The Anti-Violence Revolution in Polish Theatre: Between Defending the Status Quo and Burning Stakes/Call-Out

Abstract

This article aims at a sociological reflection on the issue of violence in Polish theatre, widely discussed in the media in recent years. The author attempts to answer the question of the causes of this phenomenon. The anti-violence revolution has sparked diverse opinions. Some participants in the social world of theatre express satisfaction with the youth’s rebellion against unethical practices in this universe, while others believe that violence is inherent in the sphere of activity, in which actors and other employees of theatre institutions serve the art and must submit to their superiors. Among those who desire change in this area of human behaviour, many are sceptical, fearing the restriction of the creative freedom of creators of artistic phenomena. In their view, the existing status quo cannot be “defended,” and theatre as a workplace should not be associated with trauma and the objectification of artists. However, they also reject the other extreme, which they describe as a “witch hunt.” In this world, it is impossible to eliminate the dominance of directors, nor can we go to the extreme of eliminating all criticism in teaching and in the creative process.