Summer
'When one writes for radio, one must bear in mind that the voice is the only vehicle, the mirror of the soul.'Björn-Erik Höijer
About the production
The first of two versions of Björn-Erik Höijer's piece, the second was recorded in 1951. No recordings have been saved.
The performance won second prize in 'The Best Radio Play' competition. Björn-Erik Höijer explains the motivation behind the prize:
When one writes for radio, one must bear in mind that the voice is the only vehicle, the mirror of the soul. One can certainly utilise sound effects, but they should be more subdued than in a normal setting. Music is also a very useful effect, but if the play has only a few voices - as radio plays should have - then sound effects are not truly necessary overall. Moreover, radio plays offer a great platform for drama and should be more accessible to the general public, in the sense that radio itself is more accessible.
Sources
- The Ingmar Bergman Archives.
- SR Göteborg/Röster i Radio, 1946.
Collaborators
- Maria Schildkneckt, (unkown part)
- Sven Miliander, (unkown part)
- Anders Ek, (unkown part)
- Kerstin Rabe, (unkown part)
- Björn-Erik Höijer, Author
- Erland von Koch, Music
- Ingmar Bergman, Radio adaptation