Pregledni rad
https://doi.org/10.15291/csi.4058
Rijeka Puppet Theatre Scene and Polish Puppetry
Maja Verdonik
orcid.org/0000-0002-2677-5205
; Sveučilište u Rijeci, Učiteljski fakultet, Rijeka, Hrvatska
Kristina Riman
; Fakultet za odgojne i obrazovne znanosti Sveučilišta Jurja Dobrile u Puli, Pula, Hrvatska
Sažetak
The paper examines the influence of Polish puppetry and Polish artists – authors of texts and directors of puppet plays – on contemporary Croatian puppetry in the second half of the 20th century. Plays by Polish authors were performed in Croatian puppet theatres in the 1960s as part of the repertoire policy of the time where the cooperation of the Zadar Puppet Theatre with Polish authors and directors, especially Wiesław Heino, was particularly noteworthy. The visits of Polish puppeteers to Opatija (near Rijeka) and the visits of the puppeteers from Rijeka to Poland and Slovakia in the 1960s left an important trace in the history of today’s Rijeka City Puppet Theatre. On those occasions, the puppeteers from Rijeka became acquainted with the avant-garde puppet shows of the time in the form of the so-called theatres of various means of expression, in which actors performed as characters alongside puppets, as well as with puppet shows for adults, which shaped the repertoire of this theatre in later periods. Among the texts of Polish authors, the plays Klub tajnich detektivu (False Detectives Club) by Ryszard Raduszewski and Wilk, koza i koźlęta (Wolf and Little Goats) by Jan Grabowski were performed as classical puppet plays in the Puppet Theatre of Rijeka in the late 1960s, and the play Skrzydełka (Little Wings) by Małgorzata Jokiel was performed in the late 1980s in the form of a theatre of various means of expression.
Ključne riječi
contemporary Croatian puppet theatre; Polish puppet theatre; puppet theatre for adults; Rijeka City Puppet Theatre; theatre of various means of expression
Hrčak ID:
288385
URI
Datum izdavanja:
24.12.2022.
Posjeta: 442 *