biography of Liv Ullmann astrocartographer Rob Couteau astrocartography astrology horoscope Liv Ullmann chart symbolism planets Uranus Saturn
The Role of the Least Aspected Planet in Astrocartography.
Planetary Symbolism in Astrocartography and Transcendental Astrology,
by Robert Couteau.
All text © Copyright 2005 Rob Couteau
Saturn = 011
Uranus = 012
Venus = 021
Pluto = 121
Mars = 130
Jupiter = 211
Neptune = 230
Moon = 321
Mercury = 331
Sun = 421
[Least-aspected Saturn / Uranus]
My father, who was in my life for six years and did not leave me with one real memory of him. Just a great lack. That cut into me so deeply that many of life's experiences relate to it. The void Papa's death left in me became a kind of cavity, into which later experiences were to be laid.
I am certain that there were times when I was the leader of my class, but what I remember best is being the "outsider," the sense of being different.
What I recollect is that which went deepest -- and for me the sense of isolation was the traumatic experience ... at times [I] still feel the outsider, believing that everyone else is part of some togetherness.
I wonder if I am having a nervous breakdown. And if so, can I give it artistic expression?
Why is Time so merciless, stealing our opportunities if we are not swift enough to grasp them immediately?
-- Liv Ullmann, Changing.
Liv Ullmann was born near her Primary Saturn in Tokyo, which runs a vertical, Midheaven position over central Japan in . Her father was employed there as an engineer, designing aircraft. After the German invasion of Norway, her Norwegian parents moved the family to Toronto and, shortly afterward, to New York.
When her father was accidentally killed by walking into an aircraft propeller (1943), her mother relocated the family to the city of Trondheim (63N25; 10E25), in her native Norway. This placed Liv Ullmann in the center of a wide Transcendental Midpoint Field, formed between Primary Saturn, which rises over western Russia, and Secondary Uranus, which runs in a vertical, midnight position over the North Atlantic, adjacent to westernmost Europe. These key Transcendentals frame Scandinavia in its entirety.
After working with a repertory company in Stavanger, Norway, and starring on the stage in Oslo, Ullmann appeared in a minor role in Edith Carlmar's Norwegian film Fjolls till Fjells (1957) and later played the lead in Carlmar's Ung Flukt (The Wayward Girl; 1959). A part in Bjorn Henning-Jensen's Kort ar Sommaren (Short is the Summer; 1962), produced in Sweden also placed Ullmann directly under this Saturn / Uranus Transcendental Midpoint Field.
One day, while walking through the streets of Stockholm (59N20; 18E03), she met the director who would eventually catapult her to critical "success" (Saturn). Eliciting Ullmann's talent in a manner unmatched by any other director in her career, Bergman initiated their "working relationship" (Saturn) by writing Persona (1966) expressly for her.1 This debut with Bergman - filmed mostly on the island of Faro - was followed by Vargtimmen (Hour of the Wolf; 1968); Skammen (The Shame; 1968); and En Passion (A Passion; Passion for Anna; 1969). The Swedish epics Utvandrama (The Emigrants; 1972) and Nybyggarna (The New Land; 1972), directed by Jan Troell, led to her international exposure and opened to a strong reception in the United States. After appearing in the British flop Pope Joan (1972), Ullmann again worked with Bergman in the widely acclaimed Visknigar od Rop (Cries and Whispers; 1972), for which she won the New York Film Critics Award.
Although Ullmann continued to work with other directors and appeared in a variety of films, her most memorable performances were in the Swedish cinema - particularly those under Bergman's direction, such as Scenerur ett Aktenskap (Scenes From a Marriage; 1974); Ansikte mot Ansikte (Face to Face; 1976); The Serpent's Egg/Das Schlangerei (1977) and Autumn Sonata (1978) - all created in the vicinity of this Primary Saturn / Secondary Uranus Transcendental Midpoint Field.
A reoccurring pattern of brilliant performances in masterworks of cinema abruptly followed by films that critics labeled as flops, sleepers and terribly miscast failures (e.g., moving "from the heights to the pits," as critic David Shipman wrote of her) was symptomatic of the "abrupt ups-and-downs and sudden reversals of conditions" typically ruled by Secondary Transcendental Uranus. Such "dynamic reversals" and "rapidly shifting conditions" exemplify how Uranus typically expresses itself in the attempt to construct a "new system of order, a new way of being, a reinvention of the self."
Ullmann's autobiography Changing (1977; the title is borrowed from a line in her book: "All the time I am trying to change myself") reflects the "sobriety, heavy burden of responsibility, and sense of lingering pain" (Primary Saturn) that marked her childhood and adult years. These are keynotes of Saturn, which rules "burdens, social responsibilities, and personal limits." Yet, by focusing on the positive aspects of her Transcendental Saturn and combining this with a Primary Uranus and Secondary Venus orientation, Ullmann also personified the Saturnian impulse to "achieve" and to "concretely manifest / an unusual / artistic talent" (Saturn / Uranus / Venus). In many of her most successful roles (especially those created with Bergman), she portrayed a sense of "burdensome sobriety" (Saturn) and personified a "grave, restrained, staid, solemn" character (Saturn). By combining her Saturnian energy with that of Uranus (the latter typically producing a lingering sense of, in Ullmann's words, "being the 'outsider'," "of being different"), she mastered the ability to - as one critic noted - "constantly ... surprise us, to take us off our guard."
1. "We were walking on this stony beach and he said, 'I have to tell you, this night I had a dream that we were painfully connected.' You know, I more or less fell in love with that. I mean, Ingmar Bergman is painfully connected to me?" Interview with Liv Ullmann recalling how she fell in love with Bergman during the making of Persona; "New Film, Chapter in a Storied Union," by Karen Durbin, The New York Times, Jan. 3, 1999, p. 9
Role of the Least-aspected Planet in Astrocartography
Some of the
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'The Role of the Least-aspected Planet in Astrocartography.'
II. Transcendental Biographies
| III. Transcendental Events
IV. Psychic inflation - Summary of Planetary Symbolism - Transcendental Planets
V. Nodes / the Triple-zero Transcendental | Appendices: Orbs / References / Data
Additional Maps | Notes | Bibliography | FAQ
I. Interview in Astrolore | II. Transcendental Nations | III. American Presidents & LAP Saturn
IV. World Events | V. Numinous Consciousness
VI. The LAP as a Metaphor of the Soul | VII.
Zones of Intensity |
VIII. Complete Index of Names and Events
All text © Copyright 2001 Robert Couteau and cannot be used without the written and expressed consent of the author.
Robert Couteau astrocartographer biography of Liv Ullmann UranusSaturn planets symbolism chart of Liv Ullmann horoscope astrology astrocartography