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Russian Drama Block 2 : Drama in Norwegian Block 3 : Italian Drama Block 4 : German Drama

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Russian Drama Block 2 : Drama in Norwegian Block 3 : Italian Drama Block 4 : German Drama ENG-02-19 Institute of Distance and Open Learning Gauhati University MA in English Semester 4 Paper 19 European I – Modern Dramatic Works Contents: Block 1 : Russian Drama Block 2 : Drama in Norwegian Block 3 : Italian Drama Block 4 : German Drama (1) Contributors: Block 1 : Russian Drama Ms Shrabani Basu EFL University, Hyderabad (Unit 1) Aswathy P, EFL University, Hyderabad Dr. Sheetal Anand (Unit 2) Renu Elizabeth Abraham Block 2 : Drama in Norwegian Dr. Uttara Debi Assistant Professor in English, (Unit 1) IDOL, GU Dr. Garima Kalita Associate Profesor in English, (Unit 2 & 3) Cotton College, Guwahati Block 3 : Italian Drama Dr. Uttara Debi Assistant Professor in English (Unit 1) IDOL, GU Dalim Das Assistant Professor in English, (Unit 2) Janata College, Kabuganj Block 4 : German Drama Prasenjit Das Assistant Professor in English (Unit 1) KKHSOU Dr. Uttara Debi Assistant Professor in English (Unit 2) IDOL, GU Editorial Team Dr. Kandarpa Das Director, IDOL, GU Dr. Uttara Debi Assistant Professor in English IDOL, GU Prasenjit Das Assistant Professor in English KKHSOU Sanghamitra De Guest Faculty in English IDOL, GU Manab Medhi Guest Faculty in English IDOL, GU Cover Page Designing: Kaushik Sarma Graphic Designer CET, IITG February, 2012 © Copyright by IDOL, Gauhati University. All rights reserved. No part of this work may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, or otherwise. Published on behalf of Institute of Distance and Open Learning, Gauhati University by Dr. Kandarpa Das, Director, and printed at Maliyata Offset Press, Mirza-781125. Copies printed 1000. Acknowledgement The Institute of Distance and Open Learning, Gauhati University duly acknowledges the financial assistance from the Distance Education Council, IGNOU, New Delhi, for preparation of this material. (2) Contents Page No. Block 1: Russian Drama Block Introduction 5 Unit 1: Russian Drama 7 Unit 2: Anton Chekhov 31 Block 2: Drama in Norwegian Block Introduction: 55 Unit 1: The Background of Norwegian Drama 57 Unit 2: Ibsen and His World 69 Unit 3: The Wild Duck 87 Block 3: Italian Drama Block Introduction 109 Unit 1: Italian Drama 111 Unit 2: Luigi Pirandello 127 Block 4: German Drama Block Introduction 149 Unit 1: German Drama 151 Unit 2: Bertolt Brecht 167 (3) (4) Block 1 Russian Drama Block Introduction : This block introduces you with Modern Russian drama. You must have noticed that the plays that you have to study in this course (paper XIX) are categorized in accordance with their national lineages. These divisions are intended for your convenience so that some national traditions (Russian, German, Norwegian, Italian, and French) come promptly to your mind. Europe, we all know, is a continent, a multi-national concept. Events in the recent past have highlighted the point most dramatically, that ‘Europe’ is a huge conglomeration of multiple communities. So, even though we would wish to subsume so many different cultural histories within one label – “European” – we still have to recall that writers refer back (sometimes, forward!) to many localised traditions. As for instance, in the case of the Russians, we always have to remember the cultural fact of the ‘Slavophile’. This block brings to you some information on Modern Russian drama with a reading of Anton Chekhov’s play The Sea Gull. Some ‘facts’ regarding Chekhov’s life and career should be noted; he began his career as a medical practitioner but his writing began as the means of support for his family. Chekhov’s literary career is marked by a new phase in the year 1886. By 1888 he was fully committed to writing and had also embarked on the road to the theatre as a dramatist. The Sea Gull (1896) belongs to the period when Chekhov produced his four great masterpieces of modern drama. Alexander Sergeyevich Pushkin (June 6 1799 – February 10 [1837) Chekhov’s predecessors in drama in the nineteenth century include the names of Alexander Sumarókoff (1718-1777), Ozeroff (1769-1816), Pavel Aleksandrovich Katenin (22 December 1792 - 4 June 1853), Griboyedoff (1795-1829), Alexander Sergeyevich Pushkin (June 6 1799 - February 10 [1837) Ostrovskiy (1823-1886) etc. The Sea Gull marked Chekhov’s first great success in the theatre as well as brought fame to the Moscow Art Theatre whose staging of the performance in 1898 was highly successful. (5) Chekhov’s dramaturgy is different from the more familiar practices of Ibsen and Strindberg, elsewhere in Europe, as well as from his Russian predecessors. In the early twentieth-century, Chekhov was, however, overshadowed by his more famous contemporary, Maxim Gorky, whose career in the theatre he had encouraged. The best way to understand a play is to watch a performance. When you happen to be a spectator to a production of The Sea Gull you may appreciate the Chekhovian technique of allowing the emotions and even the smaller details of daily life constituting the ‘action’ of the play. Perhaps, this technique is what makes this play so entirely remarkable. Another part of this ‘story’ is that Chekhov had much occasion to disagree with the famous stage-director and actor, Konstantin Stanislavsky! You will encounter more details both about Chekhov and his play which you will find useful to get at deeper meanings that the words on the page lead to. Reading drama is helped by a vigorous imagination which helps to visualise the actual performance on the stage. In that sense, you should be aware that reading a play is taking you away from the ‘original’ action on stage, as well as from the language and the culture. However, this brief outline may stir you to a wider reading of Russian drama. It will show you some of the ways in which Russian dramatists have enriched this field of art. This block contains the following units: Unit 1- Russian Drama Unit 2- Anton Chekhov (6) Unit 1 Russian Drama Contents: 1.1 Objectives 1.2 Introduction 1.3 Socio- historical Context 1.4 Major Influences and Trends 1.5 Important Playwrights and their Plays 1.6 Production Houses and Histories 1.7 Major Preoccupations 1.8 Critical Reception 1.9 Summing up 1.10 References and Suggested Readings 1.1 OBJECTIVES This unit is designed to help you understand the various social, political and cultural contexts leading to the development of Russian drama. This unit intends to: • outline the social and historical situation of the age of rise of Russian theatre • narrate the dual origin of Russian drama, out of the religious “mysteries” on the one hand and popular comedy on the other • describe the pioneer dramatists of Russia and the source and description of their works • help you analyse the effect of time and location in Russian drama • relate the history of the theatre houses and their public reception • connect the characteristics of the early Russian drama with that of other nations • help you critically analyse the typical characteristics of Russian drama with reference to the juncture of its advent 1.2 INTRODUCTION The drama in Russia is said to have a dual origin. It developed out of the religious “mysteries” juxtaposed by the popular comedy. Witty interludes (7) were introduced and synthesized with the grave, moral representations of subjects borrowed from the Old or the New Testament. Several such mysteries were adapted in the seventeenth century by the teachers of the Greco-Latin Theological Academy at Kiev for representation in Little Russian by the students of the Academy, and later on these adaptations found their way to Moscow. The Religious drama in its earliest form, called Mysteries, was introduced into Russia from Poland in the beginning of the twelfth century. They were known under the name of Religious Dialogues, or simply as Histories, and were at first played exclusively in monasteries as a part of religious celebration. It was performed by students in the universities and public schools in Polish or Latin after 1603. The earliest Latin Dialogue that has come down to us is entitled Adam, and bears on its title page the date of 1507; the earliest in Polish is The Life of the Savior From His Entry Into Jerusalem, and was composed by a Dominican of Cracow, in the year 1533. There was another class of dramatic representations peculiar to Russia. Essentially a mode of religious education besides being entertaining, these plays were exhibited in a species of perambulating booth called “Vertep,” and divided into three stories; the first and third of which were occupied by the performing figures, the middle one being devoted to the machinery necessary to put the marionettes in motion. They formed the chief attraction at the large fairs held in the principal cities during the Christmas holidays, and the card-figures consisted of the Virgin, Joseph, the Savior, Angels, Shepherds, and the Magi. The Nativity and the Massacre of the Innocents usually formed the subjects. To represent the latter, other characters were introduced, including Herod, Death, in the shape of a skeleton, and the Devil, who came in at the end to carry off the soul of the godless monarch. Stop to consider: You should consider a curious hand of the church in the advent of performances for purely educative purposes in every civilization. You should also note the similarity of these plays to the early English mystery plays, morality plays and interludes, as we will discuss in the following section. The allegorical portrayal of the plays must be to facilitate the understanding of the commoners about the religion and to impart the Biblical knowledge to the illiterate mass unable to read the Bible. You should also read the condition as a fair way of educating the novice taking the Holy Order.
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