The Plays in Translation

The Plays in Translation Almost all the Hauptmann plays discussed in this book exist in more or less acceptable English translations, though some are more easily available than others. Most of his plays up to 1925 are contained in Ludwig Lewisohn's 'authorized edition' of the Dramatic Works, in translations by different hands: its nine volumes appeared between 1912 and 1929 (New York: B.W. Huebsch; and London: M. Secker). Some of the translations in the Dramatic Works had been published separately beforehand or have been reprinted since: examples are Mary Morison's fine renderings of Lonely Lives (1898) and The Weavers (1899), and Charles Henry Meltzer's dated attempts at Hannele (1908) and The Sunken Bell (1899). More recent collections are Five Plays, translated by Theodore H. Lustig with an introduction by John Gassner (New York: Bantam, 1961), which includes The Beaver Coat, Drayman Henschel, Hannele, Rose Bernd and The Weavers; and Gerhart Hauptmann: Three Plays, translated by Horst Frenz and Miles Waggoner (New York: Ungar, 1951, 1980), which contains 150 The Plays in Translation renderings into not very idiomatic English of The Weavers, Hannele and The Beaver Coat. Recent translations are Peter Bauland's Be/ore Daybreak (Chapel HilI: University of North Carolina Press, 1978), which tends to 'improve' on the original, and Frank Marcus's The Weavers (London: Methuen, 1980, 1983), a straightforward rendering with little or no attempt to convey the linguistic range of the original. Wedekind's Spring Awakening can be read in two lively modem translations, one made by Tom Osbom for the Royal Court Theatre in 1963 (London: Calder and Boyars, 1969, 1977), the other by Edward Bond (London: Methuen, 1980). The Lulu plays are available in a translation by Stephen Spender: The Lulu Plays and Other Sex Tragedies (London: Calder, 1977; New York: Riverrun, 1978). This collection (wh ich also includes two minor works, Death and Devil and Castle Wetterstein) was originally published in 1952. The stage adaptation of both Lulu plays into one drama by Peter Barnes was published by Heinemann in 1971; his stage version of The Tenor can be found in The Frontiers 0/ Farce (London: Heinemann, 1977) as The Singer. There is a translation of King Nicolo; or, Such is Li/e in Martin Esslin's The Genius 0/ the German Theater (New York: New American Library, 1968). Many attempts have been made to translate the famous Schnitzler plays into English. GranvilIe Barker's stage paraphrase of Anatol (first published in London and New York in 1911 and reprinted several times since) remains an outstanding achievement and gives the play a convincing Edwardian flavour, while the version by Frank Marcus (London: Methuen, 1982) provides greater accuracy. Aversion by Charles Osborne figures in his The Round Dance and Other 151 Hauptmann, Wedekind and Schnitzler Plays (Manchester: Carcanet, 1982), which also includes Love Games (Liebelei). Another recent version of Liebelei, entitled Flirtations (translated by Arthur S. Wensinger and Clinton J. Atkinson) is to be found in Arthur Schnitzler: Plays and Stories, which is vol. 55 of The German Library (New York: Continuum, 1982). This volume also contains Countess Mitzi, or The Family Reunion in a revised translation by Edwin Bjorkman, and Eric Bentley's translation of Reigen, here called La Ronde, wh ich had previously appeared under the title Round Dance in Bentley' s The Classic Theater (New York: Doubleday, 1959) and elsewhere. Another version which has made several appearances in print is by Frank and Jacqueline Marcus; most recently this has been published as La Ronde (London; Methuen, 1982). earl Richard Mueller's 1967 translation has been reprinted in An Anthology of Austrian Drama, ed. Douglas A. Russell (East Brunswick, NJ: Farleigh Dickinson University Press, 1982) along with The Game of Love, his version of Liebelei. The stage adaptation by John Barton of Sue Davies' translation of Reigen has been published by Penguin (Harmondsworth, 1982) as La Ronde. There are at least five other English translations of this notorious play. The Green Cockatoo can be found along with six of the Anatol playlets and The Lady with the Dagger, Last Masks and Literature from the Living Hours quartet in Grace Isabel Colbron's translation in Schnitzler: One-Act Plays (Great Neck, NY: Core, 1977). There is also an older translation in Horace B. Samuel, The Green Cockatoo and Other Plays (London and Edinburgh: Gay and Hancock, 1913), which also includes The Companion (here called The Mate) and Paracelsus. The English version of Professor Bemhardi used for the 1936 production was published by Victor Gollancz (London, 1936), and is also included in the same publisher's Famous Plays of 1936. Tom Stoppard's Dalliance, his stage-version of Liebelei, has been published by Faber and Faber (London, 1987) in the same 152 7he Plays in Translation volume as Undiscovered Country, his masterly English adaptation of Das weite Land. While his adaptations may not always be quite accurate and may offend the purist, they succeed in capturing the essence of Schnitzler's subtle and elusive plays for today's audiences and readers. 153 The Personalities A number of distinguished names associated with the Austrian and German theatre and with the plays ofHauptmann, Wedekind and Schnitzler have been mentioned in the course of this book. These brief notes are provided to help readers place them in context. Producers Otto Brahm (1856-1912). Academically trained critic and literary biographer, he campaigned for the new realism during the 1880s. Founder ofthe 'Freie Bühne' Association in Berlin, 1889-94, then director of the Deutsches Theater in Berlin, he became director of the Lessing-Theater from 1904 until his death. Germany's leading Naturalist producer, exponent of authentie milieux and situations, he saw it as his duty to allow the gifts of his actors to reveal themselves naturally and to preserve the artistic integrity of the works he produced. He was noted for the emphasis he gave to ensemble work and to the 154 The Personalities creation of a consistent atmosphere on stage. He enjoyed dose working relationships with both Hauptmann and Schnitzier , but plans to direct the premiere ofWedekind's Hidalla fell through. During the legendary Brahm era some 3000 performances were given, of which 1169 were of plays by Hauptmann: in all, twenty-two Hauptmann productions were staged, of which thirteen were 'firsts'. His fifteen productions of Schnitzier were equally famous: eleven were of new plays. He also put on thirteen productions of Ibsen. Paul Schienther (1854-1916). Friend of Otto Brahm and dramatic critic ofthe Berlin liberal daily Vossische Zeitung from 1886 to 1898. An ardent Ibsenite, he became director of the Vienna Burgtheater in 1898 and in the same year Hauptmann's first biographer. He quarrelIed with Schnitzler in the 1900 - I season with the result that Schnitzler went over to Brahm in Berlin. His wife, the actress Paula Conrad-Schlenther, created Hannele and Frau Flamm (in Hauptmann's Rose Bernd). Max Reinhardt (1873 -1943). Discovered by Brahm and brought to Berlin from Salzburg in Austria in 1894, he acted at the Deutsches Theater until 1902, specialising in older men and creating the role of Michael Kramer in Hauptmann's play of the same name. He then left Brahm' s ensemble to take charge of the new Kleines Theater and open his own Neues Theater. He was soon Brahm's competitor in Berlin, and in 1905 took over his Deutsches Theater. He went on to become the most successful theatre producer of the period. In 1920 he founded the Salzburg Festival. He emigrated to the United States in 1933, and died in Hollywood. A brilliant producer, he stressed the visual and the evocative, and insisted on darity of diction, even favouring the use of a chorus. A noted producer of Wedekind and Hauptmann, he never attempted Schnitzler, owing to an early misunderstanding. 155 Hauptmann, Wedekind and Schnitzler Viktor Barnowsky (1875 -1952). Influential Berlin director and producer at theatres such as the Kleines Theater and Lessing Theater. EspeciaJly noted for his Wedekind. Actresses and actors Adele Sandrock (1864 - 1937). Star of the Vienna Volkstheater and of the Burgtheater. She created many major roles, including Christine in Liebelei and Countess Geschwitz in the first Vienna production of Pandora 's Box. A famous Annie in Schnitzler's Anatol and Princess in Wedekind's Love Potion, she had a whirlwind romance with Schnitzler and was the original of the actress in The Round Dan ce . Agnes Sorma (1865 -1927). A classical actress who was also a noted interpreter of roles by Ibsen, Sudermann, Hauptmann and Schnitzler: she was a particularly lovely Christine in Liebelei. Based in Berlin and associated for a time with the Brahm ensemble, she broke away in 1897, performing in New York (Rautendelein in The Sunken Bell, a role she had created). She joined Max Reinhardt's ensemble in 1904. Ambitious, rich and beautiful, she became a celebrated Candida in Shaw and Mrs Alving in Ibsen's Ghosts. She later enjoyed a second career in films, specialising in character parts as an elderly lady. Else Lehmann (1866-1940). The outstanding Naturalist actress in Berlin and star of the Deutsches Theater and Lessing Theater. The epitome of the Hauptmann woman, she created Helene Krause and Rose Bemd, Frau John and Hanne Schäl. She retired from the stage after Brahm's death in 1912. Gertrud Eysoldt (1870 -1950). A Reinhardt actress much 156 The Personalities praised for her fascinating interpretations of Strindberg and Wedekind roles; she was a celebrated Lulu. Tilly Newes (1886 -1970). An Austrian actress who attracted attention as Leontine in Hauptmann's The Beaver Coat. Wedekind promoted her career and married her in 1906.

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