a story lives forever
Register
Sign in
Form submission failed!

Stay signed in

Recover your password?
Register
Form submission failed!

Web of Stories Ltd would like to keep you informed about our products and services.

Please tick here if you would like us to keep you informed about our products and services.

I have read and accepted the Terms & Conditions.

Please note: Your email and any private information provided at registration will not be passed on to other individuals or organisations without your specific approval.

Video URL

You must be registered to use this feature. Sign in or register.

NEXT STORY

Controversy over Stavrogin's Confession

RELATED STORIES

The music for The Devils
Andrzej Wajda Film-maker
Comments (0) Please sign in or register to add comments

A jeszcze w dodatku autorem muzyki był Zygmunt Konieczny. Też bardzo szczęśliwy pomysł. I Zygmunt Konieczny jak zrozumiał, jaką ja robię sztukę, że to jest jakaś sztuka o diabłach, o jakimś strasznym świecie, na balkonie naszego teatru zamontował niedużą grupę muzyków, którzy właściwie wytwarzali jakiś krzyk, jakiś szept, jakiś gwałt, jakąś... jakieś dźwięki, które dodawały w tych właśnie momentach, kiedy trzeba było przemienić jedną scenę w drugą, dodawały jakiegoś... jakiegoś dreszczu. O to bym powiedział dobrze, że ten dreszcz to on robił właśnie tą muzyką. No i ponieważ z tych scen, które wybraliśmy w końcu – bo cała trudność pracy z aktorami polegała na tym, że oni nieustannie chcieli ode mnie sztuki teatralnej, a ja... a ta sztuka powstawała w trakcie naszych prób. I w końcu oni chcieli już wiedzieć, jakie teksty mówią, co grają, z kim grają. A ja ciągle lepiłem na scenie tę adaptację i dzięki temu ona była taka żywa. Że została zrobiona dla sceny, a nie napisana, a potem zrealizowana. Myślę, że to odegrało bardzo istotną... bardzo istotną rolę, że aktorzy też zagubieni przeczytali całą powieść, czego by nigdy nie zrobili, gdyby nie musieli zorientować się kogo oni grają, co to są za role. To dobrze zrobiło bardzo im, bo wiedzieli w czym biorą udział, no i dalsze wydarzenia też miały właśnie taki przebieg, jak byśmy nie tylko reżyserowali i pracowali nad tą sztuką, ale jak byśmy byli postaciami z Dostojewskiego.

In addition, the composer of the music was Zygmunt Konieczny. This was also a very fortuitous idea. When Zygmunt Konieczny realised what kind of play I was doing, that it's about devils, about a terrifying world, he installed a small group of musicians in the balcony of our theatre who created a kind of howling, a kind of whisper, shouts, a sort of noise that added a sense of terror to the moments when there was a scene change. I would say that this sense of terror was created through the music. So from these scenes that we finally selected, because the whole difficulty of our work lay in the fact that they constantly wanted a theatre play from me whereas this play was being created in the course of our rehearsals. In the end, they just wanted to know what their lines would be, what they were performing, who they were performing with, whereas I was still putting this adaptation together on the stage and thanks to this, it was so vibrant as it was made for the stage and not written down first and then performed. I think this played a very important role so that the actors, who were feeling lost, read the whole story which is something they would never have done if they hadn't had to find out who they were playing, what their roles were. This did them a lot of good because they knew what they were participating in and later events also occurred as if we weren't just directing and working on this play, but as though we were characters from Dostoyevsky's work.

Polish film director Andrzej Wajda (1926-2016) was a towering presence in Polish cinema for six decades. His films, showing the horror of the German occupation of Poland, won awards at Cannes and established his reputation as both story-teller and commentator on Poland's turbulent history. As well as his impressive career in TV and film, he also served on the national Senate from 1989-91.

Listeners: Jacek Petrycki

Cinematographer Jacek Petrycki was born in Poznań, Poland in 1948. He has worked extensively in Poland and throughout the world. His credits include, for Agniezka Holland, Provincial Actors (1979), Europe, Europe (1990), Shot in the Heart (2001) and Julie Walking Home (2002), for Krysztof Kieslowski numerous short films including Camera Buff (1980) and No End (1985). Other credits include Journey to the Sun (1998), directed by Jesim Ustaoglu, which won the Golden Camera 300 award at the International Film Camera Festival, Shooters (2000) and The Valley (1999), both directed by Dan Reed, Unforgiving (1993) and Betrayed (1995) by Clive Gordon both of which won the BAFTA for best factual photography. Jacek Petrycki is also a teacher and a filmmaker.

Tags: Zygmunt Konieczny

Duration: 2 minutes, 8 seconds

Date story recorded: August 2003

Date story went live: 24 January 2008