It was a minor episode. It originated in my former links with the Students’ and Ateneum theatres and in my friendship with Wojtek and Xymena. Television was less bureaucratic and employed fewer people and more friends. I worked with Hanuszkiewicz, Rene, Markuszewski, Siemion, Holoubek, Czyzewska, Lipinska, Lomnicki, Lapicki, Slaska, Cybulski, Krasnowiecki, Swiderski, Mikolajska, Kucowna, Kowalczyk, Opalinski, Wilhelmi, Czechowicz, Stankowna, Wyrzykowski, Karewicz, Bilewski, Zapasiewicz and many other people whose gestures, voices and eyes will always mean to me the essence of the theatre.

Happy ignorance added to my resoluteness, and experimenting and improvisation were approved of by stage directors.

Newly “discovered” Babel, the rigid Faulkner-Camus duo in “Requiem For a Nun” and the medieval monk and lover Abelard,
so human and varied in their looks, transferred on to the stage from literature, were a valuable professional experience of use later on elsewhere and enabled me to watch the border line between words and pictures and understand the links between them.

The Catalogue, Zacheta, 1976