One of the key scenes is already in place: 'What's the point of being an artist. A few pages further on in his workbook we find words that are highly relevant to the film: 'Talk to each other', 'Eroticism', 'Testimony', 'Facial studies', etc. The subsequent writing appears to have been swift. Persona has often been regarded as a watershed in Bergman's career, a new start, just as he had prescribed for himself. These early notes constitute a unique summary of the film.
So she has been an actress – is that acceptable, perhaps And then she fell silent. Not to contrive not to incite not to cause a fuss but to start from the beginning with my new if I have one. What is it that I want from this, yes, to start from the beginning. The broad forehead, severity, eyes survey the childishness. The first notes for what was to become Persona were written on 12 April 1965:ĭejection and sorrow and tears which change to powerful outburts of joy. Photo: Jens Gustafsson © Stiftelsen Ingmar Bergman In many ways, Persona became an illustration of this essay (or vice-versa, perhaps), to the extent that The Snakeskin was published as the preface to the American version of the screenplay. Entitled The Snakeskin, the essay summarised Bergman's broodings during his stay in hospital and his feelings about art. Prevented by illness from attending the ceremony, he wrote an essay that was read out in Amsterdam by the head of SF, Kenne Fant.
The owner of the flea circus, as you might be aware, has a habit of letting his artists suck his blood.'ĭuring the same period Bergman was awarded the Erasmus Prize (which he shared with Charlie Chaplin). At the same time they have still managed to keep on tormenting and embarrassing my private life. And they have been forced to make themselves useful. I have always had the ability to attach my demons to my chariot. Although I am a neurotic person, my relation to my profession has always been astonishingly non-neurotic. 'It was not a case of developing an aversion to my professional life. In poor shape, both physical and psychological, he started to question the role of art in general, and his own work in particular.īergman writing in Images: My Life in Film: In the spring of 1965 he was admitted to Sophiahemmet, the royal hospital, where he began to write the screenplay for Persona, 'mainly to keep my hand in the creative process.' It was to prove a very demanding job indeed: with the entire company in need of reorganisation, he found himself in an 'insoluble and incomprehensibly chaotic situation.' Against his better judgement, he did not cut back on his film work and ended up paying the price: double pneumonia and acute penicillin poisoning. In January 1963 Ingmar Bergman was appointed head of the Royal Dramatic Theatre.
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