Ingmar Bergman ¨è

That secretive light, or hidden love, was just what the director had been watching for.
7-3-39
Lighter moments surfaced sometimes. His long, lesser-known career in theatre directing, in Gothenburg, Malmo and Stockholm, included comedies alongside his favorite Strindberg. Explosions of directorial frustration were followed by gales of laughter. Pretty women surrounded him, several of whom he married and two of whom (Ms Ullmann and Bibi Andersson) starred in 'Persona', in 1966, as different aspects of the same self. He delighted in female subtlety, slyness and fecundity. Summer idylls in the woods featured milk and wild strawberries, as well as al fresco sex, to show the sweetness and brevity of passing time.
On the edge, in the corners, darkness waited. Death loitered in many films--as a stranger, a crone, a ballet-master and, most memorably, as a cloaked and white-faced figure in 'The Seventh Seal' of 1957, with whom the hero-knight plays a drawn-out game of chess. Mr Bergman admitted that death terrified him. And short of that he had 'demons' to contend with, anxiety, rage, regret and shame, which kept him company like 'flocks of black birds'. Panic at his own dark aspects kept him alert and drove him on.
Critics wondered whether there was a general message in his films. Mr Bergman sometimes denied he had one. Yet he usually found a saving moment in the misery: a selfless communication, in word or gesture, between two human beings. At the end of 'Wild Strawberries' the hero, an aged professor, is belatedly reconciled with his family and his past. As the scene was filmed, Mr Bergman noted, the old actor's face 'shone with secretive light as if reflected from another reality'. That secretive light, or hidden love, was just what the director had been watching for.

A. ¾îÈÖ
light °¡º­¿î. surface (Ç¥¸éÀ¸·Î)¶°¿À¸£´Ù. theatre directing ¹«´ë°¨µ¶.
alongside ¿·ÂÊ¿¡, ³ª¶õÈ÷. Strindberg(1849-1912) ½º¿þµ§ÀÇ ¼Ò¼³°¡, ±ØÀÛ°¡.
alongside his favorite Strindberg ±×°¡ ÁÁ¾ÆÇÏ´Â Strindberg ÀÛǰ°ú ÇÔ²².
explosion Æø¹ß. directorial frustration °¨µ¶ÀÇ ÁÂÀý. gale Ë­ù¦(°­Ç³), ȯÈñ.
as different aspects of the same self µ¿ÀÏÀι°¿¡ ´ëÇÑ (µÎ °¡Áö)´Ù¸¥ ¸ð½ÀÀ¸·Î.
delight in ...À» Áñ±â´Ù. subtlety ¹Ì¹¦ÇÔ, ½Åºñ, ÚÂÊï(¹Î°¨). slyness ±³È°ÇÔ.
fecundity »ý½Ä·Â, ºñ¿Á, dzºÎ. idylls ï£ê®ãÌ(Àü¿ø½Ã)ÀûÀÎ ÀÏ, »ýȰ. Àü¿ø½Ã, ÙÌʰ(¸ñ°¡).
summer idylls in the woods ¿©¸§³¯ ½£¿¡¼­ º¸³»´Â ¸ñ°¡ÀûÀÎ »ýȰ.
feature ÀÇ Æ¯Â¡À» ÀÌ·ç´Ù. al fresco ¾ß¿Ü¿¡¼­. brevity (½Ã°£ÀÇ)ªÀ½, µ¡¾øÀ½.
edge ³¡¸Ó¸®, °¡ÀåÀÚ¸®. loiter ¾î½½··°Å¸®´Ù. crone ³ëÆÄ. cloak ¼Ò¸Å ¾ø´Â ¿ÜÅõ(¸ÁÅä).
a cloaked and white-faced figure ¸ÁÅ並 °ÉÄ£ Èò»ö¾ó±¼ÀÇ Àι°.
seal µµÀå, Ú£íñ(¹®Àå). drawn-out ¿À·¡ ²ô´Â. demon ¾Ç¸¶.
contend ½Î¿ì´Ù, ÓßîØ(´ëÀû)ÇÏ´Ù. keep company Ä£±¸°¡ µÇ´Ù, »ç±Í´Ù.
alert ¹æ½ÉÇÏÁö ¾Ê´Â, ±â¹ÎÇÑ.
panic at his dark aspects ÀÚ½ÅÀÇ ¾îµÎ¿î ¸ð½À¿¡ ´ëÇÑ °øÆ÷.
drive on °è¼Ó Ãßµ¿ ½ÃŰ´Ù. saving moment ±¸¿øÀÇ ¼ø°£. misery ºñÂüÇÔ.
belatedly µÚ´Ê°Ô. reconcile È­ÇØÇÏ´Ù. note ¾ð±ÞÇÏ´Ù. secretive ¼û±â´Â, ºñ¹Ð½º·¯¿î.
reflect ¹Ý»çÇÏ´Ù. as if reflected= as if it were reflected. watch for ±â´Ù¸®´Ù.

B. ±¸¹®
-short of that he had. . . 'flocks of black birds'.
cf. short of that¡æbeing short of that¡æas he was short of that.
flocks of black birds¡ædemons
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