ABSTRACT
This chapter considers tries to introduce new concepts of theatre that are always seen as opposing both historical trends and what Tadeusz Kantor saw as the status quo in Polish culture. It is true that Kantor's behaviour in rehearsals often paralleled the frustration he expresses in his writings. In fact one of the reasons why Kantor's productions were able to speak to so many audiences that did not understand Polish was because the visual clarity of the works conveyed much of their essential meanings. The Country House was the performance, in the tradition of art informel, where he put the performers into a wardrobe in which they played for half an hour jammed together, talking what Kantor described as 'nonsense'. The piece is described by Michal Kobialka as marking a shift in Kantor's work and also as redefining the notions of memory and myth or history.
