In fact, this is a four-act play. The first act is a celebration. In a Christmas dinner, three lines of old ladies, sons and Alexander are used to create a family that has little worries but no problem. From the death of Oscar to the appearance of the bishop's family in the second act, the cold human nature and the shackles of the obedience are all continuing the gloom of death. The third awakening puppet appears. The mummy and the dead patient are threatened by masks. Crying, especially the appearance of the huge horrible doll manipulated by people, seems to imply that the hypocritical mask is so puppet and ridiculous, especially the final sermon-style ritual, which implies that Alexander is gradually awakening and the adult consciousness is germinating. In the return of the fourth act, although there are still unsolved problems, the family is reunited, and the bishop's coldness has become an indelible memory in Alexander's life, but he can still rely on his grandmother's embrace to relieve the pain.
The key to the whole article is Alexander’s fantasy. Starting from the first fantasy statue, Alexander’s fantasy has always followed her, fantasizing about father, fantasizing evil, fantasizing revenge, and finally fantasizing the bishop's ghost, which may become a life-long shackles, his fantasies. The power is not reduced due to various obstructions from the outside, but more intense and realistic. I don't know if the so-called autobiographical color refers to this endless imagination that accompanied Bergman's life.
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