Wojna w trzech obrazach. O polskich premierach „Skóry węża” Slobodana Šnajdera, „Sytuacji rodzinnych” Biljany Srbljanović i „Beczki prochu” Dejana Dukovskiego

Abstract

The article concerns the following theatrical plays: Powder Keg (pol. Beczka prochu), Family Stories (pol. Sytuacje rodzinne) and Snake Skin (pol. Skóra węża) directed by Grażyna Kania, Piotr Łazarkiewicz and Piotr Cieplak, who represent the youngest and the middle generation of polish theatrical directors and in the same time opt for different theatrical poetics varying from a specific kind of brutalism to poetics achieved by a theatrical metaphor of the highest quality. It seems to me, that such a choice will allow me to multiaspectually analyze the theme of Yugoslavian war, which was put under discussion by the Polish theatre with a sense of responsibility and an appropriate timing, taking part in the European discussion about the war.