No more heroes
in After ’89
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Spending time over Jerzy Grzegorzewski’s grapplings with Romantic paradigms and Tadeusz Kantor’s resistance to nationalist essentialism, a subsequent generation of directors is considered such as Jan Klata, Monika Strzepka, Paweł Demirski, Paweł Wodzinski and Michał Zadara, who have adapted Romantic texts in an effort to redraw boundaries of national consciousness and community formation that were seen as absolute and unassailable. Taking into account Anna R. Burzynska’s claim that the ‘potential of community’ might remain a vital reference point in Polish theatre today, it is contended that the crucial understanding of pluralistic democracy requires the inclusion of identities that have been traditionally excluded from the restrictive notion of the Romantic community that is built on complex lines of racial, ethnic, national and sexual division.

After ’89

Polish theatre and the political


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