Inspiracje plastyczne w twórczości filmowej i telewizyjnej Andrzeja Wajdy

Abstract

The fundamental objective of this study was an attempt to describe the complex relations between the screen creations of A. Wajda and the plastic arts. The thesis ordering this reasoning is the conviction that the relations between various kinds of artistic expression are governed by the process of adaptation for the cinema of literary works and are manifested above all in the transference of iconographie symbols by means of titles, allusions, quotations and in the actual filming of works of plastic arte. The iconographie programme is located, in the opinion of the present author, at a level mediating between a literary and a cinematic communication. Hence the paramount criterion is the attitude of the film director to the models of a tradition uncovering the sphere of aesthetic and ideological principles which decide the nature of the relation between arts, that is the method of perceiving the world, types of generalisations, means of depicting etc. In the first part of this article are presented the chief theoretical problems met with in comparative research on the artistic works of A. Wajda. The author makes an analysis of the critical reflections reported up to now, coming to the conclusion that this artist exploits the plastic arts inspirations rather more according to the conditioned cognitive needs of his interests and the immediate ideological situation than according to a clearly defined creative programme. His fila output is subject to the influence of the neoRomantic tradition, the Baroque, modernist and surrealist traditions. T^is evaluation is also confiraed by the formulated poetics of A. Wajda, in which the present author discerns a significant influence exerted by the ideas of Oacek Malczewski, Stanislaw Wyspiański. Andrzej Wróblewski and the theories of Serge Eisenstein. The author perceives original elements of the plastic arts context in which the films of the Polish director are realised! in the film "Wszystko na sprzedaż" (Everything for sale) which is placed on the boundary between formulated poetics and immanent poetics. In the second part of the article an analysis of Wajda's screen works is given. Films about art directed by Wajda complement his feature films in the ideological-artistic plane and represent a proof that realistically integrated depiction remains in antinomic synthesis with the symbolic depiction. Basing on analysis of the historical films, however, the author shows that the screen substantiation of plastic inferences^ existing in the literary^ prototypes serve the artiet for criticism of the magical concept of historical thinking. In the final part of this chapter the1 author describee three methods for creating the plastic context of a film in the situation where the literary work adapted for the screen does not evoke a clearly distinguishable j iconic code. The director finds the key to interpretation in another work by the same writer, making use of the method of stylistic permutation or else creates a work balanced on the borders of the poetic film and cinematic painting. In the opinion of the author, A. Wajda consistently produces his films basing on his'own model of the cinema, integrating the elements of literary, theatrical and plastic content, which is expressed in eclection and pluralism of form and in the ideology of historism and iconographic gravitation. Thus analysis of the plastic arts context reveals original characteristics in A.Wajda s artistic programme, allowing its essence and serise to bei better understood.