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Grand Theatre, Oratory and Anthropology in the Documentaries of Andrzej Fidyk

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Fiołek-Lubczyńska B.

Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

2014

vol. 15

issue 24

137-144

The article centres on the documentary works of Andrzej Fidyk. The director is fascinated by cultural anthropology. Showing diff erent aspects of social life in a theatrical manner is an omnipresent motif in his movies. A fi lm in general, by its nature, is a spectacle, but the director depicts within its reality diff erent kinds of spectacles: parades, as in the title of Th e Parade, musical scenes in Yodok Stories, and carnival in Carnaval…. Th e crown jewel in this double, increasing spectacularity is Carnaval. Th e Biggest Party In Th e World, and the movie inside the movie – Cameramen from Calcutta. A religious spectacle can be found inside Staszek’s Dream abstracts314 in Teheran. Scenes of muslim grief three years aft er the death of Chomeini, inside a country considered to be exemplary in its religiousness are compared to “the trend of going to orthodox churches” in Russia. Th e most interesting by the criteria of spectacularity is Carnaval…, which has been the subject of many analysis and interpretations by cultural theorists, anthropologists and sociologists. Fidyk in his movie shows the nature of this spectacle with great fi nery.

Dwa filmy – dwa święta – dwie teorie

100%

Dudzik W.

Kwartalnik Filmowy

2017

issue 100 O świętowaniu

81-86

Szkic jest poświęcony dwóm filmom dokumentalnym Andrzeja Fidyka: „Defilada” (1989) i „Carnaval. Największe party świata” (1995) analizowanym w kontekście teorii święta Émile’a Durkheima (effervescence collective) i Victora Turnera (communitas). Autor odnajduje elementy sakralne zarówno w wielkiej defiladzie zorganizowanej z okazji obchodów czterdziestolecia Koreańskiej Republiki Ludowo-Demokratycznej, jak i w karnawale w Rio de Janeiro. Okazuje się jednak, że nasuwająca się przy analizie obu sfilmowanych przez Fidyka świąt opozycja profanum i sacrum – czy struktury i antystruktury – jest pozorna. Struktura miesza się bowiem z antystrukturą na zasadzie dialektycznej: zawieszona na czas święta, odradza się w jego celebrowaniu.

The text is devoted to two documentary films by Andrzej Fidyk: “North Korea: The Parade” (1989) and “Carnaval. The Biggest Party in the World” (1995) analysed in the context of Émile Durkheim’s (effervescence collective) and Victor Turner’s (communitas) theories of celebration. The author finds sacral elements both in the great parade organized on the occasion of the 40th anniversary of the Korean Democratic People’s Republic and in the carnival in Rio de Janeiro. It turns out, however, that the opposition of profanum and sacrum – or of structure and anti-structure that appears natural in the analysis of the two celebrations filmed by Fidyk, is illusory. The structure is mixed with anti-structure on a dialectical basis: suspended for the duration of the festivity, it is revived in its celebration.

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1 Images. The International Journal of European Film, Performing Arts and Audiovisual Communication

1 Kwartalnik Filmowy

1 Dudzik W.

1 Fiołek-Lubczyńska B.

1 2017

1 2014

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Grand Theatre, Oratory and Anthropology in the Documentaries of Andrzej Fidyk

Dwa filmy – dwa święta – dwie teorie