Uvidom u dostupne izvore i arhivsku građu u radu se propituje utjecaj poljskog lutkarstva i poljskih umjetnika – autora tekstova i redatelja lutkarskih predstava – na suvremeno hrvatsko lutkarstvo ...tijekom druge polovice 20. stoljeća. Igrokazi poljskih književnika izvođeni su u hrvatskim lutkarskim kazalištima 60-ih godina 20. stoljeća kao rezultat formiranja tadašnje repertoarne politike pri čemu je osobito zapažena bila suradnja zadarskog Kazališta lutaka i poljskih autora i redatelja, posebice Wiesława Hejna. U povijesti djelovanja današnjeg Gradskoga kazališta lutaka Rijeka važan je trag ostavilo gostovanje poljskih lutkara u Opatiji (u neposrednoj blizini Rijeke) i riječkih u Poljskoj i Slovačkoj tijekom 60-ih godina 20. stoljeća. Tom su prigodom riječki lutkari upoznali tada avangardne lutkarske predstave u formi tzv. kazališta različitih izražajnih sredstava u kojima su uz lutke nastupali glumci te lutkarske predstave za odrasle, što je imalo utjecaja na repertoar ovog kazališta u kasnijim razdobljima. Od tekstova poljskih autora u tadašnjem Kazalištu lutaka Rijeka krajem 60-ih godina kao klasične lutkarske predstave izvođeni su igrokazi Klub lažnih detektiva Ryszarda Raduszewskog i Vuk i kozlići Jana Grabowskog, a krajem 80-ih u formi kazališta različitih izražajnih sredstava igrokaz Małgorzate Jokiel Mala krila.
The article deals with the story of Carlo Collodi’s “The Adventures of Pinocchio”, translated by Nina Petrovskaya and revised by Aleksey Tolstoy in Berlin at the time of their collaboration in the ...newspaper “Nakanune”. Attention is drawn to the use of commedia dell’arte characters’ names in international political newspeak in connection with the press appearances of A. Gramsci whose biography is closely linked with pro-Bolshevik circles in Berlin and Moscow. The interest in the translation of “The Adventures of Pinocchio” in the Russian press in the 1920s was most probably linked to the beginning of Soviet-Italian relations and the choice of future course facing Russian emigrants. The hypothesis of the different positions of Aleksey Tolstoy and Maksim Gorky concerning the question of return to Russia is put forward. The circumstances of the choice of the book for translation and the alignment of translation by Nina Petrovskaya and processing of the translation by Aleksey Tolstoy are described. Emphasis is placed on the anti-fascist movement, the centre of which was Florence, the city of Carlo Collodi. Petrovskaya’s anti-fascist views and Tolstoy’s pro-Soviet stance enable us to see the tale from the perspective of social struggle and personal choice. The roles of both Russian authors in the work on the book and their relationship to the Italian-Russian patronage family Signorelli are clarified. The re-addressing of the tale, which predetermined the further oblivion of the Berlin book, is explained: the new translation was addressed not so much to children as to adults, Russian émigrés.
This work explores Věra Chytilová's use of the aesthetics and semiotic space of the puppet theatre in her 1966 film Sedmikrásky (Daisies). Although critical response to the film has frequently ...highlighted the doll-like nature of the heroines' appearance in the opening scene, I argue that it is Chytilová's use of the puppet and its simultaneous status as both object and agent which underlies the film's inquiry into questions of morality, violence, destruction, and consumption. This simultaneous status as object and agent - or animate and inanimate - elucidates not only the moral ambiguity of the heroines' behaviour and corresponding massive variation in audience responses, but also the seeming contradictions in Chytilová's own discussions of the film both before and after the Velvet Revolution. Using Otakar Zich's and Henryk Jurkowski's theoretical works on the phenomenology of the puppet theatre along with Heinrich von Kleist's work on the moral sphere of the puppet, I present the puppet theatre as the film's mechanism for exploring themes of consumption, destruction, performativity, and agency.
Provider: - Institution: - Data provided by Europeana Collections- Promo video from the performance Little Luna and Big Luna. “The puppet and radio play Little Luna and Big Luna is an ode to ...childhood playfulness, creativity and open-mindedness as the most authentic human attitudes to the world. Little Luna is an image of a child. I wanted this play to portray the joys and pains of growing up, and the human life torn between Day and Night, Work and Play. Sun is the King of Light and Luna is the Princess of Play. The Luna character is my own futile attempt of returning to my own childhood. Luna, the moon, is the only thing in the whole wide world which grows from new moon to full moon, and then once again returns to the waning crescent and back to the place where it began its journey. Luna is the only eternal child.” (Boris A. Novak)
Like any other child, Little Luna yearns to grow up as soon as possible. She falls in love with the Sun, and envies his size and the power of his light. But when she grows up to be the full moon, Big Luna realises that with being grown up come responsibilities. The Sun explains that he has to produce light each and every day of his life, from sunrise to sunset, to create and sustain life in space. Once Big Luna gets a bitter taste of adulthood, she begins longing for careless childhood play, and she begins to grow smaller once more.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Tradycyjny jawajski teatr cieni, czyli wayang kulit, prawdopodobnie wywodzi się z animistycznych rytuałów prehistorycznej Jawy, zgodnie z przypuszczeniami kolonialnych badaczy na przełomie XIX i XX ...wieku. Według mitu opowiadającego o jego początkach pierwszym lalkarzem był bóg Wisnu, który zstąpił na ziemię jako dalang Kandhabuwana. Historia powstania wayangu opowiedziana w lakon Murwakala to także opowieść o narodzinach i życiu Kali, boga czasu i zniszczenia. Lakon wykonywany jest podczas rytuału ruwatan, który ma oczyścić poszczególnych ludzi lub całe społeczności, by przywrócić uniwersalną harmonię. Świat rzeczywisty i świat iluzji współistnieją w spektaklu, a dalang, poprzez obecność mitycznego dalanga Kandhabuwany na ekranie, gromadzi swoją moc, która umożliwi mu dokonanie ceremonialnego oczyszczenia widowni.
U ovom radu autorica predstavlja lutkarske predstave koje su uprizorene u Kazali- štu lutaka Zadar prema fantastičnim motivima iz češke i hrvatske pisane i usmene književnosti: balada Kitica prema ...tekstu češkog autora Karela Jaromíra Erbena u režiji Miroslava Melene; Nečisti i djevojka koju je na scenu prema motivima usmene priče postavio Rene Medvešek i u maniri nove bajkovitosti predstava Gradovanje Tahira Mujičića koja je nastala kao hommage hrvatskom fantastičnom slikaru Hr- voju Šercaru. U baladi i usmenoj priči autori kreću od svakodnevnice kako bi došli do motiva straha i smrti. U bajci su izostavljeni fantastični motivi strave i smrti, ali je fantastičnost podcrtana fantastičnim lutkama i fantastičnom inscenacijom. U lutkarskoj praksi poželjno je da se lutka koristi za one inscenacije koje zahtijevaju natprirodna rješenja jer je scenska lutka neživa stvar, a istovremeno prezentira život i živi. Upravo tom svojom dvostrukom prirodom, lutka može izraziti sve ono što čovjek i ne smije, i ne može.
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.
The aim of this paper is to review existing guidelines and strategies for AD in children’s theatre and to prepare an accessible visit for visuallyimpaired children to a puppet theatre. Taking under ...consideration the complexity of Plastusiowy pamiętnik (Plastuś’ Diary) the performance chosen to be audio described, we decided to create an audio introduction, AD script and a touch-tour prior to the spectacle. We believed that in such a way children could enjoy the play to the same extent as the sighted audience do. Our intention was to find out how to describe the convention of puppet theatre as well as to reach the balance between the abundance of stimuli in the play and information that should be delivered in the AD script, without breaking the suspension of disbelief.
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