#cieślak

[arterartthings]

Królik cieślak do widzenia

[celluloidrainbow]

EGYMASRA NEZVE (1982) dir. Károly Makk In 1958 Hungary, the body of Eva Szalanczky, a political journalist, is discovered near the border. Her friend Livia is in hospital with a broken neck; Livia’s husband, Donci, is under arrest. In a flashback to the year before, we see what leads up to the tragedy. Eva gets a job as a writer. She meets Livia and is attracted to her. Livia feels much the same, but as a married woman, has doubts and hesitations. In their work, they (and Eva in particular) bang up against the limits of telling political truths; in private, they confront the limits of living out sexual and emotional truths. (link in title)

[polishwomenartists-sztukakobiet]

Jadwiga Jankowska-Cieślak (born 15 February 1951) is a Polish film actress. She has appeared in 33 films since 1972. She won the award for Best Actress at the 1982 Cannes Film Festival for her role in the film Another Way. Via Wikipedia

#urodzonaTegoDnia Jadwiga Aleksandra Jankowska-Cieślak (ur. 15 lutego 1951 w Gdańsku) – polska aktorka teatralna, filmowa i telewizyjna. Via W PL

Zobacz również: https://www.facebook.com/share/p/19r7tot1gQ/? Agata Tuszyńska - Pisarka

[simpleisthehardest]

[adamostrogoth]

[planforsolitude]

Ryszard Cieślak

[loveoldmen24world]

Czesław Cieślak

[bitter69uk]

In Memoriam: the truly great and berserk operatic Polska singer, actress and all-purpose diva Violetta Villas (née Czesława Maria Cieślak, 10 June 1938 - 5 December 2011) died on this day aged 73. For anyone not au fait with the wild, wild world of the tempestuous Villas, think of her as an ultra-campy, kitsch outsider artist; a wild low-budget Eastern European hybrid of Yma Sumac, Jayne Mansfield, Anita Ekberg in La Dolce Vita, Brigitte Bardot and Charo; a punk (her image and un-hinged performances can suggest Nina Hagen or Jayne County); and the self-parodic possessor of a drag queen sensibility (is it deliberate or naive? Certainly, her persona evokes the films of the Kuchar brothers and John Waters). Dubbed "the voice of the atomic age”, Villas was a celebrated Las Vegas headliner in the 1960s and even appeared in some Hollywood films, but her promising international career was cut short by Communism (she bounced back in the 1980s and never stopped being venerated in Europe). I revere this woman and wish she was more embraced as a queer icon in the non-Polish speaking world. I highly recommend investigating old clips of Villas on YouTube – prepare to have your mind blown!

[tryznaeu]

Otomo Yoshihide Special Big Band at Pardon, To Tu, Warsaw

Poster by Hanna Cieślak

[pop-culture-diary]

Robin i Artur w jednym stali lesie

“Robin Hood i Szmaragdowy Król” Jakub Ćwiek 

Ciężko zliczyć wszystkie adaptacje legendy o Robin Hoodzie, jednak brytyjski serial “Robin z Sherwood” zapisał się złotymi zgłoskami w pamięci wielu fanów. To właśnie na nim w oczywisty sposób bazuje wyprodukowane przez Storytel słuchowisko “Robin Hood i Szmaragdowy Król” autorstwa Jakuba Ćwieka. 

Słynny banita Robin Hood (Tomasz Kot) brawurowo ratuje swoich przyjaciół Małego Johna (Mirosław Zbrojewicz) i brata Tucka (Zbigniew Zamachowski) z rąk szeryfa (Robert Więckiewicz). Lecz gdy wraca do Sherwood jego ukochana Lady Marion (Natasha Urbańska) informuje go, że do lasu przybył Król Artur (Mariusz Drężek) wraz ze swoimi rycerzami i królową Ginewrą (Anna Cieślak). Legendarny monarcha szuka w leśnych odmętach Świętego Graala, ściągając na siebie uwagę ducha puszczy, Herna (Miłogost Reczek). 

To właśnie obecność Herna jest (oprócz okładki przedstawiającej między innymi Tomasza Kota ucharakteryzowanego na Michaela Praeda) jedną z pierwszych wskazówek, że “Robin Hood i Szmaragdowy Król” został osadzony w tej szczególnej wersji legendy. Pojawia się ich jednak więcej: między innymi nawiązania do ścieżki dźwiękowej serialu. Jakub Ćwiek sprawnie wchodzi w rolę scenarzysty ikonicznej produkcji i tworzy historię łączącą magię i realizm. Słuchowisko pełni rolę brakującego odcinka, który można by umieścić gdzieś na przestrzeni pierwszych dwóch sezonów. 

Przyznam, że “Robin Hood i Szmaragdowy Król” był moim pierwszym kontaktem z twórczością Jakuba Ćwieka. Autor pozytywnie zaskoczył mnie lekkością pióra i ciekawym pisaniem postaci, a także interakcji między nimi. Jego Marion to królowa puszczy, której słuchają wszyscy, na czele z Robinem. Brat Tuck ma w sobie o wiele więcej człowieka niż mnicha, a Hern wręcz promieniuje majestatem i tajemniczością. Bawią też subtelne nawiązania popkulturowe, choć ich ilość może w pewnym momencie zacząć męczyć. 

Jednak największą zaletą słuchowiska pozostaje jego realizacja. Zachwyca zarówno strona techniczna z dźwiękami tła czy postaciami drugiego planu, jak i gwiazdorska obsada. Andrzej Seweryn w roli narratora to klasa sama w sobie, ale świetnie wypadają też Anna Cieślak jako władcza Ginewra, Natasha Urbańska jako zadziorna Marion, Julia Kamińska w roli przewrotnej Dziewicy czy Zbigniew Zamachowski jako złośliwy i szybki w gniewie braciszek Tuck. To powiedziawszy całe show kradnie tu Robert Więckiewicz jako szeryf z Nottingham, który z całkowitym, wręcz przerażającym spokojem knuje aż miło. 

Niestety kilka rzeczy sprawiło, że nie mogłam cieszyć się tą produkcją tak bardzo jak bym chciała. Choć rozumiem decyzję, by nieco uwspółcześnić towarzyszącą słuchowisku muzykę, efekt nieco wybijał mnie z klimatu. Nie pomagał fakt, że fabuła biegnąca z początku dość wolno, w pewnym momencie przyśpiesza do zawrotnego tempa, by na koniec leniwie podążać do finału, proponując słuchaczowi więcej zakończeń niż potrzeba. Mam też wrażenie, że autor nie mógł się zdecydować na spójną wersję. Jednocześnie pokusił się o dekonstrukcję mitów, ale i wprowadził do fabuły postaci prosto z nich wyjęte. 

Niestety słuchowisko wpada w kilka klisz, które powinny już odejść do lamusa. Choć kobiety są tu pisane dość ciekawie, pisarz nie mógł sobie odmówić przesadnej seksualizacji wszystkiego co robią. Jak inaczej wytłumaczyć to, że gdy Marion i Robin muszą się rozebrać, by wkroczyć w Strumień Czasu, tylko ona zostaje szczegółowo opisana? Po co słowa “urocza [warga]” czy “piękna [broda]” gdy Ginewra przygryza wargę i krew cieknie jej po twarzy? I czemu potężna i wieczna istota taka jak Dziewica spędza większość czasu marząc o spółkowaniu z Robinem? 

Ocena “Robin Hooda i Szmaragdowego Króla” przychodzi mi z trudem. Z jednej strony fenomenalna obsada i świetna realizacja słuchowiska zapewniają świetną zabawę. Z drugiej chaotyczna, nie do końca przemyślana historia, trącąca nieco starą szkołą polskiej fantastyki, odbiera trochę przyjemność ze słuchania. Całość pozostawiła mnie z wnioskiem, że wiele czasu minie nim ponownie sięgnę po twórczość Jakuba Ćwieka. 

Ale to tylko moja opinia, a ja nie jestem obiektywna. Słabe 3 / 5 

[chess-engines-diary]

Duży sukces na Mistrzostwach Świata juniorów do lat 14 w szachach odniósł Patryk Cieślak. Polak uzyskał 8,5 pkt. z 11 partii i zajął pierwsze miejsce. Warto zobaczyć jak grał nasz młody mistrz, bo nadal czekamy w Polsce na następców Radka Wojtaszka i Janka Dudy.

Zapraszamy do obejrzenia 9 partii Mistrza Świata!   

[marcel17101980]

Inne Spojrzenie - Q&A z Jadwigą Jankowską-Cieślak i Tomaszem Raczkiem po...

[basketballsimstories]

[Basketball GM] An Speculative Analysis of Piotr Cieślak's Game (2023-'24)

In the 2023-'24 season, the Dallas Mavericks led the league in margin of victory, led the league in netRtg, and finished as second in ortg, and second in PPG-- all while being constructed in a heliocentric fashion reminiscent of the early to late 2000s. This combination of a star scoring foward complemented by elite role players served to be an effective in creating an elite offense, finishing with 57 wins on the season, and an eventual championship in 7 games against the Philadelphia 76ers.

The centerpiece of these Mavericks was the 6-7, 225 All-League forward and FMVP Piotr Cieślak. In the 2023-'24 season, he would go on to finish 2nd in MVP voting, only behind Magic FC James Abrams. In 73 games, he averaged 28.2/6.5/4.8 on 48.8% FG/ 41.5% 3PT/ 89.7% FT (64.0% TS). As far as key one number advanced statistics, he ranked 6th in win shares (13.0 WS), 2nd in WS/48 [of players that qualify for awards in the NBA] (.264 WS/48), and first in both OBPM and BPM (10.4 OBPM, 12.5 BPM).

All impact metrics above come to the consensus that Cieślak's 2023-'24 season would have been one of the greatest single season peaks in NBA history.

Much of Cieślak's on court impact and playstyle can be derived and interpreted through the analysis of various advanced metrics. For simplicity, I have defined playstyle as the following : shot diet, on ball activity, off ball activity, playmaking, and defense.

SHOT DIET

Cieślak's shot diet is primarily skewed towards perimeter play-- 52.8% of his shots come from beyond the arc (10.4 3PA), 25.3% from mid-range (5.0), 12% from the low post (2.3), and 10.1% being drives at the rim (2.0). This is similar to the shot profiles of players like 2017-'18 Paul George (19.6% from 0-3 ft /9.1% from 3-10 ft /25.6% from 10-3P /45.4% from beyond 3P) and 2021-'22 Khris Middleton (10.4% from 0-3/14.0% from 3-10/ 33.8% from 10-3P/42.5% from beyond 3P), though they both take a higher percentage of drives in those respective seasons. His shot diet is most likely influenced by his physical attributes-- despite his lengthy frame at 6-7, he appears to have a negative wing span (48.5 raw hgt rating, 43 true hgt rating) and average to below average speed and verticality (63 spd, 58 jmp) for a star.

Cieślak's playstyle and shot diet seems to be optimized for modern NBA offenses-- he recorded elite averages in relation to the rest of the league in all 4 shot categories accounted for in BasketballGM; +1.9% at the rim (67.8%), +9.4% in the low post (51.8%), +7.1% in the midrange (55.0%), and +5.0 from 3 (41.5%). This amounts to a +6.4 TS% (64.0% TS) and +6.7 eFG% (59.8% eFG). In terms of free throw rate and efficiency in relation to the league, he recorded 5.1 FTA with a rate of 0.256 for each FG attempted, which ranks as 24th and <100th respectively.

ON BALL

Despite Cieślak's 30.7% USG rate, his role on the team is to be the tertiary ball handler behind Mavericks rookie Quentin Trent, and contemporary star PF Michal Stehlík-- implicating a more off ball role, however, it is heavily implied his on ball game is lethal in similar respects. Julius Randle's is often lauded for the fact that he is both stronger than positions 1 through 3, and faster than positions 4 and 5, leading to a perpetual mismatch on the ball-- given Cieślak's build, the similar things can be said for his on ball game. That combined with above average to elite footwork (19.8 FGA to 1.3 BA) led to playoff series in which he was able to take control of games offensively, like the Western Conference Semi-Finals against the San Antonio Spurs.

In this series his matchup was the 6-5, 225 All-League and All-Defensive SF Tomaž Mlakar with the primary big being Jan Varga, an All-League and All-Defensive talent himself; in 5 games, Cieślak's put up 31/6/4 on 11/21, 43/4/9 on 14/29, 30/9/4 on 11/23, 28/7/5 on 11/30, and 19/5/8 on 6/14. During the series he was taking advantage of the size mismatch, getting to his spots in the mid-range and low post, shielding the ball on drives, bumping defenders off their spots, and using his footwork to shift the defense and create advantages in a similar fashion to mid-range and three point greats like Paul Pierce (2005-'06) and Reggie Miller (1996-'97).

During this series and by extension the rest of the season, Cieślak would likely have stagger screens, pin downs, or ghosts to gain a step on defenders like Mlakar who are athletic enough to cut off driving options and stunt possesions with his aggressive perimeter defense (2.6 STL during reg. season, 2.9 STL during playoffs (11 games)).

OFF BALL

Cieślak's off-ball game appears to be his greatest strength. Given the Mavericks' personnel of lengthy wings and bigs, as well as Cieślak's prolific 3-point shooting, he was likely the beneficiary of a variety of off-ball actions - including screens, handoffs, flares, and floppy screens. Some optimal offensive sets for leveraging Cieślak's off-ball skills could include plays like Hammer - Open (Golden State), Loop (Golden State), 1 3 Double Rip (Dallas), UCLA - STS (Dallas), and Fist 5 Out 3 (Milwaukee) - all of which feature the 3 running through various screening actions to get open looks from the perimeter.

Cieślak has shown an elite ability to maximize these off-ball scoring opportunities, posting a Shot Quality (SQ) rating of 82.50 - which would rank 19th in the NBA today, slotting him just above Kevin Durant (82.20) and just below Anfernee Simons (82.60). This exceptional off-ball movement, combined with his off-the-charts efficiency as a perimeter scorer, makes Cieślak a lethal offensive threat that opposing defenses must account for at all times.

PLAYMAKING

Despite his role on the team, playmaking appears to be one of his biggest strengths. Though Cieślak averaged 4.8 APG on the season, various other passing related statistics argue that he would rank as a top 30 passer if he were in the league today. The key metrics used to evaluate Cieślak's elite-level playmaking were Offensive Load, Box Creation, and Passer Rating. In the 2023-24 season, Cieślak maintained an Offensive Load of 53.39, which is comparable to the workloads of stars like Devin Booker (54.8) and Tyrese Maxey (50.7). While this Offensive Load metric doesn't directly measure playmaking ability, it provides valuable context around the distribution of Cieślak's offensive responsibilities. Alongside this high Offensive Load, Cieślak also achieved a Box Creation rating of 15.94 per 100 possessions and a Passer Rating of 8.0. These advanced passing metrics would rank him just below established facilitators such as Kelly Olynyk and LeBron James, both of whom posted a Passer Rating of 8.1. This would place Cieślak 25th overall in the league for playmaking impact, ahead of players like Dennis Smith Jr.

COMPARISONS

Cieślak's build and situation are unique in the sense that not many true contenders in modern NBA history are built around shoot first wings that seem to have low to average playmaking value at a glance (4.8 APG to 1.8 TOV). However, I still do believe that there are valuable comparisons to Cieślak.

3. Khris Middleton (2021-'22) : Very similar shot selection and distribution of on and off ball usage. (He's also the first player that came to mind when making comps)

2. Paul Pierce (2005-'06) : Similar in the sense that they both have fundamental elements of their game like footwork and positioning down-- also they are just about the same size!

1. Reggie Miller (1996-'97) : Extremely similar roles, same height, and elite 3 point shooting!

Here's his page if you want to see for yourself :

[polishwomenartists-sztukakobiet]

Agata Cieślak, „Zajmowała nas pielęgnacja szczątków”, 2022, widok instalacji, Filharmonia Szczecińska. Dzięki uprzejmości artystki | “We were tending to the remains”, 2022, installation view, Szczecin Philharmonic. Courtesy of the artist.

[simpleisthehardest]

[adamostrogoth]