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„Ogród sztuk”. Kilka uwag o Orkiestrze Zbigniewa Rybczyńskiego

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Grodź I.

Poznańskie Studia Polonistyczne. Seria Literacka

2013

issue 22

269-287

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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1 Poznańskie Studia Polonistyczne. Seria Literacka

1 Grodź I.

1 2013

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„Ogród sztuk”. Kilka uwag o Orkiestrze Zbigniewa Rybczyńskiego