Title: A midsummer night's dream in Polish puppet theatres in Silesia – Mise-en-Scène by Jan Dorman, Josef Krofta and Marián Pecko
Source document: Theatralia. 2018, vol. 21, iss. 2, pp. 95-111
Extent
95-111
-
ISSN1803-845X (print)2336-4548 (online)
Persistent identifier (DOI): https://doi.org/10.5817/TY2018-2-7
Stable URL (handle): https://hdl.handle.net/11222.digilib/138517
Type: Article
Language
License: Not specified license
Notice: These citations are automatically created and might not follow citation rules properly.
Abstract(s)
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.
References
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[22] TOMASZEWSKA, Eva. 2012. Jan Dorman, własną drogą [Jan Dorman, His Way]. Katowice: Wydawnictwo Naukowe Śląsk, 2012.
[23] TOMASZEWSKA, Eva. 2013. Teatr to przestrzeń wolności [Theatre Is a Space of Freedom]. E. Tomaszewska's interview with K. Brožek. Magazyn Kulturalny MOST [MOST Cultural Magazine] (2013): 6–7.
[24] TOMASZEWSKA, Eva. 2014. Tam i z powrotem. Rzecz o lalkarskich kontaktach polsko-czechosłowackich i polsko-czesko-słowackich na Śląsku [There and Back, On the Polish-Czechoslovak and Polish-Czech-Slovak Puppet Affiliations in Silesia]. Katowice: Wydawnictwo Uniwersytetu Śląskiego, 2014.
[25] TOMASZEWSKA, Eva. 2017. Polsko-česko-slovenské loutkářské kontakty ve Slezsku [Polish-Czech-Slovak puppet contacts in Silesia]. Loutkář [The Puppeteer] (2017): 1.
[26] WASZKIEL, Marek. 2012. Dzieje teatru lalek w Polsce 1944–2000 [History of Puppet Theatre in Poland 1944–2000]. Warsaw: Akademia Teatralna im. Aleksandra Zelwerowicza [Aleksander Zelwerowicz Theatre Academy], 2012.
[2] BITKA, Zbigniew. (ed.). 2008. Ludzie i lalki. Opowieści o teatrze [People and Puppets. Theatre Tales]. Opole: OTLiA, 2008.
[3] BITKA, Zbigniew. 1997. Opolski Teatr Lalki i Aktora im. Alojzego Smolki, 1937–1997 [Antonin Smolka Opole Actor and Puppet Theatre]. Opole: OTLiA, 1997.
[4] DOLENSKÁ, Kateřina. 2010. Mapa czeskiego lalkarstwa [A Map of Czech Puppetry]. Teatr Lalek [Puppet Theatre] (2010): 1.
[5] DORMAN, Jan. 1966. Bábka v inscenácii. Umelecké Slovo (1966): 3.
[6] DORMAN, Jan. 1967a. Rekvizity v mojom divadle. Umelecké Slovo (1967): 2.
[7] DORMAN, Jan. 1967b. Shakespeare v mojom divadle. Umelecké Slovo (1967): 6.
[8] DORMAN, Jan. 1968a. Bábka v inscenácii. Československý Loutkář (1968): 9.
[9] DORMAN, Jan. 1968b. Herodove hry a moje divadlo. Umelecké Slovo (1968): 3.
[10] DORMAN, Jan. 1968c. Poznamku režisera – anekdota Konik. Umelecké Slovo (1968): 9.
[11] DORMAN, Jan. Letter dated 12. 12. 1971, typescript, Jan Dorman Archives, Zbigniew Raszewski Theatre Institute in Warsaw. Elektroniczna Encyklopedia Teatru Polskiego [online]. ©2015. Available online at http://encyklopediateatru.pl/
[12] FARKAŠOVÁ, Eva. 2011. Divadlo má zostať na ľuďoch (Miloš Krekovič’s interview with Eva Farkašová). SME.kultura [online] (12. 5. 2011) [accessed: 18. 12. 2013]. Avalaible online at http://divadlo.sme.sk/c/5885180/eva-farkasova-divadlo-ma-zostat-na-ludoch.html
[13] GARDNER, Lyn. 2013. Why children's theatre matters. The Guardian [online] (23. 10. 2013) [accessed: 11. 3. 2018]. Avalaible online at https://www.theguardian.com/stage/theatreblog/2013/oct/23/why-childrens-theatre-matters
[14] JURKOWSKI, Henryk. 1965. Polski teatr lalek [Polish Puppet Theatre]. Teatr Lalek (25 lat PRL) [Puppet Theatre (25 years of PRL)]. 1965: 1–4.
[15] JURKOWSKI, Henryk. 2002. Metamorfozy teatru lalek w XX wieku [The Metamorphoses of Puppet Theatre in the 20th Century]. Warsaw: Oficyna Wydawnicza "Errata", 2002.
[16] KOZIEŃ, Lucyna. (red.). 1992. Bielskie festiwale lalkowe [The Bielsko puppet festivals]. Teatr Lalek Banialuka [Banialuka Puppet Theatre]. Bielsko-Biała, 1992.
[17] KROFTA, Josef. 2004. Trzy po trzy [Three by Three]. Interview with Josef Krofta. Życie Warszawy (4. 3. 2004).
[18] KUBAS, Aleksandra. 2013. Szekspir nasz współczesny [Shakespeare our Contemporary]. Dziennik Teatralny [Theatre Journal] Bielsko-Biała [online] (29. 5. 2013) [accessed: 8. 8.2016]. Avalaible online at http://www.dziennikteatralny.pl/artykuly/szekspir-nasz-wspolczesny.html
[19] LEGOŃ. Janusz. 2013. Igraszki na krawędzi otchłani [Frolicking At the Edge of an Abyss]. Teatr Lalek [Puppet Theatre] (2013): 4.
[20] SMETANA, Radek. 2012. Mým celoživotním tématem je divadlo! Radek Smetana's conversation with M. Pecko. Divadelní zpravodaj 9 (2012). Available online at http://www.vcd.cz/old/html/staryweb/hry/sennoci.php [accessed: 26. 9. 2016]. Pl. Spektakl dla dorosłych we Wrocławskim Teatrze Lalek [A Spectacle for Grown-ups At the Wrocław Puppet Theatre]. Gazeta Wyborcza (24. 1. 2004).
[21] TOMASZEWSKA, Eva. 2004. Teatr Jana Dormana w świetle kontaktów z czechosłowackim środowiskiem lalkarskim w latach 1955–1967 [Jan Dorman's Theatre in the Light of his Contacts with Czechoslovak Puppetry Circles in the Years 1955–1967]. In O divadle na Moravě a ve Slezsku [Theatre in Moravia and Silesia]. Olomouc: Palacký University, 2004.
[22] TOMASZEWSKA, Eva. 2012. Jan Dorman, własną drogą [Jan Dorman, His Way]. Katowice: Wydawnictwo Naukowe Śląsk, 2012.
[23] TOMASZEWSKA, Eva. 2013. Teatr to przestrzeń wolności [Theatre Is a Space of Freedom]. E. Tomaszewska's interview with K. Brožek. Magazyn Kulturalny MOST [MOST Cultural Magazine] (2013): 6–7.
[24] TOMASZEWSKA, Eva. 2014. Tam i z powrotem. Rzecz o lalkarskich kontaktach polsko-czechosłowackich i polsko-czesko-słowackich na Śląsku [There and Back, On the Polish-Czechoslovak and Polish-Czech-Slovak Puppet Affiliations in Silesia]. Katowice: Wydawnictwo Uniwersytetu Śląskiego, 2014.
[25] TOMASZEWSKA, Eva. 2017. Polsko-česko-slovenské loutkářské kontakty ve Slezsku [Polish-Czech-Slovak puppet contacts in Silesia]. Loutkář [The Puppeteer] (2017): 1.
[26] WASZKIEL, Marek. 2012. Dzieje teatru lalek w Polsce 1944–2000 [History of Puppet Theatre in Poland 1944–2000]. Warsaw: Akademia Teatralna im. Aleksandra Zelwerowicza [Aleksander Zelwerowicz Theatre Academy], 2012.