The presentation of the books: Alois Tománek, FORMS OF PUPPETS; Teodora Vigato, Vedrana Valčić, THE POETIC WAYS OF ZADAR PUPPETRY; Zdenka Đerđ, PUPPET THEATRE DRAMATURGY; (for adults)
Alois Tománek FORMS OF PUPPETS Publishers:The Croatian UNIMA Centre,Matica hrvatska - Osijek branch, Osijek Academy of Arts);Forms of Puppets is a comprehensive work in which the accomplished Czech scenographer and theatre technician Alois Tománek shows all of the forms, occasions, incarnations that the puppet appears in, gives an overview of puppetry techniques, types of puppets and their space on stage, with a variety of sketches, blueprints and concrete instruction. All of this is based on his own years of experience, as well as scholarly literature and the works of his colleagues. The book is primarily intended for puppet technicians and students of puppet design, but also for the students of the high schools of applied arts, amateur puppeteers and, of course, puppetry directors, puppetry actors and puppetry students, who will gain a deeper insight into the means of their on-stage expression. The book (especially the chapter Puppet and Actor) could also be recommended to all theatre experts, theatre critics and anyone who thinks or writes about puppetry at all. The book will be presented by the president of the Croatian UNIMA Centre, Jasminka Mesarić, and theatre expert Nina Maliková, the redactor of the Croatian edition. Teodora Vigato, Vedrana Valčić, THE POETIC WAYS OF ZADAR PUPPETRY:Publishers:Unirvesity in Zadar and Zadar Puppet Theatre); In the monograph The Poetic Ways of Zadar Puppetry, the authors read the history of the Zadar Puppet Theatre in accordance with the theory of Miroslav Česal, which claims that puppetry is closer to epic than to dramatic art. All puppet plays are observed as decidedly epic or decidedly dramatic plays. Furthermore, based on the thinking of LukoPaljetak, who left a big trace on the puppetry of Zadar, and Croatia, the lyric principle is added to the epic and dramatic principle. In the history of Zadar puppetry, there was no one-way path from the dramatic, through the epic, to the lyrical; instead, the principles jumped over one another, complemented and mixed with each other. We cannot say that one principle alone was used in each of the periods. What occurred was a symbiosis of dramatic, epic and puppet theatre, which represents the most modern currents in theglobal theatre art. The book will be presented by its authors, Teodora Vigato and Vedrana Valčić. A word from the reviewer, Antonija Bogner-Šaban. PUPPET THEATRE DRAMATURGY(Publisher: Leykam international):Zdenka Đerđ's study Puppet Theatre Dramaturge shows that the Croatian puppet play, as a special type of dramatic writing intended for puppet theatre, was created within the context of European puppetry, and has insisted on an autochthonous expression. In this way, European puppet theatre dramaturgy is simultaneously reflected and created on the stages of puppet theatres in Split, Zagreb, Zadar, Osijek, and Rijeka, through its determinants: the metaphor of the puppet, the signs in a puppet theatre, the character. the puppet and the animation. This is apparent from the viewpoint of entirely different puppetry poetics and forms of the 16 selected puppet plays, whose authors are Borislav Mrkšić, Zlatko Bourek and Sanja Ivić, Milan Čečuk, Višnja Stahuljak, Tahir Mujičić and Boris Senker, Lada Martinac-Kralj, Magdalena Lupi and Rene Medvešek. This is the first time most of these plays have been published in print. The book will be presented by the rewviewer Livija Kroflin and it's author Zdenka Đerđ. A word from the publisher: Eugenia Ehgartner.