Staff Profile


Dr Kasia Lech

Senior Lecturer

School: Music and Performing Art

Campus: Canterbury Main Campus

Tel: 01227 923734

Profile summary

Kasia Lech is a scholar, actor, storyteller, and a puppeteer, with conservatoire and university teaching experience in Poland, Ireland, and the United Kingdom. She holds a PhD from University College Dublin; her research was supported by the Irish Research Council. She has published on verse and verse drama in contemporary performance, theatre translation, multilingual theatre, multilingual actor, European theatre, theatre and animal rights, and puppetry. Kasia trained as an actor at the Ludwik Solski State Drama School in Poland (now the Academy of Theatre Arts) and has performed in numerous productions in Poland, Ireland, and the UK, including starring as the Grey Cat, a puppet that co-hosted the awarded live TV show for children CyberMyszon Polish national television. She is a co-founding member of Polish Theatre Ireland – an intercultural theatre company based in Dublin. Polish Theatre Ireland and Kasia's work have been examined in several scholarly works on contemporary theatre, including such key books as Migration and Performance in Contemporary Ireland by Charlotte McIvor and The Palgrave Handbook of Contemporary Irish Theatre and Performance. Kasia also runs Bubble Revolutiona multimedia project that explores new ways of translating theatre ( and is an Executive Director at

Kasia is interested in supervising PhD projects that examine dramaturgy, multilingual theatre, acting, European theatre, theatre and animal rights, and puppetry.

Research and knowledge exchange

Research Projects

From 2018: Transnational Childhood in collaboration with Dr Ruth Sanz Sabido, Dr Vanessa Hawes, and Dr Agnieszka Gordon

From 2017: Multilingual Dramaturgies

From 2015: CUlturosity (Early Career Teaching Award)

From 2014: Performing Translation: Bubble Revolution

Knowledge Exchange Projects

2018: "Spotlight on Poland" for one of the largest English-language digital resources on contemporary Polish theatre. The project is under the patronage of Adam Mickiewicz Institute, and in collaboration with partners, East European Performing Arts Platform, Theatralia/Yorick, Cosmopolitan Review,,, and

From 2016: Regional Managing Editor for Poland at

From 2014 Bubble Revolution (Knowledge Exchange Award, Faculty of Arts & Humanities, Canterbury Christ Church University)


Kasia has secured funding from the following organisations in Ireland, Poland, and the UK: Irish Research Council, Polish Aid Foundation Trust, Adam Mickiewicz Institute, Consulate General of the Republic of Poland in Edinburgh, Split Infinitive Trust, Ballymun Intercultural Club, and Mayor of Szczecin.

External activities



  • Translation into Theatre and the Social Sciences, University of Oxford

    Talk: ‘They came here and stole our jobs, and then they took our language: Polish-Irish-English hybrid and its potential in theatre translation’
  • Migration/Representation/Stereotypes, University of Ottawa

         Paper presented: ‘  ‘Polish and Spanish memories on the post-Brexit British stage’’.


  • Translating Theatre: ‘Foreignisation’ on Stage, Europe House, London

    Paper presented: ‘Translating Conflict into The Wedding: Radosław Rychcik’s Staging of Stanisław Wyspiański’s Wesele [The Wedding] as a Foreignized Translation’

  • International Federation for Theatre Research, Stockholm University

    Paper presented: ‘Acting as the Act of Translation: Domesticating and Foreignizing Strategies as Part of the Actor’s Performance in the Irish-Polish Production of Bubble Revolution’

          Talk: ‘Let’s Foreignize! English language, its culture, and Polish national drama’.


  • Association for Theatre in Higher Education, Je me souviens (I Remember), Montréal

          Paper presented: ‘Rediscovering National Memory through Foreignization: Radosław Rychcik’s Staging of Polish Romantic Drama’.

  • Performing Arts in Dialogue with Polish Theatre, Research Seminar in Celebration of the 250th Anniversary of Public Theatre in Poland, Canterbury Christ Church University

          Talk: ‘Let’s Foreignize! English language, its culture, and Polish national drama’.


  • Irish Theatre and Central Europe, 11th Annual Irish Theatrical Diaspora Conference,Department of Anglophone Literatures & Cultures, Charles University, Prague

          Paper presented: ‘Bubble Revolution and Museum in Theatre: Staging Polish “Coming of Age” on the Irish Stage’.

  • International Federation for Theatre Research, University of Warwick

          Paper presented: ‘”Our Breasts Are Also Dripping”: Rhymes, Pigs, Motherhood, and Humanity in A. Augustynowicz’s Production of Migrena by A. Grzegorzewska’.


  • Irish Society for Theatre Research, Galway

          Paper presented: ‘Escaping into a rhyme: Stefanie Preissner and the rhythmical level of her performances’.


  • New Voices in Irish Criticism, Dublin

          Paper presented: ‘The Character of the Guard in The Burial at Thebes – Obeying Conventions While Breaking Them’.

  • Invisible Presences, Belfast

          Paper presented: ‘Translation as Meta-Allegory’.


  • Golden Age Research Symposium, Cork

          Paper presented: ‘In Defence of Estrella’.

  • Choice for Voice, London

          Poster presentation: ‘The Problem of Verse Speaking Training’.


  • 15th Performance Studies International Conference, Zagreb

          Paper presented: ‘Grotowski on Trampoline’.



Festival at the Edge, Much Wenlock, England.


Arts Ekta, Intercultural Storytelling Festival, Northern Ireland.


The Heart of the Glens Festival, Northern Ireland


Many Voices/ Guthanna Éagsula, Storytellers of Ireland Conference in Dublin


Multicultural Summer withDublin City Libraries, Bilingual Storytelling

Publications and research outputs


 “Claiming Their Voice: Foreign Memories on the Post-Brexit British Stage.” MIGRATION/REPRESENTATION/ STEREOTYPES. Ed. Yana Meerzon et al. London: Palgrave, 2020.

‘Verse in Contemporary Irish Theatre’. The Palgrave Handbook of Contemporary Irish Theatre, ed. by Eamonn Jordan and Eric Weitz. London: Palgrave, 2018.

‘Students as Producers and Active Partners in Enhancing Equality and Diversity: Culturosity at Canterbury Christ Church University’. Journal of Educational Innovation, Partnership and Change (Principal Investigator), 2017.

 ‘Difficult Encounter: Polish Theatre on the Irish Stage between 2004 and 2015’. Litteraria Pragensia, 2015, 25 (50).

‘Pain, Rain, and Rhyme: the Role of Rhythm in Stefanie Preissner’s Work’. Radical Contemporary Theatre Practices by Women in Ireland, ed. by Miriam Haughton and Mária Kurdi. Dublin: Carysfort Press, 2015.

Puppets, Dogs, and Vegetarian Angels: Ecocriticism in Jakub Krofta’s Polish productions’.**Theatralia/Yorick** (Czech Puppet Theatre in Global Context), 2015 (18).

 ‘Metatheatre and the Importance of Estrella in Calderón’s La vida es sueño and its Contemporary Productions’. Bulletin of the Comediantes, 2014 (66).

 ‘Memory, Communism, and Foreign Words in Foreign Bodies: Balancing Foreignization and Domesticating Strategies in Polish Theatre Ireland’s production of Julia Holewińska’s play’. Translation Ireland (Polish / Irish Issues in Translation and Interpreting), 2014 (19).

Book Review

2018    Lease, Bryce. After '89: Polish theatre and the political. Manchester: Manchester UP, 2016. Theatre Research International.

2018   Keane, Barry.  Irish Drama in Poland: Staging and Reception 1900-2000.  Bristol: Intellect, 2016; distributed by the University of Chicago Press. The Polish Review


O’Shea, K. (2014). ‘Parable of a Polish Émigré’. Translated to Polish by Kasia Lech. Translation Ireland (Polish / Irish Issues in Translation and Interpreting), 2014 (19).

O’Shea, K. (2014). ‘Siberia’. Translated to Polish by Kasia Lech. Translation Ireland (Polish / Irish Issues in Translation and Interpreting), 2014 (19).


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Last edited: 13/12/2018 18:48:00