The Post-traumatic Theatre of Grotowski and Kantor

Rezensionen / Stimmen

The task, which the author sets out and performs, starting from such a clearly defined research perspective, is both remarkable and impressive in its momentum and size.

-Performer Romanska opens up areas of these two productions which have been unavailable.

-New Theatre Quarterly Richly documented chapters. Through its argumentation and design, the book demonstrates a sophisticated dramaturgical strategy for re-historicizing and recontextualizing theatre and performance events.

-Theatre Journal This text is a valuable resource for those looking to better understand the complex creativity of Grotowski and Kantor within their Polish historical, social, and literary context.

-Pol-Intel.org The book demonstrates how both productions were deeply political responses to that "taboo subject." Romanska painstakingly works to decode [it]. An invaluable resource.

-Theatre Annual A Journal of Performance Studies "[A] valuable resource for those looking to better understand the complex creativity of Grotowski and Kantor within their Polish historical, social, and literary context. [...] It is not only a rich explanation of these dramatists, but also serves as an engaging overview of the Polish literary tradition." -Alena Aniskiewicz, "Pol-Int.org" "[Romanska's] richly documented chapters interweave primary sources, critical commentary, and contemporary theory (for example, Adorno, Agamben, Bettelheim, Amery) on each topic. [...] Through its argumentation and design, the book demonstrates a sophisticated dramaturgical strategy for re-historicizing and recontextualizing theatre and performance events [...] The book also introduces English-language students to a significant national literature and encourages them to undertake equally rigorous, culturally specific readings in their fields of interest." -Mary Karen Dahl, "Theatre Journal" "Non-Polish-speaking scholars of Grotowski and Kantor will be grateful for Romanska's work. She opens up areas of these two productions which have been unavailable; trauma and Holocaust survivors will be glad to be made aware of them; and Romanska indicates the direction for further analysis in this area." -Alison Jeffers and Brian Schutis, "New Theatre Quarterly"