In this essay the author tries to outline the stream of Polish theatre tradition to which - as he is convinced - the 'Gardzienice' theatre not only belongs, but also constitutes. This, as the author calls it, 'Polish theatre of musicality' was initiated by Adam Mickiewicz both in hist masterpiece - 'The Forefathers' Eve', and in his original philosophy of the 'tone' - specific value of musicality present not only in melody or rhythm, but also in human words, actions, landscapes and so on. The practice of creating theatre not from the texts and meanings, but from music and actions, of not writing for and on the stage, but composing a live event like a musical piece, was present in the works of Stanislaw Wyspianski, ideas and experiments of The Reduta theatre and performances by Jerzy Grotowski. But it was Wlodzimierz Staniewski and his company of Gardzienice, who regarded the idea and practice of musicality as the core of their work, developing new methods of creation and training. Being the heir of the tradition, in specific way summarising it, Gardzienice also gave birth to some new attempts and experiments, run by former members of the company. Thanks to it 'the theatre of musicality' can be seen as one of the most important and strongest streams of contemporary Polish theatre.