ABSTRACT

The actors who played in Bergman's films and theatre performances weren't shaped by him and didn't belong to him, like the actors who acted for some other great European directors during the second half of the Nineteenth century. No ideology, no theory connected the actors to Bergman. They were professional artists, yet it is difficult to discern a common technique, they made that technique into something individual. It is impossible to distinguish their creativity from their technical skills. Maybe a common ground is the importance of the language; they combined stylization with realism, and many of them didn't regard psychology as a starting point when creating a character. Italians readers may get some understanding of these actors’ way of acting by reading the diaries written by the great actor Erland Josephson, collected and translated into Italian as: Erland Josephson, Memorie di un Attore, Bulzoni, Roma, 2002.

BIOGRAFIA

Vanda Monaco Westerståhl attrice, regista e drammaturga, inizia la sua attività in Italia dedicandosi agli studi teatrali, per impegnarsi in seguito nella pratica concreta della scena. La sua attività si svolge tra la Svezia, dove vive, l’Italia e gli Stati Uniti. Ha scritto La repubblica a teatro: momenti italiani 1796- 1860, Firenze, Le Monnier, 1967; Giambattista Lorenzi e la Commedia per musica, Napoli, Arturo Berisio Editore, 1968; Contro il teatro popolare, Roma, Sapi, 1968; Grotowski o della negazione, Roma, Samonà e Savelli, 1972; La contaminazione teatrale: momenti di spettacolo napoletano dagli anni cinquanta ad oggi, Bologna, Patron, 1981. Ha curato le Memorie di un attore di Erland Josephson, Roma, Bulzoni, 2002. vanda.monaco@gmail.com www.vandamonaco.com

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