Operowe interpretacje dwóch utworów Josepha Conrada ("Jutro" i "Jądro ciemności")

One of the most important problems tackled in Conrad’s prose is the process of decision-making, its contextuality and dramatism determined by the cognitive crisis. A presentation of this process, its embodiment requires an implementation of means characterised by a wide interpretative margin, and yet distinctive enough to establish clear limits of such a margin. The article indicates the form and aesthetics of opera to be an interesting tool capable of capturing an ever-present in Conrad’s work, its multi-layered dialogue, or perhaps sometimes conflict, about philosophical topics. In such an instrument, music, disentangled from its merely ornamental function, becomes a separate and equal voice.