66 SOCIAL SCIENTIST an adaptation of The Idiot and Crime and Punishment by Wajda himself. Dostoyevsky offers Wajda wonderful dramatic material. Wajda admires his method of writing and his deep penetration into the souls of his characters. The peculiar love-hate relationship Wajda enjoys with Dostoyevsky's writings may be summed up in his own words: I hate him and yet I admire him, his writing and his penetrating mind. It was Dostoyevsky who, in his novel The Possessed, uncovered what is now known as the terrorist movement. In Crime and Punishment he revealed that crimes would be tolerated and a man may be murdered for purely theoretical reasons. They horrify us but they exist and unfortunately have grown into a social disease. At the same time I hate the man for his chauvinism, for his groundless opinion that Russia has something new to say to the world. That it is the Russian God who rules the universe and that Russian Orthodoxy is the chosen religion. His religion. His airtight rationalism repels me, together with his hatred and contempt for Poles and the Germans and French also.... For these reasons each new Dostoyevsky production causes me suffering, but then that is probably what keeps my relationship with him so alive. Similarly, Karpinski gives a detailed account of Wajda's way of working with actors and various theatre companies. Wajda did not ever stick to any one particular form or technique of theatre, like some of his contemporaries—Jorzy Grotovsky, Kentor—who have been acknowledged all over the world" as avant-garde and innovative theatre directors. They developed specific theories, concepts and production designs, and always worked with a chosen group of actors in theatre. Wajda stands apart from them. He has worked with several theatre companies, has never founded his own theatre company; he deliberately avoids restricting himself to a single doctrine, moving freely among the theatre traditions, combining traditions as diverse as the theatre of Wyspianski and the Japanese Banraku theatre. This openness to various forms reveals Wajda's deep commitment to freedom—both in the political and the abstract sense. However, the concept of freedom has never been an end in itself for him. He asks, what do I need freedom for? I wanted to be free so that I could turn into my nation's soul and express its fears, hopes and dreams. That is exactly how any artist should put his freedom to use. However an artist must sometimes tell his nation things that it does not want to hear. In order to do that he needs, as it were, double freedom: he must have freedom from authority and freedom from his public. Only the greatest deserve this freedom and we bow our heads in acknowledgement before them.