Ingmar Bergman is so recognisable as perhaps one of the greatest auteur filmmakers of the twentieth century that his even more prolific career in the theatre is often considered to be of secondary importance. However, Bergman once claimed that “between my job at the theatre and my job in the film studio it has always been a very short step indeed.”1 Leif Zern, one of Bergman’s most prominent critics, once observed that “no other film director after the breakthrough of the sound film has been so influenced by the theatre.”2 Bergman’s work in . . .
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