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

Results found: 12

first rewind previous Page / 1 next fast forward last

Search results

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

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

Murwakala – rytualny wayang

100%
Lis M.
Pamiętnik Teatralny
|
2016
|
vol. 65
|
issue 1-2(257-258)
248-260
EN
As colonial scholars at the turn of the 19th and 20th centuries surmised, the traditional Java shadow theatre, i.e. wayang kulit, probably originated from animistic rituals of prehistoric Java. According to the myth recounting its beginnings, god Wisnu, who had descended on earth as dhalang Kandhabuwana, was the first puppeteer. The story of wayang’s beginnings told in the Murwakala lakon is also a story about the birth and life of Kali, the god of time and destruction. The lakon is performed during the ruwatan ritual which is supposed to cleanse either individual people or entire communities and restore universal harmony. The real world and the world of illusion coexist in the show, and the dhalang, through the presence of the mythical dhalang Kandhabuwana on the screen, is accumulating his power, which will enable him to perform the ceremonial cleansing of the audience.
2
Content available remote

Recenzja książki The Routledge Companion to Puppetry and Material Performance, edited by Dassia N. Posner, Claudia Orenstein, John Bell (London and New York 2015, Routledge)

100%
Jurkowski H.
Pamiętnik Teatralny
|
2016
|
vol. 65
|
issue 1-2(257-258)
318-332
EN
Since the time UNIMA activists published the album titled The Puppet Theatre of the Modern World. An International Presentation in Word and Picture edited by Margareta Niculescu, there has not been any publication that would attempt at presenting the whole phenomenon of puppet theatre in all its diversity. Now there is a new book on the subject, and its very unusual and well worth reading. It is a selection of papers delivered at the Puppetry and Postdramatic Performance International Conference on Performing Objects in the 21 Century held at the University of Connecticut in April 2011. The book is edited by John Bell, Director of the Ballard Institute Museum of Puppetry, Claudia Orenstein, Associate Professor of the Hunter College Theatre Department, and Dossia N. Posner, theatre studies professor at Northwestern University. The volume contains texts by twenty-eight authors divided into three sections: 1. Theory and Practice, 2. New Dialogues with History and Tradition, 3. Contemporary Investigations and Hybridizations. The editors declare that it presents for the most part work of English-language scholars who look at the puppet and material performance from the viewpoints of philosophy, history and theatre. The book stands out not only because of the varied subject matter but also because of its methodological diversity. It is proof that contemporary puppet theatre and material performance attract outstanding researchers and intellectuals who deftly apply methods developed by contemporary psychology, philosophy, anthropology and theatre studies. It is the best possible recommendation for puppet theatre, which, so far, has been appreciated by a limited number of scholars.
3
Content available remote

Witkacy na wrocławskich scenach lalkowych

80%
Suszczyński K.
Pamiętnik Teatralny
|
2017
|
vol. 66
|
issue 1-2(261-262)
165-198
EN
Given the rich history of dramas by Stanisław Ignacy Witkiewicz in puppet theatre (27 productions since the Second World War), the author focuses on the shows put on in Wrocław. The first two productions using puppets as means of theatrical expression premiered, almost concurrently, half a century ago: one was put on by the Zespół Amatorski Klubu Oławka (Juwenilia, prem. Nov. 1966), while the other was prepared by the outstanding puppet theatre soloist Andrzej Dziedziul (Twój powszedni morderca [Your Everyday Murderer], prem. 1966). The forgotten show by Dziedziul introduces Witkacy’s dramaturgy into professional puppetry. His subsequent play, inspired by the playwright’s juvenilia, the drama Kurka wodna (The Water Hen), and letters written by Stanisław Witkiewicz Senior to his son (Glątwa [The Hangover], prem. 2 March 1973) acquired international recognition, promoting not only Polish puppetry but also Witkacy’s dramaturgy, which was gaining popularity at the time. In the 1980s, the managing director of the Wrocławski Puppet Theatre, Wiesław Hejno in cooperation with the designer Jadwiga Mydlarska-Kowal and the composer Zbigniew Piotrowski put on one of the most outstanding puppet plays based on a piece by Stanisław Ingacy Witkiewicz, i.e. Gyubal Wahazar (prem. 13 March 1987). The show, addressed to adult audiences, was admired for the visual qualities and novel construction of the puppets as well as for remarkable performances by the puppeteers. The play garnered numerous awards at festivals in Poland and abroad and ran for twelve seasons. Hejno had another go at Witkacy, again in cooperation with Mydlarska-Kowal and Piotrowski, when he staged Komedia dla mamy i taty [A Comedy for Mommy and Daddy] (prem. 7 Jan. 1996), which was inspired by the dramas that Stanisław Ignacy Witkiewicz had written as a child. The puppet show was meant for children, but the world it represented proved attractive for older audiences as well. Even though the multiplicity of plastic means of expression proved a bit confusing for some viewers, Komedia was regarded as one of the best of those rare puppet shows that Hejno put on for younger audiences. A puppet show based on a drama by Stanisław Ignacy Witkiewicz was performed at Wrocław Branch of the Ludwik Solski National Academy of Dramatic Arts in Cracow in the 1990s. The Puppetry Department diploma performance of ONI [They] was put on by Hejno, Mydlarska-Kowal, and Piotrowski. Eight years later, Witkacy returned onto the stage of the Academy’s theatre in the company of other playwrights when Aleksander Maksymiak in cooperation with Jadwiga Mydlarska-Kowal prepared a diploma performance titled Natrętny Książę. Seans dadaistyczno-surrealistyczny według Georges’a Ribemont-Dessaignes’a, Eugene Ionesco, Tristana Tzary i Stanisława Ignacego Witkiewicza [The Importunate Prince: A Dada and Surrealist Séance According to Georges Ribemont-Dessaignes, Eugene Ionesco, Tristan Tzara, and Stanisław Ignacy Witkiewicz] (prem. 10 Feb. 2000). Based on photographs, articles, reviews and other publications appearing both in daily press and in specialised periodicals, the author describes the puppet shows and analyses them thoroughly, focusing on the puppet theatre repertory addressed to adult audiences, which is rare in puppet theatre studies.
4
Publication available in full text mode
Content available

Polski, czeski i słowacki teatr lalek - przenikanie wpływów

70%
Tomaszewska E.
Studia Etnologiczne i Antropologiczne
|
2014
|
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?
5
Content available remote

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

61%
Tomaszewska E.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
|
2018
|
vol. 21
|
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.
6
Content available remote

"Kartoteka" Tadeusza Różewicza na scenach teatrów lalek

61%
Kopania K.
Pamiętnik Teatralny
|
2013
|
vol. 62
|
issue 3-4(247-248)
79-104
EN
The article is devoted to the presence of "The Index Card" by Tadeusz Różewiczin puppet theatre. It discusses the productions at the following puppet theatres: the Groteska Theatre in Cracow (1961), the Lalek Theatre in Białystok (1972), the Olsztyński Teatr Lalek (2001), Teatr Dzieci Zagłębia im. Jana Dormana – Scena Inicjatyw Twórczych in Będzin (2011), and the Lalki i Aktora Theatre in Łomża(2012). The discussion, based on numerous archival sources and press reviews,presents major conceptual assumptions of the producers, some problems relating to stage design and directing, and the overall message that each of the productions conveyed. Special attention is given to the changes in how the drama by Różewicz has been treated over the years. In more than fifty years since the puppet theatre premiere of the play, some directors have deviated from the original text of "The Card Index" in a substantial way. While the Cracow and Białystok productionsstrictly adhered to the text, the productions of the last dozen years clearly tend to contemporise the play and even complement it rather arbitrarily with fragments of other works by Różewicz. Each of the productions has also been analysed inrelation to the history of puppet theatre in Poland of the last decades, which shows a consistent trend to move away from the traditional means of expression of this art form.
7
Publication available in full text mode
Content available

Dramaty (nie)zwierzęce w teatrze lalek dla dzieci

57%
Drwięga A.
Polonistyka. Innowacje
|
2017
|
issue 5
103-120
EN
Agata Drwięga in her paper investigates how animals are present in contemporary drama for children and in Polish puppet theatre. Pieces in which animals are treated as if they were humans (in both negative and positive sense) are discussed. Investigated dramas include A. Wiktorowska-Chmielewska’s Malwinka in the Bird’s Kingdom and M. Guśniowska’s Marvin. Here, animals are generally treated as objects, and their real nature is not relevant for the content of drama. Texts concentrate on certain aspects of animal nature but also include animals which still undergo anthropomorphism (for example in: M. Guśniowska’s The Snake, M. Prześluga’s Beak in Beak and M. Baltscheit’s One Day Only). The last performance discussed in the paper is Baltic. A Dog on an Ice Floe directed by R. Wicza-Pokojski which tells the story of an animal but retains its subjectivity and places it at the same level as human experience. In general, the artist’s approach to animals is manifested by not only the puppet’s looks, but also by their role in the show. Puppets of less popular animals (e.g. pigeons, snakes or mayflies) often do not resemble original organisms, in contrast to puppets of mammals (e.g. cats, dogs). In the same time, non-human characters are almost always anthropomorphised or infantilized.
PL
Agata Drwięga analizuje, w jaki sposób zwierzęta są obecne we współczesnych dramatach dla dzieci oraz na scenach polskich teatrów lalek. Autorka wspomina sztuki (Malwinka w Ptasim Królestwie A. Wiktorowskiej-Chmielewskiej i Marvin M. Guśniowskiej), które cechuje przedmiotowe podejście do zwierząt. Swoją uwagę koncentruje przede wszystkim na tekstach eksponujących wybrane aspekty zwierzęcej natury, jednak nieuciekających od antropomorfizacji bohaterów (Dziób w dziób M. Prześlugi, Wąż M. Guśniowskiej i Tylko jeden dzień M. Baltscheita). Ostatnim przedmiotem analizy jest spektakl Baltic. Pies na krze R. Wiczy-Pokojskiego, gdzie opowiedziano historię zwierzęcia, zachowując odrębność jego natury, jednocześnie stawiając je na równi z człowiekiem. Podejście realizatorów do kwestii zwierzęcej objawia się zarówno przez wygląd lalek, jak ich rolę w spektaklu. Animanty zwierząt niepopularnych (takich jak gołąb, wąż czy jętka) rzadziej niż lalki ssaków (kot, pies) wykazują podobieństwo do swoich, występujących w naturze, pierwowzorów. Jednocześnie lalki bohaterów nie-ludzkich niemal zawsze upodabnia się do ludzi lub infantylizuje.
8
Publication available in full text mode
Content available

Teatr Lalek Andrzeja Pawłowskiego jako Projekt Nierealny

51%
Kopania K.
Sztuka i Dokumentacja
|
2020
|
issue 23
59-71
EN
At the beginning of the 1950s, Andrzej Pawłowski, inspired by the achievements of the Bauhaus movement and the work of Sergey Obraztsov, director of the Central State Puppet Theatre in Moscow, was engaged with creating a mirror puppet theatre. He patented his project, which was intended to facilitate the work of puppeteers and ensure wider social accessibility of the theatre, and tried to develop it by attempting to create an epidiascope puppet theater. Ultimately, however, his efforts failed due to the lack of interest in the project of the puppeteers, as well as down-to-earth problems, primarily with the precise optical tools that were difficult to access at that time. Nevertheless, the derivative of the experiments he conducted were Kineforms, important for Polish art in the 1950s and 1960s. This text completes our knowledge of the mirror puppet theater. Thanks to the discovery of its design in the archives of the Patent Office in Warsaw, it became possible to accurately reconstruct the form and principles of operation of Pawłowski’s portable stage. On the other hand, an in-depth analysis of the puppetry milieu of post-war Poland, its aspirations, needs, and artistic horizons made it possible to determine why Pawłowski's project did not meet the interest of those for whom it was created.
PL
Na początku lat 50. XX w. Andrzej Pawłowski, wychodząc od inspiracji dokonaniami Bauhausu, ale też Siergieja Obrazcowa, dyrektora Państwowego Centralnego Teatru Lalek w Moskwie, pracował nad stworzeniem lustrzanego teatru lalek. Swój projekt, w założeniu ułatwiający pracę lalkarzom i zapewniający szerszą społeczną dostępność teatru, opatentował i starał się rozwijać, podejmując próby stworzenia epidiaskopowego teatru lalek. Ostatecznie jednak jego starania spełzły na niczym z racji braku zainteresowania projektem środowiska lalkarskiego, jak też przyziemnych problemów, przede wszystkim z trudno dostępnymi w tamtym czasie precyzyjnymi narzędziami optycznymi. Niemniej jednak pochodną prowadzonych eksperymentów były ważne dla polskiej sztuki lat pięćdziesiątych i sześćdziesiątych Kineformy. Niniejszy tekst uzupełnia naszą wiedzę o lustrzanym teatrze lalek. Dzięki odnalezieniu w Archiwum Urzędu Patentowego w Warszawie jego projektu możliwym stało się dokładne zrekonstruowanie formy i zasad działania przenośnej sceny Pawłowskiego. Z kolei głębsza analiza lalkarskiego środowiska powojennej Polski, jego aspiracji, potrzeb oraz horyzontów artystycznych, pozwoliła na ustalenie, dlaczego projekt Pawłowskiego nie spotkał się z zainteresowaniem tych, dla których był stworzony.
9
Content available remote

Kronika życia i twórczości Jana Dormana (1912–1986)

51%
Wiśniewska M., Tomaszewska E.
Pamiętnik Teatralny
|
2019
|
issue 3-4(271-272)
13-140
EN
Jan Dorman (b. Dębowa Góra, now Sosnowiec, 1912–d. Będzin, 1986) was a teacher, director, stage designer, author of texts for theatre, founder of the Experimental Child’s Theatre (ETD) in Sosnowiec (1945–1951) and The Children of Zagłębie’s Theatre (TDZ) in Będzin, which has been named after him (1951–1977), lecturer at the Faculty of Puppetry in Wrocław, Branch of the State Academic School of Theatre (PWST) in Krakow, now Stanisław Wyspiański Academy of Theatre Arts (1978–1986), promoter of culture in Będzin. His theatre practice situated itself between children’s theatre, young spectator’s theatre, puppet theatre, avant-garde art theatre and experiments close to the happening. Dorman’s performances were presented at many festivals internationally; the work of TDZ that he directed represented Poland at the International Exhibition of Stage Design in Amiens, France (1969). Dorman wrote and adapted texts for theatre, composed and selected music, designed the sets (along with his son, Jacek), initiated the “Herody” review of folk productions, maintained extensive contacts with Polish and foreign theatre communities, contributed regularly to theatre magazines (including Scena, Teatr Lalek, Teatr), and he published his book Children Playing at Theatre. Throughout his life, Dorman recorded his practice through meticulously produced archival documentation.
10
Publication available in full text mode
Content available

Rok 1965 w Indonezji w spektaklach Papermoon Puppet Theatre z Yogyakarty i filmie Scena zbrodni Joshuy Oppenheimera

51%
Lis M.
Studia Azjatystyczne
|
2015
|
issue 1
64-76
PL
1965 is the date that has been disregarded in the recent history of Indonesia and the world. Gerakan 30 September (30th September Movement), self-appointed organization consisting of representatives of the Indonesian army carried out a failed coup on October 1, 1965, killing six generals. The same day evening the Movement fell and Partai Komunis Indonesia (Indonesian Communist Party) was blamed. In the following weeks communists and their supporters began to be removed from public life being arrested and murdered. The 1965 purges have been read in the West as a victory over communism. In Indonesia they remained taboo for almost half of the century.The paper focuses on showing how the events of 1965 are shown in today's Indonesia and in the word. For Papermoon Puppet Theatre 1965 is a key to understand the past, present and future of their homeland. For Oppenheimer meeting with former criminals has provided an opportunity to make the film about the political system in which genocide was erased from the collective memory of those who survived, and the offenders remain unpunished.
11
Content available remote

Režisér syntetické kompozice : (k divadelním režiím Josefa Henkeho)

41%
Lazorčáková T.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
|
2021
|
vol. 24
|
issue 2
143-159
EN
This article focuses on the theatre work of director Josef Henke, whose name is primarily connected with the innovative radio production of the 1960s. The article, based on a meticulous archival and heuristic research, tracks Henke's connection to theatre. I look at how his inspiration by the work of E. F. Burian reflected in the fundamental features of Henke's style of direction – use of metaphors, rhythm, emphasis on sound composition, and interpretative verity. The article also focuses on Henke's personal engagements with professional drama and puppet theatre and analyses Henke's particular directing approaches. I pay particular attention to the period of Normalisation in Czechoslovakia, when Henke could not work for the radio, and therefore, theatre became a space for his creative self-realisation and implementation of dramaturgical, production, and thematic ideas. The article emphasises the transfer of the directorial features Henke applied in his radio productions into theatrical performances as well as points out to the ideological limits and personal persecution of the director in the times of Normalisation. Within this period, the director gradually formed his signature approach which included the preference of the topics of ethical and moral values or scenic emphasis on folklore, folk poetry and songs, customs, and rituals. Henke's work for puppet theatre is subsequently labelled as the most significant in this respect as it allowed him a relatively free space for his own adaptations, creative scripts, and systematic use of syncretic direction, encompassing the accurate rhythm of words, acting, sound, and movements on the stage in order to create a synthetic scenic composition.
CS
Studie se zaměřuje na divadelní tvorbu režiséra Josefa Henkeho, jehož jméno je spojováno především s inovativní rozhlasovou inscenací šedesátých let 20. století. Text, který vznikl na základě důsledné práce s archivními prameny a heuristického výzkumu, sleduje nejdříve Henkeho vztah k divadlu a jeho inspiraci tvorbou E. F. Buriana, která se odrazila v základních znacích Henkeho režijního stylu – metaforičnosti, rytmizaci, důrazu na zvukovou kompozici a interpretační pravdivost. V hlavní části se studie zaměřuje na jednotlivá angažmá v profesionálních činoherních a loutkových divadlech a v analytickém pohledu předkládá svědectví o konkrétních režijních postupech v Henkeho divadelní tvorbě. Autorka věnuje pozornost zejména normalizačnímu období, v němž režisér nesměl pracovat v rozhlase a divadlo se stalo prostorem pro jeho tvůrčí seberealizaci a k prosazování dramaturgických, inscenačních a tematických linií. Studie poukazuje na režisérův transfer rozhlasových prostředků do inscenačního tvaru, ale také na ideologické limity a osobní perzekuci režiséra v období normalizace, a na postupně se formující dominantní aspekty divadelních režií, jako byla preference tématu etických a morálních hodnot či scénické prosazení folklorních tradic, lidové poezie a písní, zvyků a rituálů. Jako nejvýraznější je pak označena Henkeho tvorba pro loutková divadla, která představovala pro režiséra relativně svobodný prostor k prosazení vlastních adaptačních zásahů či autorských scénářů a k programovému uplatňování stylových postupů ve smyslu synkretické režie, preferující přesnou rytmizaci slovní, herecké i zvukové a pohybové složky na jevišti a vytvoření syntetické scénické kompozice.
12
Publication available in full text mode
Content available

Lalka w teatrze lalek

41%
Tomaszewska E.
Edukacja Elementarna w Teorii i Praktyce
|
2018
|
vol. 13
|
issue 2(48)
183-194
PL
Teatr jest stałym elementem edukacji dzieci i młodzieży. Jednak teatr lalek jako forma artystycznego dialogu prowadzonego za pośrednictwem formy plastycznej (lalki) nie cieszy się dziś zainteresowaniem pedagogów. Autorka artykułu postawiła sobie za cel przekonanie edukatorów do tej specyficznej formy teatru i jej możliwości komunikowania się z wychowankiem zarówno poprzez tworzenie spektaklu w ramach laboratorium teatralnego, przez rozmowę o spotkaniu z teatrem profesjonalnym, jak i jako sposób komunikacji interpersonalnej. Wykorzystując badania teatrologiczne i antropologiczne, analizuje możliwości budowania metafory teatralnej za pomocą lalki, a w oparciu o analizę recenzji i opisów widowisk lalkowych oraz obserwację własną współczesnej twórczości lalkowej – dokonuje przeglądu form lalek i sposobu ich istnienia w teatrze. Pokazuje ogromną różnorodność możliwości i wskazuje siłę pobudzania wyobraźni zarówno twórcy, jak i widza. Zwraca uwagę na najnowszą koncepcję „materialnego performansu”, który należy rozumieć jako swoisty dialog interpersonalny między kreatorem a odbiorcą za pośrednictwem materialnego obiektu. Z jednej strony mobilizuje się dzieci do zainteresowania realnym światem, który stanowi przecież naturalne środowisko człowieka. Ma to szczególne znaczenie w świecie zdominowanym przez nowe technologie i wirtualne światy. Z drugiej strony materialny pośrednik ma również walor terapeutyczny, to znaczy pozwala na szczerą i prawdziwą rozmowę, stając się wartościowym narzędziem w pracy edukatora.
EN
Theatre is a constant element of children’s and teenager’s education. But puppet theatre treated as a form of artistic dialogue conducted through a material form (puppet) seems not to be of interest to pedagogues. The aim of the author is to convince educators of the value of this specific form of theatre and of its possibilities in terms of communication with pupils. This communication takes place in three forms: through creating a spectacle in a theater lab at school; in conversations about the professional performances; in interpersonal communication. Using the relevant theatrological and anthropological research, the author analyzes the possibilities of building a theater metaphor with a puppet and – based on the analysis of theatrical reviews, the description of contemporary performances and personal theatrical observation –the author makes a review of different puppet forms and their manner of animation. She shows the huge diversity of possibilities and points out the power of stimulating the imagination of both the creator and spectator. She also draws attention to the new concept entitled “material performance” which should be understood as a kind of interpersonal dialogue between the creator and the recipient through means of the material object. On the one hand, it motivates children to be interested in the real world which is the natural human environment. It is very important in a reality dominated by new technologies and virtual worlds. On the other, this material intermediary has also therapeutic significance i.e. it allows more honest and genuine communication and thus becoming a valuable tool in the work of the educator.
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.