List of all exhibits. Click on one of them to go to the exhibit page. The topics allow exhibits to be selected by their concept categories. On the right, you can choose the settings of the list view.

The list below shows links between exhibits in a non-standard way. The points denote the exhibits and the connecting lines are connections between them, according to the selected categories.

Enter the end dates in the windows in order to set the period you are interested in on the timeline.

Objects
all museums
Clean selection
Show filters
Hide filters

Woodcut “Portrait of actor Kōraiya Kinshō” by Toshūsai Sharaku

Toshūsai Sharaku is one of the most enigmatic Japanese artists. The woodcuts signed with his name come from the period between May 1794 and January 1795. A total of about 150 Sharaku card images depict actors from the Kabuki theatre; these are projects with a completely different new form of expression, often close to a caricature.

Tree of life “Gunungan” — shadow theatre figure “wayang kulit purwa” from Indonesia

Gunungan is one of the most important figures that opens a traditional performance of the Indonesian shadow theatre wayang kulit purwa. It depicts a tree of life representing the five elements making up the universe: earth, air, fire, wind and water. It also symbolises a palace, forest, and sea, as well as the above-ground and underground worlds.

The “snow” type “Ko-omote” mask of the “Nō” theatre

In the classic Japanese theatre, masks are the most important accessories of the leading actor shite. With these masks, an actor is able to impersonate characters of both real and imaginary worlds (e.g. a warrior, a young woman, an old man, as well as a demon, a god or a goddess, etc.). By putting on a mask, the character is transformed and the audience is able to discover their hidden secrets (e.g. the extraterrestrial origin of the character), or fierce feelings tormenting them (sorrow, envy, madness).

Strupek Group, “Rocket”

The starting point for the performance Rocket, was the text of a futuristic poem by Anatol Stern, Europe, published in 1929. It was processed by the members of the Strupek Group, using a modern internet tool — Google translate — to obtain an absurd, mechanized form of language. However, what survived is the essence of the original poem and its embedded story of the brutality of the 20th century history, the traps of totalitarianism, and the triumph of violence, whose horror was highlighted by ghostly sounds extracted from a theremin (an electroacoustic musical instrument constructed in the 1920s by a Soviet physicist Lev Termen). The oppressiveness of the situation increased the audience’s involvement in the space of the show itself and confronted them with characters shouting out consecutive lines: Priest, Altar Boy, Mother, Rocket, and the Sacrificial Lamb, conducting the action. The play, which was recreated three times, was an adequate conclusion of the public activity of the Strupek Group — from then on, the fates of its members were to go down their individual paths.

Sculpture “Jesus Christ Sitting on the Palm Sunday Donkey”

The sculpture, coming from the parish church of St. Sigismund in Szydłowiec, constitutes an extraordinary dramatic exhibit used during processions of going to church on Palm Sunday as to a symbol of Jerusalem. Christ, in a firmly upright position, is raising his right hand in a gesture of blessing.

Sculpture “In the Theatre Box” by Luna Amalia Drexler

The sculpture represents a figure of a sitting woman depicted from the waist upwards. The woman is holding binoculars and slightly leaning out of the theatre box, assumedly to take a better look of the details of the artistic event in which she is participating. There is a satisfaction, or even reverie visible on her face. Is it because of the play?

Puppets from the “Zielony Balonik” (“Green Balloon”) nativity play — Juliusz Leo

On 8 October 1905 in Cukiernia Lwowska Jana Michalika (a Lviv Confectionery run by Jan Michalik) the first performance of the Green Balloon cabaret was staged. The name of the cabaret arose by accident. After one of the meetings of ”the painter’s table”, where the idea of the cabaret originated, the artists saw a boy with a bunch of green balloons on Floriańska Street and then someone said: “That is our name: «Green Balloon»!”.

Puppets from the “Zielony Balonik” (“Green Balloon”) nativity play — Jacek Malczewski

On 8 October 1905 in Cukiernia Lwowska Jana Michalika [a Lviv Confectionery run by Jan Michalik] the first performance of the Green Balloon cabaret was staged. The name of the cabaret arose by accident. After one of the meetings of ”the painter’s table”, where the idea of the cabaret originated, the artists saw a boy with a bunch of green balloons on Floriańska Street and then someone said: “That is our name: «Green Balloon»!”.

Puppets from the “Zielony Balonik” (“Green Balloon”) nativity play — Jacek Malczewski

A funny puppet representing Jacek Malczewski in a caricatural character of Jacek Symbolewski was purchased for the collection of the Historical Museum of the City of Kraków in 1962. It makes a valuable reminder related with the Young Poland cabaret called Zielony Balonik [Green Balloon] operating in the period from 1905 to 1912 on Floriańska Street in Kraków in the Cukiernia Lwowska [Lviv Confectionery] opened by Jan Apolinary Michalik and hence called Jama Michalika [Michalik’s Den].

Photograph “Ludowy Theatre” by Henryk Hermanowicz

The black and white photograph shows the building of the Ludowy Theatre in Kraków-Nowa Huta from the side of the main entrance on Władimira Majakowskiego Street (today: Obrońców Krzyża Street).

Painting “Portrait of Teofil Trzciński” by Stanisław Ignacy Witkiewicz

The portrait of Teofil Trzciński (1878—1952), a theatrical director, director of the Juliusz Słowacki Theatre in Kraków in 1918—1926 and 1929—1932, was painted by Stanisław Ignacy Witkiewicz (Witkacy) in 1920. It is one of three portraits of Trzciński painted by Witkacy at that time. Witkacy (1885—1935) was one of the greatest Polish artists: a painter, draughtsman, photographer, playwright, novelist, philosopher, theoretician and art critic as well as the author of the Theory of Pure Form.

Nativity scene with figures

The exhibited Krakow-style nativity scene was made by the inhabitants of Dobczyce and donated to the Regional Museum in Dobczyce by the local firefighters.

Nativity scene from Wieliczka

A model of a puppet nativity scene, symmetrical, with two storeys and five towers, provided with carrying handles on its sides. The entire structure is made of wood, the base and the upper floor of boards, and the frame from strips of wood. The walls are made of cardboard; the ground floor is covered with red paper with “bricks” painted with black ink and the walls of the upper floor and towers are covered with paper cut-outs in the shape of windows and star ornaments. The floors are separated with a decoration of horizontal, multicoloured stripes with silver teeth on the sides.

Nativity Scene by Franciszek Zięba

This puppet nativity scene made by the carpenter Franciszek Zięba in 1935 is the first exhibit donated to the Museum – the Vistula Ethnographic Park in Wygiełzów and the Lipowiec Castle. The base of the nativity scene is adapted to the needs of puppet theatre.

Mock-up of decorations of act I of “Legenda II” (“Legend II”) by Stanisław Wyspiański

This mock-up is one of the most valuable objects in the collections of HMK, related to the scenographic activity of Stanisław Wyspiański. As an experienced theatre practitioner and stage director of his dramas, Wyspiański made scenography sketches, decorations, and costume designs, as well as mock-ups.

Kraków nativity scene by Roman Sochacki

An average-sized nativity scene in Kraków — illuminated, mechanical, three-levelled, five-towered, with 23 wooden painted figures. In the recess, on a round platform the figures of carol singers are spinning around (death, Herod, a soldier, a Jew, an angel, a devil), entering and exiting through decorated portals; in the centre there is a Christmas tree against a stained-glass window; in the foreground is a group of Lajkonik, raftsmen with maces, and a band of Mlaskots (musicians from Zwierzyniec who accompanied Lajkonik, playing the drums, the violin and the bass).

Kraków nativity scene by Marian Dłużniewski

Kraków nativity scene, small, illuminated, not mechanical, multi-towered. The Holy Family is in the middle, set against the altar. On the right is a figure of a Kraków resident with a nativity scene, on the left is a figure of a highlander with a star. Above, in the recess (a kind of a side-altar), a figure of Christ (like from a contemporary painting), on the right a figure of a nun (St. Faustina).

Kraków nativity scene by Maciej Moszew

Maciej Moszew is the author of the nativity scene presented. He has been participating in the Kraków Nativity Play Competition continuously since 1961. Mr. Moszew, a resident of Kraków by birth and by passion, began his adventure with nativity scenes at the age of six. He is an architect by profession, which is reflected in his works, but his real passion, which can happily be described in the case of Maciej Moszew also as a profession, is constructing nativity scenes.

Drawing for the performance “Wielopole, Wielopole” by Tadeusz Kantor

This invaluable drawing presents the scene: “Properly handling the invention of Mr. Daguerre: the military way” of the first act of the work, Wielopole, Wielopole, directed by Tadeusz Kantor. The drawing has watermarks. The composition was made with ink and pencil and placed in a black cardboard passe-partout. The outline of the female photographer is marked in black ink. The woman is absorbed in the action of photographing/shooting.

Costume design for the “Harnasie” ballet by Irena Lorentowicz

As a result of a competition, the costume and stage design for Karol Szymanowski's ballet, Harnasie, was prepared by Irena Lorentowicz, a stage designer and painter, a graduate of the Academy of Fine Arts in Warsaw. The costume design, including the drawings and models, has been exhibited since 24 April 1936 in the Orbis halls, located near the Opera building.