Although since its inception Malta had an international character, in the last years the cooperation with artists and theatre centres from Europe has an increasingly deep dimension. The festival co-produces many shows with both outstanding Polish and European artists as well as rising stars in the realm of theatre and dance. The most important co-productions in the last years include: "La menzogna" by Compagna Pippo Del Bono (2009), "Prometheus Landscape II" directed by Jan Fabre (2011), "33 Rounds and Few Seconds" by Rabih Mroue & Lina Saneh (2012) or "Hańba" directed by Kornel Mundruczó. Malta initiates unique projects, which go down in history. They undoubtedly include the opera “Slow Man” with the music by Nicholas Lens and a libretto by the Nobel Prize winner, John Maxwell Coetzee. The premiere of this piece, directed by Maja Kleczewska, took place during Malta Festival Poznan 2012.
Malta’s international cooperation means not only constant presentation of the most interesting artists to the Polish audience but also keeping a permanent contact with what is happening in the neighbouring countries, themes that intrigue artists and audience. Therefore, since 2012 Malta Festival Poznań has been the member of the network House on Fire. HoF is a five-year-long project of cooperation between ten European cultural institutions. The chief objective of the House of Fire is the support of artists who through their art take a stance in the public debate on current social, cultural and economic problems troubling European communities. The members of HoF are: LIFT (London), HAU (Berlin), Kaaitheater (Brussels), BRUT (Vienna), Archa Theatre (Prague), Teatro Maria Matos (Lisbon), Frascati (Amsterdam), Malta Festival (Poznań), Théâtre Garonne (Toulouse), BIT (Bergen). House of Fire is co-financed by the European Union from the Culture programme.
Being sensitive to the transformations of the reality that surrounds us is the unchanging quality of Malta. Its programme and character underwent changes in the course of the years, but the overriding aim remained to present to the audience the artists who in that particular moment created significant, original and captivating works. Every year their circle was getting wider and theatre was joined by other domains of art. The rhythm of Malta’s transformations is always determined by the changing spirit of the times.