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Nordic Theatre Studies 27 Vol. 28, No. 1, 2016, 27-38. During the Cold War, the Finnish National Theatre actively sought possibilities for international visits and co-operation. It wanted to showcase its work abroad and especially connect itself with Western European theatres. In 1956, the Finnish National Theatre visited Stockholm. In terms of politics, it was interesting that the Finnish National Theatre chose to perform Aleksis Kivi’s The Seven Brothers and especially interesting that it performed Anton Chekhov’s The Three Sisters. It seems to be the case that there was a national border between the Finnish National Theatre and Anton Chekhov’s play that was hard to cross. The director of the production, Eino Kalima, was described as an expert in interpreting Chekhov due to his background as a student of Stanislavski. This was a myth created by the director of the Finnish National Theatre. However, it increased international interest for the production of The Three Sisters with Kalima as its director. Furthermore, it supported the theatre’s attempts at seeking mobility and engaging in international, cultural encounters. Keywords: Cold War, cultural politics, geographies of theatre, international relations, theatre visits After World War II, Finland returned slowly to the Theatre. The main international interest was drawn international community. It was in a very delicate to the productions of The Three Sisters and The geopolitical position between the Western and Seagull with which the Finnish National Theatre Eastern Blocs. As part of the re-establishing of visited European theatres five times in 1956-1963. Finlands international connections, the Finnish In this article, I discuss the guest performances National Theatre actively sought for possibilities for the Finnish National Theatre performed at the international visits and co-operation. It wanted to Royal Dramatic Theatre in Stockholm, Sweden in showcase its work abroad, especially by connecting May 1956. The performances were The Three itself mainly to other national theatres. During the Sisters by Chekhov and The Seven Brothers, an years Arvi Kivimaa was the director of the Finnish adaptation of a novel by Aleksis Kivi. It was the National Theatre in 1950-1974, the theatre looked first time the Finnish National Theatre travelled mainly westward: it visited abroad fourteen times abroad performing an Anton Chekhov and many of the well-known European theatres production directed by Eino Kalima. I analyse the performed in Helsinki at the Finnish National visit by discussing geographies of theatre. As 28 Geographies of Theatre Joanne Tompkins has defined, theatre's Treaty between Finland and the Soviet Union geographies incorporate not only architectural but inhibited any attempts for Finland to join the also narrative and more abstract interpretations of international community. For example, Finland had spatiality and theatre's connection to a historical, to refuse Marshall Aid, the European rebuilding social, and cultural context.1 I propose that in programme initiated by the USA in 1947. After the addition to this, geographies of theatre also Paris Peace Treaty in 1947, the Foreign Ministry of incorporate theatre's artistic and political contexts. Finland approached the General Secretary of the For example, in my case study, it is not only a UN who set in motion Finland's application for question of the nationality of the play which is membership. However, due to the Cold War and the produced in a particular place in a certain fear of endangering the existing balance of power historical moment, but also the question of in the UN, Finland could not join the organization showcasing the artistic work of a theatre and the before 1955. The year 1955 was a significant turning branding of an art institution abroad. It seems to point in Finland's international position: the country be that producing Anton Chekhov's plays in post could join both the Nordic Council and the UN.2 wartime Finland was not uncomplicated. It seems Johanna Rainio-Niemi has argued that during the that there was a symbolic border between the Cold War, Finlands neutrality was a pragmatic theatre and the play that was hard to cross at the choice determined by the vicinity of the Soviet time. It was especially difficult for the Finnish Union. However, Finland tried to find as many National Theatre to showcase their work abroad options for western European integration as with a Chekhov play. possible.3 I would argue that since Finland had to In order to cross national borders and increase remain outside of many international alliances international interest towards the production of during the Cold War, especially of a political and Chekhov, the Finnish National Theatre created economic character, culture and theatre in particular the myth of Kalima being a student of opened up new possibilities for international Stanislavski at the time of the Stockholm visit. I interaction and exchange. For example, Finland will begin by looking at the preliminary decision- became an official member of the International making-process at the Finnish National Theatre. Theatre Institute, ITI, already in 1950.4 In 1950s What were the artistic, cultural and/or political internationalism the nation states were considered reasons for choosing these two productions, how important. They were considered the agents did the Finnish National Theatre negotiate the connecting other nation states. Theatre productions, geographies of theatre, and, eventually, what was partly with the influence of the ITI, started to the reason for creating the myth? One of the circulate across the globe. Theatre proved itself a visiting productions was an internationally known point of contact for different nations: productions, classic and the other one was an adaptation of a artists, and companies were imported and Finnish novel, The Seven Brothers by Aleksis Kivi, exported.5 which the Swedish audience did not know in The initiator of the international activities and advance. I will then look at the reception of these visits of the Finnish National Theatre and an two performances in Stockholm. How did the important agent in the Finnish theatre in general Swedish critics participate in the process of was Arvi Kivimaa. Pirkko Koski has considered creating and sustaining the myth as authoritative Kivimaa to be the most decisive figure in experts? How did they describe the guest maintaining international links in Finnish cultural performances in terms of theatrical style and history.6 As theatre director of the Helsinki national questions? Peoples Theatre in the late 1940s, he focused on a Scandinavian and Anglo-American repertoire. He directed, for example, a series of August Strindberg's chamber plays.7 Very soon after Right after the war, preparations for the Peace becoming the director general of the Finnish Nordic Theatre Studies 29 National Theatre in 1950, Arvi Kivimaa started to proposed a Chekhov play as the guest negotiate for international guest performances. performance.11 The board of the Finnish For him, being a theatre internationalist during National Theatre acknowledged the invitation to the Cold War was essential. Modernism, visit with a Chekhov play at the board meeting of urbanization, internationalism, and national issues September 1953.12 emerge repeatedly in Kivimaa's production and The negotiations of the return visit did not work.8 In my opinion, international and national progress quickly, although both parties were issues were not in conflict for Kivimaa; in fact, he agreed on the visit as such. The reason for the combined them in many ways. For example, after delay was that they could not agree on the guest WWII it was important for him to develop performance. Despite Gierow's request to see a Finnish theatre and culture towards a more Chekhov production in Stockholm, Kivimaa international orientation. Kivimaa can be suggested The Rose Tattoo by Tennessee Williams considered as one of the theatre internationalists (completed in 1951). According to Kivimaa, the who, as Charlotte Canning has defined, saw them board of the Finnish National Theatre wished to [nationalism and internationalism] as integral to send the theatre to Stockholm with The Rose their identifications as theatre people.9 In 1951, Tattoo.13 According to the board, if the Royal Arvi Kivimaa contacted the director of the Royal Dramatic Theatre would prefer The Cherry Orchard Dramatic Theatre, Karl-Ragnar Gierow, about the as earlier requested, the second choice would be possibility of guest performances between the The Rose Tattoo. Since the board preferred The Rose two theatres. It is no coincidence that he Tattoo, they sent Arvi Kivimaa to Stockholm to contacted the Royal Dramatic Theatre in negotiate the details of the visit.14 Stockholm first. Among the reasons might have Karl-Ragnar Gierow replied quickly to Kivimaa. been Kivimaa's personal interest in Scandinavian It was clear that he did not want to see The Rose plays, the cultural connections between the Tattoo in Stockholm. Politely, he praised the countries, the economic feasibility of the journey, production of the Finnish National Theatre, but but more importantly, the political neutrality of did not consider the play, as such, a very Sweden, must have surely made the choice easier. important piece. Besides, in Gierow's opinion, The However, the negotiations for the visits were long Rose Tattoo had been performed everywhere in and multiphased. I will refer to them in close Sweden although not in Stockholm. He suggested order to demonstrate the complicated decision a play by Molière, but in the same sentence making process and the requirements of cultural brought up the possibility of seeing a Chekhov diplomacy and geographies of theatre. The production in Stockholm: according to him, it multiphase negotiations were needed for would be even better than a Molière production. achieving both national agreement and Especially, he mentioned the productions of The international visibility and activity, all of which Seagull or The Cherry Orchard as most probable Kivimaa was looking for for the Finnish National successes in Stockholm.15 Gierow had seen the Theatre.