Syncretism of the Puppet theatre / Sinkretizam lutkarskoga kazališta
Abstract
Abstract
For Luko Paljetak a theatre puppet is a special poetic expression which connects metaphors of an object, a picture and a tone – language and movement into one whole. That is the reason why Paljetak’s poems are at the same time visual events, polyphony and metaphor. They are not poetically sufficient results, but beginnings of a new set of meanings created in motion – movement, i.e. puppet animation. Paljetak’s poetry and essays on works of art have the same characteristics and he creates and uses the same procedures as when he is the director and/or writer of sketches/plays in the puppet theatre. They are: perceiving the obverse and reverse as one, a way to wholeness, the original whiteness, a polarisation of colour and non-colour, colourism, masks, collage, combining pictures and forms, ambiguities, dynamics of contact of extremes and opposites, simultaneous existence of reality and illusion, sadness and melancholy. When using the puppet theatre means of expression, Paljetak experiences, ponders about and questions the new place of man in space and time. The poetry of the theatre puppet and the puppet theatre is therefore an integral part of Paljetak’s poetry.
Key words: character puppet animation; Paljetak L.; puppet play; stage; theatre puppet.
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Sažetak
Za Luka Paljetka kazališna je lutka osobit pjesnički izraz koji u cjelinu povezuje metafore predmeta, slike, tona – jezika i pokreta. Zbog toga su Paljetkove pjesme istodobno i vizualna događanja, i polifonije, i metafore. To nisu pjesnički dostatni ishodi, nego počeci novih značenja stvaranih u gibanju-pokretu, odnosno lutkarskoj animaciji. Tako se u Paljetkovoj poeziji i u esejima o likovnim djelima nalaze odlike, postupci koje autor kao redatelj i/ili pisac skica/igrokaza stvara, primjenjuje u lutkarskom kazalištu. To su: cjelovitost viđenja lica i naličja i put do cjelovitosti, prvotnost bjeline, polarizacija boje i neboje, kolorizam, maskiranje, kolažiranje, montiranje slika i oblika, dvosmislenosti značenja, dinamizam dodira krajnosti i suprotnosti, supostojanje zbilje i iluzije, tuge i sjete. Izražajnim sredstvima lutkarskoga kazališta Paljetak na osobit način doživljava, promišlja i propituje recentnu poziciju čovjeka u prostoru i vremenu. Stoga je poezija kazališne lutke, odnosno lutkarskoga kazališta, sastavnim dijelom Paljetkova pjesništva.
Ključne riječi: animacija lika-lutke; kazališna lutka; lutkarski igrokaz; Paljetak L.; pozornica.
For Luko Paljetak a theatre puppet is a special poetic expression which connects metaphors of an object, a picture and a tone – language and movement into one whole. That is the reason why Paljetak’s poems are at the same time visual events, polyphony and metaphor. They are not poetically sufficient results, but beginnings of a new set of meanings created in motion – movement, i.e. puppet animation. Paljetak’s poetry and essays on works of art have the same characteristics and he creates and uses the same procedures as when he is the director and/or writer of sketches/plays in the puppet theatre. They are: perceiving the obverse and reverse as one, a way to wholeness, the original whiteness, a polarisation of colour and non-colour, colourism, masks, collage, combining pictures and forms, ambiguities, dynamics of contact of extremes and opposites, simultaneous existence of reality and illusion, sadness and melancholy. When using the puppet theatre means of expression, Paljetak experiences, ponders about and questions the new place of man in space and time. The poetry of the theatre puppet and the puppet theatre is therefore an integral part of Paljetak’s poetry.
Key words: character puppet animation; Paljetak L.; puppet play; stage; theatre puppet.
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Sažetak
Za Luka Paljetka kazališna je lutka osobit pjesnički izraz koji u cjelinu povezuje metafore predmeta, slike, tona – jezika i pokreta. Zbog toga su Paljetkove pjesme istodobno i vizualna događanja, i polifonije, i metafore. To nisu pjesnički dostatni ishodi, nego počeci novih značenja stvaranih u gibanju-pokretu, odnosno lutkarskoj animaciji. Tako se u Paljetkovoj poeziji i u esejima o likovnim djelima nalaze odlike, postupci koje autor kao redatelj i/ili pisac skica/igrokaza stvara, primjenjuje u lutkarskom kazalištu. To su: cjelovitost viđenja lica i naličja i put do cjelovitosti, prvotnost bjeline, polarizacija boje i neboje, kolorizam, maskiranje, kolažiranje, montiranje slika i oblika, dvosmislenosti značenja, dinamizam dodira krajnosti i suprotnosti, supostojanje zbilje i iluzije, tuge i sjete. Izražajnim sredstvima lutkarskoga kazališta Paljetak na osobit način doživljava, promišlja i propituje recentnu poziciju čovjeka u prostoru i vremenu. Stoga je poezija kazališne lutke, odnosno lutkarskoga kazališta, sastavnim dijelom Paljetkova pjesništva.
Ključne riječi: animacija lika-lutke; kazališna lutka; lutkarski igrokaz; Paljetak L.; pozornica.
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PDFDOI: https://doi.org/10.15516/cje.v17i1.1040
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