Feedback Loop: “No One’s Gonna Believe Me Anyway” at the Gniezno Theatre
“No one’s gonna believe me anyway,” says Barbara repeatedly. She knows there is no point in...
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Polish Theatre and Gender
Evidence and/or Performance?
It all starts innocently enough. Two actors (Damian Sosnowski and Alan Al-Murtatha) and an actress...
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Sniff Like a Dog Sniffs the Wondrous: “Warsaw’s Daughters #100LAT” by Teraz Poliż
“I sniff like a dog sniffs the wondrous,” says Lunatic in Anna Świrszczyńska’s...
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A Review of “Under the Influence” from the 2018 Boska Komedia Festival: Splitting the Mind and Splitting the Stage
Pod presją [Under the Influence], directed by Maja Kleczewska. Presented at Teatr Ludowy, ICE...
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How Norwegians Do It (Play Ibsen, That Is)
The plays of the great Norwegian playwright Henrik Ibsen are a natural staple of the repertoire at...
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Liberty, Equality, And Feminism: “Stateswomen, Sluts Of The Revolution, Or The Learned Ladies”
To probe the practices of both protest and theatre-making, Teatr Polski of Bydgoszcz looked to...
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Anna Smolar Awarded the Passport Prize in Theatre
The French-Polish director Anna Smolar, born in 1980, was awarded the 2016 Polityka Passport in...
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Song of the Goat Sings the Tragedy of Cordelia in “Songs of Lear”
Devising their works in a 13th-century refractory and former monastery in Wrocław’s Old Town, Song...
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![„Nie Mów Nikomu” [Do Not Tell Anyone], dir. by Adam Ziajski, Scena Robocza, Poznań, Photo by Maciej Zakrzewski](https://thetheatretimes.com/wp-content/uploads/2017/12/Nie-Mow-Nikomu-Picture-2-150x150.jpg)
