The notion that only traditional business are interested in MBA has been debunked by MIM students. Slava Zhyla, a theater producer, director, and head of the Supertask theater school, describes his MBA studies as a pivotal steppingstone in his professional journey and advancement. In 2017, he was selected from a pool of numerous applicants for the Generation.UA program, a collaboration between MIM and Garik Korogodsky aimed at cultivating Ukraine's future top-tier public servants. We sat down with Slava Zhyla to explore the motivation behind a creative professional's decision to enroll in a business administration program tailored for prospective civil servants. He shares insights into the transformative effect of this education on his mindset and subsequent endeavors, delves into the relevance of a Ministry of Culture for Ukraine, and unveils how theater techniques dissolve the fear of public speaking.

• Let's start by discussing your objectives when applying to the Generation.UA program and what you ultimately gained from your participation.
• MIM constitutes my third academic pursuit, supplementing a total of four degrees. The selection process to the program was meticulous, involving tests, exams, and in-person interviews. The program's aim was to cultivate untainted future officials driven to propel the country's development. Our journey spanned two and a half years: MIM's curriculum included presentations and discussions with politicians, parliamentarians, and ministers. Subsequently, several of us embarked on the civil service careers. MIM served as an exhilarating turning point, systematically organizing my prior experience and knowledge, and profoundly influencing my life. Despite my innate creativity and aspiration to act, I initially enrolled in the production department at the Kyiv National I. K. Karpenko-Karyi University of Theatre, Cinema and Television, marking my first foray into higher education. Though acting opportunities surfaced, I demurred, believing Khostikoyev, a stage and screen star to be an unparalleled figure and me only a number two. Thus, I decided on production. When I later established my theater school and a performance rental enterprise, the knowledge gleaned from MIM became immensely valuable. Overall, I believe that my studies constituted a monumental event, leaving an indelible impact on my conduct.
• You self-identify as a creative individual. However, you pursued studies in public administration, a realm that frequently contrasts with the creative process. What drove this decision?
• Undoubtedly, civil service and the broader public sector work is not very exciting. This sphere stands in stark contrast to business, as navigating governmental intricacies proves challenging. Nevertheless, a desire to construct and bolster a thriving Ukrainian state propelled me. I believe I've contributed to this endeavor, metaphorically laying more than one brick to fortify this "wall" of progress. Perhaps not an extensive contribution, but it's my personal testament. When I assumed control of the Actor Theater, a relatively obscure community cultural institution, it was transformed under my guidance. Today, it stands unparalleled among other theaters.
• Presently, we do not have a Minister of Culture and Information Policy. An acting minister is in place, yet the formal appointment process remains pending. If, hypothetically, you occupied this role or were in charge of theater affairs at the national level, what would garner your initial attention?
• As early as 2021 or 2020, I emerged as a contender for the Minister of Culture position. Even then and now, I've maintained that the ministry needs restructuring. Its role should encompass curating culture and fostering market emergence. Achieving this requires streamlining the ministry into a lean entity, tasked with fund allocation modeled on the Diia app's principles. Perhaps in future, akin to European Ministries of Culture, we could ultimately attain an institution unburdened by bureaucratic bloat, thereby enabling genuine support for culture. The present structure functions on remnants of the past system. Naturally, the ministry retains essential functions and responsibilities. However, the current incapacity to address genuine cultural matters stems not from reluctance, but from constraint. Consequently, I'd do my best to simplify things. Broadly, Ukraine's cultural landscape is regressing due to ongoing war. I think we need to simplify budgetary processes. A more dynamic market ecosystem would spur competition, promoting productive interaction and audience education. Notably, thriving commercial theaters such as the Wild Theater stand as exemplars—yielding exceptional performances as an independent, commercially successful entity, unhindered by external constraints. We may have our own distinctly original theater, cinema, etc. However, bureaucratic herds should be minimized and streamlined. We also need to develop art patronage legislative and regulatory framework.
• In your opinion, who should be responsible for cultural diplomacy if not the Ministry of Culture or a government agency?
• The strategy's execution could be outsourced to those with the necessary expertise. Cultural diplomacy should be orchestrated by those well-versed in its nuances. Those who are good at grant management should handle grants, while those skilled in direction should direct. This mirrors international practices. Cultural diplomacy stands as an enticing and so far, popular offering. Notably, those artists who are working abroad now are well accepted by the public. Recently, cultural diplomacy, especially at official levels, has often been executed through show business. This aligns well, given show business' resonance as popular culture. Importantly, taking Ukrainian theater to a tour abroad proves complicated and financially inviable, especially compared to more broadly popular patriotic bands gathering stadiums.
• As a person in charge of a theater studio, how have you navigated the challenges posed by face-to-face interaction-sensitive art during these times, marked by both Covid and the war?
• The Covid period presented a formidable challenge, compelling us to pioneer "zoom theater" and virtual training sessions. Notably, my school extended training to MIM students during the pandemic, imparting essential skills such as public speaking and stage language. These abilities are vital for businesspeople, officials, and public figures alike, constituting a tool for being heard, conveying their messages, and connecting with audiences. Fear of public speaking, incidentally, ranks as the second most prevalent fear after the fear of death. The war was yet another test of our resilience. Nevertheless, demand for our school surged, as we don't merely focus on theater but rather facilitate personal journeys. The current climate has unveiled a phenomenon of transformation among our participants, who often arrive with subconscious yearnings for change. Our approach releases latent energy, breaking down inhibitions that hinder public speaking. Through psychophysical training, we catalyze profound processes utilizing our unique techniques. There is an interesting point: business professionals, deputy ministers, and parliamentarians frequently seek individual coaching. However, I emphasize that group dynamics uniquely propel growth. A course's collaborative nature spans 2.5 months, fostering the revelation of personal potential and well-being. This year alone, we've graduated approximately ten cohorts, with two more scheduled for completion—a notable achievement.
• If we are talking about self-discovery through theater during the wartime, do individuals often come seeking an outlet for their pain, or does your role offer more diverse avenues?
• The impact of war has been universally felt. Traditionally, drama theory treats war as an implied context. However, the current era uniquely positions us, with the full-scale invasion altering our behavior irrevocably. This paradigm shift spurs our participants to consciously or subconsciously articulate their desires. Moreover, positive emotions abound—a factor that prompts some to regard our school as a therapeutic outlet, offering regular sessions. The magic of the stage remains magic, instilling healing, inspiration, and surplus energy.
• Returning to the combination of art and MBA, a societal stereotype persists, one that tends to juxtapose creative pursuits and business approaches. The term "commercial" often clashes with artistic ideals. What fuels this dichotomy, and do you recommend artists pursue an MBA?
• The ranks of art managers pursuing MBAs are progressively growing. While I may be the sole theater professional with a business degree, such individuals are on the rise within cultural circles. Speaking specifically of creative people, artists are not always starving, yet resistance to business methodologies endures. This resistance can stem from a reliance on state funding. However, the emphasis should shift to fostering art's prominence. There are many instances of theatres’ successes due to the correct promotional efforts at home and abroad. Personally, I ardently wish for my children to acquire MBA education. It instills an organized worldview, appreciation for community, and more. Likewise, the business realm ought to embrace and engage with the arts. Culture permeates all, a multifaceted narrative. When one embodies erudition, culture, style, and boundless vigor, success invariably follows. Expanding horizons and embracing non-conformity is synonymous with prosperity.