Kovács Ferenc: Olvasópróba előtt (Skenotheke 1. Budapest, 1996)

Felhasznált irodalom

quasi-death, unexpectedly dies. Or perhaps, going even further, might the dramatic climax be the very last scene, in which the sisters are reunited as they once were in the womb: after fifty years the twins strike out their hands towards each other above their dead loved one, the vanished symbol of their desire to possess? Fredrfkjuel Haslund's analysis of Borkman (1972) notes that the most recent methods of structural analysis - i.e., the analysis of the unity of content and form - have not yet been applied to Ibsen's plays. Thus there is the promise of a deeper, more thorough understanding of these plays. According to Helge Krog, Ibsen's works are like the stars insofar as their content - like the material of stars - remains unchanged, whereas their message is always changing, similar to starlight. It will always be necessary to bring them up to date. BORKMAN STAGINGS IN HUNGARY The Borkman staged in the National Theatre in 1898 was translated by Mari Jászai, who also played one of the leading roles, that of Ella. The reviews celebrate her sensitive interpretation and dramatic performance. "This gray drama, in which every single soul is enveloped in a heavy fog, ... is the story of fantastic creatures: highly unusual men and women whom we never encounter in real life." (Vasárnapi Újság, 45. 51,1898) The rest of the cast included Imre Szacsvay, Laura Helvey, Mrs Ede Paulay, and József Dezső. Borkman as conceived by the 1923 staging in Vígszínház (translated by Henrik Horváth) "is a grim entity carved from a single slab of black granite,

... the ambitious bank manager

... whose demise is brought about by strangely found money, which he is unable to account for, just before the realization of his goal. Hegediis's Borkman lacked solidity and a convincingly powerful robustness.

... Frida Gombaszögi, in the role of one of the twins, molds the character of a relentless and abrasive, proud woman. ... Irén Varsányi, the other twin, is all tenderness, tuned to a minor key." (Pesti Napló, Nov. 14,1923) On the centennial of Ibsen's birth in 1928, the play was restaged by István Hevesi in Nemzeti Kamaraszínház. "His' [Hevesi's] hunch to emphasize the distancing of the play from reality proved most fortunate, 41