• Bohater filmowy jako aktor: czas i tożsamość

Bohater filmowy jako aktor: czas i tożsamość

Małgorzata Jakubowska
Google Scholar Małgorzata Jakubowska



Histrionics in film can have various aspects: aesthetic, psychological, existential and also metaphysical. In the films of Wojciech Jerzy Has the actor-character figure reveals that time is a destructive force, an element of the external which breaks into human identity, devastating it.
Why is acting a great temporal topic? Because it makes us aware of the incessant split of time; our perception of the present moment and its preserved memory. Both temporal dimensions, although diverse, are compactly connected as a role with an actor. Has from The Noose to The Tribulations of Balthazar Kober consequently shows how the actors cope with the histrionics of the world. He is able to depict in his movies: the temporal inequality scandal which reveals an aggressive side of the time. The event appears always “too soon”. The first reaction is repeating — the character automatically uses already existing acting scheme, gesture or dialog. The second reaction is a reflection, it reveals that “it is too late”, already some chance is irretrievably lost and choices were mistaken.
Repeating reactions masks the temporal crack in the identity, but the film characters constantly feel that they are not actually themselves... ther attitude toward themselves and toward ther acting is ironic. Sometimes they manage to confuse the steps, to refuse to act in a dull, foreseeable spectacle. There are moments when the characters through the double game of guises express “something authentic”, now their creations start to say “something real” about them. Has knew that the circus and masquerade can sometimes reveal the deepest truths of the human existence in one flash; when the foolishness and amusement are forged into a philosophical reflection.

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