Selmeczi László szerk.: Szolnok Megyei Múzeumi Évkönyv (1981)

I. Szabó: Theatre in Estonia

artistic leadership of Ants Lauter and Priit Pöldroos. During the war they gave concerts in several cities of the Soviet Union, and performances of the brigades of actors frequently took place in towns close to the frontline. They closely followed the victorious strikes of the fighting troops. The battles had hardly stopped raging their homeland when they already staged their first performance in Voru. In October 1944 the actors having safely returned from the war were applauded in Tallinn. The reconstruction of the Tallinn Dramatic Theatre was the easiest to start as it had not lost its roof, and the majority of its staff survived the war. But the other theaters were not roofless for long either. The Gloria cinema was converted into a make-do theatre, and the Estonia, having been bombed out of its building, staged its plays there till 1947, by which time the original building had been rebuild. The company of Venemuine, whose building had also been destroyed, found a temporary home in the building of the former German Theatre. The People's Theatre was re-settled in the clubroom of a woodstaff and furniture factory. Provincial theatres also found temporary places in various buildings and halls. In the postwar period of great difficulties the work of the theatres started with a fresh spirit and the willing of activity. Like anywhere else in the world, the high level and durability of the Estonian theatre was also proved by the significant national drama, it had called to life. During this period Estonian stage was mainly starred by August Jakobson, but mention must be made of Johannes Semper, Aadu Hint, and Hugo Raudsepp who regularly wrought plays for Estonian stages. They were succeeded by younger authors and deeds of fame. The name of Juhann Smuul, who was awarded the Lenin prize, is well-known all over the world. (One of his one-act plays, "The Colonel's Widow" was staged and also adapted for TV-film in Hungary.) Besides him we must mention Ardi Liives, the extremely creative Egon Rannet and Paul Eric Rummo of a peculiar world, who, by entirely different approaches, describes the most urgent social and individual problems of our days. It is characteristic of the Estonian dramatic life that after the re-establishment of Soviet power not only were the efforts of the forerunners appreciated but the reorganization of theatre was mainly based on them. The uncontested and refined combination of contemporary drama and theatre must definitely underlined in this respect. Tender sentiments towards the cult of national theatre are fostered by all loyal Estonians. Also part of the stimulating traditions was the quick adaptation of the foreign productions. The Night Asylum's Moscow premiere was closely followed by a performance in Estonia. So was performed the "West Side Story" by the younger. The foreign classic authors were not unstaged either, (the "Beggars'Opera" by Brecht, the "Ghosts" of Ibsen, "Coriolanus" by Shakespeare, "Háry János" by Kodály) Attention is paid to the maintenance of the artistic level. This is true of the repertoire as well as of the up-to-date theories of staging. Their efforts have been drawing attention to their work which is highly appreciated all over the world. 235