The founders are Wioletta and Sławomir Dadej – creators of independent, affiliated with the theater since the 90s.

Sławomir Dadej:

  • 1992-2003 Theatre Travel Agency  
  • 1993-1995 Theatre of the Eighth Day,  
  • From 2008 Evolution of the Shadow Theatre. 

Wioletta Dadej

  • 1991–1995 Teatr Zgrzyt / Theater, 1996 Theatre Verte, 
  • 1996–1997 project Song of the Goat, 
  • From 2008 Evolution of the Shadow Theatre. 

About creating theatre for children not only their practice and earlier theatre experiences but  also their personal life experiences have decided. The fact of experiencing parenthood has drawn their attention to the child’s magic world . The effect of it was t6heir first interactive spectacle for children called “Travels around the world”, which has been being performed since December 2001 actually up till now.

Another performances:

  • “Circus Julcio” (III 2003),  
  • “How Skierka and Chochlik gifts sought” (XII 2003),  
  • “Mariaki” (II 2004)  
  • “Ball at the court” (January 2005),  
  • “Happy frolic” (VI 2006),  
  • “The horse would laugh” (October, 2009)  
  • “Sea Storiesr” (VI 2014).

Since 2008, parallel run Shadow Theatre Evolution is the recipient of young people and adults.

Since 2005 he has been working with them Miroslaw Ogórek (former soloist of the Polish Dance Theatre Conrad Drzewiecki, then Eve Wycichowska, actor Theatre Evolution Shadow), and from 2014 Kamil Zawadzki (actor Theatre of the Shadow Evolution).

The artistic work of The Patch Theatre has been immersed in physical theatre trend, which  is rarely met in the sphere of art for children. The spectacles are distinguished by clear movement, expression and narration run without word. The creators care about opening children’s imagination and also showing that there is fascinating space of sound, image and movement, which many times can appeal to the imaginations more than words do.  As the creators themselves emphasize: they do not make a little theatre for children but a Real One. In practice it means that they much appreciate children’s audience and do not treat it with indulgence, as it would be less requiring, just the opposite. In their work they make it rule to treat each child as a great little man, who requires at least as much attention as the adult spectator, or perhaps even more.