Barbara Thieme – General characteristics of MAGAPAR

The theatre has completely resigned from using words, and has turned to body, light and music language forms expression.

Every Magapar s play conveys certain values. It is a kind of a message encoded in the sequence of acts. The message should inspire the spectator to create his own interpretation. The theatre does no give simple answers : it odes not impose on the spectator s ready-made ideas. What it wants to achieve , is to make him aware of specific life situations, to show different attitudes and encourage him to decode “the message” himself. It is he to decide, using his imagination, sensitivity and experience, what each stage act means. What is shown on the stage in a symbolic way, concerns every human being s matters such as : the values search, study of oneself, and which is the most important, awareness of “light abundance”in us. This light can brighten up – from the inside – our “human cover” and we can turn it on to other people. This is the essence of life !

The performances by the Magapar Theater introduce the audience to the spiritual world of magical scenery. This is the world created by the movement of human body, music and light. It is magic, which takes audiences on a journey full of fantasy through the realm of joy, dreams, love and suffering.
This is the world we conceive in the heart.

“ Orpheus”

It is full of emotions, experiences, memories, the beautiful spectacle of devoted love, dreams, finding their own way and their place in life, full of joy and suffering, and above all full of hope and faith in man. Through the whole show takes beautiful music, lights and traffic spectators enter the magical world of theater Magapar.

Barbara Thieme

Profession – degreed polish teacher, founder and artistic director of MAGAPAR Theatre – director, scenographer,choreographer, screenplays’ author .

Education –The Catholic University of Lublin – Polish philology, Jagiellonian University – postgraduate studies of theatre and movie.

Artistic job’s proceeding – foundation MAGAPAR Theatre using body, light and music in 1983.
The amount of first nights -„Metamorphosis”, „Light”,”Human”,”Dreams”, „Jonah”,” Romanticness ”.”Places”,”Memory” and other arts.
Magapar’s taking parts in national and international theatre festivals in Swiss, France, Denmark, Great Britain, Austria, Germany, Slovakia, Canada. The theatre performed also in New York International Fringe Festival, International Festival Theatre Florida/USA, showed its performance in Ukraina,
Hungary , Italy , Portugal ,Turkey , Tunisia.
Magapar Theatre was the main issue during some seminars dedicated to international, modern theatre. The classes ware hold in Oregon State University,Wesleyan University in Connecticut , New York University, Zagrzeb,Toronto Santiago and in Mexico.

Magapar Theatre has chalked up many prizes, thanksgivings , diplomas, distinctions all among The Culture and Heritage’s Minister Prize, The National Education’s Minister, Polcul Foundation, Marshal of Podkarpackie’s Prize (twice), also twice prizes in national competition: The Instructor of Year, international prizes:Outstanding Visualization, Outstanding Music and Sound, Best Youth Ensemble, Best Premiere of a Production.
Magapar possesses many press information in domestic press and abroad either: ”New York Theatre Experience”, „Herald Tribune”, “Diario de Coimbra’,”Le Choix”, “Thuner Tagblatt”, radio and TV broadcasts .
Barbara Thieme is a scholar of Institute of Culture and Science in Vienna, the articles’ author, belongs to polish branch office of ASSITEJ which has its headquarters in Warsaw. She has also written a book entitled “Magapar” and has led the international workshops.

Source of information
Wiem- science web portal.
The book: „Magapar”.

” The  World  Explained  by  Physical  Vision ” 

The   idea  of  Magapar  is  based  on  physical  and  visual  form  of  theatrical expression, which  means  no  words. Words, as  Barbara  Thieme  puts  it, are  superfluous  ballast  in  the  theatre. They  divert  the  audiences’ attention  from                 such  theatrical  forms  as: movement, stage  design, dance, body, light  and  darkness, music  and  gesture  and  such  themes  as: death, good, evil.


Light  is  one  of  the  elements  that  make up „Magapar”.  It  is  sometimes delicate – romantic.  Sometimes  it  introduces  peril  or  tragedy.  That  is  why  we constantly  change  lighting:  from  darkness, semi – darkness – rapidly  becoming intense  to  spot – beamed  details  of  the  stage  design, or figures  lying   motionlessly on  the  stage. A  peculiar  climate  of  the  performances   is  created  by  lighting  waxed  and  waned, using  different  filters,  play  of colours  and  shadows.Light  is, in  fact, a living  being  in  the  theatre.  It  can, as  people  often do, hesitate, cry  or  shout, stay silent  or  mourn. You  can  even  hear  it  when  it  stays  still  for  a short  while  but  it  never  dies   away.  Every  single  flicker  is  a  form  of  expression: request, protest, delight. The  performers  mus  not  only  see  it  and  understand  it, but  should  hear  it, feel  it, trust  it  as  well.


Darkness  is a  state  of  awaiting,  a  messenger of  the  inevitable. You can feel it.  It  is  almost  palpable. It  feels thick  as  if  darkness  were  filled  with  darkness. It  is shapeless, bodiless, and  full  of  mystery. In  it – everything   is   born, in – thoughts, actions  and  emotions   are   hidden. The  more  it  is  imbued  or  dense, the  louder  it seems  to  appeal. It  cries  with  its  motionlessness;  a  kind  of  inertness,  inevitability, thus  transforming  into  the  subject  of  art.  In  its  calmness – deadness  it  tends  to  be  alarming , questioning –  guess – work.  You  can  experience  its   burden;  you  can even  hold  it  in  your  hand. On  the  one  hand  it  is safe;  you  can  take  shelte r there, on the  other  hand  it  is  treacherous;  you  can  find  someone  or  something   there. This is Darkness!


Death  is  inevitable.  It  appears  in  Magapar’s  performances,  although  it takes  on  a  form  of  sleep  from  which  we  will  liberate  ourselves  one   day. This  death  can  put  the  performers  to sleep on the stage, the  light  wanes a  bit, the  music  dies  away  and  the  stage  design  stops  changing.  The  whole  stage „freezes”.  Death  is  mighty  regardless  of  an  individual   or  all  generations:  it is  mighty  because  taking  possession  of  our  bodies  it  leaves  our  souls.                        In  Death  something   ends ; at  the  same  time  something   new  is  born.           It  brings  hope  to  new  life. The  hero of  „The Prince” by  Saint – Exupery   leaves  his  cloak  on  the  stage : death  has  come  and  the  body  would   prevent him  from  coming  back  to  the  planet.  The  body  is  also  too  heavy  for  the soul  to  be  lifted.  It  must  be  shed ;  you  are  coming  back  to  Rose.

Good   and   Evil

Good  and  evil  are  one  of  the  main  themes  present  in  Magapar’s  plays. Despite  the , so  called, Universal  Good  and  Evil  there  is  something  in – between: different  forms , or shades  of  good  or  evil , sometimes  marked  so  subtly  that  they are   almost  invisible  or  unreal.  In  life   people  are  „haunted”  by  the   following questions: „Are  we  strong  enough  to  fight  the  evil?”, ” Do  we  want  to  fight  it ?”, „What  is  good ? „, „What  is  evil ?”, „Do  they  permeate  or  shape  each other?” , „What  relationships  are  there  between  good  and  the  individual  and  other humans?”  „Are  decisions  beneficial  to  me  are  harmful  to  others.” If  so , are  we willing  to  give  up  our  aspirations  for  someone  else’s  sake?


Music  plays  an  important  role  in  Magapar’s  performances.  It  seems  to  be  a  conductor  who  guides  the  whole  stage   action.  Each  music   phrase prompts  ultimate  reaction  of  the   performers,  lighting , and  stage  design. The theatre  uses  different  kinds  of  music  composed  by: N. Paganini,  T. Baird,  E. Morricone,  Kitaro,  J. M.  Jarre , M.  Bilinski , Vangelis   and  Cz. Niemen.Melodrama  and  great  visuality  of  their  music  becomes  an  ideal  artistic material  for  Magapar.  Analogically, if  you  can  hear  light,  you  can  see  music  as  well. This  is  not  the  question  of  visuality  contained  in  musical  compositions but  the  problem  of  plastic creativity  of  every  single  sound  which  can  develop itself   in  the  viewer’s   imagination.