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1

O dramaturgii lalkowej Józefa Ratajczaka

100%
Waksmund R.
Kształcenie Językowe
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2010
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vol. 8(18)
69-79
EN
Poznań poet Józef Ratajczak (1932–1999) is better known as an author of ambitious poetry for children than an author of stage works for puppet theatre. Yet, as early as in the 1960s, urged byLeokadia Serafinowicz – director at the “Marcinek” Theatre in Poznań – he began to write works for this stage, at the same time publishing programmatic articles (including From puppets to objects, Puppets and people). In these articles, he distanced himself from mimetic theatre, granting ordinary objects the right to create a performance on their own. In his literary practice he looked for various forms of expression, both drawing on traditional motifs from Andersen (The Nightingale) or Polynesian myths (Sun Boat), and developing his original motifs that corresponded to his own poetic idiolect (Night of Miracles), understanding of patriotism (Hello, Hi and Hush!) and idea of theatre of objects as a symbolic reflection of human nature (Everything’s OK, Puppet theatre).
2
Content available remote

BÁBKARSKÁ BYSTRICA 2014

100%
Čujová F.
Slovenské divadlo (Slovak Theatre)
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2015
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vol. 63
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issue 1
62 – 71
EN
This text deals with the 19th year of the international festival of puppet theatre Bábkarská Bystrica 2014. It situates it in the broader context of how the festival has received its current form. The oldest puppet theatre festival in Slovakia currently focuses on contemporary theatre works as well as authorial theatre. It continues to have the ambition to bring a wide range of genres and themes to as many different audiences and age groups as possible. As the repertoires of theatres in Slovakia and the neighbouring V4 countries reveal, Bábkarská Bystrica is successful in spreading the tradition that it has created. It can be seen in the wide and inspiring range of puppet theatre productions aimed at adults which present an alternative to dramatic theatre.
3
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JAN ROMANOVSKY´S CREATION AGAINST THE BACKDROP OF IDEOLOGICAL TURNING POINTS (Tvorba Jana Romanovskeho v zrkadle ideologickych peripetii)

88%
Hledikova P. I.
Slovenské divadlo (Slovak Theatre)
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2010
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vol. 58
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issue 1
38-57
EN
The authoress deals with the personality of Jan Romanovsky, one of the founding fathers of modern Slovak puppet theatre. He was the organizer, manager and director of professional puppet theatre in Nitra and also the author of puppet theatre plays. Jan Romanovsky, following example of the Russian puppeteer Sergey Obrazcov, introduced a technique of Javanese rod puppets, i.e. wayang golek or javajky, being of Asian Java origin. This technique turned out to be the predominant way of controlling the puppet in Slovakia. The authoress analyses Romanovsky's theatrical texts, premiered under his direction in Nitra and gives an objective view on the role of Jan Romanovsky in the context of the Slovak puppet theatre development.
4
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FEMINISTICKÁ DRAMATIČKA IVETA ŠKRIPKOVÁ

88%
Lindovská N.
Slovenské divadlo (Slovak Theatre)
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2012
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vol. 60
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issue 2
99 – 125
EN
Iveta Škripková is known primarily as a director of the At the Crossroads Puppet Theatre in Banská Bystrica, as a director and founder of the first Slovak feminist theatre Studio TWIGA (Theatre - Women - Improvisation - Gender - Action), and the director of the International Theatre Festival Puppetry Bystrica. The study focuses on the work of Iveta Škripková - playwright, which is numerous but underestimated and little known. Her concept of gender-sensitive (or gender-oriented) "gynodrama" significantly extends the thematic and philosophical scope of the contemporary Slovak drama, adding new aesthetic instruments to express the women's experience in the field of drama. Her plays of experimental nature are linked to the work of Jana Juráňová and intentionally follow a line of feminist drama in Slovakia. Slovak theatre and theatre criticism face an urgent task to adopt a feminist discourse and use it as an instrument for analysis of theatre and drama.
5
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INTEGRATION OF TRADITIONAL PUPPETRY IN CONTEMPORARY THEATRE AND THE 'PUPPETNESS' IN A MODERN THEATRE (Integracia tradicneho babkarstva v sucasnom divadle a babkovost v modernom divadle)

88%
Hledikova-Polivkova I.
Slovenské divadlo (Slovak Theatre)
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2010
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vol. 58
|
issue 2
132-138
EN
Puppetry is usually identified with the old-fashioned idea of puppet theatre as the imitation of classical drama or opera theatre. This convention was topical in the 17th - 19 century, with the dominance of marionette theatre in baroque setting in the countries of Central and Western Europe. Such model of theatre was definitely outdated in the early 20th century, but the stereotype has remained. Another stereotype that is still kept alive is that especially children are target audience of puppet theatre. History reveals that puppets and later puppet theatre were developed in different historical contexts and children began to be the target audience in Germany only in the 19th century. These two stereotypes held back its development. At the end of last year, the authoress spoke on modern trends in European puppet theatre and giving the examples of Janos Palyi or Tomas Dvorak and documented the efficiency of combining modern contents with the citations from puppet traditions at the International Conference of Stage Animation hosted by the University of Tampere in cooperation with the Commission for the Research of Puppet Theatre UNIMA and The Centre for Research as Practice in Theatre in Tampere. For the authoress is Eduardo de Paiva Souza (Dudo Paiva) an example that shows the viability and inspiration of modern thinking and brings together animation with the distinct visual characteristics of movement while using the dramatic methods in the environment of puppet theatre. The Austrian dance productions of Vivisector by Klaus Obermaier (direction, music, video) and Chris Haring (choreography) performed by four dancers was another memorable, inspiring and provocative experience in the field of puppetry. Fascinating staging which combines dance and computer animation screened on the bodies of the dancers. The form of production and its moral message that questions the affects of virtual world on one's life was a fascinating experience, which showed a futuristic combination of physical and virtual presence and left a feeling of uneasiness.
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