Strindberg's Ghost Sonata

Generally considered one of milestones in the development of modern drama, August Strindberg's chamber play The Ghost Sonata (1907) has variously been hailed as the first expressionist, surrealist and absurdist drama. rIn this monograph of the play as text and as performance - the first of its kind - Egil Törnqvist examines, in four chapters, the source text, various translations of it into English, the stage versions of Max Reinhardt, Olof Molander and Ingmar Bergman, and select radio and TV adaptations. In two framing chapters the background and impact of the play are illuminated. Focusing on Bergman's 1973 production, the book in addition contains a rehearsal diary and a transcription of this production. It is concluded with an annotated list of select productions.Generally considered one of milestones in the development of modern drama, August Strindberg's chamber play The Ghost Sonata (1907) has variously been hailed as the first expressionist, surrealist and absurdist drama. rIn this monograph of the play as text and as performance - the first of its kind - Egil Törnqvist examines, in four chapters, the source text, various translations of it into English, the stage versions of Max Reinhardt, Olof Molander and Ingmar Bergman, and select radio and TV adaptations. In two framing chapters the background and impact of the play are illuminated. Focusing on Bergman's 1973 production, the book in addition contains a rehearsal diary and a transcription of this production. It is concluded with an annotated list of select productions

Between Stage and Screen

Ingmar Bergman is worldwide known as a film and stage director. Yet no-one has attempted to compare his stage and screen activities. In Between stage and screen Egil Törnqvist examines formal and thematical correspondences and differences between a number of Bergman's stage, screen, and radio productions. In the prologue Bergman's spiritual and aesthetic heritage and his position in the twentieth century media landscape is outlined. In the epilogue the question is answered to what extent one can speak of Bergman's directorial 'method' irrespective of the chosen medium

Strindberg on Drama and Theatre

Sweden's August Strindberg (1849-1912) has long been recognised as one of the leading dramatists around the turn of the last century. His electrifying theatre work resonated with the public in his lifetime, and continues to grip playwrights and audiences today. A restless innovator of various drama forms, he was a source of inspiration for Eugene O'Neill, Samuel Beckett and Ingmar Bergman, and has proved seminal to the development of modern drama. His preface to Miss Julie and his prefatory note to A Dream Play are well known and often reprinted. What is less well known is that Strindberg frequently commented on drama and theatre in general, and on his own plays and their staging in particular. This book presents the most important of these comments, chronologically assembled and annotated, many of them for the first time in an English translation. An essential resource for those interested in one of the most influential modern playwrights and for the dedicated theatre lover

Between Stage and Screen

Ingmar Bergman is worldwide known as a film and stage director. Yet no-one has attempted to compare his stage and screen activities. In Between stage and screen Egil Törnqvist examines formal and thematical correspondences and differences between a number of Bergman's stage, screen, and radio productions. In the prologue Bergman's spiritual and aesthetic heritage and his position in the twentieth century media landscape is outlined. In the epilogue the question is answered to what extent one can speak of Bergman's directorial 'method' irrespective of the chosen medium

Le rôle de la musique dans l’œuvre cinématographique d’Ingmar Bergman

Egil Törnqvist “Le rôle de la musique dans l’œuvre cinématographique d’Ingmar Bergman”, Bulletin de liaison des adhérents de l’AFAS n° 31, été-automne 2007, p. 2-16. Peu de cinéastes, sinon aucun, ont autant été influencés par la musique et ont eu un recours aussi essentiel à elle dans leurs œuvres qu’Ingmar Bergman. Cependant, un coup d’œil sur la littérature, grandissante, relative à la musique de film, montre que ce rôle en ce domaine a été jusqu’à présent grandement négligé. Voilà qui est..

Le rôle de la musique dans l’œuvre cinématographique d’Ingmar Bergman

Peu de cinéastes, sinon aucun, ont autant été influencés par la musique et ont eu un recours aussi essentiel à elle dans leurs œuvres qu’Ingmar Bergman. Cependant, un coup d’œil sur la littérature, grandissante, relative à la musique de film, montre que ce rôle en ce domaine a été jusqu’à présent grandement négligé. Voilà qui est surprenant. Une pensée de la musique : précision, vérité et unité Bergman a lui-même souvent exprimé son profond attachement à la musique. Lors d’un entretien relat..