DOCSLIB.ORG

Catalogue 21St Konfrontacje Teatralne

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Program Festiwalu 6 Festival Programme 8 21. Konfrontacje Teatralne. Wprowadzenie 10 Konfrontacje Festival – introduction to the 2016 programme 10 Po co nam festiwal? Why do we need a festival? Rozmowa Janusza Opryńskiego, Marty Keil i Grzegorza Reske 12 Janusz Opryński, Marta Keil and Grzegorz Reske in conversation 12 AUTONOMIA / INSTYTUCJA / DEMOKRACJA 16 AUTONOMY / INSTITUTION / DEMOCRACY 16 Autonomia / Instytucja / Demokracja Marta Keil 18 Autonomy / Institution / Democracy Marta Keil 18 Auto-teatr w czasach post-prawdy Joanna Krakowska 24 Auto-theatre in times of post-truth Joanna Krakowska 24 Opór sztuki zaangażowanej Bojana Kunst 32 The uneasiness of active art Bojana Kunst 32 Oparte na faktach Ahmet Öğüt 44 Things based on real-life events Ahmet Öğüt 44 Fabryka nieszczęścia Franco „Bifo ” Berardi 50 The factory of unhappiness Franco ‚Bifo’ Berardi 50 Nie ma się czego wstydzić Agnieszka Jakimiak 58 Nothing to be ashamed of Agnieszka Jakimiak 58 Konkluzje badania: prekarność, projekt i miłość do sztuki Conclusion: discussion of original hypotheses in light of research results Michał Kozłowski, Jan Sowa, Kuba Szreder 64 Michał Kozłowski, Jan Sowa, Kuba Szreder 64 Mikro Teatr Komuna// Warszawa 70 Micro Theatre Komuna// Warszawa 70 Ewelina płacze TR Warszawa 72 Ewelina’s crying TR Warszawa 72 Drugi spektakl Teatr Polski w Poznaniu 74 The other show Teatr Polski w Poznaniu 74 Usland. Śladami Leonarda Z. Atman / Jakimiak / Malone / Siniarska 76 Usland. Following in Leonard Z’s footsteps Atman / Jakimiak / Malone / Siniarska 76 Aktorzy żydowscy Jewish actors Teatr Żydowski im. Estery Rachel i Idy Kamińskich w Warszawie 78 Teatr Żydowski im. Estery Rachel i Idy Kamińskich w Warszawie 78 Kantor downtown Teatr Polski im. H. Konieczki w Bydgoszczy 80 Kantor downtown Teatr Polski im. H. Konieczki w Bydgoszczy 80 Schubert. Romantyczna kompozycja na dwunastu wykonawców i kwartet smyczkowy Schubert. Romantic composition for twelve performers and a string quartet Teatr Dramatyczny im. J. Szaniawskiego w Wałbrzychu 82 Teatr Dramatyczny im. J. Szaniawskiego in Wałbrzych 82 Margarete Janek Turkowski 84 Margarete Janek Turkowski 84 Mothers of steel Agata Siniarska, Madalina Dan 86 Mothers of steel Agata Siniarska, Madalina Dan 86 Delfin, który mnie kochał Szpecht / Adamczak 88 Dolphin who loved me Szpecht / Adamczak 88 Życie i śmierć Janiny Węgrzynowskiej Ludomir Franczak 90 The life and death of Janina Węgrzynowska Ludomir Franczak 90 Róża Atman / Jakimiak / Kaliski / Kołodziej / Polak 92 Rosa Atman / Jakimiak / Kaliski / Kołodziej / Polak 92 PROGRAM GŁÓWNY 94 MAIN PROGRAM 94 War and peace Gob squad 96 War and peace Gob squad 96 O uczestnictwie Gob squad 98 On participation Gob squad 98 Time’s journey through a room Toshiki Okada / Chelfitsch 106 Time’s journey through a room Toshiki Okada / Chelfitsch 106 Od straconej dekady do straconej ziemi: trajektoria teatralna Chelfitsch From lost decade to lost land: the theatrical trajectory of Chelfitsch Kyoko Iwaki 110 Kyoko Iwaki 110 Birdie Agrupación Señor Serrano 114 Birdie Agrupación Señor Serrano 114 A house in Asia Agrupación Señor Serrano 116 A house in Asia Agrupación Señor Serrano 116 Bodies in custody: Architectures of the Osama Bin Laden compound in Abbottabad Zabezpieczone ciała. Architektura posiadłości Osamy Bin Ladena w Abbottabadzie Marina Otero Verzier 118 Marina Otero Verzier 118 Longing lasts longer Penny Arcade 122 Longing lasts longer Penny Arcade 122 Penny Arcade: New York ‘doesn’t see the value of culture, only of status’ Ben Walters 124 Penny Arcade: Nowy Jork „nie ceni kultury, tylko status” Ben Walters 124 The zero point: the kindly ones Provisorium Theatre 128 Punkt zero: łaskawe Teatr Provisorium 128 The zero po int: the kindly ones. Inspirations 132 Punkt zero: łaskawe. Inspiracje 132 Always at a bad time. Polish theatre and the holocaust An interview with Grzegorz Niziołek 136 Zawsze nie w porę. Polski teatr i zagłada Rozmowa z Grzegorzem Niziołkiem 136 Heroes’ square Lithuanian National Drama Theatre 142 Plac bohaterów Litewski Narodowy Teatr Dramatyczny 142 Talking to our mystery other half Krystian Lupa 144 Mówić do tajemniczej połowy Krystian Lupa 144 The end is the point Anka Herbut 148 Koniec jest celem Anka Herbut 148 Thomas Bernhard – god, honour, nation Agata Wittchen-Barełkowska 152 Thomas Bernhard – bóg, honor, ojczyzna Agata Wittchen-Barełkowska 152 Around and about heroes’ square – Thomas Bernhard’s last play: Wokół placu bohaterów. Rozmowa o ostatnim dramacie Thomasa Bernharda a discussion with participation of: Jacek St. Buras, Karol Franczak, Adam Lipszyc z udziałem Jacka St. Burasa, Karola Franczaka i Adama Lipszyca Moderated by: Agata Wittchen-Barełkowska 162 Prowadzenie: Agata Wittchen-Barełkowska 162 On eought to articulate this fear Meeting with prof. Zbigniew Mikołejko 164 Trzeba wyartykułować ten lęk. Spotkanie z prof. Zbigniewem Mikołejką 164 Songs from my shows Ivo Dimchev 166 Songs from my shows Ivo Dimchev 166 Parental ctrl Groundfloor group 168 Parental ctrl Groundfloor group 168 Performative Centre 170 Centrum Performatywne 170 EEPAP Dictionnary: Platform. East European Performing Arts Companion 174 Słownik EEPAP: Platform. East European Performing Arts Companion 174 Neighbours – Theatre Confrontations’ in ternational residency programme 176 Sąsiedzi – międzynarodowy program rezydencji Konfrontacji Teatralnych 176 Festival Campus during the 21st Confrontations Festival in Lublin 178 Festival Campus podczas 21. Konfrontacji w Lublinie 178 Confrontations Cinema 180 Kino Konfrontacji 180 ACCOMPANYING EVENTS 184 WYDARZENIA TOWARZYSZĄCE 184 Shy albatross Natalia Maria Przybysz, Raphael Rogiński, Miłosz Pękala i Hubert Zemler 186 Shy albatross Natalia Maria Przybysz, Raphael Rogiński, Miłosz Pękala i Hubert Zemler 186 Launch of Marcin Dymiter’s cassette tape The life and death of Janina Węgrzynowska Premiera kasety Marcina Dymitera Życie i śmierć Janiny Węgrzynowskiej Marcin Dymiter (Poland), Paul Wirkus (Germany) 188 Marcin Dymiter (Polska), Paul Wirkus (Niemcy) 188 Dummy and utopia Teatr Realistyczny 190 Atrapa i utopia Teatr Realistyczny 190 Vivisections Szymon Kasprowicz 192 Wiwisekcje Szymon Kasprowicz 192 Ruthless sense of humour Pearl divers – Lublin-based improv theatre 194 Bezwzględne poczucie humoru Poławiacze Pereł Improv Teatr z Lublina 194 Woman’s time Teatr Stary w Lublinie 196 Czas kobiety Teatr Stary w Lublinie 196 Galeria Labirynt Teatr Stary ul.ks.J.Popiełuszki Centrum Spotkania Kultur Centrum Kultury w Lublinie ul.Jezuicka Labirynt Gallery Plac Teatralny ul.Peowiaków Old Theatre Popiełuszki Street Jezuicka Street Centre for the Meeting of Cultures Centre for Culture in Lublin Teatralny Square Peowiaków Street ka tows ar b echowska u Cz L aja M PKS Chmielna a 3 ka Sz ewska ls Doln a a o Plac Zamkowy ieg kojn dopojn / Castle Square po Lubome S wa a Wo ow do mk ro oniatowsk Kowa Za P ls Og ka aszica a St Ka Ogród Saski rmel sk ic a ka tow k R Plac po Farze s a y j w a ubar b I Armii WP a / Po Farze Square a L n i Po M n Ziel a odzk dw e i Plac Litewski o Gr na Stare Miasto al W / Litewski Square 4 / Old Town e Plac Rynek Teatralny Depta a k / Promenad / Market j / Teatralny a e We t 5 Square teranó Square a w J a e o z uicka na K K cz 8 tger r Chopin ó t Lipo e Pe owi 10 l e ro w ot aków sk p o a G a wa k 2 Hi c H e t 9 Radziszewskieg e a y m cz s r p wi e 3 l a w i 1 6 Plac M. Curie- n Naruto i W a Okopow i U a r k a y c i M s z m y y e n a d 7 n l s o a a P k k Or M i a e A o c ln g ic o o aabeg ki D R C e L Ko g ip hopin no o p o n a wa ic Gran ka a ic z towicz na Naru G mi nna - ii ar M y Za nn a mo a P ln jska o D ɩ Cafe Mari ɩ Arte del Gusto ɩ Cafe Mari ɩ Arte del Gusto % zniżki % zniżki % discount % discount pn–wt. :–: pn–pt. :–: Mon–Tue am– pm Mon–Fri am– pm sb–nd. :–: sb. :–: Sat–Sun am– pm Sat am– pm ul. Grottgera nd. :–: Grottgera Street Sun am– pm Lubelskiego Lipca ’80 ul. Hempla Hempla Street ɩ Cafe Velo ɩ Cafe Velo % zniżki ɩ Kap Kap Cafe % discount ɩ Kap Kap Cafe pn–pt. :–: % zniżki Mon–Fri am– pm % discount al. Zygmuntowskie sb–ndz. :–: pn–pt. :–: Sat–Sun am– pm Mon–Fri : am–: pm ul. Chopina / sb–nd. :–: / Chopina Street Sat–Sun am– pm ul. Narutowicza Narutowicza Street ɩ Od Kuchni ɩ Od Kuchni Park Ludowy % zniżki na przekąski, ɩ Kobi Sushi % on snacks, main ɩ Kobi Sushi dania główne, desery % zniżki courses and desserts % discount pn–czw. :–: pn–czw. :–: Mon–Thu am– pm Mon–Thu am– pm pt–sb. :–: pt–sb. :–: Fri–Sat am– pm Fri–Sat. am– pm nd. :–: nd. :–: Sun am– pm Sun am– pm ul. Chopina ul. Kościuszki Chopina Street Kościuszki Street N ɩ Kardamon ɩ Thai Story ɩ Kardamon ɩ Thai Story Dworcowa % zniżki % zniżki % discount % discount pn–sb. :–: wt–pt. :–: Mon–Sat am– pm Tue–Fri am– pm nd. :–: sb. :–: Sun pm– pm Sat pm– pm Krak. Przedmieście nd. :–: Krak. Przedmieście Street Sun pm– pm ul. Peowiaków Peowiaków Street ɩ Kogel Mogel ɩ Kogel Mogel % zniżki ɩ Zielony Talerzyk % discount ɩ Zielony Talerzyk pn–pt. :–: % zniżki Mon–Fri am– pm % discount 100200 300400 m sb. :–: oprócz alkoholu Sat am– pm (excluding alcohol) nd. :–: pn–nd. :–: Sun am– pm Mon–Sun am– pm Krak. Przedmieście ul. Królewska Krak. Przedmieście Street ul. Królewska Street PKP LEGENDA · MIEJSCA pomieszczenia Centrum Kultury w Lublinie (CK): C sala czarna · K sala kinowa · O oratorium PIW piwnice · W sala widowiskowa pomieszczenia Centrum Spotkania Kultur (CSK): SB CSK sala baletowa · SK CSK sala kameralna SO CSK sala operowa .
Recommended publications
  • National Endowment for the Arts Annual Report 1989

    National Endowment for the Arts Annual Report 1989

    National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1989. Respectfully, John E. Frohnmayer Chairman The President The White House Washington, D.C. July 1990 Contents CHAIRMAN’S STATEMENT ............................iv THE AGENCY AND ITS FUNCTIONS ..............xxvii THE NATIONAL COUNCIL ON THE ARTS .......xxviii PROGRAMS ............................................... 1 Dance ........................................................2 Design Arts ................................................20 . Expansion Arts .............................................30 . Folk Arts ....................................................48 Inter-Arts ...................................................58 Literature ...................................................74 Media Arts: Film/Radio/Television ......................86 .... Museum.................................................... 100 Music ......................................................124 Opera-Musical Theater .....................................160 Theater ..................................................... 172 Visual Arts .................................................186 OFFICE FOR PUBLIC PARTNERSHIP ...............203 . Arts in Education ..........................................204 Local Programs ............................................212 States Program .............................................216
  • Applause05.06 10/31/05 4:42 PM Page 1

    Applause05.06 10/31/05 4:42 PM Page 1

    Applause05.06 10/31/05 4:42 PM Page 1 FROM THE CHAIR 75:20 FEATURE The Future is Here Celebrating 75:20 A Message from the Chair of the Department of Theatre Arts & Dance Reflecting on 75 years of University Theatre & 20 years of University Dance Theatre by Professor Michal Kobialka, chair, Department of Theatre Arts & Dance by David Bernstein As some of you may know, I was on sabbatical during the 2004-05 year. I The academic year 2005-06 marks the 75th anniver- have returned with new energy and fresh insight to focus on two signature sary of University Theatre, and the 20th anniversary of strengths that I think make us special among university performing arts pro- theatre and dance joined in a single department. Seventy- grams: our emphasis on collaborating across boundaries and disciplines, and five years is not much time in the span of human history, our integration of the creation and practice of theatre and dance with the criti- perhaps, but a ripe old age for a theatre. After all, the cal study of performance. My priority during my first 3-year term as chair was to Guthrie, at 42, is only middle-aged. Penumbra, founded preserve and build on these strengths, and I wish to thank Professor Lance by faculty member Lou Bellamy in 1976, is half our age – Brockman for providing the leadership to move the department forward on though it is one of a very few surviving theatres of the both fronts while I was away. Black Arts and Theater Movements of the early 1970s.
  • A History and Narrative of Wynn Handman, The

    A History and Narrative of Wynn Handman, The

    THE LIFE BEHIND LITERATURE TO LIFE: A HISTORY AND NARRATIVE OF WYNN HANDMAN, THE AMERICAN PLACE THEATRE, AND LITERATURE TO LIFE A THESIS IN Theatre Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF ARTS by TRACY TERSTRIEP-HERBER B.A., University of California, 1992 Kansas City, Missouri 2013 ©2013 TRACY TERSTRIEP-HERBER ALL RIGHTS RESERVED THE LIFE BEHIND LITERATURE TO LIFE: A HISTORY AND NARRATIVE OF WYNN HANDMAN, THE AMERICAN PLACE THEATRE, AND LITERATURE TO LIFE Tracy Terstriep-Herber, Candidate for the Master of Arts Degree University of Missouri-Kansas City, 2012 ABSTRACT Literature to Life is a performance-based literacy program developed under the auspices of The American Place Theatre in New York City (1994). The American Place Theatre was founded in 1964 and stewarded by the artistic mission of Wynn Handman. It has earned its own place in American theatrical history. Prior dissertations have chronicled specific elements of the American Place Theatre (APT), but no account has bridged the history of APT and Wynn Handman’s privately-run acting studio to the significant history of Literature to Life. The once New York City-based program that promoted English, cultural and theatrical literacy to students within the city’s public iii school system, now has a strong national following and continues to inspire students and adults across the country. This thesis will chart an historical and narrative account of Literature to Life as it emerged from the embers of the American Place Theatre and rekindled the original mission of Wynn Handman, in a different setting and for new audiences.

  • One Stop | Directories | Search U of M Editor: Jason Sanford 612

    Return to: University Relations : U of M Home One Stop | Directories | Search U of M Editor: Jason Sanford 612-624-8520, [email protected] Past Issues Search past issues of Brief: SUBMIT To subscribe or unsubscribe Vol. XXXIV No. 1; Jan. 7, 2004 INSIDE THIS ISSUE 1. Top Stories U presents stadium findings to Governor's Stadium Commission. Memorial service for Gisela Konopka will be Jan. 9. 2. News and Announcements Nominations sought for several U awards. Mileage allowance changes. 3. Campus Events and Information Legislative Network's annual legislative briefing will be Jan. 22. 4. Links 1. Top Stories RECOMMENDATIONS FOR AN ON-CAMPUS GOPHER FOOTBALL STADIUM were presented to the Governor's Stadium Commission by U officials on Jan. 6. The commission, which is charged with making recommendations regarding Twins baseball and Vikings football facilities, invited the U to present the findings of its recently completed stadium feasibility study. The study recommends a 50,000-seat, open-air, on-campus facility at a projected cost of $180 million, with another $42 million needed for site preparations and infrastructure improvements. For more information on the feasibility study, see http://www.umn.edu/stadium/ PRESIDENT BRUININKS HAS BEEN NAMED "MINNESOTAN OF THE YEAR" by Minnesota Monthly in their January 2004 issue. Bruininks was honored for his handling of "one of the U's most challenging years--and one of its most successful." A MEMORIAL SERVICE FOR GISELA KONOPKA, who died Dec. 9 at age 93, will be held Jan. 9, 10 a.m-12 p.m., Memorial Hall, McNamara Alumni Center.
  • Selected Perspectives on the Puppetry of Theodora Skipitares

    Selected Perspectives on the Puppetry of Theodora Skipitares

    SELECTED PERSPECTIVES ON THE PUPPETRY OF THEODORA SKIPITARES by LAUREN HOBBS SEXTON (Under the Direction of FARLEY RICHMOND) ABSTRACT Although interest in puppetry in America tends to come in “waves,” puppetry itself is an art form found throughout history and across many cultures. It is a form of expression that, depending on the culture, can be considered high art, popular, folk entertainment, or a bridge between these categories. This dissertation will not attempt to address all forms of puppetry in either a historic-geographic method, or by creating a taxonomy of manipulation methods. The purpose of this dissertation is rather to examine the work of Theodora Skipitares, an artist whose influence by and application of multiple artistic traditions is unique within contemporary American puppetry. Theodora Skipitares is one of a group of New York performers, such as Jim Henson, Peter Schumann, Julie Taymor, and Lee Breuer, whose work in adult puppet theatre and experimental theatre in the late twentieth century exemplified a new way of approaching performance and a revival of interest in puppetry. Like many of these artists, Skipitares draws influence from a variety of art forms, however it is the intersection of Skipitares’ specific range of influences that is the impetus for this dissertation. It is my opinion that Skipitares’ productions cannot be truly understood from within one artistic tradition or perspective and, therefore, they demand an analysis which acknowledges how selected discourses and traditions intersect in her work. Theodora Skipitares has been labeled a performance artist, a theatre conceptualist, and an innovative director, but rarely a puppeteer.
  • Robert Redford President and Founder

    Robert Redford President and Founder

    ANNUAL REPORT FISCAL YEAR 2016 OUR STORY 5 ARTIST SUPPORT 11 PUBLIC PROGRAMS 35 FEATURED COLLABORATIONS & 42 INSTITUTIONAL HEALTH SUPPORTED ARTISTS 50 © 2016 SUNDANCE INSTITUTE | PHOTO BY JONATHAN HICKERSON SUNDANCE INSTITUTE ANNUAL REPORT 2016 2 “ There will always be new terrain to explore as long as there are artists willing to take risks, who tell their stories without compromise. And Sundance will be here - to provide support and a creative community in which a new idea or distinctive view is championed.” ROBERT REDFORD PRESIDENT AND FOUNDER © 2016 SUNDANCE INSTITUTE | PHOTO BY BRANDON CRUZ SUNDANCE INSTITUTE ANNUAL REPORT 2016 3 ROBERT REDFORD PRESIDENT AND FOUNDER PAT MITCHELL CHAIR, BOARD OF TRUSTEES KERI PUTNAM EXECUTIVE DIRECTOR Sundance Institute has always believed that a safe environment, free The health, vitality, and diversity of the Institute’s year-round It is my pleasure to share with you the Sundance Institute Annual Report — from distraction and market pressures, gives artists the freedom programs continues to be a testament to both the independent filled with insight into the nature and impact of our work, and highlighting to fail. The world has changed significantly since we started over artists developing original and daring stories, as well as the many standout projects and moments from the past year. Sundance Institute is three decades ago, but the simplicity of that idea – of nature’s partners and supporters who make our work with them possible. dedicated to supporting the creation of independent stories for the screen company providing the space for artists to take risks, experiment It’s through your generosity that we’re able to help artists develop and stage.
  • Catharsis, Trauma and War in Greek Tragedy: an Inquiry Into the Therapeutic Potential of Greek Tragedy with Special Reference to the Female Experience

    Catharsis, Trauma and War in Greek Tragedy: an Inquiry Into the Therapeutic Potential of Greek Tragedy with Special Reference to the Female Experience

    CATHARSIS, TRAUMA AND WAR IN GREEK TRAGEDY: AN INQUIRY INTO THE THERAPEUTIC POTENTIAL OF GREEK TRAGEDY WITH SPECIAL REFERENCE TO THE FEMALE EXPERIENCE By Peggy Shannon, B.A., M.F.A. Egham, England, 2014 A thesis Presented to Royal Holloway College/University of London in partial fulfilment of the requirements for the degree DOCTOR OF PHILOSOPHY In the Program of Drama and Theatre Egham, England Peggy Shannon September 2014 1 i. Declaration of Authorship I, Peggy Shannon hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ___________________________________________________ September 1, 2014 Date: _____________________________________________________ 2 Table of Contents i. Declaration of Authorship………………………………………………... 2 ii. Abstract…………………………………………………………………… 4 iii. Acknowledgments………………………………………………………… 5 I. Chapter One: Introduction……………………………………………….. 6 II. Chapter Two: The Debate about the Cathartic Function of Theatre……… 23 III. Chapter Three: The Paradox, Power, and Performance of Trauma……… 51 IV. Chapter Four: War, Trauma, and Gender …….………………………….. 82 V. Chapter Five: Female Characters as Surrogates for Male Trauma.............. 108 VI. Chapter Six: Primary and Secondary Trauma and Gender-Based Implications. 156 VII. Chapter Seven: Reading trauma and gender roles in Velina Hasu Houston’s The Intuition of Iphigenia and Judith Thompson’s Elektra in Bosnia………… 176 VIII. Chapter Eight: Looking To The Future…………………………………….. 212 VIV. Bibliography……………………………………………………………… 230 X. Appendix A: Female artists engaging with Greek tragedy in modernity… 250 XI. Appendix B: A partial list of mental health researchers utilising poetry, text, and narrative engagement in a range of treatment options for psychological trauma……………………………………………………. 253 XII.
  • INIFE RNIAT 0 0 El AL / *F

    INIFE RNIAT 0 0 El AL / *F

    FALL and WINTER 09 Issue #26 P UPPETRY e INIFE RNIAT 0 0 El AL / *f *la the puppet In contemporary theatre, film & media $5.95 US $7.95 CAN '« 0 74470 87511 6 lf,Y It 111 11 PUPPETRY INTERNATIONAL issue no. 26 The Editor's Page 1 ART IN THE SHADOWS Nabil Bahgat's Egyptian Shadows hy Lum·ie kic·('an/x . ... 4 Eric Ruin- Puppet Punk by Mc,/Man /2/1 ,/,ic/,rws 7 Moseowk Fabulous Epelballins br .Jolin Freedman \0 Eye of Light hi, Sterhen Kap/in 14 Iii Xanadu-poetry hr Linda /:hi·/ich 17 Shadowgraphy bi Beth kamdman \ 8 London's Chinese Shades br Daysia Posner ..... 20 Light by Kate Brelmi 23 Innovations iii Thai Shadow Theatre by Kevin Brown .... 14 A Balinese Tempest hy .Jacquelinc Romeo 26 The Ritualistic Shadows of Hunan bi Fwi Pen Chen 30 Skipitat~es Takes Greek Myths to India /11· Law·en //obbs Ser/on 33 Italy 's Gioco Vita-The Shadow 's Space 41 · Fabrizic, Montecchi 36 Teaching through Shadows br Brigitte Rire Iii 3% PUPPET HISTORY Metaphysic Tradition iii Shadow Theatre by John Bell 41 REVIEWS The Career of Bob and .ludy Brown U Rell ) 44 Morpurgo's Wai Horse by Mervy,i Miller C.J. Bell) ...... 45 Kermit Culture U Stoessne,7 46 In Praise of Shadows (.5. Abram.0 47 ©2009- UNIMA-USA Puppetry International is a publication of UNIMA-USA. Inc. American Center of the UNION INTERNATIONALE de la MARIONNETTE Pron w ting m tern:itional friendship and unders landing through the art of puppetry.
  • EDITORIAL Being Here—PAJ at 100

    EDITORIAL Being Here—PAJ at 100

    EDITORIAL Being Here—PAJ at 100 Bonnie Marranca s I write this preface to the 100th issue of PAJ, Occupy Wall Street has already been influential enough for the movement to spread across the U.S., violently at times, as more and more citizens are drawn into its message of Asocial justice. Similar interventions have broken out in cities on several continents, protesting the corruption of democracy by powerful financial interests. Someone dressed as Jesus, holding a sign that declared, “I Threw The Money Lenders Out for a Reason,” was seen demonstrating in front of St. Paul’s Cathedral in London, in a throwback to what used to be called guerrilla theatre, adding a moral dimension to the outrage. In the cradle of civilization, our biblical garden of Eden, the U.S. is mired in the longest wars and occupations of its history. By now several months have passed since the “Arab Spring” has brought massive upheaval to the Middle East, its revolution streamed by the new social networks that horizontalize the globe. On the continent the Euro crisis threatens the long-held dream of a European Union. What should I, an editor of an arts journal, do in this world with the means at my disposal? How should I act in the world, and upon it? It is within this steady disenchantment of contemporary life worldwide that several months ago I began to conceive an editorial approach for PAJ 100 that would reflect uniquely personal perspectives on the ecology of a community: where we are now, how we have gotten here, and how we may go forward.