This book explores the consequences of the latest political shifts in Central Eastern Europe: the rise of right-wing parties and, among other things, politics becoming more invested in history. These phenomena coincide and overlap with the democratisation of history by turning the past into a hot topic, persistently present in the public sphere and often evoking strong emotions. Ethnographic research (conducted in 2012-2016) focusing on how World War II reenactors experience the past serves as the basis to analyse the ways in which the group uses the widespread, often institutionalised interest in history to - on the one hand - become involved in debates on World War II and the remembrance thereof, and - on the other - to authentically experience this past. The volume therefore analyses how physical the process of creating and experiencing grassroots visions of the past is, and how these visions interact with the public discourse about the past. Reenactors' ability to marry the often-contradictory orders of historical truth, authenticity, and representation is explored. Moreover, Baraniecka-Olszewska analyses how the reenactors overcome various obstacles on their way towards authentic experiences, performing history through their bodies.

The book is an anthropological study of a phenomenon observed within the range of contemporary Polish Catholic religiosity. The Crucified focuses on two fundamental issues: passion plays and performance theory. It presents an analysis of material collected during five years of field research, which sheds light on the varied world of religious performances. The phenomenon of passion plays is extremely complex and to some extent heterogeneous, hence its in-depth analysis reveals much not only about its own nature, but also about the entire modern religiosity. As a result, the book is constructed in such a way as to focus on a single phenomenon, but with conclusions extending to a much wider range of contemporary religious practices. The book reveals the need for self-expression of one's own attitudes observable in contemporary spirituality, as well as the increasing participation of believers in the development of their religious life and thus in the formation of their own religious identity. All these processes are interpreted in terms of performance theory. Applying this approach makes it possible to capture the believers' need for activity and creativity in the field of practices alternative to the liturgy.