The Theatre of Tadeusz Różewicz

Marta Fik

Abstract

What postulates with regard to theatre are put forth by the dramaturgy of an author regarded as a nihilist and an antichrist of culture? The dramatic works and theoretical statements of Tadeusz Różewicz challenge all theatre conventions, targeting fashions, snobberies, and habits. At the same time, they consistently attempt to develop an aesthetic that best reflects the characteristics of the contemporary world. The negation of the dominant modes of constructing protagonists or action in drama not only reflects the chaos and disintegration of the surrounding reality, but also brings attempts at creating new model situations in which Man and Humankind have found themselves. Różewicz’s new protagonists – ageless, faceless, nameless, unindividualized and mechanized – influence the character of the action or lack of action in his dramas. The “openness” of the internal composition has varying degrees, and the “looseness” of the construction does not imply randomness or arbitrariness. Różewicz is consistent in exposing stereotypes at the word, sentence, and dialogue levels, while at the same time images created in stage directions occupy an increasing amount of space in his texts. Due to his lack of confidence in lengthy dialogues, his drama annexes extra-verbal territories. The freedom that Różewicz leaves to the producers is therefore highly limited.