The task, which the author sets out and performs, starting from such a clearly defined research perspective, is both remarkable and impressive in its momentum and size.
—Performer

Romanska opens up areas of these two productions which have been unavailable.
—New Theatre Quarterly

Richly documented chapters. Through its argumentation and design, the book demonstrates a sophisticated dramaturgical strategy for re-historicizing and recontextualizing theatre and performance events.
—Theatre Journal

This text is a valuable resource for those looking to better understand the complex creativity of Grotowski and Kantor within their Polish historical, social, and literary context.
—Pol-Intel.org

The book demonstrates how both productions were deeply political responses to that “taboo subject.” Romanska painstakingly works to decode [it]. An invaluable resource.
—Theatre Annual A Journal of Performance Studies

“[A] valuable resource for those looking to better understand the complex creativity of Grotowski and Kantor within their Polish historical, social, and literary context. […] It is not only a rich explanation of these dramatists, but also serves as an engaging overview of the Polish literary tradition.” —Alena Aniskiewicz, “Pol-Int.org”

“[Romanska’s] richly documented chapters interweave primary sources, critical commentary, and contemporary theory (for example, Adorno, Agamben, Bettelheim, Améry) on each topic. […] Through its argumentation and design, the book demonstrates a sophisticated dramaturgical strategy for re-historicizing and recontextualizing theatre and performance events […] The book also introduces English-language students to a significant national literature and encourages them to undertake equally rigorous, culturally specific readings in their fields of interest.” —Mary Karen Dahl, “Theatre Journal”

“Non-Polish-speaking scholars of Grotowski and Kantor will be grateful for Romanska’s work. She opens up areas of these two productions which have been unavailable; trauma and Holocaust survivors will be glad to be made aware of them; and Romanska indicates the direction for further analysis in this area.” —Alison Jeffers and Brian Schutis, “New Theatre Quarterly”

“A brilliant cross-disciplinary comparative analysis that joins a new path in theatre studies, revitalizing the artistic heritage of two great twentieth-century masters: Tadeusz Kantor and Jerzy Grotowski.” —Professor Antonio Attisani, Department of Humanities, University of Turin

“Among the landmarks of postwar avant-garde theatre, two Polish works stand out: Grotowski’s ‘Akropolis’ and Kantor’s ‘Dead Class.’ Magda Romanska scrupulously corrects misconceptions about these crucial works, bringing to light linguistic elements ignored by Anglophone critics and an intense engagement with the Holocaust very often overlooked by their Polish counterparts. This is vital and magnificently researched theatre scholarship, at once alert to history and to formal experiment. Romanska makes two pieces readers may think they know newly and urgently legible.” —Martin Harries, author of “Forgetting Lot’s Wife: On Destructive Spectatorship,” University of California, Irvine

“As someone who teaches and researches in the areas of Polish film and theatre – and European theatre/theatre practice/translation more broadly – I was riveted by the book. I couldn’t put it down. There is no such extensive comparative study of the work of the two practitioners that offers a sustained and convincing argument for this. The book is ‘leading edge.’ Romanska has the linguistic and critical skills to develop the arguments in question and the political contexts are in general traced at an extremely sophisticated level. This is what lends the writing its dynamism.” —Dr Teresa Murjas, Director of Postgraduate Research, Department of Film, Theatre and Television, University of Reading

“This is a lucidly and even beautifully written book that convincingly argues for a historically and culturally contextualized understanding of Grotowski’s and Kantor’s performances. It should be required reading in any introduction to performance and theater studies course. I am convinced that this will not only be the book on each of the two directors but also and especially the only one that manages to develop a framework allowing a discussion of both men and their performances together. In other words, this will be the book on the subject the author set out to explore. It’s very rare that one can say that about any book!” —Dr Anne Rothe, Department of Classical and Modern Languages, Literatures, and Cultures, Wayne State University

“In this authoritative study of two masterworks of twentieth-century theatre, Magda Romanska does more than offer astute close readings. Prying open the suffocating embrace of universalism in which Grotowski and Kantor have long been held, she restores their literary, historical, national, and aesthetic contexts. Thanks to her, two of the world’s the most influential, important and celebrated theatre artists will no longer also be among the least understood.” —Professor Alisa Solomon, Director, Arts and Culture MA Program, Graduate School of Journalism, Columbia University

“Every page speaks volumes to the breadth of Romanska’s readings and the number of sources she has used to bring both works into their multiple contexts. From the perspective of its potential use as course material, the in-depth exploration of some of the links that have been missing in Western criticism and scholarship is particularly valuable.” —Professor Tamara Trojanowska, Department of Slavic Languages and Literature, University of Toronto

‘This volume unpacks the multiple layers of meaning in two of the most acclaimed theatre productions of the twentieth century, Grotowski’s ‘Akropolis’ and Kantor’s ‘Dead Class’. Romanska reclaims both the Polishness and the Jewishness of Grotowski’s and Kantor’s chefs-d’oeuvres… and untangles the strands of meaning in their work in a most impressive way, thus helping us to fully understand their achievement.’ —from the Foreword by Kathleen Cioffi