Abstract
I n Act Two ofJanusz Glowacki's The Fourth Sister, the reality created onstage dwells in regions of the poetic absurd. The General (played by the director), father of three daughters, sits with a bottle of vodka, immersed in childhood memories. Kolya, an orphan taken in by the General and sent to America to secure the three daughters a better start in life, has returned after just a few days, with only a few cents. Selling her wedding dress, purse, and watch, Tanya, one of the sisters, invested her entire fortune in his trip, so quite naturally she is feeling murderous towards him. Her dreams of a bright future across the ocean have disappeared irrevocably, like the vodka down her father's throat.
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