英格玛·伯格曼

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英格玛·伯格曼
在製作野草莓(1957)時的英格玛·伯格曼
本名	Ernst Ingmar Bergman
出生日期	1918年7月14日
出生地	[[Image:Flag of Sweden.svg	瑞典]] 瑞典烏普薩拉
逝世日期	2007年07月30日
逝世地點	[[Image:Flag of Sweden.svg	瑞典]] 瑞典法羅(Fårö),
活躍年代	1944年─2005年
官方網站	http://hem.passagen.se/vogler/index.htm
配偶	Else Fisher (1943-1945) Ellen Lundström (1945-1950) Gun Grut (1951-1959) Käbi Laretei (1959-1969) Ingrid von Rosen (1971-1995)
奧斯卡獲獎
最佳原創劇本獎 入圍: 1957 《野草莓》 1961 《猶在鏡中》（Såsom i en spegel） 1972 《哭泣與耳語》（Viskningar och rop） 1978 《秋光奏鳴曲》（Höstsonaten） 1982 《芬妮和亞歷山大》 最佳導演獎 入圍: 1972 《哭泣與耳語》（Viskningar och rop） 1976 《面對面》（Ansikte mot ansikte） 1982 《芬妮和亞歷山大》 最佳影片獎 入圍: 1972 《哭泣與耳語》（Viskningar och rop） 俄文·撒爾伯格紀念獎（The Irving G. Salberg Memorial Award） (1971)
凱撒電影獎獲獎
最佳外語片獎 獲獎: 1984 《芬妮和亞歷山大》

英格玛·伯格曼（Ernst Ingmar Bergman ^{文件— 在浏览器播放} ，瑞典語念作IPA：/ɪŋmar 'bærjman/

，也译作英瑪褒曼，1918年7月14日—2007年7月30日 ）是一位瑞典電影導演。他在一個路德會傳敎士的家庭出生，所拍摄的影片中著名的有《第七封印》等。英格玛·伯格曼在剧作、戏剧导演和电视等方面也有很高的成就。

柏格曼發現憂鬱與絕望和喜劇與希望同樣是他在人類狀態（human condition）中，所不可避免要去探索的問題。他被譽為電影史上最偉大的導演之一。^[1]

他導演過62部影片，而大部分也都是由他編劇，他也導了超過170場的表演。他所喜愛合作的國際知名演員是麗芙·烏爾曼（Liv Ullmann）與馬克斯·馮·賽多（Max von Sydow）。他大部分的電影都是取景於他的故鄉瑞典。他影片的風格大多是冷酷的，處理痛苦與瘋狂。

柏格曼活耀了超過60年，但是他的事業在1976年嚴重受到威脅。因為當時懷疑逃漏所得稅而對他作拙劣的刑事偵查，於是他終止一系列待完成的製作，關閉他的工作室，並且自我放逐去德國八年。

目录 1 生平 1.1 逃稅指控與放逐 1.2 從放逐中回歸 2 電影工作 2.1 作為事業 2.2 個人電影公司(Repertory company) 2.3 拍攝技巧 2.4 訊息("Message") 2.5 志業的內省 3 劇場工作 4 家庭生活 5 獲獎 5.1 奧斯卡金像獎 5.2 BAFTA獎 5.3 凱撒電影獎 5.4 坎城影展 5.5 金球獎 6 年表 7 作品 7.1 電影作品 7.2 電視作品 7.3 劇本 7.4 舞台劇與廣播劇 8 參照 9 參考文獻 10 相關文獻 11 延伸閱讀 12 外部連結 12.1 簡介 12.2 訪談 12.3 其他文章 12.4 參考書目 12.5 訃告

[编辑] 生平

英格玛·伯格曼（Ernst Ingmar Bergman）出生於瑞典的烏普薩拉。他父親艾瑞克·伯格曼（Erik Bergman）是路德會丹麥派的牧師，後來成為瑞典國王的專屬牧師；母親是女演員卡琳·艾葛伯隆（Karin Åkerblom或Karin Bergman）。他成長環境圍繞著宗教的塑像與討論。他父親是相當保守的教區牧師而且也是個嚴父：英格瑪會因像尿濕床這樣的犯錯而被鎖在黑暗的衣櫥中。英格玛·伯格曼在他的自傳《魔燈》（Laterna Magica）之中寫到：

當父親在講壇上、在禱告的群眾中傳道時，我從歌頌與聆聽當中墜入了教堂的神秘世界：矮拱門，厚牆，永恆不朽的氣味，陽光在牆上、天花板上的中世紀圖繪、雕刻上顫動著。那是一個人的想像力所能企望的全部──天使、聖徒、龍、先知、惡魔、人。

他服了兩期五個月的義務兵役，並且在斯德哥尔摩大学学院（后来的斯德哥尔摩大学）研究文學與藝術，之后却没有毕业。但是相应地，他渐渐培养了对戏剧以及后来在电影上的兴趣。（然而在1930年代早期他开始变成了「名副其实的电影耽溺者」^[2]）

1934年，在伯格曼16歲的时候，被送到德国的朋友家度暑假。人们普遍相信他在威玛出席了纳粹党的集会活动并见到阿道夫·希特勒^[3] 。之后他在自传《魔灯》（Laterna Magica）中写到有关他逗留在德国时，德国家庭如何把一幅阿道夫希特勒的肖像放在他床边的墙上的内容，并且还写下了「多年来，我在希特勒的立场上，为他的成功而高兴，也为他的失败而悲伤」^[4]这样的文字。

虽然他在一个虔诚的路德教家庭中长大，但是伯格曼却陈述了直到创作《冬之光》（Nattvardsgästerna，又譯為《冬日之光》）之后，才接受了他在八岁便喪失了他的信仰这樣的事实。^[5]

伯格曼1960年代末在瑞典哥特兰的法罗岛（Fårö）生活了很长时间，并在这里制作创作了許多电影。

[编辑] 逃稅指控與放逐

1976年是英格玛·伯格曼的生命中最受创伤的一年。在1976年1月30日，当在斯德哥尔摩的皇家剧院（Royal Dramatic Theatre）排练奥古斯特·斯特林堡（August Strindberg） 的《死亡之舞》（Dance of Death）的时候，被二个便衣警察以逃漏所得税的罪名将其如同一个普通刑事犯般的拘捕了。伯格曼在这个事件上受到很大打击，他遭受的耻辱导致他神经崩溃，最终因憂鬱症入院接受治疗。

调查把重心集中在它们声称的于1970年瑞典Cinematograf公司的一个瑞士籍下属员工与外国原告伯格曼之间存着一笔尚未证实的500,000克朗交易，并且资金主要用于支付其薪水。Bergman dissolved Persona in 1974 after having been notified by the Swedish Central Bank and subsequently reported the income. On March 23,1976, the special prosecutor Anders Nordenadler dropped the charges against Bergman, saying that the alleged "crime" had no legal basis, comparing the case to the bringing of "charges against a person who is stealing his own car".^[6] Director General Gösta Ekman, chief of the Swedish Internal Revenue Service, defended the failed investigation, saying that the investigation was dealing with important legal material and that Bergman was treated just like any other suspect. He offered some regret that Bergman had left the country, hoping that Bergman was a "stronger" person now when the investigation had shown that he had not done anything wrong.^[7]

Even though the charges were dropped, Bergman was for a while disconsolate, fearing he would never again return to directing. He eventually recovered from the shock, but despite pleas by the Swedish prime minister Olof Palme, high public figures, and leaders of the film industry, he vowed never to work again in Sweden. He closed down his studio on the barren Baltic island of Fårö, suspended two announced film projects and went into self-imposed exile in Munich, Germany. Harry Schein, director of the Swedish Film Institute, estimated the immediate damage caused by Bergman's exile to SEK 10 million and hundreds of jobs lost.^[8]

[编辑] 從放逐中回歸

Although he continued to operate from Munich, by mid-1978, Ingmar Bergman seemed to have overcome some of his bitterness toward his motherland. In July of that year he was back in Sweden, celebrating his 60th birthday at Fårö and partly resumed his work as a director at Royal Dramatic Theatre. To honor his return, the Swedish Film Institute launched a new Ingmar Bergman Prize to be awarded annually for excellence in film making.^[9]

However, he remained in Munich until 1984. In one of the last major interviews with Bergman, done in 2005 at Fårö Island, Bergman said that despite being active during the exile, he had effectively lost eight years of his professional life.^[10] Bergman retired from film making in December 2003. He had hip surgery in October 2006 and was having a difficult recovery. He died at his home on Fårö, on July 30 2007, age 89,^[11], the same day that another renowned film director, Michelangelo Antonioni, also died.

[编辑] 電影工作

Many filmmakers worldwide, including Americans Woody Allen, David Lynch^[12], Stanley Kubrick ^[13], and Robert Altman, the Danish director Lars Von Trier, the Polish director Krzysztof Kieślowski, the Russian director Andrei Tarkovsky ^[14], and the South Korean director Chan-wook Park, have cited the work of Bergman as a major influence on their own work.

Woody Allen said Bergman was "probably the greatest film artist, all things considered, since the invention of the motion picture camera."^[15]

[编辑] 作為事業

Bergman's career in film began in 1944 when he wrote the screenplay for Hets(Frency) that was directed by Alf Sjoberg. In 1949 he directed his first film Fangelse (The Devil's Wanton). His first critical success was with Gycklarnas afton (Sawdust and Tinsel), which is wrote and directed in 1953. His first international success was Smiles of the Summer Night, produced in 1955.

In 1976 Bergman was arrested for tax evasion (see section in biography) and although the charges were later dropped Bergman went into exile and performed no work on film for the next five years.

In 1982, he temporarily returned to his homeland to direct Fanny and Alexander, a film that, unlike his previous productions, was aimed at a broader audience, but also critizised within the profession for being shallow and commercial.^[16] Bergman stated that the film would be his last, and that afterwards he would focus on directing theatre. Since then, he directed a number of television specials and wrote several additional scripts, while continuing to work in theatre. In 2003, Bergman, at 84 years old, directed a new film, Saraband, that represented a departure from his previous works.

[编辑] 個人電影公司(Repertory company)

Bergman developed a personal "repertory company" of Swedish actors whom he repeatedly cast in his films, including Max von Sydow, Bibi Andersson, Harriet Andersson, Erland Josephson, the late Ingrid Thulin, and Gunnar Björnstrand, each of whom appeared in at least five Bergman features. Norwegian actress Liv Ullmann, who appeared in nine of Bergman's films and one TV movie (Saraband), was the last to join this group (in the 1966 film Persona), and ultimately became most closely associated with Bergman, both artistically and personally. They had a daughter together, Linn Ullmann (b. 1966).

Bergman began working with Sven Nykvist, his cinematographer,in 1953. The two of them developed and maintained a working relationship of sufficient rapport to allow Bergman not to worry about the composition of a shot until the day before it was filmed. On the morning of the shoot, he would briefly speak to Nykvist about the mood and composition he hoped for, and then leave Nykvist to work without interruption or comment until post-production discussion of the next day's work.

When viewing daily rushes, Bergman stressed the importance of being critical but unemotional, claiming that he asked himself not if the work is great or terrible, but if it is sufficient or if it needs to be reshot.

[编辑] 拍攝技巧

As a director, Bergman favored intuition over intellect, and chose to be unaggressive in dealing with actors. Bergman saw himself as having a great responsibility toward them, viewing them as collaborators often in a psychologically vulnerable position. He stated that a director must be both honest and supportive in order to allow others their best work.

His films usually deal with existential questions of mortality, loneliness, and faith; they also tend to be direct and not overtly stylized. Persona, one of Bergman's most famous films, is unusual among Bergman's work in being both existentialist and avant-garde.

While his themes could be cerebral, sexual desire found its way to the foreground of most of his movies, whether the setting was a medieval plague (The Seventh Seal), upper-class family life in early 20th century Uppsala (Fanny and Alexander) or contemporary alienation (The Silence). His female characters were usually more in touch with their sexuality than their men were, and were not afraid to proclaim it, with the sometimes breathtaking overtness (e.g., Cries and Whispers) that defined the work of "the conjurer," as Bergman called himself in a 1960 Time magazine cover story. In an interview with Playboy magazine in 1964, he said: "...the manifestation of sex is very important, and particularly to me, for above all, I don't want to make merely intellectual films. I want audiences to feel, to sense my films. This to me is much more important than their understanding them." Film, Bergman said, was his demanding mistress. Some of his major actresses became his actual mistresses as his real life doubled up on his movie-making one.

Love — twisted, thwarted, unexpressed, repulsed — was the leitmotif of many of his movies, beginning, perhaps, with Winter Light, where the pastor's barren faith is contrasted with his former mistress' struggle, tinged with spite as it is, to help him find spiritual justification through human love.

Bergman usually wrote his own scripts, thinking about them for months or years before starting the actual process of writing, which he viewed as somewhat tedious. His earlier films are carefully structured, and are either based on his plays or written in collaboration with other authors. Bergman stated that in his later works, when on occasion his actors would want to do things differently from his own intentions, he would let them, noting that the results were often "disastrous" when he did not do so. As his career progressed, Bergman increasingly let his actors improvise their dialogue. In his latest films, he wrote just the ideas informing the scene and allowed his actors to determine exact dialogue.

[编辑] 訊息("Message")

Bergman encouraged young directors not to direct any film that does not have a "message," but rather to wait until one comes along that does, yet admitted that he himself was not always sure of the message of some of his films. By Bergman's own accounts, he never had a problem with funding. He cited two reasons for this: one, that he did not live in the United States, which he viewed as obsessed with box-office earnings; and two, that his films tended to be low-budget affairs. (Cries and Whispers, for instance, was finished for about $450,000, while Scenes from a Marriage — a six-episode television feature — cost only $200,000.)

[编辑] 志業的內省

When asked about his movies, he said he held Winter Light,^[17] Persona, and Cries and Whispers in the highest regard, though in an interview in 2004, Bergman said that he was "depressed" by his own films and could not watch them anymore.^[18] In these films, he said, he managed to push the medium to its limit. While he denounced the critical classification of three of his films (Through a Glass Darkly, Winter Light, and The Silence) as a predetermined trilogy, saying he had no intention of connecting them and could not see any common motifs in them ^[19] , this contradicts the introduction Bergman himself wrote in 1964 when he had the three scripts published in a single volume: "These three films deal with reduction. Through a Glass Darkly - conquered certainty. Winter Light - penetrated certainty. The Silence - God's silence - the negative imprint. Therefore, they constitute a trilogy". The Criterion Collection sees the films as a trilogy: they have released all three on DVD individually and as a boxed set. It should be noted that Bergman, like many creative artists, was sometimes apt to express himself in a sweeping way, even on his own work, and he stated on numerous occasions (for example in the interview book Bergman on Bergman) that The Silence meant the end of an era when religious questions were a major concern in his films.

[编辑] 劇場工作

Although Bergman was universally famous for his contribution to cinema, he was an active and productive stage director all his life, and was manager and director of a number of the most prestigious theatres in Sweden, notably the Malmö city theatre in the 1950s and the Stockholm Royal Dramatic Theatre — the national stage of Sweden; executive director there 1963-66 and active as stage director into the 1990s — as well as the Residenz-Theater of Munich, Germany (1977-84). Many of his star actors were people with whom he began working on stage, and a number of people in the "Bergman troupe" of his 1960s films came from Malmö's city theatre.

[编辑] 家庭生活

柏格曼結了五次婚：

• 1943年3月25日 – 1945年，與埃爾斯·菲舍（Else Fisher），編舞家與舞者（離婚）子女：
  • 妮娜·伯格曼（Lena Bergman），女演員，1943年出生.
• 1945年7月22日 – 1950年，與Ellen Lundström，編舞家與電影導演 （離婚） 子女：
  • 艾娃·伯格曼（Eva Bergman），電影導演，1945年出生
  • Jan Bergman，電影導演（1946年─2000年）
  • 雙胞胎Mats Bergman與安娜·伯格曼（Anna Bergman），皆是演員與電影導演，1948年出生
• 1951年 – 1959年，與Gun Grut，記者 （離婚） 子女：
  • Ingmar Bergman Jr，飛機機長，1951年出生
• 1959年 – 1969年，與凱比·拉雷特（Käbi Laretei）， 鋼琴家 （離婚） 子女：
  • 丹尼爾·伯格曼（Daniel Bergman），電影導演，1962年出生
• 1971年11月11日 – 1995年5月20日，與伯爵英格莉·馮·羅森（Ingrid von Rosen，或Ingrid Karlebo） （鰥居） 子女：
  • 瑪莉亞·馮·羅森（Maria von Rosen），作家，1959年出生

前四次婚姻都是因離婚而結束，最後一次婚姻則是因妻子死於胃癌而結束。

他也跟女演員麗芙·烏爾曼（Liv Ullmann）生了作家Linn Ullmann。所以，柏格曼總共有九個子女。只有其中一個小孩的母親未跟他結過婚。在他和瑪莉亞·馮·羅森（Maria von Rosen）的母親結婚時，她已經有12歲大了。

除了他的婚姻之外，柏格曼還有與哈里特·安德森（Harriet Andersson，1952年到1955年間）、碧碧·安德森（Bibi Andersson，1955年到1959年間）及麗芙·烏爾曼（Liv Ullmann，1965年到1970年）有親密關係。

[编辑] 獲獎

[编辑] 奧斯卡金像獎

In 1971, Bergman received The Irving G. Thalberg Memorial Award at the Academy Awards ceremony. Three of his films have won the Academy Award for Best Foreign Language Film: The Virgin Spring in 1961; Through a Glass Darkly in 1962; and Fanny and Alexander in 1984.

• Nominated: Best Original Screenplay, Smultronstället (1960)
• Nominated: Best Original Screenplay, Såsom i en spegel (1963)
• Nominated: Best Original Screenplay, Viskningar och rop (1974)
• Nominated: Best Picture, Viskningar och rop (1974)
• Nominated: Best Director, Viskningar och rop (1974)
• Nominated: Best Director, Ansikte mot ansikte (1977)
• Nominated: Best Original Screenplay, Höstsonaten (1979)
• Nominated: Best Original Screenplay, Fanny och Alexander (1984)
• Nominated: Best Director, Fanny och Alexander (1984)

[编辑] BAFTA獎

• Nominated: Best Film from any Source, Ansiktet (1960)
• Nominated: Best Foreign Film, Fanny och Alexander (1984)

[编辑] 凱撒電影獎

• Nominated: Best Foreign Film, Trollflöjten (1976)
• Nominated: Best Foreign Film, Höstsonaten (1979)
• Won: Best Foreign Film, Fanny och Alexander (1984)
• Nominated: Best European Film, Saraband (2005)

[编辑] 坎城影展

• Won: Best Poetic Humor Sommarnattens leende (1955)
• Nominated: Golden Palm Sommarnattens leende (1955)
• Won: Jury Special prize Det Sjunde inseglet (1957)
• Nominated: Golden Palm Det Sjunde inseglet (1957)
• Won: Best Director Nära livet (1958)
• Nominated: Golden Palm Nära livet (1958)
• Won: Special Mention Jungfrukällan (1960)
• Nominated: Golden Palm Jungfrukällan (1960)
• Won: Technical Grand Prize Viskningar och rop (1972)
• Won: Palm of Palms (1997)
• Won: Prize of the Ecumenical Jury (1998) (Special award for his whole works.)

[编辑] 金球獎

• Nominated: Best Director, Fanny och Alexander (1984)

[编辑] 年表

1944年，所写剧本被Alf Sjöberg拍成电影 名为《狂乱》（UK）或《折磨》（USA）

1946年，导演处女作《危机》

1946年，《雨中情》

1947年，《开往印度的船》

1948年，《黑暗中的音乐》

1948年，《港口的呼唤》

1949年，《牢狱》

1949年，《饥渴》（又名《三段奇怪的爱》）

1950年，《喜悦》

1950年，《高度紧张》（又名《不可能在此发生》）——据说是部惊耸悬疑的侦探片

1951年，《夏日恋曲》

1952年，《等待的女人》

1953年，《莫尼卡在夏天》——哈利叶特.安德森精彩的演出

1953年，《裸夜》（又名《锯屑与金箔》）

1954年，《爱的一课》

1955年，《秋日之旅》、《夏夜的微笑》 （戛纳电影节最佳诙谐诗意奖）

1956年，35天完成《第七封印》（戛纳电影节评审团特别奖）

1957年，首次执导电视剧。编导电影《野草莓》（柏林电影节金熊奖）

1958年，《生命的门槛》（戛纳电影节最佳导演、最佳女演员）、《面孔》（美国上映时改名《魔术师》）

1960年，《處女之泉》（奥斯卡最佳外语片）、《魔鬼的眼睛》

1961年，《犹在镜中》直译为《穿過黑暗的玻璃》（奥斯卡最佳外语片）

1962年，《冬之光》

1963年，《沉默》

1964年，《这些女人们》

1966年，《假面》（伯格曼最费解的电影）

1968年，《狼的时刻》、《羞耻》

1969年，《仪式》（电视片）、《激情》（又名《安娜的激情》）

1969年，拍了一部纪录片

1971年，《接触》

1972年，54岁。《喊叫与耳语》（《呼喊和细语》奥斯卡最佳摄影——斯万.尼克维斯特）

1973年，《婚姻场景》

1975年，《魔笛》

1976年，《面对面》

1976年，4月，离开瑞典，过自我放逐式的生活。在慕尼黑编导《蛇蛋》

1977年，在挪威编导《秋光奏鸣曲》

1978年，60岁。与8个子女欢聚一堂。

1980年，《木偶生命》

1982年，《芬妮和亚历山大》（奥斯卡最佳外语片、最佳摄影、最佳艺术指导、最佳服装设计）

1982年，宣布退出影壇。

1983年，为电视台编导影片《排练之后》；拍摄纪录片《卡琳的面孔》以纪念母亲。

1984年，导演莎剧《李尔王》。

1985年，为电视台编导影片《受祝福的人》

1986年，写完自传《魔灯》；导演莎剧《哈姆雷特》

[编辑] 作品

[编辑] 電影作品

• 《危機》（Kris），1946年
• 《雨中情》（Det regnar på vår kärlek），1946年
• 《開往印度之船》（Skepp till India land），1947年
• 《黑暗中的音樂》（Musik i mörker），1948年
• 《停靠港》，（Hamnstad，又譯作《港口的呼喚》或《愛慾之港》），1948年
• 《牢獄》（Fängelse），1949年
• 《饑渴》（Törst，又譯為《三段奇怪的愛》或《三個陌生的情人》），1949年
• 《喜悅》（Till glädje，又譯為《歡樂頌》），1950年
• 《不能在此發生》（Sånt händer inte här，又譯為《高度緊張》），1950年
• 《夏日插曲》（Sommarlek，又譯為《夏日戀曲》），1951年
• 《女人的秘密》（Kvinnors väntan，又譯為《等待的女人》或《女人的期待》），1952年
• 《莫妮卡在夏天》（Sommaren med Monika，又譯作《不良少女莫妮卡》或《莫妮卡》），1953年
• 《裸夜》（Gycklarnas afton，又譯為《鋸屑與金箔》或《小丑之夜》），1953年
• 《愛的一課》（En Lektion i kärlek，或譯為《戀愛課程》），1954年
• 《秋日之旅》（Kvinnodröm），1955年
• 《夏夜微笑》（Sommarnattens leende，或譯為《夢》），1955年
• 《Bakomfilm smultronstället》，1957年
• 《第七封印》（Det Sjunde inseglet），1957年
• 《野草莓》（Smultronstället），1957年
• 《生命的邊緣》（Nära livet，又譯為《生命的門檻》），1958年
• 《面孔》（Ansiktet，又譯為《魔術師》），1958年
• 《處女之泉》（Jungfrukällan，又譯為《處女泉》），1960年
• 《魔鬼的眼睛》（Djävulens öga），1960年
• 《猶在鏡中》（Såsom i en spegel，又譯為《穿過黑暗的玻璃》），1961年
• 《冬之光》（Nattvardsgästerna，又譯為《冬日之光》），1962年
• 《沉默》（Tystnaden），1963年
• 《這些女人們》（För att inte tala om alla dessa kvinnor），1964年
• 《假面》（Persona），1966年
• 《刺激》（Stimulantia）中的其中一段〈Daniel〉，1967年
• 《狼的時刻》（Vargtimmen），1968年
• 《羞恥》（Skammen），1968年
• 《激情》（En Passion，又譯為《安娜的激情》、《安娜的情慾》或是《情事》），1969年
• 《接觸》（Beröringen），1971年
• 《哭泣與耳語》（Viskningar och rop，又譯為《呼喊和細語》或《喊叫與耳語》），1972年
• 《婚姻場景》（Scener ur ett äktenskap，又譯為《婚姻生活》），1973年
• 《面對面》（Ansikte mot ansikte），1976年
• 《蛇蛋》（The Serpent's Egg，又譯為《噩兆》），1977年
• 《秋光奏鳴曲》（Höstsonaten），1978年
• 《傀儡生活》（Aus dem Leben der Marionetten，又譯為《木偶生命》），1980年
• 《芬妮和亞歷山大》（Fanny och Alexander），1982年
• 《卡琳的面孔》（Karins ansikte），1984年
• 《紀錄芬妮和亞歷山大》（Dokument Fanny och Alexander），1986年

[编辑] 電視作品

• 《Herr Sleeman kommer》 (1957)
• 《Venetianskan》 (1958)
• 《狂犬病》（Rabies） (1958)
• 《Oväder》 (1960)
• 《Ett Drömspel》 (1963)
• 《唐璜》（Don Juan） (1965)
• 《儀式》（Riten，或譯《祭典》） (1969)
• 《法羅1969》（Fårödokument 1969） (1970)
• 《Misantropen》 (1974)
• 《魔笛》（Trollflöjten） (1975)
• 《法羅1979》（Fårö-dokument 1979） (1979)
• 《Hustruskolan》 (1983)
• 《排演之後》（Efter repetitionen） (1984)
• 《受祝福的人》（De Två saliga） (1986)
• 《薩德夫人》（Markisinnan de Sade） (1992)
• 《貝卡恩特納》（Backanterna） (1993)
• 《最後的加斯普》（Sista skriket） (1995)
• 《小丑面前》（Larmar och gör sig till，或譯《空虛和無法呼吸》） (1997)
• 《比爾德馬卡納》（Bildmakarna） (2000)
• 《夕陽舞曲》（Saraband，或譯《薩拉邦德》） (2003)

[编辑] 劇本

Hets (Frenzy or Torment in English) (1944) (Directed by Alf Sjöberg) Kvinna utan ansikte (Woman Without a Face) (1947) (Directed by Gustaf Molander) Eva (1948) (Directed by Gustaf Molander) Medan staden sover (While the City Sleeps) (1950) (Directed by Lars Erik Kjellgren) Frånskild (Divorced) (1951) (Directed by Gustaf Molander)

Sista paret ut (Last Pair Out or Last Couple Out) (1956) (Directed by Alf Sjöberg) Lustgården (The Pleasure Garden) (1961) (Directed by Alf Kjellin) The Best Intentions (1992) (Den goda viljan) (Directed by Bille August) Söndagsbarn (Sunday's Children) (1992) (Directed by Daniel Bergman) Enskilda samtal (Private Confessions) (1996) (Directed by Liv Ullmann) Faithless (2000) (Trolösa) (Directed by Liv Ullmann)

[编辑] 舞台劇與廣播劇

List of plays that Ingmar Bergman directed for the stage and/or radio theatre as per^[20]

Rosmersholm (radio theatre; 2004) The Pelican / Death Island (radio theatre; 2003) Ghosts (Dramaten; 2002) John Gabriel Borkman (radio theatre; 2001) Mary Stuart (Dramaten; 2000) The Ghost Sonata (Dramaten; 2000) Storm Weather (radio theatre; 1999) The Imagemakers (Dramaten; 1998) The Bacchae (Dramaten; 1996) Harald & Harald (Dramaten; 1996) Yvonne, Princess of Burgundy (Dramaten; 1995) The Misanthrope (Dramaten; 1995) The Winter's Tale (Dramaten; 1994) Goldberg Variations (Dramaten; 1994) The Time and the Room (Dramaten; 1993) The Last Gasp (SFI/Dramaten; 1993) Peer Gynt (Dramaten; 1991) The Bacchae (Royal Swedish Opera/SVT/CD; 1991) Miss Julie (BAM; 1991) A Spiritual Matter (radio theatre; 1990) A Doll's House (Dramaten; 1989) Madame de Sade (Dramaten; 1989 - also TV theatre 1992) Long Day's Journey into Night (Dramaten; 1988) Hamlet (Dramaten; 1986) A Dream Play (Dramaten; 1986) Miss Julie (Dramaten; 1985) John Gabriel Borkman (Residenztheater München; 1985) A Hearsay (radio theatre; 1984) The Dance of the Rainsnakes (Residenztheater München; 1984) King Lear (Dramaten; 1984) Dom Juan (Landestheater Salzburg/Cuvilliéstheater München; 1983) Nora/Julie/Scenes from a Marriage (Residenztheater/Marstall; 1981) Yvonne, Princess of Burgundy (Residenztheater München; 1980) Hedda Gabler (Residenztheater München; 1979) Tartuffe (Residenztheater München; 1979) Three Sisters (Residenztheater München; 1978) A Dream Play (Residenztheater München; 1977) Twelfth Night, or What You Will (Dramaten; 1975) To Damascus (Dramaten; 1974) The Misanthrope (Det Kongelige Teater/TV; 1973) The Ghost Sonata (Dramaten; 1973) The Wild Duck (Dramaten; 1972) Show (Dramaten; 1971) Hedda Gabler (Royal National Theatre/Cambridge Theatre; 1970) The Dream Play (Dramaten; 1970) Woyzeck (Dramaten; 1969) Six Characters in Search of an Author (Nationaltheatret; 1967) School for Wives/The Criticism of the School for Wives (Dramaten; 1966) The Investigation (Dramaten/radio theatre; 1966) Tiny Alice (Dramaten; 1965) Don Juan (Dramaten at Chinateatern; 1965) Hedda Gabler (Dramaten; 1964) Three Knives from Wei (Dramaten; 1964) The Legend (Dramaten; 1963) Who's Afraid of Virginia Woolf? (Dramaten; 1963) The Rake's Progress (Royal Swedish Opera; 1961) Playing with Fire (radio theatre; 1961) The Seagull (Dramaten; 1961) First Warning (radio theatre; 1960) The People of Värmland (Malmö City Theatre; 1958) He Who Nothing Owns (radio theatre; 1958) Ur-Faust (Malmö City Theatre; 1958) The Legend (Malmö City Theatre/radio theatre; 1958) The Misanthrope (Malmö City Theatre; 1957) Counterfeiters (radio theatre; 1957) The Prisoner (radio theatre; 1957) Peer Gynt (Malmö City Theatre; 1957) Erik XIV (Malmö City Theatre; 1956) Portrait of a Madonna (radio theatre; 1956) Cat on a Hot Tin Roof (Malmö City Theatre; 1956) The Tunnel (radio theatre; 1956) Everyman (radio theatre; 1956) Vox humana (radio theatre; 1956) The Poor Bride (Malmö City Theatre; 1956) Grandma and Our Lord (radio theatre; 1956) Leah and Rachel (Malmö City Theatre; 1955) The Monk Strolls in the Meadow (at ?; 1955) The Ball (radio theatre; 1955) Wood Painting (Malmö City Theatre, Intiman; 1955) The Tea House of the August Moon (Malmö City Theatre; 1955) Don Juan (Malmö City Theatre; 1955) The Apple-Tree Table (radio theatre; 1954) Twilight Games (Malmö City Theatre; 1954) The Merry Widow (Malmö City Theatre; 1954) Wood Painting (radio theatre; 1954) The Ghost Sonata (Malmö City Theatre; 1954)

The Castle (Malmö City Theatre, Intiman; 1953) Six Characters in Search of an Author (Malmö City Theatre, Intiman; 1953) The Dutchman (radio theatre; 1953) A Caprice (radio theatre; 1953) Unto My Fear (radio theatre; 1953) The Restless Heart (radio theatre; 1952) The Crown Bride (Malmö City Theatre; 1952) The Day Ends Early (radio theatre; 1952) Easter (radio theatre; 1952) Blood Wedding (radio theatre; 1952) Murder at Barjärna (Malmö City Theatre; 1952) Crimes and Crimes (radio theatre; 1952) The Guiltburden of the Night (radio theatre; 1952) The People of Värmland (radio theatre; 1951) The Rose Tattoo (Norrköping-Linköping City Theatre; 1951) Summer (radio theatre; 1951) The Country Girl (Folkparkerna; 1951) The City (radio theatre; 1951) Light in the Schack (Dramaten; 1951) A Shadow / Medea (Intiman; 1950) The Three-penny Opera (Intiman; 1950) Divine Words (Gothenburg City Theatre; 1950) Come Up Empty (radio theatre; 1949) A Streetcar Named Desire (Gothenburg City Theatre; 1949) The Restless Heart (Gothenburg City Theatre; 1949) Mother Love (at ?; 1948) Thieves' Carnival (Gothenburg City Theatre; 1948) Lodolezzi Sings (radio theatre; 1948) Macbeth (Gothenburg City Theatre; 1948) Dancing on the Pier (Gothenburg City Theatre; 1948) Playing with Fire (radio theatre; 1947) Unto My Fear (Gothenburg City Theatre; 1947) The Waves (radio theatre; 1947) Magic (Gothenburg City Theatre; 1947) The Dutchman (radio theatre; 1947) The Day Ends Early (Gothenburg City Theatre; 1947) Summer (radio theatre; 1946) Caligula (Gothenburg City Theatre; 1946) Rachel and the Cinema Doorman (Malmö City Theatre; 1946) Requiem (Helsingborg City Theatre/radio theatre; 1946) The Pelican (Malmö City Theatre, Intiman; 1945) Rabies (Helsingborg City Theatre/radio theatre; 1945) Jacobowsky and the Colonel (Helsingborg City Theatre; 1945) Reduce Morals (Helsingborg City Theatre; 1945) The Legend (Helsingborg City Theatre; 1945) Kriss-Krass-Filibom: New Year's Cabaret (Helsingborg City Theatre; 1945) The Tinder Box (Helsingborg City Theatre; 1944) Macbeth (Helsingborg City Theatre; 1944) When the Devil Makes an Offer (Helsingborg City Theatre; 1944) The Ascheberg Widow at Wittskövle (Helsingborg City Theatre; 1944) Little Red Riding Hood (Boulevardteatern; 1944) The Gambling Hall/Mr. Sleeman Cometh (Borgarskolan; 1944) The Hotel Room (Boulevardteatern; 1944) The Fun Fair (Kårhusscenen; 1943) Niels Ebbesen (Borgarskolan; 1943) En däjlig rosa (A beautiful rose) (Folkparkerna; 1943) Geography and Love (Folkparkerna; 1943) Just Before Awakening (Kårhusscenen; 1943) U-boat 39 (Dramatikerstudion; 1943) When the Devil Makes an Offer (SU - Student Theatre; 1943) A Midsummer Night's Dream (Norra Latin; 1942) Death of Punch (SU - Student Theatre; 1942) Beppo the Clown (Medborgarhuset/Folkparkerna; 1942) Little Red Riding Hood (Medborgarhuset/Folkparkerna; 1942) Sniggel snuggel / The Three Stupidities (Medborgarteatern - Sagoteatern; 1942) Bluebird (Medborgarteatern - Sagoteatern; 1941) A Midsummer Night's Dream (Medborgarteatern - Sagoteatern; 1941) A Ghost Sonata (Medborgarteatern; 1941) The Tinder Box (Medborgarhuset; 1941) The Father (Folke Walder's tour at Kårhusscenen; 1941) Swanwhite (Mäster Olofs-gården; 1940) The Merchant of Venice (Norra Latin; 1940) The Pelican (Kårhusscenen; 1940) Return (at ?; 1940) The Hour Glass/The Pot of Broth (Stortorget 3 IV; 1940) Macbeth (Mäster-Olofs-gården; 1940) The Black Glove (Mäster Olofs-gården; 1940) In Betlehem (Mäster Olofs-gården; 1940) The Man Who Lived His Life Over (Mäster Olofs-gården; 1939) Christmas/Advent (Mäster Olofs-gården; 1939) Autumn Rhapsody/The Romantics (Mäster Olofs-gården; 1939) Evening Cabaret For the Entire Family (Mäster Olofs-gården; 1939) Lucky Per's Journey (Mäster Olofs-gården; 1939) The Hangman/The Golden Chariot (Mäster Olofs-gården; 1939) Outward Bound (Mäster Olofs-gården; 1938)

[编辑] 參照

• 瑞典電影列表
• 導演列表

[编辑] 參考文獻

[编辑] 相關文獻

• Bergman on Bergman: Interviews with Ingmar Bergman. By Stig Björkman, Torsten Manns, and Jonas Sima; Translated by Paul Britten Austin. Simon & Schuster, New York. Swedish edition copyright 1970; English translation 1973.
• Filmmakers on filmmaking : the American Film Institute seminars on motion pictures and television (edited by Joseph McBride). Boston, Houghton Mifflin Co., 1983.
• Images: my life in film, Ingmar Bergman, Translated by Marianne Ruuth. New York, Arcade Pub., 1994, ISBN 1-55970-186-2
• The Magic Lantern, Ingmar Bergman, Translated by Joan Tate New York, Viking Press, 1988, ISBN 0-670-81911-5

All of Bergman's original screenplays for films directed by himself, from Through a Glass Darkly onwards—and the screenplays he has penned since the 1980s for other directors—have been published in Swedish and most of them translated into English and other languages. Some of his screenplays have also come to use in stage theatre, often without the knowledge or license of the author (e.g. Scenes from a Marriage, Smiles of a Summer Night, After the Rehearsal).

In 1968, when the Swedish film magazine Chaplin published an "anti-Bergman issue" to clear the air from the slightly suffocating presence of the genius director, who was collecting Oscars and Palmes d'Or by the handful, Bergman secretly contributed one of the more acerbic pieces, signed by "the French film critic Ernest Riffe". The word soon began to spread that he was the author himself, and though he half-heartedly denied this, in Bergman on Bergman he admits to the truth of the allegation.

[编辑] 延伸閱讀

• 陳少聰譯著，《柏格曼與第七封印》，1986，爾雅出版社
• 英格瑪.柏格曼著，劉森堯譯，《柏格曼自傳》，1991，遠流出版社
• 英格瑪.柏格曼著，韓良憶譯，《柏格曼論電影》，1994，遠流出版社
• 姚立群，《英格瑪.柏格曼回顧展》，1994，國家電影資料館
• 沙永玲譯，《英格瑪.柏格曼》，1994，國家電影資料館
• 英格瑪.柏格曼著，鴻鴻譯，《婚姻場景》，2000，唐山出版社

[编辑] 外部連結

[编辑] 簡介

• Ingmar Bergman 在網際網路電影資料庫的相关信息

• Ingmar Bergman官方網站
• 瑞典电影大师英格玛·伯格曼辞世专题，新浪网
• 魔灯熄灭 大师长眠:瑞典电影巨匠英格玛-伯格曼逝世
• 台灣電影筆記中的專題企劃：電影大師—柏格曼
• （英文） （瑞典文）

Ingmar Bergman Face to Face

• The Ingmar Bergman Foundation
• A presentation of Ingmar Bergman from the website Sweden.se.
• Bergmanorama: The magic works of Ingmar Bergman
• The Religious Affiliation of Ingmar Bergman
• Senses of Cinema: Great Directors Critical Database
• Wings Of Desire Bergman site
• Brief biography at Kirjasto (Pegasos)
• Ingmar Bergman Swedish Posters
• Interview footage of film historian Peter Cowie speaking about Bergman and Winter Light

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