Six Damn Fine Degrees #177: The definitive version

Welcome to Six Damn Fine Degrees. These instalments will be inspired by the idea of six degrees of separation in the loosest sense. The only rule: it connects – in some way – to the previous instalment. So come join us on our weekly foray into interconnectedness.

Even though these days I’m much more about film and TV, there was a time when literature came first for me. I studied English and American Literatures (as it was called at the time), and later I taught the subject. I had much more time – and, frankly, energy – to read a lot… and even better, while working at uni I was paid to read. And teach, do research, supervise and counsel students, do some admin, assist the professor who was supervising my PhD thesis. I didn’t love every single one of those tasks, certainly – but still, it was a very good time for someone who loved books.

It’s also during that time that I started to get into drama in earnest. Our department had a fairly active drama community, and while I never felt 100% comfortable being on stage myself, this is where I discovered how much I enjoy directing. Sadly, that’s something that didn’t survive my move into other professions: like so many, I had a choice between staying in academia, which would have come at a personal price I wasn’t willing to pay, or leaving and doing other kinds of work, and it’s the latter that won out. I miss a lot about my years working at university (and this site and our podcast are to some extent my way of making up for what I left behind), but I never regret the choice itself.

Continue reading

The Compleat Ingmar #13: From the Life of the Marionettes (1980)

How’s that for coincidence? I ended my write-up of Saraband with a reference to everyone’s favourite dysfunctional married couple, George and Martha (sad, sad, sad) from Edward Albee’s Who’s Afraid of Virginia Woolf? Fast forward to the next film on our Swedish odyssey, the 1980 From the Life of Marionettes (Aus dem Leben der Marionetten), which Bergman made for German state TV while in tax exile – and there is more than a touch of the seething resentment and marital cruelty of Albee’s classic on display.

Continue reading