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Items from 1 to 17 out of 17 results

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Kronika życia i twórczości Jana Dormana (1912–1986)

Marzenna Wiśniewska, Ewa Tomaszewska

Pamiętnik Teatralny > 2019 > 3-4(271-272) > 13-140

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...

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Lalka w teatrze lalek

Ewa Tomaszewska

Edukacja Elementarna w Teorii i Praktyce > 2018 > 13 > 2(48) > 183-194

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...

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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

Ewa Tomaszewska

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia:... > 2018 > 21 > 2 > 95-111

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,...

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Dramaty (nie)zwierzęce w teatrze lalek dla dzieci

Agata Drwięga

Polonistyka. Innowacje > 2017 > 5

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,...

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Witkacy na wrocławskich scenach lalkowych

Karol Suszczyński

Pamiętnik Teatralny > 2017 > 66 > 1-2(261-262) > 165-198

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...

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La marionnettisation des personnages dans le théâtre francophone et polonaise du Vingtie`me Sie`cle

Cécile Bocianowski

Prace Polonistyczne > 2016 > LXXI > 237-255

This article is devoted to the use of the aesthetic of marionettes in twentieth-century theatre in Poland, French-speaking Belgium and France. Starting with the treatment of marionettes in Maurice Maeterlinck’s play Interior, the analysis of plays shows the function of the marionettisation of characters and how puppets inspire authors, on different levels, in the representation of metaphysical, political...

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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)

Henryk Jurkowski

Pamiętnik Teatralny > 2016 > 65 > 1-2(257-258) > 318-332

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...

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Murwakala – rytualny wayang

Marianna Lis

Pamiętnik Teatralny > 2016 > 65 > 1-2(257-258) > 248-260

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...

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BÁBKARSKÁ BYSTRICA 2014

Frederika Čujová

Slovenské divadlo (Slovak Theatre) > 2015 > 63 > 1 > 62 – 71

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...

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

Marianna Lis

Studia Azjatystyczne > 2015 > 1

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...

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Polski, czeski i słowacki teatr lalek - przenikanie wpływów

Ewa Tomaszewska

Studia Etnologiczne i Antropologiczne > 2014 > 14 > 44-57

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...

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Kierunki projektowania niewielkich obiektów o funkcji teatralnej na przykładzie nowej siedziby Teatru Lalek w Rabce-Zdroju

A. Rybka, M. Krupa

Czasopismo Inżynierii Lądowej, Środowiska i Architektury > 2014 > z. 61, nr 3/II > 469--478

Artykuł dotyczy problematyki projektowania niewielkich obiektów teatralnych na przykładzie koncepcji nowej siedziby Teatru Lalek w Rabce-Zdroju. Zagadnienie to zostało przedstawione na tle obiektów o podobnej funkcji, które powstały na świecie w ciągu ostatnich lat: Dee and Charles Wyly Theatre w Dallas USA, projektu REX i OM, Domäne Hildesheim w Hildesheim Niemcy, projektu agn Niederberghaus &...

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"Kartoteka" Tadeusza Różewicza na scenach teatrów lalek

Kamil Kopania

Pamiętnik Teatralny > 2013 > 62 > 3-4(247-248) > 79-104

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...

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FEMINISTICKÁ DRAMATIČKA IVETA ŠKRIPKOVÁ

Nadežda Lindovská

Slovenské divadlo (Slovak Theatre) > 2012 > 60 > 2 > 99 – 125

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...

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JAN ROMANOVSKY´S CREATION AGAINST THE BACKDROP OF IDEOLOGICAL TURNING POINTS (Tvorba Jana Romanovskeho v zrkadle ideologickych peripetii)

- Polivkova Ida Hledikova

Slovenské divadlo (Slovak Theatre) > 2010 > 58 > 1 > 38-57

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,...

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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)

Ida Hledikova-Polivkova

Slovenské divadlo (Slovak Theatre) > 2010 > 58 > 2 > 132-138

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...

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O dramaturgii lalkowej Józefa Ratajczaka

Ryszard Waksmund

Kształcenie Językowe > 2010 > 8(18) > 69-79

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...

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