Egil Törnqvist, professor emeritus at the University of Amsterdam, is a leading Bergman scholar. He has also published books on Ibsen, Strindberg, and O’Neill and has lectured widely in Europe, the United States and China. He lives in Amsterdam, Holland.

• Table of ContentsPreface      Introduction      ONE. TRANSPOSITIONS1. From Drama Text to Stage Performance: Ibsen’s Ghosts      2. From Drama Text to Radio Play: Aural Strindberg      3. From Screenplay to Film: Bergman’s The Communicants      TWO. MULTIMEDIA4. Transcending Boundaries: Mozart’s The Magic Flute as Television Opera      5. Molière’s Don Juan on Stage and Screen      6. Euripides’ The Bacchae as Opera, Television Opera, and Stage Play      7. Mishima’s Madame de Sade on Stage and on Television      THREE. INTERMEDIALITY8. Bergman’s After the Rehearsal on Television      9. Film and Stage on Television: Bergman’s In the Presence of a Clown      10. Film on Stage and on Television: Enquist’s The Image Makers      FOUR. PRESENTATIONAL ASPECTS11. The Subjective Point of View      12. The Visualized Audience      13. The Hidden Observers      14. The Silent Characters      15. “This Is My Hand”      EPILOGUE      Appendix: Subtitling Bergman      Notes      Bibliography      Index

Egil Törnqvist, professor emeritus at the University of Amsterdam, is a leading Bergman scholar. He has also published books on Ibsen, Strindberg, and O’Neill and has lectured widely in Europe, the United States and China. He lives in Amsterdam, Holland.

• Table of ContentsPreface      Introduction      ONE. TRANSPOSITIONS1. From Drama Text to Stage Performance: Ibsen’s Ghosts      2. From Drama Text to Radio Play: Aural Strindberg      3. From Screenplay to Film: Bergman’s The Communicants      TWO. MULTIMEDIA4. Transcending Boundaries: Mozart’s The Magic Flute as Television Opera      5. Molière’s Don Juan on Stage and Screen      6. Euripides’ The Bacchae as Opera, Television Opera, and Stage Play      7. Mishima’s Madame de Sade on Stage and on Television      THREE. INTERMEDIALITY8. Bergman’s After the Rehearsal on Television      9. Film and Stage on Television: Bergman’s In the Presence of a Clown      10. Film on Stage and on Television: Enquist’s The Image Makers      FOUR. PRESENTATIONAL ASPECTS11. The Subjective Point of View      12. The Visualized Audience      13. The Hidden Observers      14. The Silent Characters      15. “This Is My Hand”      EPILOGUE      Appendix: Subtitling Bergman      Notes      Bibliography      Index

Egil Törnqvist, professor emeritus at the University of Amsterdam, is a leading Bergman scholar. He has also published books on Ibsen, Strindberg, and O’Neill and has lectured widely in Europe, the United States and China. He lives in Amsterdam, Holland.

• Table of ContentsPreface      Introduction      ONE. TRANSPOSITIONS1. From Drama Text to Stage Performance: Ibsen’s Ghosts      2. From Drama Text to Radio Play: Aural Strindberg      3. From Screenplay to Film: Bergman’s The Communicants      TWO. MULTIMEDIA4. Transcending Boundaries: Mozart’s The Magic Flute as Television Opera      5. Molière’s Don Juan on Stage and Screen      6. Euripides’ The Bacchae as Opera, Television Opera, and Stage Play      7. Mishima’s Madame de Sade on Stage and on Television      THREE. INTERMEDIALITY8. Bergman’s After the Rehearsal on Television      9. Film and Stage on Television: Bergman’s In the Presence of a Clown      10. Film on Stage and on Television: Enquist’s The Image Makers      FOUR. PRESENTATIONAL ASPECTS11. The Subjective Point of View      12. The Visualized Audience      13. The Hidden Observers      14. The Silent Characters      15. “This Is My Hand”      EPILOGUE      Appendix: Subtitling Bergman      Notes      Bibliography      Index