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1

Poetyka „Święta” Zbigniewa Rybczyńskiego

100%
Hendrykowski M.
Kwartalnik Filmowy
|
2017
|
issue 100 O świętowaniu
88-97
PL
Artykuł Marka Hendrykowskiego zawiera analizę i interpretację poetyki jednego z wczesnych filmów Zbigniewa Rybczyńskiego „Święto” (1976). Posługując się metodą „close reading”, autor przeprowadza rekonstrukcję związków między sferą formy a sferą treści tego utworu, wskazując na doniosłą funkcję jego nadorganizacji estetycznej i znaczenie jej poszczególnych elementów, zwłaszcza scenografii, muzyki, światła, barwy i rytmu. W zakończeniu Hendrykowski pisze: „Uderzającą cechą <<Święta>> (…) jest dążenie do tego, by w sposób możliwie kompleksowy i pełny opisać wartości takie jak przestrzeń i czas, przy próbie zdefiniowania własnego miejsca w świecie. Właściwym obiektem artystycznej fascynacji Rybczyńskiego nie jest jakikolwiek pojedynczy przedmiot-znak czy ich dowolnie rozbudowany na ekranie zestaw (zbiór), lecz właśnie struktura bycia człowieka w świecie”.
EN
Marek Hendrykowski’s article contains an analysis and interpretation of the poetics of one of the early films by Zbigniew Rybczyński – “Holiday” (“Święto” 1976). Using the close reading method, the author carries out the reconstruction of the relationships between the sphere of form and the sphere of the content of this work, pointing to the important function of its aesthetic over-organization and the significance of its particular elements, especially set design, music, light, colour and rhythm. In conclusion, Hendrykowski writes: “The striking feature of the <> (...) is director’s striving for a complex and complete, as far as possible, description of the values such as time and space, whilst trying to define one’s own place in the world. The proper object of Rybczyński’s artistic fascination is not any single objectsign or their freely developed set (collection) on the screen, but the structure of being human in the world”.
2
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Chopin: Visual Contexts

38%
Szerszenowicz J.
Interdisciplinary Studies in Musicology
|
2010
|
issue 9
297-316
PL
The drawings, portraits and effigies of Chopin that were produced during his lifetime later became the basis for artists’ fantasies on the subject of his work. Just after the composer’s death, Teofil Kwiatkowski began to paint Bal w Hotel Lambert w Paryżu [Ball at the Hotel Lambert in Paris], symbolising the unfulfilled hopes of the Polish Great Emigration that Chopin would join the mission to raise the spirit of the nation. Henryk Siemiradzki recalled the young musician’s visit to the Radziwiłł Palace in Poznań. The composer’s likeness appeared in symbolic representations of a psychological, ethnological and historical character. Traditional roots are referred to in the paintings of Feliks Wygrzywalski, Mazurek - grający Chopin [Mazurka - Chopin at the piano], with a couple of dancers in folk costume, and Stanisław Zawadzki, depicting the composer with a roll of paper in his hand against the background of a forest, into the wall of which silhouettes of country children are merged, personifying folk music. Pictorial tales about music were also popularised by postcards. On one anonymous postcard, a ghost hovers over the playing musician, and the title Marsz żałobny Szopena [Chopin’s funeral march] suggests the connection with real apparitions that the composer occasional had when performing that work. In the visualisation of music, artists were often assisted by poets, who suggested associations and symbols. Correlations of content and style can be discerned, for example, between Władysław Podkowinski’s painting Marsz żałobny Szopena and Kornel Ujejski’s earlier poem Marsz pogrzebowy [Funeral march]. The testimony of people who visited the Cracow apartment of Stanisław Przybyszewski suggests crucial links between Wojciech Weiss’s lost painting Chopin that hung there and the host’s aesthetic writings and legendary sessions of nocturnal improvisations. Against the background of that iconography, Jerzy Duda-Gracz’s idea of painting all Chopin’s works, subsequently brought together in the cycle Chopinowi Duda-Gracz [From Duda-Gracz for Chopin], is quite exceptional, in terms of its genesis, the extent of Chopin’s oeuvre and also the way in which music is transformed into painting. The artist attempted to capture the atmosphere of Polish landscapes visited by the composer, linking them to particular works. The Chopin cycle possesses a clear stylistic and symbolic identity, although it is impossible to establish a universal pattern for translating music into visual art. Although Zbigniew Rybczyński employed a camera and advanced cinematographic techniques, his depiction of Chopin’s Marche funebre from the Sonata in B flat minor (in his suite of films The Orchestra) refers to Romantic-symbolic interpretations and to previous pictorial visualisations. The director dresses his actors in historical costumes and places them in front of the Paris Opera. To the rhythm of Chopin’s music, they play out - using theatrical expression typical of silent film, pantomime, ballet and tableaux vivants - a story of maturing and ageing.
3

Obraz, technologia i film polski. Dziworski, Rybczyński i Królikiewicz

36%
Dondzik M.
Kwartalnik Filmowy
|
2021
|
issue 113 Film i technologia
92-113
PL
Artykuł jest próbą spojrzenia na filmy Na wylot (1973), Wieczne pretensje (1975) i Tańczący jastrząb (1978) Grzegorza Królikiewicza przez pryzmat techniki filmowej. W artykule autor przywołuje wspomnienia operatorów tychże filmów: Bogdana Dziworskiego i Zbigniewa Rybczyńskiego, uzupełniając je relacjami innych osób zaangażowanych w twórczy i technologiczny proces powstawania dzieł. Zebrane po latach wspomnienia filmowców zostają skonfrontowane z relacjami prasowymi z planów produkcji, a także dokumentami znalezionymi podczas szeroko zakrojonej kwerendy archiwalnej. Celem artykułu jest odsłonięcie relacji między artystycznymi aspiracjami operatorów i reżysera a technicznymi możliwościami kinematografii Polski Ludowej.
EN
The article is an attempt to look at the films Na Wylot (Through and Through, 1973), Wieczne pretensje (Permanent Objections, 1975) and Tańczący Jastrząb (The Dancing Hawk, 1978) by Grzegorz Królikiewicz through the prism of film technology. The author refers to the memories of film operators, Bogdan Dziworski and Zbigniew Rybczyński, complementing them with accounts of other people involved in the creative and technological process of film production. The film-makers’ memories collected after many years are confronted with press reports from production plans, as well as documents obtained during extensive archival research. The aim of the article is to unveil the relationship between the artistic aspirations of the cinematographer and the director on the one hand and the technological possibilities of the cinematography of Polish People’s Republic on the other.
4
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„Ogród sztuk”. Kilka uwag o Orkiestrze Zbigniewa Rybczyńskiego

33%
Grodź I.
Poznańskie Studia Polonistyczne. Seria Literacka
|
2013
|
issue 22
269-287
EN
The garden presents itself as an area consciously created by the human being. Its representation is usually actualized in opposition both to what is natural and to what is artificial (e.g. to a city). Over many years now, the garden has been been considered to be a “cultural fossil”, and as such, an object of importance for literary critics, film critics, art historians, musicologists etc., and an anthropological phenomenon, which is demonstrated by contemporary juxtapositions of aesthetics with environmental science, pace Gernot Böhme, or the transcultural aesthetics promoted by Wolfgang Welsch). At this stage, we are very close to full understanding of the phenomenon of garden-topos, as well as the numerous garden metaphors. In Zbigniew Rybczyński’s film Orkiestra there are several areas of author’s interest in the garden created and filmed on a theatrical stage. The garden as a space of life-renewal, symbol of birth and metaphysical rebirth, a renewed experience of fulness. The garden as a space of ordered life, positive energy, areas of joy liberation, a synonym of goodness and ideals. Finally, as the symbol of return to creation, beauty, to the first beginning, to civilized and tame nature.
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