After '89 takes as its subject the dynamic new range of performance
practices that have been developed since the demise of communism in
the flourishing theatrical landscape of Poland. After 1989, the
theatre has retained its historical role as the crucial space for
debating and interrogating cultural and political identities.
Providing access to scholarship and criticism not readily
accessible to an English-speaking readership, this study surveys
the rebirth of the theatre as a site of public intervention and
social criticism since the establishment of democracy and the
proliferation of theatre makers that have flaunted cultural
commonplaces and begged new questions of Polish culture. Lease
argues that the most significant change in performance practice
after 1989 has been from opposition to the state to a more
pluralistic practice that engages with marginalised identities
purposefully left out of the rhetoric of freedom and independence.
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