Ingmar Bergman – Difficult Model of Conditionality

Abstract

Dramaturgical building and the meaning of the key concept of the film is one of the most important topics and a subject of research in modern cinema.

The article discusses some characteristics of Ingmar Bergman’s dramaturgy’s metaphysics, which follows the mainstream of the development of the story and nature of the characters. It is united by Psychoanalysis. Such arrangement is a part of the director’s vision and it comes from his scripts (“The Seventh Seal”, “Fanny and Alexander”, “Scenes from a Marriage”), but in each one we can find motives of existential matter changed and interpreted by Bergman.

This range is so expressive and has such an ability to bring something new to talk about in every era, that in every film we can see how Bergman found a compatible artistic face for tragedy and psychological drama. He created a scheme, which gives us similarities in every environment and character’s nature. This leaves us an unusually big space for analysis.

Therefore, Bergman’s theme of the unity of life and death, youth and old age is one complete dramaturgical structure, a model of a world, created from details, to which he dedicates his work.

Researching this subject gives us the ability to have a completely different face of expression as a tradition. Ingmar Bergman established it newly with united vision of literary and historical associations. Ancient drama and mythos come alive in psychological drama as one of the forms of the lives of Bergman’s characters, a way of displaying their nature and tragedy.

This way of thinking requires very difficult and big resources from the author – this was how Ingmar Bergman was thinking in dramaturgy, a master of psychological drama.