The Post-traumatic Theatre of Grotowski and Kantor

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, Améry) 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”