For most western theatre people, accustomed to the festival as an institutionalized annual ritual, the notion of a theatre festival as a celebration of true, holiday festivity – as signifying freedom from institutionalized ritual – comes alive more often in the pages of Bakhtin than on the stages of Edinburgh or other ‘festive’ cities. Yet Juliusz Tyszka, surveying no fewer than a hundred and fifty festivals that have sprung up or renewed themselves in his native Poland during the post-Cold War ‘period of transition’, finds that, while their economic success has been surprising in a straitened economy, the social causes which have ensured this success have to do with changed notions of communality and sociality. The festivals signify, he suggests, a rediscovery that joining together in celebration need not be an imposition of church or state, but can be a means of renewal for the national psyche after a long period of suppression. The following article has the quality rather of a heartfelt polemic – and, through lavish illustration, a celebration of the multiplicity of performance styles – than the academic analysis to which NTQ more usually subjects the new theatres of eastern Europe. It is none the less significant as a theatre document for our times.