Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Results found: 3

first rewind previous Page / 1 next fast forward last

Search results

Search:
in the keywords:  children theatre
help Sort By:

help Limit search:
first rewind previous Page / 1 next fast forward last
1
Content available remote

O kulawym bogu Hefajstosie. W antycznej pracowni Jana Dormana

100%
Biernat J.
Pamiętnik Teatralny
|
2019
|
issue 3-4(271-272)
181-195
EN
The paper is an analysis of Jan Dorman’s theatre practice in the context of the classical tradition. It examines the archival collections of The Theatre Institute documenting the collaboration of Jan Dorman with Anna Świrszczyńska on the staging of O kulawym bogu Hefajstosie (“The Lame God Hephaestus”), Świrszczyńska’s radio play. The extant correspondence between the creators of the production and the director’s copies permit us to explore and analyse the ways in which classical antiquity inspired Dorman’s work. Although Dorman never adapted any ancient Greek text to the stage, his practice indicates a strong presence of the classical tradition, in particular the Greek comedy, in his mode of theatre.
2
Content available remote

Wypiszę obraz z teatru który mnie się najlepiej podobał. Badawczy potencjał listów i rysunków młodych widzów w Archiwum Jana Dormana

100%
Łukaszewicz A.
Pamiętnik Teatralny
|
2019
|
issue 3-4(271-272)
161-180
EN
The paper looks at Jan Dorman’s pedagogical and artistic practice through the prism of child’s sensibility of his audience. The drawings and letters of the spectators at the performance of Awantura z ogniem (“Fire with Fire”, 1950) are considered as a collection of ego-documents. The paper examines their usefulness for expanding our knowledge about the history of Dorman’s theatre and the reception of his plays.
3
Content available remote

Western European avant-garde theatre and puppetry: a reappraisal

72%
Plassard D.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
|
2022
|
vol. 25
|
issue 1
13-26
EN
The article addresses the question of how much the historical avant-gardes introduced radical breaks in artistic practice and can be considered as forerunners of what would happen after them. If we consider the case study of puppetry, where no homogenous tradition nor specific institutions existed at the beginning of the 20th century, we can observe that the experiments of the Cubist, Futurist, or Dadaist poets and painters in that field did not radically differ from those of the Symbolist and Modernist circles a few decades before. In many cases the avant-garde artists, when working on puppet and marionette theatre projects, were surprisingly open to collaborate with traditional puppeteers, as well as with theatre and art institutions. The dramaturgy often followed time-honoured patterns, with the prevalence of parody and folk or fairy tales as major sources of inspiration, a focus on artistic circles and children as audiences, and a composition of the show that respected the habits of mainstream marionette theatres. Original subjects are mainly to be found in Pierre Albert-Birot's, Fortunato Depero's, and Kurt Schwitters' plays for marionettes and shadows. Yet, because many of the avant-garde artists experimenting in puppetry were painters and sculptors, they introduced a major change in the composition of puppet plays: visual transformations of the figures marked the steps of the action, alternating biomorphic and non-figurative outlines, images of living beings and of mechanical objects. Thus, they put on stage a drama that was going much further than the conditions of the productions, or the dramaturgy they were using, could do: the drama of entering into a new mechanical age, where the place for mankind had to be re-invented.
first rewind previous Page / 1 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.