This thesis provides critical analysis of Krakow Opera corps de ballet’s position as well as an attempt to present an alternative view of a new repertoire line that would reflect to a greater extent the role of dance. Corps de ballet of Krakow Opera and its repertoire have been treated in the context of Polish ballet groups acting alongside operas and contemporary dance groups such as Polish Dance Theatre from Poznań. It is worth mentioning that so-called dance theater has recently enjoyed an exceptional popularity in Europe that becomes increasingly influential in Polish art. Nevertheless, Krakow mainstream dance offer remains quite poor and inadequate to public expectation, especially when compared with a vigorous amateur and semi-professional movement. Krakow Opera could benefit from such a “gap” in the local cultural market as well as contribute, with its prestige, to popularization of contemporary dance in Poland.
Thus, one of the modification strategies for Krakow Opera could be an intensification of dance repertoire preceded by dissolution of the corps de ballet and international audition. It would aim at acquiring best dancers and creating a team able to perform both classic, modern and contemporary repertoire. Besides ballet fairy tales, the Opera audience should be given a chance to see achievements of polish choreographers, classic canon and spectacles reflecting current trends.

This thesis provides critical analysis of Krakow Opera corps de ballet’s position as well as an attempt to present an alternative view of a new repertoire line that would reflect to a greater extent the role of dance. Corps de ballet of Krakow Opera and its repertoire have been treated in the context of Polish ballet groups acting alongside operas and contemporary dance groups such as Polish Dance Theatre from Poznań. It is worth mentioning that so-called dance theater has recently enjoyed an exceptional popularity in Europe that becomes increasingly influential in Polish art. Nevertheless, Krakow mainstream dance offer remains quite poor and inadequate to public expectation, especially when compared with a vigorous amateur and semi-professional movement. Krakow Opera could benefit from such a “gap” in the local cultural market as well as contribute, with its prestige, to popularization of contemporary dance in Poland.
Thus, one of the modification strategies for Krakow Opera could be an intensification of dance repertoire preceded by dissolution of the corps de ballet and international audition. It would aim at acquiring best dancers and creating a team able to perform both classic, modern and contemporary repertoire. Besides ballet fairy tales, the Opera audience should be given a chance to see achievements of polish choreographers, classic canon and spectacles reflecting current trends.