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Teatr jako strategia budowania wspólnoty. Sztuka jest i nie jest rozwiązaniem

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Lucas A.
Pamiętnik Teatralny
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2019
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issue 2(270)
75-81
EN
Ashley Lucas has focused on the psychological and social effects of theatre work carried out in prisons. She has observed that theatrical performances staged in penitentiaries: rehearsals, workshops, actual performances create an opportunity to build a community, forming and strengthening supportive relationships; to cultivate mutual respect and spirit of collaboration between prison employees, prisoners and people outside the prison (artists, volunteers, audience). To corroborate her thesis, the author invokes the experience of the work of the Open Hearts Open Minds group on Shakespeare’s King Lear (2013) and Winter’s Tale (2014) in the Two Rivers prison in Oregon, and the context of their performance. She analyses the attitude and actions of actors and selected members of the audience, owing to whom the theatrical situation served to establish and develop close family contacts between prisoners, their families, volunteers from outside the prison, actors and spectators. After their first visit to the prison performance, one of the inmates’ mother, Sharon (dubbed Mama Sharon), and his aunt, Andrea (Aunty Andrea), contacted the prisoners, wrote them regularly, sent pictures, came to the next premieres, and were happy to meet and talk to them. Performances became catalysts for relationships that were reciprocal and partner relations by nature, and being able to change the individuals; they are a gift.
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Grupa teatralna Piktogram. Teatr reżyserski Floriana Staniewskiego

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Sidorowicz S.
Pamiętnik Teatralny
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2019
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issue 2(270)
82-91
EN
Sławomir Sidorowicz presents the phenomenon of the work of Piktogram theatre group as its coordinator and at the same time a cultural, educational and sporting officer at the Sztum Penitentiary. The beginning of theatrical activities at the Sztum prison is closely bound to the twenty-fifth anniversary edition of the National and International Review of Prison Art, organised by the local penitentiary unit. The festival becomes an instrument for creating an artistic environment. While giving an account of Piktogram’s history and specific character of its activity, he demonstrates the challenges and tasks related to the difficult job of coordinator of theatre work in prison, who has to be stage manager, producer, supplies officer, agent etc. simultaneously. The paper cites Florian Staniawski’s and his actors’ statements, comments and observations. The text ends with a review of the Piktogram group’s activities outside the prison. Sidorowicz emphasizes the value of and need (necessity) for integration of the prisoners’ environment with people who are not in prison. Theatre creates such opportunities.
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„Lepiej budować mosty niż ściany”

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Hasiuk M.
Pamiętnik Teatralny
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2019
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issue 2(270)
41-46
EN
The text discusses the phenomenon of theatre in prison. It focuses on the diversity of its forms and its dependence on many contexts: social, cultural, geographical, and primarily political, which sometimes have a destructive impact on the examined phenomenon. On account of its distinct characteristics, prison intensifies the constitutive features of the art of theatre: its ephemeral nature, living presence based on the interpersonal meeting of the actor and the spectator, team work and artistic practice, associated with the transformation of the world in its various dimensions. Because the living conditions are so unfavourable there, prison seems to be a dream field for theatre, the essence of which is to “transgress” reality, distance itself from it, reveal its hidden face and the mechanisms governing it, and thus transform the world and stimulate human development: the actor and the viewer, in several capacities. In the prison context, the artistic aspect of theatre work is linked to its ontological and existential aspect much more clearly than, for example, in the so-called mainstream theatre. The author also proposes introducing the term “theatre created in prison” instead of “prison theatre” and replacing where possible “inmates”, “prisoners” with “actors/actresses”, “creators”, “collaborators from prison”.
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Sen nocy letniej Zapalonych.org w Zakładzie Karnym w Opolu Lubelskim. Refleksje koordynatora projektu

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Pruchniak Ł.
Pamiętnik Teatralny
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2019
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issue 2(270)
92-102A Midsummer Night's Dream by Zapaleni.org at the Opole Lubelskie Penitentiary - reflections of the project coordinator
EN
Captain Łukasz Pruchniak, correctional educator of the Opole Lubelskie Penitentiary talks about the work of inmates, officers and Lublin artists on the production of Shakespeare’s Midsummer Night's Dream as part of the Zapaleni.org project, which he coordinated. He recalls his experience during the presentation of the performance in various Polish cities in 2012-2013. Rehearsals and theatre workshops provide opportunities for building interpersonal relationships, and the artistic aspect, though important, seems to be less significant. The author discusses the difficulties that arise from both the attitudes of the prison inmates and the stereotypical antagonism between artists and prison staff. He believes that barring prison staff from participating in art projects may be dangerous. Theatre activities in prisons and pre-trial detention centres should ensure that the inmates do not see the penitentiary staff as tormentors. They are supposed to be the prisoners’ allies in their work on themselves, leading to finding the right direction in life. Art projects realized in prisons are also an effective way of breaking stereotypes of prisoners and officers, which are pervasive in Polish society. Work on A Midsummer Night’s Dream is an example of multidimensional, positive collaboration and proves that the community of prison inmates, staff and artists is not a utopia, and that it can happen. The text ends with insightful reflection on rehabilitation, for which the prison theatre is an important tool. At the same time Pruchniak emphasizes that this is actually socialization, because the majority of prisoners have not been socialized so far.
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„Więcej niż teatr”. Sprawozdanie z konferencji

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Chojnacka A.
Pamiętnik Teatralny
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2019
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issue 2(270)
103-110
EN
On 22-23 November 2018 at the Art Institute of the Polish Academy of Sciences, the international conference “Theatre and Drama in Prison. Prison in Theatre and Drama” took place. The subject of theatre work in prison dominated the proceedings, with practitioners: artists, therapists, educators, officers of the prison service, as speakers and participants of the discussion. They talked about their own experience and about organizational and financial limitations. Their reflections were of sociological and psychological nature. Participation in the theatre has a significant impact on prison inmates, but also on viewers from outside. We heard about projects carried out in the United States, Scotland, South Africa and Poland (Warsaw, Wrocław, Grudziądz, Opole Lubelskie, Gębarzewo, Poznań, Kalisz, Kwidzyn, Sztum, Nisko, Nowogard, Gliwice, and Stargard). We became familiar with the programmes and methods, including: working with masks, Popular Participatory Theatre, Theatre of the Oppressed, Forum Theatre and “Shakespeare Behind Bars” (the film Shakespeare Behind Bars, being a record of work on The Tempest at Luther Luckett Correctional Complex in Kentucky). Some projects are targeted at a specific group of prisoners, such as mothers serving sentences. Music can also be the instrument of rehabilitation, and a nursing home can be the place of isolation. Several papers addressed imprisonment in drama and on stage (Lorca’s House of Bernarda Alba, Cossa’s Bunia and Gris de ausencia, and Giselle in the interpretation of Mats Ek). The last paper focused on the restriction of the artist's freedom on the example of the fate of the Russian director Kirill Serebrennikov. The conference first of all showed that theatre in prison is of great social importance.
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