Somewhat more conservative is the second Polish theatre with national status - the National Old Theatre in Kraków, the only one in Poland belonging to the Union of European Theatres. This theatre, which shone in the seventies thanks to the well-regarded and world-famous productions of Konrad Swinarski, Jerzy Jarocki, and Andrzej Wajda, is attempting to continue these traditions, seeking worthy successors to these masters. The Old Theatre's most important current collaborator is Krystian Lupa. For years, he has been consistently producing the dramas and prose of German language writers (T. Bernhardt, R.M. Rilke, R. Musil), not even hesitating before transferring Broch's novel "The Sleepwalkers" to the stage. Russian literature also lies within his sphere of interest (productions of Dostoyevsky's "The Brothers Karamazov" and, recently, M. Bulgakov's "The Master and Margarita"). Lupa shatters the traditional action of the performances, stretching their tempos and concentrating on the poetic values of particular situations rather than the plot or conflict. This is a theatre of philosophical and existential reflection in whose centre is situated the modern human being, attempting to find a place in an ever more dehumanised world. For several seasons now, Lupa's productions have been regularly shown in Paris, where they have been received with great admiration by critics and audiences. Lupa is also one of the most important teachers of directing at the Ludwik Solski Academy for the Dramatic Arts in Kraków, where his students have included the newest generation of Polish directors: Krzysztof Warlikowski, Grzegorz Jarzyna, Maja Kleczewska, Anna Augustynowicz, Michal Zadara and Jan Klata. At present, the Polish theatre actor possibly best-known outside the country is Andrzej Seweryn, who in the years 1984–1988 was a member of the international group formed by Peter Brook to work on the staging of the Mahabharata, and since 1993 has been linked with the Comédie Française. The most revered actor of the second half of the twentieth century in Poland is generally considered to be Tadeusz Łomnicki, who died in 1992 of a heart attack while rehearsing "King Lear". During the second half of the nineties, there appeared in Polish dramatic theatre a new generation of young directors, who have attempted to create productions relevant to the experience and problems of a thirty-something generation brought up surrounded by mass culture, habituated to a fast-moving lifestyle, but at the same time ever more lost in the world of consumer capitalism.