Productions of Beckett’s plays are known for being ‘protected’ by their author’s prescriptions. Nevertheless, in Poland, especially in recent years, daring performances such as Endgame (2006), god.com (2006) or Happy Days (2007) have been staged. In the first one, the characters are reduced to Hamm on a swing and Clov running around in a huge sandpit. In the second one, Pozzo is played by a woman using a whip from a sex shop to enslave Lucky, and in the third one, the mound Winnie is buried in becomes a well-known Cracow landmark, and the character is accompanied by Willie-turned-pianist. This essay will place these recent productions in the context of a history of staging Beckett in Poland.