German Influences on the British Stage, 1890-1918
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THE MODERN CATALYST: GERMAN INFLUENCES ON THE BRITISH STAGE, 1890-1918 A Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Nicholas John Dekker, M.A. ***** The Ohio State University 2007 Doctoral Examination Committee: Approved by Dr. Thomas Postlewait, Adviser Dr. Lesley Ferris __________________________________ Adviser Dr. Joy Reilly Graduate Program in Theatre ABSTRACT This dissertation examines the role of German culture – theatre, music, opera, politics, and philosophy – as a catalyst to the modernist transformations of London theatre between 1890 and 1918. It explores the ways British theatre engaged German culture, whether by emulation, adaptation, or resistance, and focuses on four major figures in the Edwardian Theatre: J. T. Grein, William Archer, Bernard Shaw, and Harley Granville Barker. Impresario J. T. Grein (1862-1935) established German theatre companies in London to introduce British theatre to the works of great German writers, actors, and directors. Scottish critic William Archer (1856-1924) used Germany as a model for his campaign to translate and produce the plays of Henrik Ibsen in London. He also advocated the formation of England’s National Theatre, using German examples of state- funded repertory theatres. Bernard Shaw (1856-1950) introduced English audiences to Richard Wagner’s operas, ideas, and productions. Shaw’s plays also enjoyed a rich production history in Germany through his working relationship with his translator, Siegfried Trebitsch. Director Harley Granville Barker (1877-1946) closely followed the careers of German directors Max Behrend and Max Reinhardt. In 1912 and 1914, Barker produced three of Shakespeare’s plays, The Winter’s Tale, Twelfth Night, and A Midsummer Night’s Dream, in which audiences and critics quickly noticed German ii influences. As each chapter explores these figures, it will specify and evaluate how German theatre influenced them, and whether they emulated, adapted, or resisted it. The final chapter returns to each of these figures in the context of World War I. During the four years of the war, 1914 to 1918, their relationship to German culture changed radically. Some, like Archer, turned against German culture and wrote pamphlets for the Secret War Propaganda Bureau. Shaw, meanwhile, wrote articles criticizing British leadership during the war. The war transformed the British theatre’s relationship with German culture, although Germany still affected the British theatre as it moved forward – sometimes in cautious steps, sometimes in violent leaps – towards the modern world. iii For Beth iv ACKNOWLEDGMENTS I would like to thank my adviser, Dr. Thomas Postlewait, for his incredible patience, guidance, and wit during the writing of my dissertation. He has made the process a delightful challenge for me, and I will always cherish his advice and friendship. He first led me to the Edwardian theatre, so I also thank him for influencing my future work as a scholar. I also wish to extend my gratitude to Dr. Lesley Ferris and Dr. Joy Reilly, my readers, for their direction on the dissertation. Their observations, suggestions, and insight have proven most valuable in shaping the final product. I am indebted to my family and friends for their support and encouragement throughout the long process. And most importantly, I would like to thank my wonderful wife Beth for her patience, grace, and loving encouragement while I spent so much time with this project. This dissertation is for her. v VITA February 26, 1979……………………………………Born – Grand Rapids, MI 2001………………………………………………….B.A. Communication Arts and Sciences, Calvin College B.A. English, Calvin College 2002-2003……………………………………………Graduate Fellow, The Ohio State University 2003-2007...…………………………………….…...Graduate Teaching Associate, The Ohio State University 2004………………………………………………….M.A. Theatre, The Ohio State University 2007-Present…………………………………………Lecturer and Administrator, Department of Theatre, The Ohio State University FIELDS OF STUDY Major Field: Theatre vi TABLE OF CONTENTS Page Abstract............................................................................................................................ii Dedication........................................................................................................................iv Acknowledgments............................................................................................................v Vita...................................................................................................................................vi Chapters: Introduction......................................................................................................................1 1. A German Culture in London.....................................................................................11 1.1 Two Figures...................................................................................................11 1.2 Germany in British Popular Culture..............................................................17 1.2.1 Invasion Novels..............................................................................19 1.2.2 Resistance to the German Theatre..................................................21 1.3 Germany in the British Theatre.....................................................................25 1.3.1 The German Character on the British Stage...................................28 1.4 J. T. Grein and German Theatre Companies in London................................31 1.5 William Archer and Germany.......................................................................42 1.6 Conclusions...................................................................................................50 2. “Largely a German Culture”: Bernard Shaw and Germany.......................................52 2.1 Introduction: Germany Comes Knocking......................................................52 2.2 Shaw and German Ideas.................................................................................56 2.3 Shaw’s Music Criticism and Germany..........................................................59 2.4 Shaw in Bayreuth...........................................................................................62 2.5 The Wagner Campaign in London.................................................................66 2.6 The Perfect Wagnerite....................................................................................70 2.7 Confronting English Drama...........................................................................73 2.8 Enter Siegfried Trebitsch................................................................................77 2.9 Conclusions: “Is Sloane Square Bayreuth?”..................................................84 vii 3. Catalyst to the Modern Director: Harley Granville Barker and Max Reinhardt........87 3.1 Introduction...................................................................................................87 3.2 Barker’s Other Goals and Influences............................................................90 3.3 Enter Reinhardt.................................................................... ........................103 3.4 Reinhardt in London.....................................................................................106 3.4.1 The Taming of the Shrew (1908) ..................................................106 3.4.2 Sumurŭn (1911) ............................................................................107 3.4.3 The Miracle (1911) .......................................................................109 3.4.4 A Venetian Night (1912) ...............................................................111 3.4.5 Turandot (1913) ............................................................................113 3.4.6 Oedipus (1912) ..............................................................................114 3.5 Barker in London After Reinhardt................................................................117 3.5.1 Iphigenia at Tauris (1911) ............................................................120 3.5.2 The Winter’s Tale (1912) ..............................................................122 3.5.3 Twelfth Night (1912) .....................................................................124 3.5.4 A Midsummer Night’s Dream (1914) ............................................126 3.5.5 Philip the King (1914) ...................................................................128 3.6 Reinhardt’s General Effect Over Barker.......................................................129 3.7 Conclusions: Becoming the Modern Director...............................................133 4. “Villain of the World Tragedy”: Edwardian Theatre and the Great War...................139 4.1 British Theatre and the War...........................................................................140 4.2 In Defense of Shakespeare.............................................................................146 4.3 “War is War”: William Archer and the War Effort.......................................151 4.4 “Never So Popular in My Life”: Bernard Shaw and the War........................157 4.5 Conclusions: The End of the Edwardian Theatre..........................................167 5. Conclusion...................................................................................................................169 5.1 The Good Europeans.....................................................................................169