An Essay Toward a History of Shakespeare in Norway - Martin Brown Ruud (book club reads .TXT) 📗

more interesting than that of the theater at

Christiania. Established in 1850, while Christiania Theater was still

largely Danish, to foster Norwegian dramatic art, it is associated with

the greatest names in Norwegian art and letters. The theater owes its

origin mainly to Ole Bull; Henrik Ibsen was official playwright from

1851 to 1857, and Bjørnson was director from 1857 to 1859. For a dozen

years or more "Den Nationale Scene i Bergen" led a precarious existence

and finally closed its doors in 1863. In 1876 the theater was reopened.

During the first period only two Shakespearean plays were

given--_Twelfth Night_ and _As You Like It_.

 

_As You Like It_ in Stille Beyer's version was played twice during the

season 1855-56, on September 30 and October 3. The press is silent about

the performances, but doubtless we may accept Blanc's statement that the

task was too severe for the Bergen theater.[25]

 

    [25. Norges Første Nationale Scene. Kristiania. 1884, p. 206.]

 

Rather more successful were the two performances of _Twelfth Night_ in

a stage version adapted from the German of Deinhardstein. The celebrated

Laura Svendsen played the double rôle of Sebastian-Viola with

conspicuous success.[26]

 

    [26. _Ibid._, p. 304.]

 

_The Merchant of Venice_ was given for the first time on October 9,

1878, two years after the reopening of the theater. _Bergens

Tidende_[27] calls the production "a creditable piece of amateur

theatricals," insisting in a review of some length that the young

theater cannot measure up to the demands which a play of Shakespeare's

makes. _Bergensposten_ is less severe. Though far from faultless, the

presentation was creditable, in some details excellent. But, quite apart

from its absolute merits, there is great satisfaction in seeing the

theater undertake plays that are worth while.[28] Both papers agree

that the audience was large and enthusiastic.

 

    [27. _Bergens Tidende_, October 10, 1878.]

 

    [28. _Bergensposten_, October 11, 1878.]

 

The next season _A Winter's Tale_ was given in H.P. Holst's

translation and adaptation of Dingelstedt's German acting version

_Ein Wintermärchen_. The press greeted it enthusiastically. _Bergens

Tidende_[29] says: "_A Winter's Tale_ was performed at our theater

yesterday in a manner that won the enthusiastic applause of a large

gathering. The principal actors were called before the curtain again and

again. It is greatly to the credit of any theater to give a Shakespeare

drama, and all the more so when it can do it in a form as artistically

perfect as was yesterday's presentation."

 

    [29. April 20, 1880. Cf. also _Bergensposten_, April 21, 1880.]

 

Concerning _Othello_, third in order in the Shakespearean repertoire in

Bergen, the reviews of the first performance, November 13, 1881, are

conflicting. _Bergens Tidende_[30] is all praise. It has no hesitation

in pronouncing Johannesen's Iago a masterpiece. _Bergensposten_[31]

calls the performance passable but utterly damns Johannesen--"nothing

short of a colossal blunder." Hr. Johannesen is commended to the easily

accessible commentaries of Taine and Genée, and to Hamlet's speech to

the players. Desdemona and Cassio are dismissed in much the same

fashion.

 

    [30. November 14, 1881.]

 

    [31. November 15, 1881.]

 

A few days later, November 18, _Bergensposten_ reviewed the performance

again and was glad to note a great improvement.

 

_Bergens Addressecontoirs Efterretninger_[32] agrees with

_Bergensposten_ in its estimate of Johannesen. "He gives us only the

villain in Iago, not the cunning Ensign who deceives so many." But

Desdemona was thoroughly satisfying.

 

    [32. November 15, 1881.]

 

Whatever may have been its initial success, _Othello_ did not last. It

was given four times during the season 1881-2, but was then dropped and

has never since been taken up.

 

Three different groups of _Hamlet_ performances have been given in

Bergen. In September, 1883, the Ophelia scenes from Act IV were given;

the complete play, however, was not given till November 28, 1886. The

press,[33] for once, was unanimous in declaring the production a

success. It is interesting that an untried actor at his debut was

entrusted with the rôle. But, to judge from the press comments, Hr.

Løchen more than justified the confidence in him. His interpretation of

the subtlest character in Shakespeare was thoroughly satisfying.[34]

 

    [33. Cf. _Bergens Tidende_, November 29, 1886; _Bergens

    Aftenblad_, November 29, 1886; _Bergensposten_, December 2, 1886.]

 

    [34. Cf. _Bergens Tidende_, November 30, 1886; _Bergens

    Aftenblad_, November 29, 1886; _Bergensposten_, December 1, 1886.]

 

Finally, it should be noted that a Swedish travelling company under the

direction of the well-known August Lindberg played _Hamlet_ in Bergen on

November 5, 1895.

 

It is apparent, from the tone of the press comment that a Shakespearean

production was regarded as a serious undertaking. The theater approached

the task hesitatingly, and the newspapers always qualify their praise or

their blame with some apologetic remark about "the limited resources of

our theater." This explains the long gaps between new productions, five

years between _Othello_ (1881) and the complete _Hamlet_ (1886); five

years likewise between _Hamlet_ and _King Henry IV_.

 

_Henry IV_ in Bjørnson's stage cutting promised at first to establish

itself. Its first performance was greeted by a crowded house, and

enthusiasm ran high. The press questions the right of the play to the

title of _Henry IV_, since it is a collection of scenes grouped about

Prince Hal and Falstaff. But aside from this purely objective criticism

the comment is favorable.[35]

 

    [35. Cf. _Bergens Tidende_, March 2, 1891; _Bergens Aftenblad_,

    March 2, 1891.]

 

With the second performance (March 4, 1891) comes a change. _Bergens

Tidende_ remarks that it is a common experience that a second

performance is not so successful as the first. Certainly this was true

in the case of _Henry IV_. The life and sparkle were gone, and the

sallies of Falstaff awakened no such infectious laughter as they had a

few evenings before.[36] There was no applause from the crowded house,

and the coolness of the audience reacted upon the players--all in

violent contrast to the first performance. The reviewer in _Aftenbladet_

predicts that the production will have no very long life.[37] He was

right. It was given once more, on March 6. Since then the theater-goers

of Bergen have not seen it on their own stage.

 

    [36. Cf. March 5, 1891.]

 

    [37. Cf. March 5, 1891.]

 

Sille Beyer's _Viola_ (which, in turn, is an adaptation of the German of

Deinhardstein) had been played twice at the old Bergen Theater, July 17

and 18, 1861. It was now (Oct. 9, 1892) revived in a new cutting based

on Lembcke's Danish translation. _Bergens Aftenblad_ declares that the

cutting was reckless and the staging almost beggarly. The presentation

itself hardly rose above the mediocre.[38] _Bergens Tidende_, on the

other hand, reports that the performance was an entire success. The

caste was unexpectedly strong; the costumes and scenery splendid. The

audience was appreciative and there was generous applause.[39]

 

    [38. October 10, 1892.]

 

    [39. October 10 and 13, 1892.]

 

The last new play to find a place on the repertoire at Bergen is _Romeo

and Juliet_. This was performed four times in May, 1897. Like _Henry

IV_, it promised to be a great success, but it survived only four

performances. _Bergens Tidende_[40] gives a careful, well-written

analysis of the play and of the presentation. The reviewer gives full

credit for the beauty of the staging and the excellence of the acting,

but criticises the censor sharply for the unskillful cutting, and the

stage manager for the long, tiresome waits. _Bergens Aftenblad_[41]

praises the performance almost without reserve.

 

    [40. May 15, 1897.]

 

    [41. May 15, 1897.]

 

And the last chapter in the history of Shakespeare's dramas in Bergen

is a revival of _A Winter's Tale_ in the season 1902-3. The theater had

done its utmost to give a spendid and worthy setting, and great care was

given to the rehearsals. The result was a performance which, for beauty,

symmetry, and artistic unity ranks among the very best that have ever

been seen at the theater. The press was unanimous in its cordial

recognition.[42] The play was given no less than nine times during

October, 1902. Since then Shakespeare has not been given at _Den

Nationale Scene i Bergen_.

 

    [42. See _Bergens Aftenblad_ for October 6-9, 1902; _Bergens

    Tidende_, October 6, 1902.]

 

APPENDIX

 

 

Register Of Shakespearean Performances In Norway

 

 

_Kristiania_

 

Christiania Theater.

 

The following record is an excerpt of all the data relating to

Shakespeare in T. Blanc: _Fortegnelse over alle dramatiske Arbeider, som

siden Kristiania Theaters offentlige Aabning den 30 Januar, 1827, har

været opførte paa samme af dets Personale indtil 15 Juni 1899_. This

_Fortegnelse_ is still unpublished. The MS. is quarto No. 940 in the

University Library, Kristiania.

 

Blind Alarm. Skuespil i fem Akter af Shakespeare. (Original Title:

_Much Ado About Nothing_). Translated by Carl Borgaard, from the

nineteenth performance, May 18, 1878, under the title _Stor Staahei

for Ingenting_, Oct. 29, 1854, May 26, 1878. 18 times.

 

Coriolanus. Sørgespil i 5 Akter af Shakespeare, bearbeidet for Scenen

af H. Lassen. Jan. 21, 1874--Jan. 10, 1876. 13 times.

 

De Muntre Koner i Windsor. Lystspil i 5 Akter af Shakespeare.

(Adapted for the stage by H. Lassen.) May 14, 1873, Nov. 8, 1876.

12 times.

 

En Skjærsommernatsdrøm. Eventyrkomedie i 5 Akter af W. Shakespeare.

(Original Title: _A Midsummer Night's Dream_.) Translated by

Oehlenschlæger. Music by Mendelssohn-Bartholdy. April 17, 1865, May 27,

10 times.

 

Et Vintereventyr. Romantisk Skuespil i 5 Akter. Adapted from

Shakespeare's _A Winter's Tale_ and Dinglestedt's _Ein Wintermärchen_

by H.P. Holst. Music by Flotow. May 4, 1866, March 21, 1893. 57 times.

 

Hamlet. Tragedie i 5 Akter af W. Shakespeare. Translated by Foersom

and Lembcke. March 4, 1870, April 27, 1883. 28 times.

 

Hun Maa Tæmmes. Lystspil i 4 Akter. Adapted from Shakespeare's

_Taming of the Shrew_. March 21, 1858, April 12, 1881. 28 times.

 

Julius Caesar. Tragedie i 5 Akter af William Shakespeare. Translated

by H. Lassen. March 22, 1887, April 22, 1887. 16 times.

 

Kjøbmanden i Venedig. Skuespil i 5 Akter af Shakespeare. Adapted for

the stage from Rahbek's translation. From the eighth performance (Oct.

14, 1874) probably in a new translation by Lembcke. Sept. 17, 1861,

June 12, 1882. 23 times.

 

Kong Henrik Den Fjerde. Skuespil i 5 Akter af W. Shakespeare.

Adapted by Bjørnstjerne Bjørnson from _King Henry IV, Parts 1 and 2_

in Lembcke's translation. Feb. 12, 1867, Feb. 8, 1885. 17 times.

 

Kong Richard III. Tragedie i 5 Akter af W. Shakespeare. Translated

by Lembcke. May 27, 1877, March 10, 1891. 26 times.

 

Kongens Læge. Romantisk Lystspil i 5 Akter efter Shakespeares

_All's Well That Ends Well_. Adapted by Sille Beyer. From the thirteenth

performance (May 23, 1869) given under the title _Naar Enden er god er

Alting godt_ in a new translation by Edvard Lembcke. Jan. 5, 1854, Jan.

24, 1882. 20 times.

 

Livet i Skoven. Romantisk Lystspil i 4 Akter efter Shakespeares

_As You Like It_. Adapted by Sille Beyer. Dec. 9, 1852, Sept. 25, 1878.

19 times.

 

Macbeth. Tragedie i 5 Akter af W. Shakespeare. Schiller's version

translated by Peter Foersom. Music by Weyse. July 28, 1844, Jan. 6,

37 times.

 

Othello, Moren af Venedig. Tragedie i 5 Akter af Shakespeare.

Translated by P.L. Wulff. Jan. 3, 1845, March 10, 1872. 10 times.

 

Romeo og Julie. Tragedie i 5 Akter af W. Shakespeare. Translated by Foersom and A.E. Boye. From the sixth performance (April 4, 1880)

probably in a new translation by Lembcke. Nov. 11, 1852, July 12, 1899.

42 times.

 

Viola. Lystspil i 5 Akter efter Shakespeare's _Twelfth Night_.

Translated and adapted by Sille Beyer. From the thirteenth performance

(Jan. 21, 1890) under the title _Helligtrekongersaften, eller hvad man

vil_. (In Lembcke's translation with music by Catherinus Elling.) Nov.

20, 1860, May 31, 1891. 30 times.

 

 

Nationaltheatret.

 

The record of the Shakespearean performances at Nationaltheatret has

been compiled from the summary of performances given in the decade

1899-1909 contained in _Beretning om Nationaltheatrets Virksomhed i

Aaret 1909-1910_. Kristiania, 1910. The record of performances

subsequent to 1910, as well as the date of the first performances of

all plays, has been found in the Journal of the theater.

 

Helligtrekongersaften. (Twelfth Night). Oct. 5, 1899. 10 times.

 

Trold Kan Tæmmes. (The Taming of the Shrew.) Dec. 26, 1900. 35 times.

 

En Sommernats Dröm. (A Midsummer Night's Dream) Jan. 15, 1903.

20 times.

 

Kjöbmanden i Venedig. (The Merchant of Venice) Sept. 5, 1906.

20 times.

 

Hamlet. Oct. 31, 1907. 17 times.

 

Othello. Oct. 22, 1908. 12 times.

 

Henry IV. Feb. 10, 1910. 10 times.

 

As You Like It. Nov. 7, 1912. This play was still being given when

the investigation ceased. Ten