Název: The temporality of truth : deception and self-deception in Ingmar Bergman's The Best Intentions
Zdrojový dokument: Theatralia. 2019, roč. 22, č. 1, s. 31-44
Rozsah
31-44
-
ISSN1803-845X (print)2336-4548 (online)
Trvalý odkaz (DOI): https://doi.org/10.5817/TY2019-1-3
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/141176
Type: Článek
Jazyk
Licence: Neurčená licence
Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.
Abstrakt(y)
Ingmar Bergman's novel, The Best Intentions, is about the life and love of his parents. In transforming his parents into the characters, Henrik and Anna, Bergman offers a compelling analysis of the driving forces behind their real-life actions and choices. The paper draws from the work of the Danish philosopher, Søren Kierkegaard, to demonstrate the way that Bergman's analysis is connected to a particular understanding of the dynamics of the self. I ask: how and why are Bergman's two characters led to deception and self-deception during the most critical years of their lives? Bergman's intuitions about the embodied, relational self arguably have to do with his experience as a stage director. Through his work, he is aware of the way that players distinguish between their own selves and the roles, characters, voices, and identities they perform. Bergman exploits the techniques, concepts, and metaphors of the theater in the narration of this story of a 'life catastrophe'.
Note
I am grateful to The Danish-American Fulbright Commission and to Niels Bohr Fondet and Ragna Rask-Nielsens Grundforskningsfond under the Royal Danish Academy of Sciences and Letters for funding this study.
Reference
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[2] BERGMAN, Ingmar. 1991. Den goda viljan. Stockholm: Norstedts Förlag, 1991.
[3] BERGMAN, Ingmar. 1991/2018. The Best Intentions. New York: Arcade Publishing, 2018.
[4] BRANAGH, Kenneth. 1988. Henry V. In Jackson R. and R. Smallwood (eds.): Players of Shakespeare, II. Further Essays in Shakespearean Performance by Players with the Royal Shakespeare Company. Cambridge: Cambridge University Press, 1988.
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[6] COLLINGWOOD, Robin George. 1938. The Principles of Art. Oxford: Clarendon Press, 1938.
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[10] HANSON, Jeffrey. 2010. Introduction. In Jeffrey Hanson (ed.). Kierkegaard as Phenomenologist. An Experiment. Evanston: Northwestern University Press, 2010.
[11] HASTRUP, Kirsten. 2004. Action. Anthropology in the Company of Shakespeare. København: Museum Tusculanum Press, 2004.
[12] HOLMBERG, Jan. 2018. Författaren Ingmar Bergman. Stockholm: Norstedts, 2018.
[13] KIERKEGAARD, Søren. 1844/1980. The Concept of Anxiety: A Simple Psychologically Orienting Deliberation on the Dogmatic Issue of Hereditary Sin. Princeton, NJ: Princeton University Press, 1980.
[14] KIERKEGAARD, Søren. 1849/2004. The Sickness unto Death. London: Penguin Books, 2004.
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[16] PERREGAARD, Bettina. 2018. Om stemmen, kroppen og personlighedens bindende magt i den mundtlige fortælling. In Tanya K. Christensen, Christina Fogtmann, Torben Juel Jensen, Martha Sif Karrebæk, Marie Maegaard, Nicolai Pharao and Pia Quist (eds.). Dansk til det 21. Århundrede – Sprog og samfund. København: U Press, 2018.
[17] RYLANCE, Mark and Mary McCartney. 2016. Twelfth Night. London: Heni Publishing, 2016.
[18] STANISLAVSKI, Constantin. 1936/2003. An Actor Prepares. London: Routledge, 2003.
[19] SØLTOFT, Pia. 2017. Kierkegaards kabinet. En nutidig introduktion. København: Akademisk Forlag, 2017.
[20] TENGELYI, László. 2012. Action and selfhood: a narrative interpretation. In Dan Zahavi (ed.). The Oxford Handbook of Contemporary Phenomenology. Oxford: Oxford University Press, 2012: 265–286.
[21] WELZ, Claudia. 2011. Puzzles of Self-Deception and Problems of Orientation: Kierkegaard and the Current Debate in the Philosophy of Psychology. Kierkegaard Studies Yearbook 2011(1): 157–180. | DOI 10.1515/9783110236514.157
[2] BERGMAN, Ingmar. 1991. Den goda viljan. Stockholm: Norstedts Förlag, 1991.
[3] BERGMAN, Ingmar. 1991/2018. The Best Intentions. New York: Arcade Publishing, 2018.
[4] BRANAGH, Kenneth. 1988. Henry V. In Jackson R. and R. Smallwood (eds.): Players of Shakespeare, II. Further Essays in Shakespearean Performance by Players with the Royal Shakespeare Company. Cambridge: Cambridge University Press, 1988.
[5] COLE, Toby and Helen KRICH CHINOY (eds.). 1949. Actors on Acting. New York: Three Rivers Press, 1949.
[6] COLLINGWOOD, Robin George. 1938. The Principles of Art. Oxford: Clarendon Press, 1938.
[7] COLLINGWOOD, Robin George. 1946/2005. The Idea of History. Oxford: Oxford University Press, 2005.
[8] GALLAGHER, Shaun (ed.). 2011. The Oxford Handbook of the Self. Oxford: Oxford University Press, 2011.
[9] GRØN, Arne. 2010. Self-Givenness and Self-Understanding: Kierkegaard and the Question of Phenomenology. In Jeffrey Hanson (ed.) Kierkegaard as Phenomenologist. An Experiment. Evanston: Northwestern University Press, 2010.
[10] HANSON, Jeffrey. 2010. Introduction. In Jeffrey Hanson (ed.). Kierkegaard as Phenomenologist. An Experiment. Evanston: Northwestern University Press, 2010.
[11] HASTRUP, Kirsten. 2004. Action. Anthropology in the Company of Shakespeare. København: Museum Tusculanum Press, 2004.
[12] HOLMBERG, Jan. 2018. Författaren Ingmar Bergman. Stockholm: Norstedts, 2018.
[13] KIERKEGAARD, Søren. 1844/1980. The Concept of Anxiety: A Simple Psychologically Orienting Deliberation on the Dogmatic Issue of Hereditary Sin. Princeton, NJ: Princeton University Press, 1980.
[14] KIERKEGAARD, Søren. 1849/2004. The Sickness unto Death. London: Penguin Books, 2004.
[15] LØGSTRUP, Knud Ejler. 1978/2008. Skabelse og Tilintetgørelse. København: Gyldendal, 2008.
[16] PERREGAARD, Bettina. 2018. Om stemmen, kroppen og personlighedens bindende magt i den mundtlige fortælling. In Tanya K. Christensen, Christina Fogtmann, Torben Juel Jensen, Martha Sif Karrebæk, Marie Maegaard, Nicolai Pharao and Pia Quist (eds.). Dansk til det 21. Århundrede – Sprog og samfund. København: U Press, 2018.
[17] RYLANCE, Mark and Mary McCartney. 2016. Twelfth Night. London: Heni Publishing, 2016.
[18] STANISLAVSKI, Constantin. 1936/2003. An Actor Prepares. London: Routledge, 2003.
[19] SØLTOFT, Pia. 2017. Kierkegaards kabinet. En nutidig introduktion. København: Akademisk Forlag, 2017.
[20] TENGELYI, László. 2012. Action and selfhood: a narrative interpretation. In Dan Zahavi (ed.). The Oxford Handbook of Contemporary Phenomenology. Oxford: Oxford University Press, 2012: 265–286.
[21] WELZ, Claudia. 2011. Puzzles of Self-Deception and Problems of Orientation: Kierkegaard and the Current Debate in the Philosophy of Psychology. Kierkegaard Studies Yearbook 2011(1): 157–180. | DOI 10.1515/9783110236514.157