Impressions of the Playwrights Conference in Obrzycko, Poland, by Ingeborg von Zadow
In the beautiful quietness on the grounds of the Castle of Obrzycko there was plenty of opportunity to discuss the newest issues and developments in playwriting for Children and Young people in Poland. It was a meeting of colleagues, who seemed to have known each other for a long time and at the same time a place for aspiring newcomers.
Young, Polish, Naive - Malina Prześluga (Poland)
Najmniejeszy bal świata | The Smallest Ball in the World, Teatr Baj Pomorski, ToruńReprinted, with permission, from Teatr Lalek magazine, nr 4/110/2012
Since for some time I seem to be functioning in the media vocabulary as a “young Polish playwright”, and since in a few months, which I plan to enjoy without undue reflection, I shall be thirty, I aim to write from the vantage point of a young playwright who has been familiar with the topic only for several years. This is a highly convenient perspective – the young are quite easily forgiven. On the other hand, it is challenging since youth is not always treated seriously. Well aware of this polarisation, I wish to take part in a discussion that has been going on for years.
'Magnifying Glass and Ear' by Liliana Bardijewska (Poland)
The playwright is a special creative type.
He reacts to the world with hearing and perceives it as a great parlatorium, in which everything is in a state of a permanent dialogue, even with itself, and where all sounds are a communiqué of sorts even if only produced bya squeaky door or dripping water; silence too screams because it is yet another form of dialogue – the dialogue of emotions.
It is insufficient to merely hear such a dialogue. One has to be able to record it and endow it with a theatrical form. What sort? Naturally, a form that is not connected with direction, stage design or music, but with dramaturgy.
