ANITA c/o Ingmar
(60min./2 actors)

Small table, chair, table cloth, lamp, 2 cups, teabag, kettle, wall carpet, armchair, cloth stand, wardrobe, wheeling chair, lamp, textile set, notes, newspaper, money, pan, plate with burger fork and knife, wineglass, flip board, akkordeon; woolen blanket
Ingmar: cord pants, shirt, green socks, vest, two pairs of glasses, one of them with reading lights, black book,
Anita: fur coat Hermes scarf, top, skirt, fowery underpants, necklace with bird caller on, purse, apron, lipstick, make-up, dog leash, crocs sandals, Birkenstock

(Anita enters the scene, takes off clothing, switches on light and stands over her notes at the wardrobe)
(Ingmar enter with smashing the door handle)
I: I am pretty sure you are working on a book when you work for me. But as you cannot write you really need to get a very good ghostwriter.
(to herself in mirror)
A: I thought about it for four years. It’s 5 years ago that I stopped working for Bergman and started writing.
(Annita introduces herself)
- I worked at Dramaten at the reception for more then 20 Years
I have also an education in Sonotherapy,
What is it? I am interested in!
If we accept that sound is vibration and we know that vibration touches every part of our physical being,
When Ingrid died I needed somebody to help with the household.
(kitchen noises in the back)
I have been asked to try it for 2 weeks and it became 8 years.
(Ingmar in the door frame)
You have to be here from 2:30 until 6. But you have to do the shopping before.
You have to there point 2:30, not too early and not too late.
(Anita looks on her watch and springs to door and knocks)

(Ingmar comes out of the toilet after flushing)
In all the theatres I work with, I have my own toilet.
My Stomach has always reacted.
The soul sits there and the demons are targeting it right there – Its a sensitive area.
My stomach has directed my life. It has been a difficult traveler.
(Hands above head)
I suggested “I Händerna pa sin mage” as working title for my biography. Ha! The editor became very nervous.
When my stomach knows that I sit here and have a conversation it is worried and I feel that.
I always have to take my stomach into consideration. We have a life along each other, the stomach and me.
We have some sort of agreement.
Lam-steak is dry! This never happened when Ingrid was here.
(Anita still in the kitchen)
I did use a thermometer.
I will have problems the whole night..
He directs – even me - in the kitchen.
I like veal-balls (kalvköttbullar).
One day he wants them in a long form with cream. Another day he wants them round with tomato sauce. And with potatoes…
Also veal steak…
But you are not very good at it!
Bergman thinks I do them too hard.
Did you get the meat at SALUHALLEN?
I am only allowed to buy them there. The staff is friendly and you get guaranteed fresh food.
…and you become known as Bergman’s maid and are treated as such.
(Anita turns and lifts skirt)
(Ingmar knocks on table to get Anita’s attention)
Could you massage my back, so I can feel some human warmth?
That isn’t unusual. After a few minutes it will be fine.
The massages are never longer than 5 minutes, because during the massage he slightly loses control over (of) me.
Anita you know that a lot of people are afraid of me?
I have so much authority with me, people get terrified.
Probably nobody dares to say what they think
(Anita massages Ingmar for a bit)
Did you come close?
In his weak moments, when he talks about his fears, I feel closer.
Papa was very sensitive to noise and he had a temperament he couldn’t hold back.
So we got hit a lot.
My mum was very young when I was born and the idea was that I would be ceded for adoption.
My mother also beat us, but we didn’t take that too serious.
(Ingmar gets Anita’s arm at the door frame)
She did it with the left hand, where the ring is on. She had a big variety of heavy rings to choose from.
(Anita looks around the corner)
Before the adoption my grandparents wanted to see me, and when they did they decided to take care of me.
(Anita gets on stage as Bergman’s mum and jumps up and waddles him over his head)
My brother and I got pretty tall with time, but she had the ability to jump up and give us a waddle.
(A. back to kitchen with her arms on the hips)
She was phenomenal!
I had it well but I was afraid of my grandfather.
Plates need to be not too warm and not too cold. Just LAGOM VARMT!
(Together: Lagom Varmt)
Grandma was warm and religious. Once in a while my mum passed by.
When I was 13 I moved in with my mum. She got married and had another daughter who looked like a princess.
I looked like someone fallen from a circus car.
How did these punishments affect you?
(Anita addresses Ingmar)
Yepp, I did hit myself, of course.
Both my mum and my dad had a hysterical nature. That’s for sure! And I inherited that.
Suddenly they were angry and we didn’t know why. Where it came from.
One day I used the garlic salt. But Bergman doesn’t take garlic.
This sudden temperament that comes out of nothing he has definitely inherited.
Particular in my job: The first 10 years I didn’t know how to handle it.
Grandma was the only one who really loved me. No man did either/ever.
(walks slowly off stage)
You could say I am a dramatic person, but maybe more a hysterical person and a hypochondriac. And a very anger full one.
(To Anita in kitchen)
Rita are you having a cold? Don’t come! I don’t want your bacteria.
I had to put up a big discipline. People didn’t like to work with me. So I did train and try to be a polite person…
(Anita filming Ingmar; he listens carefully)
I can hear it in my headphone. A little humming noise.
That is the camera engine.
CUT OF THAT SHIT! It is wrong it needs to be silent.
I’m taking a nap.
Normally he has a nap upstairs and when he comes down, the potatoes need to be ready.
(Ingmar goes up to sleep)
I am tired of how you make the bed.
(Anita follows him to door)
So he shows me how to make the bed. Just as in a hotel.
Are you sure that you can do it?
(Ingmar takes nap)
It feels best when he is not around.
(Bergman starts singing song to himself; Anita starts moving, discovers the bird on wall carpet and dances then slowly back to wardrobe)
Inte ens en grå liten fågel
som sjunger på grönan kvist
det finns på andra sidan
och det tycker jag nog blir trist.

Inte ens en grå liten fågel
och aldrig en björk som står vit
men den vackraste dagen som sommaren ger
har det hänt att jag längtat dit.

(Bergman back on stage)
The shirts you have been to the shirt doctor with came back very nicely.
Kashmir socks…we bought 30 pairs! He had very sensitive skin.
(Anita pulls Bergman’s socks)
The green one I want to be buried in – my testament says.
When I went there for the first time I wanted two Kashmir pullovers.
“That is not possible”, said the saleswoman to me. “We have to order them first.”
Okay, I will tell my employer… Ingmar Bergman.
(Anita jumps up)
Then suddenly a woman came out from another room and said very friendly: “But of course. It will be arranged.”
My clothing are very much limited. I have a few pants, trousers, and shirts… I am very much bohemian.
Only a short period when we lived at …..
(Anita helps out)
I had a slips/necktie, otherwise I enjoy the same clothing.
(Anita closes Bergman’s koffta button)
The Kofta/vest: not sure how long that has been with me. Ingrid did that. Only in summer I cannot have it.
When it is less then 10 degrees I have a vest.
He sits very close to the TV. The old worn out blanket lays on his legs.
(Anita pushes Armchair and puts on blanket and tucks Bergman in)
Det samma
(Anitaputting on clothing at the garderobe)
Sometimes when I am about to leave he comes towards me and gives me a hard hugg.
(Bergman huggs her and holds her hard)
GOD NYTT AR OCH TACK FÖR DET GAMLA. You have been so patient with the good old Bergman.
What will you do this evening?
Read a good book. (…) You know how it is…I am invited but I do not want to go.
Bergman seems to be a lonely guy…
…who has the whole world to his feet
(Anita opening the curtain to the window)
Enormt vacker! Huge panorama windows, library, sleeping room and…Ingrids room.
Ingmar arrives a little bit later with a taxi flight from Stockholm-Bromma…
…the last bit I take with my green Mercedes Land Rover
In Stockholm I sometimes feel lonely and afraid, but never here. Never in Farö…
Once at Farö I told him: You get on the weak ones!
When I arrive I stand in front of the house.
He did hear me.
I look tired.
Bergman has a lot of houses. I lived in an old one, just 10km away. I got a car.
Inside the house I walk up and down the rooms: Am I here again? Everything is so silent, so quiet, So TYST.
(birds played on the bird-caller by Anita)
He has very good taste. And the sea just beneath.
But the loneliness….it wasn’t nice.
(Ingmar returns out of Silence to Anita)
Can you imagine? I went into Ingrid’s room and she was there.
She probably wants to welcome you. That you feel save.

The good thing about spring especially at Farö is when the storms come directly into my house.
(Anita makes wind with Akkordeon)
Swedish movies are made in summer, because that’s when actors are free.
I do theatre in winter. I like when it rains in summer. I enjoy the really wet rain.
We have shit-beige to tank-grey. That’s the colors I work with.
At least in the last films I have worked on.
Blue is just not allowed: I know camera accepts some colors, but others it dismisses.
Blue can be easily overdriven.
Red is very risky. But there is always a red skirt somewhere.
There is a harmony in this landscape that gives peace and calms me.
The mild color scheme, The Farö scheme keeps the movies calm.
My Jeep is red. I love the violence of that red.
(Anita gets wine glass and says on the way to kitchen)
How many houses do you have?
It depends, maybe 6 or 8?
(Open curtain of window and sit in niche)
I decided I want to have a big room.
I saw this Russian fireplace in a movie.
I made a drawing for the architect…
(Raises glass of red wine and takes a zip)
…with a glass of red wine,
so I can sit here and meditate.
Demons (Demoner)
(Anita gets the flipboard and ptries to put it up when Bergman intervenes)
There are a lot of demons.
In general they don’t really look dangerous.
The worst one is the catastrophe demon.
All can go wrong throughout the day.
Even at my job this demon has been present.
It is definitely the strongest one.
The good thing is when the catastrophes don’t happen.
The anxiety demon:
I am afraid of everything: animals, different sorts of people.
I am always very much afraid.
These two demons, the catastrophe and anxiety demon are relatives.
To fight anxiety takes a lot, a lot of energy.
(Bergman sits down and Anita sneaks behind armchair)
Every morning I write down my dreams from the last night. Week 35/1987: I am dreaming that I don’t sleep. Suddenly there is a light in front of the window. A dark figure stands in the doorframe to the bedroom, leaves and goes out as heavily injured. Dark figures moves without a plan in the total silence. They are even down at the beach. The day is sharp and without shadows. I throw myself on top of one of the demons and kill him silently.
The Job demon is also related to these two.
Every morning I have the feeling that I would not get through the day.
But as soon as I start working that demon is gone.
Another one that is hard to handle is the raseri anger demon that I inherited from my parents.
I am an angry person. I have a bad temper (humour).
I can be just meaningless angry.
Atmosphere becomes bad and everybody delivers bad work.
(shows Anita the way out of the room)
The pädagogiska (pedagogical) outrage is sometimes needed so everybody does a better job. You should use it very careful, but sometimes it can be very effective.
(Anita lets a pan fall on the floor in the kitchen. Bergman runs to the door, opens it and shouts).
Förlat, förlat…
(outside to Bergman)
 Du Bergman är en kontroll mäniskor!”
I call it the control demon, which is related to the pedanteri (arrogance) demon, the punctuality and the ordnings (ording) demon.
They can be difficult for people who live and work with me, but actually they are good as we work with emotions.
(Anita turns the last page of Flipboard and poses proudly next to it)
There are two dämoner  I don’t have.
The Zero demon: My creativity has never let me down, so nothing… that has never happened to me.
And I am thankful for that. I am also not infected by the boredom demon. I don’t really know what that is.
(Anita calls in her bag and takes Bergman’s phone out when it starts ringing and brings it to him)
Bergman’s telephone svarare – var sa god
(with automated voice)
I am a passionate telephone talker. It is a very practical instrument.
You can finish the conversation whenever you feel like (whenever you think it’s needed).
I can very well hear a subtle shifting of a tone.
When you sit opposite of me you can control your facial expression, but never your voice.
The voice is much more elementary and you are less aware of it.
The telephone has a friendly anonymity, which I think is good…
(Anita at her desk puts lipstick on)
Spring 2000
STOP with the lipstick. I want to see you natural!
Yesterday it was the make up, tomorrow it will be the hair…
You look better when you let the grey grow out
……says the beauty-expert Bergman.
(Anita puts down shoes and opens wardrobe)
I was down to HANDELSBANKEN today. They are so friendly. The bank director came out and wanted to talk to me. Then he came and brought me my money in person.
(Anita brings as banker the money)
Some kind of service you deserve, if you are world famous in Sweden.
(Ceremony Legend d’Honore. Mitterand puts the medal over Bergmans head; both sing/whistle French anthym)
Absolutely, he is a celebrated monument. People don’t want to see the backside.
Most of the people have a backside!
(Anita looks in her diary with reading glasses on)
In 2001 I didn’t write diary because I felt better and handled the sleepless night okay. But March 2002 at Karlaplan:
The meatballs are very uneatable. Unbearable!
(Ingmar keeps on grumbling)
(to herself)
I will stop working for you now. I cannot bare it any longer!
 (Bergman realizes he went to far and steppes back)
No you are not, but you are a nice human being!
That’s why I wanted you as my maid.
(Anita almost crying & on the edge of stomach pain)
Aha, that is nice to hear! Det är trevligt att höra!
(to audience)
I don’t believe him one word he says.
(Anita leaves rapidly)
(Ingmar writes and reads loud another note)
Anita! The Jarlsberg Cheese you bought is not a real Jarlsberg Cheese. Otherwise I am Donald Duck!
(Anita returns)
HALLO är du där?
Visst är jag här.
(to audience)
He has back pains. He looks grey. He has become very thin in the last weeks.
It’s hell to become old. I have become so ugly!
I don’t think so.
Det var snällt sagd.
I want you to be with me until the end…if it doesn’t become to hard and I have to go to SOFIA-HEMMET
(steps up to audience)
Ack, när så mycket skönt I varje ader av skapelsen och livet sig förraeder, hur skön då maste själva källan vara, den evig klara
Den psalm, 305 was written on the façade of his grandparents summerhouse.
Johan det är så vacker!
if you work in the this kind of slaughter industri you develop a firm longing to comfort.
It takes enorm courage to make a movie. It is a sisyphos arbete.
You want that people take it on and the house is full.
I am bothered by it but understand myself as pretty adaptable.
For Winterlight (Nattvardsgästerna)I did decide to shit on it.
It’s the middle movie of my God-triology…
Not one second one minute should it be charming.
I hold this very strong form.
All light should be this grey shadowless November light.
I drove up with Sven…to a old church in …
(Anita helps out from the Off)
We sat there from the morning to the evening and made connotations how the light was moving.
And then Sven invented something that didn’t exist before.
(puts glasses on and switches their light on)
A lamp that didn’t make any shadows.
I actually think that this movie is the one  that stands me very close.
(Bergman stands up)
I did at least once a brave film…and if anyone is still there they may watch it now!

My generation had Christianity at school. I know a lot of psalms!
(Anita out of the Off)
…he is full of them!
(Anita put’s the kettle on and when it boils brings kettle to pure it into cup on Bergman’s table)
In May 2003 Bergman decides to move to Farö, but this is an impossible thought for me.
Sit down next to me Anita. I want to become a Farö-Gubbe, so I will move to the island and live there for the rest of my life.
I count on you…
… cancel your rental.
(Anita to herself)
Now I feel I am imprisoned for the rest of MY life!
(To Ingmar)
I cannot continue to work for you. I want to stop.
It doesn’t work. I have my family in Stockholm.
I realize my mouth becomes a little bit like steal.
He is about to get angry. I have seen this before.
(Anita stands up)
The day I find a new Hushallerska you can quit.
Then it became WIRRWARR, I became sick and was laying for 1 month in bed. He even called once and said:
I hope you understand I cannot wait for you until you become well again.
DET VAR BRA! I did not want to come back. I called him once to hear whether it had worked out for him.
Is there anything else you want?

(Anita goes over to her desk)
Than there was a letter, Farö the 15th of October 2003: Your employment is finished due to the lack of work.

The End:
(Bergman stands in front of the audience and addresses it, former Anita on all 4 on his side)
You stupid dog… You dachshund! Tax!
You decided not to go to America and stayed with me.
When I started living here with Dingsbum you became very jealous and did bite me in my pants.
If you continue to torture me I will bind you to this tree!
(dog sniffs into the direction of tree)
It won’t hurt you, you just freeze to death and I go home and tell that you just run away from me.
(Bergman lets the leash drop)
The dog  looks at Ingmar and becomes very sad
(Dog stands by Bergman and hands him back the leash after a while of consideration)
…and never offended him again.

Lights out!