What Contemporary Polish Drama Looks Like

Daria Sobik

The state of contemporary Polish drama is evident for all to see. Some argue that its defining characteristics are its interventionist nature and socio-political engagement, while others point to its thematic or linguistic hermeticism. However, it is difficult to summarise the work of Polish playwrights in a single phrase, primarily due to significant generational differences, which result in a linguistic and thematic diversity in their texts. Despite this variety, contemporary drama undoubtedly plays a crucial role in Polish theatre, serving as a significant medium for both social and artistic transformation. Over the past few decades, the Polish theatre scene has undergone a profound transformation, opening doors to new forms of expression, experimental texts and creators tackling weighty issues. Today’s theatre not only stages the classics (often “ecologically” rewriting literary sources) but actively seeks new voices and narratives reflecting contemporary realities. A dominant trend, however, is the creation of dramatic texts tailored to specific performances or commissioned by theatres.

The Evolution of Polish Theatre Since 1989

A significant shift in Polish theatre began in 1989, shaping dramaturgical trends for subsequent decades. This shift was primarily driven by the risks successive generations of playwrights took in their work. It was not a breakthrough or a sudden revolution in the history of Polish theatre but rather the result of an ongoing process of linguistic metamorphosis and a redirection toward contemporary themes. In the early 2000s, plays began to emerge that were characterised by social critique and a bold exploration of social norms. Some of the most notable figures of this period were director-playwright duos, including Monika Strzępka and Paweł Demirski, Jan Klata and Sebastian Majewski, Wiktor Rubin and Jola Janiczak and Weronika Szczawińska and Bartek Frąckowiak. Their works stood out not only for their unprecedented thematic diversity but also for influencing new forms of staging, redefining relationships with the audience and altering collaboration mechanisms within theatre ensembles.

One notable innovation was rethinking the hierarchical structure of theatre production. Figures such as Weronika Szczawińska and, later, director and playwright Agnieszka Jakimiak, played pivotal roles in democratising the creative process, particularly in the context of writing for theatre. In the second decade of the twenty-first century, collective playwriting became increasingly prevalent in Poland. Ensembles of actors, under the careful guidance of dramaturgs, co-created scripts, functioning as collective authors. While this approach fostered diverse perspectives and a personal connection between the ensemble and the text, it often struggled to maintain literary cohesion and clarity of responsibility for the final product. Today, there is a noticeable shift away from this trend, with a new pressing concern emerging in the theatrical community: the ephemerality of contemporary dramaturgy. Modern plays often have a short lifespan, being quickly forgotten after a few performances, and theatres rarely reuse contemporary scripts.

Themes in Contemporary Polish Drama

The themes explored in contemporary Polish drama span a wide network of topics, closely correlated with issues in the socio-economic and political sphere. Memory is one of the most frequently addressed topics, as in   (2016) by Jolanta Janiczak (1982). The theatre continues to examine how history influences the present and collective memory. Subjects like the Holocaust, the communist period (PRL), systemic transformation and Polish-Jewish relations remain vividly present on stage, as in Kilka obcych słów po polsku (2018) by Michał Buszewicz (1986). Discussions about social and political tensions are also prominent, often engaging with current political events as in K. (2017) by Paweł Demirski. These plays address power dynamics, democracy, freedom, human rights and systemic issues such as corruption and social inequality.

Younger generations of Polish playwrights often focus on ecological concerns. Climate change, environmental degradation, and humanity’s responsibility for the planet’s future increasingly find their way into Polish theatre, prompting reflections on humanity’s relationship with nature, as is the case in Wyspa Jadłonomia (2022) by Jan Czapliński (1987). Another prominent theme is the impact of technology on human life, including issues related to addiction to social media, virtual reality and the loss of real interpersonal connections; Wera Makowskx (1998) addresses them in sweet & romantic (2023).

Questions of identity and belonging remain enduring topics of exploration. Contemporary Polish plays frequently delve into individual, national, cultural and gender identities, tackling exclusion, marginalization, and the quest for a place in a rapidly changing world. Relationships and family dynamics also feature heavily, with many texts analysing interpersonal relationships, romantic entanglements and familial or generational crises, as in Tęsknię za domem (2024) by Radosław Maciąg (1991). Communication problems, alienation, loneliness and models of modern family life are frequent topics for both the older and younger generations of playwrights, as demonstrated by Kiedy stopnieje śnieg (2024) by Katarzyna Minkowska and Tomasz Walesiak (both 1992).

International Recognition of Polish Drama

Thanks to its wide variety of styles and themes, contemporary Polish drama continues to gain significance on the international stage. Theatre festivals like the Malta Festival Poznań, Boska Komedia in Kraków and Dialog in Wrocław play a key role in promoting Polish drama abroad by inviting international guests and collaborating with foreign institutions. Translating plays into foreign languages and publishing them in international journals and anthologies are vital steps in popularising Polish drama. Organizations like the Adam Mickiewicz Institute and other Polish cultural institutions support these initiatives through funding and promotion.

Participation in international competitions, winning awards at festivals and staging plays in prestigious theatres such as the Berliner Ensemble, Schaubühne, or Royal Court Theatre in London have boosted the visibility of Polish playwrights such as Anna Wakulik, Jarosław Murawski and Iga Gańczarczyk. These collaborations not only expand the reach of Polish drama but also enrich it with new interpretations and contexts. Despite these successes, challenges remain. Strengthening the international presence of Polish plays could be supported by fostering partnerships between theatres, intensifying promotional efforts and establishing residency programs for playwrights. Such initiatives would help maintain and enhance the global visibility of Polish drama, making it even more recognised and valued worldwide.