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NEW DRAMATURGIES
Multilingual
Dramaturgies
Towards New European Theatre
Kasia Lech
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New Dramaturgies
Series Editors
Cathy Turner, Drama Department, University of Exeter Drama
Department, Exeter, UK
Synne K. Behrndt, Department of Performing Arts, Valhallavägen 189,
Stockholm University of the Arts, 115 53, Stockholm, Sweden
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This series explores new dramaturgies within contemporary performance
practice and deploys dramaturgical thinking as a productive analytical and
practical approach to both performance analysis and performance-making.
Designed to inspire students, scholars and practitioners, the series extends
the understanding of the complex contexts of dramaturgy and embraces
its diversity and scope.
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Kasia Lech
Multilingual
Dramaturgies
Towards New European Theatre
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Dla Zolika, kocham Ci˛e jak stad
˛ do Neptuna i z powrotem
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Praise for Multilingual
Dramaturgies
“A brilliant book on the practices and politics of making multilingual
theatre in a in a European continent in flux where language is anything
but stable. Kasia Lech shows the complex ways in which theatre has
served as the site for navigating ethical questions in relation to difference,
colonialism, displacement, memory, and ableism. Drawing on insightful
interviews with theatre makers,and analysing an impressive range of
productions, Multilingual Dramaturgies provides a bold examination of
how language operates in theatre, the relationship to funding and what
the deployment of diverse media means for the process of making and
engaging with work across different cultural contexts.”
—Professor Maria Delgado, Royal Central School of Speech and Drama,
University of London
“Kasia Lech’s brilliant intervention into the relationship between theatre
and language fills the gap in our understanding of multilingualism and
its potential for post-national identity formation, and the pivotal role
that theatre might play in the process. Blending critical theory with close
reading and dramaturgical analysis of specific works and artists, together
with the insightful interviews, she provides much-needed framing of
multilingual theatre as essential to understanding the processes of both
globalization and digitalization of our lives.”
—Professor Magda Romanska, Emerson College, Boston, Mahindra
Humanities Center, Harvard University
vii
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viii
PRAISE FOR MULTILINGUAL DRAMATURGIES
“Kasia Lech’s Multilingual Dramaturgies represents an urgent intervention into Theatre Studies, exploring how European theatre performs,
understands, and re-imagines difference. Enriched by the presence of
detailed interviews with professional practitioners, the book is also a
sensitive and politically engaged exploration of what it means to make
and receive performances in multi-lingual contexts. This combination of
theory with practice makes this study profoundly impactful for our understanding of dramaturgy, translation, collaboration, and the role of the
theatrical spectator. At a time of growing fragmentation and polarization,
Lech’s work points us towards new forms of European theatre—but also
identifies new ways of living ethically in the world, for theatre-makers,
audiences, and citizens everywhere.”
—Professor Patrick Lonergan, University of Galway
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Contents
1
Przedmowa/Preface
References
1
7
2
Wst˛ep/Introduction
The Book and Its Premise
What Has Been Written Before?
The Structure of the Book
Methods
References
9
9
14
17
18
24
3
Multilingual Web: On Europe, Its Languages,
and Performances of Difference
Understanding Languages in Multilingual Contexts
How Do Languages Shape Realities?
How Do Languages Create Myths About Other Languages?
How Does Multilingualism Make and ‘Do’ Difference?
Languages in Contemporary Europe and Its Theatres
On Monolingualism and Standard Languages in Europe
and Its Theatres
On Intelligibility and Translatability as Modes
for Engagement in a Monolingual Paradigm
English Language as the Global ‘standard’ Language
Linguistic Other
27
30
30
34
36
47
49
57
59
61
ix
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x
CONTENTS
Crisis of Politics and the Need for New Social
and Political Imaginations
Theatre, Change, and New Imagination
Multilingual Theatre in Contemporary Europe
Contemporary Performances of Europe’s Pasts
Global Influences
People Across Borders
Multilingual Activism
Mainstream Institutions
Shaping Futures
Multilingual Dramaturgies
Notes
References
4
Questions of Language
The Failures of Multilingual Dramaturgies: The Blind Poet
by Needcompany
Wst˛ep/Introduction
Interview with Jan Lauwers, Grace Ellen Barkey,
and Elke Janssens
Multisensory, Multilingual Dramaturgy as a Tool for Social
Change: Nie Mów Nikomu ( Don’t Tell Anyone) by Scena
Robocza
Wst˛ep/Introduction
Interview with Adam Ziajski
Dramaturgy of Incomprehensibility and Encounter in Odin
Teatret’s The Tree
Wst˛ep/Introduction
Interview with Eugenio Barba, Thomas Bredsdorff,
and Julia Varley (Odin Teatret)
Multilingual Displacement and Belongings: Caroline
Guiela Nguyen’s Saigon
Wst˛ep/Introduction
Interview with Caroline Guiela Nguyen
Questions of Language: Podsumowanie/Summary
References
63
65
68
68
69
71
73
75
76
77
81
82
95
97
97
101
108
108
111
117
117
121
127
127
131
136
138
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CONTENTS
5
6
Multilingual Adaptations
Multilingual Histories of Europe: Sir David Pountney
on The Passenger and Memories of Oświ˛ecim/
/
Auschwitz
Wst˛ep/Introduction
Interview with Sir David Pountney
Multilingualism as Mask and Virus: The Dialogue
with Tradition in the Theatre of Radosław Rychcik
Wst˛ep/Introduction
Interview with Radosław Rychcik
Actors as Creators of Multilingual Dramaturgies: Paula
Rodríguez and Her Collaborative and Transnational
Adaptations
Wst˛ep/Introduction
Interview with Paula Rodríguez
Multilingual Adaptations: Podsumowanie/Summary
References
Local and Translocal Multilingual Tales of Cities
and Their Communities
Dramaturging the Multilingual Community: Dramaturg
Nina Thunnissen on the Work of Frisian Tryater
Wst˛ep/Introduction
Interview with Nina Thunnissen
Multilingualism and Dramaturgy of History
and Democracy: Lietuvos nacionalinis dramos
teatras’s Žalia pievelė
Wst˛ep/Introduction
Interview with Kristina Werner
Local and Global Politics in Malmö/
/Malme’s Teater
Foratt and Teater JaLaDa
Wst˛ep/Introduction
Interview with Niclas Turesson and Vanja Hamidi Isacson
Local and Translocal Multilingual Tales: Podsumowanie/
Summary
Notes
References
xi
141
142
142
144
152
152
155
162
162
164
172
175
177
179
179
181
187
187
189
198
198
201
209
212
213
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xii
CONTENTS
7
Multi-webbed Dramaturgies
Towards Porous Europe: Multilingual Dramaturgies
in Rimini Protokoll’s 100% City
Wst˛ep/Introduction
Interview with Helgard Haug
Towards Aesthetics of Transatlantic Theatre:
Multilingualism in SignDance Collective International’s
production of Carthage/Cartagena by Caridad Svich
Wst˛ep/Introduction
Interview with Caridad Svich, Isolte Ávila, Pedro de
Senna, and Angelina Schwammerlin
Making Europe: How Anne Bérélowitch’s Directorial
and Training Practices Open Spaces for New Multilingual
Dramaturgies
Wst˛ep/Introduction
Interview with Anne Bérélowitch
Multi-webbed Dramaturgies: Podsumowanie/Summary
Notes
References
215
216
216
218
227
227
230
242
242
243
253
255
255
I co teraz? Towards New European Theatre
257
Index
269
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Abbreviations
ECRML
EU
European Charter for Regional or Minority Languages
European Union
xiii
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List of Figures
Fig. 3.1
Fig. 3.2
Fig. 3.3
Vertical différance and meaning-making
in a single-language-situation
Vertical and horizontal différance in a multilingual situation
Vertical, horizontal, and webbed différance in a multilingual
meaning-making
42
43
44
xv
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CHAPTER 1
Przedmowa/Preface
It is summer 2003. I am in Greece, in Oλυμπία/Olympia, together
with my year group from Wrocław’s Państwowa Wyższa Szkoła Teatralna
(today AST National Academy of Theatre Arts). We have just finished our
third year of acting training (specialization puppetry), and we get to show
our exam—two versions of Plautus’ Asinaria prepared under the supervision of Professor Mirosław Kocur—at a drama school festival at Aνoικτó
Θšατρo Φλóκα (the Floka Amphitheatre). We spend long and warm days
in Greece visiting the birth sites of European culture, and rehearsing to
incorporate Greek musicians, and Greek and English languages, into our
piece. We view shows in different languages. Evenings are for encounters
with students from other, predominantly European, countries. There is
no lingua franca, as we do not share one tongue. We can only interact
with one another by mixing different languages, sometimes within one
sentence. We also rely on non-verbal signs such as body movement, intonation, and similarities of words in different tongues. Many new words
are created during these evenings and nights.
I do not know then that our interactions through multiple languages,
as systemic means of communication, are called multilingualism. I do
not know that our switching between and mixing different linguistic
systems is called codeswitching. And I do not know that, as we try
to negotiate senses in these conversations and between languages, we
are translanguaging. What I do know is, that what we are doing is
1
K. Lech, Multilingual Dramaturgies, New Dramaturgies,
https://doi.org/10.1007/978-3-031-40624-9_1
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2
K. LECH
exhilarating and so much fun. As we celebrate our love for theatre,
we imagine its futures and our futures in theatre. These imaginings are
connected to theatre’s ancient traditions (through Oλυμπία/Olympia)
and to our respective and different geographical, cultural, and theatrical
teraźniejszości (a Polish word denoting ‘present’ in plural). Our collective
and varying ‘neo-Europeannesses’ are at these moments in Oλυμπία/
Olympia multilingual, transtemporal, multifocal, open to each other’s
differences, and filled with hope.
A year later, Poland joins the European Union, and excitement spreads
across the country. At the drama school, we premiere our diploma
show Masakra (Massacre). Devised and performed in Czech, Slovak, and
Polish, it is our school’s collaboration with Divadelní fakulta Akademie
múzických umění (Academy of Performing Arts) in Praha/Praga/Prague,
and Akademia Muzyczna (Music Academy) in Wrocław/Breslau/‫יולסערב‬.
Masakra is the graduate show for our dramaturg Lukáš Trpišovský
(Czechia), director Martin Kukučka (Slovakia), and composer Krzysztof
Figurski (Poland). A year later, I am living in Dublin/Baile Átha Cliath.
Together with migrants from all over the world, I work at a restaurant
in the iconic Temple Bar area where Irish language on pubs’ signboards
mixes with voices and languages of tourists and migrant workers. “You are
not Irish/ where are you from?” become sentences I hear all the time. At
the restaurant, my name is changed to Kate/Katie as Kasia is claimed too
difficult to pronounce.
At the same time, my appreciation for communication across languages
is growing, even more so, as the Englishes I am surrounded by come in
various accents, often mixed with other languages to fill the gaps in vocabulary. Some of those Englishes I cannot understand at first, especially
those that come from native English-language speakers. For example,
North Dublin accent or Kerry accent is initially impossible to follow. I
also struggle with languages spoken by English tourists, especially those
coming from London. But I need to take the orders quickly, so I learn
to make sense between the words and from contexts. Once, a group of
French tourists sends me a postcard back from France to celebrate my
efforts to speak French and offering a “tarte de terre” (cake made of soil)
as a dessert instead of a “tarte aux pommes” (apple cake). My mistake—
for those not speaking French—came from confusing the word potatoes
which in French are “pommes de terre” (apples of soil).
Soon, I start performing and dramaturging theatre works in Polish,
Irish, Slovak, English, Lithuanian, and French—sometimes intertwined
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1
PRZEDMOWA/PREFACE
3
within one production—as part of Polish Theatre Ireland. We are
creating, as described by Cathy Leeney, “an aesthetic of interculturalism”
that is “constantly in flux, reforming to reflect history, whether environmental, economic or political, in human terms” (Leeney 539–540). As my
practical engagement with multilingualism unlocks my understanding of
verse in theatre—which my doctoral dissertation is about—I start examining mixing languages in performance from a scholarly perspective, both
through my practice and examination of works by others. At the end of
my PhD, I find courage to reclaim my name as Kasia, but Kate and Katie
remain as part of my identity. I wrote this book living in the UK—making
final changes in the Netherlands—with fluent knowledge of Polish and
English and basic knowledge of French, German, and Spanish.
I start with this reflection on my capabilities concerning languages
to follow Judith Butler’s calls and “to give an account” of my relation to complex and intertwining social, political, and linguistic contexts
(Butler 136). This preface highlights my linguistic, scholarly, and artistic
(in)competencies in relation to multilingual theatre, and socio-political
views on languages in Europe and its theatres. I say (in)competence
because contexts which intertwine various languages—some of which one
understands more than others—are a reminder that regardless of one’s
distance or critical lens, there is always a focal point in our gaze, and our
ears are tuned to specific frequencies. And awareness thereof is crucial
in multilingual contexts to allow more nuanced and ethical connections
with others and their languages. Situations with many languages emphasize what one understands and what one does not understand, especially
if people involved speak different tongues. For example, when someone
tells a joke in a language one does not understand, but some people
around do and laugh, one is faced with one’s linguistic incompetence,
which potentially evokes feelings of frustration and powerlessness. Yet, as
Alison Phipps argues, these emotions are important in forming ethical
connections (340). In most basic terms, their presence arises from difficulties in making-sense processes. At the same time, they are a reminder
of these processes, increasing one’s awareness of how one ‘makes sense’
and, in turn, making it more difficult to form assumptions about others.
I acknowledge my perspective in this book is influenced by my Polish
upbringing, Polish-speaking, and Polish-theatre training in a national
conservatoire in Polish language, as well as my experiences of life and
theatre in Ireland and the UK. They underpin my critical voice, framing
it by simultaneous privilege and marginalization. I am a citizen of
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4
K. LECH
the European Union (EU)—a union of 27 European countries—and I
can legally live and work anywhere within the EU borders and move
freely through its territory, mostly without any border checks. Europe’s
theatres have often reinforced and reproduced to what scholars describe
as Europe’s own White self-imaginary, self-perceived, and self-performed
idea of Europe’s superiority over other histories and cultures (Balibar
219; Lowe). Only recently, theatre artists and institutions have started
acknowledging Europe’s colonial history, and how it empowered some
of its theatre. For example, William Shakespeare’s global popularity is
interconnected with English colonialism (e.g. Bates). I was trained and
have practised within theatre institutions and systems that have this selfimagined whiteness, superiority, and leadership of ‘European culture’
ingrained. And I need to keep my interest in European theatre constantly
in-check, so I do not lose sight of the potential hierarchies.
I am a White European, but, as powerfully stated by Ivan Kalmar,
“white privilege is not given to all white people in equal measure”
(1). Neither are the EU citizenships equal. In recent years, researchers
have started acknowledging racism against people from Eastern parts
of Europe and their marginalized position within the European continent and the EU, which is magnified in a situation of East-to-West
migration within Europe (e.g. Lewicki; Kalmar).1 Indeed, I had experienced that working in the UK during the Brexit decade, as my migrant
and ‘Eastern European’ identity was increasingly stigmatized and racialized, with Polishness, in particular, becoming the focus of growingly
xenophobic public discourses (Lech, “Acting” 42, 48; Lech, “Claiming”
215–16). On numerous occasions in public spaces and within academic
institutions, I had my accent ‘corrected’—sometimes in public and in
front of students—and my superiors asked me not to use Polish examples in my teaching (as irrelevant for the UK students). On numerous
occasions, strangers stopped me and asked (politely) not to speak Polish
to my son. I was initially refused a C-section in the UK, requested by my
Polish eye doctor, based on Polish medical science being ‘backward’.
Multilingual Dramaturgies arises from all these personal, practical, and
scholarly experiences of what it means to make multilingual theatre in
Europe. It presents multilingual dramaturgies, above all, as creative practices and political activities of representing difference. Recognizing that
one is never neutral or positioned in a centre in multilingual contexts,
the book resists the urge to offer one uniform perspective on multilingual dramaturgies. The plural use of dramaturgy in the title emphasizes
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1
PRZEDMOWA/PREFACE
5
this resistance. Instead, the book seeks a balanced perspective by highlighting differences and multivocality, featuring extensive interviews with
practitioners.
The connection between my choice of method and the book’s
preoccupation with difference and multivocality relates to my political
position on multilingualism in European theatres. Underlying Multilingual Dramaturgies is my deep political conviction that these theatre
practices—which reflect cultural, political, and economic diversities of
contemporary Europe, its inhabitants, and theatres—have a central role
to play in European futures. The book is my “akt myślenia nadziej˛a, (…)
jako pal˛ac˛a potrzeb˛e współczesnej humanistyki i jako etyczny obowi˛azek
każdego z nas” (“act of thinking through hope (…) as a burning
need of contemporary humanities and ethical obligation for each of
us”) (Iwanczewska). To paraphrase Łucja Iwanczewska (Iwanczewska),
I choose to imagine a Europe that ends well. For me, this means the
continent, its countries, and its communities seeing difference as the core
characteristic of themselves, their cultures and stories. This includes the
European Union (EU).
The EU has—through its common decision-making body, treaties,
laws, policies, and funding—a supranational impact on life in Europe,
and its cultural and theatre landscapes, on how multilingualism is defined
and performed by theatres, and on the reality of multilingual theatremaking in Europe. I discuss this in depth in Rozdział/Chapter 3, and
the interviews illustrate it through multiple examples. I want to see an
EU that ends well, embracing its democratic and peaceful potential. The
EU grew out of the trauma of World War II, and a desperate hope that
it is possible to avoid similar events and genocide based on ethnic and
cultural differences. But this hope has not been given to all countries
at the same time. Europe remained divided by the ‘Iron Curtain’—with
Central and Eastern European countries isolated under Soviet rule—that
emerged from World War II until the fall of communism between 1989
and 1991. When eight Central and Eastern European countries (with
Malta and Cyprus) joined the EU in 2004, it was the symbolic end of
the World War II ordeal and Soviet rule for these—but not all—countries.
For Poland, 2004 was the end of national trauma that started even
before World War II, with Europe divided after the Napoleonic era,
and within this Poland, already divided between Russia, Prussia (later
Germany), and Austria after 1772. For me, it meant freedom unknown
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6
K. LECH
to my parents, grandparents, and great-grandparents. My maternal greatgrandparents did not know their spouse survived World War II until the
late 1970s, even though they lived approximately 700 km away. But this
was an impossible distance as they were at the two sides of the Iron
Wall: Western Germany and Poland. As an EU citizen, I can travel this
distance—from Szczecin/Stettin to München/Monachium/Munich—in
just over seven hours without carrying an ID.
This imagining of a Europe that ends well—with all its socio-political
potential—must happen, I believe, through multiple voices that reflect
the diversity of Europe and its languages. Thus, this book also happens
through a dialogue with diverse practitioners whose different backgrounds and experiences correspond with heterogeneity within European
theatres, translating to their different practices.
Furthermore, while the book is written with scholars and practitioners
in mind, it is above all—for pedagogical and political reasons—aimed
at the new generation of theatre-makers. Because, as this book argues,
multilingualism in theatre is first and foremost about performing and
engaging with difference. Europe—as a geopolitical space—is diversifying with unprecedented speed, meaning the question of differences
and multiplicity will be particularly urgent within theatre-making of the
future(s), making the creative processes—which are already often an accumulation of multiple-multi-things—even more complex. But engaging
with difference and responding to change is also a transferable skill. As
a pedagogue, I am preparing students to work within landscapes that are
rapidly changing, for theatre that—in many ways—does not exist yet. I
support them in developing a flexible and imaginative approach to their
set of skills that enables them to respond to different professional and
socio-political contexts in which they may find themselves, nourishing
their courage to make and shape future theatrical landscapes. This book
wants to facilitate new generations’ reflection on, and dialogues with,
differences as well as feeding their imagination.
Multilingual Dramaturgies is designed to facilitate dialogues, but it is
also based on dialogues: interviews, written and spoken critical conversation, and everyday exchanges that inspire me. The interviews are visible
throughout this book; I wish to highlight other dialogues here. Thank
you to the unnamed peer reviewer for their detailed response to the first
draft that gave me steps to push my arguments further; to the series
editor Synne Behrndt and Cathy Turner for empowering critique and
patience; Philip Hager for insightful arguments and feedback; Marissia
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1
PRZEDMOWA/PREFACE
7
Fragkou for always listening and showing me new avenues; Cathy Leeney,
Catríona Clutterbuck, Magda Romanska, and Yana Meerzon for eternal
inspirations; Kene Igweonu for pushing my academic courage and confidence in my voice, perspectives, and in the soundscapes and landscapes
of my English; and Mirosław Kocur for teaching me to play and allowing
me back into the class when I almost gave up. Thank you to Lauren
Dubowski and Louis Deslis for sharing their linguistic repertoire with me
with so much patience and generosity. I am also grateful for support from
and conversations with Ahmed Mourad Khanfir, Alberto Ramos, Audrey
McNamara, Bartek Lech, Carlos Hoyos, Claire French, Danaja Wass,
Duška Radosavljević, Ewa Bal, Eamonn Jordan, Janet Morgan, Lisa Fitzpatrick, Margherita Laera, Maria Delgado, Maria Varvarigou, Marianne
Ní Chinnéide, Matt Wright, Monika Kwaśniewska, Nastazja Domaradzka,
Paul Allain, Paul Belmonte, Robert Rawson, Susanne Colleary, Szymon
Wróblewski, Vanessa Hutchinson, Translation Adaptation Dramaturgy
Working Group at the International Federation for Theatre Research, and
the new colleagues at the University of Amsterdam. Finally, dzi˛ekuj˛e/
thank you to my hero grandmother Babcia Lonia, and to Keith and
Zola who were counting days in Polish and English—with North Dublin
accents which I learned to understand—until I finished the book.
Note
1. For more see: Journal of Ethnic and Migration Studies special issue
on Race, Racialization, and the East of the European Union, edited
by Ivan Kalmar and Aleksandra Lewicki, 2023.
References
Balibar, Étienne. We, the People of Europe?: Reflections on Transnational Citizenship. Princeton University Press, 2009.
Bates, Robin. Shakespeare and the Cultural Colonization of Ireland. Routledge,
2008.
Butler, Judith. Giving an Account of Oneself . Fordham University Press, 2005.
Kalmar, Ivan. “Race, Racialisation, and the East of the European Union: An
Introduction.” Journal of Ethnic and Migration Studies. Special Issue: Race,
Racialization, and the East of the European Union, January 2023, pp. 1–16,
https://doi.org/10.1080/1369183X.2022.2154909.
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8
K. LECH
Lech, Kasia. “Acting as the Act of Translation: Domesticating and Foreignising
Strategies as Part of the Actor’s Performance in the Irish-Polish Production of
Bubble Revolution.” Dramaturgy of Migration: Staging Multilingual Encounters in Contemporary Theatre, edited by Yana Meerzon and Katharina Pewny,
Routledge, 2019, https://doi.org/10.4324/9781351270267-5.
———. “Claiming Their Voice: Foreign Memories on the Post-Brexit Stage.”
Migration and Stereotypes in Performance and Culture, edited by Yana
Meerzon et al., Springer International Publishing, 2020, pp. 215–34, https://
doi.org/10.1007/978-3-030-39915-3_12.
Leeney, Cathy. “The Palgrave Handbook of Contemporary Irish Theatre and
Performance.” The Palgrave Handbook of Contemporary Irish Theatre and
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