Coordinates	55°45′06″N37°37′04″N
name	Henrik Ibsen
birth name	Henrik Johan Ibsen
birth date	March 20, 1828
birth place	Skien, Norway
death date	May 23, 1906
death place	Christiania (Oslo), Norway
occupation	Playwright, poet, theatre director
nationality	Norwegian
genre	Naturalism Realism
notableworks	''Peer Gynt'' (1867)''A Doll's House'' (1879)''Ghosts'' (1881)''An Enemy of the People'' (1882)''The Wild Duck'' (1884)''Hedda Gabler'' (1890)
influences	Kierkegaard Brandes Jacobsen Strindberg
influenced	Chekhov Stanislavski Shaw Brandes Antoine Lugné-Poe Freud Joyce Miller Williams RayStrindberg||
signature	Henrik Ibsen's signature.png }}

Henrik Ibsen (; 20 March 1828 – 23 May 1906) was a major 19th-century Norwegian playwright, theatre director, and poet. He is often referred to as "the father" of modern drama and is one of the founders of Modernism in the theatre. His major works include ''Brand'', ''Peer Gynt'', ''An Enemy of the People'', ''Emperor and Galilean'', ''A Doll's House'', ''Hedda Gabler'', ''Ghosts'', ''The Wild Duck'', and ''Rosmersholm''.

Several of his plays were considered scandalous to many of his era, when European theater was required to model strict mores of family life and propriety. Ibsen's work examined the realities that lay behind many façades, revealing much that was disquieting to many contemporaries. It utilized a critical eye and free inquiry into the conditions of life and issues of morality. The poetic and cinematic play ''Peer Gynt'', however, has strong surreal elements.

Ibsen is often ranked as one of the truly great playwrights in the European tradition. Richard Hornby describes him as "a profound poetic dramatist—the best since Shakespeare". He influenced other playwrights and novelists such as George Bernard Shaw, Oscar Wilde, James Joyce, and Eugene O'Neill. Many critics consider him the greatest playwright since Shakespeare.

Although most of his plays are set in Norway—often in places reminiscent of Skien, the port town where he grew up—Ibsen lived for 27 years in Italy and Germany, and rarely visited Norway during his most productive years.

Family and youth

Ibsen was born to Knud Ibsen and Marichen Altenburg, a well-to-do merchant family, in the small port town of Skien in Telemark county, a city which was noted for shipping timber. As he wrote in an 1882 letter to critic and scholar Georg Brandes, "my parents were members on both sides of the most respected families in Skien", explaining that he was closely related with "just about all the patrician families who then dominated the place and its surroundings", mentioning the families Paus, Plesner, von der Lippe, Cappelen and Blom. According to Einar Ingvald Haugen, "there is more than a touch of pride in his bourgeois background in this enumeration of names whose very form associates them with the more or less foreign ancestry of the Norwegian upper middle class". Ibsen's grandfather, ship's captain Henrich Ibsen, had died at sea in 1797, and Knud Ibsen was raised on the estate of ship-owner Ole Paus, after his mother Johanne (née Plesner) remarried.

Knud Ibsen came from a long line of seamen (captains), but decided to become a merchant, having initial success. His marriage to Marichen Altenburg was "an excellent family arrangement. Marichen's mother and Knud's step-father were sister and brother, and the bride and groom, who had grown up together, were practically regarded as sister and brother themselves. Marichen Altenburg was a fine catch, the daughter of one of the wealthiest merchants in the prosperous lumber town of Skien." When Henrik Ibsen was around seven years old, however, his father's fortunes took a significant turn for the worse, and the family was eventually forced to sell the major Altenburg building in central Skien and move permanently to their small summer house, Venstøp, outside of the city. His bankruptcy made Knud Ibsen a moody and embittered man who turned to alcoholism, and Marichen became a recluse who found solace in piety. Henrik's sister Hedvig would write about their mother: "She was a quiet, lovable woman, the soul of the house, everything to her husband and children. She sacrificed herself time and again. There was no bitterness or reproach in her." Marichen Altenburg was "small, brunette, and dark-complexioned, and the only existing likeness of her, a silhoutte, bears out the tradition that she was beautiful". The Ibsen family eventually moved to a city house, Snipetorp, owned by Knud Ibsen's half-brother, wealthy banker and ship-owner Christopher Blom Paus.

His déclassé background would have a strong influence on Ibsen's later work; the characters in his plays often mirror his parents, and his themes often deal with issues of financial difficulty as well as moral conflicts stemming from dark secrets hidden from society. Ibsen would both model and name characters in his plays after his own family.

At fifteen, Ibsen was forced to leave school. He moved to the small town of Grimstad to become an apprentice pharmacist and began writing plays. In 1846, when Ibsen was age 18, a liaison with a servant produced an illegitimate child, whose upbringing Ibsen had to pay for until the boy was in his teens, though Ibsen never saw the boy. Ibsen went to Christiania (later renamed Oslo) intending to matriculate at the university. He soon rejected the idea (his earlier attempts at entering university were blocked as he did not pass all his entrance exams), preferring to commit himself to writing. His first play, the tragedy ''Catiline'' (1850), was published under the pseudonym "Brynjolf Bjarme", when he was only 20, but it was not performed. His first play to be staged, ''The Burial Mound'' (1850), received little attention. Still, Ibsen was determined to be a playwright, although the numerous plays he wrote in the following years remained unsuccessful. Ibsen's main inspiration in the early period, right up to ''Peer Gynt'', was apparently Norwegian author Henrik Wergeland and the Norwegian folk tales as collected by Peter Christen Asbjørnsen and Jørgen Moe. In Ibsen's youth, Wergeland was the most acclaimed, and by far the most read, Norwegian poet and playwright.

Life and writings

He spent the next several years employed at Det norske Theater (Bergen), where he was involved in the production of more than 145 plays as a writer, director, and producer. During this period, he did not publish any new plays of his own. Despite Ibsen's failure to achieve success as a playwright, he gained a great deal of practical experience at the Norwegian Theater, experience that was to prove valuable when he continued writing.

Ibsen returned to Christiania in 1858 to become the creative director of the Christiania Theatre. He married Suzannah Thoresen on 18 June 1858 and she gave birth to their only child Sigurd on 23 December 1859. The couple lived in very poor financial circumstances and Ibsen became very disenchanted with life in Norway. In 1864, he left Christiania and went to Sorrento in Italy in self-imposed exile. He was not to return to his native land for the next 27 years, and when he returned it was as a noted, but controversial, playwright.

His next play, ''Brand'' (1865), was to bring him the critical acclaim he sought, along with a measure of financial success, as was the following play, ''Peer Gynt'' (1867), to which Edvard Grieg famously composed incidental music and songs. Although Ibsen read excerpts of the Danish philosopher Søren Kierkegaard and traces of the latter's influence are evident in ''Brand'', it was not until after ''Brand'' that Ibsen came to take Kierkegaard seriously. Initially annoyed with his friend Georg Brandes for comparing Brand to Kierkegaard, Ibsen nevertheless read ''Either/Or'' and ''Fear and Trembling''. Ibsen's next play ''Peer Gynt'' was consciously informed by Kierkegaard.

With success, Ibsen became more confident and began to introduce more and more of his own beliefs and judgments into the drama, exploring what he termed the "drama of ideas". His next series of plays are often considered his Golden Age, when he entered the height of his power and influence, becoming the center of dramatic controversy across Europe.

left|thumb|170px|Ibsen photographed in Dresden ca. 1870Ibsen moved from Italy to Dresden, Germany in 1868, where he spent years writing the play he regarded as his main work, ''Emperor and Galilean'' (1873), dramatizing the life and times of the Roman emperor Julian the Apostate. Although Ibsen himself always looked back on this play as the cornerstone of his entire works, very few shared his opinion, and his next works would be much more acclaimed. Ibsen moved to Munich in 1875 and published ''A Doll's House'' in 1879. The play is a scathing criticism of the marital roles accepted by men and women which characterized Ibsen's society.

''Ghosts'' followed in 1881, another scathing commentary on the morality of Ibsen's society, in which a widow reveals to her pastor that she had hidden the evils of her marriage for its duration. The pastor had advised her to marry her fiancé despite his philandering, and she did so in the belief that her love would reform him. But his philandering continued right up until his death, and his vices are passed on to their son in the form of syphilis. The mention of venereal disease alone was scandalous, but to show how it could poison a respectable family was considered intolerable.

In ''An Enemy of the People'' (1882), Ibsen went even further. In earlier plays, controversial elements were important and even pivotal components of the action, but they were on the small scale of individual households. In ''An Enemy'', controversy became the primary focus, and the antagonist was the entire community. One primary message of the play is that the individual, who stands alone, is more often "right" than the mass of people, who are portrayed as ignorant and sheeplike. Contemporary society's belief was that the community was a noble institution that could be trusted, a notion Ibsen challenged. In ''An Enemy of the People'', Ibsen chastised not only the conservatism of society, but also the liberalism of the time. He illustrated how people on both sides of the social spectrum could be equally self-serving. ''An Enemy of the People'' was written as a response to the people who had rejected his previous work, ''Ghosts''. The plot of the play is a veiled look at the way people reacted to the plot of ''Ghosts''. The protagonist is a physician in a vacation spot whose primary draw is a public bath. The doctor discovers that the water is contaminated by the local tannery. He expects to be acclaimed for saving the town from the nightmare of infecting visitors with disease, but instead he is declared an 'enemy of the people' by the locals, who band against him and even throw stones through his windows. The play ends with his complete ostracism. It is obvious to the reader that disaster is in store for the town as well as for the doctor.

As audiences by now expected of him, his next play again attacked entrenched beliefs and assumptions; but this time, his attack was not against society's mores, but against overeager reformers and their idealism. Always an iconoclast, Ibsen was equally willing to tear down the ideologies of any part of the political spectrum, including his own.

''The Wild Duck'' (1884) is by many considered Ibsen's finest work, and it is certainly the most complex. It tells the story of Gregers Werle, a young man who returns to his hometown after an extended exile and is reunited with his boyhood friend Hjalmar Ekdal. Over the course of the play, the many secrets that lie behind the Ekdals' apparently happy home are revealed to Gregers, who insists on pursuing the absolute truth, or the "Summons of the Ideal". Among these truths: Gregers' father impregnated his servant Gina, then married her off to Hjalmar to legitimize the child. Another man has been disgraced and imprisoned for a crime the elder Werle committed. Furthermore, while Hjalmar spends his days working on a wholly imaginary "invention", his wife is earning the household income.

Ibsen displays masterful use of irony: despite his dogmatic insistence on truth, Gregers never says what he thinks but only insinuates, and is never understood until the play reaches its climax. Gregers hammers away at Hjalmar through innuendo and coded phrases until he realizes the truth; Gina's daughter, Hedvig, is not his child. Blinded by Gregers' insistence on absolute truth, he disavows the child. Seeing the damage he has wrought, Gregers determines to repair things, and suggests to Hedvig that she sacrifice the wild duck, her wounded pet, to prove her love for Hjalmar. Hedvig, alone among the characters, recognizes that Gregers always speaks in code, and looking for the deeper meaning in the first important statement Gregers makes which does not contain one, kills herself rather than the duck in order to prove her love for him in the ultimate act of self-sacrifice. Only too late do Hjalmar and Gregers realize that the absolute truth of the "ideal" is sometimes too much for the human heart to bear.

Late in his career, Ibsen turned to a more introspective drama that had much less to do with denunciations of society's moral values. In such later plays as ''Hedda Gabler'' (1890) and ''The Master Builder'' (1892), Ibsen explored psychological conflicts that transcended a simple rejection of current conventions. Many modern readers, who might regard anti-Victorian didacticism as dated, simplistic or hackneyed, have found these later works to be of absorbing interest for their hard-edged, objective consideration of interpersonal confrontation. ''Hedda Gabler'' is probably Ibsen's most performed play, with the title role regarded as one of the most challenging and rewarding for an actress even in the present day. ''Hedda Gabler'' and ''A Doll's House'' center on female protagonists whose almost demonic energy proves both attractive and destructive for those around them, and while Hedda has a few similarities with the character of Nora in ''A Doll's House'', many of today's audiences and theater critics feel that Hedda's intensity and drive are much more complex and much less comfortably explained than what they view as rather routine feminism on the part of Nora.

Ibsen had completely rewritten the rules of drama with a realism which was to be adopted by Chekhov and others and which we see in the theater to this day. From Ibsen forward, challenging assumptions and directly speaking about issues has been considered one of the factors that makes a play art rather than entertainment. He had a profound influence on the young James Joyce who venerates him in his early autobiographical novel "Stephen Hero". Ibsen returned to Norway in 1891, but it was in many ways not the Norway he had left. Indeed, he had played a major role in the changes that had happened across society. The Victorian Age was on its last legs, to be replaced by the rise of Modernism not only in the theater, but across public life.

Death

On 23 May 1906, Ibsen died in his home at Arbins gade 1 in Christiania (now Oslo) after a series of strokes in March 1900. When, on 22 May, his nurse assured a visitor that he was a little better, Ibsen spluttered his last words "On the contrary" ("Tvertimod!"). He died the following day at 2:30 P.M.

Ibsen was buried in Vår Frelsers gravlund ("The Graveyard of Our Savior") in central Oslo.

Centenary

The 100th anniversary of Ibsen's death in 2006 was commemorated with an "Ibsen year" in Norway and other countries. This year the homebuilding company Selvaag also opened Peer Gynt Sculpture Park in Oslo, Norway, in Henrik Ibsen's honour, making it possible to follow the dramatic play Peer Gynt scene by scene.

On 23 May 2006, The Ibsen Museum (Oslo) reopened to the public the house where Ibsen had spent his last eleven years, completely restored with the original interior, colors, and decor.

Ancestry

The oldest documented Ibsen was ship's captain Rasmus Ibsen (1632–1703) from Stege, Denmark. His son, ship's captain Peder Ibsen became a burgher of Bergen in Norway in 1726. Henrik Ibsen has Danish, German, Norwegian and some distant Scottish ancestry. Most of his ancestors belonged to the merchant class of original Danish/German extraction, and many of his ancestors were ship's captains. His biographer Henrik Jæger famously wrote in 1888 that Ibsen did not have a drop of Norse blood in his veins, stating that "the ancestral Ibsen was a Dane". This, however, is not completely accurate; notably through his grandmother Hedevig Paus, Ibsen was descended from one of the very few families of the patrician class of original Norwegian extraction, known since the 15th century. Ibsen's ancestors had mostly lived in Norway for several generations, even though many had foreign ancestry.

The name Ibsen is originally a patronymic, meaning "son of Ib" (Ib is a Danish variant of Jacob). The patronymic became "frozen", i.e. it became a permanent family name, already in the 17th century. The phenomenon of patronymics becoming frozen started in the 17th century in bourgeois families in Denmark, and the practice was only widely adopted in Norway from around 1900.

{{ahnentafel-compact6 |style=font-size: 90%; line-height: 110%; |border=1 |boxstyle=padding-top: 0; padding-bottom: 0; |boxstyle_1=background-color: #fcc; |boxstyle_2=background-color: #fb9; |boxstyle_3=background-color: #ffc; |boxstyle_4=background-color: #bfc; |boxstyle_5=background-color: #9fe; |boxstyle_6=background-color: #fcc; |1= 1. Henrik Ibsen |2= 2. Knud Ibsen (1797–1877),merchant in Skien |3= 3. Marichen Cornelia Martine Altenburg (1799–1869) |4= 4. Henrich Ibsen (1765–1797),ship's captain and merchant in Skien |5= 5. Johanne Cathrine Plesner (1770–1847) |6= 6. Johan Andreas Altenburg (1763–1824),merchant and former ship's captain in Skien |7= 7. Hedevig Christine Paus (1763–1848) |8= 8. Henrik Ibsen (1726–1765),merchant in Skien |9= 9. Wenche Dishington (1738–1780) |10= 10. Knud Plesner (1731–1789),ship's captain and merchant in Skien |11= 11. Maria Kall (1741–1786) |12= 12. Diderik Altenburg,manager of Ulefos Saugbrug |13= 13. Marichen Johansdatter Barth |14= 14. Cornelius Paus (1726–1799),forest inspector of Upper Telemark |15= 15. Christine Falck (1723–1798) |16= 16. Peder Rasmussen Ibsen (–1765),ship's captain and merchant in Bergen |17= 17. Birgitte Holtermann (1692–1728) |18= 18. Giert Andersen Dishington (1706–1769) |19= 19. Margrethe Jansen Forman |20= 20. Johan Glüsing Plesner (1731–1790),merchant in Skien |21= 21. Karen Cathrine Hind (1708-1778) |22= 22. Nicolai Kall (1709–1774),merchant in Skien |23= 23. Elisabeth Marie Bomhoff (1707–1784) |24= 24. Jochum Altenburg (1684–1745) |25= 25. |26= 26. Johan David Barth,postmaster in Kragerø |27= 27. Dorothea Ruhland |28= 28. Paul Paus (1697-1768),procurator |29= 29. Martha Christophersdatter Blom |30= 30. Ole Falck |31= 31. |32= 32. Rasmus Ibsen (1632–1703),ship's captain in Stege, Denmark |33= 33. Eva Johansdatter Osterland |34= 34. |35= 35. |36= 36. Anders Andersen Dishington (1675–) |37= 37. Wenche Giertsdatter Meyer (–1748) |38= 38. Jan Forman (1662–1725) |39= 39. |40= 40. Bendix Jens Plesner (1668–1708),merchant in Kerteminde |41= 41. Anna Dorthe Bager (1680–1748) |42= 42. Knud Pedersen Hind |43= 43. |44= 44. |45= 45. |46= 46. Engebret Bomhoff |47= 47. Maria Brunn (1684–) |48= 48. |49= 49. |50= 50. |51= 51. |52= 52. |53= 53. |54= 54. |55= 55. |56= 56. Cornelius Paulsson Paus (1662–1723),district judge in Upper Telemark |57= 57. Valborg Jørgensdatter Ravn (1673–1726) |58= 58. Cristopher Fredriksen Blom (1651–1735),forest owner |59= 59. Johanna Margrethe Jensdatter Ørn (1671–1745) |60= 60. |61= 61. |62= 62. |63= 63. }}

Descendants

From his marriage with Suzannah Thoresen, Ibsen had one son, lawyer and government minister Sigurd Ibsen. Sigurd Ibsen married Bergljot Bjørnson, the daughter of Bjørnstjerne Bjørnson. Their only child was Tancred Ibsen, who became a film director and who was married to Lillebil Ibsen. Their only child was diplomat Tancred Ibsen, Jr.

Works

1850 ''Catiline'' (''Catilina'')

1850 ''The Burial Mound'' also known as ''The Warrior's Barrow'' (''Kjæmpehøjen'')

1851 ''Norma'' (''Norma'')

1852 ''St. John's Eve'' (''Sancthansnatten'')

1854 ''Lady Inger of Oestraat'' (''Fru Inger til Østeraad'')

1855 ''The Feast at Solhaug'' (''Gildet paa Solhoug'')

1856 ''Olaf Liljekrans'' (''Olaf Liljekrans'')

1857 ''The Vikings at Helgeland'' (''Hærmændene paa Helgeland'')

1862 ''Digte'' - only released collection of poetry, included "Terje Vigen".

1862 ''Love's Comedy'' (''Kjærlighedens Komedie'')

1863 ''The Pretenders'' (''Kongs-Emnerne'')

1866 ''Brand'' (''Brand'')

1867 ''Peer Gynt'' (''Peer Gynt'')

1869 ''The League of Youth'' (''De unges Forbund'')

1873 ''Emperor and Galilean'' (''Kejser og Galilæer'')

1877 ''Pillars of Society'' (''Samfundets Støtter'')

1879 ''A Doll's House'' (''Et Dukkehjem'')

1881 ''Ghosts'' (''Gengangere'')

1882 ''An Enemy of the People'' (''En Folkefiende'')

1884 ''The Wild Duck'' (''Vildanden'')

1886 ''Rosmersholm'' (''Rosmersholm'')

1888 ''The Lady from the Sea'' (''Fruen fra Havet'')

1890 ''Hedda Gabler'' (''Hedda Gabler'')

1892 ''The Master Builder'' (''Bygmester Solness'')

1894 ''Little Eyolf'' (''Lille Eyolf'')

1896 ''John Gabriel Borkman'' (''John Gabriel Borkman'')

1899 ''When We Dead Awaken'' (''Når vi døde vaagner'')

See also

Problem play

Realism

Naturalism

Nineteenth-century theatre

Further reading

Boyesen, Hjalmar Hjorth ''A Commentary on the Works of Henrik Ibsen'' (New York: Macmillan, 1894)

Koht, Halvdan. ''The Life of Ibsen'' translated by Ruth Lima McMahon and Hanna Astrup Larsen. W. W. Norton & Company, Inc., New York, 1931.

Lucas, F. L. ''The Drama of Ibsen and Strindberg'', Cassell, London, 1962. A useful introduction, giving the biographical background to each play and detailed play-by-play summaries and discussion for the theatre-goer (including the less well-known plays).

Ferguson, Robert. ''Henrik Ibsen: A New Biography''. Richard Cohen Books, London, 1996.

Meyer, Michael. ''Ibsen''. History Press Ltd., Stroud, 2004.

Moi, Toril. 2006. ''Henrik Ibsen and the Birth of Modernism: Art, Theater, Philosophy''. Oxford and New York: Oxford UP. ISBN 9780199202591.

Haugan, Jørgen. '' Henrik Ibsens Metode:Den Indre Utvikling Gjennem Ibsens Dramatikk'' ( Norwegian: Gyldendal Norsk Forlag. 1977)

Shaw, George Bernard. ''The Quintessence of Ibsenism'' (1891). The classic introduction, setting the playwright in his time and place.

English translations

''Ibsen: The Complete Major Prose Plays'' (Rolf G. Fjelde, translator. Plume: 1978)

''Ibsen - 3 Plays'' (Kenneth McLeish & Stephen Mulrine, translators. Nick Hern Books: 2005)

Notes and references

External links

The Ibsen Society of America Official Website

Ibsen.net: http://ibsen.net/index.gan?id=11111004&subid;=0

Ibsen Studies The only international academic journal devoted to Ibsen

Online course by Ibsen scholar Brian Johnston author of ''The Ibsen Cycle'' and ''To the Third Empire: Ibsen's Early Drama''

Extensive resource in several languages from the Norwegian Ministry of Foreign Affairs

Ibsen's Influence on Hitler

Peer Gynt Sculpture Park, Official Website

Works by or about Henrik Ibsen at Internet Archive (scanned books original editions color illustrated)

(plain text and HTML) (the biography by Edmund Gosse)

Henrik Ibsen - A Bibliography of Criticism and Biography, by Ina Ten Eyck Firkins, from Project Gutenberg

"Ibsen and His Discontents" - a critical, conservative view of Ibsen's works, written by Theodore Dalrymple

Ibsen Museum - Former home of the famous playwright is situated in Henrik Ibsen's gate 26, across from the Royal Palace

''Henrik Ibsen: Critical Studies'' Georg Brandes, (1899) Retrieved 201-0-16.

Henrik Ibsen Category:Norwegian dramatists and playwrights Category:Modernist drama, theatre and performance Category:19th-century theatre Category:1828 births Category:1906 deaths Category:Deaths from stroke Category:Cardiovascular disease deaths in Norway Category:Paus family Category:People from Skien Category:Burials at Vår Frelsers gravlund Category:19th-century Norwegian people Category:Knights Grand Cross of the Order of St. Olav (pre-1906 restructure)

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Coordinates	55°45′06″N37°37′04″N
name	Ingrid Bergman
birth date	August 29, 1915
birth place	Stockholm, Sweden
death date	August 29, 1982
death place	London, England
years active	1935–82
occupation	Actress
spouse
Children	Pia Lindström, born on September 20, 1938Robertino "Robin" Rossellini, born on February 02, 1950Isabella Rossellini, born on June 18, 1952Isotta Ingrid Rossellini, born on June 18, 1952 }}

Ingrid Bergman (29 August 1915 – 29 August 1982) was a Swedish actress who starred in a variety of European and American films. She won three Academy Awards, two Emmy Awards, and the Tony Award for Best Actress. She is ranked as the fourth greatest female star of American cinema of all time by the American Film Institute. She is best remembered for her roles as Ilsa Lund in ''Casablanca'' (1942), a World War II drama co-starring Humphrey Bogart and as Alicia Huberman in ''Notorious'' (1946), an Alfred Hitchcock thriller co-starring Cary Grant.

Before becoming a star in American films, she had already been a leading actress in Swedish films. Her first introduction to American audiences came with her starring role in the English remake of ''Intermezzo'' in 1939. In America, she brought to the screen a "Nordic freshness and vitality", along with exceptional beauty and intelligence, and according to the ''St. James Encyclopedia of Popular Culture'', she quickly became "the ideal of American womanhood" and one of Hollywood's greatest leading actresses.

Her producer David O. Selznick, who called her "the most completely conscientious actress" he had ever worked with, gave her a seven-year acting contract, thereby supporting her continued success. A few of her other starring roles, besides ''Casablanca'', included ''For Whom the Bell Tolls'' (1943), ''Gaslight'' (1944), ''The Bells of St. Mary's'' (1945), Alfred Hitchcock's ''Spellbound'' (1945), ''Notorious'' (1946), and ''Under Capricorn'' (1949), and the independent production, ''Joan of Arc'' (1948).

In 1950, after a decade of stardom in American films, she starred in the Italian film ''Stromboli'', which led to a love affair with director Roberto Rossellini while they were both already married. The affair created a scandal that forced her to return to Europe until 1956, when she made a successful Hollywood comeback in ''Anastasia'', for which she won her second Academy Award, as well as the forgiveness of her fans. Many of her personal and film documents can be seen in the Wesleyan University Cinema Archives.

Early years: 1915–1938

Bergman, named after Princess Ingrid of Sweden, was born in Stockholm, Sweden on 29 August 1915 to a Swedish father, Justus Samuel Bergman, and a German mother, Friedel Adler Bergman. When she was three years of age, her mother died. Her father, who was an artist and photographer, died when she was thirteen. In the years before he died, he wanted her to become an opera star, and had her take voice lessons for three years. But she always "knew from the beginning that she wanted to be an actress", sometimes wearing her mother's clothes and staging plays in her father's empty studio. Her father documented all her birthdays with a borrowed camera.

After his death, she was then sent to live with an aunt, who died of heart complications only six months later. She then moved in with her aunt Hulda and uncle Otto, who had five children. Another aunt she visited, Elsa Adler, first told Ingrid, when she was 11, that her mother may have "some Jewish blood", and that her father was aware of that fact long before they married. But her aunt also cautioned her about telling others about her Jewishness as "there might be some difficult times coming."

At the age of 17, Bergman was allowed only one chance to become an actress by entering an acting competition with the Royal Dramatic Theatre in Stockholm. Bergman recalls her feelings during that competition:

:"As I walked off the stage, I was in mourning, I was at a funeral. My own. It was the death of my creative self. My heart had truly broken... they didn't think I was even worth listening to, or watching."

However, her impression was wrong, as she later met one of the judges who described how the others viewed her performance: :"We loved your security and your impertinence. We loved you and told each other that there was no reason to waste time as there were dozens of other entrants still to come. We didn't need to waste any time with you. We knew you were a natural and great. Your future as an actress was settled."

As a result she received a scholarship to the state-sponsored Royal Dramatic Theatre School, where Greta Garbo had years earlier also earned a similar scholarship. After a few months she was given a part in a new play, ''Ett Brott'' (A Crime), by Sigfrid Siwertz. Yet, this was "totally against procedure" at the school, notes Chandler, where girls were expected to complete three years of study before getting such acting roles. During her first summer break, she was also hired by a Swedish film studio, which consequently led to her leaving the Royal Dramatic Theatre to work in films full time, after just one year. Her first film role after leaving the Royal Dramatic Theatre was a small part in 1935's ''Munkbrogreven'' (She had previously been an extra in the 1932 film ''Landskamp''). She later acted in a dozen films in Sweden, including ''En kvinnas ansikte'', which was later remade as ''A Woman's Face'' with Joan Crawford, and one film in Germany, ''Die vier Gesellen'' ("The Four Companions") (1938).

Hollywood period: 1939–1949

''Intermezzo: A Love Story'' (1939)

Bergman's first acting role in America came when Hollywood producer David O. Selznick brought her to America to star in ''Intermezzo: A Love Story'', an English language remake of her 1936 Swedish film, ''Intermezzo''. Unable to speak English and uncertain about her acceptance by the American audience, she expected to complete this one film and return home to Sweden. Her husband, Petter, remained in Sweden with their daughter Pia. In the film she played the role of a young piano accompanist opposite Leslie Howard as a famous violin virtuoso.

She arrived in Los Angeles on 6 May 1939, and stayed at the Selznick home until she could find another residence. According to David Selznick's son Danny, who was a child at the time, his father had a few concerns about Ingrid: "She didn't speak English, she was too tall, her name sounded too German, and her eyebrows were too thick." However, Bergman was soon accepted without having to modify her looks or name, despite some early suggestions by Selznick. "He let her have her way", notes a story in ''Life Magazine''. Selznick understood her fear of Hollywood make-up artists, who might turn her into someone she wouldn't recognize, and "instructed them to lay off." He was also aware that her natural good looks would compete successfully with Hollywood's "synthetic razzle-dazzle."

During the weeks following, while ''Intermezzo'' was being filmed, Selznick was also filming ''Gone with the Wind''. In a letter to William Herbert, his publicity director, Selznick described a few of his early impressions of Bergman:

:"Miss Bergman is the most completely conscientious actress with whom I have ever worked, in that she thinks of absolutely nothing but her work before and during the time she is doing a picture ... She practically never leaves the studio, and even suggested that her dressing room be equipped so that she could live here during the picture. She never for a minute suggests quitting at six o'clock or anything of the kind... Because of having four stars acting in ''Gone with the Wind'', our star dressing-room suites were all occupied and we had to assign her a smaller suite. She went into ecstasies over it and said she had never had such a suite in her life... All of this is completely unaffected and completely unique and I should think would make a grand angle of approach to her publicity... so that her natural sweetness and consideration and conscientiousness become something of a legend... and is completely in keeping with the fresh and pure personality and appearance which caused me to sign her..."

''Intermezzo'' became an enormous success and as a result Bergman became a star. The film's director, Gregory Ratoff, said "She is sensational", as an actress. This was the "sentiment of the entire set", writes ''Life'', adding that workmen would go out of their way to do things for her, and the cast and crew "admired the quick, alert concentration she gave to direction and to her lines." Film historian David Thomson notes that this would become "the start of an astonishing impact on Hollywood and America" where her lack of makeup contributed to an "air of nobility." According to ''Life'', the impression that she left on Hollywood, after she returned to Sweden, was of a tall (5 ft. 9 in.) girl "with light brown hair and blue eyes who was painfully shy but friendly, with a warm, straight, quick smile." Selznick appreciated her uniqueness, and with his wife Irene, they remained important friends throughout her career.

''Casablanca'' (1942)

After Germany initiated World War II, Bergman "felt guilty because she had so misjudged the situation in Germany" while she was there filming ''Die vier Gesellen'' (The Four Companions). According to one of her biographers, Charlotte Chandler (2007), she had at first considered the Nazis only a "temporary aberration, 'too foolish to be taken seriously.' She believed Germany would not start a war." Bergman felt that "The good people there would not permit it." Chandler adds, "Ingrid felt guilty all the rest of her life because when she was in Germany at the end of the war, she had been afraid to go with the others to witness the atrocities of the Nazi extermination camps."

After completing one last film in Sweden and appearing in three moderately successful films (''Adam Had Four Sons'', ''Rage in Heaven'' and ''Dr. Jekyll and Mr. Hyde'', all in 1941) in the United States, Bergman co-starred with Humphrey Bogart in the 1942 classic film ''Casablanca'', which remains her best-known role. In this film, she played the role of Ilsa, the beautiful Norwegian wife of Victor Laszlo, played by Paul Henreid, an "anti-Nazi underground hero" who is in Casablanca, a safe-haven from the Nazis. Bergman did not consider ''Casablanca'' to be one of her favorite performances. ''"I made so many films which were more important, but the only one people ever want to talk about is that one with Bogart."'' In later years however, she stated, "I feel about ''Casablanca'' that it has a life of its own. There is something mystical about it. It seems to have filled a need, a need that was there before the film, a need that the film filled."

''For Whom the Bell Tolls'' (1943)

After ''Casablanca'', with "Selznick's steady boosting", she played the part of Maria in ''For Whom the Bell Tolls'' (1943), which was also her first color film. For the role she received her first Academy Award nomination for Best Actress. The film was taken from Ernest Hemingway's novel of the same title. When the book was sold to Paramount Pictures, Hemingway stated that "Miss Bergman, and no one else should play the part." His opinion came from seeing her in her first American role, ''Intermezzo'', although he hadn't yet met her. A few weeks later, they did meet, and after studying her said "You ''are'' Maria!"

''Gaslight'' (1944)

The following year, she won the Academy Award for Best Actress for ''Gaslight'' (1944), a film in which George Cukor directed her as a "wife driven close to madness" by co-star Charles Boyer. The film, according to Thomson, "was the peak of her Hollywood glory." Bergman next played a nun in ''The Bells of St. Mary's'' (1945) opposite Bing Crosby, for which she received her third consecutive nomination for Best Actress.

''Notorious'' (1946)

Bergman starred in the Alfred Hitchcock films ''Spellbound'' (1945), ''Notorious'' (1946), and ''Under Capricorn'' (1949). Unlike her earlier Hitchcock films, ''Under Capricorn'', the only one of the three made in colour, was a slow-paced costume drama, and has never received the acclaim that the other films that Bergman made with Hitchcock have. Bergman was a student of the acting coach Michael Chekhov during the 1940s. Coincidentally, it was for his role in ''Spellbound'' that Chekhov received his only Academy Award nomination.

''Joan of Arc'' (1948)

Later, Bergman received another Best Actress nomination for ''Joan of Arc'' (1948), an independent film based on the Maxwell Anderson play ''Joan of Lorraine'', produced by Walter Wanger, and initially released through RKO. Bergman had championed the role since her arrival in Hollywood, which was one of the reasons she had played it on the Broadway stage in Anderson's play. The film was not a big hit with the public, partly because of the scandal of Bergman's affair with Italian film director Roberto Rossellini, which broke while the film was still in theaters. Even worse, it received disastrous reviews, and although nominated for several Academy Awards, did not receive a Best Picture nomination. It was subsequently shorn of 45 minutes, and it was not until its restoration to full length in 1998 and its 2004 appearance on DVD that later audiences could see it as it was intended to be shown.

Between motion pictures, Bergman appeared in the stage plays ''Liliom'', ''Anna Christie'', and ''Joan of Lorraine''. Furthermore, during a press conference in Washington, D.C. for the promotion of ''Joan of Lorraine'', she protested against segregation after seeing it first hand at the theater she was acting in. This led to a lot of publicity and some hate mail.

Bergman went to Alaska during World War II to entertain American troops. Soon after the war ended, she also went to Europe for the same purpose, where she was able to see the devastation caused by the war. It was during this time that she began a relationship with the famous photographer Robert Capa. She became a smoker after needing to smoke for her role in ''Arch of Triumph''.

Personal life

In 1937, at the age of 21, Bergman married dentist Petter Lindström, and a year and a half later had a daughter, Pia Lindström.

After returning to America in 1940, she acted on Broadway before continuing to do films in Hollywood. The following year, her husband arrived from Sweden with daughter Pia. Lindström stayed in Rochester, New York, where he studied medicine and surgery at the University of Rochester. Bergman would travel to New York and stay at their small rented stucco house between films, her visits lasting from a few days to four months.

According to a ''Life'' magazine article, the ''"doctor regards himself as the undisputed head of the family, an idea that Ingrid accepts cheerfully."'' He insisted she draw the line between her film and personal life, as he has a ''"professional dislike for being associated with the tinseled glamor of Hollywood."'' Dr. Lindström later moved to San Francisco, California, where he completed his internship at a private hospital, and they continued to spend time together when she could travel between filmings.

Italian period with Rossellini: 1949–1957

Bergman strongly admired two films by Italian director Roberto Rossellini that she had seen in the United States. In 1949, Bergman wrote to Rossellini, expressing this admiration and suggesting that she make a film with him. This led to her being cast in his film ''Stromboli'' (1950). During production, Bergman fell in love with Rossellini, and they began an affair. Bergman became pregnant with Rossellini's son, Renato Roberto Giusto Giuseppe ("Robin") Rossellini (born 2 February 1950).

This affair caused a huge scandal in the United States, where it led to Bergman being denounced on the floor of the United States Senate. Ed Sullivan chose not to have her on his show, despite a poll indicating that the public wanted her to appear. However, Steve Allen, whose show was equally popular, did have her on, later explaining "the danger of trying to judge artistic activity through the prism of one's personal life." Spoto notes that Bergman had, by virtue of her roles and screen persona, placed herself "above all that". She had played a nun in ''The Bells of St. Mary's'' (1945) and a virgin saint in ''Joan of Arc'' (1948), and Bergman herself later acknowledged, "People saw me in ''Joan of Arc'' and declared me a saint. I'm not. I'm just a woman, another human being."

As a result of the scandal, Bergman returned to Italy, leaving her husband and daughter (Pia), which led to a publicized divorce and custody battle for their daughter. Bergman and Rossellini were married on 24 May 1950. In addition to Renato, they had twin daughters (born 18 June 1952): Isabella Rossellini, who became an actress and model, and Isotta Ingrid Rossellini, who became a professor of Italian literature.

''Stromboli'' and "neorealism"

Rossellini completed five films starring Bergman between 1949 and 1955: ''Stromboli'', ''Europa '51'', ''Viaggio in Italia'', ''Giovanna d'Arco al rogo'', and ''La paura''. He also directed her in a brief segment of his 1953 documentary film, ''Siamo donne'' (We, the Women), which was devoted to film actresses. Rossellini biographer Peter Bondanella notes that problems with communication during their marriage may have inspired his films' central themes of "solitude, grace, and spirituality in a world without moral values."

In addition, Rossellini's use of a Hollywood star in his typically "neorealist" films, in which he normally used non-professional actors, did provoke negative reactions in some circles. Bondanella speculates that this change may have been intentional: he may have "intended to provoke a significant change in direction within Italian cinema." In ''Stromboli'', Bergman's first film with Rossellini, her character was "defying audience expectations" in that Rossellini preferred to work without a script. This forced Bergman to act most of her scenes "inspired by reality while she worked", a style which Bondanella calls "a new cinema of psychological introspection." She was aware of his directing style before filming however, as Rossellini had earlier written her explaining that he worked from "a few basic ideas, developing them little by little" as a film progressed.

After separating from Rossellini, Bergman starred in Jean Renoir's ''Elena and Her Men'' (''Elena et les Hommes'', 1956), a romantic comedy where she played a Polish princess caught in political intrigue. Although the film wasn't a success, it has since come to be regarded as one of her best performances.

Later years: 1957–1982

''Anastasia'' (1956)

With her starring role in 1956's ''Anastasia'', Bergman made a triumphant return to the American screen and won the Academy Award for Best Actress for a second time. The award was accepted for her by her friend Cary Grant. Bergman would not make her first post-scandal public appearance in Hollywood until the 1958 Academy Awards, when she was the presenter of the Academy Award for Best Picture. Furthermore, she was given a standing ovation, after being introduced by Cary Grant and walking out onto the stage to present the award.

Bergman would continue to alternate between performances in American and European films for the rest of her career and also made occasional appearances in television dramas such as a 1959 production of ''The Turn of the Screw'' for ''Ford Startime'' TV series for which she won an Emmy Award for Outstanding Single Performance by an Actress.

During this time, Bergman also performed in several stage plays. In addition, she married the producer Lars Schmidt, a fellow Swede, on 21 December 1958. This marriage ultimately ended in divorce in 1975. He died on 18 October 2009.

After a long hiatus, Bergman did the movie ''Cactus Flower'' in 1969, with Walter Matthau and Goldie Hawn.

In 1972, U.S. Senator Charles H. Percy entered an apology into the ''Congressional Record'' for the attack made on Bergman 22 years earlier by Edwin C. Johnson. She was the President of the Jury at the 1973 Cannes Film Festival.

''Murder on the Orient Express'' (1974)

Bergman became one of the elite actresses to receive three Oscars when she won her third (and first for Best Supporting Actress) for her performance in ''Murder on the Orient Express'' (1974). Director Sidney Lumet offered Bergman the important part of Princess Dragomiroff, with which he felt she could win an Oscar. However, she insisted on playing the much smaller role of Greta Ohlsson, the old Swedish missionary. Lumet discussed Bergman's role:

:"She had chosen a very small part, and I couldn't persuade her to change her mind. She was sweetly stubborn. But stubborn she was... Since her part was so small, I decided to film her one big scene, where she talks for almost five minutes, straight, all in one long take. A lot of actresses would have hesitated over that. She loved the idea and made the most of it. She ran the gamut of emotions. I've never seen anything like it."

Bergman could speak Swedish (her native language), German (her second language, learned from her German mother and in school), English (learned when brought over to United States), Italian (learned while living in Italy) and French (her third language, learned in school). In addition, she acted in each of these languages at various times. Fellow actor John Gielgud, who had acted with her in ''Murder on the Orient Express'' and who had directed her in the play ''The Constant Wife'', playfully mocked this ability when he remarked, "She speaks five languages and can't act in any of them."

Although known chiefly as a film star, Bergman strongly admired the great English stage actors and their craft. She had the opportunity to appear in London's West End, working with such stage stars as Sir Michael Redgrave in ''A Month in the Country'' (1965), Sir John Gielgud in ''The Constant Wife'' (1973) and Dame Wendy Hiller in ''Waters of the Moon'' (1977–78).

''Autumn Sonata'' (1978)

In 1978, Bergman played in Ingmar Bergman's ''Autumn Sonata'' (''Höstsonaten'') for which she received her 7th Academy Award nomination and made her final performance on the big screen. In the film, Bergman plays a celebrity pianist who travels to Trondheim in Norway to visit her neglected daughter, played by Liv Ullmann. The film was shot in Norway. It is considered by many to be among her best performances. Indian Bollywood film director Khalid Mohammed made a copy of Autumn Sonata in hindi with the name Tehzeeb in 2003 casting Shabana Azmi Urmila Matondkar, Diya Mirza, Arjun Rampal without giving credit to Autumn Sonata or Ingmar Bergman. She hosted the AFI's Life Achievement Award Ceremony for Alfred Hitchcock in 1979.

''A Woman Called Golda'' (1982) – her final role

In 1982 she was offered the starring role in a television mini-series, ''A Woman Called Golda'', about the late Israeli prime minister Golda Meir. It was to be her final acting role and she was honored posthumously with a second Emmy Award for Best Actress.

At first, she couldn't imagine herself acting the part of a well-known world figure whose physical appearance, especially her height, was so different from her own. Her daughter, Isabella, described Ingrid's surprise at being offered the part and the producer trying to explain to her, "People believe you and trust you, and this is what I want, because Golda Meir had the trust of the people." Isabella adds, "Now ''that'' was interesting to mother." She was also persuaded that Golda was a "grand-scale person", one that people would assume was much taller than she actually was. Chandler notes that the role "also had a special significance for her, as during World War II, Ingrid felt guilty because she had so misjudged the situation in Germany."

According to Chandler, "Ingrid's rapidly deteriorating health was a more serious problem. Insurance for Ingrid was impossible. Not only did she have cancer, but it was spreading, and if anyone had known how bad it was, no one would have gone on with the project." After viewing the series on TV, Isabella commented, :"She never showed herself like that in life. In life, Mum showed courage. She was always a little vulnerable, courageous, but vulnerable. Mother had a sort of presence, like Golda, I was surprised to see it... When I saw her performance, I saw a mother that I'd never seen before—this woman with balls."

Ingrid was frequently ill during the filming although she rarely complained or showed it. Four months after the filming was completed, she died. After Ingrid's death it was her daughter Pia who accepted her Emmy.

Death and legacy

Bergman died in 1982 on her 67th birthday in London, England, following a long battle with breast cancer. Her body was cremated at Kensal Green Cemetery, London and her ashes taken to Sweden, where some were scattered in the sea and the rest placed next to her parents in Norra begravningsplatsen (Northern Cemetery), Stockholm, Sweden.

According to biographer Donald Spoto, she was "arguably the most international star in the history of entertainment." Acting in five languages, she was seen on stage, screen, and television, and won three Academy Awards plus many others. After her American film debut in the 1939 film ''Intermezzo: A Love Story'', co-starring Leslie Howard, Hollywood saw her as a unique actress who was completely natural in style and without need of makeup. Film critic James Agee wrote that she "not only bears a startling resemblance to an imaginable human being; she really knows how to act, in a blend of poetic grace with quiet realism."

Bergman was a tall, natural-looking, and intelligent Swedish actress, fluent in English. According to film historian David Thomson, she "always strove to be a 'true' woman", and many filmgoers identified with her:

:"There was a time in the early and mid-1940s when Bergman commanded a kind of love in America that has been hardly ever matched. In turn, it was the strength of that affection that animated the 'scandal' when she behaved like an impetuous and ambitious actress instead of a saint."

Nonetheless, writing about her first years in Hollywood, ''Life'' magazine stated that "All Bergman vehicles are blessed", and "they all go speedily and happily, with no temperament from the leading lady." She was "completely pleased" with her early career's management by David O. Selznick, who always found excellent dramatic roles for her to play, and equally satisfied with her salary, once saying, "I am an actress and I am interested in acting, not in making money." ''Life'' adds that "she has greater versatility than any actress on the American screen ... her roles have demanded an adaptability and sensitiveness of characterization to which few actresses could rise."

She continued her acting career while fighting an eight-year battle with cancer, and won international honors for her final roles. "Her spirit triumphed with remarkable grace and courage", adds Spoto. Director George Cukor once summed up her contributions to the film media when he said to her, "Do you know what I especially love about you, Ingrid, my dear? I can sum it up as your naturalness. The camera loves your beauty, your acting, and your individuality. A star must have individuality. It makes you a great star. A great star."

For her contributions to the motion picture industry, Bergman has a star on the Hollywood Walk of Fame at 6759 Hollywood Blvd.

Autobiography

In 1980, Bergman's autobiography was published under the title ''Ingrid Bergman: My Story''. It was written with the help of Alan Burgess, and in it she discusses her childhood, her early career and her life during her time in Hollywood.

Awards

! Year !! Group !! Award !! Result !! Title of work
1944	Academy Award	Best Actress
1945	Academy Award	Best Actress
1945		Best Actress – Motion Picture		''Gaslight''
1946	Academy Award	Best Actress		''The Bells of St. Mary's''
1946	Golden Globe	Best Actress – Motion Picture		''The Bells of St. Mary's''
1946		Best Actress
1947	Tony Award	Best Performance by a Leading Actress in a Play		''Joan of Lorraine''
1949	Academy Award	Best Actress
1956	NYFCC Award	Best Actress
1957	Academy Award	Best Actress		''Anastasia''
1957	Golden Globe	Best Motion Picture Actress – Drama		''Anastasia''
1958		Best Actress		''The Inn of the Sixth Happiness''
1959		Best Foreign Actress		''The Inn of the Sixth Happiness''
1959	Golden Globe	Best Motion Picture Actress – Drama		''The Inn of the Sixth Happiness''
1959	Golden Globe	Best Motion Picture Actress – Comedy/Musical
1960	Emmy Award	Outstanding Lead Actress in a Miniseries or Movie
1961	Emmy Award	Outstanding Lead Actress in a Miniseries or Movie		''24 Hours in a Woman's Life''
1970	Golden Globe	Best Motion Picture Actress – Musical/Comedy
1975	Academy Award	Best Supporting Actress
1975	BAFTA	Best Supporting Actress		''Murder on the Orient Express''
1976	César Award	Honorary Award
1978	NBR Award	Best Actress		''Autumn Sonata'' (Swedish title: ''Höstsonaten'')
1978	NYFCC Award	Best Actress		''Autumn Sonata'' (Swedish title: ''Höstsonaten'')
1979	Academy Award	Best Actress		''Autumn Sonata'' (Swedish title: ''Höstsonaten'')
1979	Golden Globe	Best Motion Picture Actress – Drama		''Autumn Sonata'' (Swedish title: ''Höstsonaten'')
1979		Best Actress		''Autumn Sonata'' (Swedish title: ''Höstsonaten'')
1982	Emmy Award	Outstanding Lead Actress in a Miniseries or Movie		''A Woman Called Golda''
1983	Golden Globe	Best Actress in a Mini-series or Motion Picture Made for Television		''A Woman Called Golda''

Filmography

Notes

References

External links

Biographical profiles

TCM Confidential: Ingrid Bergman

Official sites

Ingrid Bergman site run by CMG

Ingrid Bergman Collection at Wesleyan University

Interviews

1943 New York Times Interview

Larry King transcript with Ingrid Bergman's daughters on the 60th anniversary of ''Casablanca''

Excerpt from Isabella Rossellini's ''Some of Me'' that describes Ingrid Bergman's passion for cleaning

Videos

clip from ''Intermezzo'', 1936 Swedish version

clip from ''Intermezzo'', 1939 U.S. version

clip from ''Casablanca''

clip from ''Gaslight''

clip from ''Notorious''

clip from ''Joan of Arc''

Television interview by Radio-Canada reporter Judith Jasmin on 15 July 1957 Television interview on JT 20H on 22 February 1959 Television interview by France Roche on Cinépanorama on 19 November 1960

Audios

Radio rich media may be found in the radio credits table.

Ingrid Bergman's Spoken Word Version of The Pied Piper of Hamelin

Audio Recording of Ingrid Bergman in the NY Production of ''More Stately Mansions'' (1967) (Adobe Flash)

Other

Photographs and bibliography

Category:BAFTA Award for Best Supporting Actress Category:Best Actress Academy Award winners Category:Best Drama Actress Golden Globe (film) winners Category:Best Miniseries or Television Movie Actress Golden Globe winners Category:Best Supporting Actress Academy Award winners Category:Deaths from breast cancer Category:César Award winners Category:Deaths from lymphoma Category:Deaths from surgical complications Category:Emmy Award winners Category:People from Stockholm Category:Swedish people Category:Swedish people of German descent Category:Swedish film actors Category:Tony Award winners Category:Cancer deaths in England Category:1915 births Category:1982 deaths

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Coordinates	55°45′06″N37°37′04″N
name	Stella Adler
birth date	February 10, 1901
birth place	New York City, New York, U.S.
death date	December 21, 1992
death place	Los Angeles, California, U.S.
occupation	Actress
yearsactive	1919–1952 }}

Stella Adler (February 10, 1901 – December 21, 1992) was an American actress and an acclaimed acting teacher, who founded the Stella Adler Studio of Acting in New York City (1949) and the Stella Adler-Los Angeles Academy of Acting in Los Angeles (1985) with long-time protege Joanne Linville, who continues to teach and furthers Adler's legacy. Her grandson Tom Oppenheim now runs the school in New York, which produced alumni including Marlon Brando, Robert De Niro, and Jenny Lumet, daughter of Sidney Lumet. Irene Gilbert, long-time protege and close personal friend, founded the Stella Adler Academy of Acting and Theatre in Los Angeles, and was instrumental in bringing Stella Adler to the West Coast to teach on a permanent basis. The LA school continues to flourish as an acting studio and houses several theaters. She began acting at the age of four as a part of the "Independent Yiddish Art Company" of her parents, and concluded it 55 years later, in 1961. During that time, and for years after, Stella Adler taught acting as well.

Early life

Born in New York City's Lower East Side, Adler was a member of the Jewish-American Adler acting dynasty, the youngest daughter of Sara and Jacob P. Adler, the sister of Luther and Jay Adler, and half-sister of Charles Adler; in fact all her five siblings were actors. They were a significant part of a vital ethnic theatrical scene that thrived in New York from the late 19th century well into the 1950s. Stella Adler would become the most famous and influential member of her family.

Career

She began her acting career at the age of four in the play 'Broken Hearts' at the Grand Street Theater on the Lower East Side, as a part of her parents 'Independent Yiddish Art Company'. She grew up acting alongside her parents, often playing roles of boys and girls. Her work schedule allowed little time for schooling, but when possible, she studied at public schools and New York University. She made her London debut, at the age of 18, as 'Naomi' in the play 'Elisa Ben Avia' with her father's company, in which she appeared for a year before returning to New York. In London she met her first husband, Englishman Horace Eliashcheff; their brief marriage however ended in a divorce.

She made her English-language debut on Broadway in 1922, as the Butterfly in the play 'The World We Live In', and also spent a season in the vaudeville circuit. In 1922-1923, the renowned Russian actor-director Constantin Stanislavski made his only US tour with his Moscow Art Theatre. Adler and many others saw these performances; this had a powerful and lasting impact on her career, as well as the 20th century American theatre. She joined the American Laboratory Theatre School in 1925; there she was introduced to Stanislavski's theories, from founders and Russian actor-teachers and former members of the Moscow Art Theater - Richard Boleslavsky and Maria Ouspenskaya. In 1931 she joined the Group Theatre, New York, founded by Harold Clurman, Lee Strasberg and Cheryl Crawford, through theater director and critic, Clurman, whom she later married in 1943. With Group theatre she worked in plays like 'Success Story' by John Howard Lawson, two Clifford Odets plays, 'Awake and Sing!' and 'Paradise Lost,' and directed the touring company of Odets's 'Golden Boy' and 'More to Give to People'. Members of Group Theatre were leading interpreters of the Method acting technique based on the work and writings of Stanislavski.

In 1934, Adler went to Paris with Harold Clurman and studied intensively with Stanislavski for five weeks. During this period, she learned that Stanislavski had revised his theories, emphasizing that the actor should create by imagination rather than memory. Upon her return, she broke away from Strasberg on the fundamental aspects of Method acting.

In January 1937, Adler moved to Hollywood. There she acted in films for six years under the name Stella Ardler, occasionally returning to the Group Theater until it dissolved in 1941. Eventually she returned to New York to act, direct and teach, the latter first at Erwin Piscator's Dramatic Workshop at the New School for Social Research, New York City, before founding Stella Adler Studio of Acting in 1949. In the coming years, she taught Marlon Brando, Judy Garland, Dolores del Río, Robert De Niro, Elaine Stritch, Martin Sheen, Manu Tupou, Harvey Keitel, Melanie Griffith, Peter Bogdanovich and Warren Beatty, among others, the principles of characterization and script analysis. She also taught at the New School, and the Yale School of Drama. For many years, Adler led the undergraduate drama department at New York University, and became one of America's leading acting teachers.

"Stella Adler was much more than a teacher of acting. Through her work she imparts the most valuable kind of information - how to discover the nature of our own emotional mechanics and therefore those of others. She never lent herself to vulgar exploitations, as some other well-known so-called "methods" of acting have done. As a result, her contributions to the theatrical culture have remained largely unknown, unrecognized, and unappreciated." :-Marlon Brando

Adler was Marlon Brando's first professional acting teacher.

In 1988, she published 'The Technique of Acting' (Bantam Books), with a foreword by Brando.

From 1926 until 1952, Adler appeared regularly on Broadway. Her later stage roles include the 1946 revival of 'He Who Gets Slapped' and an eccentric mother in the 1961 black comedy, 'Oh Dad, Poor Dad, Mama's Hung You in the Closet and I'm Feelin' So Sad.' Among the plays she directed was a 1956 revival of the Paul Green-Kurt Weill antiwar musical 'Johnny Johnson'. ''Acting Now: Conversations on Craft and Career'', by Edward Vilga. She appeared in only three films, ''Love on Toast'' (1937), ''Shadow of the Thin Man'' (1941), and ''My Girl Tisa'' (1948).

Stanislavski and The Method

Adler was the only American actor to study with Constantin Stanislavski. She was a prominent member of the Group Theatre, but differences with Lee Strasberg over the Stanislavski System (later developed by Strasberg into Method acting) made her leave the Group.

Adler once said: 'Drawing on the emotions I experienced, for example, when my mother died to create a role, is sick and schizophrenic. If that is acting, I don't want to do it.'

Adler met with Stanislavsky again later in his career and questioned him on Strasberg's interpretation. He told her that he had abandoned emotional memory (which had been Strasberg's dominant paradigm) but they both believed that if the actor did not have what is required to play a variety roles already instilled inside them, extensive research was needed to understand the experiences of characters who have different values originating from different cultures. Without this work she said an actor walks onto the stage "naked." This approach is what one of her students, Robert de Niro, became famous for. She also trained actors sensory imagination to help make the characters' experiences more vivid (a commonality between her and Strasberg). Mastery of the physical and vocal aspects of acting, she believed, was necessary for the actor to command the stage: all body language should be carefully crafted and voices need to be clear and expressive. She often referred to this as an actor's "size" or "worthiness of the stage."

Personal life

Adler married three times, first to Horace Eliascheff, the father of her only child Ellen, then from 1943 to 1960 to Harold Clurman, the famous director and critic and one of the founders of the Group Theatre, and finally to Mitchell A. Wilson, the physicist and novelist who died in 1973.

From 1938 to 1946 she was a sister-in-law to actress Sylvia Sidney. Sidney was married to her brother Luther at the time and provided Stella with a niece and nephew. Ever after Sidney and Luther divorced she and Sylvia remained close friends.

She died on December 21, 1992, from heart failure at the age of 91, in Los Angeles, California. Adler was survived by her daughter Ellen, her sister Julia, and two grandchildren, including Tom Oppenheim,current president and artistic director of Stella Adler Studio of Acting, New York City. She was interred in the Mount Carmel Cemetery, Glendale, New York.

Legacy

In 2004, The University of Texas at Austin's Harry Ransom Humanities Research Center acquired Adler's complete archive. It includes correspondence, manuscripts, typescripts, video and audiotapes, photographs and other materials. The archive traces her career from her start in the New York Yiddish Theater to her encounters with Stanislavski and the Group Theatre to her lectures at the Stella Adler Studio of Acting.

In 2006, she was honored with a posthumous star on the Hollywood Walk of Fame in front of the 'Stella Adler Theater' on Hollywood Boulevard.

Stella Adler Studio

The Acting Studio Adler founded still operates in New York City today. Her method, based on use of the actor's imagination, has been studied by many renowned actors, such as Robert De Niro, Elaine Stritch, Martin Sheen, Roy Scheider, Vincent D'Onofrio, Mark Ruffalo, Warren Beatty, Michael Imperioli, Barbara Stuart, Joyce Meadows, Stephen Bauer and Benicio del Toro, in addition to Marlon Brando, who served as the studio's Honorary Chairman until his death, and was replaced by another pupil, Warren Beatty. Adler's legacy continues with the Marjorie Ballentine Studio (established by Marjorie Ballentine) as well as the Actors Circle Theatre, established by Arthur Mendoza, a former pupil and founding principal instructor at her studio in Hollywood.

Career on Broadway

All works are the original Broadway productions unless otherwise noted.

''The Straw Hat'' (1926)

''Big Lake'' (1927)

''The House of Connelly'' (1931)

''1931'' (1931)

''Night Over Taos'' (1932)

''Success Story'' (1932)

''Big Night'' (1933)

''Hilda Cassidy'' (1933)

''Gentlewoman'' (1934)

''Gold Eagle Guy'' (1934)

''Awake and Sing!'' (1935)

''Paradise Lost'' (1935)

''Sons and Soldiers'' (1943)

''Pretty Little Parlor'' (1944)

''He Who Gets Slapped'' — revival (1946)

''Manhattan Nocturne'' (1943)

''Sunday Breakfast'' (1952)

Works

''The Fervent Years: The Group Theatre and the Thirties'', By Harold Clurman, Stella Adler. Da Capo Press, 1983. ISBN 0306801868.

''The Technique of Acting'', by Stella Adler. Bantam Books, 1988. ISBN 0553052993.

''Creating a Character: A Physical Approach to Acting'', by Moni Yakim, Muriel Broadman, Stella Adler. Applause Books, 1993. ISBN 155783161.

''Stella Adler: The Art of Acting'', by Stella Adler, Howard Kissel, Applause Books, 2000. ISBN 1557833737.

''Stella Adler on Ibsen, Strindberg, and Chekhov'', by Stella Adler, Barry Paris. Random House Inc, 2001. ISBN 0679746986.

Quotes

"In your choice is your talent."

"Don't use your conscious past. Use your creative imagination to create a past that belongs to your character. I don't want you to be stuck with your own life. It's too little." "You can't be boring. Life is boring. The weather is boring. Actors must not be boring." "Growth as an actor and as a human being are synonymous." "A junkie is someone who uses their body to tell society that something is wrong." "The word theatre comes from the Greeks. It means the seeing place. It is the place people come to see the truth about life and the social situation. The theatre is a spiritual and social X-ray of its time. The theatre was created to tell people the truth about life and the social situation."

"Life beats down and crushes the soul and art reminds you that you have one."

"The play is not in the words, it's in you!"

Further reading

''Acting with Adler'', by Joanna Rotté. Limelight Editions, 2000. ISBN 0879102985.

See also

Mikhail Chekhov

Uta Hagen

Estelle Harman

Robert Lewis

References

External links

Judith Laikin Elkin, Stella Adler, Jewish Women Encyclopedia

Stella Adler Los Angeles

Stella Adler Studio of Acting

Stella Adler News at ''The New York Times''

Category:1901 births Category:1992 deaths Category:American stage actors Category:Jewish actors Category:Drama teachers Category:Acting theorists Category:Jewish American writers Category:Deaths from heart failure Category:Cardiovascular disease deaths in California Category:American Jews Category:Actors from New York City Category:Yiddish theatre performers

de:Stella Adler es:Stella Adler fr:Stella Adler it:Stella Adler mr:स्टेला ऍडलर nl:Stella Adler ja:ステラ・アドラー pl:Stella Adler pt:Stella Adler ru:Адлер, Стелла fi:Stella Adler sv:Stella Adler tr:Stella Adler

Coordinates	55°45′06″N37°37′04″N
name	Liv Ullmann
birth name	Liv Johanne Ullmann
birth date	December 16, 1938
birth place	Tokyo, Japan
occupation	Actress/Director
years active	1957–present
spouse	Gappe Stang (1960–1965)Donald Richard Saunders (1985–1995)
religion	Christianity }}

Liv Johanne Ullmann (born 16 December 1938) is a Norwegian actress and film director, as well as one of the muses of the Swedish director Ingmar Bergman. A winner of the Golden Globe, Ullmann has also been nominated for the Palme d'Or, two times for the Academy Award, and a BAFTA Award.

Life

Ullmann was born in Tokyo, Japan, the daughter of Janna (née Lund) and Viggo Ullmann, an aircraft engineer who was working in Tokyo at the time. Ullmann grew up in Trondheim, Norway. She lived in Canada as a child during World War II. She resides in Miami, Florida.

Career

She played lead in nine films by Bergman. She was the object of critical acclaim during the 1960s and 1970s (awards include three Best Actress prizes from the National Society of Film Critics, two from the National Board of Review, a threesome from the New York Film Critics Circle, and one Golden Globe as well as a LAFCA honor).

Her work with Bergman, especially in ''Scenes from a Marriage'', turned her into a 1970s feminist and cultural icon, as well as one of the most respected actresses. In addition, her Nordic red-blond looks fit the 1970s vogue. Ullmann was nominated twice for an Academy Award (for ''The Emigrants'' and ''Face to Face''), and published two autobiographies (''Changing'' and ''Choices'') while out of work in the late 1970s. At this time Ullmann appeared with Laurence Olivier in Richard Attenborough's ''A Bridge Too Far'' (1977).

In 1984, she was the head of the jury at the 34th Berlin International Film Festival.

Two of Ullmann's flops were musical adaptations of classic works. The film version of ''Lost Horizon'' was a critical and commercial disaster, and the Broadway production of ''I Remember Mama'' underwent numerous revisions during a long preview period, then closed after 108 performances.

Ullmann has been a film director (notably with Bergman drama ''Faithless'') and reprised her role from ''Scenes from a Marriage'' in 2003's ''Saraband'', Bergman's final telemovie. ''Faithless'' was close to being awarded the Golden Palm and Best Actress at Cannes Film Festival, but it and the female lead (Swedish actress Lena Endre) lost out to Dancer in the Dark and Björk's performance in it.

Ullmann chaired the jury of Cannes Film Festival in 2002. She introduced her daughter, Linn Ullmann, to the audience with the words: "Here comes the woman whom Ingmar Bergman loves the most". Her daughter was about to receive the Prize of Honour on her famous father's behalf. In 2006 Ullmann gave up a dream of making a film based on Norwegian playwright Henrik Ibsen's play "A Doll's House". According to her, the Norwegian Film Fund worked against her and writer Kjetil Bjørnstad. Australian actress Cate Blanchett and British actress Kate Winslet were intended for lead roles in the movie.

Ullmann narrated the Canada/Norway co-produced animated short film ''The Danish Poet'', which won the Academy Award for Animated Short Film at the 79th Academy Awards in 2007. She was the recipient of The International Center in New York's Award of Excellence.

Ullmann directed actress Cate Blanchett in ''A Streetcar Named Desire (play)'' at the Sydney Theatre Company in Australia, which ran September through October 2009, and the production began on 29 October to 21 November 2009 at the Kennedy Center for the Performing Arts in Washington, DC, where it won Helen Hayes Awards for outstanding non-resident production, actress and supporting performer for 2009. The production also played at the Brooklyn Academy of Music in New York. She will direct the musical The Ghost Brothers of Darkland County, which is based on a screenplay by John Mellencamp and Stephen King.

On 10 December 2010, Ullmann participated in the 2010 Nobel Peace Prize Ceremony. She read "I have no Enemies," the words of 2010 Peace Prize Laureate Liu Xiaobo, a human rights advocate imprisoned in China. In Mr. Liu's absence, the medal and diploma were placed on an empty chair on the stage.

Private life

In addition to Norwegian, Ullmann speaks Swedish, English and other European languages. She is a UNICEF Goodwill Ambassador and has traveled widely for the organization. She is also co-founder and honorary chair of the Women's Refugee Commission. In 2005, King Harald V of Norway made Ullmann a Commander with Star of the Order of St. Olav. In 2006, she received a PhD ''honoris causa'' from the Norwegian University of Science and Technology.

Ullmann has been married and divorced twice. Her first marriage was to Hans Jacob Stang, a Norwegian psychiatrist, whom she divorced in 1965. According to her biographer, Ketil Bjørnstad, the marriage was marred by infidelities on both sides. In the 1980s, she married Boston real estate developer Donald Saunders, whom she divorced in 1995 even as the couple continued living together until 2007.

She has one child, Linn Ullmann, fathered by Ingmar Bergman (who was having an affair) in 1966 while Ullmann was married to Stang. Ullmann has two grandchildren, a boy and a girl, of her daughter's two marriages.

Filmography

+ As actress
! Year	! Title	! Role	Notes
1962	''Tonny''	Kari	Entered into the 12th Berlin International Film Festival
1966		Elisabet Vogler
1968		Eva Rosenberg
1968	''Hour of the Wolf''	Alma Borg	National Board of Review Award for Best Actress
1969	''The Passion of Anna''	Anna Fromm
1971	''''	Kristina	Golden Globe Award for Best Actress – Motion Picture DramaNominated—Academy Award for Best Actress
1971	''''	Ester Jenks
1972		Kristina
1972	''Cries and Whispers''	Maria (and her mother)	New York Film Critics Circle Award for Best Actress
1972		Pope Joan
1973	''Scenes from a Marriage''	Marianne
1973		Ann Stanley	Nominated—Golden Globe Award for Best Actress – Motion Picture Musical or Comedy
1973		Katherine
1974		Hannah Lund
1974	''''	Queen Kristina
1976		Dr. Jenny Isaksson	Los Angeles Film Critics Association Award for Best ActressNational Board of Review Award for Best ActressNew York Film Critics Circle Award for Best ActressNominated—Academy Award for Best ActressNominated—BAFTA Award for Best Actress in a Leading RoleNominated—Golden Globe Award for Best Actress – Motion Picture Drama
1977	''''	Manuela Rosenberg
1977	''''	Kate Ter Horst
1978	''Autumn Sonata''	Eva
1980	''Richard's Things''	Kate Morris
1984	''''	Mrs. Campbell
1986	''Let's Hope It's a Girl''	Elena
1987	''Gaby: A True Story''	Sari
1987	''Farewell Moscow''	Ida Nudel
1988	''La amiga''	María
1988	''A Time of Indifference''	Maria Grazia	(TV)
1989	''''	Gabriele	Nominated—Golden Globe Award for Best Actress – Motion Picture Drama
1991	''Mindwalk''	Sonia Hoffman
1991	''Sadako and the Thousand Paper Cranes''	Narrator	(voice)
1992	''''	Katherine
1992	''The Ox''	Mrs. Gustafsson
1994		Ticket Seller
1994	''Zorn''	Emma Zorn	(TV)
2003	''Saraband''	Marianne	(TV)
2006	''''	Narrator	(voice)
2008		Grandmother

+ As director
! Year	! Film	Notes
1992	''Sofie''	Montreal World Film Festival Special Grand Prize of the JuryMontreal World Film Festival Prize of the Ecumenical JuryMontreal World Film Festival Most Popular Film
1995		(from the novel by Sigrid Undset)
1996	''Private Confessions''
2000

References

Further reading

Robert Emmet Long, ed. (2006), ''Liv Ullmann: Interviews''. University Press of Mississippi. ISBN 1-57806-823-1, 1-57806-824-X (paper). Collected interviews with Ullmann

Liv Ullmann (1984), ''Choices''. New York: Knopf. ISBN 0-394-53986-9. ISBN 978-0394539867. Autobiography

David Outerbridge (1979), ''Without Makeup, Liv Ullmann: A Photo-Biography''. New York: William Morrow. ISBN 0-68803441-1

Liv Ullmann (1977), ''Changing''. New York: Knopf. ISBN 0-394-41148-X. Autobiography

External links

The Guardian/NFT interview with Shane Danielson, 23 January 2001

Peter Bradshaw review of ''Trolösa'', ''The Guardian'', 9 February 2001

Category:Best Drama Actress Golden Globe (film) winners Category:European Film Awards winners (people) Category:Female film directors Category:Norwegian actors Category:Norwegian film directors Category:Commanders with Star of the Order of St. Olav Category:People from Trondheim Category:People from Tokyo Category:Actors from Tokyo Category:1938 births Category:Living people Category:Norwegian Christians

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