Fantom, światło, fragment. Schulz w teatrze cieni

Cinnamon Shops (2014), directed by Robert Drobniuch, is a performance based on the technique of shadow theater. The stage is dark and empty – the actor playing Joseph lights his face with a powerful flashlight. In the back, one can see a paper curtain with moving phantom figures summoned by Joseph from his memory. His story is accompanied by live music (clarinet). The paper world created by Joseph consists of long past histories. The script, including passages from Schulz’s fiction and letters, focuses on two motifs: fascination with the Father and mythologization of childhood. The performance is not a complete, finished vision of Schulz’s universe, but a patchwork of fragments, glimpses, and images.

CONTEMPORARY WAYANG KULIT PERFORMANCE: A CRISIS IN JAVANESE CULTURE?

Wayang kulit or shadow puppet theater performance has been greatly changing. Changes occur in many aspects such as in terms of the duration or length of the peliormance, its structure, the number of dalang who performs it,as well as the number of female singers (sindhen or waranggana) who accompany the dalang. Consequently, now wayang kulit performance is seen more as tontonan (entertainment) than as tuntunan (moral teachings). One of the main factors of this big change is the intrusion of western culture into Indonesia in general and Java in particular. This results in the reluctance of the young, especially, in watching this form of traditional art. Therefore, the changers) in the performance of wayang kulit or shadow theater is one of the efforts to make thisform of traditional art survive.

SOCIOSEXUAL ROLES IN OTTOMAN PULP FICTION

The sociosexual world of the premodern Middle East has been studied through a variety of sources ranging from legal documents to shadow theater. Most such sources are either prescriptive or transgressive: they uphold or subvert a normative framework, telling us more about the framework itself than about how it was inhabited by subjects in everyday life. This study introduces the Tıfli stories as a descriptive source that transcends the prescriptive–transgressive dichotomy. An Ottoman-Turkish genre of prose fiction produced at least from the 18th to the 20th century, the Tıfli stories were a protorealist form of “pulp fiction.” Where most sources sought to stabilize specific sociosexual roles, the Tıfli stories explored the ambiguities inherent in these roles. This study employs the Tıfli stories to interrogate understandings of the Ottoman sociosexual world that rely strongly on normative sources and to stage an approximation of how norms were negotiated in practice.

The Importance of Creative Tasks in Physics Lessons

<p class="IATED-Affiliation">Pupils should be more involved in their own education, allowed to ask questions, to express their own views and to creatively think and create. The creative process is essential for motivation based on interest, pleasure and a challenge gained in the process. To develop these skills alongside the theory and exercises practical research tasks and other creative activities have been introduced in Physics to the pupils of 8^th grade. As pupils from interest in the subject they will want to participate, and the next task will probably involve more children. In order to encourage students to think in physics lessons and work creatively, propose them to make their own musical instruments, allow to prepare their own ideas and initiatives such as the shadow theater in the form of fairy tales, choose the number comprehensible experiments.<strong> </strong></p><p> </p>