關於這個新聞的性質，還真的找不出任何適合的版別
以Wild Strawberry, Seventh Seal, Fanny & Alexandra等片傳奇一世的瑞典導演，
選擇在八十六歲生日再度退休，而且選擇在國家劇院裡宣佈，此舉隱約透露訊息。
以下是Association Press的報導
（詭異的是英國的媒體居然沒有沒有任何篇幅報導此事，美國來的米老鼠先生倒是出現在衛報 The Guardian 網路版的頭條裡，這兩件事情應該是有一種秘密的陰謀相連結著）
Bergman: My heart remains with theater
THE ASSOCIATED PRESS
Swedish film director Ingmar Bergman is seen in this Dec. 22, 2000 file photo, in Stockholm, Sweden. (AP Photo/Jonte Wentzell, File) （圖說）
STOCKHOLM, Sweden -- Ingmar Bergman, one of the great masters of modern cinema, celebrated his 86th birthday Wednesday with a sour gift for fans - an announcement that he's retiring from the stage.
Bergman said his 2002 production of Henrik Ibsen's "Ghost" at Sweden's Royal Dramatic Theatre would be his last.
"After 'Ghost' I decided that this must be it. I do not want them to carry me out of the theater. I'm leaving by myself," he said in an interview with the newspaper Dagens Nyheter. "Nobody will need to say, 'Now the old man has to quit.'"
The film icon also said that his heart remains with theater, rather than the cinema.
"Theater is the beginning and end and actually everything, while cinema belongs to the whoring and slaughterhouse trade," Bergman told the newspaper.
While theater is the backbone of his artistic career, his involvement in films has endeared him to cinema lovers. He won three Oscars in the best foreign film category, the last in 1983 for "Fanny and Alexander."
"We worked on Fanny and Alexander for seven months and it was an amusing production. Still, it was very long and heavy and so awfully complicated," Bergman said. "And when the premiere was over and everything went well, I thought: that's that."
Speaking of death, Bergman said he did not fear it or find it mysterious.
"To me, death has never been a stranger," he said.
Death played a key role in his 1957 film, "The Seventh Seal," which was nominated for an Academy Award in the best picture category. The film contains one of cinema's most famous scenes - a knight playing chess with the shrouded figure of "death."
這番話倒說透了電影與戲劇∕劇場間的曖昧關係
我說個比喻好了，電影是拿個顯微鏡細察生物體系的關係
而相對而言，戲劇是拿了個廣角鏡頭綜覽一個宏觀的物體系
你能同意我的說法嗎？
而另一種比喻
自然與時間空間運作的使用方法而有所不同
電影 是一種武斷而極片面式的手法，以鏡頭橫切
以鏡頭為觀察的眼鏡，以剪接做為時間雕塑的可能
我說的是Man with a Moving Camera嗎？
你倒是可以用蘇古諾夫不用剪接的影片 Russian Ark [創世紀]
來打翻我的論點
但我可以說 的確 這部片可以成為一種「劇場」的形式
就像 拉斯馮提爾拿 Dogville 【厄夜變奏曲】
解構一切劇場的元素來運用在電影語言裡
而說穿了，電影是拿著剪子，一根針的一種編織藝術
而劇場的戲劇是片完整的素材，一棵原木，一個人體，靜待琢磨
我說
你可以說我是錯的
因為這只是我的片面之言而己
就像創作一樣
都是武斷
柏格曼的退休宣誓著什麼？
我們還沒有另一個世紀的電影革命
但至少他說明了一些電影∕劇場的可能性
也說：電影∕劇場
真的是密不可分的
就算柏格曼 比 較 喜 歡 劇場
還有我 （喂！你算哪根蔥！誰管你喜歡哪個，想跟柏格曼大師比嗎？）
不 敢
搞不好這是媒體的操作手法
根據本人胡亂解讀，搞不好是柏格曼先生先在劇場界退休了
這樣他就有理由專心待在電影界了
搞 不 好
就好像美國加州來的米老鼠先生獨佔新聞版面是一樣的道理
於是我難得的胡亂解構起來了
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