"From the crisis, "Masquerade" was born and grew up:
so she's an actress, what would anyone say about her?
She's silent, that's not unusual.
I'm going to start with the scene where the doctor tells Nurse Emma the cause and effect, which is the first A basic scenario. The caregiver and the patient are getting closer, like nerves and flesh. But she doesn't speak, she hates her voice, she doesn't want to be fake.
The above is from my first working notes, dated April 12. I wrote something else that I didn't execute, but it's still related to 'Masquerade,' especially the title.' When Nurse Emma's fiancé came to see her, she heard him for the first time How he talks, she notices how he touches her. She sees his every move as if he's acting, and she's scared.'
When you're bleeding, it hurts, so you don't
The final pages of the workbook for the performance... ...the last few pages of the workbook have a decisive change:
after the big quarrel, twilight falls, and night comes. Emma... finds Mrs. Fogler unconscious, as if dead. She is terrified. , grabbed the phone, but there was no signal on the receiver. She went back to the dead man and peeped at him. Suddenly, they switched personalities. She saw Mrs. Fogler, who was now Emma, and Mrs. Fogler was talking Emma's voice was Emma's. They sat face to face and talked, in cadences, exchanging gestures. They tortured each other, taunted and hurt each other, they laughed and frolicked. It was a mirror play.
. . . When I returned to the Theatre Royal in the fall, it felt like I was back on a slave ship. I feel strongly the difference between the pointless administrative work of the theater and the freedom that "Masquerade" brings. I once said that "Masquerade" saved my life, which is no exaggeration. If it hadn't given me strength, I might have been crushed. For the first time in the world, I really don't care if a movie is acceptable to the masses. This matter has far-reaching significance. Ever since I started working as a writing slave at Sfansk Films, I have been taught by the Bible that I should write whatever is comprehensible to everyone, and now I can finally go to hell.
Now it seems to me, in "Masquerade" and later "Cry and Whisper", that I'm free to do whatever I want. And because I feel free at work, I touch on the indescribable secret that only cinematography can bask in light. "
-- from "Bergman on Cinema"
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