Ocalić pamięć, ocalić duszę, ocalić sztukę - o zbawiennej roli muzyki Fryderyka Chopina w Pianiście Romana Polańskiego

• Authors: Piotr Pomostowski

Title variants

EN

To Preserve Memory, to Save a Soul, to Save Art: Th e Saving Role of Chopin’s Music in Roman Polanski’s The Pianist

• Languages of publication: PL

Abstracts

PL

To Preserve Memory, to Save a Soul, to Save Art: Th e Saving Role of Chopin’s Music in Roman Polanski’s The Pianist The author examines the music from Roman Polanski’s The Pianist, focusing on the functions performed in the film by fragments of four compositions by Fryderyk Chopin: Nocturne in C-sharp minor (Posthumous), Grande Polonaise Brillante in E-fl at major (Op. 22 - Allegro molto), Ballade in G- minor (No 1, Op. 23) and Concerto in E-minor (No 1, Op. 11). Proposed are both a contextual view (Chopin’s music in the collective memory of Poles) and an analytical one (music as an element of the structure of a film). The symbolic and expressive functions of the compositions used in the film are placed at the forefront, as well as their connections with other elements of the soundtrack in the context of building meaning. In conclusion, the article states that Chopin’s music in The Pianist, compared to Polanski’s other movies containing classical music, has been functionalized in a most creative way.

EN

To Preserve Memory, to Save a Soul, to Save Art: Th e Saving Role of Chopin’s Music in Roman Polanski’s The Pianist The author examines the music from Roman Polanski’s The Pianist, focusing on the functions performed in the film by fragments of four compositions by Fryderyk Chopin: Nocturne in C-sharp minor (Posthumous), Grande Polonaise Brillante in E-fl at major (Op. 22 - Allegro molto), Ballade in G- minor (No 1, Op. 23) and Concerto in E-minor (No 1, Op. 11). Proposed are both a contextual view (Chopin’s music in the collective memory of Poles) and an analytical one (music as an element of the structure of a film). The symbolic and expressive functions of the compositions used in the film are placed at the forefront, as well as their connections with other elements of the soundtrack in the context of building meaning. In conclusion, the article states that Chopin’s music in The Pianist, compared to Polanski’s other movies containing classical music, has been functionalized in a most creative way.

Keywords

PL

Fryderyk Chopin; collective memory; Roman Polanski; music; Romanticism; The Pianist; Pianista; pamięć zbiorowa

• Publisher: Uniwersytet im. Adama Mickiewicza w Poznaniu
• Journal: Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
• Year: 2015
• Volume: 17
• Issue: 26
• Pages: 119-127

Dates

published

2015-06-13

Contributors

author

Piotr Pomostowski

• Uniwersytet im. Adama Mickiewicza

References

• C. Dahlhaus, H.H. Eggebrecht, Co tojest muzyka?, przeł. D. Lachowska, wstęp M. Bristiger, PIW, Warszawa 1992, s. 108.
• B. Pociej, Widzialne-niewidzialne. Jaką muzykę najwyżej cenię?, „Kwartalnik Filmowy” nr 12/13, 1995, s. 280.
• K. Kozłowski, Stanley Kubrick. Filmowa polifonia sztuk, Wydawnictwo Naukowe PWN, Warszawa 2013, s. 181.
• I. Sowińska, Chopin idzie do kina, Universitas, Kraków 2013, s. 291.
• M. Dopartowa, Labirynt Polańskiego, wyd. 2, Rabid, Kraków 2003, s. 253.
• T.A. Zieliński, Chopin. Życie i droga twórcza, PWM, Kraków 1993, s. 191.
• M. Jazdon, Zagłada miasta. Warszawa w „Pianiście” Romana Polańskiego, „Images”, vol. XII, nr 21, 2013, s. 90–91.
• A. Śliwińska, „Pianista” – obraz getta w filmowym języku Romana Polańskiego, „Images”, vol. IX, nr 17–18, 2011, s. 54.
• T. Strugała, Nuty na każdą sekundę, rozm. J. Marczyński, „Rzeczpospolita” 2002, 5 września (nr 207), s. A9.
• F.X. Feeney, Roman Polański, tłum. J. Halbersztat, pod red. P. Duncan, Taschen, Köln 2006, s. 144.

Identifiers

DOI

10.14746/i.2015.26.10