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Andrzej Wajda. Szkicownik
Get PDFThe author discusses a little-known aspect of Andrzej Wajda’s work – his drawings and sketches, which he produced throughout his life. What is striking about these works is the diverse nature of their subject matter (his efforts as a student, drawings related to theatre and film, landscapes, portraits) and techniques (fountain pen, marker pen, chalk, watercolours). These constitute an important element of how he expressed himself, they are a way to record reality, and complement his work as a director superbly. These sketches were presented on many occasions in exhibitions in Poland and abroad. The wealth of creativity in Andrzej Wajda’s drawings was best seen in the exhibition organised in the Manggha Museum on his 90th birthday, entitled “Andrzej Wajda. Sketcher” (March–August 2016).The author discusses a little-known aspect of Andrzej Wajda’s work – his drawings and sketches, which he produced throughout his life. What is striking about these works is the diverse nature of their subject matter (his efforts as a student, drawings related to theatre and film, landscapes, portraits) and techniques (fountain pen, marker pen, chalk, watercolours). These constitute an important element of how he expressed himself, they are a way to record reality, and complement his work as a director superbly. These sketches were presented on many occasions in exhibitions in Poland and abroad. The wealth of creativity in Andrzej Wajda’s drawings was best seen in the exhibition organised in the Manggha Museum on his 90th birthday, entitled “Andrzej Wajda. Sketcher” (March–August 2016)
Pałuba w sieci porównań
Get PDFThis is a review of Marcin Jauksz’s book Critique of 19th-century intellect. Sources and contexts in Karol Irzykowski\u27s “Pałuba”; Universitas, Kraków 2015. The author contrasts Jauksz’s conclusions with those formulated years earlier by Jerzy Franczak when analysing Irzykowski’s novel in his book The quest for reality. The world view of Polish modernist prose (Poszukiwanie realności. Światopogląd polskiej prozy modernistycznej) (Universitas, Kraków 2007)This is a review of Marcin Jauksz’s book Critique of 19th-century intellect. Sources and contexts in Karol Irzykowski\u27s “Pałuba”; Universitas, Kraków 2015. The author contrasts Jauksz’s conclusions with those formulated years earlier by Jerzy Franczak when analysing Irzykowski’s novel in his book The quest for reality. The world view of Polish modernist prose (Poszukiwanie realności. Światopogląd polskiej prozy modernistycznej) (Universitas, Kraków 2007
Danton. Wektory interpretacji filmu Andrzeja Wajdy
Get PDFIn this paper, the author presents the final period of the French Revolution as interpretated by Andrzej Wajda. The screenplay was prepared by Jean-Claude Carrière based on Stanisława Przybyszewska’s drama (also used by Wajda as a screenplay in many dramas). It helped the director to describe the reality of the intense time of Robespierre’s terror and Jacobin efforts to guillotine Danton and his allies. Wajda reveals the same mechanisms of crime, manipulation and lies which became the backdrop for political events in Poland between 1981-1983 (especially with the introduction of martial law in Poland in 1981). The model of Danton’s fall and the strengthening of totalitarian rule are considered the current model of history, which is based on cruelty and the struggle for power. The film forms the basis for a broader view of history as the tragic entanglement of events, which is the result of hubris and the desire for material goods, and is the origin of totalitarian rule. References to the emblems of the revolution, allegories, and the symbolism of art (paintings of David) are the fundamental ekphrasis of meanings set by the film. Wajda’s analysis of Danton shows some typical ways of understanding and interpreting the signs of culture and history.In this paper, the author presents the final period of the French Revolution as interpretated by Andrzej Wajda. The screenplay was prepared by Jean-Claude Carrière based on Stanisława Przybyszewska’s drama (also used by Wajda as a screenplay in many dramas). It helped the director to describe the reality of the intense time of Robespierre’s terror and Jacobin efforts to guillotine Danton and his allies. Wajda reveals the same mechanisms of crime, manipulation and lies which became the backdrop for political events in Poland between 1981-1983 (especially with the introduction of martial law in Poland in 1981). The model of Danton’s fall and the strengthening of totalitarian rule are considered the current model of history, which is based on cruelty and the struggle for power. The film forms the basis for a broader view of history as the tragic entanglement of events, which is the result of hubris and the desire for material goods, and is the origin of totalitarian rule. References to the emblems of the revolution, allegories, and the symbolism of art (paintings of David) are the fundamental ekphrasis of meanings set by the film. Wajda’s analysis of Danton shows some typical ways of understanding and interpreting the signs of culture and history
Dokumentalny świat Andrzeja Wajdy
Get PDFThe article introduces a relatively unknown aspect of Andrzej Wajda’s output – his documentary films. The author examines documentaries on art and autobiographical film, which usually comprise glosses on feature films. These non-fiction films, like Wajda\u27s best-known movies, refer to the codes of Polish culture, created by art and literature, and thanks to which the creative output of the maker of Afterimage (Powidoki) appears to unusually coherent and consistent, regardless of the genealogical classification. The author selects examples to analyse the connections between Wajda’s feature films and the conventions of the documentary. Wajda’s overriding aim in using the poetics of documentary is in each case to undertake mise-en-abîme reflections.The article introduces a relatively unknown aspect of Andrzej Wajda’s output – his documentary films. The author examines documentaries on art and autobiographical film, which usually comprise glosses on feature films. These non-fiction films, like Wajda\u27s best-known movies, refer to the codes of Polish culture, created by art and literature, and thanks to which the creative output of the maker of Afterimage (Powidoki) appears to unusually coherent and consistent, regardless of the genealogical classification. The author selects examples to analyse the connections between Wajda’s feature films and the conventions of the documentary. Wajda’s overriding aim in using the poetics of documentary is in each case to undertake mise-en-abîme reflections
Literackie inscenizacje Georges’a Pereca
Get PDFThe purpose of this sketch to present Georges Perec’s work in the context of drama. As Perec wrote just one play for the theater, it’s hard to call him a dramatist. However, it is easy to see that all the literary tricks he uses in his works are a part of a well-thought-out game. The author of Life a User’s Manual employs and interweaves various literary conventions, prompts dialogue between his own works and draws the reader into the very center of his tricks, nuances and simulations. Perec’s writing could be deemed a pure act of dramatization, where the author himself, to some extent, takes on the role of director, making his audience not so much the recipients of his texts but the actors performing them.The purpose of this sketch to present Georges Perec’s work in the context of drama. As Perec wrote just one play for the theater, it’s hard to call him a dramatist. However, it is easy to see that all the literary tricks he uses in his works are a part of a well-thought-out game. The author of Life a User’s Manual employs and interweaves various literary conventions, prompts dialogue between his own works and draws the reader into the very center of his tricks, nuances and simulations. Perec’s writing could be deemed a pure act of dramatization, where the author himself, to some extent, takes on the role of director, making his audience not so much the recipients of his texts but the actors performing them
„Dezynfekcja”. Literatura polska wobec eksterminacji osób psychicznie chorych
Get PDFThe article concerns the theme of extermination of the mentally ill and handicapped in Polish literature. It outlines the basic facts regarding this crime perpetrated by the Nazis and indicates how Polish literature reacted to it. There are few works which deal with this crime. Writers (and historians) probably considered the extermination of the mentally ill to be a fact of insignificance compared to other Nazi crimes, or knew little about it. Thus Polish literature treats it incidentally, by entering it in another, more extensive or “more important” issue (the extermination of the Jews, the extermination of the Polish population), or treats it as an occasion to take up “more fundamental” (ideological) problems. The article analyzes famous works, Stanisław Lem’s novel Hospital of the Transfiguration and Andrzej Bursa’s poem The liquidation of the mentally ill in Kobierzyn by the Germans, and less known texts: Piotr Matywiecki’s poem *** [Dragged into the sun….] and Anna Dziewit-Meller’s novel Mount Taygetus.The article concerns the theme of extermination of the mentally ill and handicapped in Polish literature. It outlines the basic facts regarding this crime perpetrated by the Nazis and indicates how Polish literature reacted to it. There are few works which deal with this crime. Writers (and historians) probably considered the extermination of the mentally ill to be a fact of insignificance compared to other Nazi crimes, or knew little about it. Thus Polish literature treats it incidentally, by entering it in another, more extensive or “more important” issue (the extermination of the Jews, the extermination of the Polish population), or treats it as an occasion to take up “more fundamental” (ideological) problems. The article analyzes famous works, Stanisław Lem’s novel Hospital of the Transfiguration and Andrzej Bursa’s poem The liquidation of the mentally ill in Kobierzyn by the Germans, and less known texts: Piotr Matywiecki’s poem *** [Dragged into the sun….] and Anna Dziewit-Meller’s novel Mount Taygetus
Tworzenie obrazu przeszłości w trylogii robotniczej Andrzeja Wajdy
Get PDFObserving the process of the birth of Man of Marble – Man of Iron – Wałęsa. Man of Hope trilogy we can clearly see the author’s increasing tendency to render movie fiction real, in the sense that fiction should be treated as reality, as its equivalent. In the two first films in the trilogy, what is visible is the intensified blurring of the lines between fiction and reality, substituting what is fact with something concocted. What we can also see here is a tendency to boost the credibility of a fictional story, thanks to the use of conventions and documentary materials. Gradual changes made in the sphere of art were connected with the director’s public activities, in which he gradually crossed the boundaries not only of social, but also political praxis. Moreover, in creating the trilogy we can see a voluntaristic trend to perceive the past as the history of “great men” and to canonize the glorious image of history. All these tendencies were expressed in the latter work. Wajda completed this as a clear response to political moves by certain politicians and historians attacking Wałęsa. Preparing a movie about him, he approached verification of historical data with a single-minded attitude. Thus in this film we can observe “true fabrications”. Wałęsa pervades the story, and there is no room for other important figures in the historical process. Additionally, in order to create an imagined, idealistic image of Wałęsa (“Wałęsa 2.0”), the actor playing this role “expels him” from the archive material.Observing the process of the birth of Man of Marble – Man of Iron – Wałęsa. Man of Hope trilogy we can clearly see the author’s increasing tendency to render movie fiction real, in the sense that fiction should be treated as reality, as its equivalent. In the two first films in the trilogy, what is visible is the intensified blurring of the lines between fiction and reality, substituting what is fact with something concocted. What we can also see here is a tendency to boost the credibility of a fictional story, thanks to the use of conventions and documentary materials. Gradual changes made in the sphere of art were connected with the director’s public activities, in which he gradually crossed the boundaries not only of social, but also political praxis. Moreover, in creating the trilogy we can see a voluntaristic trend to perceive the past as the history of “great men” and to canonize the glorious image of history. All these tendencies were expressed in the latter work. Wajda completed this as a clear response to political moves by certain politicians and historians attacking Wałęsa. Preparing a movie about him, he approached verification of historical data with a single-minded attitude. Thus in this film we can observe “true fabrications”. Wałęsa pervades the story, and there is no room for other important figures in the historical process. Additionally, in order to create an imagined, idealistic image of Wałęsa (“Wałęsa 2.0”), the actor playing this role “expels him” from the archive material
