Bergman's Muses: Aesthetic Versatility in Film, Theatre, Television, and RadioBergman is a most versatile director who has devoted himself to several muses in a variety of media. Apart from being a writer of plays and screenplays, he has over the past fifty years directed about a hundred stage performances, fifty films, and many works for radio and television. During this time, all the production equipment used have undergone significant changes (allowing, just for instance, a more varied and subtle use of light and sound). But by his own admission, Bergman's texts have often lacked a clear orientation toward a specific medium. This book focuses on Bergman's way of tackling the problems inherent in each art form he has dealt with, giving a penetrating picture of his craftsmanship and the intimate relationship between his work on stage and in film, as well as the possibilities and limitations of the various forms. With the varied media at his disposal, Bergman is internationally the most versatile author-cum-director presently at work, well aware of what each medium can and cannot do and, most importantly, eager to test its borders. The book addresses itself not only to Bergman fans but also to all those interested in the aesthetic problems related to different presentational forms. |
From inside the book
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Page 96
The chorus members nearly always sing. And the chief characters— Dionysus,
Pentheus, Agave, Cadmus, Teiresias— alternate between speaking and singing.
Moreover, Pentheus sings in a syllabic manner, Dionysus in a melismatic one.
The chorus members nearly always sing. And the chief characters— Dionysus,
Pentheus, Agave, Cadmus, Teiresias— alternate between speaking and singing.
Moreover, Pentheus sings in a syllabic manner, Dionysus in a melismatic one.
Page 97
choice of musical instrument is ironical, I see it rather as representing the
suppressed and therefore perverted soft, feminine side of Pentheus, an aural
indication of his mental dichotomy. In Act II, the colorful dresses of the chorus are
replaced ...
choice of musical instrument is ironical, I see it rather as representing the
suppressed and therefore perverted soft, feminine side of Pentheus, an aural
indication of his mental dichotomy. In Act II, the colorful dresses of the chorus are
replaced ...
Page 127
Although Pentheus wants to ban Dionysus and his followers, masked in the dress
of a woman, he nevertheless eavesdrops on the orgies of the Bacchae from the
top of a tree. As a public figure, he is a moral censor; as a private person he is a ...
Although Pentheus wants to ban Dionysus and his followers, masked in the dress
of a woman, he nevertheless eavesdrops on the orgies of the Bacchae from the
top of a tree. As a public figure, he is a moral censor; as a private person he is a ...
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