Karolina Czerska calls attention to Tadeusz Kantor's statements on the "invisible theater," which was never unequivocally defined by the artist, though he returned to it at various stages of his work. The article focuses on the first half of the 1970s. This is the period that saw Kantor's conceptual emballage, Cambriolage, an "ephemeral action" held in Dourdan, a staging of The Shoemakers in Malakoff, and the premiere of The Dead Class. Then, too, Kantor wrote Loi du paravent, in which he pondered the role of the "intermediary" in theater; he also planned to devote a chapter of the French edition of his writings to the relationship between "realness" and "the invisible." The "invisible theater," according to the author, is the expression of Kantor's uncrystalized yet persistent reflections on attempts to go beyond the visual.