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Instruction for Authors

Instruction for Authors of the theatre journal Didaskalia. Gazeta Teatralna

  • Authors can send submissions to the editorial board of Didaskalia. Gazeta Teatralna at
  • By making a submission to the editor, the author accepts the ethical rules applicable at Didaskalia. Gazeta Teatralna .
  • By making a submission, the author accepts the procedure for reviewing academic articles published in Didaskalia. Gazeta Teatralna.
  • The publisher, the Jerzy Grotowski Institute in Wroclaw, does not charge any fees to authors for submission or publishing their papers.
  • The publisher, the Jerzy Grotowski Institute in Wroclaw, does not envisage any royalties for publishing academic papers.
  • The editorial board of Didaskalia. Gazeta Teatralna reserves the right to abbreviate or otherwise modify the papers being published.

Requirements for publication

  • The paper has not been published elsewhere or submitted to another journal.
  • The text of the paper contains the full name of the author.
  • Academic papers must include an abstract (up to 100 words; description of the issues addressed and the methodology used).
  • Academic papers must include five key words.
  • The paper must include a short biographical note; an academic paper must also include affiliation, email address and an ORCID number.
  • Length of the papers:

academic papers: 40,000 characters (including spaces);

reviews: 10,000-12,000 characters (including spaces).


  • The author/author of an academic paper submits illustrations for it.
  • Each illustration should be attached to the manuscript as a separate .jpg or .tif file. In a separate file, the author sends captions to the illustrations, together with the name of the photographer or the source of the illustration.
  • The author/author of the manuscript is responsible for obtaining copyright permission or informing the editors of the need to carry out such a procedure and for the editors to pay copyright fees.
  • The editorial board reserves the right to refuse to publish a copy due to the lack of consent or due to high costs, after consulting the author of the manuscript.


  • The author grants the publisher an exclusive licence to publish the manuscript (with the option of obtaining permission from the Publisher to reprint the paper indicating the source).
  • The author retains the right to be identified as the author of the Work whenever and wherever the paper is published.
  • By submitting a paper for publication, the author consents to the publication of the manuscript online under the Creative Commons BY-NC-ND 3.0 PL licence.
  • The author gives consent to the text being archived in all databases indexing Didaskalia. Gazeta Teatralna.

Text format

Font: 12pt, Times New Roman, spacing 1.5.

Files with extensions: .doc or .docx.

Short quotes are placed in quotation marks in the text, and long quotes (above three lines) are separated with a break line and written in 10pt font, according to the formula:

"Everyone can write stories, provided that they are interesting to write, feel the "fashionable" issues and convince the publisher that they will sell well," Domańska says.


I get up, I work I get up I get this life like a snowball in front of me

I say things I make money and what you're gonna do here is disconnect me from the electricity he wanted the best

Fuck this critical approach to me.

And for what?

For what?

That I want to have something to live and work for, huh?

  • Information attached to the review:

The Aleksander Fredro Theatre, Gniezno

No One’s Gonna Believe Me Anyway (I tak nikt mi nie uwierzy)

by Jolanta Janiczak

directed by Wiktor Rubin; set design by Łukasz Surowiec and Wiktor Rubin; music by Krzysztof Kaliski

premiered on June 19th, 2020.

Interview format

Questions are written in bold.

Answers in non-bold font.

The next questions are separated by an empty line.

In the case of one interlocutor, the names and surnames of the interlocutor and the author of the interview are given only under the title, according to the template:

Arkadina from Arkadia

Joanna Targoń speaks to Maria Maj

How do you work on a performance like this? There was no text at the beginning, only improvisations?

The work was fantastic; the improvisations were fantastic. In the City of Dream (pol. Miasto Snu) , Krystian offered us this: first you, then me. We didn't know our roles yet, we came to the Pearl (pol. Perła), the City of Dream (pol. Miasto Snu), as ourselves. With his dreams and ideas after reading Kubin's book.

There was text?

No, it wasn't.

In the case of more than one interlocutor, we give the full name and surname for each speech, according to a formula

Your previous performances made me look at my opinions and emotions and check them carefully to see if they were somebody else's, imposed on me. I had a masochistic pleasure from it, but still I had a pleasure. At Courtney Love, you put me up against a wall in a completely different way. This time you're making me seriously ask myself questions that are usually postponed or simply denied in order to move on, essentials, personal, extremely uncomfortable and hurtful. It is difficult to get out of them and the pleasure is smaller. And no light in the tunnel.

MONIKA STRZĘPKA: Because it's a show born of depression. You have accurately describe it, Paweł. There was something about the depths... deepest, something about hell.... How did you say it?

PAWEŁ DEMIRSKI: But what exactly did I say?

MONIKA STRZĘPKA: If I could remember, I wouldn't ask you. And that's how we live here, when we retired in Wrocław. The 70th anniversary of grunge, a memory is not what it used to be.

Footnote format

  • we construct footnotes in the following style: in round brackets the name of the author and the year of publication are written, page numbers are given in case of literal quotation of the text. Names, year and page numbers are separated by a comma, according to the formula: 

‘Everyone can write stories, provided that they are interesting to write, feel the “fashionable” issues and convince the publisher that they will sell well’ (Domańska, 2006, p. 42),

  • if the author's name or the year of publication appears in the text as part of a sentence in brackets, only the missing information shall be provided in the form of a formula:

As Domańska states: ‘Everyone can write stories, provided that they are interesting to write, feel the “fashionable” issues and convince the publisher that they will sell well’ (2006, p. 42),

  • in the case of more than one consecutive quotation (or references) from the same source, the author's name, year of publication and page should be given next to the first quotation, and only the page should be given in the following cases, according to the formula:

‘Everyone can write stories’ (Domańska, 2006, p. 42). In order to publish them, he has to convince the publisher that his book will sell well (p. 42).

  • comments not included in the main text are placed in footnotes numbered with consecutive Arabic numerals,
  • under the text we place a bibliography, according to the formula:


Domańska, Ewa, Historie niekonwencjonalne. Refleksja o przeszłości w nowej humanistyce, Wydawnictwo Poznańskie, Poznań 2006.

Bruner, Jerome, Kultura edukacji, trans. T. Brzostowska-Tereszkiewicz, Universitas, Kraków 2006.

Article in the collective volume

Majchrowski, Zbigniew, ‘Szczątki założycielskie,’ [in:] 20-lecie. Teatr polski po 1989 roku, ed. D. Jarząbek, M. Kościelniak, G. Niziołek, Ha!art, Kraków 2010.

Article in the magazine

Burzyńska, Anna R., ‘Tradycja i profanacja,’ Dialog 2012, no. 12.

Article in the journal

Derkaczew, Joanna, ‘Ziemia niespełnionych obietnic,’ Gazeta Wyborcza online, 14.09.2009.

Internet sources

Jopek, Joanna, ‘Z intelektualnym zapleczem,’ [accessed: 17.05.2013].

Authors are asked to check that the manuscript meets the above criteria. Manuscripts that do not meet the requirements for publication may be rejected.