An Essay Toward a History of Shakespeare in Norway - Martin Brown Ruud (book club reads .TXT) 📗
- Author: Martin Brown Ruud
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Act III, Sc. 1 corresponds with Part I, Act III, Sc. 1 to the point
where Lady Mortimer and Lady Percy enter. This episode is cut and the
scene resumes with the entrance of the messenger in Part I, Act IV,
Sc. 1, line 14. This scene is then followed in outline to the end.
Act III, Sc. 2 begins with Part I, Act IV, Sc. 3 from the entrance of
Falstaff, and follows it to the end of the scene. To this is added most
of Scene 4, but there is little left of the original action. Only the
Falstaff episodes are retained intact.
The last act (IV) is a wonderful composite. Scene 1 corresponds closely
to Part II, Act III, Sc. 4, but it is, as usual, severely cut. Scene 2
reverts back to Part II, Act III, Sc. 2 and is based on this scene to
line 246, after which it is free handling of Part II, Act V, Sc. 3.
Scene 3 is based on Part II, Act V, Sc. 5.
A careful reading of Bjørnson's text with the above as a guide will
show that this collection of episodes, chaotic as it seems, makes no
ineffective play. With a genius--and a genius Johannes Brun was--as
Falstaff, one can imagine that the piece went brilliantly. The press
received it favorably, though the reviewers were much too critical to
allow Bjørnson's mangling of the text to go unrebuked.
_Aftenbladet_ has a careful review.[14] The writer admits that in our
day it requires courage and labor to put on one of Shakespeare's
historical plays, for they were written for a stage radically different
from ours. In the Elizabethan times the immense scale of these
"histories" presented no difficulties. On a modern stage the mere
bulk makes a faithful rendition impossible. And the moment one starts
tampering with Shakespeare, trouble begins. No two adapters will agree
as to what or how to cut. Moreover, it may well be questioned whether
any such cutting as that made for the theater here would be tolerated in
any other country with a higher and older Shakespeare "Kultur." The
attempt to fuse the two parts of _Henry IV_ would be impossible in a
country with higher standards. "Our theater can, however, venture
undisturbed to combine these two comprehensive series of scenes into
one which shall not require more time than each one of them singly--a
venture, to be sure, which is not wholly without precedent in foreign
countries. It is clear that the result cannot give an adequate notion of
Shakespeare's 'histories' in all their richness of content, but it does,
perhaps, give to the theater a series of worth-while problems to work
out, the importance of which should not be underestimated. The attempt,
too, has made our theater-goers familiar with Shakespeare's greatest
comic character, apparently to their immense delight. Added to all this
is the fact that the acting was uniformly excellent."
[14. February 18, 1867.]
But by what right is the play called Henry IV? Practically nothing is
left of the historical setting, and the spectator is at a loss to know
just what the whole thing is about. Certainly the whole emphasis is
shifted, for the king, instead of being an important character is
overshadowed by Prince Hal. The Falstaff scenes, on the other hand, are
left almost in their original fulness, and thus constitute a much more
important part of the play than they do in the original. The article
closes with a glowing tribute to Johannes Brun as Falstaff.
_Morgenbladet_[15] goes into greater detail. The reviewer seems to think
that Shakespeare had some deep purpose in dividing the material into two
parts--he wished to have room to develop the character of Prince Henry.
"Accordingly, in the first part he gives us the early stages of Prince
Hal's growth, beginning with the Prince of Wales as a sort of superior
rake and tracing the development of his better qualities. In Part II we
see the complete assertion of his spiritual and intellectual powers."
The writer overlooks the fact that what Shakespeare was writing first of
all--or rather, what he was revising--was a chronicle. If he required
more than five acts to give the history of Henry IV he could use ten and
call it two plays. If, in so doing, he gave admirable characterization,
it was something inherent in his own genius, not in the materials with
which he was working.
[15. February 17, 1867.]
The history, says the reviewer, and the Falstaff scenes are the
background for the study of the Prince, each one serving a distinct
purpose. But here the history has been made meaningless and the Falstaff
episodes have been put in the foreground. He points out that balance,
proportion, and perspective are all lost by this. Yet, granting that
such revolutionizing of a masterpiece is ever allowable, it must be
admitted that Bjørnson has done it with considerable skill. Bjørnson's
purpose is clear enough. He knew that Johannes Brun as Falstaff would
score a triumph, and this success for his theater he was determined to
secure. The same motive was back of the version which Stjernstrøm put on
in Stockholm, and there can be little doubt that his success suggested
the idea to Bjørnson. The nature of the cutting reveals the purpose at
every step. For instance, the scene in which the Gadskill robbery is
made clear, is cut entirely. We thus lose the first glimpse of the
sterner and manlier side of the royal reveller. In fact, if Bjørnson had
been frank he would have called his play _Falstaff--based on certain
scenes from Shakespeare's Henry IV, Parts I and II_.
Yet, though much has been lost, much of what remains is excellent.
Brun's Falstaff almost reconciles us to the sacrifice. Long may he live
and delight us with it! It is one of his most superb creations. The cast
as a whole is warmly praised. It is interesting to note that at the
close of the review the critic suggests that the text be revised with
Hagberg's Swedish translation at hand, for Lembcke's Danish contains
many words unusual or even unfamiliar in Norwegian.
_Henry IV_ remained popular in Norway, although from February 8,
1885 to February 10, 1910 it was not given in Kristiania. When, in 1910,
it was revived with Løvaas as Falstaff, the reception given it by the
press was about what it had been a quarter of a century before.
_Aftenposten_'s[16] comment is characteristic: "The play is turned
upside down. The comic sub-plot with Falstaff as central figure is
brought forward to the exclusion of all the rest. More than this, what
is retained is shamelessly altered." Much more scathing is a short
review by Christian Elster in the magazine _Kringsjaa_.[17] The play,
he declares, has obviously been given to help out the box office by
speculating in the popularity of Falstaff. "There is no unity, no
coherence, no consistency in the delineation of characters, and even
from the comic scenes the spirit has fled."[17]
[16. _Aftenposten_. February 25, 1910.]
[17. _Kringsjaa_ XV, III (1910), p. 173.]
To all this it may be replied that the public was right when it
accepted Falstaff for what he was regardless of the violence done to the
original. The Norwegian public cared little about the wars, little even
about the king and the prince; but people will tell one today of those
glorious evenings when they sat in the theater and revelled in Johannes
Brun as the big, elephantine knight.
In the spring of 1813, Foersom himself brought out _Hamlet_ on the
Danish stage. Nearly sixty years were to pass before this play was put
on in Norway, March 4, 1870.
The press was not lavish in its praise. _Dagbladet_[18] remarks
that though the performance was not what it ought to have been, the
audience followed it from first to last with undivided attention.
_Aftenbladet_[19] has a long and interesting review. Most of it is
given over to a criticism of Isaachson's Hamlet. First of all, says
the reviewer, Isaachson labors under the delusion that every line is
cryptic, embodying a secret. This leads him to forget the volume of the
part and to invent all sorts of fanciful interpretations for details.
Thus he loses the unity of the character. Things are hurried through to
a conclusion and the fine transitions are lost. For example, "Oh, that
this too, too solid flesh would melt" is started well, but the speech at
once gains in clearness and decision until one wonders at the close why
such a Hamlet does not act at once with promptness and vigor. There are,
to be sure, occasional excellences, but they do not conceal the fact
that, as a whole, Isaachson does not understand Hamlet.
[18. March 5, 1870.]
[19. March 8, 1870.]
Since its first performance _Hamlet_ has been given often in
Norway--twenty-eight times at the old Christiania Theater, and (from
October 31, 1907) seventeen times at the new National Theater. Its
revival in 1907, after an intermission of twenty-four years, was a
complete success, although _Morgenbladet_[20] complained that the
performance lacked light and inspiration. The house was full and the
audience appreciative.
[20. November 1, 1907.]
_Aftenposten_[21] found the production admirable. Christensen's Hamlet
was a stroke of genius. "Han er voxet i og med Rollen; han har trængt
sig ind i den danske Prins' dybeste Individualitet." And of the revival
the paper says: "The performance shows that a national theater can solve
difficult problems when the effort is made with sympathy, joy, and
devotion to art."
[21. November 1, 1907.]
In my judgment no theater could have given a better caste for
_The Merry Wives of Windsor_ than that with which Christiania Theater
was provided. All the actors were artists of distinction; and it is
not strange, therefore, that the first performance was a huge success.
_Aftenposten_[22] declares that Brun's Falstaff was a revelation.
_Morgenbladet_[23] says that the play was done only moderately well.
Brun as Falstaff was, however, "especially amusing." _Aftenbladet_[24]
is more generous. "_The Merry Wives of Windsor_ has been awaited with a
good deal of interest. Next to the curiosity about the play itself, the
chief attraction has been Brun as Falstaff. And though Falstaff as lover
gives no such opportunities as Falstaff, the mock hero, Brun makes a
notable rôle out of it because he knows how to seize upon and bring out
all there is in it."
[22. May 15, 1873.]
[23. May 15, 1873.]
[24. May 15, 1873.]
Johannes Brun's Falstaff is a classic to this day on the Norwegian
stage. In _Illustreret Tidende_ for July 12, 1874, K.A. Winterhjelm has
a short appreciation of his work. "Johannes Brun has, as nearly as we
can estimate, played something like three hundred rôles at Christiania
Theater. Many of them, to be sure, are minor parts--but there remains
a goodly number of important ones, from the clown in the farce to the
chief parts in the great comedies. Merely to enumerate his great
successes would carry us far afield. We recall in passing that he
has given us Falstaff both in _Henry IV_ and in _The Merry Wives of
Windsor_, Bottom in _A Midsummer Night's Dream_, and Autolycus in
_A Winter's Tale_. Perhaps he lacks something of the nobleman we feel
that he should be in _Henry IV_, but aside from this petty criticism,
what a wondrous comic character Brun has given us!"
As to the success of _Coriolanus_, the sixteenth of Shakespeare's plays
to be put on in Kristiania, neither the newspapers nor the magazines
give us any clew. If we may believe a little puff in _Aftenposten_ for
January 20, 1874, the staging was to be magnificent. _Coriolanus_ was
played in a translation by Hartvig Lassen for the first time on January
21, 1874. After thirteen performances it was withdrawn on January 10,
1876, and has not been since presented.
In 1877, _Richard III_ was brought on the boards for the first time, but
apparently the occasion was not considered significant, for there is
scarcely a notice of it. The public seemed surfeited with Shakespeare,
although the average had been less than one Shakespearean play a season.
At all events, it was ten years before the theater put on a new
one--_Julius Caesar_, on March 22, 1888. It had the unheard of
distinction of being acted sixteen times in one month, from the premiere
night to April 22. Yet the papers passed it by with indifference. Most
of them gave it merely a notice, and the promised review in
_Aftenposten_ never appeared.
_Julius Caesar_ is the last new play to be presented at Christiania
Theater or at the National Theater, which replaced the old Christiania
Theater in 1899. From October, 1899 to January, 1913 the National
Theater has presented eight Shakespearean plays, but every one of
them has been a revival of plays previously presented.
_Bergen_
Up to a few years ago, the only theater of consequence in Norway,
outside of the capital, was at Bergen. In many respects the history of
the theater at Bergen is
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