Anna Artemenko
Ukrainian Theatre and Film Actress
Anna Artemenko is a Ukrainian stage and film actress known for her emotional depth, expressive performances, and dedication to her craft. Born on October 17, 1988, she graduated in 2010 from the Kyiv National University of Theatre, Cinema and Television named after I.K. Karpenko-Kary. Even before completing her studies, Anna began performing at the Lesya Ukrainka National Academic Russian Drama Theatre in Kyiv, where she has remained an active and leading actress.
Over the years, she has portrayed a wide range of complex characters, from classical heroines to contemporary figures. Among her most notable roles are Vera in Page 105 About Love, Olga Yeletskaya in The Dowry, and other characters in productions like A Cynical Comedy and Madness of Love. Her role as Vera, inspired by Vsevolod Petrov’s novella Turdayskaya Manon Lescaut, received critical acclaim. In this performance, she embodied a woman who becomes a fleeting but unforgettable muse to a Soviet officer during wartime — a character that echoes the tragic romanticism of the legendary Manon.
Anna is praised for her ability to merge physical expressiveness with emotional nuance. In one performance, she was so captivating that the renowned Russian poet Yevgeny Yevtushenko reportedly exclaimed, “Who was singing with her body?” — a comment that beautifully captures her unique stage presence. He even likened her to a character from Bob Fosse’s Cabaret.
In addition to her theatrical work, Anna is open to exploring different acting methods, combining classical training rooted in the Stanislavski system with the imaginative and energetic approach of Michael Chekhov. This synthesis allows her to approach each role with both structure and spontaneity, logic and intuition.
With her powerful presence and unwavering commitment to the art of performance, Anna Artemenko continues to be a shining figure in the contemporary Ukrainian theatre scene.
Anna Artemenko is a Ukrainian actress of theatre and film, and a Merited Artist of Ukraine.
She was born on October 17, 1988.
In 2010, she graduated from the Kyiv National University of Theatre, Cinema and Television named after I.K. Karpenko-Kary.
Since 2007, she has been performing at the Lesya Ukrainka National Academic Russian Drama Theatre in Kyiv.
Over the years, Anna has played numerous roles on stage, including:
Vera in “Page 105 About Love”
Olga Yeletskaya in “The Dowry”
Roles in “A Cynical Comedy” and “Madness of Love”
Her portrayal of Vera in “Page 105 About Love”, based on Vsevolod Petrov’s novella “Turdayskaya Manon Lescaut”, was highly praised by critics.
Her character — a wartime muse, a passion and comfort to a Soviet officer — is a modern reincarnation of the famous heroine from Abbé Prévost’s novel.
Anna is known for her expressive physicality and emotional depth on stage.
During a poetry evening, renowned poet Yevgeny Yevtushenko was so impressed by her performance that he exclaimed, “Who was singing with her body?”, comparing her to a character from Bob Fosse’s Cabaret.
Anna continues to be active in the theatre, developing her career at the Lesya Ukrainka Theatre.
Her talent, professionalism, and dedication to her craft have made her one of the most outstanding figures in contemporary Ukrainian theatre.
Anna Artemenko on the Methods of Stanislavski and Michael Chekhov
“I have great respect for the Stanislavski school — it became the foundation of my professional development. It’s a system where you build a character through logic, searching for truth in the given circumstances, in the character’s past, in their motivation. Through this discipline, I learned to understand human nature more deeply. Working on a role using Stanislavski’s method is a journey of immersion, analysis, and gradually merging with the character.
But at a certain point — especially in more physical or stylized productions — I felt that the rational approach wasn’t always enough. I began searching for something more intuitive, more energetic — and that’s when I discovered Michael Chekhov’s method.
Chekhov’s approach gave me freedom. It doesn’t require you to ‘become’ the character, but rather to ‘play’ the character — honestly, through imagery, sensation, and gesture. His use of psychological gesture and imagination allowed me to activate an inner creative space, to experience emotions not just through logic, but through energy. This is incredibly valuable for an actress, especially in symbolic or poetic theatre, where logic gives way to imagery.
I wouldn’t say one method is better than the other — they are simply different. One is like the anatomy of the soul, the other is like the dance of the spirit. I try to combine them, choosing the approach that feels most organic for each role. Because in theatre, as in life, there is no single truth — only the search.”