Rekonfiguracje męskości w najnowszym polskim teatrze
Reconfigurations of masculinity in recent Polish theatre

Summary/Abstract: Based on selected performances (including Autobiografia na wszelki wypadek [Autobiography just in case] by Michał Buszewicz, Woyzeck by Grzegorz Jaremko, Chcieliśmy porozmawiać o męskości, ale zostaliśmy przyjaciółmi [We wanted to talk about masculinity, but we became friends] by the Grupa Performatywna Chłopaki, Bromance by Michał Przybyła and Dominik Więcek, Halka by Anna Smolar and Ojcowie [Fathers] by Błażej Biegasiewicz), the author analyses transformations in the ways of representing masculinities in recent Polish theatre. In her opinion, it has been possible for the past few years to notice both a marked increase in interest in thematising male emotionality, fragility, caring, tenderness or intimacy in Polish theatre and a radicalisation of angry patriarchal masculinity, especially among those who reject the perspectives of institutional criticism or the #metoo movement. In this article, however, the author focuses solely on outlining the historical conditions that constituted patriarchal masculinity with all its qualities and on analysing feminist-formed masculinities in Polish theatre using methodologies developed by feminist theorists (bell hooks and Karla Elliott) and by researchers associated with the field of critical studies of men and masculinities (Michael Kimmel, Raewyn Connell, Jason Wilson, Erik Anderson and Paco Abril).

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