The turpism of the two productions consists in a double deprecation of aesthetic ideals: that linked with Bardolatry, on the one hand, and with Hollywood cinematic norms of beauty, on the other. Both directors (not that they are the first ones) appear to contest such soap opera, shall we say, standards with different agendas behind them, though: Jarman – with his alternative, low-budget cinema and gay culture, Warlikowski – with his search for a new theatre, in which the spectator's experience would rather be repulsive and disturbing than exhilarating and pleasurable one and an attempt to debunk Shakespeare as both theatrical and cultural icon. Of course, it is rather difficult to claim that both directors followed the ideas developed by turpist poets and critics of the movement, especially in the 1950s and 1960s Poland, yet one discovers many parallels between the Polish turpists and the approach to the aesthetic condition of both the fictitious world and the forms of art found in Derek Jarman's film The Tempest (1979) and Warlikowski's theatrical production, Burza (2003). Naturally, before a detailed analysis of the parallels can be carried out I will first attempt to delineate the major features of the phenomenon called in Polish “turpizm” (I will use the anglicised spelling, “turpism”).