In the opinion of the author the original context of the drama allows
to treat.it in the perspective of art semiotics: art that is inclined towards other
areas, especially towards painting, theatre and music. This drama legitimates
synesthesia as the main figure of reception poetics.
It is argued that in the adaptation process Andrzej Wajda activated signals
and painting inspiration existing in the drama. There are discussed by the author
the particular historical stereotypes taken out of Matejko paintings and program
concepts of Malczewski. The circulation of pictorial communicates produced a new
layer of modern meanings in Wajda’s picture. However, it is a layer put on the
symbolic syndrome of the drama by Wyspiański. The method of cinematic articulation
reconciling historical meditation with pictorial composition of the screen
image is considered
