POLISH-CROATIAN PUPPETRY RELATIONS
In this paper the authoress investigates the influence of Polish puppetry on the Croatian puppetry expression. First she analyses the Polish texts staged in Zadar; Stršljen hoće da ratuje (The Hornet Wants to Go to War, 1963) by Woitech Cinybulka; Četiri kozlića, Vuk i kozlići (Four Kids, Wolf a...
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| Format: | Article |
| Language: | deu |
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University of Mostar, Faculty of Humanities and Social Sciences
2008-01-01
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| Series: | Hum |
| Subjects: | |
| Online Access: | https://hum.ff.sum.ba/wp-content/uploads/2018/10/Humdec2008_228_252.pdf |
| Summary: | In this paper the authoress investigates the influence of Polish puppetry
on the Croatian puppetry expression. First she analyses the Polish texts
staged in Zadar; Stršljen hoće da ratuje (The Hornet Wants to Go to War,
1963) by Woitech Cinybulka; Četiri kozlića, Vuk i kozlići (Four Kids,
Wolf and Kids, 1967) by Jan Grabowski; Tajanstvena ladica (The Mystery
Drawer, 1971) by Juliusz Wolski; and Guignol u Parizu (Guignol in
Paris, 1981) by Jan Wilkowski and Leon Moscyński, respectively. She next
analysed the producer concepts of Polish directors Edvard Dobraczynski
who staged works written by Polish authors Ladislav Dvorski (1969) and
Wiesłav Hejn, who had directed three plays in the Zadar Puppet Theater:
Celestina (1976), Muke svete Margarete (The Passion of St. Margaret,
1990), and Don Quijote (1998). The authoress recognizes the specific poetic
qualities of Polish puppetry in the texts written by Luko Paljetak, in
various producer concepts, in specific staging interventions, as well as in
the affirmation of the puppet theater in the elation to the grown-ups and
in the convergence of puppetry expression and poetry. |
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| ISSN: | 1840-233X 2303-7431 |