Grotowski, who experimented with Christian tradition and the Gospels, was also attacked by the Polish right wing, which considered him a charlatan and a blasphemer. The Italian Annamaria Cascetta analysed the performance in her book La Prova del Nove. Scritture per la Scena e Temi Epocali nel Secondo Novecento:
Apocalypsis Cum Figuris travelled the world as a model and a souvenir of a creative effort, which is unique in the history of twentieth-century theatre, and of an extraordinary team – the theatrical company of Grotowski, who was already involved in something completely different. Over time, the intimate bond between the spectators-participants in the ritual has been strengthened, simplifying the art form, muting the lights and highlighting the contrast with the darkness. The impact of Apocalypsis is due to its form: Grotowski did not reach a wide audience immediately. For many years, he presented it to small groups of spectators, as a profound experience for those really interested in this form of communication and art.
The show was co-directed by Ryszard Cieślak, the costumes were designed by Waldemar Krygier, and among the actors were Antoni Jahołkowski, Ryszard Cieślak (Ciemny/ The Dark), Zygmunt Molik, (Judas), Zbigniew Cynkutis (Lazarus), Elizabeth Albahaca/Rena Mirecka (Maria Magdalena), and Stanisław Scierski (Jan). It was first shown behind closed doors on 19th July, 1968, and the official premiere was on 11th February, 1969. The show travelled to Paris, New York, London, Sydney, Venice, Philadelphia, and Milan.
Sources: eteatr.pl, grotowsk.net, The Collected Writings of Jerzy Grotowski, ed. AL, transl. Bozhana Nikolova, May 2015