Author's monodrama based on the travesty text by Jeremy Przybora, who reinterprets the classic work by Juliusz Słowacki in a modern, slightly ironic way. The characters come to life in one person, juxtaposing the pathos of the romantic drama with humour and reflection on human nature. It is a story about lust for power, moral choices and the consequences of actions. The monodrama entertains, moves and makes us think about how close we are to Balladine today - and whether we are really so different from her.

The project Balladyna in a slightly shortened version was realised at the Aleksander Zelwerowicz Theatre Academy in Warsaw, Białystok Branch, within the framework of the Technique of working with actors in a puppet set, based on Jeremi Przybora and Jerzy Wasowski's Balladyna 68.

Direction: Lada Borovska
Cast: Agnieszka Solska
Artistic and pedagogical guidance: Helena Radzikowska
Arrangements: Marcin Nagnajewicz
Technical support: Victoriia Yefremova

The performance is centered around different benches where characters meet, fall in love, fight their battles orcherish their childhood memories. From the most banal boy-meets-girl sketch, through a clash of world-classfootball coaches, to a tale about the loss of identity, Bench - Time Stories is a show that gives a unique glimpseinto how relationships, fortunes and complete lives can pivot around an ordinary bench.

A story about the writer Charles Bukowski. The play tells about his life. About Charles' childhood, his family, what shaped him as a person. About his love and addiction to alcohol, which was with him throughout his life. About a thousand women and this Linda. Dreams and desires. A complex and at the same time full of surprises path.

Documentary information about his life and Bukowski's most sincere poems. And the blue bird that was always in his chest.

Find what you like and let it kill you.

Felix Salten's book “Bambi, a Forest Tale”, written in 1923, was the inspiration for the play “Dream of The Primeval Forest”. Salten was an Austro-Hungarian writer of Jewish origin who lived in Vienna. The motif of killing and fear is a clear element of the story from which it can be inferred that the book was strongly inspired by the deteriorating political situation, growing anti-Semitism and war. In 1935, “Bambi, a Forest Tale” was on the list of literary works banned by the Nazis. From today's perspective, this fact reinforces the political allegory presented by the oppression of the natural world and defenceless animals.

We kill animals in the belief that they have no right to their own lives and do not feel suffering, forgetting that we ourselves are part of the animal kingdom. Today, hunting wild animals is very often a hobby of people who legally commit injustice. We agree with this, although deep down we feel that killing (animals) is not moral and that by killing we transgress basic ethical principles. If we are willing to see the world as alive, interconnected and interdependent, we will find ourselves in the middle of the world we dream of. All we have to do is wake up from our egocentric dream and stop identifying with an illusory sense of separation from the rest of the world.

This is the only way.

Author: Felix Salten, Joanna Maria Gierdal
Direction, translation, script and dramaturgy: Joanna Maria Gierdal
Stage, puppets, costumes and lighting: Laura Černáková
Cast: Ondrej Gajdoš, Mário Houdek, Ivana Lechmanová, Dávid Selecký, Naďa Balacenková

Based on a true story.

A singer is mysteriously muted and immobilized and can no longer perform. A silenced secret is burning inside her. Yet she is not alone - a feisty and determined Edith Piaf is there to drag her out of bed and pull her back into life.

Together, the unlikely duo conjures up a partnership of solidarity and tenderness, setting out together on a voyage full of grandeur and vulnerability, grief and victory, competition and compassion.

Yet the only way forward, to free themselves and each other from a haunting past, is to retrace it.
To dare to touch and expose the truth.

To tell a story of survival through art in the most physical sense imaginable. one more time they will face the demons lurking close by - and those deep within - until a new, undeniable voice is born.

A one woman show, with puppets/object theater and singing, explores - in an innovative and virtuosic way - the aftermath of violence committed by persons of power - as survivors meander through the distorted path of police investigation, the press and the legal system, that retraumatised them and scares them into silence. It delves into the aftermath of violence, body and soul, as well as the decision one is forced to take - whether to stay silent or speak out?

The play presents, with warmth and humor, the incredible struggle for saving and reclaiming one’s life and voice through art, with the inspiring force of a legendary woman and singer.

The unfolding recollections of the trauma and injustice are artfully intertwined with the reawakening of the soul through music, human friendship and above all - love.

/ A Personal Note / With this new show I have decided to do what I have always done in my art and life: to transform personal pain, trauma, fear, grief, injustice -into art that touches others, to tell this story in a way where people in the audience can see into themselves and know they are not alone.

To shed a light on these issues and to encourage dialogue.

This is also the true story of how Edith Piaf literally saved my life.

Edith & Me is the third part of a trilogy I have been developing for 15 years, dealing with violence towards women/ children. In this final chapter I can finally give center stage to the main voyage - the one of healing.

Fast and Hungry is a project by two puppet theatre acting students who are trying to earn their bread by uploading videos online. They are using what they can - animating puppets and spreading the content on social media. The realities of the world have provoked them to create something that is quick, visually appealing and creates a hunger in their audience. A hunger for success. However, when you look closely, it all turns out to be... unhealthy. A bit like fast food?

The project was created at the Aleksander Zelwerowicz Theatre Academy in Warsaw, Białystok Branch, as part of the Modern Puppet Techniques class.

Direction and cast: Julia Potrykus, Kacper Malinowski
Technical support: Kacper Rokosz
Artistic and pedagogical guidance: Paula Czarnecka
Scenario based on a text by Anna Burzyńska ”Survival”: Julia Potrykus, Kacper Malinowski
Making of puppets: Zbigniew Romanyk, Róża Turlińska, Magdalena Dąbrowska

I'll be honest with you, dear viewer – the stories presented can be true, maybe fabricated, just like the characters. Each of you will see a reflection of the stories that have happened or will happen to you. On the other side of the stage – you, your grandfather or your neighbor, someone from another galaxy. The main thing is to love and believe See you soon! I love you and I believe in you!

The main inspiration for the show “Nosferatu - A Diary of the Plague” was the film “Nosferatu - A Symphony of Horror”, directed by Friedrich Wilhelm Murnau, for which Henrik Galeen wrote the screenplay. It was the first film adaptation inspired by Bram Stoker's novel “Dracula”.

In our interpretation and staging of this theme, we would like to emphasise the phenomenon of the plague. A mysterious disease from which the inhabitants of Wisborg fall en masse. Since the appearance of Nosferatu in the city, many of its inhabitants have been afflicted by an ailment in which they levitate between life and death. During the day, they are devoid of energy and apathetic, unable to act. At night they come to life for a while, only to fall back into lethargy. The production does not deal with the essence of vampirism, but with contemporary societies living like zombies.

The performance is realised using the author's manual cinema technique. The film reel is set in motion by the actor's hands, while shadow puppets appear on the screen. Another very interesting procedure is the creation of the playing field - the place where the performance is realised. The performance is shown in a specially prepared theatrical trailer - our cinema-theatre on wheels, with which we travel to the subsequent performance locations. The audience is invited inside the trailer. Enclosing the audience in a small space helps to create the impression of the audience being in a parlour of fears and heightens emotions.... And the fear of the plague that is outside.

The Spanish puppet theatre La Tartana in Madrid will soon celebrate its fiftieth anniversary. Founded by Juan Munoz in 1977, it continues uninterrupted under the direction of its founder and co-author of most of its performances. Theatrical exhibitions showcase the uniqueness and appeal of its puppets. Their diversity and originality, the richness of its materials and construction solutions. The artists use wood, papier-mâché, clay, silicone, various resins, aluminum, and even iron. Alongside classic hand puppets and table puppets, La Tartana's repertoire includes puppets on poles, marionettes, large street forms, and unique puppets moving on pegs.

This wealth of materials, construction and animation techniques used makes La Tartana's performances unforgettable, and even though the puppets no longer perform on stage, they continue to delight exhibition visitors.

Ticket reservations are required

A
A
M
Ama
Mama
I live
I walk
I hear
I feel
I see
I
hate
Ah! It burns, it burns, it burns my hands, it burns my legs, it burns my stomach - uh!
Ah, ah, my mind's on fire, my brain's on fire, I think I'm covered in it!
Ah, ah, uh!

“I think they've got me covered” - is a farce about death, an afterlife, a farce about fear. A perverse joke set in hell. The three protagonists find themselves in a place of no return, where they are forced to tell their stories. Although they share a space, they do not form a community - each is focused solely on himself. Only collaboration could give them a chance to get out, but they fail to see this, trapped in the circles of their own personalities. The play was inspired by Jean-Paul Sartre's drama At a Closed Door. The performance uses puppets created live from clay - a material that emphasises the theme of transience and physicality.

The project was realised at the Aleksander Zelwerowicz Theatre Academy in Warsaw, Białystok Branch, as part of the Technique of working with actors in a puppet set.

Direction, scenography: Lesia Pasichnyk
Cast: Magdalena Kamińska, Tymoteusz Jucha, Julia Rotter
Artistic and pedagogical supervision: Bernarda Bielenia

Photo by Bogumił Gudalewski. Photo from the collection of the Bialystok Puppet Theatre

A comedy thriller for teenagers and adults.

The House tells the story of the Warehouse Family Funeral Home. On her deathbed the undertaker changes her last will and testament, a secret begins to unravel and an evil plan is formed.

Sofie Krog and David Faraco lead you behind closed doors and into rooms which hide unspeakably dark deeds.

This complex puppet performance takes place in a revolving set featuring intricate lighting, strange contraptions and scary sound effects; the perfect setting for this comically chilling journey.

“The Walker” is a journey of survival that tells the story of thousands of human beings who must escape the horror of armed conflict. People like you and me, who lived in the tranquillity of their homes and, without warning, had to flee to survive.

These thousands of human beings are represented by "The Walker," the main character of this , difficult journey, full of obstacles, but also a hopeful path that drives immigrants toward new worlds, where modernity, peace, justice, rights, and equality are the goal to change their lives. Unfortunately, that society is not what it seems.

This show speaks to something that sadly happens right under our noses, and it seems that as a society we are doing little. We seek a poetic way to make visible the terror of war and how many human beings wander from one place to another without knowing if they will still be alive the next day.

And worst of all, how we close the doors to them in our "modern" society.

In the age of globalization and fast-paced living, air travel has become a symbol of economic growth and freedom of movement. The play Connecting Flights takes us to an airport – a crossroads of cultures and paths that reveals itself as a microcosm of the globalized world. This transitional space, where dreams of new beginnings intertwine with the reality of human relationships, becomes a powerful metaphor for the complexity of modern society.

Transport is an international co-production project by Slovenian director Tin Grabnar, bringing together six theatres from Slovenia, Poland, Estonia, Lithuania, and the Czech Republic. The project comprises six diverse performances that are structurally and thematically intertwined; their common starting point is the issue of transport as one of the key foundations of globalization.

The performances critically address the complexity of transport: on one hand, highlighting its benefits, such as the extensive networks that enrich cultural exchange and contribute to economic development, while on the other hand, pointing out its negative consequences. They particularly emphasize its destructive impact on the environment, explore social inequality, and through intimate stories, open up numerous ethical dilemmas.