As fate ordained, Christopher Vened became a dancer and was working as such for two years in Musical Theater in Wroclaw, performing on average 20-25 times per month. "It was fun," he recalls, "I became good in it, even got my first solo part over there." He would have had become a soloist soon and would have had a successful career if he had stuck with it. Everything indicated it. He was working his way up quick. Yet he did not stick with it.

In April 1974, he went for an audition, this time on his own, to Wroclaw Pantomime Theater. He auditioned for Henryk Tomaszewski, the director and founder of the company. After the audition Tomaszewski said, "What have you been doing so long in Operetta? You could have come earlier to us. We need people like you." That was it and just like that Christopher became a member of the company, recognized by many as the best pantomime theater on the world. He was not a dancer anymore; he became an actor-mime. He felt fortunate just to be a member of that company, but a stroke of luck hit again, this time really big. Only after being one year in the company, Tomaszewski cast him in the leading double role, Dionysus/Guest, in the production Arriving Tomorrow. In this role Christopher Vened showed his talent in full scale and became a star, as we say, overnight. Till today he doesn't understand how it happened. He supposes that the spirit of the seventies had something to do with it. Christopher Vened was working in Wroclaw Pantomime Theater for eight years, performing leading roles and touring internationally with that troupe during an extremely illustrious period 1974-81.

In December 1981, while on tour in Western Europe, Vened defected from communist Poland and rebuilt his career in the West. Easy said but it was hard work to do. He had no luck anymore but determination not to give up. Being on his own challenged him to find his own way in art. Both successful and unsuccessful experimentations followed. Uncompromising will and nourishments of his girlfriends kept him going. Being a foreigner in the West reduced him to the status of an outsider – a man who is in but is treated as if he were out. It made him even more an independent thinker. He spent about twenty years in the West: first two and a half years in, what was then, West Berlin, the rest in the United States. In Berlin, he was a movement instructor and a choreographer in Transformtheater. His movement classes had a considerable following. Students were coming to attend from all over Europe. Then he founded his own movement company, Impuls-Bewegungtheater and produced 6 Uhr Morgen, a performance he directed and choreographed. In the United States, where he immigrated in the end of April

1984, he made another abrupt change in his career by getting into verbal theater. He became an acting teacher, a drama director, and a writer. He was a co-founder and the director of Drama Studio in Seattle, 1989-94. There he focused on exploring acting techniques, but also producing theatrical productions, among others, The Maids by Genet. He taught acting and movement classes in various studios and universities.

In recent years, he was associated with UCLA, teaching Character Study and Movement for Actors. His book In Character: An Actor's Workbook for Character Development was published by Heinemann in May 2000. Writing this book he considers the most valuable achievement. Now, when he is not teaching or directing, he writes fiction stories, and when he gets lonely he thinks about going back to Poland.