Dead Class was successfully performed all over the world. In each new city, as Klaudiusz Święcicki put it, “Every viewer came to the spectacle with his or her own cultural system of significations. Hence the many interpretations of this work.” Since neither language nor historical context was available to international audiences, foreign critics used other strategies to structure their responses to Kantor's elusive masterpiece. Reading those initial reviews is important because they provide a framework for the process of making meaning, the entire epistemological enterprise that eventually came to surround Kantor's work. The foreign critical response to Kantor's work reflects the innate difficulty of finding a critical framework to address its meaning. Critics’ inability to grasp its geographic, historical, artistic or aesthetic meanings underscores the difficulty with which works like Dead Class are classified, taught and shown. Many foreign critics argued that Kantor's work is intrinsically transnational, even though it clearly bears the marks of its Polish origins. As early as 1977, Raymonde Temkine wrote of Dead Class that although “the performance has a trans-national meaning, one can feel an exceptionally strong sense of Polishness running through it.” Jean-Pierre Leonardini suggested: “To argue that The Dead Class is performed in an exclusively Polish cultural context is misguided.” Nella Bielski saw it in the context of European postmodernism.