For persons of the twentieth century a journey becomes one of the most important spiritual experiences, the achievement of self-knowledge. The same holds true for the man of the theatre. The author compares two experiences of 'the travelling theatre': the Reduta Theatre ('The Itinerant Reduta') of the 1920s and the 'Gardzienice' Theatre Association more than fifty years later. The journeys made by the Reduta Theatre along the Eastern Borderlands were conceived as a large-scale undertaking, but lacked extensive descriptions: their most interesting testimony are letters written by Bronislaw Nycz, a student of Polish philology, to his fiancee. On the other hand, the rural wanderings of Staniewski's group were from the very onset carried out in the company of researchers: Osinski, Kolankiewicz, Morawiec, Pawluczuk, Burzynski, Guszpit..., who discovered not only Bakhtinean inspiration but also the notion of ensemble work, pursued at the Reduta Theatre. The expeditions themselves became something more than mere 'wandering': a way of life, a process of submerging oneself in reality, a return to the sources and literal qualities, achieved via the theatre and outside its range.
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