Persona

In the organizer's words:

Elisabet no longer speaks. During a performance of "Elektra", the actress falls silent in the middle of the stage. Nurse Alma is called to the hospital to look after the speechless actress. The results are clear: Elisabet Vogler is completely healthy, both mentally and physically. But for her, every tone of voice remains a lie, every gesture a fake, every smile a grimace. When there is no improvement, the two women move to a remote summer house. Alma's life seems decided: she will marry and have children - Elisabet, on the other hand, resists the expectations placed on her. Alma falls into the silence of her counterpart and, in shared solitude, tells of unsuspected secrets.

In his 1966 film "Persona", Ingmar Bergman unfolds unpredictable dimensions of storytelling, shifts spaces and times into one another and searches for completeness in the fragile. Today, a highly individualized existence urges us to establish our own identity and demonstrate seamless authenticity. "Persona" takes us behind the unambiguous logic of a smoothly ironed-out world. Sophie Glaser questions the continuities of our contemporary selves and pushes Bergman's variations on identity duplications into shimmering shifts in reality. What remains when all the masks have fallen, all the roles played?