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Harriet Andersson (born 14 February 1932) is a Swedish actress, best known outside Sweden for being part of director Ingmar Bergman's stock company. She often played impulsive working class characters and quickly established a reputation on screen for her youthful, unpretentious, full-lipped sensuality. She disdains the use of makeup. ==Film Actress== Harriet Andersson began her acting career as a 15-year-old student at Calle Flygare stage school. She joined director Ingmar Bergman for several stage productions at Malmö stadsteater 1953-56. 〔(【引用サイトリンク】url=http://ingmarbergman.se/en/collaborators/harriet-andersson-0 )〕〔:sv:Harriet Andersson〕 In a 2008 interview with Mick LaSalle of the ''San Francisco Chronicle'', Andersson debunks a rumor that she was discovered by Bergman while working as an elevator operator: "In an elevator! Ha, that's a new one for me. No. I did operate an elevator, but that was when I was 14 1/2! Ingmar did not discover me. I was discovered in 1949 in theater school. Before "Monika," I had many small parts. Most of them were a little like Monika. I looked that way. I looked like a bad girl. But I wasn't a bad girl, really. I was a very nice little girl, until I found out what life was. Bergman wrote the title role in ''Summer with Monika'' (1952), specifically for Andersson. The film featured Andersson in a nude scene, one of the first in postwar European cinema. It was inspired by Hedy Lamarr's once notorious skinny-dipping scene in ''Ecstasy'', twenty years earlier. Filmed in Sweden, the motion picture features a musical score by Les Baxter. Although the romantic relationship with Bergman was brief, they continued to work together. Andersson appeared in several of his best known films, including ''Smiles of a Summer Night'' (1955), ''Through a Glass Darkly'' (1961), ''Cries and Whispers'' (1972), and ''Fanny and Alexander'' (1982). In ''Through A Glass Darkly'', in which Andersson appeared with Max von Sydow and Gunnar Björnstrand, she portrays a latent schizophrenic. The movie title is taken from a verse in First Corinthians (13:12) where Paul of Tarsus says, "For now we see through a glass darkly: But then face to face; Now I know in part; But then I shall know even as I am also known". The plot deals with the actions of four persons during a twenty-four hour period in an old house a far distance out on the Swedish Archipelago. Some audiences were shocked by Andersson's vivid portrayal of the presence of God as represented in the dark world of a schizophrenic. Like several other Bergman regulars, she has also had a career in English-language films including performances in Sidney Lumet's ''The Deadly Affair'' (1966) and more recently in Lars von Trier's ''Dogville'' (2003). Her autobiography, a set of interviews with Jan Lumholdt, was published in 2006. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Harriet Andersson」の詳細全文を読む スポンサード リンク
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