ABSTRACT
From Gardzienice’s beginning Staniewski consciously built relationships with theoreticians and critics and openly declared his artistic intentions. Since 1990 he has attempted to redefine the group’s position, moving from a discussion about a ‘new natural environment for theatre’ towards a more general debate about ‘ecology’. He relates ecology to the idea of finding and settling into a home. Yet Staniewski’s desire to describe his group as independent of a social and political context and his desire to control evaluations of the company’s work hinder possibilities of a more thorough reappraisal of their position in post-1989 Poland. More open acknowledgement of Gardzienice’s present situation would reflect current public priorities and encourage impartial analysis of their work.
