In Search of a New Theatre for Children

Theatre for young people should help children in their individual development and also prepare new intelligent and open theatrical audiences for the future. This is very important in our world endangered by unification and cybernation of human beings. These goals demand a new form of theatre for children – modern, creative and fun. The text presents one conception based on interactive theatre performances and illustrated by 3 different examples. This form of theatre is based on children’s counting games and other forms of play, on metaphor and symbol, on traditional and ritual theatre. The action may be created, not by logical situations, but by associations with a free structure. Creative participation depends on drawing the audience into cocreating the action by engaging their intellectual faculties and sensitivity on activating children’s imagination and on the interactive nature of this process. However, this theatre must be variable, because children change quickly, develop and their requirements change [email protected] of Ethnology and Educational Science, University of Silesia in Katowice, 62 Bielska St., 43-400 Cieszyn, Poland1114215

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

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

Preferencje klientów związane z zakupami online

Nowadays online shopping is becoming more popular among Polish consumers. The aim of the article is to establish the existence of statistically signifiant differences between certain aspects of the behaviour of consumers when shopping online and their age. The empirical base for the article comprises the material obtained as a result of a survey carried out on a sample of 597 people buying over the Internet.Zakupy online stają się coraz bardziej popularne wśród polskich konsumentów. Niniejszy artykuł ma na celu wykazanie istnienia statystycznie istotnych różnic między wybranymi aspektami zachowań konsumentów podczas zakupów online a ich wiekiem. Bazę empiryczną opracowania stanowią wyniki badań diagnostycznych przeprowadzonych techniką CAWI na próbie 597 osób dokonujących zakupów przez Internet

Polski, czeski i słowacki teatr lalek - przenikanie wpływów

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

Można zrobić więcej - o współpracy teatru ze szkołą

The aim is to strengthen the influence of art of theatrical and thus support the child in learning about the surrounding world and internal integration and building the identity of the young audience

To, co nas uskrzydla : o działaniach animacyjnych w połączeniu z teatrem

Theatre as a form of artistic expression and activity is very close to the needs and goals of cultural animation in all its meanings. In a form of “reduced model” it can be a space for observation and analysis of mechanisms which control a human behavior. As a form of strong impact on the recipient it offers many methods and solutions that can be used in the animation understood as a way of action. Theatre with its multi-directional impact on the participant mobilizes the entity of animation activities for self-discovery and self-development. The text attempts to present an implementation for such theatrical action, which is aimed at encouraging young audience to their own thoughts. The result could be that young people can form their own system of values and integrates their own personality. This idea is shown in the example of the spectacle “The Winged” and supported by the reviews written by high school students after watching this performance

Tam i z powrotem : rzecz o lalkarskich kontaktach polsko-czechosłowackich oraz polsko-czesko-słowackich na Śląsku

The book is an attempt to document Polish-Czechoslovak, as well as Polish, Czech and Slovak puppetry collaboration. It also provides an analysis of the phenomenon of mutual influence between these theaters. The inspiration to write this book comes from a visit of the Czech and Slovak artists to the Polish puppetry theaters, which is particularly conspicuous in the Silesia region. Unlike the Polish theater, the Czech and Slovak puppetry tradition is long and rich, which resulted in the situation that Czechoslovak puppetry took root in the tradition that was enhanced by the imposed doctrines of social realism, whereas Polish puppet theater was shaping more freely with no encumbrance. Thus formed Polish style which made use of visual texture and various means of expression that transcended the traditional idea of a puppet, and experimenting with the power of expression by using a puppet along with a real human actor, proved inspiring to the neighboring country of Czechoslovakia. At the turn of the 1970s and 1980s Czech and Slovak artists commenced appearing on Polish puppet stages. With the advent of the 1980s these visits turned into a close international collaboration. Among the most active artists on the Silesian scene were: from Slovakia, Marían Pecko and his team (Eva Farkašová, Jan Zavarský, Pavol Andraško, Robert Mankovecký); from the Czech theater, Matěj Kopecký, Miroslav Vildman, Karel Brožek, Petr Nosálek, who brought their collaborators (Alois Tománek, Petr Litvik, Tomáš Volkmer, Pavel Hubička, Pavel Helebrand, Nikos Engonidis). In the 1990s Polish puppet theaters boasted guests from Zaolzie; among them were Rudolf Chowaniok, Paweł Żywczok, Halina Szkopkowa, and Janusz Klimsza. At the same time Czech artists, such as Karel Brožek, Petr Nosálek, Jakub Krofta, became artistic directors of the puppet theaters in Katowice and Wrocław, which was an unprecedented phenomenon. Apart from the above-mentioned artists, there are others working for puppet theatres in Silesia, as well as in other regions of Poland, namely, Norbert Bodnár, Simona Chalupová- Pěničková, Hana Cigánová, Karel Fiszer, Vacláv Kábrt, Pavel Kalfus, Josef Krofta, Lukáš Kuchinka, František Lipták, ZdeněkMiczko, Jan Polívka, Ondrej Spišák, Libor Štumpf, Povel Uher, Marek Zákostelecký. These artists represent older generation as well as younger ones, who completed their studies at the faculty of Alternative Art and Puppetry in Praha. This particular situation did not remain unnoticed as Hanna Baltyn claims that the Czech and the Slovak rule, and Henryk Jurkowski asks whether this means an invasion. Therefore, questions arise as to what extent the Czech and Slovak presence in the Polish puppetry is conditioned by the opening of borders, community of cultural references, and weakening position of the Polish theater, or whether it is the result of permanent cultural fluctuations. This publication seeks answers to these questions. In addition, it depicts most significant performances staged in Silesian theaters in 1980–2010 by artists from Czech and Slovakia

Teatr interaktywny. Między sztuką a edukacją

Udostępnienie publikacji Wydawnictwa Uniwersytetu Łódzkiego finansowane w ramach projektu „Doskonałość naukowa kluczem do doskonałości kształcenia”. Projekt realizowany jest ze środków Europejskiego Funduszu Społecznego w ramach Programu Operacyjnego Wiedza Edukacja Rozwój; nr umowy: POWER.03.05.00-00-Z092/17-00

W poszukiwaniu nowego teatru dla dzieci

Art for the child has a very short history. Appeared when it was childhood for a specific period in the life of a man who requires a special form of art. Theatre for children is part of the art for the baby. You can divide it into two forms of creative expression: children’s theater, created by a team of professionnal artists and theater for children, created by children. Art is a form of communication artist—recipient. The theater for children arises a problem of the language that the artist has an adult talking to a child audience. Modernity, with all the media and consumer bang, as the artist puts face new challenges. Given this paper presents two ideas for new, interactive forms of theater that can meet the artistic, intellectual and educational function for today’s young audiences