ABSTRACT
“The dramaturg is in a similar situation to Caliban. Closely watched and difficult to understand.” 1 At first glance a facetious reference to William Shakespeare’s creation, Peter Gruszczyński’s statement made in 2009, which rings with a slight hint of self-irony, still accurately reflects the condition of this profession in our country. Indeed, Poland still lacks a precise definition of the occupation; there is no agreement on the actual scope of competencies of the dramaturg in the theatre. The practice of dramaturgy, although present with us for more than fifteen years, is still often seen as new and, above all, due to cultural mediation, as foreign to our soil, a transplant from the theatrical practice of the German-speaking world.
