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240 Czêœæ druga: Przestrzeñ dramatyczna a przestrzeñ teatralnaChrystusa). Makbet — jako samobójcza ofiara obcego z³a, jakie przejê³o nadnim w³adzê. Hamlet, odnalaz³szy niespodziewane pok³ady z³a w sobie samym,zaczyna obsesyjnie szukaæ go w innych. Bohaterowie Oczyszczonychtrafiaj¹ na scenê po to, by poznaæ prawdziwe, pora¿aj¹ce okrucieñstwemoblicze mi³oœci, by poznaæ w¹sk¹ granicê miêdzy bia³ym i czarnym.Na w¹skiej kresce tej granicy stoi ca³y gmach ludzkiego œwiata, który raz zarazem wznosi w swym teatrze Krzysztof Warlikowski. Gmach zarazem piêknyi przera¿aj¹cy, znajomy i niepojêty, siêgaj¹cy od „tu i teraz” do „zawszei wszêdzie”. S³owem — w³aœnie taki, jak teatralna przestrzeñ, któr¹ sob¹wype³nia.Ma³gorzata Jarmu³owiczSpaces of the evil in the theatreby Krzysztof WarlikowskiSummaryThe article provides an analysis of spacious signs by means of which the theatre byKrzysztof Warlikowski articulates the problem of the evil, constituting the key element ofreflections inscribed in his performances. Here, the area of research covers both the adaptationof Greek tragedies as well as Shakespeare’s plays and contemporary authors, suchas Sarah Kane and Bernard-Marie Koltès. Adaptation solutions related to the spaciousshape of these performances, invariably designed by Ma³gorzata Szczêœniak, one and thesame stage designer, the author of the article treats as a representative evidence characteristicof the vision of the world by Warlikowski, i.e. gloomy, deprived of metaphysicalillusions, taken over by brutality and desire to dominate. The determinants of the vision inquestion recurring in his subsequent performances include a peculiar use of the space ofstage and audience. What they impose on the audience constitute emotional co-participationin a scenic world, questioning the borders between reality and theatrical fiction,metaphorisation and semantic space openness, giving a scenic image a dimension of thefigure of a whole universe, ostentatious artificiality and laboratory asseptiveness ofa created world, sophisticated easthetisation struck with brutality, references to deep mythicalstructures and ritualization of a scenic reality, and, finally, updating a staffage used inrelation to classical arts.