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Abstract
The article is a synthetic look at Andrzej Wajda’s films in terms the context of acting and actors’ participation. As a director Wajda never created a separate ‘school’ of film acting; nevertheless, he still made a huge creative contribution on a national and global scale, including tens, if not hundreds, of unforgettable performances from actors.References
Dostojewski – teatr sumienia. Trzy inscenizacje Andrzeja Wajdy, oprac. M. Karpiński, Warszawa 1989.
Janicki S., Polscy twórcy filmowi o sobie, wstęp K. Eberhardt, Warszawa 1962.
Karpiński M., Teatr Andrzeja Wajdy, Warszawa 1991.
Michalak B., Wajda. Kronika wypadków filmowych, Warszawa 2016.
Michałek B., Polska przygoda neorealizmu, [w:] B. Michałek, Ćwiczenia z anatomii kina, Warszawa 1976.
Wajda A., Fenomen Cybulskiego, [w:] W. Zdort, Cybulski na planie „Popiołu i diamentu”, Łódź 1997.
Wajda mówi o sobie, wstęp, wybór i oprac. W. Wertenstein, Kraków 1991.
Walaszek J., Dwie „Nastazje” Andrzeja Wajdy, „Polska Sztuka Ludowa –Konteksty” 1993, nr 2.
Zdort W., Cybulski na planie filmu „Popiół i diament”, Łódź 1997.
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