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Lithuanian Kin. The birth of adaptation out of the spirit of community

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Lubelski T.

Kwartalnik Filmowy

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2013

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issue Special Issue - Polish Film Scholars on Polish Cinema

67-94

XX

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 is 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". Lubelski 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 Czesław Miłosz’s novel, and "Lava", based on Adam Mickiewicz’s "The Forefathers’ Eve". Spiritual affinity between Konwicki, Mickiewicz and Miłosz 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.

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Zanim powstał „Pianista” Romana Polańskiego – „Robinson warszawski” (1945-1950)

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Synoradzka-Demadre A.

Kwartalnik Filmowy

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2014

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issue 86

190-208

PL

Autorka artykułu prezentuje historię powstawania filmu „Robinson warszawski“. Autorem pomysłu na film był Czesław Miłosz, który oparł go na rozmowach z pianistą Władysławem Szpilmanem i jego relacji z ukrywania się w ruinach Warszawy w czasie II wojny światowej. Oryginalność pomysłu zasadzała się na samotności człowieka w pejzażu ruin wielkiego miasta. W umowie na scenariusz, podpisanej w 1945 r. wspólnie z Jerzym Andrzejewskim, Miłosz był wymieniony jako współautor. W roku 1945 scenariusz został poddany licznym przeróbkom, które zdruzgotały Miłosza. W międzyczasie poeta podpisał umowę jako urzędnik dyplomacji PRL-u w Ameryce. Prace nad „Robinsonem“ zostały zawieszone do wiosny roku 1948. Jerzy Zarzycki i Andrzejewski napisali nowy scenariusz, stosując się do zaleceń partii komunistycznej, o czym Miłosz w ogóle nie wiedział. „Robinson warszawski“ miał premierę w 1949 r. i został zmiażdżony przez krytykę. Film, który w istocie był obrazem propagandowym, wszedł na ekrany w roku 1950. Nazwisko Andrzejewskiego zostało oczywiście włączone do napisów końcowych, zaś udział Miłosza został całkowicie pominięty.

EN

The article tells the history of the film entitled “Robinson of Warsaw“. Czesław Miłosz conceived the story inspired by conversations with pianist Władysław Szpilman who was hiding in the ruins of Warsaw during the World War II. The original idea of the film was a lonely man amidst a landscape of ruins. In the screenplay contract signed in 1945 with Andrzejewski, Miłosz features as a co-author. In 1945 the screenplay underwent a number of changes which devastated Miłosz, who in the meantime signed a contract as a Foreign Office employee. Works on “Robinson“ were suspended until the spring of 1948. Zarzycki and Andrzejewski wrote a new screenplay including the communist party recommendations. Miłosz was not aware of any of it. “Robinson of Warsaw“ premiered in 1949. It was hit by crushing criticism. The movie, which was in fact a propaganda film, was screened in 1950. Andrzejewski’s name was included in the film credits without mentioning the contribution by Miłosz.

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Akulturacja? Czy inny wektor współczesności? Kilka słów o refleksji Czesława Miłosza

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Lubelska-Renouf M.

Prace Polonistyczne

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2017

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vol. LXXII

25-40

EN

While Max Scheler’s acculturation problematic is once more topical, under the better known term “globalisation” (in the sense of westernisation), there are vectors in our culture that appear to run counter to this unifying trend. In our article, we examine one of Czesław Miłosz’s poetic intuitions that is today “embodied” in the writings of François Cheng, the Chinese-born French poet and thinker. In his essays on beauty, we analyse the swinging back and forth between poetry, thought and painting; we also examine the meeting of Eastern (Buddhist and Taoist) and Western (Christian) thought; a meeting that Cheng and Miłosz particularly perceived in the pantings of Cézanne and which, while constituting a link between these two traditions, would, according to them, also make up for the greatest western weakness, i.e. Cartesianism.

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2 Kwartalnik Filmowy

1 Prace Polonistyczne

1 Lubelska-Renouf M.

1 Lubelski T.

1 Synoradzka-Demadre A.

1 2017

1 2014

1 2013

Lithuanian Kin. The birth of adaptation out of the spirit of community

Zanim powstał „Pianista” Romana Polańskiego – „Robinson warszawski” (1945-1950)

Akulturacja? Czy inny wektor współczesności? Kilka słów o refleksji Czesława Miłosza