Contemporary artists on the declarative level try to remain outside the political domain, at times unaware of the fact that an established dislike for politicians is not equivalent to refraining from political actions. Theatre has not so much become politically vulgarised but rather it has gained a potential additional act in the form of a strictly political phenomenon. This results from the disrupted demarcation lines traditionally dividing the freedom of artistic expression and the right to its rejection by those who have different ideological (religious) motivations. This stems from the fact that the performative act has been extended beyond the theatre stage, thus allowing political opponents to refer to non-aesthetic categories, to which artists themselves have assigned formally political features. Invoking the right to critically assess reality, to which both sides are entitled, they understand freedom as a justified negation of a different perspective. In an ideal situation, art would not be subordinated to political ends, while adding to it non-artistic dimensions makes it an emergent phenomenon. However, in the reality we have access to, there has developed an asymmetry as the theatrical circles have started to desire not only to create art but also to be the ones holding the key to the rules of its interpretation or criticism, which leads to a discussion on the limits of freedom of artistic expression when seen as political.