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Between 1945 and 1990, relatively few Dutch and Flemish dramatic texts were translated into Czech, compared to a high number of translated fiction texts. The Czech theatre had a rich tradition, but it went through fundamental changes after the Second World War: the theatres were nationalised and were managed by the authorities in such a way that the productions would be an ideological school for masses. The so-called golden sixties brought some liberation, followed by a period of stagnation and restored censorship. This article investigates to what extent we can consider the dramaturgy and the reception of the productions at that time as a reflection of the communist ideology and to what extent other factors were involved, such as development of the dramatics in the Low Countries, the role of literary mediators (especially translators), the competition with dramatic texts from other countries, the limited function of the theatre critics, and the changing relations between the centre and the periphery of the Czech theatre field. These aspects are reflected upon in four case studies – the Czech productions of The Fourposter by J. de Hartog, No News From Father by L. Huizinga, Uilenspiegel by H. Claus, and Back to Warsaw by J. Staal – all Dutch and Flemish plays that reached the centre of the Czech theatre field in the period considered.