Poznan. We know the winners of the 33rd Children and Youth Performing Arts Competition

Below we present the jury’s verdict for the 33rd Children’s Theatrical Art Contest for Children and Youth, organized by the Children’s Arts Center in Poznan.

Photo: mat. Organizer

The jury of the second stage, consisting of: Michal Poszevic, Justina Czarnotta, Joanna Krakowska, Halina Waszkiel and Joanna Zigowska, decided to award the following prizes:

Two equal first prizes of 6.5 thousand PLN. PLN receive all:

Bowie Vic About the play “About Al-Alusi z Roof”,
Marius Gołosz On “How do large and heavy elephants die?”.

Three equal second prizes in the amount of PLN 4,000 received each:

Benjamin Maria Bukowski For the play “NANOWO or pictures of a bank manager crying about disappearing and reappearing for people of all ages so they can come back”,
Corporal in Cuba for the play “ENTER NEW”,
Michaik Kamyarczak About the play “(Un) Forgotten History”.


“About Alusia z Roof” Paweł Fic

Street, bus stop. On its roof there is a girl in a bamboo basket – the climb to the top “wasn’t as difficult as everyone said”. Hence a better view of the house, nothing obstructing your vision. He sits in a basket and makes wings (it is impossible to ignore Krystyna Miłobędzka’s association with “Ptam”!). This is the Alusia of the three. What a shame … exactly, but for whom? The girl feels good about her actions. However, most aunts and uncles see the problem. Although adults are presented in a somewhat tacky manner, this is an original procedure performed. They present themselves as those who act schematically, are based on fixed beliefs and do not want to be confronted with the dynamic reality that the younger generation perceives differently. The radical disagreement drawn by the author appears as a result of not listening to the child. Shouldn’t girls really be sitting in baskets on the rooftops of bus stops, as some heroes claim? Alusia does not care about this question.

Joanna Sigoska

“How do large and heavy elephants die?” Marius Gołosz

The protagonist of the play is Marcin, who grew up without his father. Up to a certain point, the boy is convinced that all fathers die when their sons are babies. The text tells the story of mourning and ending difficult feelings. The author paints these experiences in an exceptionally subtle and subtle way, though it makes them the sign of a large and heavy elephant. The absence of his father and the impossibility of communicating and sharing his experiences with the world prompted the protagonist to involuntarily expand physically and explode his imagination about his father. It is also accompanied by social withdrawal. In his text the writer also touches on the topic of clumsy, helpless and in need of masculinity support, looking for a model and at the same time not compatible with the requirements of the environment. A sensitive and weak boyish masculinity. The piece is a very interesting suggestion of a story about a search for oneself in crisis.

Michau Buszewicz

“NANOWO or photos of a bank manager crying about disappearing and reappearing to people of all ages so they can come back” Beniamin Maria Bukowski

The bank manager feels so lost in his private life that he is torn into his outer shell (a bank manager) and a lost personality (I am a bank manager). The disappearance of the true “I” and attempts to recover it form the backbone of the art, on which the sub-themes are built, helping to explore the causes of the loss of the self. Memories of childhood, school times, and career stages that unfolded almost independently of the hero will return. He only allowed circumstances—especially the skill of counting and accounting—to carry him his way, while the “I” ran into another (“As if I had gone out for a walk somewhere” and “The body did what it was supposed to do”). To paint – creativity gave a feeling of freedom.Art is addressed to “people of all ages”, because it gives adults the opportunity to think about their own life choices, and for young people – to think seriously about what they really want to do in life, so that their “I” does not disappear in The future The word is treated with precision and ambiguity at the same time The deliberate lack of punctuation often encourages multi-directional readings and interpretations.

Helena Wassekiel

“Enter New” Kuba Corporal

The drama consists of three parts. The first takes most of it and is the talk of the person who – he claims – must speak because when he does not speak, he bites (usually himself). It’s in a “place you can’t find a name for” but there are many indications that it was a mental hospital or educational facility. The convention of introducing a new person to the known reality of the hero, indicated in the title, allows you to get acquainted with the architecture, customs (or procedures) of this place, as well as other people: the doctor or the director. I myself am not convinced when I write this – for perhaps this gesture is merely a disguise of my method for self-analysis of the speaker who is on the verge of suicide? The truth is that this emotional and poignant voice pierces the reader down the gut. At the same time, she delights with many effective literary phrases. Reading the subsequent parts completely changes the optics and the theme of art. The second part is the response of an adult – the gesture of cutting wings and suppressing the potential for rebellion. Well, dear adults, how many times will you find yourself in it? The third part is actually the author’s statement to sound engineers, but also to the whole world: “Anything can be done,” look for a different ending. On a dramatic level, in my opinion, this is the way to open this text to procedural action. I also read this part as an appeal to all of us: We are the ones who decide every day the quality of our lives and the lives of our loved ones.

Justina Czarnotta

“(Un) Forgotten History” Michał Kaźmierczak

The landscape is a meadow. Badylarka and Bumblebee are swinging on a patch of grass. When the elder lord walks in, they start a conversation with him. It turns out that the elder constantly forgets something and is afraid that one day he will forget everything. The three heroes’ conversations revolve around memory, problems with it lead to funny misunderstandings, and unexpected adventures occur because they have forgotten that it is impossible. The green beard is a cheerful and gentle creature, and the hardworking bumblebee pretends to be dangerous, especially when he is afraid of the “big hands” of the sheikh. They both realize that they cannot help the Great Lord, but they can accompany and support him. The play is sad and tender at the same time, talking about coming to terms with the inevitable – about old age and death.

Joanna Krakoska

The plays were qualified for the second stage by the jury made up of: Katarzyna Grajewska, Joanna Żygowska:

Andrzej Błażewicz, “Who’s going to be hanging there?”
Benjamin Maria Bukowski, “again”,
Liliana Fabisińska, “LUK (A) AND SmILING HOMARS”,
Paweł Fic, “About Alusia from the Roof”,
Mariusz Gołosz, “How do large and heavy elephants die?” ,

Filip Jaśkiewicz, “TIERRALAND”,
Corporal in Cuba, “ENTER NEW”,
Michał Kaźmierczak, “(un)forgotten history”,
Ewa Matera, “Wool and Peace”,
Katarzyna Matwiejczuk, “Museum of Trees”,
Camila Oleksiak-Zerowinska, “This Time”,
Agnieszka Pilecka, “Fox in Practice”,
Agnieszka Pilecka, “A rabbit, a hedgehog and a kilogram of grief”,
Katarzyna Prudhoe, “Alutka and Ukut”,
Malina Prziluga, “▲”,
Malina Prziluga, “GREAT TO BE LOVED”,
Carolina Sadowska, “CORAL AND WELLOW”,
Magdalena Siwick, “Poo”,
Ewa Sujek, “Magdalinka and the Old Treasury”,
Robert Trazek, “The Unusual Discovery of a Parrot”,
Aneta Tulisz-Skórzyńska, “The Sisters of the Inseparable”,
Łukasz Zaleski, “(not necessarily) a unicorn.”

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