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A midsummer night's dream in Polish puppet theatres in Silesia - Mise-en-Scène by Jan Dorman, Josef Krofta and Marián Pecko

100%
Tomaszewska E.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2018
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vol. 21
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issue 2
95-111
EN
This article presents 3 performances based on Shakespeare's play: A Midsummer Night's Dream made for the Teatr Dzieci Zagłębia (The Zaglebie Children's Theatre) in Będzin (1965), Wrocław Puppet Theatre (2003) and in the Puppet Theatre 'Banialuka' in Bielsko-Biała (2013). They were created by the famous Polish creator, Jan Dorman and two artistic teams: Czech – under the direction of Josef Krofta, and Slovak – directed by Marián Pecko. The description of the three performances is presented in the context of the significant presence of artists from the Czech Republic and Slovakia on puppet theatre stages in Poland. Polish, Czech and Slovak puppetry collaboration became a reality at the end of the 1970s and took on a new quality after 1992. In Polish theatres at this time appeared stage directors such as: Brožek, Chalupová-Pěničková, Kopecký (Matěj, father and son), Krofta (Josef and Jakub), Nosálek, Pecko, Spišak, Štumpf; stage designers: Andraško, Doležal, Farkašova, Hubička, Lipták, Kalfus, Kuchinka, Kudlička, Polívka, Tománek, Volkmer, Zákostelecký, Zavarský; and composers: Mankovecký, Helebrand, Engonidis. At the same time, Czech artists such as Karel Brožek, Petr Nosálek, Jakub Krofta, became artistic directors of Polish puppet theatres in Katowice and Wrocław, which was an unprecedented phenomenon.
2
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Teatr bohatera popularnego Europy Zachodniej a polska szopka kolędnicza

100%
Tomaszewska E.
Edukacja Międzykulturowa
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2020
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vol. 12
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issue 1
262-276
EN
In the 18th century, a number of puppet figures began to gain popularity. They appeared on the traveling scenes of theatre troupes almost throughout Europe. They were comic figures of the character of popular heroes, presented in the streets, squares and markets and speaking to audience in their own language. One part of them came from the comedy dell’arte (Pulcinella, Poliszynel, Guignol, Don Cristobal, and Pietruszka). The theatrical roots of the heroes who appeared in German states (Hanswurst, Kasperle, Kašparek, Gašparko) reached the Elizabethan theatre and are associated with the presence of wandering theatre troups of English actors. They combined Elizabethan theatre with traditional figure of a folk jester. Because for Poland it is a time of slow loss of independence for the benefit of neighboring countries, the theatre of the popular hero was not created. Instead, the form of szopka (a nativity play) was developing. Comparison of the functions and significance of these theatrical phenomena is the subject of this study. It is also an attempt to draw the attention of educators to the educational values of the Polish nativity play.
PL
Od XVIII w. zaczął zyskiwać popularność szereg postaci lalkowych, które pojawiły się na wędrownych scenkach trup teatralnych niemal w całej Europie. Były to postaci komiczne o charakterze bohaterów popularnych, przemawiające do publiczności ulic, placów, targów - ich własnym językiem. Część z nich wywodziła się z komedii dell’arte (Pulcinella, Poliszynel, Guignol, Don Cristobal, Pietruszka). Korzenie teatralne bohaterów, którzy pojawili się z państwach niemieckich (Hanswurst, Kasperle, Kašparek, Gašparko), sięgają teatru elżbietańskiego i wiążą się z obecnością wędrownych trup angielskich aktorów, które włączyły do swoich przedstawień tradycyjną postać błazna. Ponieważ dla Polski jest to czas powolnej utraty niepodległości na rzecz państw ościennych, teatr bohatera ludowego nie powstał. Rozwinęła się za to forma szopki kolędniczej. Porównanie funkcji i znaczenia tych zjawisk teatralnych jest przedmiotem tego opracowania. Jest to także próba zwrócenia uwagi pedagogów na edukacyjne walory polskiej szopki kolędniczej.
3
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Polski, czeski i słowacki teatr lalek - przenikanie wpływów

100%
Tomaszewska E.
Studia Etnologiczne i Antropologiczne
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2014
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vol. 14
44-57
EN
The subject matter is analyzation of the phenomenon of mutual influences between the Czech, Slovak and Polish puppet theatre. This theme is inspired by the significant presence of Czech and Slovak artists on Polish puppet stage. Czech and Slovak puppet theatre have a long and rich tradition. Contrary, Polish puppet theatre has been created freely after the Second World War, without the burden of tradition what became inspiring for Czech and Slovak neighbours. The questions are: is this phenomena conditioned by opening of the borders between the countries, common cultural references to Europe, declining condition of Polish theatre, or is it a result of a constant cultural fluctuation?
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