For several years, in Poland there is an emergence of new feministic language to observe. It appears in the context of a role of women in the public life, of their social and individual experiences. The article tries to capture this language in a process of self-creation. As a material to this research, it uses dramas written after the traumatic period of the transformation (1989-1999). In this decade Poland was to incorporate the standards of Western civilisation, which includes also the matter of women equality in social and economic issues, and the issues of mentality and language. However, diagnosis given by dramatic artists denies it. One can divide female characters created by the youngest generation of Polish playwrights into certain types: 1- a sensitive, educated girl, 2 - a harpy, 3 - a Polish mother, 4 - a victim-object, 5 - a lesbian. In fact, it occurs that all these types represent the same: a radical stadium of alienation. Women are not only unaccepted by the outside world as subjects, but they also refuse to recognize their own identity themselves. Either they do not posses any self-consciousness at all (they just follow male values), or they are punished for gaining symbolic or actual emancipation with exclusion from the frames of discourse. Such a radical way of presenting the female situation reveals that popular, common, the most spread branch of Polish feministic discourse is in the period of transgression. It basis mainly on shock and exaggeration. The development of a new language (that would express more than intervention, agitation, complaints) is possible only when the reality is changed.