The complex nature of the relationship between theatre and politics is explored in this study of the Polish theatre scene. It traces the development of the alternative theatre movement from its origins, in the 1950s, through to its decline in the late 1980s.

Theatre in Eastern and Central Europe was never the same after the fall of the Berlin Wall in 1989. In the transition to a postcommunist world, “alternative theatre” found ways to grapple with political chaos, corruption, and aggressive implementation of a market economy. Three decades later, this volume is the first comprehensive examination of alternative theatre in ten former communist countries. The essays focus on companies and artists that radically changed the language and organization of theatre in the countries formerly known as the Eastern European bloc. This collection investigates the ways in which postcommunist alternative theatre negotiated and embodied change not only locally but globally as well. Contributors: Dennis Barnett, Dennis C. Beck, Violeta Decheva, Luule Epner, John Freedman, Barry Freeman, Margarita Kompelmakher, Jaak Rahesoo, Angelina Ros ̧ca, Ban ̧uta Rubess, Christopher Silsby, Andrea Tompa, S. E. Wilmer

This volume brings together nine papers written by researchers from all over Europe working within the realms of political science, the humanities, theology and religion, as well as business, economics, and management. They offer unique perspectives to provide a truly multifaceted take on the topic of dissidence in the European context. This book has been organised into three sections: Part A – ‘Debating European Capitalism and Consumer Relations’, Part B – ‘Citizenship and the European Identity’, and Part C – ‘Europe: A Continent of Conspiracy and Control?’

This is the first volume in English to be devoted entirely to Polish Romantic drama. It contains translations of three major plays: Forefathers; Eve, Part III, by Adam Mickiewics; The Un-Divine Comedy by Zygmunt Krasinski; and Fantazy by Juliusz Slowacki. In his highly informative introduction, Professor Segel discusses the plays against the background of the Romantic movement in Poland and points out their ideological and artistic importance. As products of a revolutionary Poland; they were written and published in Paris by writers who either resettled there after the Insurrection of 1830 or otherwise identified with the Great Emigration; they are permeated with the spirit of Romantic Rebellion, with pleas for universial justice, and with queries concerning the role of the poet in society. Brillant productions of the plays in Poland in the late nineteenth and early twentieth-centuries gave impetus to an entire tradition of modern Polish theatrical experimentation as well as dramatic writing which extends to the present day.

Containing translations of three major plays, in his highly informative introduction, Professor Segel discusses the plays against the background of the Romantic movement in Poland and points out their ideological and artistic importance.

Student Politics in Communist Poland tackles the topic of student political activity under a communist regime during the Cold War. It discusses both the communist student organizations as well as oppositional, independent, and apolitical student activism during the forty-five-year period of Poland's existence as a Soviet satellite state. The book focuses on consecutive generations of students who felt compelled to act on behalf of their milieu or for what they saw as the greater national good. The dynamics between moderates and radicals, between conformists and non-conformists are analyzed from the points of view of the protagonists themselves. The book traces ideological evolutions, but also counter-cultural trends and transnational influences in Poland's student community as they emerged, developed, and disappeared over more than four decades. It elaborates on the importance of the Catholic Church and its role in politicizing students. The regime's higher education policies are discussed in relation to its attempts to control the student body, which in effect constituted an ever growing group of young people who were destined to become the regime's future elite in the political, economic, social, and cultural spheres and thus provide it with the necessary legitimacy for its survival. The pivotal crises in the history of Communist Poland, those of 1956, 1968, 1980-1981, are treated with a special emphasis on the students and their respective role in these upheavals. The book shows that student activism played its part in the political trajectory of the country, at times challenging the legitimacy of the regime, and contributed in no small degree to the demise of communism in Poland in 1989. Student Politics in Communist Poland not only presents a chronological narrative of student activism, but it sheds light on lesser known aspects of modern Polish history while telling part of the life stories of prominent figures in Poland's communist establishment as well as its dissident and opposition milieux. Ultimately, it also provides insights into modern-day Poland and its elite, many of whose members laid the groundwork for their later careers as student activists during the communist period.

The Routledge Companion to Performance Practitioners collects the outstanding biographical and production overviews of key theatre practitioners first featured in the popular Routledge Performance Practitioners series of guidebooks. Each of the chapters is written by an expert on a particular figure, from Stanislavsky and Brecht to Laban and Decroux, and places their work in its social and historical context. Summaries and analyses of their key productions indicate how each practitioner's theoretical approaches to performance and the performer were manifested in practice. All 22 practitioners from the original series are represented, with this volume covering those born after 1915. This is the definitive first step for students, scholars and practitioners hoping to acquaint themselves with the leading names in performance, or deepen their knowledge of these seminal figures.

This book opens a new interdisciplinary frontier between religion and theatre studies to illuminate what has been seen as the religious or spiritual nature of Polish theatre director Jerzy Grotowski’s work.The central argument is that through an embodied, materialist approach to religion, and through a critical reading of the concepts of the New Age, a new understanding of Grotowski and religion can be developed. This is a vital reference for academics in both Religion and Theatre Studies that have an interest in the spiritual aspects of Grotowski’s work.

This volume makes visible the cooperation between the Visegrad Fund and Humboldt University of Berlin. With selections exploring the fields of performance, cinema, and sound, it incorporates ideas from performance theory, film and media studies, art history, philosophy, and literary theory. On the other hand it is the permeability of the media to each other—as well as to other expressive forms such as theatre and happenings, film and photography, voice and writing—that takes center stage. Fifteen essays delve into questions of performativity with concrete examples from Central and Eastern Europe: e.g. Czech, Hungarian, Russian, Slovak, and Soviet cinema; the Polish Academy of Movement, Tot Art, and Orange Alternative; the Hungarian performer Tamás Szentjóby and post-Fluxus phenomena; Polish "hobo poets" like Marcin Świetlicki; works of the French Jean Fautrier, the Czech Mikuláš Medek, and the Slovak Dominik Tatarka on sound and voice; Belarusian and Polish "sung poetry" as intermedial subversion of tradition, and the textual performance of Dezső Kosztolányi’s disappeared voice.