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The Diva and the Demon: Ingmar Bergman Directs The Rose Tattoo
Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies, Musicology and Performance Studies.
2012 (English)In: New Theatre Quarterly - NTQ, ISSN 0266-464X, E-ISSN 1474-0613, Vol. 28, no 1, 56-66 p.Article in journal (Refereed) Published
Abstract [en]

In this article Dirk Gindt discusses Ingmar Bergman’s 1951 production of Tennessee Williams’s The Rose Tattoo in the small Swedish town of Norrköping, demonstrating how Bergman methodically ignored the tragicomic nature of the play in order to develop and exaggerate its comic and grotesque elements. After extensive cuts and alterations in the script, the character Serafina delle Rose became even more overpowering than in the original text and dominated the action from beginning to end. Karin Kavli, a leading lady in Swedish post-war theatre and a frequent collaborator with Bergman, played the character not as a mourning widow but as a possessed disciple of Dionysus in an unabashedly entertaining and sexualized production which, despite reservations from critics, became a success with audiences.

Place, publisher, year, edition, pages
2012. Vol. 28, no 1, 56-66 p.
Keyword [en]
Tennessee Williams, Karin Kavli, Swedish post-war theatre, the grotesque, sexuality
National Category
Performing Arts
Research subject
Theatre Studies
URN: urn:nbn:se:su:diva-71919DOI: 10.1017/S0266464X1200005XISI: 000303211700005OAI: diva2:487169
Available from: 2012-01-31 Created: 2012-01-31 Last updated: 2012-10-02Bibliographically approved

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