Ingmar Bergman: A Life in the Theatre by Lise-Lone Marker and Frederick J. Marker (review)

Book Reviews LISE-LONE MARKER and FREDERICK J. MARKElL lngmar Bergman: A Life in the Theatre. Cambridge: Cambridge University Press t992. pp. xx, 323, illustrated. $59.95; $18.95 (PB). It is not often that the second edition of a book deserves a second review, but such is certainly the case with the Markers' most recent volume, lngmar Bergman: A Life in the Theatre. This is a revised and expanded edition of their [ngmar Bergman: Four Decades in (he Theatre. published "some eleven years and fifteen productions ago" (xv). In these years Bergman has grown from strength to strength. Both his Gennan productions of the early 19805 and the subsequent series of works he directed at the Royal Dramatic Theatre must indisputedly be ranked among his most importanl accomplishments. Fresh interpretations of such current favorites of his as A Dream Play, Don Juan, and Peer Gym have. each in a quite different way, altered accepted views of these classics in performance. In addition, however, he has explored a broad stretch of new territory in later years. ranging from plays by Shakespeare, Ibsen, and Strindberg to works by several twentieth-century dramatists , including Per Olov Enquist. Eugene O'Neill, Yukio Mishima, and Bergman himself (xv). The authors do not attempt to discuss all of Bergman's work a.s theatre director; they concentrate on "major productions of the works of certain key playwrights who have continued to hold a central place in his theater poetics" (xvi). Bergman, for example, is known for his ability to simplify complicated dramatic action and to render it clearly understandable. Thus the audience can 'receive" the play totally and discover its inner spirit. Bergman also had an uncanny ability of making a play from the past speak to us over time. The audience is immediately engaged. Modern Drama, 38 (1995) 416 Book Reviews 417 What is the Markers' method of coming to terms with a Bergman production? Bergman and the Markers have become such friends over the years that he has permitted them to attend many rehearsals. Hence very often their judgments are based on firsthand observations and vivid memories of exciting moments in a particular production. They also try to confirm their own impressions as much as possible with the help of newspaper critics, who often register "the impact that a given theatrical momen~ had on its first audiences" (xvii). And, of course, the Markers had access to many of the actors long associated with Bergman and to the notes and work scripts of assistant directors. The meticulous scholarship which we have come to expect from all of the Markers" work is clearly evident on every page. Nothing is omitted which might contribute to a. true picture and thorough understanding of the great dramatic works Bergman deals with. Of course, the Markers realize that they are only two individuals who may have special points of view. So they cau.tion, "the viewpoints expressed and the conclusions drawn ... are entirely our own" (xix). Now a brief summary of the contents of the book. The introductory chapter is entitled "The magic triangle" (I) and is concerned with the three elements Bergman thinks necessary for a play to worle "a text, actors, and an audience" (3). The actor's job is to engage the audience as directly and powerfully as possible. The actor alone is responsible for bringing the text to life for his audience. Nothing should stand in the way of this magical interchange between actor and audience; hence, "the false reality of a scrupulously 'life-like' setting holds no place in his [Bergman's) method" (3). Simplicity and suggestion are all-important. A long interview dealing with Bergman's implied philosophy of theater and the nature of theatrical communication (6) makes up the first chapter. "Once you agree that the only important things are the words, the actors, and the audience, then it isn't the setting that matters. The actors must materialize before the eyes of the audience" (20). Five chapters follow (2-6), detailing the development of Bergman's craft. The "First Seasons" in the thirties and fonies in Stockholm, Hiilsingborg and Gothenborg are noted with some emphasis on the contrasting productions ofMacbeth in...