Yvonne, Princess of Burgundy
Bergman's zestful Yvonne was received as yet another artistic triumph for director, set designer, and ensemble.
'Yvonne is not a "large" Bergman staging - it has found its soul on the small stage, functioning more through details and subtle devices than through grand gestures, scenery and tableaux.'Lars Ring, Svenska Dagbladet
About the production
Several reviewers felt that Bergman saw more human depth in the story of Yvonne and the prince than Gombrowicz' text suggested. Much critical attention focussed on the theatricality of the performance and on Bergman's rapport with the actors.
It is obvious that Ingmar Bergman does something remarkable with the actors, releases their love to work and their confidence. It is an art that has to do with charisma, inspiration, and experience, and it can probably not be written down in a book of rules for future directors. But there is no better theatre being practiced in Sweden, perhaps not the world.
At the beginning of The Royal Dramatic Theatre's 1995-96 season, Bergman announced his decision to retire. Several critics expressed their doubts. One reviewer who had belonged to the 'anti-Bergman' group of the '60s concluded, 'This superb creativity and artistic power that he shows in Yvonne, Princess of Burgundy cannot simply be shut off. It would appear like a pure act of revenge against those of us who have not always been appreciative and impressed enough. We shall miss him forever'.
Sources
- The Ingmar Bergman Archives.
- Birgitta Steene, Ingmar Bergman: A Reference Guide, (Amsterdam University Press, 2005).
When the guest performance in New York of The Misantrophe was cancelled, The Royal Dramatic Theatre offered to replace it with Yvonne. The offer was declined because of the theme - a celebration of French theatre.
Poland, Krakow, European Theatre Union festival, 22-25 September 1996
The play guest performed in Krakow, the town where the play had its opening in 1957. An earlier attempt to make a farce of Gombrowitcz' play was met with severe criticism in Poland. In spite of this Bergman's absurdist approach was met with great enthusiasm. Some critics mentioned the conservative and traditional nature of Bergman's production but also its clarity, stringency and discipline. Others saw the performance as a homage to Gombrowitcz and a unique interpretation of his attempt to examine the mechanisms and structure of power.
Denmark, Copenhagen, Det Konglige, 14-15 February 1997
When Bergman was working at Det Konglige in Copenhagen in the early '70s, he had plans on staging Yvonne but finally choose The Misanthrophe instead. The performances were not sold out although praised by the critics. One review was for example headlined, 'Miraculous, Miraculous, Miraculous'.
Collaborators
- Nadja Weiss, Yvonne
- Erland Josephson, The king
- Kristina Adolphson, The queen
- Pontus Gustafsson, The prince
- Ingvar Kjellson, The cardinal
- Gunnel Fred, Iza
- Benny Haag, Cyril
- Pierre Wilkner
- Gerd Hagman, Amalia
- Monica Nielsen, Emila
- Johan Lindell, Inocent
- Sven Lindberg, Valentin
- Olof Willgren, The beggar
- Sten Johan Hedman, The marshall
- Sten Ljunggren, The judge
- Magnus Ehrner
- Johan Björck, The admiral
- Ingrid Boström
- Kristina Törnqvist
- Maria Bonnevie
- Kicki Bramberg, The countess
- Ingar Sigvardsdotter
- Lars Andersson
- Rickard Gustafsson
- Peter Kleve, Props
- Ulla Åberg, Dramaturgy
- Bengt Wanselius, Stills photographer
- Witold Gombrowicz, Author
- Tomas Wennerberg, Stage manager
- Donya Feuer, Choreography
- Göran Wassberg, Costume design
- Jan-Eric Piper, Sound
- Hans Åkesson, Lightning
- Jean Billgren, Musical arrangement
- Leif Qviström, Make-up and wigs
- Barbro Holmbring, Make-up and wigs
- Rolf Linder, Make-up and wigs
- Sofi Lerström, Producer
- Ingmar Bergman, Director
- Antonia Pyk, Assistant director
- Stefan Lundgren, Props
- Bengt Larsson, Master carpenter
- Kajsa Larsson, Assistant designer
- Hanna Pauli, Prompter
- Mira Teeman, Translation