Become a festival member
With a membership to the festival you will receive a discount for your ticket purchases. The more tickets you buy, the bigger your discount, up to 25 percent when you buy six tickets or more. (2 tickets - 5% discount, 3 tickets - 10% discount, and so on.) The discount is calculated per purchase.
The membership is 100 SEK and also gives you advance tickets for certain events during the festival.
Become a member
You can purchase tickets for the festival plays just like any other play at the Royal Dramatic Theatre. You do not have to have a festival membership to see the plays. Click "Read more" under each play below for more information and links to purchase tickets.
Have a look at the festival schedule to get an overview of all the events and activities at the festival. You can download and print the schedule at home, or get a copy at the ticket booth during the festival.
View the festival schedule
The House at the End of Night
In the celebrated German director Sebastian Hartmann’s The House at the End of Night, figures from Bergman’s films and plays meet and interact with each other in new, unexpected constellations. Scenes and characters from works such as Shame, Fanny and Alexander, Scenes from a Marriage, The Magic Lantern, From the Life of the Marionettes, Cries and Whispers, The Silence and our of the WolfHour of the Wolf glide in and out of the performance. But The House at the End of Night is not primarily a worshipful examination of a multifaceted artistic career, but rather a dynamic investigation of human beings, relationships and complex emotions. Sebastian Hartmann was inspired to honour Bergman in this manner after living for a period in his home on Fårö.
The Best Intentions
It is 1909. Anna and Henrik meet. She is training to be a nurse in Stockholm; he is studying theology in Uppsala. They have nothing in common, but a strong bond of love develops between them. They will become Ingmar Bergman’s parents. The Best Intentions is a fictional account of Anna and Henrik’s love story up to the birth of their son Ingmar in 1918. The novel was published in 1991 and became the basis of a popular television series and a film that won a Golden Palm at Cannes. The director, Eirik Stubø, returns to the novel to provide his own dramatic interpretation of Anna and Henrik’s story.
Ensam and Esmeralda
In the large bourgeois flat Ensam is often alone. His father’s main interest is seeing that the pots and pans are in order. But Ensam’s maternal grandmother is also there; her experiences include working at a fishmonger’s shop and a mysterious career as a football player. She opens the door to another world where the circus artist Esmeralda turns up, and she teaches Ensam all about creating pictures and stories. In Ensam and Esmeralda, directed by Agneta Ehrensvärd, Martina Montelius describes, in her own special way, the childhood of a filmmaker. With humour and melancholy in equal measure, Ensam and Esmerlalda shows how imagination can be a way to escape demands and expectations and how the experiences of a child can provide material for artistic creation.
Falling Out of Time
Eight people have gathered. All of them have experienced the worst thing imaginable: losing a child. One man goes out to search for his dead son. What happens after that is an abstract, musical, shifting journey into the relentless landscape of grief. “His death isn’t dead”, says the centaur who has fused with his desk. Falling Out of Time is director Suzanne Osten’s interpretation of the Israeli writer David Grossman’s acclaimed novel of the same title, published in 2014, which draws on the author’s grief after the combat death of his 21-year-old son. Erik Uddenberg has adapted the text; music was composed by Anders Niska. Falling out of Time is Suzanne Osten’s first production at Dramaten.
A high-rise flat in a Swedish city, 2016. A young woman suffers from multiple sclerosis (MS); her caregiver is a woman the same age from a lower social class. Who is really subordinate and who is dominant? Who is dependent on the other? Who is ill and who is healthy? Mattias Andersson has written Deformed Persona with his sister, Ylva Andersson, who herself was diagnosed with MS in her twenties. The script is primarily based on Ylva’s poems, diary entries and stories. Deformed Persona is thus both a semi-documentary play and a deformed paraphrase of Ingmar Bergman’s psychological thriller from 1966, demonstrating that Bergman’s legacy is not necessarily apolitical. This is not a dramatization of the film, but rather an entirely new play, loosely inspired by Bergman’s story.
After attention-getting productions of Miss Julie and The Wild Duck, Anna Pettersson continues, with Hedda Gabler, to investigate how the naturalistic dramas that with time have become classics can have the same powerful effect on a contemporary audience as they did when they exploded like bombshells at the end of the nineteenth century. How can they be deconstructed and opened up? In Anna Pettersson’s hands Hedda Gabler is presented in a spare format where Electra Hallman in the title role interacts with video projections of the other three characters. Hedda Gabler is one of Henrik Ibsen’s most durable masterpieces. The story of the frustrated Hedda, trapped in patriarchal social structures that she with increasing desperation wants to escape, was written in 1890 and has been performed frequently ever since. Dramaten has staged it a number of times; in 1964 the director was Ingmar Bergman. He also staged it at the National Theatre in London in 1970 and at the Residenztheater in Munich in 1977.
Persona, persona, persona
– a theatrical presentation
Dimen Abdulla, Bahar Pars and Nanna Blondell have each had a very personal relation to Ingmar Bergman’s film Persona for many years. Now this dynamic trio is creating an entirely new work for Dramaten. The premiere will be at the 2018 Ingmar Bergman International Theatre Festival, but already at this year’s festival the public is invited to a collation, a preliminary meeting about the production.
The audience participates when the trio reads the original script together, examining the text from all sides, asking questions, discussing, trying things out: “It’s almost impossible to talk about Persona. We want to enter Bergman’s landscape and let Persona meet the three of us and get acquainted”, says the trio in a collective statement.
Performers: Dimen Abdulla, Bahar Pars och Nanna Blondell
Date: 30 augusti kl. 18:00
Location: Repsal 1 (rehearsal space at Dramaten)
Duration: Approx. 2 hours 30 minutes with interval
In the Presence of a Clown
– a Bergman tribute at Drottningholms Slottsteater
A playful tribute to Ingmar Bergman’s artistry, the word and the art of acting. The programme at Drottningholm runs from afternoon until dusk and includes musical theatre, readings, discussions and a film screening of Ingmar Bergmans The Magic Flute in the park.
Performers include, among others, actors from Dramaten’s ensemble and musicians from the Drottningholm orchestra, conducted by Maria Lindal. A collaboration between Drottningholms Slottsteater and Dramaten.
Director: Wilhelm Carlsson
Performers: Andreas T Olsson, Julia Dufvenius, musicians from the Drottningholm orchestra conducted by Maria Lindahl, and more.
Date: September 3rd 6 pm – approx. 7 pm
Tickets: available at www.dtm.se
International guest performances
Deutsches Theater Berlin (Germany), Autumn Sonata
Seven years have passed since their last meeting. The successful concert pianist Charlotte Andergast, played by acclaimed actress Corinna Harfouch, has now taken a break from international touring to visit her daughter in the Norwegian countryside. Expectations are high and both look forward to seeing each other. But there is something Eva has not told her mother: she has brought her handicapped sister Helena to live with her. Director Jan Bosse’s production of Autumn Sonata is a psychological duel between mother and daughter, based on Ingmar Bergman’s film of the same title.
Schaubühne (Germany), Richard III
Richard is hideous. He was born prematurely and is a deformed, limping, hump-backed cripple. He plays off his rivals against each other with political cunning, has no scruples about taking advantage of others’ ambitions for his own purposes and wades unharmed through an enormous bloodbath until nothing blocks his path to the throne. Alone at the height of power, with no opponents left, he can only direct his anger towards his sole true enemy: himself. In Schaubühne’s production Shakespeare’s classic text has been translated and adapted by the German dramatist Marius von Mayenburg. Celebrated and prizewinning director Thomas Ostermeier is at the helm.
Riksteatret/Nationaltheatret (Norway), Private Confessions
What do we do with our deepest secrets? What does this do to us? Liv Ullmann’s production of Private Confessions, which she also filmed to great international acclaim, concerns Anna, who in more ways than one must pay the price of telling the truth. The drama is based on the life story of Ingmar Bergman’s mother, a story Bergman believed only Liv Ullmann could tell. Drawing on the mother’s secret diary and on Ingmar’s own diaries, Liv Ullmann has created a new script for the stage.
Maxim Gorki Theater (Germany), The So-called Out There Means Nothing to Me
It’s evening. A young woman is sitting alone in her flat. She keeps in touch with female friends via Skype and online chat rooms. She gets some text messages. Her mother phones. A few floors below, in the cellar, a man is tied up and gagged. In The So-called Out There Means Nothing to Me (Das sagt mir nichts, das sogenannte Draußen) a young woman begins, with furiously bitter humour, to take stock of her own and other women’s reactions to the world around them, to images of women in advertising and media and violence on the city streets. The professional theatre journal Theater Heute named The So-called Out There Means Nothing to Me the best German-language play of 2014.
tg STAN (Belgium), Scenes from a Marriage
Ingmar Bergman’s Scenes from a Marriage was originally a six-part series for Swedish television with Liv Ullmann and Erland Josephson in the lead roles. The story of Johan and Marianne’s crumbling marriage is told in six instalments covering a period of 20 years. Bergman portrays important events in the couple’s life, observes the idiosyncrasies that arise in a shared life and depicts some scenes from the marriage.
tg STAN (Belgium), After the Rehearsal
In After the Rehearsal from Belgian tg STAN, an aging Theatre Director sits remembering earlier productions of Strindberg’s A Dream Play, which he is now directing for the fifth time, when he is interrupted by a young, enthusiastic actress. She wants to talk about her deceased mother, also an actress, a woman the Theatre Director once was in love with. Ingmar Bergman initially wrote After the Rehearsal for television in 1984, with Erland Josephson, Ingrid Thulin and Lena Olin.
Toneelgroep Amsterdam (The Netherlands), The Human Voice
In The Human Voice, an actress is alone, talking on the phone with her lover from a relationship that has just ended. The woman is torn between strong emotions as she tries to understand herself the man who has left her. It becomes unusually and uncomfortably voyeuristic, even for theatre. Director Ivo van Hove makes this quite clear by placing the actress in a small, box-like room behind a large window, through which the audience examines her. She gives the impression of being a prisoner in her own flat, where she acts like a caged animal.
Det Norske Teatret (Norway), Mourning Becomes Electra
“This is theatre of high international class”, wrote Aftenposten’s critic after the premiere of Mourning Becomes Electra at Det Norske Teatret in 2012. Eugene O’Neill’s family drama is based on the Greek tragedy The Oresteia and takes place during the American Civil War. Directed by Eirik Stubø and with jazz musicians on stage, the tragedy of the Mannon family’s downfall has somehow become a festive descent into the bleakest night of the soul. Traditional tunes from The Great American Songbook alternate with new interpretations of rock ballads by the ensemble and a jazz trio.
Salon Madame Nielsen (Denmark)
During the Ingmar Bergman International Theatre Festival the Danish writer and performance artist Madame Nielsen will come to Stockholm with her entourage and move into an exclusive suite at one of the city’s finest old hotels. Here on select evenings she will open her Salon Madame Nielsen for the residents of Stockholm. With her companion Sailor Toldam and invited guests she will entertain with songs, stories and commentary on the burning issues of the day. Among other things she will describe her experiences in the “migration wave” that she participated in during autumn 2015, walking from Greece through Europe to Denmark, an educational journey she later wrote about in the novel The Invasion.
Teatro Stabile di Napoli, The Macaluso Sisters
The Macaluso Sisters (Le sorelle Macaluso) are like a flock of birds who attend both their own and others’ funerals. They float between heaven and earth, in the ambiguous space between life and death. During the funeral of one of the sisters they stop to remember, tell stories, chastise, dream, weep and laugh about their past. The Macaluso Sisters, which premiered in 2014 at Teatro Stabile in Naples, was awarded the prestigious Italian Ubu Prize for best performance and best director.
Performance in Rehearsal Room 1: Wild Minds
Wild Minds is a documentary performance where we meet four people who are obsessed by their daydreams. Director and dramatist Marcus Lindeen has interviewed people in the United States who self-identify as compulsive daydreamers and have been forced to seek treatment for their overactive imaginations. Actors perform their stories live in the intimate setting of a rehearsal studio, providing simultaneous translations of recorded voices and accompanied by new music composed by Hans Appelqvist.
(Presented by Dramaten&)
Throughout the festival Dramaten&, Dramaten’s side programming, will arrange a wide variety of discussions and encounters focusing on the Bergman themes of grief, dreams and failure. There will be intense scrutiny and dialogue but also readings, listenings, music and lectures.
Two conversations with David Grossman
David Grossman is one of Israel’s most prominent writers and a persistent critic of the government. His much-praised previous novel, To the End of the Land, portrays everyday life in Israel in the shadow of war that has continued for three generations. The novel Falling Out of Time, the basis of Suzanne Osten’s production of the same title, draws on Grossman’s grief over the combat death of his 21-year-old son. During the festival the writer will participate in two conversations, one with director Suzanne Osten (at Bajit, in cooperation with the Jewish Congregation) and one with journalist Johar Bendjelloul (at Elverket).
Date and time:
August 28, 11:00 AM
With: David Grossman, Johar Bendjeloull
August 28, 5:00 PM
With: David Grossman, Suzanne Osten
Location: Bajit, Riddargatan 3-5
For tickets, send an e-mail to email@example.com
4 x Bergman: Conversations with Leif Zern
Leif Zern is one of Sweden’s best known and respected theatre critics. In 1993 he published Se Bergman (“See Bergman”), a book about Ingmar Bergman as an artist. There he writes, “The singular quality in Bergman’s aesthetics arose in the dialectic between film and theatre. No other film director has to the same degree used actors as his instrument”.
4 x Bergman is a four-part seminar where Leif Zern converses with four different Bergman authorities: the actor Lena Endre, professor in psychiatry Johan Cullberg, director Jenny Andreasson and critic John Sjögren.
Date: August 31
4 pm - 5:30 pm:
Conversation with Lena Endre, actor at Dramaten: Bergman and the actor.
Conversation with John Sjögren, literary and theater critic: Bergman and God.
6 pm - 7:30 pm:
Conversation with Jenny Andreasson, director at Dramaten: Bergman and the director.
Conversation with Johan Cullberg, professor in psychiatry and author: Bergman and the family.
Lecture and workshop: Finding an audience – a theatre for the entire city
Members of the theatre company Maxim Gorki Theater in Berlin discuss their experiences and methods for reaching new audience groups. The theatre’s artistic directors, Shermin Langhoff and Jens Hillje, describe their vision of the theatre in the following way: “Gorki is for the entire city, and that includes everyone who has moved to the city in the last few decades (…) We invite all of you to a public space where the human condition and our conflicted identity will be reflected in the art of creating theatre and the art of watching theatre. In this way we hope to contribute to a probing debate about living together in today’s pluralistic society. How have we become who we are, what we are? And who do we want to be in the future? One might also ask: who is this ‘we’?”
Date: Setpember 4 12 pm
Duration: approx. 2 hours
Conversation: The fruitful failure
After gaining access to the Ingmar Bergman Archives, director Marcus Lindeen created the production The Archive of Unrealized Dreams and Visions. What significance did Bergman’s failed projects have in his development towards the films that made him world famous? Does our present-day insistence on efficiency leave room for experiment and failure? Dramaten& invites a number of voices representing both artistic and scientific fields to discuss failure – Bergman’s and their own. Does one’s approach to failure have a direct connection to creativity?
Young Actors’ and Directors’ Meeting
During the Ingmar Bergman International Theatre Festival, young actors and directors from all of Europe join for meetings and talks about theatre today - and to experience the festival. Participants from a number of theatres in England, Spain, Greece, Poland, Switzerland, France and Germany. A meeting within Dramaten’s international theatre network MITOS21.
Introductions to the performances
Introductions to Dramaten’s own productions as well as guest performances are planned. Arrive a while before the curtain goes up and learn more about the play, the dramatist and the theatre company from Dramaten’s dramaturges or dramaturges from the visiting companies.
Talks after the guest performances
Why not stay a while after the performance and listen to a talk on the work behind the guest performances? The talks are led by dramaturges from the Royal Dramatic Theatre and the participants are members from the cast and the director from the visiting theatre company. The following productions have their talk after the FIRST performance: Richard III, Vox Humana, Private Confesssions, The So-Called Outside Means Nothing to Me, The Macaluso Sisters and Mourning Becomes Electra. The following productions have their talk after the SECOND performance: Wild Minds, Autumn Sonata and Scenes from a Marriage (this talk will also be a talk about After the Rehearsal, since both productions are by tg STAN).
(No talk after Salon Madamde Nielsen.)
Reading: A newly discovered play by Ingmar Bergman
During autumn 2016 Radio Sweden’s Radio Theatre will put on a previously unknown and never-performed script by Ingmar Bergman in a unique and still-secret project. During the festival we will be able to meet the cast of the production and sample the work with readings from the script. More information will be forthcoming as the festival approaches.
In collaboration with Swedish Radio
64 minuter med Rebecka (64 minutes with Rebecka) is a fragment from a planned, but never realized, project in which Ingmar Bergman, Federico Fellini and Akira Kurosawa were to make an anthology film together, each director contributing with one short film. Bergman's script, written in 1969, has until now been stored among his notebooks in the archives of The Ingmar Bergman Foundation.
The story revolves around Rebecka, a teacher working at an institute for hearing impaired. In this work Bergman displays a clear influence by the political currents of the late 1960's – the plot involves strikes, abuse of power and hedonistic orgies in the wake of the sexual revolution.
This autumn, 64 minuter med Rebecka will be premiered in Sveriges Radio Drama, in the shape of an audio play, directed by Suzanne Osten. But already during the Ingmar Bergman Festival, some samples of the intriguing work be offered, as Osten and the cast present a reading of some of the scenes from 64 minuter med Rebecka.
The cast is the same as in Suzanne Osten's stage production of David Grossman's Falling out of time at the Ingmar Bergman Festival: David Arnesen, Thérèse Brunnander, Johan Holmberg, Hulda Lind Jóhannsdóttir, Maria Johansson Josephsson, Simon Norrthon, Maria Sundbom and Frida Österberg.
Date and time: August 29, 8.00 PM - 9.00 PM
During the festival three films will be screened, each relating in a different way to Ingmar Bergman and his oeuvre. The films will be shown sequentially and two of the filmmakers will be present to introduce their works.
Ingmar Bergman; Intermezzo
In the last twelve years of his life Ingmar Bergman was Honorary President of the Göteborg Film Festival. His involvement made possible a number of collaborative efforts -- ‘Bergman’s List’, ‘Bergman’s Twentieth Century’ and a special film prize – but also two films, Bergman’s Voice (1998) and the short Ingmar Bergman: Intermezzo (2002), for which Gunnar Bergdahl, then head of the festival, succeeded in securing Bergman’s willing participation. Bergdahl directed both films.The Ingmar Bergman International Theatre Festival now presents Ingmar Bergman; Intermezzo. Here the 83-year-old Bergman shares his reflections about the difference between Ibsen and Strindberg, about Swedish film, and about aging and death. It becomes a kind of farewell, filmed at the workplace that was closest to his heart, the Royal Dramatic Theatre. At the first screening Gunnar Bergdahl will provide an introduction about the making of the film and his meeting with Bergman.
In the summer of 1980 the American jazz pianist Kazzrie Jaxen wrote a sixteen-page letter to the director Ingmar Bergman. Bergman’s film From the Life of the Marionettes had set in motion a dramatic internal quest that eventually made her realise that she is not alone in her own body, an insight that changed her life. In the process of writing a play based on unfilmed scripts from the Bergman Archive, the director Marcus Lindeen (nominated for a Guldbagge – Sweden’s Oscar – for his documentary Regretters) found Kazzrie Jaxen’s letter and decided to contact her about making a film based on it. Dear Director won a prize at the film festival in Locarno in August 2015. A conversation with the director will follow the screening.
In an in-depth investigation of Ingmar Bergman’s film collection and artistic achievement, a number of internationally acclaimed film directors were invited to Bergman’s home on Fårö to discuss what his films had meant to them in their own creative work and in their lives. The link connecting them is the inclusion of their films in Ingmar Bergman’s enormous film library. In this documentary by Jane Magnusson and Hynek Pallas we meet many prominent directors, including Woody Allen, Claire Denis, Michael Haneke and Martin Scorsese. The encounter with Bergman and his work has had a profound impact on all of them.
Dates and times:
September 3 at 12 pm, 15 pm and 6 pm
September 4 at 11 am and 3 pm
All three films will be screened in a row three times: September 3, 6 PM and Sempteber 4, 11 AM and 3 PM. In addition, Dear Director will be screened September 3, noon, and Ingmar Bergman; Intermezzo will be screened September 3, 3 PM, featuring presentations by the directors of the films. The introductions will be in Swedish.
Bergman’s New York Tribute!
On August 29th 2016, Scandinavian American Theater Company (SATC) in collaboration with Scandinavia House and the Consulate General of Sweden in New York will be contributing to The Ingmar Bergman International Theatre Festival 2016with a stage reading of Bergman’s “Scenes from Marriage” in a new adaptation by American playwright, director and Obie Award winner Emily Mann. Mann’s theatrical adaptation was The New York Times’ Critic Pick when presented first time in 2014 by The New York Theatre Workshop.
This August, SATC will present a New York tribute to Ingmar Bergman with their stage reading version of Mann’s “Scenes from a Marriage”. The reading will be directed by Norwegian director Henning Hegland (founder of SATC) and the roles as Johan and Marianne played by Arash Mokhtar and Annemette Andersen. For more information, go to www.satcnyc.org.
Venue: Scandinavia House, 58 Park Avenue, New York City, USA
Date & Time: August 29th 2016, 7.30 PM (with a pre-reception 7 PM)
Bergman Fashion – costume exhibition at Hallwyl Museum
Ingmar Bergman and fashion? Is this pairing really possible? Is it not more like a paradox? This man's interest in fashion hardly extended beyond the idea that clothes should be practical and comfortable – and used until worn out completely.
But Bergman Fashion connects mainly to the films. Indeed, both fashion designers and fashion photographers have been inspired by Bergman's work, which is evident in one of the two set designs presented in the exhibition. Here, the visual expression is just as graphically black and white as in Bergman's early, world famous films.
The exhibition at the Hallwyl Museum is a sample of a larger exhibition, curated by Anna Bergman and Lotta Lewenhaupt, made by Stockholm Costume & Fashion Institute (SCFI). This larger exhibition, Kostym kontra mode ("Costume vs fashion"), will open in Stockholm later this autumn.
Location: Hallwyl Museum (Hallwylska museet), Hamngatan 4, Stockholm
For more information about the festival, contact firstname.lastname@example.org
or the festival director Ulrika Josephsson, email@example.com
Cevian Capital, Josefsson Foundation, Svante Bergströms Teaterstiftelse,
Eva Bonnier, The Barbro Osher Pro Suecia Foundation,
Annika Levin och Jacob Wallenberg,
Bonnier Holding, Birgitta och Sten Westerberg, Wonna I de Jong Schaefer,
Laurent Leksell, Byggmästare Anders J Ahlström Holding, Åke Ljungberg,
Gunilla och Peje Emilsson, Patrik Brummer, Tove och Ingvar Jensen,
Brita Ramberg, Jonas och Christina af Jochnick
Special thanks to: