The aim of this article is to try to interpret the meaning of boredom in Tadeusz Kantor’s theatre. I analyse fragments of three performances that were key to his artistic development: The Return of Odysseus (1944), as well as The Madman and the Nun (1963) and The Dead Class (1975). By juxtaposing different ways of understanding boredom, in a philosophical and literary perspective, with Kantor’s work, I will examine whether and in what sense we can speak of this phenomenon in relation to his theatre. Finally, I will try to show why Bruno Schulz’s ideas may help us to uncover the potential significance of Kantor’s „pulp of reality”.
