Kazimierz Kaczor – well-known and much liked Polish television, theater and film actor. He was most popular with his roles in TV series – the excellent role of Leon Kuras in Janusz Morgenstern’s Polish Roads, the title role in Radosław Piwowarski’s film “Jan Heart” (1981), Dr. Anzelm Budzisz in “Awantu for Basia” (1995-96) and Senator Marek Złotopolski in the series “Złotopolscy” (1997-2007, re-cooperation with Piwowarski). Remembered as the host of the game show “Va-banque”. Recently, he has gained considerable popularity as the role of Mirosław Kamiński, a tax office clerk, in Ryszard Bugajski’s excellent film, “The Closed System”. The actor has about 100 roles to his credit and is not expected to slow down any time soon.
He was born on February 9, 1941 in Kraków. It is here that he graduated from the Acting Department of the PWST in 1965, although he was initially accepted into the puppetry faculty. As a professional actor, he performed at the Stary Theater in Krakow (1965-73) and in the capital: Współczesny (1973-74) and Powszechny (from 1974). Kazimierz Kaczor’s film debut is a small episode in “A stake greater than life” (1968).
In 1974, he appeared in a small role in the comedy “No Rose Without Fire” and “Deluge” by Jerzy Hoffman, and as Kipman in “The Promised Land” by Andrzej Wajda. In the following years he will play again with Wajda – in 1976 in “Man of Marble”, and in 1978 – in a slightly larger role of the editor-in-chief in “Bez anestulenia”. He will also meet Stanisław Bareja (1978 “What will you do to me if you catch me?”, 1983 “Alternatives 4”, 1986 “Zmiennicy”). In 1978 he appeared in the famous film by Janusz Rzeszewski and Mieczysław Jahoda, “Hallo, Szpicbródka, or the last performance of the king of cashiers”.
Kazimierz Kaczor has created many theater creations, including several dozen for the TV Theater – incl. in the role of Bolesław Bierut in “Traveling to Moscow” 1999, or in the role of Cornelius in “Lord Jim” 2002. In 1996-2005 he agreed to be the president of ZASP.
A TALK FEW YEARS AGO
– An actor in Poland must be aware not only of what is playing, but also of what is happening. In a way, he bears responsibility to a much greater extent than it would result from the profession itself. How does the Lord feel like a hereditary burden?
– It really is. I think we will not free ourselves from this. It has been like this for at least 100 years and it will probably continue for a while. It is a noble and self-esteeming task, and sometimes it is burdensome. We often want to be closer to farce or burlesque, and we get the feeling that we are in the Temple of Art. But it has to be so for now. The politicized last at least 30 years does not help the actor in the repertoire, because in those years something appeared that we had not dealt with since the last war – the actor felt like a citizen with a full voice, with the right to express his opinion, his position. In addition, the actor’s civic voice was very important, it was significant and visible. It has changed a lot, but until this mission is taken from this environment, then somewhere in our thinking it will be priesthood, serving art with a capital “S”.
– I will ask about your philosophy of life, because the actor must constantly refer not only to the stage or film material, but also to his own assessments, his own views on reality. In other words, who he is and what he represents himself as a human being.
– It is not specific only to Polish theater. I cannot imagine an actor practicing this profession – especially in plays or films on contemporary topics – without such references. If he is not a human being living life to the full, that is, closely observing what is happening around him, then he becomes unbelievable as a creator.
– However, I am interested in your philosophy of life …
– I don’t know if I have ever tried to formulate it. It would seem that in this respect I am not far from the philosophy of every Pole: “Just survive! Not to get drowning … Just ahead … “But the additions to such a statement are important – maybe not just surviving and maybe not at any cost; that forward, but in a specific direction. If we suspend all of this in moderate optimism – it looks like this.
(Leon Kuraś, Polish Roads (1976–1977), dir. Janusz Morgenster)
– Your curriculum vitae is colorful and “unkempt”. You have various professions – crane operator, assistant warehouse keeper in a construction and industrial enterprise, curtain man, train driver, truck driver, puppeteer. You even have a secondary music school diploma … Who are you really, Mr. Kazimierz?
– We will try to answer this question when, God forbid, I will live to be 85 years old and I will write diaries. I will then be able to say who I was. Who am I? I don’t know, a man who wants to experience somehow interesting, because I don’t even want to say – non-standard. I hate stagnation, acquisitive prescription, patterns, although a person often feels comfortable in them, because everything is arranged somehow. After some time, such an arrangement in my life and such an organization – it excites me terribly to break with it.
Source: Salon24.pl: Strona główna by www.salon24.pl.
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