Poland's Teatr Osmego Dnia – the Theatre of the Eighth Day – has survived for 22 years, with essentially the same personnel since the early seventies, and with a constant commitment to social engagement. The group – which has never included trained actors, because, according to director Lech Raczak, any graduate of a Polish theatre school, ‘cannot act with his whole self’ – was a major voice of protest for the Polish student generation of 1968. Despite constant harassment and frequent arrests, it continues both to inspire and record the work of young oppositional theatres, although in 1985 it was forced to split when six members toured western Europe whilst four others, denied their passports, played in Polish churches. What follows is a collage of two interviews conducted that autumn – in London with Tadeusz Janiszewski, Adam Borowski, and Leszek Sczaniecki, and in Poznan with Lech Raczak and Marcin Keszycki. They discuss the importance of Grotowski for their generation: their working method, based on group improvisation; the function of poetry in physical theatre; their major productions; and the day-to-day survival strategies of a collective dedicated to exploring the expressive and political potential of the actor. The interviews were assembled by Tony Howard, a playwright who also teaches English in the University of Warwick, and who expresses his thanks to the many people who made this feature possible – especially Nick Gardiner, the ‘European’ group's manager, and the translators. Ewa Elandt and Ewa Kraskowska.