Win the contest
and realise your project

Create a concept
of a puppet,
animated object,
theatre form.

NEWS

Slider

HOME > ABOUT ANIMATUS >

IDEA

IDEA

The word ANIMATUS, derived from Latin, means “animated, gifted with life”, and as we know, the foundation of puppetry lies in the assumption of animated matter. Professor Halina Waszkiel, searching for a new definition of a puppet, created a name that best describes contemporary puppet forms, ie: “ANIMANT – an absolutely arbitrary material or non-material object (e.g. shadow) subjected to animation by the artist-animator. (…)

An animant can be a human-like puppet, hand puppet, stick puppet, rod puppet, shadow marionette, shadow puppet, mask, any object, a piece of material, even a streak of light, but treated as a stage character, dialogue partner, carrier of ideas, aesthetic object, building a metaphor, something what the actor introduces to the stage and shows viewers as the third element of the performance. The essence of the theater is the meeting of the actor and the audience. The essence of the puppet theater is a meeting of three partners: an actor, a spectator and a puppet. And it does not matter if the actor is visible to the audience or hidden behind the screen – he is always there anyway.

The competition is to be an impulse to create contemporary animants, not only in theory, but most of all in practice. The idea behind the project is searching for the original forms of the art of puppetry, which may use more and more new technological means, including virtual reality and 3D printing.

HOME > ABOUT ANIMATUS >

AWARDS

AWARDS

“Kubuś” Puppet and Actor Theater guarantees three Competition Laureates:

  • equal financial awards worth 1,000 EUR ( one thousand euros) after the work has been completed.
  • free materials for building the puppet / animated object / theatrical
  • technical assistance in the form of qualified employees of the puppet workshops of the “Kubuś” Puppet and Actor Theater in Kielce, the Museum of Toys and Fun in Kielce and the Design Institute in Kielce.
  • professional consultations with stage designers and puppeteers chosen by the Organizers.
  • accomodation and board for the duration of the project in Kielce.
  • Organization of the show in which built animants will be shown during the Grand Finale of the competition.

HOME > ABOUT ANIMATUS >

REGULATIONS

REGULATIONS

3rd International Competition for the conception and realization of a puppet / animated object / theatrical form entitled “Animatus”

§1
GENERAL PROVISIONS

1. These Regulations, (hereinafter referred to as “Regulations”), determine the rules, scope and conditions of participation in the 3rd International Competition for the Concept and realization of a puppet/ Animated Object / Theater Form entitled “Animatus” (hereinafter referred to as “the Competition”).

2.The aim of the Competition is to discover new puppet forms, in particular using new materials and new technologies.

3. The organizer of the Competition is Theater of Puppet and Actor “Kubuś” (hereinafter referred to as the “Organizer”) with its registered office at ul. Large 9, 25 – 304 Kielce, NIP: 657-02-34-815. Contact person: Karolina Gregorczyk, tel. 698859302, info@animatuscontest.pl

4. The competition is co-financed by the Ministry of Culture and National Heritage. Competition is not run for profit.

§2
PARTICIPANTS OF THE COMPETITION

1. Participants of the Competition may be adults (the participant is not required to graduate or study at an artistic university) who during the Competition will perform a Competition Task and meet other conditions described in the Regulations.

2. In justified cases, it is allowed to submit one work carried out by the team, consisting of maximum of two authors (Participants).

§3
COMPETITION TASK

1. The Competition Task consists in designing an innovative theatrical form, a theater figure/ puppet/ animated object containing.

2. The conditions of participation sending an email to info@animatuscontest.pl containing:

a) the original design of a puppet / animated object / theater form in PDF or JPG format (it can be a drawing / scan / visualization / photo / graphic design), in size not bigger than 100 MB (the file should be readable after opening). The design should be sent by the www.wetransfer.com website.

b) correctly completed Application Form

3. Incomplete applications sent after the end of the Competition or failing to meet other requirements stated in the Competition Rules will not take part in the Competition

4. Each Participant of the Competition can make maximum 1 entry to participate in the Competition.

5. Only projects that have not participated in other competitions and have not been previously performed by the authors can be submitted to the Competition.

§4
TIMETABLE OF THE COMPETITION “ANIMATUS”

1. The competition “Animatus” takes place on the July 27, 2020 to final of the competition (November/December 2020).

2. The competition consists of two stages:

a) Entries to the Competition in the first stage should be sent from July 27, 2020 to 25 September, 2020.

b) The decision of the Competition and selecting winners will take place until 30th of September 2020.

c) The second stage of the competition consists in presenting the works of the Competition Committee until October 10 (the organizer accepts the possibility of meeting online)

d) The decision of the second stage and the appointment of three Laureates will take place by October 16, 2020.

e) Three Laureates on the day of the final of the Competition will present their own theatrical forms in the form of etudes to the public and on the Internet.

§5
COMPETITION COMMISSION, RULES OF RECRUITMENT

1. The Competition Commission chosen by the Organizer will supervise the proper course of the Competition.

2. The Competition Commission in selecting the best projects will primarily take into account:

a) form original;

b) application of modern materials and new technologies in creating the theatre form;

c) the cost of materials needed to produce a theatrical form (can not exceed 700 euros).

3. The Competition Commission, after discussions with selected Competition Participants, selects three Laureates of the Competition.

4. The decision of the Competition Commission is final and unquestionable.

§6
LAUREATS OF THE COMPETITION

6. The Laureates of the Competition are obliged to:

a) the construction of a puppet / animated object / theater form according to the project presented and accepted by the Organizer at the Puppet and Actor Theater “Kubuś” in Kielce in the period: October – November 2020.

b) preparation independently or in a collaboration with actors from the Theater of Puppet and Actor “Kubuś” an etude presenting a ready puppet / animated object /theatre form

c) A minimum of one presentation of a created puppet / animated object / theater form and consent to record and publish the presentation on the Internet for an indefinite period.

§7
AWARDS

1. The organizer guarantees three Laureates of the Competition:

a) equivalent awards worth 1,000 euros (in words: one thousand) after the realization of the work mentioned in § 6 section 1 of Regulations. In the case of two authors of one work, the amount will be divided among the members,

b) free materials for building a puppet/ animated object / theater form, after prior agreement with the artist and approval during individual conversations

c) technical assistance in the form of qualified employees of the puppetry workshops of the Puppet and Actor Theater “Kubuś” in Kielce, the Toy and Fun Museum in Kielce and the Design Institute in Kielce,

d) consultations with selected by the Organizer scenographers and puppeteers,

e) accommodation and meals for the duration of the project in Kielce.

§8
COPYRIGHT

1. The Organizer and Participant of the Competition agree that the design of a puppet / animated object / theater form, and work based on this project are a creative activity within the meaning of art. 1 point 1 of the Act of 4 February 1994 on Copyright and Related Rights (Journal of Laws of 2006 No. 90, item 631, as amended).

2. The Contest Participant declares that the work listed in §8 paragraph 1 of the Regulations is his exclusive property and is not encumbered with the rights of third parties. Participant of the Competition assumes full responsibility for any claims made by third parties in connection with the use of the work by the Ordering Party.

3. By declaring his participation in the Competition, the Contest Participant declares that he is not a member of any collective copyright management organization and has not entered into any contract with any similar organization under which the organization could acquire copyrights to the posted work mentioned in §8 paragraph 1 of the Regulations or otherwise obtain the right to manage these rights.

4. The Participant of the Competition grants the Organizer a non-exclusive license to the developed project specified in §8 section 1 of the Regulations and (in case of winning the Competition) to the exclusive license of the work of the project specified in §8 section 1.

5. The Competition Participant authorizes the Organizer to use the creative activities listed in §8 section 1 of the Regulations in the following fields of use:

a) on the Internet, in such a way that everyone can have free access to the work in a place and time chosen by them for the period from the day of premiere for an indefinite time;

b) exclusive use and use in advertising materials (including ATL, BTL and others);

c) recording and reproduction in advertising materials by any graphic techniques;

d) public display at all open and closed events, including exhibitions;

e) putting into the computer’s memory and placing on the Internet, public displaying;

f) creation and distribution of dependent works;

g) inclusion of the work as an element of other works.

5. In the event of the occurrence of exploitation in unknown circumstances at the time of the conclusion of the contract, the Organizer will contact the Competition Participant in writing to transfer the right to use the work in the new field of exploitation.

§9
INFORMATION ABOUT THE COMPETITION

1.Information about the Competition as well as these Competition Regulations are available for inspection at the Organizer’s office, as well as on the website at www.animatuscontest.pl

2. During the Competition, the website www.animatuscontest.pl may display current information and reports on the course of the Competition.

§ 10
PERSONAL DATA PROTECTION

1. The Administrator of the Participants’ data is the Organizer, the data will be processed in order to realize the Competition. Participants have the right to inspect their data and correct it. Providing data is voluntary, but necessary to participate in the Competition.

2. The Organizer reserves the right to share and process information that is the subject of the Competition and to publicize information about the victor of the Competition. Competition Participant agrees for the above.

§ 11
FINAL PROVISIONS

1. Joining the Competition is tantamount to accepting the terms and conditions of the Competition Regulations.

2. The Organizer reserves the right to change these Regulations and / or their terms. However, the changes will work for the future and will not violate the acquired rights.

3. In all matters not covered by these Regulations, the provisions of the Civil Code and the Act on Copyright and Related Rights shall apply.

Director of the Puppet and Actor
Theater “Kubuś” in Kielce

HOME >

FINALE SCHEDULE

FINALE SCHEDULE

Age – 15+

text – William Szekspir
adaptation, direction and stage design – Adam Walny
cotumes – Marek Idzikowski
music – Paweł Witulski

cast:

Macbeth – Miłosz Pietruski (guest performance)
Lady Macbeth  – Anna Iwasiuta- Dudek (guest performance)
Witch – Małgorzata Sielska
King Dunkan, Malkolm – Andrzej Kuba Sielski
Banko, Makduf – Błażej Twarowski

One of the most famous dramas of William Shakespeare “Macbeth” is a timeless story about the lust for power, determination of human fate, as well as sources of evil in the world and human suffering. The protagonist  combines the features of an unbridled killer with sensitivity and poetic imagination. And the story of his crime, although widely known, still inspires. This inspiration concerns both dramatic theaters but also puppet theaters, although in the case of the latter ones , it is a rare phenomenon. According to the highly regarded director, stage designer  and a creator of the theater of form – Adam Walny, “there is no school, prototypes, canons  which one can rely on while staging Shakespeare’s plays and they just need to be invented.” Especially when the performance  uses  original artistic means.

Puppet figures are what swords, daggers and other weapons of crime are for dramatic theater. Puppets  are a weapon behind which we can hide ; which allows us to talk about terrible things, however not directly – explains Walny. The key to creating the world of “Macbeth” in his approach is the walking Birnam Forest, which is basically beyond the plot of the drama. In it, beyond human experience and imagination, is hope.

Adam Walny – graduate of the Directing Department of the Puppet Theater of the Theater Academy in Warsaw, a qualified woodcarver. Since 1995 he has been running the original theater of the object  Walny-Theater. In 2007, he founded the Institute of Theater of the Object – a traveling theater education team. In 2012, with his “Hamlet” he opened the puppet stage at Elsynor Castle in Denmark. From April to the end of October, he performs at festivals in Poland and abroad. From November to March, he runs scriptwriting, text adaptation, construction and animation workshops for traditional puppet theater and actor techniques, as well as acting and object animation, etc. Awarded at festivals many times and appreciated by the Ministry of Culture and National Heritage with scholarships and decorations.

Walny-Theatre  has existed since 1995. During this time it has performed at over 300 festivals in Poland and abroad. It has prepared 18 original performances in pioneering techniques of the object’s theater: underwater puppets, chafes, manual cinema, figures-instruments, keyboard marionettes, multi-functional objects. The theater operates in both studio and outdoor settings. In institutions and independently. It conducts laboratory and educational activities. In 2012, with the performance  “Opus Hamlet” it opened the puppet stage of Elsynor Castle. Performances with puppet solutions of the Walny Theater are performed by  dramatic, musical, dance and pantomime theaters as well as traditional puppet theaters.

Master classes of David Zuazola addressed to participants of the Animatus competition and art school students. Their goal will be to develop creativity in creating theater puppets using waste and materials that seem unfit for use. The workshop group will construct puppets of both human and fantastic characters, discovering various techniques of mechanisms and animations adapted to the given forms. Bringing puppets to life will be accompanied by creating their own realities through the choice of plots and set designs.

A native of Chile, David Zuazola is an actor, audiovisual messenger, screenwriter, musician and puppeteer. He is a laureate of numerous international awards,  presented his works in over 20 countries.

Animatus. Progress  is an exhibition documenting particular  stages of creating  the winning works: Pamela Leończyk, Łukasz Puczko and Przemysław Żmiejko.

A highly regarded theater photographer Bartek Warzecha is responsible for the photographic documentation of the process of creating the award-winning animants, while Dominika Janicka from the Design Institute in Kielce is responsible for the exhibition design.

Vernissage: 16th of November 2019 r. 3.00 p.m
Exhibition open util the 17th of November 2019, 6.00 p.m

 

EXTENSION – author Pamela Leończyk

As part of the project, the author made a silicone cast of her body, and then, inspired by the body of her deceased grandmother, gradually distorted it. The cast is a type of a mask / costume that the artist will dress during installation in order to dance in a “new – old” deformed body.

On the one hand, the performer will face her past – a memory of a family member, and on the other – her future – her body changed by the passage of time. The performance is a personal vivisection of the family relationship; is an attempt to face the fact of belonging to a specific social cell, an attempt to understand and get to know oneself through the prism of another person.

The idea of the project was born shortly after my grandmother’s death, with whom I had an intense relationship. I have fantasized many times if I am going to be like her in the future. Will I speak the same way, move, will her face be my face. How will I feel in such a body – old and flabby. Will I be its extension?

Pamela Leończyk (born 14.12.1990 in Sejny) – director, performer, actress, installation author and theater teacher. She studies at the Directing Department of the Warsaw Theater Academy. A graduate of Theater Studies and Performing Arts at the Jagiellonian University. Her theatrical works were shown during the FIST festival in Belgrade. The installation – “Phone from grandmother” was presented at the KONTAKT International Theater Festival in Toruń. She participated in international projects organized by the Platform European Theater Academy in Cesis (Latvia) and in Salzburg (Austria), where she carried out her artistic projects. The founder of the Wolno Group, with which she realized the performance “body process”, which was awarded the Grand Prix at the 20th National Festival of Independent Theaters in Ostrów Wielkopolski. Coordinator of the 10th Theater Festival. Theater-Actions Festival PoRuszeń in Suwałki. Laureate of the scholarship of the New Theater Laboratory program, organized by the New Theater in Krakow, where she is currently working on her diploma thesis. Associated with the Węgajty Theater Association and the Resonance of Culture Foundation.

 

MAMMOTH– author Łukasz Puczko

An interactive form animated by two actors about 2.7m high, about 4.2m long with the trunk and about 50kg of weight (together with actors animating it, about 170kg).

The main assumption of the project is to create the illusion of reality in a way never seen before and to present the unique experience of the viewer with a puppet that will answer the question of whether puppet theater is only for children. Does it have a chance to astound an adult and permanently enter the minds of performance participants as an animant which is able to replace a real animal, for example at the street or circus artistic performances.

I have chosen the mammoth because of the strength of the puppet, which brings quite a lot of new possibilities in puppet animation. Its size is not accidental, it allows you to see the mammoth from afar, while the characteristic features of the animant: a heavy trunk for instance, opens up the way to the circus or street market, which will please many animal protectors.

Łukasz Puczko ( born 25.08.1989 in Białystok) – traveller, actor, puppeteer, photographer, street performer. In 2009 he graduated from the Theater Academy at the Faculty of Puppetry in Bialystok. He has taken part at over 300 festivals in Europe, including 130 with only one work: “Burek – The Dog Marionette”. In addition to creating puppets, he designs costumes and stage designs mainly in Europe. He has been running a private puppet theater in South Wales since 2015, which is characterised  by hyperrealistic poetics

 

THE ENTER THE PUPPET  – GOLEM 01  – author Przemysław Żmiejko

A virtual puppet equipped with an artificial neural network, using gestures made by the animator (audience), will be created (born), will learn and interact with them. Everything will take place in virtual reality.

In its idea, the project raises issues related to technological development and broadly understood creation. Golem’s literary archetype will become a starting point for reflection on the emerging relationship between the creator and his work. By creating a virtual character “Golem 01” in real time, the creator (viewer) using VR goggles will move into virtual reality, where he/she will subject the  Golem (virtual puppet) to tests, give him tasks, in other words he/she will animate it and start mutual  relation. The created creation, thanks to the programmed neural network, will react vividly to the gestures of its creator. This action will not be an animated film but a vivid reaction of the programmed character that will receive the given signals derived by the viewer and react to them according to pre-defined rules. Artificially created virtual reality will become an area of events, studies, and experiences.

Nowadays, anyone can be a creator, the achievements of science have given men  unlimited possibilities. The language of ancient spells and prayers has been replaced by a programming language. The performance “Enter The Puppet – Golem 01”, in which the viewers will participate, will reflect both the needs and expectations of modern men, but also will show moral dilemmas associated with the dreams of creating “human  characters made of clay”. Due to the unpredictability of the show, the vision of “giving birth” to a golem here and now can be disturbing, but also fascinating, which is why I created it …

Przemysław Żmiejko (born 24.01.1988 in Białystok) – theater director, graduate of the A. Zelwerowicz Theater Academy in Warsaw,  Department of Puppetry Art in Bialystok. Director, among others such performances as: “The tale of a tree” – Small Theater of the European fairy tale center in Pacanów (2017), “About Fisherman and the Golden Fish” (2015) “About theWolf and Little Red Riding Hood” (2016) “Captain Order” (2017) “Squint Your Eye” (2019). He works and cooperates with teachers and student theater groups as part of projects implemented by the “Kubuś” Puppet and Actor Theater: “Attention! Children on stage “,” At school and on the stage “and” Loading art – theater workshops “. Author of films documenting the implementation of projects and films promoting performances at TLiA “Kubuś” in Kielce. Author of multimedia in performances: “About Crocodile and King of the Date” Teatr Powszechny of J. Kochanowski in Radom (2018), “Mr Lamp” Theater  Baj Pomorski (2018), “At the address of dreams” TLiA “Kubuś” in Kielce (2019), “How do you make a circus?” Gulliver Puppet Theater in Warsaw (2019).

The phenomenon of the “Hamlet” performance performed by the artistic duo Vogel & Wilde, is based on a skillful theatrical collage and a musical and artistic game with Shakespeare’s text.

Characters distorted into grotesque puppets come out of the rotten stage. Animated by the sounds of an electric guitar, King Claudius and Queen Gertrude, Hamlet and Ofelia, Clown and Actor,  begin  their game once  again …

Scraps of words and dialogues in English and German intermingle  with an  old and modern music, performed  live and puppetry which balances between the style of heavy punk and delicate poetry.

Age: 16+

Directed by: Frank Soehnle

Puppets  and screenplay: Michael Vogel

Music: Charlotte Wilde

Cast: Michael Vogel

Premiere: 30.10.1997

Awards:

  • Grand Prix I International Festival of Animation Art – Animart in Łódź
  • 1st award at the  32nd International Puppet Theatre Festival  MTP in   Zagreb (Croatia)
  • 3rd award at the  19th International Festival of Puppetry Art in Bielko-Biała
  • Grand Prix at the International Puppet Festival in Toruń
  • Acting award at the Inernational Puppet Theatre for adults Festival in Pecz (Hungary)
     1st award at the 5th International Festival Spectaculo Interesse in Ostrava  (Czechia)

Teatr Vogel & Wilde – puppets and live music are the hallmarks of this theater. The artists take up a variety of subjects, ranging from staging classic dramas (‘Hamlet’, ‘Faust’, ‘Orpheus’, ‘Salomé’), adaptation of the novel (‘Krabat’, ‘The Hobbit’, ‘Frankenstein’) and poetry (‘Spleen’ , “Songs for Alice”), musical works (“Doomsday”, “Toccata”), and finally original performances, based on original motifs (“Siberia”, “Sensitivity of giants”, “Kurz”, “Cuckoo”). The means of theatrical expression chosen by the creators are aimed at creating a space for the imagination of viewers, showing them interpretations of works that at first glance are not obvious. Cooperation with directors and collaborators from various artistic fields, according to the Wilde & Vogel Theater, is the basis for creating international productions.

Age – 15+

text – William Szekspir
adaptation, direction and stage design – Adam Walny
cotumes – Marek Idzikowski
music – Paweł Witulski

cast:

Macbeth – Miłosz Pietruski (guest performance)
Lady Macbeth  – Anna Iwasiuta- Dudek (guest performance)
Witch – Małgorzata Sielska
King Dunkan, Malkolm – Andrzej Kuba Sielski
Banko, Makduf – Błażej Twarowski

One of the most famous dramas of William Shakespeare “Macbeth” is a timeless story about the lust for power, determination of human fate, as well as sources of evil in the world and human suffering. The protagonist  combines the features of an unbridled killer with sensitivity and poetic imagination. And the story of his crime, although widely known, still inspires. This inspiration concerns both dramatic theaters but also puppet theaters, although in the case of the latter ones , it is a rare phenomenon. According to the highly regarded director, stage designer  and a creator of the theater of form – Adam Walny, “there is no school, prototypes, canons  which one can rely on while staging Shakespeare’s plays and they just need to be invented.” Especially when the performance  uses  original artistic means.

Puppet figures are what swords, daggers and other weapons of crime are for dramatic theater. Puppets  are a weapon behind which we can hide ; which allows us to talk about terrible things, however not directly – explains Walny. The key to creating the world of “Macbeth” in his approach is the walking Birnam Forest, which is basically beyond the plot of the drama. In it, beyond human experience and imagination, is hope.

Adam Walny – graduate of the Directing Department of the Puppet Theater of the Theater Academy in Warsaw, a qualified woodcarver. Since 1995 he has been running the original theater of the object  Walny-Theater. In 2007, he founded the Institute of Theater of the Object – a traveling theater education team. In 2012, with his “Hamlet” he opened the puppet stage at Elsynor Castle in Denmark. From April to the end of October, he performs at festivals in Poland and abroad. From November to March, he runs scriptwriting, text adaptation, construction and animation workshops for traditional puppet theater and actor techniques, as well as acting and object animation, etc. Awarded at festivals many times and appreciated by the Ministry of Culture and National Heritage with scholarships and decorations.

Walny-Theatre  has existed since 1995. During this time it has performed at over 300 festivals in Poland and abroad. It has prepared 18 original performances in pioneering techniques of the object’s theater: underwater puppets, chafes, manual cinema, figures-instruments, keyboard marionettes, multi-functional objects. The theater operates in both studio and outdoor settings. In institutions and independently. It conducts laboratory and educational activities. In 2012, with the performance  “Opus Hamlet” it opened the puppet stage of Elsynor Castle. Performances with puppet solutions of the Walny Theater are performed by  dramatic, musical, dance and pantomime theaters as well as traditional puppet theaters.

Master classes of David Zuazola addressed to participants of the Animatus competition and art school students. Their goal will be to develop creativity in creating theater puppets using waste and materials that seem unfit for use. The workshop group will construct puppets of both human and fantastic characters, discovering various techniques of mechanisms and animations adapted to the given forms. Bringing puppets to life will be accompanied by creating their own realities through the choice of plots and set designs.

A native of Chile, David Zuazola is an actor, audiovisual messenger, screenwriter, musician and puppeteer. He is a laureate of numerous international awards,  presented his works in over 20 countries.

Marta Wyszyńska (PhD student of Artistic University of Poznań ), Martyna Stachowczyk (PhD student of Artistic University of Poznań), Julita Goździk (graduate of  Academy of fine arts in Warsaw) and Marcin Tomkiel  (student of Theatre Academy, branch in Białsytok)  as well as Dawid Mkrtchyan (student of Theatre Academy, branch in Białsytok) will talk about their current artistic enterprises.

The Juror of the Animatus competition prof. Marek Waszkiel will talk about contemporary theater puppets and the most interesting phenomena within the theatre  of an animated form.

Marek Waszkiel-  PhD DSc.  puppet theater historian, critic and pedagogue, professor at the Aleksander Zelwerowicz Theater Academy in Warsaw, artistic consultant at the Amber Theater in Shenzhen (China). For years, he was associated with the Institute of Art of the Polish Academy of Sciences in Warsaw, managed the Department of Puppetry Art in Bialystok, and headed the Bialystok Puppet Theater and Animation Theater in Poznań. Author of many publications about puppet theater, he cooperates with many theaters, festivals and puppet schools around the world.

EXTENSION – author Pamela Leończyk

As part of the project, the author made a silicone cast of her body, and then, inspired by the body of her deceased grandmother, gradually distorted it. The cast is a type of a mask / costume that the artist will dress during installation in order to dance in a “new – old” deformed body.

On the one hand, the performer will face her past – a memory of a family member, and on the other – her future – her body changed by the passage of time. The performance is a personal vivisection of the family relationship; is an attempt to face the fact of belonging to a specific social cell, an attempt to understand and get to know oneself through the prism of another person.

The idea of the project was born shortly after my grandmother’s death, with whom I had an intense relationship. I have fantasized many times if I am going to be like her in the future. Will I speak the same way, move, will her face be my face. How will I feel in such a body – old and flabby. Will I be its extension?

Pamela Leończyk (born 14.12.1990 in Sejny) – director, performer, actress, installation author and theater teacher. She studies at the Directing Department of the Warsaw Theater Academy. A graduate of Theater Studies and Performing Arts at the Jagiellonian University. Her theatrical works were shown during the FIST festival in Belgrade. The installation – “Phone from grandmother” was presented at the KONTAKT International Theater Festival in Toruń. She participated in international projects organized by the Platform European Theater Academy in Cesis (Latvia) and in Salzburg (Austria), where she carried out her artistic projects. The founder of the Wolno Group, with which she realized the performance “body process”, which was awarded the Grand Prix at the 20th National Festival of Independent Theaters in Ostrów Wielkopolski. Coordinator of the 10th Theater Festival. Theater-Actions Festival PoRuszeń in Suwałki. Laureate of the scholarship of the New Theater Laboratory program, organized by the New Theater in Krakow, where she is currently working on her diploma thesis. Associated with the Węgajty Theater Association and the Resonance of Culture Foundation.

MAMMOTH– author Łukasz Puczko

An interactive form animated by two actors about 2.7m high, about 4.2m long with the trunk and about 50kg of weight (together with actors animating it, about 170kg).

The main assumption of the project is to create the illusion of reality in a way never seen before and to present the unique experience of the viewer with a puppet that will answer the question of whether puppet theater is only for children. Does it have a chance to astound an adult and permanently enter the minds of performance participants as an animant which is able to replace a real animal, for example at the street or circus artistic performances.

I have chosen the mammoth because of the strength of the puppet, which brings quite a lot of new possibilities in puppet animation. Its size is not accidental, it allows you to see the mammoth from afar, while the characteristic features of the animant: a heavy trunk for instance, opens up the way to the circus or street market, which will please many animal protectors.

Łukasz Puczko ( born 25.08.1989 in Białystok) – traveller, actor, puppeteer, photographer, street performer. In 2009 he graduated from the Theater Academy at the Faculty of Puppetry in Bialystok. He has taken part at over 300 festivals in Europe, including 130 with only one work: “Burek – The Dog Marionette”. In addition to creating puppets, he designs costumes and stage designs mainly in Europe. He has been running a private puppet theater in South Wales since 2015, which is characterised  by hyperrealistic poetics

THE ENTER THE PUPPET  – GOLEM 01  – author Przemysław Żmiejko

A virtual puppet equipped with an artificial neural network, using gestures made by the animator (audience), will be created (born), will learn and interact with them. Everything will take place in virtual reality.

In its idea, the project raises issues related to technological development and broadly understood creation. Golem’s literary archetype will become a starting point for reflection on the emerging relationship between the creator and his work. By creating a virtual character “Golem 01” in real time, the creator (viewer) using VR goggles will move into virtual reality, where he/she will subject the  Golem (virtual puppet) to tests, give him tasks, in other words he/she will animate it and start mutual  relation. The created creation, thanks to the programmed neural network, will react vividly to the gestures of its creator. This action will not be an animated film but a vivid reaction of the programmed character that will receive the given signals derived by the viewer and react to them according to pre-defined rules. Artificially created virtual reality will become an area of events, studies, and experiences.

Nowadays, anyone can be a creator, the achievements of science have given men  unlimited possibilities. The language of ancient spells and prayers has been replaced by a programming language. The performance “Enter The Puppet – Golem 01”, in which the viewers will participate, will reflect both the needs and expectations of modern men, but also will show moral dilemmas associated with the dreams of creating “human  characters made of clay”. Due to the unpredictability of the show, the vision of “giving birth” to a golem here and now can be disturbing, but also fascinating, which is why I created it …

Przemysław Żmiejko (born 24.01.1988 in Białystok) – theater director, graduate of the A. Zelwerowicz Theater Academy in Warsaw,  Department of Puppetry Art in Bialystok. Director, among others such performances as: “The tale of a tree” – Small Theater of the European fairy tale center in Pacanów (2017), “About Fisherman and the Golden Fish” (2015) “About theWolf and Little Red Riding Hood” (2016) “Captain Order” (2017) “Squint Your Eye” (2019). He works and cooperates with teachers and student theater groups as part of projects implemented by the “Kubuś” Puppet and Actor Theater: “Attention! Children on stage “,” At school and on the stage “and” Loading art – theater workshops “. Author of films documenting the implementation of projects and films promoting performances at TLiA “Kubuś” in Kielce. Author of multimedia in performances: “About Crocodile and King of the Date” Teatr Powszechny of J. Kochanowski in Radom (2018), “Mr Lamp” Theater  Baj Pomorski (2018), “At the address of dreams” TLiA “Kubuś” in Kielce (2019), “How do you make a circus?” Gulliver Puppet Theater in Warsaw (2019).

Lyrical horror based on the work of Christian Andersen and poetry of  Rainer Maria Rilke

Directed by – Jan Tumin

Cast: Alisa Okeynik, Dima Chupakhin

Stage design, puppets  and props  Kira Kamalidinova.

Lights – Vasilii Kovalev

Music – Iurii Leikin

Duration: 90 minutes without intermission

Premiere: 2018

Target group: family performance, 10 years

The performance introduces the audience to the world of objects and words inspired by the fairy tale “The Snow Queen”. It is a charming reality full of sounds and puppets, in which Gerda appears alone, following memories and reflections. In the protagonist, as in a mirror, other Andersen’s  characters  are reflected, and she does not notice the passing time  considering herself a little girl looking for Kay.

The performance “Gerda’s Room” tells about the pursuit of truth and the fear associated with it, as well as about eternity that is always ready to meet us. It is eternity contained in one word, which we exhale with warmth onto a frozen window, only to finally see something that we lost a long time ago.

 Like our body, our room is a reflection of all the experiences we collect throughout our lives. We all know the tale of Gerda’s journey of danger. Let’s think … did Gerda really have to go outside to find Kay? What would have happened if she had set off on this journey without leaving the room and the people, roads, strange places she had met were encapsuled in objects? Then Gerda’s story would have ceased to be a tale of growing up, and would have become a metaphor, a memory game recreating the past, open to the interpretation of each of us.

AWARDS:

  • Theatre-Lover Award (Saint Petersburg) – Best Production and Best Actress;
  • Grand Prix of the International Puppet Theatre Festival “Petrushka the Great”;
  • Recognition Award (Alisa Oleynik) at the International Puppet Theatre Festival “Petrushka the Great”;
  • Best Actress Award at the International Puppet Theatre Festival “Petrushka the Great”;
  • Golden Soffit Award in 2017 and 2018:
  • Best Production;
  • Best Director (Yana Tumina);
  • Best Female Role (Alisa Oleynik);
  • Special Prize (Kira Kamalidinova) for creating a unique set;
  • Best Production Award at the International Festival “Christmas Parade”;
  • five nominations for the Golden Mask Award.

CONTACT

The “Animatus” competition is realized by the “Kubuś” Puppet and Actor Theater. Project co-financed by the Ministry of Culture and National Heritage of the Republic of Poland.