Stella Adler Studio of Acting
The Stella Adler Studio of Acting is a prestigious acting school, founded by actress and teacher Stella Adler. The Stella Adler Studio of Acting has two locations: its original New York City conservatory, founded in 1949, the Art of Acting Studio in Los Angeles; the Stella Adler Studio of Acting is not affiliated with the Stella Adler Conservatory, established in Los Angeles in 1985. Concurrent with her work as an actor and director, Stella Adler began to teach in the early 1940s at the Erwin Piscator Workshop at the New School for Social Research in New York, she left the faculty in 1949 to establish her own studio in New York in the same year. Combining what she had learned from the Yiddish theatre, the Group Theatre, Broadway and Constantin Stanislavski, Stella created the Stella Adler Theatre Studio renamed the Stella Adler Conservatory of Acting and more the Stella Adler Studio of Acting, where she taught acting for many decades, in 1985, she opened the Stella Adler Academy and Theatre in Los Angeles.
The studio offered courses in principles of acting and speech, Shakespeare and makeup, as well as workshops in play analysis, scene preparation, acting styles. Onstage experience was acquired by performances of plays before an invited audience. Among her early students were Marlon Brando, Robert De Niro, Warren Beatty, Elaine Stritch, Mario Van Peebles, Harvey Keitel, Candice Bergen. Adler's grandson Tom Oppenheim, who runs the Stella Adler Studio of Acting in New York and the Art of Acting Studio in Los Angeles, summarizes her approach to acting as such: "Growth as an actor and growth as a human being are synonymous." The Stella Adler Studio of Acting, in New York City, was founded in 1949 by Adler. In 1969, it became the first professional training school to become affiliated with New York University's Tisch School of the Arts; the studio became a 5013 not-for-profit organization in 2000. The mission of the Stella Adler Studio of Acting is to create an environment with the purpose of nurturing theatre artists who value humanity, their own and others, as their first and most precious priority while providing art and education to the greater community.
The Stella Adler Studio of Acting New York City's official West Coast branch is the Art of Acting Studio Los Angeles, named after Stella Adler's most famous book. The Stella Adler Studio of Acting is not affiliated with the Stella Adler Academy in Los Angeles. Adler's long history with Hollywood meant she had close ties and strong connections in the Los Angeles area, she taught for many years at various locations in Los Angeles, longtime friend and protégé Joanne Linville and she opened the doors to the Stella Adler Conservatory of Acting at the corner of Hollywood Boulevard and Argyle. Some of the notable people who have passed through the Hollywood conservatory include Nick Nolte, Salma Hayek, Eric Stoltz, Deidre Hall, Sean Astin, John Charles Jopson, John Ritter, Cybill Shepherd, Michael Richards, Benicio del Toro, Mark Ruffalo. Protégés Joanne Linville and Irene Gilbert persuaded Stella Adler to open the academy in 1985 in Los Angeles. Together and Linville are considered the school's cofounders, with Adler granting them permission to use her name.
Gilbert remained the director of the school for 20 years. The original school was located in a small theater at Argyle Avenue. A fire forced the temporary closure of the school in 1991; the building was threatened with demolition to make way for a proposed subway line at the time of Adler's death in 1992. In 1994, Irene Gilbert reopened the school's present location at 6773 Hollywood Boulevard and Highland Avenue, it was renamed the Stella Adler Academy of Acting, celebrated its 25th anniversary in 2010. The historic location housed the famous Embassy Club in the 1930s; the school is an acting studio offering extensive training for actors in theatre and television. The facility houses the not-for-profit Stella Adler Theatre, the Irene Gilbert Theatre, The Studio C Theatre, dance studio, music studio, dressing rooms and equipment room, scene shop, administrative offices, all dedicated to teaching Stella's technique. Linville continues to teach at the academy as the lead instructor for the last 25 years.
Irene Gilbert died in 2011. In 2010, alumni of the school formed the Stella Adler Los Angeles Theatre Collective. Stella Adler Actors Studio Stella Adler Studio of Acting, New York City, Official website Art of Acting Studio, Los Angeles, Official Website Stella Adler Academy of Acting, LA, Official website
Jean-Baptiste Poquelin, known by his stage name Molière, was a French playwright and poet regarded as one of the greatest writers in the French language and universal literature. His extant works include comedies, tragicomedies, comédie-ballets and more, his plays have been translated into every major living language and are performed at the Comédie-Française more than those of any other playwright today. His influence is such that the French language itself is referred to as the "language of Molière". Born into a prosperous family and having studied at the Collège de Clermont, Molière was well suited to begin a life in the theatre. Thirteen years as an itinerant actor helped him polish his comic abilities while he began writing, combining Commedia dell'arte elements with the more refined French comedy. Through the patronage of aristocrats including Philippe I, Duke of Orléans—the brother of Louis XIV—Molière procured a command performance before the King at the Louvre. Performing a classic play by Pierre Corneille and a farce of his own, The Doctor in Love, Molière was granted the use of salle du Petit-Bourbon near the Louvre, a spacious room appointed for theatrical performances.
He was granted the use of the theatre in the Palais-Royal. In both locations Molière found success among Parisians with plays such as The Affected Ladies, The School for Husbands and The School for Wives; this royal favour brought a royal pension to the title Troupe du Roi. Molière continued as the official author of court entertainments. Despite the adulation of the court and Parisians, Molière's satires attracted criticism from churchmen. For Tartuffe's impiety, the Catholic Church denounced this study of religious hypocrisy followed by the Parliament's ban, while Don Juan was withdrawn and never restaged by Molière, his hard work in so many theatrical capacities took its toll on his health and, by 1667, he was forced to take a break from the stage. In 1673, during a production of his final play, The Imaginary Invalid, Molière, who suffered from pulmonary tuberculosis, was seized by a coughing fit and a haemorrhage while playing the hypochondriac Argan, he finished the performance but died a few hours later.
Molière was born in Paris, the son of Jean Poquelin and Marie Cressé, the daughter of a prosperous bourgeois family. Upon seeing him for the first time, a maid exclaimed, "Le nez!", a reference to the infant's large nose. Molière was called "Le Nez" by his family from that time, he lost his mother when he was ten and he does not seem to have been close to his father. After his mother's death, he lived with his father above the Pavillon des Singes on the rue Saint-Honoré, an affluent area of Paris, it is that his education commenced with studies at a Parisian elementary school. In 1631, Jean Poquelin purchased from the court of Louis XIII the posts of "valet de chambre ordinaire et tapissier du Roi", his son assumed the same posts in 1641. The title required an initial cost of 1,200 livres. Molière studied as a provincial lawyer some time around 1642 in Orléans, but it is not documented that he qualified. So far he had followed his father's plans. In June 1643, when Molière was 21, he decided to abandon his social class and pursue a career on the stage.
Taking leave of his father, he joined the actress Madeleine Béjart, with whom he had crossed paths before, founded the Illustre Théâtre with 630 livres. They were joined by Madeleine's brother and sister; the new theatre troupe went bankrupt in 1645. Molière had become head of the troupe, due in part to his acting prowess and his legal training. However, the troupe had acquired large debts for the rent of the theatre, for which they owed 2000 livres. Historians differ as to whether the lover of a member of his troupe paid his debts, it was at this time that he began to use the pseudonym Molière inspired by a small village of the same name in the Midi near Le Vigan. It was likely that he changed his name to spare his father the shame of having an actor in the family. After his imprisonment, he and Madeleine began a theatrical circuit of the provinces with a new theatre troupe. Few plays survive from this period; the most noteworthy are Le Docteur Amoureux. In the course of his travels he met Armand, Prince of Conti, the governor of Languedoc, who became his patron, named his company after him.
This friendship ended when Armand, having contracted syphilis from a courtesan, turned towards religion and joined Moliè
Carter Barron Amphitheatre
The Carter Barron Amphitheatre is a 4,000-seat outdoor performance venue in Washington, D. C. U. S. Located in Rock Creek Park, the amphitheatre opened in 1950 in honor of the 150th Anniversary of Washington, DC as the nation's capital; the National Park Service operates Carter Barron, offering a variety of quality performances, including reggae, classical, musicals, pop, R&B, new age and dance. Many of the performances are provided free of charge; the adjacent William H. G. Fitzgerald tennis stadium is part of the Carter Barron recreational facility; the Carter Barron Amphitheatre is located in Rock Creek Park. Initial plans for an amphitheatre in the Brightwood area of Washington, DC began in 1943 when Frederick Law Olmsted, Jr. reviewed and commented on the site selection for an amphitheatre. The original plan called for benches to a stage equipped with a movie screen; this plan was expanded upon by Carter T. Barron in 1947 as a way to memorialize the 150th Anniversary of Washington, DC as the Nation's Capital.
As Vice Chairman of the Sesquicentennial Commission, Barron envisioned an amphitheatre where "all persons of every race and creed" in Washington could attend musical, ballet and other performing arts productions. The Commission approved the drawings of National Capital Parks Architect William M. Hausman for the new 4,200-seat Sesquicentennial Amphitheatre. Plans called for outfitting the amphitheatre with state-of-the-art technology including a communication system which allowed the stage manager to speak to any actor or stagehand from his desk and the best lighting and sound equipment available at the time; the amphitheatre opened on August 5, 1950. Paul Green, Pulitzer Prize winning playwright and author of the symphonic outdoor drama "The Lost Colony", was commissioned to write the opening season production. "Faith of Our Fathers"was a tribute to George Washington. It met with mixed reviews while the press and theater professionals hailed the Sesquicentennial Amphitheatre itself as the best outdoor theater seen.
The placement of the amphitheatre maximized the natural acoustics of the bowl of the hill and it became known as a theater with "not a bad seat in the house." The original design has been changed little. In 1965, a curtain and track were added to the stage. In the 1970s, the Feld Brothers added a three-pole circus tent to cover part of the stage, changed to a truss and canvas roof system by the Shakespeare Theatre Company in cooperation with NPS in 1991. In the early 1990s, the NPS renovated the public restrooms, repaired the roofs, did some electrical upgrades in the backstage area. Between the 2003 and 2004 summer performance seasons, all new seats were installed and the drainage in the seating area was improved. Electrical service and wiring was updated. A major renovation project to the stage area is planned for the future. After the first two seasons of "Faith of Our Fathers," the CBA began to feature a variety of acts and performances. In 1952, CBA hosted the Ballet Russe de Monte Carlo. In 1953, Washington Festival, Inc. operated by local television celebrity Constance Bennett Coulter, won the contract for the summer season which featured "Show Boat," "Annie Get Your Gun," and "Carousel."
Audiences did not attend in large numbers and Washington Festival lost $200,000 in its first and only season. CBA was left in search of a savior, it found two... the Feld brothers and Israel, won the contract to host the 1954 season. Their company, Super Attractions, hosted performances such as the National Symphony Orchestra, "The Mikado," and numerous musicals, their 1963 lineup changed performances to include more music and less ballet. Acts included the Kingston Trio, Victor Borge, Nat King Cole, Benny Goodman, Ethel Merman, Henry Mancini, Harry Belafonte, Andy Williams, Louis Armstrong, the Temptations, Ella Fitzgerald, Peter and Mary. Israel Feld died in December 1972 and his wife, took over management of CBA; the venue began to include soul and rock'n' roll acts like Stevie Wonder, Ray Charles, Diana Ross & the Supremes, B. B. King, the O'Jays, Smokey Robinson & the Miracles, the Four Tops. Due to competition from other centers for performing arts and changes in production values, the Feld's company Super Attractions began to incur heavy losses and asked to be released from its contract and in 1976 Cella-Door-Dimensions, Inc. was hired as new management.
They scheduled acts such as Kool and the Gang, Bruce Springsteen, U. S. Navy Band, National Symphony Orchestra, Shakespeare Festival, Richard Pryor, Chick Corea, the D. C. Black Repertory Co. in order to attract a more diverse audience. Washington Post reporter Jacqueline Trescott wrote "The hordes of teenagers were back, but scattered among the visors and t-shirts were family groups and white couples in their 20s and 30s and a large number of women dressed in the latest fashions." At the end of the 1976 season, the NPS decided to operate the theater on its own and continues to do so today. CBA continues to host a variety of performances. Shows today include reggae, classical, musical, pop, R&B, new age and dance. Ticket prices are still the best entertainment bargain in town and many of the performances are provided free of charge; the NPS still follows Carter T. Barron's original mission of providing quality performances to all residents in Washington, D. C. Partnerships, such as the Shakespeare Theatre Company "Free for All", the National Symphony Orchestra and the Washington Post "Weekend's Weekend Concerts" help fulfill this goal.
Gothenburg Film Festival
Göteborg Film Festival is an annual film festival in Gothenburg and the largest film event in Scandinavia. When it was launched in 1979 it had 3,000 visitors. Today, the film festival takes place over 10 days each year at the end of January and beginning of February. In years around 450 films from 60 countries are screened for 115,000 visitors; the film festival is an important market place for the contractors in the movie industry. Dragon Awards Dragon Award Best Nordic Film Dragon Award Best Nordic Documentary Film The Ingmar Bergman International Debut Award Dragon Award Best Nordic Film – Audience Choice Dragon Award Best Swedish Documentary Dragon Award Best Feature Film – Audience Choice Dragon Award New TalentOther Awards at the Göteborg International Film Festival Best Swedish Short Award Best Swedish Short Award – Audience Award The Lorens Award Kodac Nordic Vision Award Best Swedish Feature – The Church Of Sweden Film Award Fipresci Award Best Swedish Novella Film Award Best Swedish Novella Film – Audience Award Best Swedish Feature – The City Of Gothenburg Award The Mai Zetterling Grant Nordic Film Prize The Golden Dragon Lars Molin Grant The festival's main award is the Dragon Award for Best Nordic Film, which can be won for feature film productions from the Nordic countries.
The following films have received the award: The festival is made up of several film sections. Films are chosen in each category with the advice of a committee of film experts. Categories have included: Animation featuring short and long animated films. Documentaries Debuts. Focus featuring a region or theme in focus for that year. In 2012 focus was on the Arab Spring. Festival Favorites is a selection of the most liked and prized films that have been shown at festivals throughout the world during the past year. Five Continents showing films from all categories and unconditionally traveling the globe to find the best films. Gala featuring great films, great directors, red carpets and Oscar nominees. HBTQ – a collection of various films that all depict untraditional love or non-heterosexual roles. Nordic Competition focusing on new Nordic feature-films competing for the festival's Nordic Film Prize. Nordic Light including the best of the Sweden's four Nordic neighboring countries. Swedish World Premiers with feature-films and documentaries being shown to general audiences for the first time.
Swedish Pictures including circa 100 Swedish short-films. Official web page English-language podcast
The Tragedy of Hamlet, Prince of Denmark shortened to Hamlet, is a tragedy written by William Shakespeare sometime between 1599 and 1602. Set in Denmark, the play depicts Prince Hamlet and his revenge against his uncle, who has murdered Hamlet's father in order to seize his throne and marry Hamlet's mother. Hamlet is Shakespeare's longest play and is considered among the most powerful and influential works of world literature, with a story capable of "seemingly endless retelling and adaptation by others", it was one of Shakespeare's most popular works during his lifetime and still ranks among his most performed, topping the performance list of the Royal Shakespeare Company and its predecessors in Stratford-upon-Avon since 1879. It has inspired many other writers—from Johann Wolfgang von Goethe and Charles Dickens to James Joyce and Iris Murdoch—and has been described as "the world's most filmed story after Cinderella"; the story of Shakespeare's Hamlet was derived from the legend of Amleth, preserved by 13th-century chronicler Saxo Grammaticus in his Gesta Danorum, as subsequently retold by the 16th-century scholar François de Belleforest.
Shakespeare may have drawn on an earlier Elizabethan play known today as the Ur-Hamlet, though some scholars believe Shakespeare wrote the Ur-Hamlet revising it to create the version of Hamlet we now have. He certainly wrote his version of the title role for his fellow actor, Richard Burbage, the leading tragedian of Shakespeare's time. In the 400 years since its inception, the role has been performed by numerous acclaimed actors in each successive century. Three different early versions of the play are extant: the First Quarto; each version includes entire scenes missing from the others. The play's structure and depth of characterisation have inspired much critical scrutiny. One such example is the centuries-old debate about Hamlet's hesitation to kill his uncle, which some see as a plot device to prolong the action but which others argue is a dramatisation of the complex philosophical and ethical issues that surround cold-blooded murder, calculated revenge, thwarted desire. More psychoanalytic critics have examined Hamlet's unconscious desires, while feminist critics have re-evaluated and attempted to rehabilitate the maligned characters of Ophelia and Gertrude.
The protagonist of Hamlet is Prince Hamlet of Denmark, son of the deceased King Hamlet, nephew of King Claudius, his father's brother and successor. Claudius hastily married King Hamlet's widow, Hamlet's mother, took the throne for himself. Denmark has a long-standing feud with neighbouring Norway, in which King Hamlet slew King Fortinbras of Norway in a battle some years ago. Although Denmark defeated Norway and the Norwegian throne fell to King Fortinbras's infirm brother, Denmark fears that an invasion led by the dead Norwegian king's son, Prince Fortinbras, is imminent. On a cold night on the ramparts of Elsinore, the Danish royal castle, the sentries Bernardo and Marcellus discuss a ghost resembling the late King Hamlet which they have seen, bring Prince Hamlet's friend Horatio as a witness. After the ghost appears again, the three vow to tell Prince Hamlet; as the court gathers the next day, while King Claudius and Queen Gertrude discuss affairs of state with their elderly adviser Polonius, Hamlet looks on glumly.
During the court, Claudius grants permission for Polonius's son Laertes to return to school in France and sends envoys to inform the King of Norway about Fortinbras. Claudius scolds Hamlet for continuing to grieve over his father and forbids him to return to his schooling in Wittenberg. After the court exits, Hamlet despairs of his mother's hasty remarriage. Learning of the ghost from Horatio, Hamlet resolves to see it himself; as Polonius's son Laertes prepares to depart for a visit to France, Polonius gives him contradictory advice that culminates in the ironic maxim "to thine own self be true." Polonius's daughter, admits her interest in Hamlet, but Laertes warns her against seeking the prince's attention, Polonius orders her to reject his advances. That night on the rampart, the ghost appears to Hamlet, telling the prince that he was murdered by Claudius and demanding that Hamlet avenge him. Hamlet agrees, the ghost vanishes; the prince confides to Horatio and the sentries that from now on he plans to "put an antic disposition on", or act as though he has gone mad, forces them to swear to keep his plans for revenge secret.
However, he remains uncertain of the ghost's reliability. Soon thereafter, Ophelia rushes to her father, telling him that Hamlet arrived at her door the prior night half-undressed and behaving erratically. Polonius resolves to inform Claudius and Gertrude; as he enters to do so, the king and queen finish welcoming Rosencrantz and Guildenstern, two student acquaintances of Hamlet, to Elsinore. The royal couple has requested that the students investigate the cause of Hamlet's mood and behaviour. Additional news requires that Polonius wait to be heard: messengers from Norway inform Claudius that the King of Norway has rebuked Prince Fortinbras for attempting to re-fight his father's battles; the forces that Fortinbras had conscripted to march against Denmark will instead be sent against Poland, though they will pass through Danish territory to get there. Polonius tells Claudius and Gertrude his theory regarding Hamlet's behaviour and speaks to Hamlet in a hall of the castle to try to uncover more information.
Hamlet feigns madness but subtly insults Polonius all the while. When Rosencrantz and Guildenstern arrive, Hamlet greets his "friends" warm
The School for Wives
The School for Wives is a theatrical comedy written by the seventeenth century French playwright Molière and considered by some critics to be one of his finest achievements. It was first; the play depicts a character, so intimidated by femininity that he resolves to marry his young, naïve ward and proceeds to make clumsy advances to this purpose. It raised some outcry from the public, which seems to have recognized Molière as a bold playwright who would not be afraid to write about controversial issues. In June 1663, the playwright cunningly responded to the uproar against this play with another piece entitled La Critique de L'École des femmes, in which he provided some explanation for his unique style of comedy, its characters include: Arnolphe: known as Monsieur de la Souche Agnès: an innocent young girl, Arnolphe's ward Horace: Agnès's lover, Oronte's son Alain: a peasant, Arnolphe's manservant Georgette: a peasant woman, servant to Arnolphe Chrysalde: a friend of Arnolphe's Enrique: Chrysalde's brother-in-law, Agnès's father Oronte: Horace's father and Arnolphe's old friend A notaryThe scene is a square in a provincial town.
Arnolphe, the main protagonist, is a man of 42 years who has groomed the young Agnès since the age of 4. Arnolphe supports Agnès living in a nunnery until the age of 17, when he moves her to one of his abodes, which he keeps under the name of Monsieur de la Souche. Arnolphe's intention is to bring up Agnès in such a manner that she will be too ignorant to be unfaithful to him and he becomes obsessed with avoiding this fate. To this end, he forbids the nuns who are instructing her from teaching her anything that might lead her astray. Right from the first scene, Chrysalde warns Arnolphe of his downfall, but Arnolphe takes no heed. After Agnès moves into Arnolphe's house, Horace arrives on the scene ahead of his father, Arnolphe's friend, Oronte. Horace falls in love with Agnès and she with him. Not realizing that Arnolphe and Monsieur de la Souche are the same person, Horace unwittingly confides all his activities with Agnès to Arnolphe. Arnolphe schemes to outmaneuver Horace and ensure that Agnès will marry him.
Arnolphe becomes more frustrated as the play goes on. Agnès continues to meet with Horace despite Arnolphe's displeasure until a misunderstanding leads Arnolphe to believe that Agnès has agreed to marry him and Agnès to believe that Arnolphe has given her permission to marry Horace; when they realize the actual situation, Arnolphe forbids Agnes from seeing Horace. Horace, in his distress, comes to Arnolphe, asking for his help in rescuing Agnès from "Monsieur de la Souche"; the final act introduces a powerful irony as Oronte and Enrique arrive on the scene and announce that Horace is to marry Enrique's daughter. The daughter turns out to be Agnès; the first known Broadway production was performed in French with Louis Jouvet at the ANTA Playhouse 18 March – 3 April 1951. In 1971, a production was performed at the Lyceum Theatre in New York City 16 February – 29 May 1971 using the Richard Wilbur translation and directed by Stephen Porter; the cast included Brian Bedford as Joan Van Ark as Agnes and David Dukes as Horace.
In 1983 Ingmar Bergman directed a TV version of the play, starring Allan Edwall as Arnoplhe, Lena Nyman as Agnes and Stellan Skarsgård as Horace. The play was adapted for audio in 1965 by Daniel Bernet, in a production directed by Bertrand Jérome, with music by Michel Puig, starring François Périer as Arnolfe, issued on the Sonores Bordas label. In 1971, Caedmon Records recorded and released on LP a production performed at the Lyceum Theatre in New York City using the Richard Wilbur translation and directed by Stephen Porter; the cast included Brian Bedford as Joan Van Ark as Agnes and David Dukes as Horace. This recording has not to date been re-released on CD. In 2009, L. A. Theatre Works recorded a production using the Richard Wilbur translation featuring William Brown as Arnolphe and Judy Greer as Agnes. Plot overview Theatre History
Sunes Summer is a Swedish comedy film, released to cinemas in Sweden on 25 December 1993, directed by Stephan Apelgren. It is based on the chapter book with the same name, the eighth in the book series about Sune, written by Anders Jacobsson and Sören Olsson. At the 29th Guldbagge Awards, Peter Haber was nominated for the Best Actor award, it won a shared first-prize during the Italiafiction festival in Salerno in July 1994. It is summer in Sweden, the Andersson family has decided to go on vacation to Greece; the trip turns out to be too expensive when Håkan destroys a shelf in the travel agency. Rudolf decides; when they start the journey, Karin runs over Rudolf's foot with the caravan and they have to go into a hospital. There, Rudolf gets his foot bandaged by Lenny, a medic, pretending to be a doctor. At the hospital Sune meets a girl named Cornelia and falls in love with her, but he makes a fool of himself at a candy vending machine; the next day they arrive at the "Jonsson camp". At the campsite, Annas meet the greaser Leffe and they become fond of each other, Leffe subsequently runs over Håkan with his quad bike.
It turns out that the family is living next door to Lenny, Cornelia his daughter. Sune tries out a way to win Cornelia's heart, giving her a pair of earrings that he believes are in a toy machine at the camp site. Therefore, he begins to raise money by returning bottles, but all he gets is a bunch of Phantom rings, he gets the earrings from one of the campsite owners. Before it is time for the family to go home, they are invited to a farewell party by Lenny's family. During the party Lenny's brother Kenny, a real doctor, arrives, he looks at Rudolf's foot. The film ends with Cornelia meeting on the beach at dusk, where she gets the earrings; the film was shot in Stockholm, at Tofta Bech on Gotland and at Björkviks havsbad on Ingarö. Recordings began on 14 June 1993. Peter Haber as Rudolf Andersson Carina Lidbom as Karin Andersson Andreas Hoffer as Sune Andersson Gabriel Odenhammar as Håkan Andersson Nina Almlöf as Anna Andersson Pär Ericson as Rune/Torsten Nils Moritz as the cyclist Robert Gustafsson as Leffe Lars Väringer as Lenny Anna von Rosen-Sundelius as Bettan Tina Johnson as Cornelia Carl Magnus Dellow as Kenny Gaby Stenberg as Mrs. Gunnarsson Anne-Li Norberg as the lady at the travel agency Göran Gillinger as the beachguy Dorman Smith as a basketball player My Linder as Stina The film was released to home video 1994 in to VHS and also to DVD.
It appeared in the 2008 compilation box "Sommar & jul med Sune" consisting of a triple DVD consisting of Sunes jul. Sune's Summer on IMDb Sune's Summer at the Swedish Film Institute Database