Saturday, June 07, 2008

A masterclass for young directors

(This old article was previously unknown to me)

In the summer of 1994 the Polish director Krzysztof Kieslowski (1941 - 1996) gave a workshop in Amsterdam on 'Directing actors' for young directors. For a fortnight various groups worked every day on a scene from Ingmar Bergmans scenario "Scenes from a Marriage". It was Kieslowskis last try at teaching. The following text is an interview given by Kieslowski during this workshop.

Krysztof Kieslowski: A masterclass for young directors 1994

Of course everyone is right saying censorship is bad. But you can benefit from it as well. Looking at Eastern European cinema; Hungarian, Russian, Czech or Polish you see that existence of censorship forced them to search for possibilities that they did not know about. Communication with the audience above the level of the censor created possibilities which collegues in the West never had. ... Everyone was aware of what was allowed and tried to play the game of balancing on the razor's edge. Not to fall where the censor forbids, prevents, cuts out and eliminates. And on the other hand not to surrender to the censor...not to fall into meaninglessness which nobody understands nor wants to listen to.

Wednesday, June 04, 2008



近讀旅遊資料,原來離Krakow不遠的Wieliczka Salt Mine乃不錯的一天遊去處。這是個龐大的地下鹽礦,有鹽雕,鹽刻,更有兩座鹽造的教堂!



果然!Zbigniew Preisner(普理斯納)!

1995年,即Kieslowski-Preisner剛完成三色系列,宣佈退休的Krzysztof Kieslowski(奇斯洛夫斯基 )正過著他吞雲吐霧生活的最後一整年,Preisner推出一張組曲式唱奏會現場錄音,就叫Preisner's Music,內分5節25段,唱奏的全是Preisner為Kieslowski及其他導演創作的電影配樂。

唱奏會的地點正是Wieliczka Salt Mine。可惜我當年對此地點毫無概念,地名的三個字只模糊地存於腦海深處。


I had to know whether my music 'sounded' as good without a film accompanying it. ... To check this, I chose the Wieliczka salt mine, near Krakow: a secret, mysterious magical place 130 metres below ground. A unique atmosphere with exceptional acoustics.

The risk was great though: a subterranean symphony orchestra connected by 400 metres of cables to technical equipment on the ground above. Anything could have happened. Yet it all went incredibly well. ... I wanted to put on a musical show. The concert was indeed a rite, a 'mysterium'.

My audience and I felt that my music lived its own life, albeit entirely at my command. Far from the studios and the mixing rooms, I rediscovered the soul of the orchestra and, for the first time ever, I heard my music exactly as I imagined it. I will always remember the Wieliczka concert as a unique step forward in the pursuit of my artistic freedom.

Preisner's Music是我非常鐘愛的CD,今天偶然地對它的認識又深了一層。

* Zbigniew Preisner現居Krakow


地下鹽洞的音色,似乎特別適合女高音Elzbieta Towarnicka那種高唱入雲,似斷未斷的唱法。

Towarnicka曾跟Preisner多次合作,除Preisner's Music外,還包括La Double Vie de Veronique(為配合情節,Towarnicka還真的唱到“斷了氣”),Blue,Red,Quartet in 4 Movements,Weiser等電影原聲配樂,和為Kieslowski悼亡的Requiem for My Friend。