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Tadeusz Konwicki's 'Salto' as Film Adaptation of His Writing Method

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Kaniecki P.

Kwartalnik Filmowy

2007

issue 59

113-146

The authort argues in his essay that 'Salto' heralds the most mature stage of Konwicki's creative activity in which the correspondence of the components of his various works is based on the principle of complementing or self-interpretation and not - as in the case of 'Salto' - on the principle of polemical dialogue. The writer-turned-director's third film is a self-polemical dialogue towards 'A Dreambook for Our Time'. As Konwicki says he had elevated himself too much in the book, so he made the film to dissociate himself from himself. The novel-film relationship is built not only by numerous fictional parallels but also by the structure of the represented world. In Salto Konwicki drew on the poetics supported by means of expression that constituted the cinematic equivalent of his writing technique. The author focuses on the analogies between formal elements of the two works, which build the category of unreality and conventionality of the represented world and the status of the narrator-protagonist.

The Idea of 'Private Ecumenism' in Tadeusz Konwicki's Films

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Kaniecki P.

Kwartalnik Filmowy

2007

issue 57-58

222-241

The conciliatory message of Tadeusz Konwicki is first of all directed to the nations of Lithuania, Belarus, Russia and Poland; it was founded on the category of common identity. This article contains analyses of four films: Konwicki's 'How Far, How Near', 'The Valley of the Issa', 'Lava' and 'A Chronicle of Amorous Incidents', directed by Andrzej Wajda (adaptation of Konwicki's novel). The author argues that in these films the 'ecumenical' idea is supported, among others, by the cultural diversity of the Vilnius region in the pre-war days and by the 'synecdoches' of the region's three great religions (Catholicism, the Orthodox Church and Judaism). He picks out the Jewish element from Konwicki's work to emphasize that although it's a significant component of the author's reflection on the Eastern borderlands, the 'ecumenical' message cannot be examined as directed to the Jews as the universal sin of the shared guilt of the Holocaust requires expiation rather than reconciliation.

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2 Kwartalnik Filmowy

2 Kaniecki P.

2 2007

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Tadeusz Konwicki's 'Salto' as Film Adaptation of His Writing Method

The Idea of 'Private Ecumenism' in Tadeusz Konwicki's Films