439:. This was the era democracy being stabilized in Poland, the executive branch of the government undergoing structural changes, and transformation sweeping throughout all areas of economy, culture and social life. The repertoire included stage productions of the most interesting novels for children and teenagers which had up until then been absent from thespian arts. The theatre took its first steps in promoting new European literature for children. Innovatory scenographic suggestions taught audiences based on one's involvement in the performance. Never before in its history had
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the theatre's main building. Planned on a wide scale it will change its look, making it one of Poland's most modern and interesting stages, and not only from the architectural point of view. By giving the building the characteristics of an enormous, magical, theatrical wardrobe, it will be transformed into a place where, for both Toruń's residents and tourists alike, it can serve as the locale for interplay, wherein the mysteries of its theatre and the beauty of its architecture enwrap together the Old and New Town settings.
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239:'s Little Wandering Taylor. However, the conditions of Bydgoszcz’s stage did not meet the needs of the young puppet theatre, so Pikiel accepted the proposal to move the headquarters of Baj Pomorski to Toruń. As early as April 1946, the Theatre had been granted a building at 9 Piernikarska Street, which had previously belonged to the German Castle Theatre during the war.
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has since made Toruń's puppet stage into an open theatre, vividly responding to the city's needs and present-day trends. Its message, though targeted mostly at children and teenagers, is intended to reach every student and adult. Hopes for the coming years are for the modernization and development of
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which has become a perpetual event in Toruń's puppet stage activity. Toruń's
International Meetings of Puppet Theatres is one of the few events of this type and size in Poland. It is held in October on a yearly basis. Throughout this week of contests and challenges one can see the most interesting
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image, from that of a traditional puppet stage to one of a theatre seeking new forms of expression, open to Toruń's artistic life. It was during this time that the largest numbers of preview shows within the history of the theatre were staged; ambitious spectacles (influenced by traditional folk
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occurred. He was the one responsible for helping modernize the theatre, making it into one of the best equipped stages in Poland; he displayed a premiere for adults (the first of its kind for the theatre – a Polish preview puppet show of
235:. The Bydgoszcz theatre was situated in the city's slaughterhouse, which had functioned as a German marionette theatre during Nazi occupation. On October 28, 1945, it performed its premiere for children –
250:, who participated in theatrical workshops to master the intricacies of puppet animation. Despite having limited resources, the theatre was highly active, engaging in numerous touring performances across
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theatres from around the world –masters of puppetry, artists nurturing the tradition of the puppet theatre, and groups searching and experimenting within the nature of the loosely termed
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Baj
Pomorski TheatreThe Baj Pomorski Theatre, a puppet theater in Toruń, Poland, is a magical place where children and adults alike can be transported to new worlds.
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From then on the rules of play planning and selection, mandated within a cultural policy, had to be consistently obeyed. The following directors of the theatre were
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Please remove or replace such wording and instead of making proclamations about a subject's importance, use facts and attribution to demonstrate that importance.
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in April 1945, with a document from The
Ministry of Arts and Culture entitling her to organize the first puppet theatre in Pomerania. It was supposed to be a
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Tadeusz
Petrykowski was an artistic director (1972–1979), at that time the managing directors were: Eugeniusz Synak (1972-1976), Karol Mroziński (1976-1979),
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in 1950. This recognition, coupled with the theatre’s prolific touring, contributed significantly to the nationalization of Toruń’s puppet stage.
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found its place in Polish puppet theatre's historic lore by using an amazingly creative theatrical idea involving supermarionettes and
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Marzena Wiśniewska, History of Toruń's puppet scene in 1945-2005 in: 60 years of The Baj
Pomorski Theatre, Toruń, 2005.
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theatre) were created, and innovatory stage productions by contemporary regional authors were shown. The
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past by coming up with a modern concept for staging theatrical classics. His preview puppet show of
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All the directors have left their ineffaceable expressions upon Toruń's puppet stage. It was when
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the theatre reanimated its cooperation with theatre groups abroad, including those from the
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the center of cultural life and the venue for many a theatrical initiative.
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spectacles received so many awards and honors. In 1994 Sieńko initiated
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Official website of The Baj
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English translation by
Agnieszka Klonowska and Wolf V. Werling
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held in Toruń – Pomerania's first event of this caliber.
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Tourist attractions in
Kuyavian-Pomeranian Voivodeship
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157:Learn how and when to remove this message
107:Learn how and when to remove this message
70:This article includes a list of general
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258:won third place at the 1st Festival of
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248:Nicolaus Copernicus University
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576:1945 establishments in Poland
354:Club of Creative Circles Azyl
298:Wojciech Olejnik (1992–1993),
292:Antoni Słociński (1980–1988),
278:Stanisław Stapf (1950–1960),
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304:Zbigniew Lisowski has been
301:Czesław Sieńko (1993–2003).
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331:William Shakespeare's
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