This article tries to outline the history of the theater of the absurd in Poland by focusing on the metaphor of theatrum mundi (a device which is characteristic feature of this type of drama) and its use by Tymoteusz Karpowicz in his dramas Dziwny pasażer [A Strange Passenger], Charon od świtu do świtu [Charon from Dawn to Dawn], Kiedy ktoś zapuka [When Somebody Knocks], Człowiek z absolutnym węchem [The Man with an Absolute Sence of Smell], Przerwa w podróży [A Break in a Journey]. This metatheatrical device enables the dramatist to create a world of play-acting for its own sake, a world without God, with characters unable to look beyond the exigencies of their role and thus to express his disenchantment with the 20th century and his estrangement from the post-World War II reality. It also enables him to explore the mechanisms of theatrical performance and the role of language in the creation of reality.