The evolution of methods of social engagement in Polish alternative theatre after the second world war

Abstract

This dissertation focuses on the evolution of socially engaged activism of Polish alternative theatre makers after the Second World War. This will be done by analysing chosen groups or theatres as case studies from two distinctive periods at that time, further explained below. Due to Poland’s tragic history and the stubborn resistance to oppression, Poles have developed a particular understanding of social engagement, especially through art and literature. With the country being occupied or under foreign influence numerous times for over two centuries yet having a strong urge to maintain their identity, Poles developed the ability to create an intricate system of resistance to the oppressor. Thus, it comes as no surprise that alternative theatre and performative actions after WW2 were politically driven and (often) anticommunist (so anti-government) until the democratic change brought about by the Revolutions of 1989. Resistance to the oppressive system was often seen not even as activism per se, but a moral obligation of the artist, performer or writer – the kind of work that Aldona Jawłowska describes as ‘more than theatre’. At the end of the twentieth century, when the socio-political climate changed drastically, many theatre makers moved to small towns or villages and started working with local communities, continuing to fulfil the ethos of principled performing artists with a mission. This kind of work within community theatres, laboratories and centres continues till today. The rich culture of conscious, selfless, idealistic performers–activists continues to flourish thanks to abundant local and international projects, spreading appreciation for culture, community and international cooperation.