Od XVIII w. zaczął zyskiwać popularność szereg postaci lalkowych, które pojawiły się na wędrownych scenkach trup teatralnych niemal w całej Europie. Były to postaci komiczne o charakterze bohaterów popularnych, przemawiające do publiczności ulic, placów, targów - ich własnym językiem. Część z nich wywodziła się z komedii dell’arte (Pulcinella, Poliszynel, Guignol, Don Cristobal, Pietruszka). Korzenie teatralne bohaterów, którzy pojawili się z państwach niemieckich (Hanswurst, Kasperle, Kašparek, Gašparko), sięgają teatru elżbietańskiego i wiążą się z obecnością wędrownych trup angielskich aktorów, które włączyły do swoich przedstawień tradycyjną postać błazna. Ponieważ dla Polski jest to czas powolnej utraty niepodległości na rzecz państw ościennych, teatr bohatera ludowego nie powstał. Rozwinęła się za to forma szopki kolędniczej. Porównanie funkcji i znaczenia tych zjawisk teatralnych jest przedmiotem tego opracowania. Jest to także próba zwrócenia uwagi pedagogów na edukacyjne walory polskiej szopki kolędniczej.

The article is of a contributory nature and is an introduction to the topic of cabaret pedagogy. Cabaret, as an important area of contemporary popular culture and a separate genre of art, performs specific social, aesthetic and educational functions. It is a carrier of criticism, a form of exposing reality and building a community based on laughter. By using its usual means, such as irony, grotesque or satire, cabaret performs its overriding function, which is to transgress taboos and to question the obvious. The cabaret, embedded in popular culture, is characterized by the so-called semantic incompleteness, that is, it generates fragmentary and random meanings that initiate thought processes. The starting point for the considerations undertaken in the text is the pedagogical theory of cabaret developed in the 1970s by the German researcher Jürgen Henningsen, which was an impulse to think about cabaret in terms of public pedagogy, specifically the so-called perverse pedagogy - in opposition to mainstream pedagogy. The study highlights and briefly discusses three basic traces of cabaret pedagogy - ironic and grotesque, carnival and clown pedagogy.

School in the discourse of polish cabarets

The study aims to identify problems related to school and school education present in cabaret discourse and the way they are presented. The cabaret is an interesting research area and field of analysis of social problems, including issues related to educational policy. The data collection method was source searching. The analytical material consisted of eight sketches of Polish cabarets, selected according to the criteria: time of publication, popularity, and topicality. The data analysis method belongs to a group of approaches called critical discourse analysis. Applications of discursive strategies described by R. Wodak and M. Reisigl were sought. The results show that in the discourse of Polish cabarets, the school is presented as a subordinate contractor of political and legal regulations. It characterises with low social prestige, which is built on the low assessment of school teaching in terms of content, the low prestige of the teaching profession, and the low assessment of the student’s role. In relations between these entities, the discourse of scolding and disciplining appears as the manifestation of power and hierarchy; of infantilisation and sexism.