sign in sign up
<<
Home , Gertrud Fridh, Harold Pinter, Inga Tidblad, John Normington, John Stride, Jon Finch

Notes

Chapter 1 Te:xtual, Aural, Audiovisual

1. , Letters to the Intimate Theatre, tr. Walter Johnson (, 1967) p. 37. 2. Cf. Keir Elam's distinction between dramatic text ('that composed for the theatre') and performance text ('that produced in the theatre'): The Semiotics of Theatre and (London, 1980) p. 3. Similarly, Erika Fischer-Lichte contrasts the literary text (literarische Text) with the theatrical text (theatralische Text): Semiotik des Theaters (Tiibingen, 1983) ill, 10-22. We may, in addition, distinguish between the performance text (the species) and the individual, factual perform• ance. 3. Anne Ubersfeld, Lire Ie theatre (Paris, 1977) p. 8. 4. Ibid., p. 16. 5. Ibid. 6. Eric Bentley, The Life of the Drama (London, 1965) p. 148. 7. Julian Hilton, Performance (London, 1987) p. 6. 8. Cf. Wiebe Hogendoorn, Lezen en zien spelen: een studie over simultanefteit in het drama (Leiden, 1976); with a summary in French. 9. Peter Piitz, Die Zeit im Drama: zur Technik dramatischer Spannung (Gottingen, 1970) pp. 15-16. 10. a. Seymour Chatman, Story and Discourse: Narrative Structure in Fiction and Film (Ithaca, NY, 1978) pp. 62-84. 11. Manfred Pfister, Das Drama (Munich, 1977) pp. 7~9. 12. A recent contribution is Egil Tornqvist and Barry Jacobs, Strindberg's 'Miss Julie': A Play and its Transpositions (Norwich, 1988). 13. Most studies of adaptations concern the transposition from prose work (usually novel) to teleplay (TV series) or film. Thus, of the twenty-three film adaptations analysed in Andrew S. Horton and Joan Magretta (eds), Modem European Filmmakers and the of Adaptation (New York, 1981), only two are based on plays. 14. Fischer-Lichte, Semiotik des Theaters, I, 82. 15. Elam, The Semiotics of Theatre and Drama, p. 15. 16. Roman Ingarden, Das Literarische Kunstwerk, 2nd edn (Tiibingen, 1960) p. 120. 17. Fischer-Lichte, Semiotik des Theaters, I, 28. 194 Notes

18. Patrice Pavis, Languages of : Essays in the Semiology of Theatre, tr. Susan Melrose et al. (New York, 1982) p. 141. 19. a. Tornqvist and Jacobs, Strindberg's 'Miss Julie', pp. 138-41. 20. For useful surveys of theatrical proxemics (shape of theatre and spatial organisation), see Elam, The Semiotics of Theatre and Drama, pp. 56-69; and Hilton, Performance, pp. 19-26. 21. Stanley Wells, Literature as Drama (London, 1970) p. 7. 22. Martin Esslin, Mediations: Essays on Brecht, Beckett and the Media (London, 1980) p. 177. 23. Ibid., p. 183. 24. William Ash, The Way to Write (London, 1985) p. 43. 25. John Fiske and John Hartley, Reading Television (London, 1978) p.109. 26. George W. Brandt (ed.), British Television Drama (Cambridge, 1981) p.27. 27. Werner and Rose Waldmann, Einfiihrung in die Analyse von Fernseh- spielen (Tiibingen, 1980) p. 110. 28. Brandt, British Television Drama, p. 8. 29. Jan Bussell, The Art of Television (London, 1952) p. 103. 30. Ibid., p. 105. 31. David Bordwell and Kristin Thompson, Film Art: An Introduction, 2nd edn (New York, 1986) pp. 147,387. 32. Sergei Eisenstein's Film Form (1949) and The Film Sense (1942), ed. and tr. Jay Leyda in the same volume (New York, 1957), penetratingly discuss problems related to these aspects of film-making. 33. S. A. Elghazali, Literatur als Fernsehspiel (Hamburg, 1966) p. 79. 34. Andre Bazin, What is Cinema?, tr. Hugh Gray (Berkeley, Calif., 1967) I, 102. 35. Peter Szondi, Theorie des modernen (1880-1950), 7th edn (Frankfurt, 1970). 36. Bazin, What is Cinema?, I, 99. 37. Th. Borup Jensen, Roman og drama bli'r tilfilm (, 1975) p.30. 38. Elam, The Semiotics of Theatre and Drama, p. 47. 39. Ibid., p. 46. 40. Paris, Language of the Stage, p. 126. 41. Ibid., p. 111. 42. Elam, The Semiotics of Theatre and Drama, pp. 184-207. For a less formal and detailed attempt at close-reading notation of a play• opening (in this case of The Dance of Death), see Egil Tornqvist, Strindbergian Drama: Themes and Structure (, 1982) pp.119-47. 43. Bordwell and Thompson, Film Art, p. 388. Notes 195

Chapter 2 Variations on the Audiovisual: Shakespeare's (c. 1606) 1. , Macbeth, Arden edn, ed. Kenneth Muir (London, 1986) p. xxxii. 2. John Russell Brown (ed.), Focus on 'Macbeth' (London, 1982) p. 243. 3. A. M. Nagler, Shakespeare's Stage (New Haven, Conn., 1958) p. 29. 4. Jack J. Jorgens, Shakespeare on Film (Bloomington, Ind., 1977) p. 171. 5. Quoted ibid. 6. Quoted from Muir's edition of Macbeth, p. 3. 7. Marvin Rosenberg, The Masks of Macbeth (Berkeley, Calif., 1978) p.21. 8. Ann Friden, 'Macbeth' in the Swedish Theatre 1838-1986 (Malmo, 1986) p. 190. 9. Ibid., p. 205. 10. Ibid., p. 204. 11. Gordon Williams, 'Macbeth': Text and Performance (London, 1985) pp.61-2. 12. Gareth Lloyd Evans, 'Macbeth: 194(r8() at Stratford-upon-Avon', in Brown, Focus on 'Macbeth', p. 107. 13. Jorgens, Shakespeare on Film, pp. 161-3. 14. Wolfgang Clemen, The Development of Shakespeare's Imagery (Cambridge, Mass., 1951) p. 101. 15. Rosenberg, The Masks of Macbeth, p. 315. 16. Muir (ed.), Macbeth, p. 91. 17. A. C. Bradley, Shakespearean Tragedy, 2nd edn (London, 1963) pp. 425--6. IS. Michael Mullin, 'Stage and Screen: The Trevor Nunn Macbeth', in Robert L. Erenstein (ed.), Theatre and Television (Amsterdam, 1988) p. lOS. 19. Roger Manvell, Shakespeare and the Film (London, 1971) p. 5S. 20. Rosenberg, The Masks of Macbeth, p. 64S. 21. Ibid., p. 647. 22. Ibid., p. 649. 23. Quoted from Brown, Focus on 'Macbeth', p. 232. 24. Marshall McLuhan, The Medium is the Message (London, 1967). 25. Mullin, in Erenstein, Theatre and Television, pp. 107, 110.

Chapter 3 Representing the Source Text: Ibsen's Et DukkehjemlA DoU's House (1879) 1. Einar Haugen, Ibsen's Drama: Author to Audience (Minneapolis, 1979) p. 103. 2. Introduction to Henrik Ibsen, The Complete Major Prose Plays, tr. Rolf Fjelde (New York, 1965) p. xxxvi. 3. Henrik Ibsen, Samlede Verker, ed. Francis Bull et al. (, 1933) VIII,368. 196 Notes

4. Austin E. Quigley, The Modem Stage and Other Worlds (New York, 1985) p. 93. 5. Peter Reynolds, Drama: Text into Performance (Harmondsworth, 1986) p. 78. 6. Ibid., p. 79. 7. Frederick J. and Lise-Lone Marker, : A Project for the Theatre (New York, 1983) p. 20. 8. Ibid., p. 19. 9. Bergman as quoted ibid., p. 3. 10. J. L. Styan, 'The Opening Moments of A Doll's House: For Perform• ance and Analysis in Class', in Yvonne Shafer (ed.), Approaches to Teaching Ibsen's 'A Doll's House' (New York, 1985) p. 94. 11. John Northam, Ibsen's Dramatic Method (London, 1953) p. 19. 12. Quigley, The Modem Stage, pp. 99--100. 13. Henrik Ibsen, A Doll's House, tr. James W. McFarlane, in The Oxford Ibsen, v (London, 1961); Henrik Ibsen, A Doll's House and Other Plays, tr. Peter Watts (Harmondsworth, 1965). 14. Marker and Marker, Ingmar Bergman, p. 23. 15. Ibid., p. 49. 16. Quoted from Gunnar Hallingberg, Radio och TV-drainatik (Lund, 1973) p. 172. 17. Birgitta Steene, 'Film as Theater: Geissendorfer's The Wild Duck (1976) from the Play by Henrik Ibsen', in Horton and Magretta, Modern European Filmmakers, p. 297. 18. Foster Hirsch, (Boston, Mass., 1980) p. 200. 19. Ibid., pp. 202-3. 20. Bazin, What is Cinema?, p. 90. 21. Quigley, The Modem Stage, p. 107. 22. Marker and Marker, Ingmar Bergman, p. 27. 23. Michael Meyer, Ibsen: A Biography (London, 1971) p. 454. 24. Quoted from Northam, Ibsen's Dramatic Method, p. 25. 25. Quigley, The Modem Stage, p. 91. 26. Ibid., p. 100. 27. Marker and Marker, Ingmar Bergman, p. 99. 28. Bergman as quoted ibid., pp. 12-13. 29. C. Braad Thomsen, 'Et Dukkehjem. R. W. Fassbinder: Nora Helmer', in UUa StrllSmberg and Jytte Wiingaard (eds), Den levende Ibsen: analyser af udvalgte Ibsen-forestillinger 1973-78 (Copenhagen, 1978) p.82.

Chapter 4 Between Stage and Screen: Strindberg's Spij1csolllllenlThe Ghost Sonata (1907) 1. Ingmar Bergman as quoted in Egil Tornqvist, 'Ingmar Bergman Directs Strindberg's Ghost Sonata', Theatre Quarterly, m, no. 2 (1973) 3. 2. Strindberg, Letters to the Intimate Theatre, p. 19. Notes 197

3. Ibid. 4. August Falck, Fem ar med Strindberg (Stockholm, 1935) p. 53. 5. Sarah Bryant-Bertail, 'The Tower of Babel: Space and Movement in The Ghost Sonata', in Goran Stockenstrom (ed.), Strindberg's Dramaturgy (Minneapolis, 1988) p. 307. 6. Freddie Rokem, Theatrical Space in Ibsen, Chekhov and Strindberg: Public Forms of Privacy (Ann Arbor, Mich., 1986) pp. 66-8. 7. John Northam, 'Strindberg's Spook Sonata', in Carl Reinhold Smed• mark (ed.), Essays on Strindberg (Stockholm, 1966) p. 41. 8. Ibid., pp. 41,48. 9. Arvid Paulson (tr.), in August Strindberg, Eight Expressionist Plays (New York, 1965) pp. viii, 463. 10. Elizabeth Sprigge's translation in Six Plays of Strindberg (Garden City, NY, 1955). 11. Evert Sprinchorn's translation in August Strindberg, The Chamber Plays (New York, 1962). 12. Paulson's translation in Strindberg, Eight Expressionist Plays. 13. Translation by Erik Palmstierna and James Bernard Fagan in August Strindberg, Easter and Other Plays (London, 1929). 14. Sprigge's translation and note in Six Plays of Strindberg. 15. Harry Carlson's version in August Strindberg, Five Plays (Berkeley, Calif., 1981). 16. Carl Richard Mueller's version in August Strindberg, The Ghost Sonata (San Francisco, 1966). 17. For an extensive discussion of problems related to the translation of The Ghost Sonata into English, see Tornqvist, Strindbergian Drama, pp.220-42. 18. Sprigge's translation in Six Plays of Strindberg. 19. Michael Meyer's translation in August Strindberg, Plays: One (London, 1964). 20. Sprinchorn, Introduction to Strindberg, The Chamber Plays, p. xv. 21. Sprinchorn's translation in Strindberg, The Chamber Plays. 22. Meyer's translation in Strindberg, Plays: One. 23. Walter Johnson's translation in August Strindberg, A Dream Play and Four Chamber Plays (Seattle, 1973). 24. For a full discussion of this production, see Egil Tornqvist, Bergman och Strindberg: 'Spoksonaten' - drama och iscensiittning. Dramaten 1973 (Stockholm, 1973). 25. Bergman as quoted ibid., p. 192. 26. Tornqvist, in Theatre Quarterly, m, no. 2, p. 8. 27. Bergman as quoted in Tornqvist, Bergman och Strindberg, p. 102. 28. Ibid., p. 226. 29. Ibid., p. 108. 198 Notes

Chapter 5 Choosing the Medium: Pinter's (1965) 1. According to Richard Hornby in Script into Performance: A Structura• list View of Play Production (Austin, Tex., 1977) p. 205, Pinter has published several versions of The Homecoming, 'which differ slightly from each other'. The following analysis is based on the 1965 Methuen edition. 2. Hugh Nelson, 'The Homecoming: Kith and Kin', in John Russell Brown (ed.), Modem British Dramatists (Englewood Cliffs, 1968) p.107. 3. Quoted from Anita R. Osherow, 'Mother and Whore: The Role of Woman in The Homecoming', Modem Drama, XVD, no. 4 (1974) 430. 4. Nelson, in Brown, Modem British Dramatists, p. 149. 5. Martin Esslin, Pinter: The Playwright, 4th edn (London, 1984) p. 160. 6. Quoted from Enoch Brater, 'Pinter's Homecoming on Celluloid', Modem Drama, xvn, no. 4 (1974) 443. 7. Jacoba Maria Bordewijk-Knotter, Pinter Appeal: A Comparative Study of Responses to 'The Homecoming' (Amsterdam, 1988) p. 255. 8. in John Lahr (ed.), A Casebook on 's 'The Homecoming' (New York, 1971) p. 20. 9. Bordewijk-Knotter, Pinter Appeal, p. 229. 10. Cf. C. Carpenter, "'Victims of Duty?": The Critics, Absurdity and The Homecoming', Modem Drama, xxv, no. 10 (1982) 489-95. 11. Bordewijk-Knotter, Pinter Appeal pp. 228-9. 12. Lahr, Casebook, p. 10. 13. Katherine Burkman, The Dramatic World of Harold Pinter: Its Basis in Ritual (Columbus, Ohio, 1971) p. 109. 14. Austin E. Quigley, The Pinter Problem (Princeton, NJ, 1975) p. 189. 15. Lahr, Casebook, p. 12. 16. Ibid., pp. 32-3. 17. Brater, in Modem Drama, xvn, no. 4, p. 444. 18. Jac Heijer, in NRC HandeIsblad, 17 Sep 1984. 19. Ruud Gortzak, in De Volkskrant, 17 Sep 1984. 20. Willem van Toorn, in Vrij Nederland, 6 Oct 1984. 21. Lahr, Casebook, pp. 31-2. 22. Ibid., p. 11. 23. Quigley, The Pinter Problem, p. 179. 24. Esslin, Pinter: The Playwright, p. 264. 25. Vrij Nederland, 6 Oct 1984. Quoted from Bordewijk-Knotter, Pinter Appeal, p. 236. 26. Osherow, in Modem Drama, xvn, no. 4, p. 426. 27. Lahr, Casebook, p. 12. 28. Quigley, The Pinter Problem, p. 225. 29. Hornby, Script into Performance, p. 185. 30. Quigley, The Pinter Problem, p. 224. Notes 199

Chapter 6 Medium and Vision 1. Cf. Szondi, Theorie des modemen Dramas, p. 96. 2. Chatman, Story and Discourse, p. 159. 3. Ibid., p. 160. 4. Rudolf Arnheim, Film as Art, 9th edn (Berkeley, Calif., 1974) p. 216. 5. Quoted from Clas Zilliacus, Beckett and Broadcasting: A Study of the Works of for and in Radio and Television (Abo, 1976) p.3. 6. Bazin, What is Cinema?, I, 123. Productions

Macbeth

STAGE

12 March 1948, Goteborgs stadsteater. Translators: Carl August Hagberg and Per Hallstrom. Director Ingmar Bergman, designer Carl Johan Strom, music by Roman Maciejewski. Macbeth Anders Ek, Lady Macbeth Karin Kavli.

9 September 1976, Royal Shakespeare Company, The Other Place, Stratford. Director Trevor Nunn, designer John Napier. Macbeth Ian McKellen, Lady Macbeth .

TELEVISION

4 January 1979, Thames Television, London. Director Trevor Nunn, TV designer Mike Hall, TV director Philip Casson. Cast as for 1976 production.

5 November 1982, BBCZ. Director Jack Gold, designer Gerry Scott, music by Carl Davis. Macbeth Nicol Williamson, Lady Macbeth Jane Lapotaire, Banquo Ian Hogg, Ross Gavin Granger.

FILM

1948, Republic Studios, Hollywood, USA. Screenplay by Orson Welles, director Orson Welles. Macbeth Orson Welles, Lady Macbeth Jeanette Nolan.

1972, Playboy Productions. Screenplay by and , director Roman Polanski. Macbeth Jon Finch, Lady Macbeth Francesca Annis, Banquo , Ross John Stride. Productions 201

Et Du1ckehjemlA DoU's Howe

STAGE

30 April 1981, Residenztheater, Munich [title: Nora}. Translator Heinz Gimmler, director Ingmar Bergman, designer Gunilla Palmstierna-Weiss, music by Rudolf G. Knabl. Torvald Helmer Robert Atzorn, Nora Rita Russek.

14 October 1985, Goteborgs stadsteater. Translator Ernst Schonaich, director Anu Saari, designer Elisabeth Astrom, music by Rainer Bohm. Torvald Helmer Jan Koldenius, Nora Mariano Rudberg.

RADIO

14 December 1944, Sveriges Radio. Translator Ernst Schonaich, adapter• director Ernst Eklund. Torvald Helmer Bjorn Berglund, Nora Alice Eklund.

4 December 1947, Sveriges Radio. Translator Ernst SchOnaich, adapter Gunnar Ollen, director Alf Sjoberg. Torvald Helmer Ulf Palme, Nora Inga Tidblad.

29 January 1953, Sveriges Radio. Translator Ernst SchOnaich, adapter• director Lars-Levi Lrestadius. Torvald Helmer Nils Fritz, Nora Gertrud Fridh.

12 and 19 January 1986, Televisie en Radio Omroep Stichting (TROS), the Netherlands. Translator-adapter Nelly Nagel, director Bert Dijkstra, music by Piet Daalhuisen. Torvald Helmer Paul van der Lek, Nora Teuntje de Klerk.

TELEVISION

21 December 1958, Sveriges TV. Translator Herbert Grevenius, director Me Falck. Torvald Helmer Herman Ahlsell, Nora Gun Arvidsson.

27 December 1970, Sveriges TV. Translator-director-adapter Per Sj ostrand , designer Bibi Lindstrom. Torvald Helmer Olof Bergstrom, Nora Solveig Ternstrom.

3 February 1974, Saarlandisches Rundfunk, West German TV [title: Nora Helmer}. Translator Bernhard Schulze, director-adapter Rainer Werner Fassbinder. Torvald Helmer Joachim Hansen, Nora Margit Carstensen. 202 Productions

19 April 1975, Norsk Rikskringkasting. Director Arild Brinckman, designer Christian Egemar. Torvald Helmer Knut Risan, Nora .

FILM

1973, Elkins Productions and Freeward Films, [Eastmancolor, wide screen]. Screenplay by Christopher Hampton, director Patrick Garland. Torvald Helmer , Nora Claire Bloom.

1973, World Film Services, England, and Les Films la Boetie, France [Eastmancolor, wide screen]. Translator Michael Meyer, screenplay by David Mercer, director Joseph Losey. Torvald Helmer David Warner, Nora Jane Fonda.

SpijksonalenlThe Ghost Sonata

STAGE

13 January 1973, Dramaten, Stockholm. Director Ingmar Bergman, designer Marik Vos, music by Daniel Bell. Old Man Toivo Pawlo, Student Mathias Henrikson, Mummy Gertrud Fridh, Young Lady Gertrud Fridh, Milkmaid Kari Sylwan.

RADIO

6 May 1962, Sveriges Radio. Director-adapter Per Verner-Carlsson, music by Bengt Hambrreus. Old Man Allan Edwall, Student Lars Lind, Mummy Margareta Krook, Young Lady .

TELEVISION

30 October 1972, Sveriges TV2. Director lohan Bergenstrahle, designer Bo Lindgren, music by Kare Kollberg. Old Man Allan Edwall, Student Stefan Ekman, Mummy Ulla Sjoblom, Young Lady Marie Goranzon, Milkmaid Lilian Johansson.

23 March 1980, BBC. Translator Michael Meyer, director , designer Barrie Dobbins, music by Peter Howell. Old Man Donald Pleasance, Mummy Lily Kedrova, Student Clive Arrindell, Young Lady Nina Zuckerman, Milkmaid Debbie Linden. Productions 203

The Homecoming

STAGE

3 June 1965, Royal Shakespeare Company, , London. Director Peter Hall, designer John Bury. Max , Lenny , Sam John Normington, Joey , Teddy , Ruth .

15 September 1984, Appeltheater, Scheveningen [title: De thuiskomst]. Translator Walter Kous, director Erik Vos, designer Caroline Elliott. Max Peter van de Linden, Lenny Aus Greidanus, Sam Willem Wagter, Joey Rein Edzard, Teddy Robert Prager, Ruth Trudy Labij.

TELEVISION

29 March 1972, Sveriges Radiorrv, Malmo [title: Hemkomsten]. Transla• tor Olof Jonason, director HAkan Ersgard, designer Lennart Olofsson• Leo. Max Georg Rydeberg, Lenny Stig Tornblom, Sam Roland SOderberg, Joey Tomas von Bromssen, Teddy Bo Brundin, Ruth Yvonne Ingdahl.

FILM

1973, England. Screenplay by Harold Pinter, director Peter Hall. Max Paul Rogers, Lenny Ian Holm, Sam Cyril Cusack, Joey Terence Rigby, Teddy Michael Jayston, Ruth Vivien Merchant. Bibliography

General

Arnheim, Rudolf, Film as Art, 9th edn (Berkeley, Calif., 1974). Ash, William, The Way to Write Radio Drama (London, 1985). Bazin, Andre, What is Cinema?, tr. Hugh Gray, 2 vols (Berkeley, Calif., 1967). Bentley, Eric, The Life of the Drama (London, 1965). Bordwell, David, and Thompson, Kristin, Film Art: An Introduction, 2nd edn (New York, 1986). Brandt, George W. (ed.), British Television Drama (Cambridge, 1981). Bussell, Jan, The Art of Television (London, 1952). Chatman, Seymour, Story and Discourse: Narrative Structure in -Fiction and Film (Ithaca, NY, 1978). Eisenstein, Sergei, Film Form and The Film Sense, ed. and tr. Jay Leyda (New York, 1957). Elam Keir, The Semiotics of Theatre and Drama (London, 1980). Elghazali, S. A., Literatur als Fernsehspiel (Hamburg, 1966). Erenstein, Robert L. (ed.), Theatre and Television (Amsterdam, 1988). Esslio, Martin, Mediations: Essays on Brecht, Beckett and the Media (London, 1980). Fischer-Lichte, Erika, Semiotik des Theaters, 3 vols (Tiibingen, 1983). Fiske, John, and Hartley, John, Reading Television (London, 1978). Hallingberg, Gunnar, Radio och TV-dramatik (Lund, 1973). Hilton, Julian, Performance (London, 1987). Hogendoorn, Wiebe, Lezen en zien spelen: een studie over simultanei"teit in het drama, with a summary in French (Leiden, 1976). Hornby, Richard, Script into Performance: A Structuralist View of Play Production (Austin, Tex., 1977). Horton, Andrew S., and Magretta, Joan (eds), Modern European Filmmakers and the Art of Adaptation (New York, 1981). Ingarden, Roman, Das literarische Kunstwerk, 2nd edn (Tiibingen, 1960). Jensen, Th. Borup, Roman og drama bli'r til film (Copenhagen, 1975). McLuhan, Marshall, The Medium is the Message (London, 1967). Pavis, Patrice, Languages of the Stage: Essays in the Semiology of the Theatre, tr. Susan Melrose et al. (New York, 1982). Pfister, Manfred, Das Drama (Munich, 1977), tr. John Halliday as The Bibliography 205

Theory and Analysis of Drama (Cambridge, 1988). Reynolds, Peter, Drama: Text into Performance (Harmondsworth, 1986). Schneider, Irmela (ed.), Dramaturgie des Fernsehspiels (Munich, 1980). Strindberg, August, Letters to the Intimate Theatre, tr. Walter Johnson (London, 1967). Szondi, Peter, Theorie des modemen Dramas (1880-1950), 7th edn (Frankfurt, 1970), tr. Michael Hays as Theory of the Modem Drama (Cambridge, 1987). Ubersfeld, Anne, Lire Ie theatre, 4th edn (Paris, 1977). Waldmann, Werner, and Rose, EinfUhrung in die Analyse von Fernseh• spielen (Tiibingen, 1980). Wells, Stanley, Literature as Drama (London, 1970). Zilliacus, Clas, Beckett and Broadcasting: A Study of the Works of Samuel Beckett for and in Radio and Television (Abo, 1976). Zuber, O. (ed.), The Languages of Theatre: Problems in the Translation and Transposition of Drama (Oxford, 1980).

Mocbeth Shakespeare, William, Macbeth, Arden edn, ed. Kenneth Muir (London, 1986).

Bradley, A. C., Shakespearean Tragedy, 2nd edn (London, 1963). Brown, John Russell (ed.), Focus on 'Macbeth' (London, 1982). Clemen, Wolfgang, The Development of Shakespeare's Imagery (Cambridge, Mass., 1951). Friden, Ann, 'Macbeth' in the Swedish Theatre 1838-1986 (Malmo, 1986). Jorgens, Jack J., Shakespeare on Film (Bloomington, Ind., 1977). Manvell, Roger, Shakespeare and the Film (London, 1971). Mullin, Michael, 'Stage and Screen: the Trevor Nunn Macbeth' , in Robert L. Erenstein (ed.), Theatre and Television (Amsterdam, 1988). Nagler, A. M., Shakespeare's Stage (New Haven, Conn., 1958). Rosenberg, Marvin, The Masks of Macbeth (Berkeley, Calif., 1978). Williams, Gordon, 'Macbeth': Text and Performance (London, 1985).

Et Du1cJcehjemlA DoU's House Ibsen, Henrik, Et Dukkehjem, in Samlede Verker, Hundreiusutgave, ed. Francis Bull et al., VIII (Oslo, 1933). --, A Doll's House, tr. James W. McFarlane, in The Oxford Ibsen, v (London, 1961). --, A Doll House, in The Complete Major Prose Plays, tr. Rolf Fjelde (New York, 1965). --, A Doll's House, in Plays: Two, tr. Michael Meyer (London, 1965). --, A Doll's House, inA Doll's House and Other Plays, tr. Peter Watts (Harmondsworth,1965). 206 Bibliography

Haugen, Einar, Ibsen's Drama: Author to Audience (Minneapolis, 1979). Hirsch, Foster, Joseph Losey (Boston, Mass., 1980). Marker, Frederick J. and Lise-Lone, Ingmar Bergman: A Project for the Theatre (New York, 1983). Meyer, Michael, Ibsen: A Biography (London, 1971). Northam, John, Ibsen's Dramatic Method (London, 1953). Quigley, Austin E., The Modern Stage and Other Worlds (New York, 1985). Styan, J. L., 'The Opening Momepts of A Doll House: For Performance and Analysis in Class', in Yvonne Shafer (ed.), Approaches to Teaching Ibsen's 'A Doll House' (New York, 1985). Thomsen, C. Braad, 'Et Dukkehjem. R. W. Fassbinder: Nora Helmer', in Ulla Str0mberg and Jytte Wiingaard (eds) , Den levende Ibsen: analyser af udvalgte Ibsen-forestillinger 1973-78 (Copenhagen, 1978).

SpijksonatenlThe Ghost Sonata Strindberg, August, Spoksonaten, in Samlade Skrifter, XLV, ed. John Landquist (Stockholm, 1917). --, The Ghost Sonata, in Easter and Other Plays, tf. Erik Palmstierna and James Bernard Fagan (London, 1929). --, The Ghost Sonata, in Six Plays of Strindberg, tr. Elizabeth Sprigge (New York, 1955). --, The Ghost Sonata, in The Chamber Plays, trans. Evert Sprinchorn et al. (New York, 1962). --, The Ghost Sonata, in Plays: One tf. Michael Meyer (London, 1964). --, The Ghost Sonata, in Eight Expressionist Plays, tr. Arvid Paulson (New York, 1965). --, The Ghost Sonata, tr. Carl Richard Mueller (San Francisco, 1966). --, The Ghost Sonata, in A Dream Play and Four Chamber Plays, tf. Walter Johnson (Seattle, 1973). --, The Ghost Sonata, in Five Plays, tf. Harry Carlson (Berkeley, Calif., 1981).

Bryant-Bertail, Sarah, 'The Tower of Babel: Space and Movement in The Ghost Sonata', in Goran Stockenstrom (ed.), Strindberg's Dramaturgy (Minneapolis, 1988). Falck, August, Fem ar med Strindberg (Stockholm, 1935). Marker, Lise-Lone and Frederick, J., Ingmar Bergman: Four Decades in the Theater (Cambridge, 1982). Northam, John, 'Strindberg's Spook Sonata', in Carl Reinhold Smedmark (ed.), Essays on Strindberg (Stockholm, 1966). Rokem, Freddie, Theatrical Space in Ibsen, Chekhov and Strindberg: Public Forms of Privacy (Ann Arbor, Mich., 1986). Tornqvist, Egil, 'Ingmar Bergman Directs Strindberg's Ghost Sonata', Theatre Quarterly, ill, no. 2, 1973. --, Bergman och Strindberg: 'Spoksonaten' - drama och iscensiittning. Bibliography 207

Dramaten 1973 (Stockholm, 1973). --, Strindbergian Drama: Themes and Structure (Stockholm, 1982). Tornqvist, Egil, and Jacobs, Barry, Strindberg's 'Miss Julie': A Play and its Transpositions (Norwich, 1988).

The Homecoming Pinter, Harold, The Homecoming (London, 1965).

Brater, Enoch, 'Pinter's Homecoming on Celluloid', Modem Drama, XVD, no. 4 (1974). Brown, John Russell, Theatre Language: A Study of Arden, Osborne, Pinter and Wesker (London, 1972). Bordewijk-Knotter, Jacoba Maria, Pinter Appeal: A Comparative Study of Responses to 'The Homecoming' (Amsterdam, 1988). Burkman, Katherine, The Dramatic World of Harold Pinter: 1ts Basis in Ritual (Columbus, Ohio, 1971). Carpenter, c., "'Victims of Duty?": The Critics, Absurdity and The Homecoming', Modem Drama, xxv, no. 10 (1982). Esslin, Martin, Pinter: The Playwright, 4th edn (London, 1984). Hollis, James R., Harold Pinter: The Poetics of (Carbondale, Ill., 1970). Jiji, Vera M., 'Pinter's Four-Dimensional House: The Homecoming', Modem Drama, xvn, no. 4 (1974). Lahr, John (ed.), A Casebook on Harold Pinter's 'The Homecoming' (New York, 1971). Nelson, Hugh, 'The Homecoming: Kith and Kin', in John Russell Brown (ed.), Modem British Dramatists (Englewood Cliffs, NJ, 1968). Osherow, Anita R., 'Mother and Whore: The Role of Woman in The Homecoming', Modem Drama, xvn, no. 4 (1974). Quigley, Austin E., The Pinter Problem (Princeton, NJ, 1975). Index

Abridgement, see Condensation Brater, Enoch, 151 Adaptation, 4, 8, 71, 89, 130, 132, Brecht, Bertold, 19,30, 167 185, 190-1 Bryant-Bertail, Sarah, 98 of stage productions, 30, 60 Buddha (in The Ghost Sonata), Amplification of text in production, 102,112-13 36,76,84,159,171 Bury, John, 150 Apparitions, 40--9, 101, 106, 119, Bocklin, Arnold, 97-8, 103, 135 126-9, 133, 178-9 and media, 45-6, 49 Catharsis, 54 Aristotel, 19, 174 Character Arnheim, Rudolf, 190 age, 26-8, 38, 137, 153, 166 Artaud, Antonin, 52, 186 and interiorisation, 15, 19,42, Audience, see Recipient 124, 126, 138 and kinesics, 13,43, 56, 59, 70, Bach, Johann Sebastian, 4, 190 113-14, 127, 132, 148, 159, Goldberg Variations, 4 161, 176-7, 180 Bazin, Andre, 19, 79, 191 and paralinguistics, 13, 106-7, Beckett, Samuel, 132, 190-1 131, 146, 154-5, 157, 163, Act without Words-, 190 173, 179 All That Fall, 190 and proxemics, 13,31,41,51, End-Game, 190 56,59,76,90,113,127,132, Waiting for Godot, 6 134, 149-50, 152-4, 156, Beethoven, Ludvig van, 97 158-65, 176, 180 Der Sturm, 97 appearance, 26,28-30,38,99 Bergman, Ingmar, 69, 88, 113, 126- as audience, 51-2 7,131 as mediator, 108, 138, 178 The Bergman Project, 68 contrasting, 31, 75 Cries and Whispers (Viskningar doubling, 113 och rop), 72 gender, 28, 79,88-9,123,142, Scenes from a Marriage (Scener 151 ur ett iiktenskap), 68-9 hubris, 53, 130 The Seventh Seal (Det sjunde names, 66, 147, 155 inseglet), 132 protagonist, 19, 26, 62, 179, 186 Biblical allusions, 59,101,122,126, role-playing, 70, 75 127, 132, 134 silent, 5, 119 Bradley, A. C., 42 supernatural,33 Index 209

Character - continued and nationality, 93 symbolic, 30, 38,143 and vision, 6,170 universality, 98,123,125,137, aspects of, 180-1 178 film, 18 see also Secondary text: dramatis stage, 18 personae Drama criticism, 159-61, 167, 189- Cinemas, 188 90 Coda, 134 Drama text, see Text Code, 9 Dramatis personae, see under aural,15 Secondary text transcodification, 9 Dubbing, see under Translation visual, 14 Coleridge, Samuel Taylor, 27 Colour Eisenstein, Sergei, 188 change, 33,56-7 Elam, Keir, 21-2 contrast, 57, 68 Elghazali, S. A., 18 correspondence, 112 Empathy, see under Recipient monochrome, 33 Ending, 130-6 polychrome, 33 happy versus unhappy, 186 scheme, 136 open, 159 unity of, 112, 122, 145, 155, 167 perpetuum mobile, 54 Commercial breaks, 17 Environment, see Setting Condensation, 4, 68, 71, 73, 187 Epilogue, 59 Conflict, 15, 19,68 Esslin, Martin, 14, 143, 155-7 Correspondences, 31, 37, 38, 51, Evaluation 56-7,71, 103-4,171-2 explicit, 189-90 between primary and secondary implicit, 189-90 text, 150, 172 Exposition, 1 Costume, 31, 43-4, 59, 84, 86, 88, 90,92,99,103,112-13,115, 116,122,124-5,130,145,152- Film, 17-18 4,176, 185 and theatre, 60, 94, 162 Credits, 36, 38, 75, 77,175 black-and-white, 179 see also Sequence: pre-credit cast, 94 Cuts, see Deletions narrative, 188 setting, 94 Dance, 79-84 silent, 179 Dante Alighieri, 99,109 sound,179 Decapitation videotaped, 21 and media, 50-2 Film versions Deletion of text in production, 26, Macbeth, 33-40, 47-9, 51-2, 57- 36-7,48,58,68,73,88,89, 9, 175-7, 180, 181, 182, 186 91,94,112,145,154,167,171, (Roman Polanski); 49 181, 182 (Orson Welles) De Mille, Cecil B., 188 A Doll's House, 78-9, 83-4, 92, Dialogue, see Primary text 175,181,185 (Patrick Directing Garland); 77-8, 84, 92, 175, and medium, 181 181, 185 (Joseph Losey) 210 Index

Film versions - continued Jorgens, Jack, 36 The Homecoming, 139, 144, 146, 148, 154-7, 162-4, 175-6, Kinesics, see under Character 180-1,188 (Peter Hall) Fischer-Lichte, Erika, 8-9 Leitmotiv, 30-1, 176 Fiske, John, 16 see also Motif: Theme Flashback, 129, 136 Light, 46,127,179 Flashforward,129 atmospheric, 111 Focalisation 'celestial', 132, 134 authorial, 10, 177 cold versus warm 111 figural, 10, 108, 138, 177-8 contrast in, 68 omniscient narrator, 10, 19 functional, 111 Focus, 21,42-3,90, 145, 150 ghostly, 48-9 double, 138 realistic, 111 multiple, 42 sustained spotlight, 50 Friden, Ann, 28 symbolic, 111 Location, see Setting Genre, 174 adventure film, 123 McLuhan, Marshall, 60 closet drama, 20 Media aspects related to ideological drama, 15 Macbeth, 59-61 problem play, 62 A Doll's House, 93-7 subjective drama, 138, 178 The Ghost Sonata, 137-42 tragedy, 62, 65, 174 The Homecoming, 140, 166-8 trilogy,6&-9 Medium, 2-3, 173-9 verse drama, 15, 174, 187 and competition, 188 and diction, 182 Hall, Peter, 26, 53, 149-51, 160 and differentiation, 188 Hartley, John, 16 and directorial approach, 60,181 Haupttext, see Primary text and durability, 2, 23,182 Hirsch, Foster, 78 and eroticism, 84, 145-6 Hornby, Richard, 160-1 and gender, 123, 174 and historicism, 4 Ibsen, Henrik, 65-6, 85 and message, 60, 146 Ghosts (Gengangere), 174 and play text, 181 Nora (Et Dukkehjem), 68, 88 and playwrights, 93, 138, 187 Nora Helmer (Et Dukkehjem), and proxernics, 176 89 and recipient, 182-4 The Wild Duck (Vildanden), 108 and setting, 152, 174-5 Imagery, 39, 53, 82, 95, 104, 106, and space, 151 109, 139, 142, 147, 159-60 and stage properties, 176 Information and style, 138, 167, 174, 182 non-verbal, 2, 6 and visibility, 161-2, 176 verbal, 2, 6 characteristics, 170 Ingarden, Roman, 9 choice of, 9,139,187 Intervals, 12 evaluation of, 190 influence of, 6, 78, 83 Jensen, Th. Borup, 20 intermediality, 17, 111, 117, 138 Index 211

Medium - continued Oedipus complex, 143-4 mass, 6, 93,137, 182-4, 188 Omission, see Deletion minority, 182, 183 O'Neill, Eugene, 9, 137 screen, 18-20, 166 Long Day's Journey into , variations within, 166 175 see also, Apparitions; Decapitation; Direction; , 36, 119, 175 Recipient Paralinguistics, see under Metaphor Character signijiant, 95 Pavis, Patrice, 10,21-2 signijie, 95 Performance text, 2-7 see also Apparitions; codes in, 9 Meyer, Michael, 84 Peripeteia, 65 Mise-en-scene, 18 Pfister, Manfred, 6 Molander, Olof, 136 Pinter, Harold, 142, 145 Motif , 139 doll,64--7, 71-2, 76, 78, 79 , 139 food,101 Place, see Setting hands,30-1,33,176 Plausibility, see Verisimilitude horse, 153-4, 161 Play-within-the-play, 149 see also Leitmotiv; Theme Plot, 5, 65, 73 Muir, Kenneth, 26, 41, 50 -centred, 95 Mullin, Michael, 60-1 Point of view, see Focalisation Munch, Edvard, 83 Polysemic range, 2 Music, 98, 103 Primary text, 9--10, 94 and medium, 179 Haupttext, 9 bagpipes, 58 interaction with secondary text, brass, 92 2 chamber, 97 silences in, 151, 153 diegetic, 58, 79-80,119, 134 Production facilities, 170, 179-80 drumbeats,45,54-5 Prologue, 36, 77, 119 eerie, 31, 124, 129 Prop, see Stage property electronic, 133 Proscenium, 108 harp, 102, 131-3 Proxemics, see under Character interludes, 14, 22-3 Piitz, Peter, 5 music-box, 72, 79, 84, 92 non-diegetic, 177, 179 Quigley, Austin, 67,70,86,153, organ, 30, 101, 118-19, 120-2, 160-1 134 singing, 58, 98, 120-2, 134 Racine, Jean, 12 tarantella, 79--84 Radio performance, 2, 14-16 violin, 35 as series, 91 audiotaped, 21 Name caption, see Cue designation cast, 14 Nebentext, see Secondary text duologues, 14 Northam, John, 70, 103 minor characters, 14 Notation, 21-3 monophonic transmission, 179 shot-by-shot, 22 narrator, 14 212 Index

Radio performance - continued Scenery, see Setting peak listening-time, 184 Schiller, Friedrich, 12 scenery in, 14 Script silent characters, 14 film, 20, 168 stereophonic transmission, 179 radio, 20, 73, 91, 118, 133, 168 Radio versions 111,20,60,75-6,89-90,168 A Doll's House, 83, 91-2 (Bert Secondary text Dijkstra); 73, 91 (Ernst acting-directions, 1,8-11,26,41, Eklund); 73, 91 (Lars-Levi 99, 161 Lrestadius); 73,83,91 (Alf adherence to, 10,67,93-4 Sjoberg) and Nebentext, 9 The Ghost Sonata, 118-19, 133 cue designations, 1, 10,65-6,90, (Per Verner-Carlsson) 115 Rearrangement of text in divisional markers, 10 production,29,36,48,76,171, dramatis personae, 1, 10,22,94, 180 137-8, 166, 174, 187 Recipient, 22,170, 181-4 genre indication, 10, 97 active, 2, 14, 139 historicaVgeographical setting, age, 82 10 alienated from characters, 151, motto, 10 179 name of author, 10 and choice of language, 173 place of publication, 10 and medium, 133, 145, 182-3 play title, 10, 64-5, 68, 124, 142- and theatre programme, 10 3, 164, 183 diversity, 42 preface/postscript, 10 empathy with character, 19, 36, pseudonym, 10 40,42-3,45-6,48-9,51, reliability, 10 98 stage-directions, 8-11,14,26,67, family, 16 93, 104, 126, 177 gender, 66,182 year of publication, 10 intended, 181, 185 Sequence level of knowledge, 53 as basic unit for text, stage, mass, 12, 137, 182, 188 radio, 22 national versus international, distribution, 117 182 pre-credit, 36, 77, 92,123-4,135, nationality, 182, 184 175 reader, 1,5, 71,177 thematic linking, 128 re-recipient, 5, 30, 70, 72 Setting, 59, 66-9, 75, 100-4, 109- spectator, 1, 5, 71, 177-8 10,148-50,174-5 Reinhardt, Max, 136-7 and dialogue, 122 Relationship verbal/non-verbal and media, 78, 161 elements closed, 67-8, 79 complement, 6 diversity of, 76, 78, 94 discrepancy, 6, 177 historical, 185 identity, 6 on location, 77 Reynolds, Peter, 67 open, 67-8 Rokem, Freddie, 99 period,77 Rosenberg, Marvin, 28 projected, 108-9, 111 Index 213

Setting - continued Song of the Sun, The (in The Ghost specified/unspecified, 184-5 Sonata), 96-7,102,130-1, unity of, 78, 94, 99,137, 148 133-4 Shakespeare, William, 1, 12, 186 Sophocles , 22 Oedipus Rex, 174 , 166 Sound, 15, 17,38,46,85-6,91,92, Richard III, 59 93,117-18,136 Shaw, Bernard, 9 and historical period, 73 Pygmalion, 146 contrasting, 157 Shortening, see Condensation diegetic, 18,38, 73, 79, 91-2, 104 Shot, 2, 18, 128 montage, 119, 177 angle, 136, 164 non-diegetic, 18,38,46,79,92, as basic screen unit, 23 122, 124 close-up, 19,26,33,56, 90, 92, objective, 15 127,145,154, 167 silence, 101, 126 cross-cutting, 76, 83, 123 subjective, 15 deep-focus, 45 Source text, see under Translation dissolve, 33, 135 Space drawing-room, 17 cinematic, 99 establishing, 31-2, 34, 58, 77, 79, continuous, 19 175 discontinuous, 19 extreme close-up, 176 linking of, 99 fade-in,33 non-visualised, 6 fade-out, 33, 90, 92 off-air, 6 flash,57 off-scenic, 6 frozen, 50, 89-90 off-screen, 6, 49,178 high angle, 30, 154 off-stage, 6, 39-40, 50 long, 92, 127, 134, 145, 151, 154 scenic, 6 long take, 122 vertical, 121 low-angle, 130 visualised,6 medium, 145 Spatio-temporal aspects, 184-9 medium close-up, 167 Sprinchorn, Evert, 106 opening, 89 Stage out-of-focus, 57,129 arena, 13, 151, 179 pan, 30, 57,135 end, 13, 179 quantity in relation to script, 136 picture-frame, 26 slow motion, 124, 129 size of, 13,60,149,151,179 sustained, 38-9,163 theatrum mundi, 108 tilt, 57,134 thrust, 13, 179 two-shot, 37,176 Stage performance, 12-14, 18-20 zoom-in, 46, 49, 92, 99,135 collective undertaking, 13 zoom-out, 135 live, 12 Shot continuity notation, 13, 21 alternating view-point, 126 plurimediality, 13 continuous, 18 stylisation, 13 discontinuous, 18, 175 two-way communication, 12 montage, 177 versus screen performance, 18- Simultaneity, 1,5 19,33 214 Index

Stage performance - continued To Damascus (Till Damaskus), video registration, 21 138 Stage property, 39, 41, 43, 45-6, Toten-Insel,103 48,50,54,67,86,121,127, Structure, 68, 76,117 145,150,154,166,176 Styan, J. L., 70 armchair, 158, 162-5 Style, 20, 29,175 Christmas tree, 69-72, 73-5, 86, , 6, 95,174 176 dream-like, 108-10, 121 marble statue, 100, 127, 128, Elizabethan, 14, 174 134 epic theatre, 19, 138, 178 Stage versions , 49,136, 138, 164 Macbeth, 28-30,182 (Ingmar illusionism, 9, 174, 188 Bergman); 30,170 (Trevor naturalism, 174, 187 Nunn) non-illusionism, 9, 30,166,174, A Doll's House, 68-9, 71-2, 83, 188 88-9,183,186 (Ingmar realism, 46,105,117,137,139, Bergman); 21, 67-8 (Anu 145, 151, 155, 157, 166-7, Saari) 187 The Ghost Sonata, 21,108-18, stylised, 137, 145, 155, 167 126-7, 129-33, 180, 186 surrealism, 174 (Ingmar Bergman) symbolism, 174, 187 The Homecoming, 139, 144, 146, variation, 171-2 15~ 1, 170 (Peter Hall); Subjective vision, 46 144, 146, 151 (Erik Vos) Subtitles, see under Translation Stage-directions, see under , Kit, 67 Secondary text Suspense, 40, 65 Steene, Birgitta, 76 how-tension, 5, 65 Story,S what-tension, 5, 36, 65,123 Strindberg, August, 1,88, 186-7 Szondi, Peter, 19 The Blue Books (Bid bOckerna), 103 Tableau vivant, 72 Crimes and Crimes (Brott och Target text, see under Translation brott),97 Television performance, 16-17 The Dance of Death adapted from stage peformance, (Dodsdansen), 68, 137 60 A Dream Play (Ett dromspel) , embedded,16 95,98,122,135,138 peak viewing-time, 184 The Father (Fadren), 137 teleplay, 16 Gespenstersonate videotaped, 21 (Spoksonaten),189 visual quality, 17 Miss Julie (Froken Julie), 68-9, Television versions 89,137 Macbeth, 31-3, 39, 43-7, 5~1, The Occult Diary (Ockulta 54-7, 175, 1~1, 186 (Jack dagboken), 114 Gold); 3~1, 39, 43, 50, 54, La Sonate des spectres 180, 185-6 (Trevor Nunn) (Spoksonaten), 189 A Doll's House, 74-5, 90,175 The Spook Sonata (Arild Brinckman); 75-6 (Spoksonaten), 189 (Me Falck); 89, 186 Index 215

Television versions - continued The Intimate Theatre A Dol/'s House - continued (Stockholm), 98 (Rainer Werner Off-Broadway, 184 Fassbinder); 76-7, 83, 89- Off-off-Broadway, 184, 188 90 (Per Sjostrand) The Other Place (Stratford), 30 The Ghost Sonata, 119-23, 127, Provincetown Players, 137 129, 134, 136, 175, 181, 186 Residenztheater (Munich), 68- (Johan BergenstrMtle); 123- 9,83,88-9 6, 128-30, 134-6, 175-6, The 181,185-6 (Philip Saville) (Stockholm), 108-18, 126- The Homecoming, 144, 146, 148, 7 154-5, 157-8, 164-6, 175, West End, 137 180--1 (Hakan Ersgard) Theatre programme, 10 Text, 2-6, 9-11 Theme, 36,68, 73,175-6 additions, 26 ageing, 166 and performance, 2-3 -centred, 95 authenticity, 26 generation, 109, 114-15, 143 authorised, 7, 25 guidance, 80--2 draft, 7, 86 homecoming, 142-3, 150, 164 ethnic elements, 12,71,105,125, prostitution, 142-4, 160 147, 171, 185 seeming versus being, 70, 98, 99, final, 7 109, 112, 118, 123, 128, 172 interpolations, 26 reversal of values, 33 latent, 6 see also, Motif manifest, 6 Time original,3 and air, 6 revised,7 and stage, 6, 19, 137 status, 3 and screen, 6, 19 subtext, 6, 12,139, 148, 151, 155, continuous, 19 167 discontinuous, 19 uniqueness of, 2 discourse, 5-6 see also Primary text; Secondary -lapse photography, 36 text non-visualised, 6 Text versions post-scenic, 6 Macbeth, 25-8, 39-42, 50, 52 pre-scenic, 6, 77 A Dol/'s House, 64-9, 79-81, 85- -shift,32 7 story, 5-6 The Ghost Sonata, 97-104 unity of, 94, 99 The Homecoming, 142-4, 148- visualised, 6 50, 152-6, 158-62 Toorn, Willem van, 159 Theatres Toten-Inset (in The Ghost Sonata), Aldwych Theatre (London), 97-8, 103, 131, 133, 135, 174 144,149-51 Transcription, see Notation Appeltheater (Scheveningen), Transformation, 168, 191 151 defined, 7-8 Broadway, 137, 184, 188 Translation, 11-12,64-5,147,156- Civic Theatre, 28- 7,170--3, 191 30,67-8 and critics, 12 216 Index

Translation - continued Palmstierna, Erik and James and emendation, 106 Bernard Fagan, 105 as transposition, 7-8 Paulson. Arvid, 105 audiovisual, 10 Sprigge, Elizabeth, 105-6 compilation, 29 Sprinchorn, Evert, 105, 107 defined, 7 The Homecoming, 146-8 from major/minor languages, 12 Jonason, Olof, 147, 157 influencing production, 126, 135 Kous, Walter, 147, 157 literal versus free, 3 Transposition, 6-9,168-70, 187, of correspondences, 171-2 190-2 source text, 8, 11,94, 105, 146- and comparative literature, 7 7, 168-73, 182, 186, 189, and genre, 62 191 and ideology, 186-7 target language, 12 and recipient, 191 target text, 8, 105, 126, 146-7, by playwright, 139-40, 145 168, 170-3, 182, 186, 189 defined, 7 textual,11 editing, 7-8, 41 via dubbing, 17, 173 of long plays, 14, 187 via earphones, 173 of old versus modern plays, 186 via subtitles, 17, 172 of plays into film, 94 see also Text: ethnic elements of verse drama, 187 Translations one-stage, 93,168-9 Macbeth,6O quantity, 7,191 Hagberg, Carl August, 29 rewriting, 7-8, 86, 168 Hallstrom, Per, 29 thematic, 175 A Doll's House, 71, 81-3, 87-8, three-stage, 93, 168-9 92 two-stage, 93, 168-70 Fjelde, Rolf, 64, 87 value of examining, 192 Marker, Frederick J. and Lise• versus 'pure' drama, 7, 191 Lone,87 see also Translation McFarlane, James, 71, 87 Tynan, Kenneth, 27 Meyer, Michael, 69, 71, 79- 80,82,87 Ubersfeld, Anne, 2-3 Nagel, Nelly, 91-2 Watts, Peter, 71, 81-2, 87 Valkyries, 39 The Ghost Sonata, 104-8 Verisimilitude, 11, 39, 77 Carlson, Harry, 105 Videotaped drama/film, 21-2,170 Johnson, Walter, 107 Meyer, Michael, 106-7, 123, Wells, Stanley, 13 134-5 Mueller, Carl Richard, 105 Zeitgeist, 136, 186-7