CP: You've just returned from the premiere of The Akropolis Affair in Madrid; priori to that we had Parsifal in Paris, and Medea in Brussels. This year, it was easier to see your plays in foreign countries; harder in Poland. Are you a homeless artist? Do you not care where you work?

KW: This season has been somewhat of an accident. The vast majority of my theater work has taken place in Poland. My work is performed more often in other countries rather than in Warsaw because we don't have anywhere to put on my plays in Warsaw. I was invited to Paris, Brussels, Madrid and elsewhere in order to put on operas. All of these operas were performed in famous places, so it doesn't matter whether I liked the cities or not. I liked working in Warsaw just fine - but then Mariusz Treliński was fired as Director General of the National Opera, the Opera decided to change its' artistic focus, and my cooperation with them came to an end. CP: From your vantage point, working in all of these prestigious European cities, how do you view Warsaw? KW: Warsaw is my home; this is where my work comes into being and this is where their main audience is. The lack of contact with that audience became, at a certain point, very painful. But we're coming back - in July, we're putting on A