The Polish director Tadeusz Kantor died in December 1990 at the age of seventy-five. Also a poet and painter, who designed his own work for the stage, Kantor brought to the traumatized and Stalinized post-war Polish theatre a sensibility saturated in the pre-war avant-garde: but he was only able to give theatrical expression to this after 1956, when a marginally more liberal climate allowed him to form his own company. For this company, Cricot-2, Kantor created a sequence of scrupulously orchestrated works in which he was always present, half witness, half auteur – works which were redolent of an apocalypse that had already occurred, yet remained eternally imminent. The Dead Class, Wielopole Wielopole, Let the Artists Die, and, most recently, Today Is My Birthday all toured widely, evoking for their audiences a past at once scrupulously ‘real’ in its physical texture yet macabre in its experiential pain. Kantor's fellow countryman and near-contemporary Jan Kott here evokes the distinctive sources and qualities of memory in Kantor's work. An advisory editor of New Theatre Quarterly and of Theatre Quarterly, Jan Kott has been a frequent contributor to both journals, most recently with a study of ‘The Gender of Rosalind’ in NTQ26, which extended the line of thinking of his seminal study, Shakespeare Our Contemporary.