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The Plays of Eugene O'neill on the Slovene Stage

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The Plays of Eugene O'neill on the Slovene Stage THE PLAYS OF EUGENE O’NEILL ON THE SLOVENE STAGE: CONTEXTS AND CONDITIONS UROŠ MOZETI Č University of Ljubljana Abstract : After the initial fiasco of O’Neill’s plays Anna Christie and Desire Under the Elms in interbellum Slovenia, the post-war years brought the author a critical and public rehabilitation. However, O’Neill’s sudden popularity proved a double- edged sword. The subject-matter of his plays was abused for the promotion of socialist realism and the establishment of the post-war communist regime. Stage directors were compelled to distort the artistic truth and present the idea of each play according to the requirements of the current political agenda. The paper discusses and explains the critical and public reception of these plays in the light of the political, social and literary conditions in Slovenia between the years 1926 and 1963. Keywords : Anna Christie, communist regime , Desire under the Elms, Eugene O’Neill , reception in Slovene theatres , socialist realism 1. Introduction Generally speaking, the reception of Eugene O’Neill’s plays in Slovenia has not been a particularly favourable one. While the reasons for this are manifold, this paper will concentrate chiefly on the circumstances accompanying the two most frequently produced plays, Anna Christie (1921) and Desire under the Elms (1924). The frequency of their productions, especially in comparison with the modest staging of the author’s other plays, may indeed be due to their relative popularity with theatregoers and/or critics, but in the background lurked the tendency of the post-WWII communist regime to twist the plays’ communication potential and thus strengthen its own authority in the state. The other plays by Eugene O’Neill produced in the Slovene professional theatres were Long Day’s Journey into Night (1957, 1984, 1999); A Moon for the Misbegotten (1959); A Touch of the Poet (1961); Hughie (1963); and Mourning Becomes Electra (1967). The dominant political ideology was imposed on the presentation of the plays so efficiently and with such perfidy that audiences could not help enjoying themselves while watching this dramatic farce. Stage directors would, either of their own accord, or under pressure, distort the artistic truth and present the idea of each play according to the requirements of the current political agenda. 2. Anna Christie and Desire under the Elms between WWI and WWII Before WWII, when these two plays were first introduced on the Slovene stage, the political, social and cultural circumstances were considerably different, which should have allowed more manoeuvring space in terms of dramatic representation. Nevertheless, stage directors were faced with difficulties stemming from the Slovene critical and public prejudices. Anna Christie was in fact the first American play to have entered Slovene theatres and was thus expected to pave the way for a different dramatic experience. Anna Christie was premiered at the ¡ ¢ ¡ £ ¡ ¤ vol. XXII, 2016 84 Slovene National Theatre in Ljubljana on 13 February 1926. It was characteristic of the Slovene theatres in the interbellum period that their repertories would not extend over the boundaries of Europe (Moravec 1980: 115). Although O’Neill’s central orientation was based on the European tradition ‒ Strindberg, Ibsen, and some others –, the Slovene Anna Christie apparently failed to carry out its mission, since the reviews were almost unanimously scathing, but also confusing. Some of them recognised in the play a typical “American signature”, drawing on the sentimental play between “golden hearts and a jovially moving ending” (Zarnik 1926: 2), while others searched in vain for any representative American elements in it: what they observed instead was an American attempt to grapple with the elementary issues of human existence which, in the European perception, proved naïve (Koblar 1926: 7). Trying to determine the reasons for the play’s fiasco, several things need to be taken into consideration. There had been a decades-long habit among Slovene theatre producers and stage directors to use a cut-up technique or implement severe changes, adaptations and other forms of textual modification: in our case this would be the introduction of a suicide scene ‒ Mat wrenching a revolver from Anna’s hand because she was apparently going to kill herself. The critics (Govekar 1926: 4; Zarnik 1926: 2) tended to interpret this scene – if the play had consisted of four acts (sic!), as they put it, − as an implication of Anna’s definite return to her former indecent profession. Ironically, the play does consist of four acts, but the Slovene staging reduced it to only three. In addition, the Slovene production of Anna Christie , its text translated from the German by Oton Župan čič, completely neglected a vital aspect of O’Neill’s dramatic language, manifested in his skilful employment of racial and cultural dialects, by which he prevents the speech of his time from becoming artificial, dead or unreal. In order to achieve the rhythm and diction of common speech, O’Neill introduces in this play a Swedish dialect of English spoken by Chris, the Irish brogue spoken by Mat, and Anna’s variety of colloquial American English. The Slovene version of the text, replacing all these language nuances by common standard Slovene, thus lacked the initial and, indeed, principal dimension of any play ‒ a direct verbal contact with the reader ‒ or spectator − even before the actual performance. Eugene O’Neill was notoriously pedantic about the choice of theatre design, stage setting, character cast, etc. In this respect, the Slovene productions of his play were definitely more negligent, refusing to follow even the most obvious stage directions. In the 1946 production of Anna Christie , for example, the leading actress, Ema Star čeva, was already over forty when she appeared on the stage as “a tall, blond, fully-developed girl of twenty, handsome after a large, Viking-daughter fashion …” (O’Neill 1967: 13). One of the leading Slovene stage directors of that time, Bratko Kreft, who was bold and progressive enough to introduce Desire Under the Elms , feverishly responded to the negative reception of Anna Christie by reproaching Slovene theatres and audiences with entrenched conservatism. He particularly alluded to their fascination with cheap and maudlin plays of the French boulevard adapted for the Slovene stage, which led to the spectators’ reluctance to show proper respect for a play by a more serious author. Furthermore, he included a telling remark concerning the habit of cutting texts, which implies that interbellum stage directors extensively revised the texts of foreign playwright (Kreft 1965: 31-46). 85 CHALLENGING FRONTIERS AND GHOSTS OF EVIL Given all these circumstances, it is easy to understand why the first Slovene production of Anna Christie ran for only eight performances and then practically fell into oblivion as far as this period was concerned. The only exception was the year 1929, when a well-known Czech theatre group on a tour stopped in Ljubljana to give a performance of this play. Unfortunately, I was unable to obtain any significant information on this apparently very successful event or to determine how and to what extent the Czech staging managed to warm up the Slovene audience. As anticipated by the stage director Bratko Kreft, the 1932 production of Desire Under the Elms by the same theatre house met a fate similar to that of Anna Christie . The staging was found inadequate in many respects. It apparently either overemphasised the naturalistically pathetic tone of the play, unduly promoting a “relentlessly explicit and vulgar speech, entirely beyond the Slovene taste” (Koblar 1932: 2), or it was criticised because of the director’s failure to present the events and characters on the stage with realistic persuasiveness (Kozak 1932: 13). The reviewer Vladimir Bartol, the internationally acclaimed author of the novel Alamut (1938), recognised in the allegedly vulgar elements of speech vague poetic metaphors, remote from ordinary language (Bartol 1932/33: 125-126). As it was definitely not part of O’Neill’s concept to provide his characters with some sort of artificial language, but rather the opposite, reasons for the critic’s impression ought to be tracked down to the translator’s/stage director’s inadequate approach to O’Neill’s dramatic language. It is noteworthy that the Slovene translations of both Anna Christie (trans. Oton Župan čič) and Desire under the Elms (trans. Fran Albreht) were made on the basis of the already inaccurate German translations (Lewis 1984). The productions of O’Neill’s plays thus gradually became an ideological battle-ground for those who advocated pure and standard dramatic expression and those who were inclined towards a more lively and down-to-earth stage speech. Since the interbellum Slovene theatre was generally perceived as a place reserved for cultivating people’s cultural and linguistic taste, it was not difficult to foresee the winner of this battle. The fate of O’Neill’s plays, which heavily rely for their effect on the non-standard, true-to-life and sometimes juicy linguistic expressiveness of their characters, was thus sealed, as far as Slovene theatres were concerned. The Slovene stage directors of this time were growing increasingly inclined towards European realism and especially naturalism, and thus perceived the staging of Eugene O’Neill’s early plays as an ideal opportunity to promote their literary worldviews. The problem was that the Slovene audiences were not prepared to accept this new approach, all the more because the stagings were, according to the reviews, somewhat ambiguous: they either exaggerated the realistic note or they were excessively naturalistic. But they failed to bring out that inherently O’Neillean touch, which makes his early plays classic American dramas, unrivalled as yet and worthy of continuing revival time around the world theatres: an essentially realistic portrayal of the world, with an undercurrent of symbolism.
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