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

Felhasznált irodalom

time lover (as it happens between Hilde and Solnes), a reckoning with her age-old rival, her sister, who took Borkman from her (as is the case in Hedda Gabler), or that she assumes the role of administering justice (as does Gregers Verle in TheWild Duck). Although she does none of those, still it is her appearance that triggers the start of the play. This is in fact an epic work in which only Ella's terminal illness creates dramatic relations - between herself and her sister, as well as her earlier lover - which revolve around the issue of her foster son. The fact that the dramatic climax is not brought about by, or in connection with, her creates a dramaturgical impasse. There are suppressed emotions raging in the sisters, as well as in the rest of the characters. Like the austere Northern countryside, the people too are difficult to obtain access to. In order to survive the hardships of nature and inclement weather, these people have learnt to use their energies sparingly: their gestures are few and their mimicry minimal, and yet, they may instantly erupt in violent, almost theatrical emotions at the most unexpected times. FANNY, the emancipated woman, is a representative of the future generation. She is a divorcée with independent means and a healthy approach to the enjoyment of life, which places her above her surroundings. She is sensuous but not lascivious; she is well aware of her values as well as her shortcomings, her age and the fleeting nature of Erhart's commitment to her. She reacts with bitter humour and biting irony to habits and self-assertive rigid mannerisms which are alien to her character. FOLDAL's figure is treated as a chapter apart by most works of criticism. This eccentric character - a dry bureaucrat with poetic aspirations - is not unknown in dramatic literature. His appearance in the Borkman play is so controversial that it seems almost natural. His relationship to Borkman is full of controversy, it is almost inconceivable. Foldal is a former schoolmate and a servile underling at the same time. He is robbed of his savings and yet he sides with the bank manager. Abandoned by his daughter, and trampled on by the world, he is still happy. It is difficult to make this figure look authentic, but very easy to tum him from a minor character into a momentous temporary protagonist by exaggerating the mannerisms suggested by Foldal's eccentricity. This is to be avoided. FRIDA is lovely, innocent, but by no means a genuine dramatic character. Neither is she a true minor character given that she makes very few independent moves in the course of the play. Things happen to her mediated by the twins' dialogue. Erhart, possibly in order to atone for 50