Paragraph 1: A Contemporary Reimagining of Bergman’s "Skammen"
Mattias Andersson’s adaptation of Ingmar Bergman’s 1968 film "Skammen" at Dramaten in Stockholm offers a contemporary reimagining of the classic war-torn relationship drama. Instead of the original’s classical musicians, the protagonists, Eva and Jan, are now faded indie-pop artists seeking refuge in a stark, minimalist country home in 2025. Their world, a white, square island on the vast, dark stage, evokes a sense of isolation and precarity. Andersson updates the soundtrack as well, replacing Bach with contemporary hits like Avicii’s "Levels," anticipating the jarring juxtaposition of pop culture within the narrative’s looming sense of dread.
Paragraph 2: Fragile Relationships and the Intrusion of War
The play captures the fragility of human relationships under the shadow of war. Eva and Jan, played with a subdued intensity by Sofia Pekkari and Adam Lundgren, maintain a veneer of normalcy, clinging to the illusion of their peaceful existence. Their attempts to escape the encroaching reality of conflict are futile, mirroring the original film’s depiction of helplessness. The intrusion of war shatters their self-imposed isolation, forcing them to confront the harsh realities outside their minimalist sanctuary. Their strained relationship, marked by unspoken anxieties and a palpable sense of impending doom, forms the emotional core of the play.
Paragraph 3: Exploring Masculinity and Resilience
The play introduces a third character, Jacob, played with imposing presence by Peter Andersson, a neighbor who embodies a contrasting approach to the impending conflict. His conscription into the military juxtaposes his readiness for war with the couple’s passive retreat. This dynamic introduces a layer of commentary on masculinity and resilience in the face of crisis, echoing contemporary explorations of male identity seen in films like Ruben Östlund’s "Turist." Unlike Max von Sydow’s portrayal of Jan in the film, Lundgren’s performance elicits a degree of dark humor, adding a new dimension to the character’s struggles.
Paragraph 4: Bergman’s Legacy and Contemporary Relevance
Bergman’s original "Skammen" was released during a time of social and political upheaval, with the Vietnam War serving as a backdrop. The film, while critically acclaimed, also drew controversy for its perceived ambiguity regarding the conflict. Similarly, Andersson’s stage adaptation avoids taking sides in the unspecified war that threatens Eva and Jan’s existence. The uniformed soldiers, appearing menacingly throughout the play, remain faceless and devoid of national identity, emphasizing the universality of war’s destructive impact on human lives and relationships.
Paragraph 5: Staging and Symbolic Imagery
Andersson’s staging uses symbolic imagery to amplify the play’s themes. The initial confinement of the couple’s world to a small, white square emphasizes their isolation and vulnerability. As the play progresses, this space is shattered, the furniture scattered across the stage, mirroring the disintegration of their sanctuary and the intrusion of the external world. The dramatic entrance of soldiers, dumping instruments from large bags and stomping on them, further accentuates the destructive force of war, obliterating even the symbols of culture and creativity.
Paragraph 6: A Contemporary Reflection on "Skammen"
While visually compelling and thematically resonant, Andersson’s adaptation lacks the linguistic density of Bergman’s original, and the stage production struggles to replicate the emotional intimacy achieved through close-ups in film. The play becomes a more abstract exploration of a pervasive sense of unreality, a contemporary reflection on societal anxieties and the breakdown of human connection in times of crisis. While Andersson’s reinterpretation offers a thought-provoking and visually arresting theatrical experience, it ultimately deviates from the source material, leaving the viewer with a sense of intriguing incompleteness, a half-measure that oscillates between psychological realism and abstract provocation. The absence of a more concrete societal context, a characteristic of Andersson’s previous documentary theatre work, feels like a missed opportunity to fully explore the complex themes at play.
