457\u043d\u0441\u044c\u043a\u043e-\u043f\u043e\u043b\u044c\u0441\u044c\u043a\u0438\u0439 \u043a\u043e\u043d\u0442\u0435\u043a\u0441\u0442. VII International Scientific Conference “Problems of Methodology in Contemporary Art and Culturology”. (Kyiv, November 19-21, 2025). Kyiv: The Modern Art Research Institute of the National Academy of Arts of Ukraine.<\/li>\n\n\n\n
    5. Sendetskyy \u0410. (2025). Contemporary Theatrical Practices in International Cultural Communication: The Ukrainian-Polish Experience of Interaction. IX \u0412\u0441\u0435\u0443\u043a\u0440\u0430\u0457\u043d\u0441\u044c\u043a\u0430 \u043d\u0430\u0443\u043a\u043e\u0432\u0430 \u043a\u043e\u043d\u0444\u0435\u0440\u0435\u043d\u0446\u0456\u044f \u043c\u043e\u043b\u043e\u0434\u0438\u0445 \u0432\u0447\u0435\u043d\u0438\u0445, \u0430\u0441\u043f\u0456\u0440\u0430\u043d\u0442\u0456\u0432 \u0442\u0430 \u043c\u0430\u0433\u0456\u0441\u0442\u0440\u0430\u043d\u0442\u0456\u0432 \u00ab\u041a\u0443\u043b\u044c\u0442\u0443\u0440\u0430 \u0456 \u043c\u0438\u0441\u0442\u0435\u0446\u0442\u0432\u043e: \u0441\u0443\u0447\u0430\u0441\u043d\u0438\u0439 \u043d\u0430\u0443\u043a\u043e\u0432\u0438\u0439 \u0432\u0438\u043c\u0456\u0440\u00bb. (Kyiv, November 6, 2025). Kyiv: National Academy of Culture and Arts Management.<\/li>\n\n\n\n
    6. Sendetskyy A. (2025). Wspo\u0142czesna polsko-ukrai\u0144ska dyplomacja kulturalna w refleksjach przedstawicieli elit kulturalnych. Konferencja Naukowa \u201eNa pograniczach kultur i narod\u00f3w. Przemiana, dostosowanie, trwanie\u201d. (Cz\u0119stochowa, September, 11-13 2025). Cz\u0119stochowa: Uczelnia Pa\u0144stwowa im. Jana Grodka w Sanoku.<\/li>\n\n\n\n
    7. Sendetskyy A. (2025). Teatr jako instrument bezpiecze\u0144stwa humanitarnego i soft power w stosunkach polsko-ukrai\u0144skich. MKDUS 2.01. V Mi\u0119dzynarodowa Multidyscyplinarna Konferencja Doktorant\u00f3w Uniwersytetu Szczeci\u0144skiego (Szczecin, 25\u201327 June 2025). Szczecin: University of Szczecin.<\/li>\n\n\n\n
    8. Sendetskyy A. (2025). Rola sztuki performatywnej w dyplomacji kulturalnej: doswiadczenia polsko-ukrainskie. International Scientific Conference “Security And Cooperation in Europe” (\u041b\u044e\u0431\u043b\u0456\u043d, 2 \u0447\u0435\u0440\u0432\u043d\u044f 2025). \u041b\u044e\u0431\u043b\u0456\u043d: Maria Curie-Sk\u0142odowska University. <\/li>\n\n\n\n
    9. Sendetskyy A. (2025). \u041d\u0435\u0432\u0435\u0440\u0431\u0430\u043b\u044c\u043d\u0430 \u043a\u043e\u043c\u0443\u043d\u0456\u043a\u0430\u0442\u0438\u0432\u043d\u0456\u0441\u0442\u044c \u0443 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u043e\u043c\u0443 \u0434\u0456\u0430\u043b\u043e\u0437\u0456 \u043d\u0430 \u043f\u0440\u0438\u043a\u043b\u0430\u0434\u0456 \u0442\u0435\u0430\u0442\u0440\u0443 \u043b\u044f\u043b\u044c\u043e\u043a. \u041c\u0456\u0436\u043d\u0430\u0440\u043e\u0434\u043d\u0430 \u043d\u0430\u0443\u043a\u043e\u0432\u043e-\u043f\u0440\u0430\u043a\u0442\u0438\u0447\u043d\u0430 \u043a\u043e\u043d\u0444\u0435\u0440\u0435\u043d\u0446\u0456\u044f \u00ab\u0421\u0443\u0447\u0430\u0441\u043d\u0456 \u0432\u0438\u043a\u043b\u0438\u043a\u0438 \u043b\u044e\u0434\u0441\u0442\u0432\u0430: \u043d\u0430\u0443\u043a\u0430 \u044f\u043a \u0441\u043f\u043e\u0441\u0456\u0431 \u0434\u0456\u0430\u043b\u043e\u0433\u0443 \u0442\u0430 \u0437\u0433\u043e\u0434\u0438\u00bb (Kyiv, 30 May 2025). Kyiv: Mykhailo Drahomanov Ukrainian State University.<\/li>\n\n\n\n
    10. Sendetskyy A. (2024) Modern Theatre as a Diplomat between Poland and Ukraine.
      5th International Scientific and Practical Conference “The Phenomenon of Post-Globalism Culture: Post-War Worlds and Cultural Democracy” (Kyiv, November 27, 2024). Kyiv: The Modern Art Research Institute of the National Academy of Arts of Ukraine.<\/li>\n\n\n\n
    11. Sendetskyy A. (2024). Miejsce teatru jako ambasadora we wsp\u00f3\u0142czesnych polsko-ukrai\u0144skich relacjach. XII Mi\u0119dzynarodow\u0105 Konferencj\u0119 Naukow\u0105 “Na pograniczach kultur i narod\u00f3w”. Historia, kultura, dialog. (Sanok, September 12-14, 2024). Sanok: Uczelnia Pa\u0144stwowa im. Jana Grodka w Sanoku.<\/li>\n\n\n\n
    12. Sendetskyy A. (2024). Dyplomacja kulturalna poprzez sztuk\u0119 sceniczn\u0105: analiza roli teatru wsp\u00f3\u0142czesnego w rozwijaniu dialogu polsko-ukrai\u0144skiego. IV International Multidisciplinary Conference of Doctoral Students of the University of Szczecin “MKDUS 2.0” (Szczecin, June 19-21, 2024). Szczecin: The University of Szczecin.<\/li>\n\n\n\n
    13. Sendetskyy A. (2024). Inclusion in Theatrical Practices as a Form of Cultural Dialogue: The Case of the International Charity Festival “KAZ.KAR.” International Conference: Philanthropy in Performing Arts (Bratislava, May 16, 2024). Bratislava: Divadeln\u00fd \u00fastav Bratislava.<\/li>\n\n\n\n
    14. Sendetskyy A. (2024). Cultural Dialogue vs. Dialogue of Cultures: Talking About War from the Stage. The 2nd<\/sup><\/sub> International Scientific and Practical Conference “In Search of New Meanings in a Multicultural World: Post-War Dialogue of Cultures” (Kyiv, May, 16-17, 2024). Kyiv: National Academy of Culture and Arts Management.<\/li>\n\n\n\n
    15. Sendetskyy A. (2023). Cultural dialogue without words (communication practices of the “People and Puppets” theater). XIII International Scientific-Practical Conference “The Activity of the Producer in the Cultural-Artistic Space of the 21st Century: Spheres, Concepts, Effectiveness” (Kyiv, December 20\u201321, 2023). Kyiv: National Academy of Culture and Arts Management.<\/li>\n\n\n\n
    16. Sendetskyy A. (2023). Dyplomacja kulturalna w praktyce: Polska inicjatywa wsparcia dla ukrai\u0144skiej spo\u0142eczno\u015bci teatralnej wskutek wojny po 24 lutego 2022 roku. International Conference \u201cGeopolitics and Geostrategy. Historical Perspectives and Contemporary Challenges\u201d (Warsaw, December 08-09, 2023). Warsaw: Center for American Studies.<\/li>\n\n\n\n
    17. Sendetskyy A. (2023). Cultural Diplomacy as a Form of Cultural Dialogue in Theatrical Practices: Ukraine – EU (2014\u20132023). XIX International Scientific and Practical Conference “Ukrainian and World Culture in the Face of Globalization Challenges and War” (Rivne, November 16-17, 2023). Rivne: Rivne State Humanities University.<\/li>\n\n\n\n
    18. Sendetskyy \u0410. (2023). International Cultural Dialogue of Ukraine: Current Dimensions of Theatrical Communications. VII All-Ukrainian Scientific Conference of Young Scientists, Postgraduates and Masters “Culture and Art: Contemporary Scientific Dimension” (Kyiv, November 2, 2023). Kyiv: National Academy of Culture and Art Management.<\/li>\n\n\n\n
    19. Sendeckyy A. (2023). Cultural Diplomacy in the 21st Century: Ukraine and Poland – Common and Unique Characteristics. International Scientific Conference “Ukraine and Europe: Culture in the Global Challenges of Today” (Kyiv, September 20-21, 2023). Kyiv: Institute of Contemporary Art Issues.<\/li>\n\n\n\n
    20. Sendeckyy A. (2023). Socio-Cultural Dynamics of Ukrainian-Polish Theatrical Dialogue in the 21st Century as Reflected in Professional Theatre Journals of Poland. International Scientific and Practical Conference “National Art in Contemporary Global Media. World. Culture. War.” (Kyiv, June 29, 2023). Kyiv: Modern Art Research Institute of the National Academy of Arts of Ukraine.<\/li>\n\n\n\n
    21. Sendetskyy A. (2023). Strategy of researching Polish-Ukrainian theatrical activity in the early 21st century. Methodological Academy of the Institute of European Culture in Gniezno, Adam Mickiewicz University in Pozna\u0144 (Gniezno, 30-31 March 2023). Gniezno: Institute of European Culture.<\/li>\n\n\n\n
    22. Sendetskyy A. (2023). Non-institutional theater as a tool of cultural diplomacy in Ukrainian-Polish dialogue. 2nd All-Ukrainian Scientific-Practical Conference \u201cTransformational processes of social culture in Ukraine\u201d (Kyiv, 23-24 March 2023). Kyiv: National Academy of Cultural and Arts Management.<\/li>\n\n\n\n
    23. Sendetskyy A. (2022). Art residency as a form of cultural dialogue in conditions of forced migration during the military intervention. 6th All-Ukrainian Scientific Conference of Young Scientists, Postgraduate and Master’s Students “Culture and Art: Modern Scientific Dimension”. (Kyiv, 03 November 2022). Kyiv: National Academy of Cultural and Arts Management.<\/li>\n\n\n\n
    24. Sendetskyy A. (2022). Complementarity in the educational and cognitive process of international cultural dialogue: festival practices. All-Ukrainian scientific and practical conference “Cultural dominants of the 20th century: art education”. (Kyiv, 30 September 2022). Kyiv: National Academy of Cultural and Arts Management.<\/li>\n\n\n\n
    25. Sendetskyy A. (2022). Theatrical dialogue as a means of implementing cultural diplomacy (on the example of the fairy tale “Flower Shop”). All-Ukrainian scientific-practical conference “Modern cultural and artistic space: creative and information-communicative transformations”. (Kyiv, June 21-22, 2022). Kyiv: National Academy of Cultural and Arts Management.<\/li>\n\n\n\n
    26. Sendetskyy A. (2022). Wsp\u00f3\u0142czesny ukrai\u0144sko-polski dialog kulturowy teatr\u00f3w operowych Ukrainy: analiza zasob\u00f3w sieciowych. Sympozjum \u201c\u0423\u041a\u0420\u0410\u0407\u041d\u0410!\/UKRAINA! KULTURA\u2013SZTUKA\u2013TO\u017bSAMO\u015a\u0106\u201d (Warsaw, 14, March 2022). Warsaw: Institute of Art of the Polish Academy of Sciences. <\/li>\n\n\n\n
    27. Sendetsky A. (2021). Ukrainian-Polish theatrical activity of the beginning of the XXI century: understanding of the dialogue of neighbors’ cultures and strategy of its study. Cultural and artistic studies of the XXI century: scientific-practical partnership: II International scientific-practical conference (Kyiv, November 10, 2021). Kyiv: National Academy of Cultural and Arts Management.<\/li>\n\n\n\n
    28. Sendetsky A. (2021). The role of theatrical art in cultural transfer on the example of the international charity festival (triennial) of fairy tales “KAZ.KAR.” (2006\u20132019). Art culture: history, theory, methodology: reports and announcements of the IX International Scientific Conference (Lviv, November 19, 2021). Lviv, 2021.<\/li>\n\n\n\n
    29. Sendetsky, A. (2020). Non-verbal art in the example of the Lviv Theater of Variety Miniatures “Both People and Dolls”. Art culture: history, theory, methodology. (Lviv, November 20, 2020). Institute of Library Art Resources Research; Lviv National Scientific Library of Ukraine named after V. Stefanyk of the National Academy of Sciences of Ukraine.<\/li>\n\n\n\n
    30. Sendetskyy,\u202fA. (2019). Konflikty i konsekwencje jako odbicie spo\u0142ecznej \u201e\u015blepoty kolor\u00f3w\u201d \u2013 inscenizacja Riznytsia Lwowskiego Autorskiego Dramatycznego Teatru \u201eSPIROGRAF\u201d. Mi\u0119dzynarodowa Banskobystricka teatrologicka konferencja \u201eDivadlo a dr\u00e1ma v kontaxtoch nepokojnej Eur\u00f3py\u201d. (Bansk\u00e1 Bystica, 29\u201330 novembra 2019). Faculta dramatick\u00fdch umen\u00ed, Akad\u00e9mia Umen\u00ed v Banskej Bysrici.<\/li>\n\n\n\n
    31. Sendetskyy,\u202fA. (2019). Bajka w transferze kulturowym. \u041d\u0430\u0443\u043a\u043e\u0432\u0438\u0439 \u043a\u0440\u0443\u0433\u043b\u0438\u0439 \u0441\u0442\u0456\u043b \u00ab\u0424\u0435\u043d\u043e\u043c\u0435\u043d \u043a\u0430\u0437\u043a\u0438 \u0443 \u043f\u0456\u0437\u043d\u0430\u0432\u0430\u043b\u044c\u043d\u043e-\u0432\u0438\u0445\u043e\u0432\u043d\u043e\u043c\u0443 \u043f\u0440\u043e\u0446\u0435\u0441\u0456 \u0441\u0443\u0441\u043f\u0456\u043b\u044c\u0441\u0442\u0432\u0430\u00bb \u0442\u0430 \u00ab\u0421\u0443\u0447\u0430\u0441\u043d\u0430 \u0432\u0456\u0437\u0443\u0430\u043b\u0456\u0437\u0430\u0446\u0456\u044f \u043a\u0430\u0437\u043a\u0438: \u043a\u043d\u0438\u0433\u0430, \u0441\u0446\u0435\u043d\u0430, \u0430\u043d\u0456\u043c\u0430\u0446\u0456\u044f\u00bb. (\u041b\u044c\u0432\u0456\u0432, 30 \u0442\u0440\u0430\u0432\u043d\u044f 2019\u202f\u0440.). \u0426\u0435\u043d\u0442\u0440 \u041a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u043e \u041c\u0438\u0441\u0442\u0435\u0446\u044c\u043a\u0438\u0439 \u0406\u043d\u0456\u0446\u0456\u0430\u0442\u0438\u0432 \u0443 \u041b\u044c\u0432\u043e\u0432\u0456.<\/li>\n\n\n\n
    32. Sendetskyy,\u202fA. (2018). Przedsi\u0119biorstwo produkcji artystycznej w podr\u00f3\u017cy: wyzwania i sukcesy warszawskiego teatru Baj w latach 2015\u20132017. Mi\u0119dzynarodowa Banskobystricka teatrologicka konferencja \u201eS\u00fa\u0107asn\u00e1 teatrol\u00f3gia a divadlo. Vz\u0165ah divadelnej vedy, vdzel\u00e1vania a sc\u00e9nicki\u00e9ho umenia v 21. storo\u010d\u00ed\u201d.(Bansk\u00e1 Bystica, 30 novembra \u2013 1 decembra 2018). Bansk\u00e1 Bystrica: Faculta dramatick\u00fdch umen\u00ed, Akad\u00e9mia Umen\u00ed v Banskej Bysrici.  <\/li>\n\n\n\n
    33. Sendetskyy,\u202fA. (2017). Metoda pracy Lwowskiego Autorskiego Dramatycznego Teatru \u00abSPIROGRAF\u00bb: od scenariusza do wyst\u0119pu (na przyk\u0142adzie spektaklu-ba\u015bni \u00abKwiatkowy sklepik\u00bb). Mi\u0119dzynarodowa konferencja \u00abW poszukiwaniu metody\u00bb (Krak\u00f3w, 2\u20133 grudnia 2017 r.). Akademi\u0430 Sztuk Teatralnych w Krakowie.<\/li>\n\n\n\n
    34. Sendetskyy,\u202fA. (2017). Niewerbalne praktyki translacji ba\u015bni (na przyk\u0142adzie spektakli w ramach Mi\u0119dzynarodowego Charytatywnego Festiwalu Ba\u015bni \u00abKAZ.KAR.\u00bb). Og\u00f3lnopolska interdyscyplinarna konferencja naukowa \u00abPoetyka i antropologia przekaz\u00f3w perswazyjnych cz. 2: Perswazja niewerbalna\u00bb (Warszawa, 21 pa\u017adziernika 2017 r.). Uniwersytet Kardyna\u0142a Stefana Wyszy\u0144skiego w Warszawie.<\/li>\n\n\n\n
    35. Sendetskyy,\u202fA. (2016). \u041c\u0456\u0441\u0446\u0435 \u043a\u0430\u0437\u043a\u0438 \u0432 \u043d\u0430\u043b\u0430\u0433\u043e\u0434\u0436\u0435\u043d\u043d\u0456 \u043c\u0456\u0436\u043d\u0430\u0440\u043e\u0434\u043d\u043e\u0433\u043e \u043c\u0438\u0441\u0442\u0435\u0446\u044c\u043a\u043e\u0433\u043e \u0434\u0456\u0430\u043b\u043e\u0433\u0443. \u041d\u0430\u0443\u043a\u043e\u0432\u0438\u0439 \u043a\u0440\u0443\u0433\u043b\u0438\u0439 \u0441\u0442\u0456\u043b \u00ab\u0424\u0435\u043d\u043e\u043c\u0435\u043d \u043a\u0430\u0437\u043a\u0438 \u0443 \u043f\u0456\u0437\u043d\u0430\u0432\u0430\u043b\u044c\u043d\u043e-\u0432\u0438\u0445\u043e\u0432\u043d\u043e\u043c\u0443 \u043f\u0440\u043e\u0446\u0435\u0441\u0456 \u0441\u0443\u0441\u043f\u0456\u043b\u044c\u0441\u0442\u0432\u0430\u00bb \u0442\u0430 \u00ab\u0421\u0443\u0447\u0430\u0441\u043d\u0430 \u0432\u0456\u0437\u0443\u0430\u043b\u0456\u0437\u0430\u0446\u0456\u044f \u043a\u0430\u0437\u043a\u0438: \u043a\u043d\u0438\u0433\u0430, \u0441\u0446\u0435\u043d\u0430, \u0430\u043d\u0456\u043c\u0430\u0446\u0456\u044f\u00bb. (\u041b\u044c\u0432\u0456\u0432, 14 \u0447\u0435\u0440\u0432\u043d\u044f 2016\u202f\u0440.). \u0426\u0435\u043d\u0442\u0440 \u041a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u043e \u041c\u0438\u0441\u0442\u0435\u0446\u044c\u043a\u0438\u0439 \u0406\u043d\u0456\u0446\u0456\u0430\u0442\u0438\u0432 \u0443 \u041b\u044c\u0432\u043e\u0432\u0456.<\/li>\n\n\n\n
    36. Sendetskyy,\u202fA. (2013). \u0421\u0443\u0447\u0430\u0441\u043d\u0430 \u0456\u043d\u0442\u0435\u0440\u043f\u0440\u0435\u0442\u0430\u0446\u0456\u044f \u043d\u0430\u0440\u043e\u0434\u043d\u043e\u0457 \u043a\u0430\u0437\u043a\u0438: \u043d\u043e\u0432\u0430 \u0435\u0441\u0442\u0435\u0442\u0438\u043a\u0430 \u0447\u0438 \u0430\u043b\u044c\u0442\u0435\u0440\u043d\u0430\u0442\u0438\u0432\u0430 \u0442\u0440\u0430\u0434\u0438\u0446\u0456\u0439\u043d\u043e\u043c\u0443 \u0442\u0435\u0430\u0442\u0440\u0443? \u041d\u0430\u0443\u043a\u043e\u0432\u0438\u0439 \u043a\u0440\u0443\u0433\u043b\u0438\u0439 \u0441\u0442\u0456\u043b \u00ab\u0424\u0435\u043d\u043e\u043c\u0435\u043d \u043a\u0430\u0437\u043a\u0438 \u0443 \u043f\u0456\u0437\u043d\u0430\u0432\u0430\u043b\u044c\u043d\u043e-\u0432\u0438\u0445\u043e\u0432\u043d\u043e\u043c\u0443 \u043f\u0440\u043e\u0446\u0435\u0441\u0456 \u0441\u0443\u0441\u043f\u0456\u043b\u044c\u0441\u0442\u0432\u0430\u00bb \u0442\u0430 \u00ab\u0421\u0443\u0447\u0430\u0441\u043d\u0430 \u0432\u0456\u0437\u0443\u0430\u043b\u0456\u0437\u0430\u0446\u0456\u044f \u043a\u0430\u0437\u043a\u0438: \u043a\u043d\u0438\u0433\u0430, \u0441\u0446\u0435\u043d\u0430, \u0430\u043d\u0456\u043c\u0430\u0446\u0456\u044f\u00bb. (\u041b\u044c\u0432\u0456\u0432, 19 \u0442\u0440\u0430\u0432\u043d\u044f 2013\u202f\u0440.). \u0426\u0435\u043d\u0442\u0440 \u041a\u0443\u043b\u044c\u0442\u0443\u0440\u043d\u043e \u041c\u0438\u0441\u0442\u0435\u0446\u044c\u043a\u0438\u0439 \u0406\u043d\u0456\u0446\u0456\u0430\u0442\u0438\u0432 \u0443 \u041b\u044c\u0432\u043e\u0432\u0456.<\/li>\n<\/ol>\n\n\n\n

      Creative activity:<\/strong><\/h3>\n\n\n\n

      Directing works at LAD Theatre “ScenA8”:<\/strong><\/h3>\n\n\n\n

      The fairy-tale play “Flower Shop” based on the play by Andriy Sendetskyy (2005); fairy-tale play \u201cAt the behest of the pike\u201d based on the play by Marko Kropyvnytsky (2006); the play \u201cAdventures in a Merry Academy\u201d based on the work of Jan Brzezwa (2007); performance \u201cUkrGrandPot-Pourri\u201d theatrical mix in the author’s arrangement (2008); household comedy “Break a leg” based on the play by Leonid Kravchenko (2009); vaudeville play “In fashion” by Mykhailo Starytsky (2011); the play \u201cThree in Bed\u201d (2012); play-drama “Difference” based on the play by Artem Vyshnevsky (2013); the play “Station” based on the play by Alexander Viter (2014); the play \u201cMarry is not an attack, as if for a husband\u201d (2015); the play “Morgue” based on the play by Neda Nezhdana (2016); the play \u201cMerci or joke\u201d based on the play by Mykola Albykovsky (2017); the play “Do not waste men” based on the play by Ivan Tendetnikov (2018); diptych play “Real comedy or \u2026 Hide!” based on the play-composition by Andriy Sendetskyy (2019); the play “Choice” based on the play by Neda Nezhdana (2019); the play “Slovechko” based on the play by Malina Preslyuga (2019); the play “Bird” – based on the play by Malina Prisluga (2020); the play “Angel” based on the play by Lana Ra (2021).<\/p>\n\n\n\n

      Acting works in LAD Theater “ScenA8”:<\/strong><\/h3>\n\n\n\n

      Periwinkle (boy help) – a fairy tale play by Andrei Sendetskyy “Flower Shop”; Mr. Lyapka (Director of the Academy) – performance-musical \u201cAdventures in a Merry Academy\u201d based on the work of Jan Brzehva \u201cMr. Lyapka’s Academy\u201d; Havrilo Patapovych Varenyk (owner of the house) – the play \u201cIn fashion\u201d based on the play by Mykhailo Starytsky; Overko (slapped mercenary) – the play “Merci or joke” based on the play by Mykola Albykovsky “Joker”; Omelko (cooper, landlord) – “You should not waste men” based on the play by Ivan Tendetnikov “Who laughs, so do not pass”; Mykola Bordyurnyi (architect) – “Angel” based on the play “Untimely” by Lana Ra.<\/p>\n\n\n\n

      Other creative activities:<\/strong><\/h3>\n\n\n\n

      His debut as an amateur director and actor in two roles was his work at the Gaudeamus Student Theatre of the Higher State School of Art Design on Shakespeare’s play A Midsummer Night’s Dream. Mr. Andriy Sendetskyy successfully graduated from this art institution in 1997 with honors. Already at that time, he tried to combine the creation of creative clothing and its presentation in the form of a theatrical fashion show or art photography. It is worth noting the constant creative search, which resulted in stage performances of the collections: “Night Fiery”, “Elegant Joke”, “Tears of a Dalmatian”, “Innovation of Initiation”, these are just those works of art that were presented in Ukraine and abroad receiving high praise from experts in the field of costume design and received well-received reviews in the media.<\/p>\n\n\n\n

      He began his career in professional theater as a costume designer and set designer. One of the first works for the theater was made for the Lviv Theater “Resurrection”, the play “Crazy from Love” further active cooperation with the Lviv Theater of Variety Miniatures “People and Dolls” under the direction of Oleg Novohatsky, creating costumes and scenography for the fairy tale. Nut branch”, “Chestnut tree”, “Piglet Pig rescues friends”, “Peony lantern”. In 1998, Mr. Andriy got his first acting job at the same theater, continuing to collaborate with theaters in Lviv (Lviv Academic Spiritual Theatre “Resurrection”, the First Ukrainian Theatre for Children and Youth, Theater of Variety Miniatures “People and Puppets”) artist by costume and set designer. As a costume designer, he created costumes for performers of pop art in Ukraine: Folk Amateur Vocal Ensemble “Pearl” (concert costumes), Exemplary Ensemble of Modern Dance “Dance Club” (“Merry Orchestra”, “Sleep Time”, “Merry Cooks”, “Vesnyanka””, “Treasure Island”, “Theatre”, “In the Rhythm of Jazz”, “Mouse Adventure”), Sports Ball and Modern Dance Club “Carment” (“Afro-Jazz”, “Transformation”, “Orissa”), Children’s Ensemble songs and dances “Pysanka” (“Spring Waltz”, “Tsipo-tsipo-tsyponka”), Song Theatre “Tsyomochki” (“Flowers”, “Ukrainochka”), Contemporary Dance Ensemble “Rhythms of Time” (“Beshkerniki”, “Dzhereltse”)”, “Adventure in Chicago”, Oksana Kuzina’s circus studio); Poland: dance group “Flex” (Rybnik), dance theater “Flex” (Warsaw).<\/p>\n\n\n\n

      Tenure:<\/strong><\/h3>\n\n\n\n
        \n
      • Teatr XL imienia Artyst\u00f3w Zaanga\u017cowanych<\/strong>, Warsaw, Poland (October-December 2023)<\/li>\n\n\n\n
      • Teatr Dramatyczny im. Gustawa Holoubka<\/strong>, Warsaw, Poland (May-December 2022)<\/li>\n\n\n\n
      • Mazowiecki Instytut Kultury<\/strong>, Warsaw, Poland (May 2018)<\/li>\n\n\n\n
      • Sto\u0142eczne Centrum Edukacji Kulturalnej im. Komisji Edukacji Narodowej<\/strong>, Warsaw, Poland (April-May 2018)<\/li>\n\n\n\n
      • Stowarzyszenie Mi\u0119dzynarodowych Inicjatyw Artystycznych Eduteart<\/strong>, Warsaw, Poland (March-April 2018)<\/li>\n\n\n\n
      • Teatr Baj<\/strong>, Warsaw, Poland (November-December 2017)<\/li>\n\n\n\n
      • Teatr Wielki Opera Narodowa<\/strong>, Warsaw, Poland (May-July 2009)<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"

        Andriy Sendetskyy, M.A., is a cultural manager; director, actor, set and costume designer; and educator in art history, acting, and stage speech. He is the Artistic Director of the Centre for Cultural & Artistic Initiatives and the Lviv Authorial Drama Theatre ScenA8. His research explores the role of performing arts […]<\/p>\n","protected":false},"author":3,"featured_media":6305,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_themeisle_gutenberg_block_has_review":false,"footnotes":""},"class_list":["post-6283","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/artcenter.org.ua\/en\/wp-json\/wp\/v2\/pages\/6283","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/artcenter.org.ua\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/artcenter.org.ua\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/artcenter.org.ua\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/artcenter.org.ua\/en\/wp-json\/wp\/v2\/comments?post=6283"}],"version-history":[{"count":165,"href":"https:\/\/artcenter.org.ua\/en\/wp-json\/wp\/v2\/pages\/6283\/revisions"}],"predecessor-version":[{"id":7263,"href":"https:\/\/artcenter.org.ua\/en\/wp-json\/wp\/v2\/pages\/6283\/revisions\/7263"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/artcenter.org.ua\/en\/wp-json\/wp\/v2\/media\/6305"}],"wp:attachment":[{"href":"https:\/\/artcenter.org.ua\/en\/wp-json\/wp\/v2\/media?parent=6283"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}