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EN
To Tadeusz Konwicki, the relationship between the author of a literary text and the author of a film based on the text consists in the 'Platonic community of interests'. 'Here the adaptor uses a classic text not because he has to or has received a commission to adapt it but because it's the text he feels particularly attached to and because in it he finds the elements of what he himself would like to put into the original'. The author analyses Konwicki's creative activity from the point of view of the latter's love affair with adaptation, and focuses primarily on 'The Issa Valley', based on Czeslaw Milosz's novel, and 'Lava', based on Adam Mickiewicz's 'The Forefathers' Eve'. Spiritual affinity between Konwicki, Mickiewicz and Milosz is the key to understanding of his adaptation strategy. The three had roots in the culture of eastern borderland while the Vilnius region was their point of reference. When translating the language of poets into a cinematic medium, Konwicki wanted to share his own 'testimony of reading' which was very private, intimate and offered by the fellow artist. The 'comradeship' appeared to derive from the metaphorical understanding of Lithuanian kinship that is becoming a state of mind, of memory and identity.
EN
The history of Andrzej Wajda's preparations to adapt Stefan Zeromski's novel 'The Spring to Come' is one of the most dramatic chapters of the 'non-existent history' of Poland's cinema. Forty years passed from the first mention in which the director admits that he has an idea to adapt the novel to the note in which he finally gives it up. Five scripts were prepared in the period. Wajda claimed that 'The Spring to Come' should be his major film. However, it was not made. Telling the story of the unrealized idea and explaining why Wajda did not carry out the project, the author fills in the gaps in the history of Polish cinema, including Wajda's artistic biography, and makes special comments on the issues.
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