{"id":1851,"date":"2025-07-08T22:21:52","date_gmt":"2025-07-08T20:21:52","guid":{"rendered":"http:\/\/dramskapedagogija.ufzg.hr\/?page_id=1851"},"modified":"2025-07-10T19:05:39","modified_gmt":"2025-07-10T17:05:39","slug":"popis-i-opis-radionica-list-and-description-of-workshops","status":"publish","type":"page","link":"https:\/\/dramskapedagogija.ufzg.hr\/index.php\/popis-i-opis-radionica-list-and-description-of-workshops\/","title":{"rendered":"Popis i opis radionica \/ List and Description of Workshops"},"content":{"rendered":"

Jelena Sitar Cvetko: Kami\u0161ibaj pripovijedanje \/ \u00a0Kamishibai storytelling<\/strong><\/span><\/p>\n

Radionicu vodi lutkarica i kami\u0161ibajarica Jelena Sitar Cvetko, koja je u suradnji s Igorom Cvetkom pokreta\u010dica kami\u0161ibaja u Sloveniji (mama i tata slovenskog kami\u0161ibaja<\/em>) te voditeljica najve\u0107eg europskog kami\u0161ibaj festivala koji se svake godine odr\u017eava u Piranu. Estetika i na\u010delo slovenskog autorskog kami\u0161ibaja koju Jelena i Igor zagovaraju, sna\u017eno utje\u010de na osnovna na\u010dela kami\u0161ibaja koji je za\u017eivio i u Hrvatskoj. U radionici \u0107e sudionici u\u0107i u \u010darobni svijet kami\u0161ibaja \u2013 japanskog slikonarativnog kazali\u0161ta \u2013 ste\u0107i uvid u presjek raznolikih kami\u0161ibaj-pri\u010da, isti\u010du\u0107i njihove osobitosti, izra\u017eajna sredstva i poetiku. Polaznici \u0107e upoznati kami\u0161ibaj kao spoj pripovijedanja i lutkarstva, kao i njegove temeljne zakonitosti izvedbe. Poseban naglasak stavljen je na\u00a0estetiku oskudnosti (manje je vi\u0161e),<\/em>\u00a0jedno od klju\u010dnih na\u010dela ove umjetnosti. Tijekom prakti\u010dnog rada na kami\u0161ibaj pri\u010di, sudionici \u0107e imati priliku iskustveno pro\u0107i procesom osmi\u0161ljavanja i stvaranja vlastite kratke kami\u0161ibaj-pri\u010de, istra\u017euju\u0107i kako se minimalnim sredstvima mo\u017ee posti\u0107i sna\u017ean izra\u017eaj i sugestivna izvedba.<\/span><\/p>\n

The workshop is led by puppeteer and kamishibai artist Jelena Sitar Cvetko, who, together with Igor Cvetko, initiated the kamishibai movement in Slovenia (known as the “mother and father of Slovenian kamishibai”) and is the director of the largest European kamishibai festival, held annually in Piran. The aesthetics and principles of Slovenian authorial kamishibai, as advocated by Jelena and Igor, have had a significant influence on the foundational concepts of kamishibai as it has developed in Croatia. In this workshop, participants will step into the magical world of kamishibai \u2013 the Japanese picture-theater form of storytelling \u2013 and gain an overview of the diversity of kamishibai stories, highlighting their distinctive features, expressive tools, and poetic qualities. Participants will get to know kamishibai as a fusion of storytelling and puppetry, as well as its fundamental performance principles. Special emphasis will be placed on the\u00a0aesthetics of scarcity\u00a0(“less is more”), one of the key tenets of this art form. Through practical work on a kamishibai story, participants will have the opportunity to experience the process of developing and creating their own short kamishibai piece, exploring how powerful expression and evocative performance can be achieved with minimal means.<\/em><\/p>\n

Nikolina Bakmaz: TEME U FOKUSU: Izazovi i inspiracije u dramskom radu \/ <\/strong>FOCUS ON THEME: Challenges and Inspirations in Drama Practice<\/strong><\/span><\/p>\n

\u00a0<\/strong>Radionica je namijenjena voditeljima dramskih skupina koji \u017eele podijeliti izazove s kojima se susre\u0107u i produbiti razumijevanje tema u dramskom radu. Cilj je stvoriti siguran i podr\u017eavaju\u0107i prostor za dijalog, razmjenu iskustava i istra\u017eivanje novih pristupa u radu s temama koje su \u010desto izazovne. U vo\u0111enoj raspravi sudionici \u0107e identificirati izazove s kojima se susre\u0107u \u2013 od odabira i obrade tema do rada s osjetljivim sadr\u017eajem. U prakti\u010dnom \u0107e dijelu kroz strukturu dramskog sata analizirati konkretne izazove i isprobati tehnike koje mogu primijeniti u svojem radu. Rad u manjim skupinama omogu\u0107it \u0107e da zajedno razviju nove pristupe i rje\u0161enja, a zavr\u0161na refleksija pomo\u0107i \u0107e u primjeni nau\u010denoga. Radionica pru\u017ea priliku za podr\u0161ku, inspiraciju i razmjenu ideja poma\u017eu\u0107i voditeljima da s vi\u0161e sigurnosti i kreativnosti oblikuju dramske procese.<\/p>\n

\u00a0<\/strong>This workshop is intended for drama group facilitators who wish to share the challenges they encounter and deepen their understanding of themes in drama practice. It aims to create a safe and supportive space for dialogue, exchange of experiences, and exploration of new approaches to working with often complex and sensitive topics. Through guided discussion, participants will identify key issues they face \u2014 from choosing and developing themes to addressing sensitive content. In the practical part of the workshop, they will tackle these challenges through a typical drama session structure, experimenting with methods they can apply in their own work. Small group activities will enable collaborative development of new strategies and solutions, while the final reflection will help integrate the insights gained. This workshop offers a valuable opportunity for support, inspiration, and idea exchange, empowering facilitators to shape drama processes with greater confidence and creativity.<\/em><\/p>\n

\u00a0<\/strong>Matilda Markovi\u0107: Humanete ili \u017eive lutke \u2013 lutkarska radionica izrade i animacije \u017eivih lutaka \/ <\/strong>Humanettes or \u201cLiving Puppets\u201d \u2014 a Puppetry Workshop on Making and Animating Humanette Puppets<\/strong><\/span><\/p>\n

\u017dive lutke sastavljene su od glave \u010dovjeka i tijela lutke. Igra \u017eivim lutkama naj\u010de\u0161\u0107e se koristi za prikazivanje humoristi\u010dnih ili komi\u010dnih situacija, parodije, satire te mo\u017ee biti izazovan i zanimljiv zadatak u pripremi i izvedbi recitala. Brojne su mogu\u0107nosti koje nudi i otvara ovaj tip lutke u radu s djecom, a i lutke i animatori razigrani su i rasplesani. Nekad popularna na sajmovima, danas svoje mjesto nalazi upravo oko dje\u010djeg vrata spremna za igru i suradnju. Sudionici radionice upoznat \u0107e obilje\u017eja i zna\u010dajke ove lutke, njezine mogu\u0107nosti i na\u010dine primjene u radu s djecom i mladima. Samostalno \u0107e tijekom radionice izraditi svoju \u017eivu lutku te sudjelovati u kratkim improvizacijama i animaciji \u017eive lutke.<\/p>\n

\u00a0Living puppets are made up of a human head and a puppet body. Playing with living puppets is most often used to depict humorous or comic situations, parody, and satire, and it can be both a challenging and entertaining task in the preparation and performance of recitals. The possibilities that this type of puppet offers and opens up when working with children are numerous, and both the puppets and the animators are playful and full of energy. Once popular at fairs, today it finds its place right around a child\u2019s neck, ready for play and cooperation. During the workshop, participants will learn about the characteristics and features of this puppet, its possibilities, and ways of using it in working with children and young people. Over the course of the workshop, they will independently create their own living puppet and take part in short improvisations and animation exercises with it.<\/em><\/p>\n

\u00a0Jelena Kova\u010di\u0107: Od slike do pri\u010de \/ <\/strong>Visual Art as a Stimulus for Dramatic Creation<\/strong><\/span><\/p>\n

NAPOMENA: radionica je na engleskom jeziku \/ <\/strong>NOTE: The workshop will be held in English<\/strong><\/em><\/p>\n

Likovna je umjetnost dio op\u0107eg svijeta umjetnosti koji se koristi vlastitim (likovnim) jezikom kao oblikom komuniciranja. Umjesto rije\u010di izra\u017eava se oblicima \u2013 bojom, crtom i volumenom koje je potrebno do\u017eivjeti osjetilom vida, a onda i dodira. Gledati, u likovnom smislu, zna\u010di isto \u0161to i \u010ditati u knji\u017eevnom, stoga \u0107emo prije svega gledati likovna djela, potom ih dodirom i zvukom opisati, a iskustvo me\u0111usobno podijeliti. Pritom \u0107emo stvarati vlastite unutarnje emocionalne svjetove koji \u0107e nam poslu\u017eiti kao temelj za razvijanje pri\u010de. Radionica je osmi\u0161ljena kao dramsko-stvarala\u010dki proces u kojem \u0107e umjetni\u010dka djela koprivni\u010dkih likovnih umjetnika – Ive Bolfek, Bojana Ko\u0161ti\u0107a i Zvonimira Haramije Hansa slu\u017eiti kao poticaj za razvijanje dramske pri\u010de. Radionicom se nastoji spojiti likovna umjetnost i dramsko stvarala\u0161tvo koje \u0107e svim sudionicima slu\u017eiti kao svojevrsna edukacija o likovnim djelima doma\u0107ih autora te o samoj kompoziciji teksta, ali prije svega kao druga\u010dija vrsta poticaja za jezi\u010dno stvarala\u0161tvo. Radionica je namijenjena odgojno-obrazovnim djelatnicima te svima onima koji \u017eele obogatiti svoj stvarala\u010dki rad.<\/p>\n

Visual art belongs to the wider world of the arts, using its own (visual) language to communicate. Instead of words, it speaks through form \u2014 color, line, and volume \u2014 which we experience first with our eyes and then through touch. To look, in the visual sense, is the equivalent of reading in the literary sense. Therefore, we will begin by observing artworks and then describing them through touch and sound, sharing our individual experiences with one another. In this way, we will create our own inner emotional worlds, which will serve as a foundation for developing stories. The workshop is designed as a drama-creative process in which the works of Koprivnica-based artists \u2014 Iva Bolfek, Bojan Ko\u0161ti\u0107, and Zvonimir Haramija Hans \u2014 provide the inspiration for crafting a dramatic narrative. The aim of the workshop is to connect visual art and dramatic creation, offering participants not only an educational experience related to the work of local artists and the composition of dramatic texts, but also a unique stimulus for linguistic and creative expression. The workshop is intended for educators and anyone interested in enriching their creative practice.<\/em><\/p>\n

Petra Kava\u0161<\/strong>: Kazali\u0161te predmeta \u2013 od svakodnevnog predmeta do lutkarske predstave \/ <\/strong>Object Theatre \u2014 From Everyday Objects to a Puppet Performance<\/strong><\/span><\/p>\n

Kazali\u0161te predmeta otvara vrata ma\u0161ti i kreativnosti jednostavnim, ali iznimno u\u010dinkovitim pristupom \u2013 kori\u0161tenjem svakodnevnih predmeta kao sredi\u0161njim elementima izvedbe. Na radionici \u0107emo istra\u017eivati kako uz osnovne vje\u017ebe osmisliti prizore ili nacrt kratke predstave. Sudionici \u2013 u\u010ditelji i odgojitelji \u2013 upoznat \u0107e se s osnovnim na\u010delima kazali\u0161ta predmeta: animacijom ne\u017eivih stvari, mijenjanjem njihova zna\u010denja i pri\u010danjem pri\u010da u igri s predmetima. Radionica je prakti\u010dne naravi, a koristit \u0107emo se predmetima koji su nam pri ruci \u2013 olovkama, odje\u0107om, knjigama, svakodnevnim sitnicama \u2013 te ih pretvarati u kazali\u0161ne likove ili scenske elemente. Radionica mo\u017ee poslu\u017eiti kao uvodna motivacija pri obradi knji\u017eevnog teksta ili kao na\u010din dramatizacije ulomaka koje u\u010denici mogu dalje razvijati. Tako\u0111er nudi zabavno iskustvo koje poti\u010de ma\u0161tovitost i kazali\u0161ni izraz. Radionica je namijenjena u\u010diteljima i odgojiteljima.<\/p>\n

\u00a0<\/strong>Object theatre opens the door to imagination and creativity through a simple yet highly effective approach \u2014 using everyday objects as the central elements of a performance. In this workshop, we will explore how, through basic exercises, we can quickly create scenes or sketch out a short play. Participants \u2014 teachers and educators \u2014 will be introduced to the fundamental principles of object theatre: animating inanimate objects, transforming their meaning, and telling stories through playful interaction with them. The workshop is hands-on, using whatever is at hand \u2014 pencils, clothing, books, everyday trinkets \u2014 and turning them into theatrical characters or scenic elements. The workshop can serve as an engaging introduction when working with literary texts or as a way to dramatize excerpts that students can then develop further. It also provides a fun experience that fosters imagination and theatrical expression.\u00a0<\/em><\/p>\n

Gabrijela Vojvodi\u0107: Pripovijedanjem do izvedbe \/ From Storytelling to Performance<\/strong><\/span><\/p>\n

\u00a0Polaze\u0107i od antologijske pri\u010de I. B. Singera Ole i Trufa, sudionici \u0107e primjenom dramskih aktivnosti istra\u017eiti kako pripovijedanje mo\u017ee postati zajedni\u010dki stvarala\u010dki proces. Posebna pozornost posve\u0107ena je emocionalnoj pripremi sudionika za slu\u0161anje i pri\u010danje pri\u010de kako bi se postigla intimna, sve\u010dana i sigurna atmosfera \u2013 ona u kojoj se pri\u010de ne samo slu\u0161aju ve\u0107 i pro\u017eivljavaju. Radionica nudi priliku za razmatranje kako primjena dramskih tehnika u nastavi knji\u017eevnosti mo\u017ee unaprijediti razvoj empatije, podr\u017eati suradni\u010dko u\u010denje i potaknuti stvaranje novih pristupa u dramskom stvarala\u0161tvu za djecu i mlade.<\/strong><\/p>\n

\u00a0<\/strong>Based on the anthology tale \u201cOle and Trufa\u201d by I. B. Singer, this workshop invites participants to explore how storytelling can become a shared creative process through drama-based activities. Special emphasis is placed on preparing participants emotionally for listening to and telling stories, in order to create an intimate, ceremonial, and safe atmosphere \u2014 one in which stories are not just heard but truly experienced.The workshop provides an opportunity to reflect on how using drama methods in literature teaching can foster empathy, support collaborative learning, and inspire new approaches to creative drama with children and young people.<\/em><\/p>\n

\u00a0Danijela Jurac i Bogdanka Conjar: Putovanje kroz znanje \/ <\/strong>Journey Through Knowledge<\/strong><\/span><\/p>\n

Iako svi tuma\u010de kako se djecu ne treba optere\u0107ivati nacionalnim ispitima niti ih posebno za njih pripremati, smatramo da je itekako korisno ponoviti odre\u0111ene nastavne sadr\u017eaje kako bi se \u010detvrta\u0161i <\/em>osje\u0107ali sigurnije i pripremljenije. Rade\u0107i s njima i oslu\u0161kuju\u0107i njihova iskrena o\u010dekivanja, itekako mo\u017eemo re\u0107i da im je stalo do toga da na nacionalnim ispitima postignu \u0161to bolje rezultate. Kako bismo to omogu\u0107ile u\u010denicima, osmislile smo procesnu dramu za ponavljanje klju\u010dnih nastavnih sadr\u017eaja. Sudionici radionice nau\u010dit \u0107e osmisliti i voditi procesnu dramu u u\u010dionici, integrirati nastavne sadr\u017eaje u dramski kontekst, potaknuti u\u010denike na suradni\u010dko u\u010denje i kriti\u010dko razmi\u0161ljanje, usmjeriti aktivnosti prema krajnjem cilju \u2013 pisanju izvje\u0161\u0107a o putovanju u kojem vje\u017ebaju strukturiranje teksta i povezivanje podataka u cjeloviti tekst. Radionica je prakti\u010dna, interaktivna i pru\u017ea konkretne primjere i materijale za provedbu u razredu.<\/p>\n

\u00a0<\/strong>Although everyone says that children should not be burdened with national exams or subjected to special preparation and revision, we believe it is very useful to review certain curricular content so that fourth-graders feel more confident and prepared. By working with them and listening to their sincere expectations, we can clearly say that they care about doing their best on these exams.To support them, we designed a process drama to review key curriculum content. Workshop participants will learn how to design and facilitate a process drama in the classroom, integrate curricular content into a dramatic context, encourage students\u2019 collaborative learning and critical thinking, and guide activities toward the final goal \u2014 writing a travel report in which they practice structuring and connecting information into a coherent text. The workshop is practical, interactive, and provides concrete examples and materials for classroom use.<\/em><\/p>\n

\u00a0<\/strong>Sun\u010dica Kuni\u0107: Dramske tehnike i metode u interpretaciji slikovnice bez teksta \/ Dramatic Techniques and Methods in the Interpretation of a Wordless Picture Book<\/strong><\/span><\/p>\n

\u00a0<\/strong>Sudionici \u0107e otkrivati mogu\u0107nosti primjene dramskih tehnika i metoda u interpretaciji slikovnice bez teksta Val <\/em>autorice Suzy Lee. \u0160to sve mo\u017ee takva slikovnica i do kojih nas predjela mo\u017ee ponijeti njezin val<\/em>? Koji je potencijal takvih slikovnica u korelaciji s dramskom pedagogijom? Istra\u017eivanje, otkrivanje, suo\u010davanje, rast – sve to intuitivno, sabrano i razigrano, donosi ova radionica.<\/p>\n

Participants will explore how dramatic techniques and methods can be used to interpret the wordless picture book\u201dWave\u201d by Suzy Lee. What can such a book offer us, and to what inner landscapes might its wave carry us? What is the potential of wordless picture books when combined with drama pedagogy? This workshop invites intuitive, focused, and playful experiences of exploration, discovery, confrontation, and growth.<\/em><\/p>\n

Snje\u017eana \u010cubrilo<\/strong>: Od kolopleta do poleta rije\u010di \/ <\/strong>Unraveling into the Flight of Words<\/strong><\/span><\/p>\n

Radionica se usredoto\u010duje na istra\u017eivanje rije\u010di kroz dramske aktivnosti \u2014 pro\u0161irivanje vokabulara, propitivanje zna\u010denja i zvu\u010dnosti rije\u010di te mogu\u0107nosti njihova povezivanja u smislene cjeline poput pri\u010de, dramske igre ili scenske izvedbe.<\/strong> Sudionici \u0107e kroz prakti\u010dne i kreativne vje\u017ebe otkrivati kako rije\u010di mogu postati \u017eive, kako njihov zvuk i zna\u010denje mogu potaknuti emocije, slike i pokret te kako ih mogu koristiti za stvaranje novih izraza i scenskih situacija. Radionica tako\u0111er poti\u010de razvoj vje\u0161tina javnog i scenskog govora, sigurnost u izra\u017eavanju i ma\u0161tovitost u kori\u0161tenju jezika.<\/p>\n

\u00a0This workshop focuses on exploring words through drama activities \u2014 expanding vocabulary, examining the meaning and sound of words, and discovering ways to connect them into meaningful units such as stories, drama games, or stage performances. Through practical and creative exercises, participants will experience how words can come alive \u2014 how their sound and meaning can evoke emotions, images, and movement, and how they can be used to create new expressions and scenic situations. The workshop also encourages the development of public speaking and performance skills, confidence in self-expression, and creativity in using language<\/em>.<\/p>\n

\u00a0\u017deljka \u017dupan Vuksan: Od igre do predstave \/ <\/strong>Let\u2019s play! <\/strong><\/span><\/p>\n

\u00a0<\/strong>Igra je prirodni oblik izra\u017eavanja i \u0161to god radimo, na neki se na\u010din igramo. Ponekad igramo po zadanim pravilima, a ponekad ih postavljamo sami. Cilj je radionice prikazati kako od dramske igre napraviti strukturiranu dramsku predstavu s naglaskom na sam proces stvaranja. U radionici \u0107e se prikazati razli\u010dite dramske tehnike koje voditelju mogu poslu\u017eiti kao alat u svim fazama kreiranja predstave. Fokus je usmjeren na proces rada – kako od ideje do\u0107i do zapleta, prvih replika, oblikovanja scena i, na kraju, predstave. Radionica je namijenjena nastavnicima, odgajateljima i voditeljima dramskih dru\u017eina, kao i po\u010detnicima u dramskom radu.<\/p>\n

\u00a0<\/strong>The goal of the workshop is to demonstrate how to turn a dramatic play into a structured theatrical performance, with an emphasis on the creative process. The workshop will present various dramatic techniques that can serve as tools for facilitators in all stages of creating a performance. The focus is placed on the workflow\u2014how to move from an idea to a plot, first lines of dialogue, scene shaping, and finally, a full performance. The workshop is intended for teachers, educators, drama group leaders, as well as beginners in drama work.<\/em><\/p>\n

\u00a0Ana \u0160karo: Stvaranje igrokaza za djecu (s djecom) \/ Creating Plays for Children (with Children)<\/strong><\/span><\/p>\n

\u00a0<\/strong>U stvarala\u010dkom procesu nastanka igrokaza djeca ja\u010daju socijalne i komunikacijske vje\u0161tine, istra\u017euju svoje osje\u0107aje i ideje te razvijaju empatiju i osje\u0107aj za lijepo odnosno estetiku. Polaznici radionice dobit \u0107e uvid u cjelokupan proces stvaranja igrokaza za djecu s djecom u razrednoj nastavi. Polaze\u0107i od jednostavnoga knji\u017eevnog teksta ili svakodnevne situacije, razli\u010ditim dramskopedago\u0161kim tehnikama, otkrivat \u0107e kako se narativ mo\u017ee scenski oblikovati. Radionica je namijenjena u\u010diteljima razredne nastave, kao i svima koji \u017eele otkriti kreativne mogu\u0107nosti dramsko-scenskog stvarala\u0161tva u odgojno-obrazovnom procesu.<\/p>\n

\u00a0<\/strong>In the creative process of developing plays, children strengthen their social and communication skills, explore their feelings and ideas, and develop empathy and aesthetics. Participants in the workshop will gain insight into the entire process of creating plays for children together with children in primary school education. Starting from a simple literary text or everyday situation, they will discover how a narrative can be shaped for the stage using various drama-pedagogical techniques. The workshop is intended for primary school teachers as well as anyone interested in exploring the creative possibilities of drama and theatrical creation in the educational process.<\/em><\/p>\n

\u00a0Andrea Damajani\u0107 Fir\u0161t<\/strong>: Poezija otpora \/ <\/strong>Poetry of Resistance<\/strong><\/span><\/p>\n

Poezija otpora nastala je iz zanimanja \u010dlanica i \u010dlanova zagreba\u010dkog Centra za kazali\u0161te potla\u010denih POKAZ za koncept estetike potla\u010denih, koji je u kasnoj fazi svojeg rada istra\u017eivao i opisivao dramaturg i dramski pedagog Augusto Boal, kao i na njegovoj metodologiji kazali\u0161ta potla\u010denih. Poezija se uglavnom smatra individualnim sredstvom preno\u0161enja misli, ideja i osje\u0107aja, no \u0161to se dogodi ako poeziju poku\u0161amo pisati kolektivno? Je li to uop\u0107e mogu\u0107e? Je li poezija u stanju artikulirati kolektivno iskustvo? \u0160to je to poezija sposobna ispri\u010dati, a da to ne mo\u017ee nijedan drugi narativ? Kako ona mo\u017ee pru\u017eiti otpor dru\u0161tvenim normama i represijama samom svojom formom? I mo\u017ee li ona kao i kazali\u0161te biti proba za revoluciju<\/em>, kako je govorio Augusto Boal? Na radionicu ponesite jednu pjesmu po vlastitom izboru (klasi\u010dnu, modernu, postmodernu, suvremenu, doma\u0107u ili stranu).<\/p>\n

Poetry of Resistance emerged from the interest of members of the Zagreb Center for the Theatre of the Oppressed (POKAZ) in the concept of theaesthetics of the oppressed, which was explored and described in the later phase of his work by playwright and drama educator Augusto Boal, as well as in his methodology of the Theatre of the Oppressed. Poetry is generally regarded as an individual means of expressing thoughts, ideas, and feelings \u2014 but what happens if we try to write poetry collectively? Is such a thing even possible? Can poetry articulate a collective experience? What can poetry express that no other narrative form can? In what ways can it resist social norms and repression through its very form? And can it, like theatre, be a \u201crehearsal for the revolution,\u201d as Augusto Boal once said? Please bring one poem of your choice to the workshop (classical, modern, postmodern, contemporary, local, or international).<\/em><\/p>\n

\u00a0Manuela Krakar Ahmedovi\u0107<\/strong>: Kazali\u0161te kao terapija za mlade \/ Theatre as Therapy for Youth<\/strong><\/span><\/p>\n

\u00a0Poreme\u0107aji hranjenja \u010desto proizlaze iz duboko ukorijenjenih emocija, strahova i sukoba koji se te\u0161ko izra\u017eavaju rije\u010dima. Umjetnost, posebno kazali\u0161ni izri\u010daj, pru\u017ea jedinstven na\u010din da se ono \u0161to je neizrecivo pretvori u stvarala\u010dki pokret. Ova radionica stvara siguran prostor u kojem \u0107e sudionici primjenom razli\u010ditih umjetni\u010dkih medija poput drame, glazbe, pjesni\u0161tva i plesa progovoriti o problemima vezanim uz tijelo i hranu. Radionica \u0107e uklju\u010divati dijeljenje informacija i osobnih promi\u0161ljanja voditeljice te pozive sudionicima da razmotre kreativne na\u010dine izra\u017eavanja svojih pri\u010da te u kona\u010dnici zajedni\u010dki osmisle i ostvare izvedbu koja progovara o poreme\u0107ajima hranjenja. Radionica ne pru\u017ea samo teorijski okvir ve\u0107 i prakti\u010dno iskustvo stvaranja. Radionica je namijenjena odgajateljima, u\u010diteljima, stru\u010dnjacima u podru\u010dju socijalne skrbi, zdravstvenim djelatnicima i svima koji \u017eele prona\u0107i alternativne na\u010dine podr\u0161ke mentalnom zdravlju djece i mladih.<\/p>\n

\u00a0<\/strong>Eating disorders often stem from deeply rooted emotions, fears, and conflicts that are difficult to express in words. Art, especially theatrical expression, provides a unique way to transform the inexpressible into creative movement. This workshop creates a safe space where participants will use various artistic media\u2014drama, music, poetry, and dance\u2014to address issues related to body and food. The workshop will include sharing information and personal reflections by the facilitator, as well as invitations for participants to explore creative ways of expressing their stories. Ultimately, participants will collaboratively create and perform a piece that speaks about eating disorders. The workshop offers not only a theoretical framework but also practical experience in creation. It is intended for educators, teachers, social care professionals, healthcare workers, and anyone interested in finding alternative ways to support the mental health of children and youth.<\/em><\/p>\n

\u00a0\u00a0<\/strong>Stela Macakanja Ba\u0107i\u0107: Kazali\u0161na abeceda \/ The Theatre Alphabet<\/strong><\/span><\/p>\n

\u00a0<\/strong>Dramska je umjetnost na margini obrazovanja, a djeca i mladi sve manje poznaju dramski izraz i kazali\u0161te. Iako Dramski odgoj nije uvr\u0161ten u hrvatski obrazovni sustav kao nastavni predmet, dramski je medij ipak prepoznat kao mo\u0107an alat pou\u010davanja u kojemu je u\u010denik aktivni sudionik, prije svega motiviran za ovakav oblik (iskustvenoga) u\u010denja. Cilj je radionice prikazati na koji na\u010din mo\u017eemo kazali\u0161no opismeniti djecu i mlade, a da pritom ne koristimo teorijski okvir, ve\u0107 dramsku igru kao polazi\u0161te iskustvenog u\u010denja.<\/p>\n

\u00a0<\/strong>Dramatic art remains on the margins of formal education, and children and young people are becoming increasingly unfamiliar with dramatic expression and the world of theatre. Although drama education is not included in the Croatian education system as a formal subject, the dramatic medium is nevertheless recognized as a powerful teaching tool\u2014one that actively engages students and motivates them through experiential learning. The aim of this workshop is to demonstrate how we can develop theatrical literacy in children and youth without relying on theoretical frameworks. Instead, the workshop uses drama games as a starting point for experiential learning, offering participants a direct, playful, and engaging introduction to theatre.<\/em><\/p>\n

Ana Malnar<\/strong>: Kazali\u0161te materijala \/ <\/strong><\/span>Material Theatre<\/span><\/strong><\/p>\n

Kazali\u0161te materijala nas uvodi u magi\u010dan svijet, u prostor izme\u0111u scenske, glazbene i likovne umjetnosti. Na radionici \u0107emo pustiti materijalu da bude protagonist, istra\u017eivat \u0107emo odnos \u017eivoga i ne\u017eivoga propituju\u0107i taj odnos i odnos izme\u0111u bitka i nebitka. Stvarat \u0107emo poetske slike, koje u kazali\u0161tu materijala egzistiraju umjesto dramske logike. Za razliku od klasi\u010dne dramske umjetnosti, koja se nerijetko oslanja na tekst, uzro\u010dno-posljedi\u010dni slijed i linearnu naraciju, kazali\u0161te materijala \u010desto polazi od poetske slike koja se dinami\u010dno razvija po vlastitim zakonima i bez kontinuirane pripovjedne niti pa \u0107emo na radionici posebnu pozornost usmjeriti na asocijativnost i simboliku, stvarat \u0107emo slikovne komentare, pisati u slikama i osmi\u0161ljavati skupno umjetni\u010dko djelo<\/em>.<\/p>\n

\u00a0<\/strong>Material theatre\u00a0takes us into a magical world \u2014 a space between stage, music, and visual arts. In this workshop, we will let the material itself become the protagonist, exploring the relationship between the living and the non-living, questioning that relationship and the boundary between being and non-being. We will create poetic images, which in material theatre exist in place of dramatic logic. Unlike classical dramatic art, which often relies on text, cause-and-effect sequences, and linear narration, material theatre frequently begins with a poetic image that unfolds dynamically according to its own rules, without a continuous narrative thread. In the workshop, we will therefore pay special attention to association and symbolism, creating visual commentaries, writing in images, and designing a \u201ccollective work of art.\u201d<\/em><\/p>\n

Maja Sviben: Pripovjeda\u010dko kazali\u0161te \/ <\/strong>The storytelling theatre<\/strong><\/span><\/p>\n

\u00a0<\/strong>Radionica pripovjeda\u010dkog kazali\u0161ta uzima prozni tekst za svoju polaznu to\u010dku. Sudionici pronalaze na\u010dine za njegovo uprizorenje preska\u010du\u0107i postupak koji bi se u klasi\u010dnom kazali\u0161tu nazivao dramatizacijom. Zami\u0161ljena je kao uvod u promi\u0161ljanje pozicije pripovjeda\u010da, isku\u0161avaju\u0107i kako se u takvom uprizorenju razlikuje pripovjeda\u010d od ostalih uloga, kao proces tra\u017eenja dramati\u010dnog u proznom, tj. tra\u017eenja odgovora na pitanje \u0160to je to napetost?<\/em> i kao jezi\u010dna igra koja istra\u017euje specifi\u010dnosti proznih re\u010denica.<\/p>\n

\u00a0<\/strong>The storytelling theatre workshop takes a prose text as its starting point, and the participants explore ways to stage it, skipping the process that would in classical theatre traditionally be called adaptation . It is conceived as an introduction to reflecting on the position of the narrator, an experiment with how the narrator differs from other roles in such a performance, and as a process of seeking the dramatic within the epic\u2014essentially, searching for an answer to the question: \u201cWhat is tension?\u201d\u2014as well as a language-based game that explores the specific qualities of prose sentences.<\/em><\/p>\n

Barbara Crn\u010dan: Kreativni scenski pokret \/ Creative stage movement<\/strong><\/span><\/p>\n

\u00a0<\/strong>Uvodni dio radionice vodit \u0107e polaznike procesom ulaska u vlastito tijelo i njegovo osvje\u0161tavanje. Kreativno zagrijavanje i dramsko-plesne tehnike potaknut \u0107e nas na slobodu pokreta i pozornije slu\u0161anje onoga \u0161to nam tijelo govori i kamo nas vodi. Isprobavat \u0107emo razli\u010dite razine kretanja i otkrivati karaktere u pokretu te se oku\u0161ati u osnovama kontakt improvizacije i stvaranju odnosa s drugim tijelima. Vlastiti me\u0111uljudski odnosi bit \u0107e nam inspiracija za kreiranje putanje i odre\u0111ivanje njezinih klju\u010dnih to\u010daka koje \u0107emo povezati i uskladiti kako bismo stvorili pri\u010du u pokretu. Analizirat \u0107emo sadr\u017eaj stvorene pri\u010de i razmisliti o \u010demu ona zapravo govori. Susret \u0107emo zaokru\u017eiti opu\u0161tanjem, otpu\u0161tanjem i zahvalom tijelu za sudjelovanje.<\/p>\n

The introductory part of the workshop will guide participants into their own bodies and help them become more aware of them. Creative warm-ups and drama-dance techniques will encourage us to move freely and listen more closely to what our bodies are telling us \u2014 and where they are taking us. We will explore different levels of movement, discover characters through movement, and experiment with the basics of contact improvisation and creating relationships with other bodies. Our own interpersonal relationships will serve as inspiration for creating a trajectory and defining its key points, which we will connect and coordinate to form a story in movement. We will then analyze the content of the story we\u2019ve created and reflect on what it actually expresses. We will end the session by relaxing, letting go, and thanking our bodies for their participation.<\/em><\/p>\n

Lucija Stanojevi\u0107: Zika Zika Muzikaaaa! \/ <\/strong>The workshop<\/strong> Zika Zika Muzikaaaaa<\/strong><\/em><\/span><\/p>\n

Radionica nas uvodi u \u010daroban svijet glazbe kroz igru, pjesmu i interaktivnu izvedbu, a zami\u0161ljena je kao interaktivna koncertna pri\u010da\/predstava u kojoj sudionici aktivno sudjeluju, postaju dijelom izvedbe i kroz zabavne pjesme, zagonetke, brojalice i glazbene igre nenametljivo u\u010de o osnovnim glazbenim pojmovima poput orkestra, zbora, dirigenta, skladatelja i graditelja instrumenata. U prakti\u010dnom dijelu radionice sudionici \u0107e izra\u0111ivati instrumente od otpadnih i ekolo\u0161kih materijala. Koriste\u0107i se izra\u0111enim instrumentima, na kraju \u0107e odigrati nekoliko glazbenih igara i zajedno otpjevati ili odsvirati pjesmu.<\/p>\n

The Zika Zika Muzikaaaaa workshop takes us into the magical world of music through play, song, and interactive performance. Conceived as an interactive concert-story\/performance, the workshop invites participants to take an active part, becoming a part of the performance itself. Through fun songs, riddles, counting rhymes, and musical games, they are gently introduced to basic musical concepts such as the orchestra, choir, conductor, composer, and instrument maker. In the practical part of the workshop, participants will make instruments using recycled and eco-friendly materials. At the end, they will use their handmade instruments to play a few musical games and join together to sing or play song.<\/em><\/p>\n

\u00a0<\/strong>Alexander Hoffelner: <\/strong>U\u010ditelj improvizator: O\u017eivimo nastavni materijal \/ <\/strong>The Improvising Educator: Making Teaching Material Come Alive<\/strong><\/span><\/p>\n

NAPOMENA: radionica je na engleskom jeziku \/ <\/strong>NOTE: The workshop will be held in English<\/strong><\/em><\/p>\n

Na ovoj interaktivnoj \u010detverosatnoj radionici odgojno-obrazovni djelatnici istra\u017eit \u0107e kako improvizacijske metode mogu udahnuti novi \u017eivot postoje\u0107im nastavnim materijalima. Primjenom prakti\u010dnih vje\u017ebi, igara i refleksija sudionici \u0107e nau\u010diti kako fleksibilno reagirati na dinamiku u u\u010dionici, prilagoditi sadr\u017eaj na licu mjesta i \u010dak i najrigidniji kurikul pretvoriti u priliku za kreativnost i povezivanje. Ponesite svoje nastavne materijale (slike, glazbu, statistiku\u2026 \u010dime se god koristite).<\/p>\n

In this 4-hour interactive workshop, educators will explore how improvisational methods can breathe new life into existing teaching materials. Through practical exercises, games, and reflection, participants will learn how to respond flexibly to classroom dynamics, adapt content on the spot, and turn even rigid curricula into opportunities for creativity and connection. Bring your own teaching materials (Pictures, Music, Statistics,… whatever you use).<\/em><\/p>\n

\u00a0Mirta Vladi\u0107: Umjetni\u010dko pripovijedanje \/ <\/strong>Artistic Storytelling<\/strong><\/span><\/p>\n

Cilj radionice je pokazati sudionicima kako se pripovijedanje pri\u010da mo\u017ee koristiti u nastavi kao metoda rada s u\u010denicima. U uvodnom dijelu, voditeljica radionice (vi\u0161a majstorica pripovjeda\u010dica – mentorica) sudionicima \u0107e pripovijedati nekoliko \u017eanrovski razli\u010ditih pri\u010da. Nakon toga, u prakti\u010dnom dijelu sudionici \u0107e nau\u010diti kako zapamtiti tekst pomo\u0107u mentalnih slika koriste\u0107i japansku tehniku pripovijedanja, odnosno kami\u0161ibaj kao likovnu aktivnost. Tijekom prakti\u010dnoga dijela bit \u0107e prikazan i postupak izrade butaja, odnosno pozornice za izvo\u0111enje pri\u010da. Radionica \u0107e zavr\u0161iti samostalnim pripovjednim nastupom sudionika radionice.<\/p>\n

The aim of the workshop is to show participants how storytelling can be used in teaching as a method of working with students.\u00a0<\/strong>In the introductory part, the workshop leader (a senior master storyteller \u2013 mentor) will tell the participants several stories of different genres. After that, in the practical part, participants will learn how to memorize a text using mental images, applying a Japanese storytelling technique \u2014 specifically kamishibai as a visual art activity. During the practical part, the process of making a butai (a stage for performing stories) will also be demonstrated. The workshop will conclude with participants giving their own independent storytelling performance.<\/em><\/p>\n

\u00a0<\/strong>Nata\u0161a Horvat: Svijet sjena \/ World of shadows<\/strong><\/span><\/p>\n

\u00a0<\/strong>Kazali\u0161te sjena jedno je od najstarijih u ljudskoj povijesti. Ve\u0107 se pra\u010dovjek u spilji, kada je palio vatru, igrao sa sjenama koje je njegovo tijelo ostavljalo na zidovima spilje. Tijelo je mo\u0107an alat pomo\u0107u kojeg se mogu izraziti emocije, stvari, ideje, misli, poruke, a njegova je sjena jedan od na\u010dina kojim se to posti\u017ee. Cilj je radionice upoznati sudionike s jednom od tehnika u kazali\u0161tu sjena koja mo\u017ee pomo\u0107i u razvijanju i osvje\u0161\u0107ivanju neverbalne komunikacije. Od jednostavnih vje\u017ebi, poigravanjem veli\u010dine i distance, do upoznavanja s vlastitom sjenom, sudionici \u0107e mo\u0107i uvidjeti na koji na\u010din ova metodologija mo\u017ee obogatiti dramsko-pedago\u0161ki rad i poslu\u017eiti kao jedan od alata u radu s razli\u010ditim dobnim skupinama.<\/p>\n

Shadow theatre is one of the oldest forms of theatre in human history. As he lit a fire, the caveman was already playing with the shadow his body cast on the cave walls. The body is a powerful tool for expressing emotions, objects, ideas, thoughts, and messages \u2014 and its shadow is a valuable part of that expression.<\/strong> The aim of this workshop is to introduce participants to one of the shadow theatre techniques that can help develop and raise awareness of non-verbal communication. Through simple exercises \u2014 playing with size and distance, getting to know their own shadow \u2014 participants will discover how this methodology can enrich drama teaching and serve as a useful tool when working with different age groups.<\/em><\/p>\n

Manuela \u0160va\u0111umovi\u0107 i Nevenka Furjan: Otklju\u010daj i u\u0111i u bajku \u2013 pred\u0161kolci u dramskom svijetu \/ <\/strong>Unlock and Enter the Fairy Tale \u2014 Preschoolers in the World of Drama<\/strong><\/span><\/p>\n

Ma\u0161ta je va\u017enija od znanja<\/em>, rije\u010di su velikog \u010dovjeka A. Einsteina. Upravo od te ideje polazimo u radioni\u010dkom prikazu dobre prakse. Polazimo i od spoznaje da ve\u0107 od najranije dobi djeca kroz simboli\u010dku igru proigravaju situacije koje ih okru\u017euju. Dje\u010dju potrebu za spoznavanjem svijeta igrom koristimo kao motivaciju za brojne aktivnosti u odgojno-obrazovnom kontekstu, izme\u0111u ostaloga i za dramske aktivnosti poput izrade lutaka i u slobodnim improvizacijama. Iskustvo nam je pokazalo kako djeca, osim \u0161to u dramskom kontekstu u\u010de, u\u017eivaju u dramskim svjetovima koje osmi\u0161ljavaju. Upravo njihovo u\u017eivanje u stvarala\u010dkom procesu i radu na predstavi potaknulo nas je da svoju metodi\u010dku praksu podijelimo sa zainteresiranim sustru\u010dnjacima. U pokaznoj radionici po\u010dinjemo od dramskih igara i tehnika i etapu po etapu dajemo prikaz vlastitoga metodi\u010dkog pristupa postavljanju predstave s djecom pred\u0161kolske dobi. Radionica je namijenjena odgojiteljima i studentima.<\/p>\n

“Imagination is more important than knowledge\u201d said the great A. Einstein. This idea is the starting point of our workshop presentation of good practice. We also build on the insight that from the earliest age, children engage in symbolic play to act out the situations that surround them. We use children\u2019s natural need to understand the world through play as motivation for many activities in the educational context \u2014 including drama activities such as making puppets and free improvisations. Our experience has shown that, in addition to learning, children greatly enjoy the dramatic worlds they create. It is precisely their joy in the creative process and in working on a performance that inspired us to share our methodological practice with fellow educators. In this demonstration workshop, we begin with drama games and techniques, and step by step present our own methodological approach to staging a performance with preschool children. The workshop is intended for preschool teachers and students.<\/em><\/p>\n

\u017deljka Dragani\u0107: Putevima kami\u0161ibaj pri\u010de \/ On the Paths of Kamishibai Stories<\/strong><\/span><\/p>\n

\u00a0<\/strong>Kami\u0161ibaj metodu sve \u010de\u0161\u0107e susre\u0107emo kao medij kojim se uspje\u0161no prenose nastavni sadr\u017eaji u odgojno-obrazovnom procesu. Kami\u0161ibaj je na\u010din pripovijedanja pomo\u0107u ilustracija koje se izmjenjuju u drvenom okviru s vrata\u0161cima koji se u Japanu, odakle potje\u010de, tradicionalno nazivaju butaj. Putevima kami\u0161ibaj pri\u010de<\/em> radionica je stvaranja pri\u010de metodom kami\u0161ibaja. Cilj je radionice upoznati povijest i slikonarativnu umjetnost kami\u0161ibaja, osmisliti vlastitu pri\u010du i pripremiti njezinu izvedbu. Sudionici \u0107e se upoznati s metodom i osvijestiti njezine osobitosti – spoj verbalnog i vizualnog s pomo\u0107u kojih pripovjeda\u010d iznosi i prenosi pri\u010du ilustracijom, zvukom i gestom.<\/p>\n

\u00a0<\/strong>The Kamishibai method is increasingly recognized as an effective medium for conveying educational content in teaching and learning. Kamishibai is a storytelling technique that uses a series of illustrations, which are switched within a wooden frame with doors \u2014 traditionally called butai in Japan, where the method originated. The workshop\u201cOn the Paths of Kamishibai Stories\u201d focuses on creating stories using the Kamishibai method. Its aim is to introduce participants to the history and picture-narrative art of Kamishibai, develop an original story, and prepare it for performance. Participants will become familiar with the unique features of this storytelling technique \u2014 a blend of verbal and visual elements \u2014 and gain insight into how a storyteller conveys a story through illustrations, sound, and gesture.<\/em><\/p>\n

Maja Rado\u0161evi\u0107 i Jelena Alpeza<\/strong>: Grafoskopija \u2013 svjetlom ispri\u010dana pri\u010da \/ <\/strong>Graphoscopy \u2014 A Story Told with Light<\/strong><\/span><\/p>\n

Interdisciplinarna kazali\u0161na radionica usmjerena je na istra\u017eivanje izra\u017eajnih potencijala grafoskopa kao scenskog alata. U spoju vizualnog kazali\u0161ta, performativnih praksi i likovnog izraza, radionica poti\u010de razvoj kreativnosti, vizualne pismenosti i stvarala\u0161tva. Sudionici eksperimentiraju s projekcijama, sjenama, pokretima i naracijom istra\u017euju\u0107i kako se jednostavni elementi (folije, crte\u017ei, predmeti i ostalo) u kombinaciji sa svjetlom mogu pretvoriti u kazali\u0161nu pri\u010du. Grafoskop se pritom transformira iz zastarjelog didakti\u010dkog pomagala u inovativno izra\u017eajno sredstvo koje omogu\u0107uje integraciju razli\u010ditih umjetni\u010dkih jezika i pristupa. Fokus radionice je na procesnom u\u010denju, suradnji i otkrivanju novih mogu\u0107nosti scenskog izraza kroz interakciju svjetla, prostora i pri\u010de.<\/p>\n

This interdisciplinary theatre workshop focuses on exploring the expressive potential of the overhead projector (graphoscope) as a stage tool. Combining elements of visual theatre, performative practices, and visual art, the workshop encourages creativity, visual literacy, and artistic expression. Participants experiment with projections, shadows, movement, and narration, exploring how simple elements (transparencies, drawings, objects, and more) can be transformed into a theatrical story when combined with light. The overhead projector is thus reimagined \u2014 from an outdated didactic aid into an innovative means of expression that integrates different artistic languages and approaches. The workshop emphasizes process-based learning, collaboration, and discovering new possibilities of stage expression through the interaction of light, space, and story.<\/em><\/p>\n

Nina Horvat: Radionica dramskog pisanja \/ Playwriting workshop <\/strong><\/span><\/p>\n

\u00a0Po\u010detna to\u010dka za pisanje mo\u017ee biti bilo \u0161to \u2013 neki doga\u0111aj, mjesto, zanimljiva osoba, misao, re\u010denica, miris, boja\u2026 Na radionici dramskog pisanja fokus \u0107e biti na strukturiranju dramskog teksta, od po\u010detne to\u010dke (ideje), preko sinopsisa i scenoslijeda pa sve do raspisivanja konkretnih scena. Odgovorit \u0107emo na pitanje \u0161to sve \u010dini jednu scenu, kako nam mo\u017ee pomo\u0107i biografija lika, kako formulirati didaskalije te \u010demu zapravo slu\u017ee sinopsis i scenoslijed. Radionica je prilika za istra\u017eivanje formalnih karakteristika dramskog teksta i razvoj ideja.<\/p>\n

\u00a0Your writing starting point can be anything \u2013 an event, a place, an interesting person, a thought, a sentence, a smell, colour\u2026 The playwriting workshop will focus on structuring a play, from the starting point (idea), through the synopsis and the plot outline, all the way to writing specific scenes with dialogue. We will answer questions such as; what makes up a scene, how can a character\u2019s biography help us, how should we formulate stage directions, and what is the point of synopsis and plot outline. The workshop is an opportunity to explore and develop ideas.<\/em><\/p>\n

\u00a0Ines \u0160kufli\u0107 Horvat: Prostor igre \/m<\/strong> The Playing Space<\/strong><\/span><\/p>\n

\u00a0<\/strong>Dramska igra je baza dramskog stvarala\u0161tva. Radionica pru\u017ea uvid u osnove dramskog stvarala\u0161tva, s fokusom na jednu od metoda rada – pripremu izvedbe prema literarnom predlo\u0161ku. Polazimo od proznog predlo\u0161ka pa preko scenoslijeda dolazimo do dramske situacije. Koristimo se improvizacijom kao klju\u010dnom dramskom tehnikom. U zajedni\u010dkom radu smi\u0161ljamo biografije likova, fizi\u010dku i govornu karakterizaciju, pronalazimo motivaciju za postupke likova. U stvarala\u010dkom radu usvajamo osnove mizanscena. Sudionike se korak po korak vodi u redateljsko-dramatur\u0161koj analizi literarnog predlo\u0161ka.<\/p>\n

\u00a0Drama play is the foundation of dramatic creation. This workshop provides an introduction to the basics of dramatic creation, with a focus on one particular working method \u2014 preparing a performance based on a literary text. We start from a prose text and, through a sequence of scenes, arrive at a dramatic situation. Improvisation is used as a key dramatic technique. Through collaborative work, we create character biographies, develop their physical and vocal characterization, and explore the characters\u2019 motivations for their actions. In the creative process, participants also learn the basics of mise-en-sc\u00e8ne. Step by step, they are guided through a directorial and dramaturgical analysis of the literary text.<\/em><\/p>\n

\u00a0Dijana Zori\u0107: Storytelling adaptacija hrvatskih narodnih bajki \/ The Storytelling Adaptation of Croatian Folk Tales<\/strong><\/span><\/p>\n

\u00a0Radionica polaznicima pru\u017ea teorijski i prakti\u010dni uvid u metodi\u010dku analizu i suvremenu interpretaciju narodnih bajki. Polaznici \u0107e usvojiti znanja i vje\u0161tine potrebne za uspje\u0161nu prilagodbu pisanoga teksta u pripovjedni oblik, \u0161to uklju\u010duje odabir bajke, analizu njezinih elemenata (likovi, fabula, pouka\u2026) te jezi\u010dnu i stilsku obradu pisanoga teksta u suvremenu, interaktivnu i uzbudljivu pri\u010du. Polaznici \u0107e upoznati na\u010dine na koje se kroz pa\u017eljivo pripremljenu i interpretiranu pri\u010du mo\u017ee nastaviti njegovati tradicionalna pedago\u0161ka uloga bajki \u2013 preno\u0161enje temeljnih \u017eivotnih vrijednosti poput empatije, po\u0161tenja, mudrosti, upornosti i odva\u017enosti na djeci blizak, razumljiv i poticajan na\u010din. Ciljevi su radionice poticanje pedago\u0161kog pripovijedanja hrvatskih bajki u radu s djecom, upoznavanje djece s narodnom i knji\u017eevnom ba\u0161tinom te edukacija polaznika kako pripovijedanjem poticati dje\u010dje aktivno slu\u0161anje i samostalno govorno izra\u017eavanje.<\/p>\n

Workshop provides theoretical and practical insights into the analysis and modern interpretation of folk tales using a methodological approach. Participants will learn how to successfully adapt written texts into narrative form, including selecting tales, analysing their elements (characters, plot, moral, etc.) and transforming them linguistically and stylistically into engaging, interactive stories. The workshop emphasises the educational value of storytelling in fostering empathy, honesty, wisdom, perseverance and courage. It also encourages the use of storytelling as a pedagogical tool for introducing children to cultural heritage and for fostering active listening and expressive speaking.<\/em><\/p>\n

\u00a0Samanta Kobal: Stvaranje i pri\u010danje originalnih pri\u010da pomo\u0107u vizualnih poticaja za pripovijedanje \/ <\/strong>Creating and Telling Original Stories Using Visual Storytelling Stimuli<\/strong><\/span><\/p>\n

NAPOMENA: radionica je na engleskom jeziku \/ <\/strong>NOTE: The workshop will be held in English<\/strong><\/em><\/p>\n

Stvaranje i pri\u010danje originalnih pri\u010da uz pomo\u0107 vizualnih poticaja za pripovijedanje (fotografije, pokreta, ilustracije, kartice i kocke za pri\u010danje pri\u010da). U pred\u0161kolskoj i ranoj \u0161kolskoj dobi vizualni element ima klju\u010dnu ulogu u razvoju verbalnog izra\u017eavanja. Vizualni narativni poticaji pru\u017eaju po\u010detnu to\u010dku iz koje djeca promatraju, opisuju i postupno osmi\u0161ljavaju pri\u010du. Vizualni elementi poput fotografija, ilustracija, pokreta, kocki, tablica i sl. me\u0111usobno se nadogra\u0111uju, biraju, rotiraju i koriste na taj na\u010din tijekom izmi\u0161ljanja i pripovijedanja originalne pri\u010de. Tako dijete u\u010di promatrati, slu\u0161ati, koristiti se ma\u0161tom, razvijati vokabular i dikciju te na kreativan na\u010din oblikovati vlastitu pri\u010du koju u sljede\u0107em koraku prenosi u scenski (kazali\u0161ni) oblik.<\/p>\n

Creating and telling original stories with the help of visual storytelling stimuli (photographs, movements, illustrations, story cards, and story cubes). In preschool and early school age, the visual element plays a key role in the development of verbal expression. Visual narrative prompts provide a starting point from which children observe, describe, and gradually develop a story. Visual elements such as photographs, illustrations, movements, cubes, charts, etc., build on one another, are selected, rotated, and used in this way during the invention and telling of an original story. In doing so, the child learns to observe, listen, use their imagination, expand their vocabulary and diction, and creatively shape their own story \u2014 which in the next step is transferred into a stage (theatrical) form.<\/em><\/p>\n

\u00a0Sun\u010dica Milosavljevi\u0107 i Nata\u0161a Milojevi\u0107<\/strong>: Tko je bila moja baka – kreativna drama u slu\u017ebi istra\u017eivanja obiteljskih povijesti mladih \/ Who Was My Grandmother \u2013 Creative Drama in the Service of Exploring Young People\u2019s Family Histories<\/strong><\/span><\/p>\n

\u00a0Radionica predstavlja me\u0111udisciplinarno istra\u017eivanje, obrazovni i kreativni proces u kojem sudionici, uz potporu dramskih pedagoga i kazali\u0161nih umjetnika, rade na otkrivanju i rekonstrukciji \u017eivotnih puteva svojih baka ili drugih \u017eenskih predaka, dok tako\u0111er u\u010de o \u0161irem dru\u0161tvenom, kulturnom i povijesnom kontekstu koji je prevladavao tijekom njihovih \u017eivota. Polaze\u0107i od osobnih materijala, sudionici osmi\u0161ljavaju i izvode predstavu osmi\u0161ljenu primjenom skupno osmi\u0161ljenog kazali\u0161ta, poti\u010du\u0107i dijalog, koheziju i pomirenje unutar obitelji i zajednica.<\/p>\n

\u00a0<\/strong>The workshop presents an interdisciplinary exploration, an educational and creative process in which participants, supported by drama pedagogues and theatre artists, work on uncovering and reconstructing the life paths of their grandmothers or other female ancestors, while also learning about the broader social, cultural, and historical context that shaped their lives. Starting from personal materials, participants devise and perform a play created through collectively devised theatre, fostering dialogue, cohesion, and reconciliation within families and communities.<\/em><\/p>\n

\u00a0Sun\u010dica Milosavljevi\u0107, Nata\u0161a Milojevi\u0107 i Tatjana Pajovi\u0107: Obrazovanje i osna\u017eivanje za odr\u017eivi razvoj\u00a0 primjenom dramskih tehnika \/ <\/strong>Education and Empowerment for Sustainable Development through Drama Techniques<\/strong><\/span><\/p>\n

Radionica je namijenjena nastavnicima i umjetnicima koji rade s mladima i \u017eele razvijati dru\u0161tvene vrijednosti koje su klju\u010dne za \u017eivot u skladu s prirodom, zakonima i odnosima na na\u0161em planetu. Radionica poti\u010de kreativnost i aktivno sudjelovanje, a osmi\u0161ljena je tako da povezuje umjetni\u010dki izraz i odgojno-obrazovni rad s mladima. Program se provodi kao dio edukativnih aktivnosti u okviru projekta Kreativna Europa, \u010diji je cilj potaknuti kulturnu suradnju i razmjenu znanja na europskoj razini.<\/p>\n

\u00a0<\/strong>The workshop is intended for teachers and artists who work with young people and wish to foster social values that are essential for living in harmony with nature, the laws, and the relationships that sustain life on our planet. The workshop encourages creativity and active participation, and it is designed to connect artistic expression with educational work with young people. This program is part of the educational activities within the Creative Europe project, which aims to promote cultural cooperation and the exchange of knowledge at the European level.<\/em><\/p>\n

Milan Medak i Sanja La\u0111arevi\u0107: Kazali\u0161te \u010ditatelja \/ Reader\u2019s Theatre Workshop with an Integrative Approach<\/strong><\/span><\/p>\n

\u00a0<\/strong>Radionica aktivno uklju\u010duje sudionike u \u010ditanje, pisanje, slu\u0161anje i izra\u017eajno govorenje teksta koji se ne mora memorizirati. Po svojoj dramskopedago\u0161koj osmi\u0161ljenosti i izvedbi nadilazi tzv. koncertno \u010ditanje<\/em>. Kao predlo\u017eak za radionicu koristit \u0107e se prera\u0111eni i prilago\u0111eni dio Ionescove naturalisti\u010dke komedije Jaques ili pokornost <\/em>\u2013 kritike \u017eivota jedne bur\u017eoaske obitelji, jednodimenzionalnog dru\u0161tva masovnih vrijednosti<\/em>, konzumerizma \u2013 besmislenog tro\u0161enja prirodnih i ljudskih resursa, otu\u0111enja od sebe, bli\u017ee i \u0161ire okoline. Kazali\u0161te \u010ditatelja podrazumijeva komplementarni proces dinami\u010dnog pro\u017eimanja: teksta, \u010ditatelja, govornika, sugovornika, slu\u0161atelja odnosno publike. Spaja teorijsko <\/em>\u2013 napisano s \u010ditanjem naglas, koje osvje\u0161tavanjem i uvje\u017ebavanjem, postaje estetski kazali\u0161ni \u010din. Cilj je potaknuti \u010ditanje i razviti \u010ditala\u010dku fluentnost, dubinsko \u010ditanje, do\u017eivljavanje i potpunije razumijevanje literarnog djela te u\u017eivanje u samom \u010dinu \u010ditanju (naglas), slu\u0161anje, timski rad, suradni\u010dko u\u010denje, razvijanje kreativnosti, \u010ditala\u010dke i govorne vje\u0161tine, paralingvisti\u010dke i ekstralingvisti\u010dke komunikacije, empatije, samopouzdanja.<\/p>\n

This workshop actively involves student participants in reading, writing, listening, and expressive speaking of a text that does not need to be memorized. Due to its drama-pedagogical design and performance, it goes beyond so-called \u201cconcert reading.\u201d The basis for the \u201ctheatre reading\u201d workshop is a adapted and revised excerpt from Ionesco\u2019s naturalistic comedy Jacques or Obedience \u2014 a critique of the life of a bourgeois family; a one-dimensional society of mass \u201cvalues,\u201d consumerism \u2014 the meaningless consumption of natural and human resources, and alienation from oneself, as well as from the immediate and broader environment. Reader\u2019s theatre implies a complementary process of dynamic interweaving among text, reader, speaker, interlocutor, listener, and audience. It combines the \u201ctheoretical\u201d \u2014 the written text \u2014 with reading aloud, which through awareness and rehearsal becomes an aesthetic theatrical act. Costume hints, set design, music, masks, and makeup may be used optionally, preferably created by the participants. The aim of drama-pedagogical reader\u2019s theatre workshops (also known as readers theatre, th\u00e9\u00e2tre des lecteurs, Lesertheater) is to encourage reading and develop reading fluency, deep reading, experiencing, and fuller understanding of the literary work, as well as enjoyment of the act of reading aloud; listening, teamwork, collaborative learning; developing creativity, reading and speaking skills, paralinguistic and extralinguistic communication, empathy, and self-confidence.<\/em><\/p>\n

\n","protected":false},"excerpt":{"rendered":"

Jelena Sitar Cvetko: Kami\u0161ibaj pripovijedanje \/ \u00a0Kamishibai storytelling Radionicu vodi lutkarica i kami\u0161ibajarica Jelena Sitar Cvetko, koja je u suradnji s Igorom Cvetkom pokreta\u010dica kami\u0161ibaja u Sloveniji (mama i tata slovenskog kami\u0161ibaja) te voditeljica najve\u0107eg europskog kami\u0161ibaj festivala koji se svake godine odr\u017eava u Piranu. Estetika i na\u010delo slovenskog autorskog kami\u0161ibaja koju Jelena i Igor … <\/p>\n

Nastavi \u010ditati “Popis i opis radionica \/ List and Description of Workshops”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"sfsi_plus_gutenberg_text_before_share":"","sfsi_plus_gutenberg_show_text_before_share":"","sfsi_plus_gutenberg_icon_type":"","sfsi_plus_gutenberg_icon_alignemt":"","sfsi_plus_gutenburg_max_per_row":"","footnotes":""},"class_list":["post-1851","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/dramskapedagogija.ufzg.hr\/index.php\/wp-json\/wp\/v2\/pages\/1851","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dramskapedagogija.ufzg.hr\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/dramskapedagogija.ufzg.hr\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/dramskapedagogija.ufzg.hr\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/dramskapedagogija.ufzg.hr\/index.php\/wp-json\/wp\/v2\/comments?post=1851"}],"version-history":[{"count":4,"href":"https:\/\/dramskapedagogija.ufzg.hr\/index.php\/wp-json\/wp\/v2\/pages\/1851\/revisions"}],"predecessor-version":[{"id":1882,"href":"https:\/\/dramskapedagogija.ufzg.hr\/index.php\/wp-json\/wp\/v2\/pages\/1851\/revisions\/1882"}],"wp:attachment":[{"href":"https:\/\/dramskapedagogija.ufzg.hr\/index.php\/wp-json\/wp\/v2\/media?parent=1851"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}