{"id":42749,"date":"2026-03-06T12:01:00","date_gmt":"2026-03-06T11:01:00","guid":{"rendered":"https:\/\/operakrolewska.pl\/?post_type=repetoire&p=42749"},"modified":"2026-04-15T19:46:15","modified_gmt":"2026-04-15T17:46:15","slug":"meeting-with-make-up-painted-faces-workshop-for-school-group-2-2","status":"publish","type":"repetoire","link":"https:\/\/operakrolewska.pl\/en\/repetoire\/meeting-with-make-up-painted-faces-workshop-for-school-group-2-2\/","title":{"rendered":"Meeting with MAKE-UP. PAINTED FACES \/ WORKSHOP FOR SCHOOL GROUPS (9+)"},"content":{"rendered":"\n

The mask \u2013 a timeless symbol of carnival, the ball, and the exchange of roles. It is hard to find a better pretext to touch upon the theme of theatre make-up, an art without which no operatic performance can take place. After all, opera and carnival have been intertwined since the very beginning. In 1598, it was during the carnival season that Dafne<\/em> by Jacopo Peri \u2013 regarded as the world’s first opera \u2013 was staged. Opera buffa, in turn, drew from its earliest days on the Italian commedia dell\u2019arte<\/em> \u2013 one of the most recognizable theatrical forms associated with street carnival performances and masks. The motif of the mask appears in the libretti themselves (for example, Giuseppe Verdi\u2019s Un ballo in maschera<\/em>, Charles Gounod\u2019s Rom\u00e9o et Juliette<\/em>, or Krzysztof Penderecki\u2019s The Black Mask<\/em>), and even more often, it exists simply as an element of costume.<\/p>\n\n\n\n

During the workshop, we will draw inspiration from the most beautiful masks featured in productions by the Polish Royal Opera. Using professional accessories such as face paint, special markers, adhesives, and rhinestones, we will try to paint different interpretations of the carnival mask on our faces. All this will take place under the watchful eye and with the support of make-up artist Anna Danikowska.<\/p>\n\n\n\n

The highlight of the workshop will be a performance from soloist Julita Miros\u0142awska, who will sing the waltz Ah! Je veux vivre<\/em> from Charles Gounod\u2019s opera Romeo and Juliet<\/em>.<\/p>\n\n\n\n

It’s up to you to decide which role you’d like to play: makeup artist or model. Let’s get started!<\/p>\n\n\n\n

The workshop is intended for school groups of children aged 9 and above.<\/p>\n\n\n\n

<\/div>\n\n\n\n

PERFORMERS<\/strong><\/p>\n\n\n\n

JULITA MIROS\u0141AWSKA<\/a><\/strong><\/strong> SOPRANO<\/p>\n\n\n\n

MONIKA KOLASI\u0143SKA<\/a><\/strong> GRAND PIANO<\/p>\n\n\n\n

ANNA SZAWIEL<\/strong> SCRIPT, HOST<\/p>\n\n\n\n

ANNA DANIKOWSKA<\/strong> MAKE-UP<\/p>\n\n\n\n

<\/div>\n\n\n\n

<\/p>\n\n\n\n

\n\n\n\n

Duration: approx. 80 mins<\/p>\n\n\n\n

The workshop is conducted in Polish.<\/strong><\/p>\n\n\n\n

\n\n\n\n

Patron of the program OPERA WORKSHOPS<\/em><\/strong><\/p>\n\n\n\n

<\/div>\n\n\n
\n
\"\"<\/a><\/figure><\/div>\n\n\n
\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

The mask \u2013 a timeless symbol of carnival, the ball, and the exchange of roles. It is hard to find a better pretext to touch upon the theme of theatre make-up, an art without which no operatic performance can take place. After all, opera and carnival have been intertwined since the very beginning. In 1598, […]<\/p>\n","protected":false},"author":11,"featured_media":40944,"template":"","meta":{"_acf_changed":false,"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","footnotes":""},"categories":[1,21],"cykle":[108],"sezon":[],"class_list":["post-42749","repetoire","type-repetoire","status-publish","has-post-thumbnail","hentry","category-bez-kategorii","category-uncategorized","cykle-opera-workshops-season-2025-2026"],"acf":[],"yoast_head":"\nMeeting with MAKE-UP. 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