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

Felhasznált irodalom

The "climax" or dramatic conclusion is achieved when Erhart, with Fanny at his side, leaves his parents' house. This would constitute a happy ending if Erhart were the main protagonist. But, as 1 have contended above, the real protagonists are the Rentheim sisters. Nevertheless, the twins' status as protagonists is taken from them in the end because the son who fled home merely left them alone without burning down the house. Ibsen found a different solution to the problem of the main protagonist: not only did he mark through the title of the play the person he cast in the leading role, but he also announced it at the end. After the young people's departure, he gave Borkman and Ella a final opportunity to bring about the tragedy, Borkman's death, through a pathetic endplay. This second conclusion or climax does have a distinct "resolution": the twins make peace and shake hands with each other. There is another undramatic interaction immediately following the young people's departure when Foldal, who had been irrevocably banished from the house, appears again. As a minor character he should not be present in the phase following the dramatic climax, because he only weakens the main protagonists' final struggle. I don't claim that the play could not be staged unabridged. The masterfully crafted dialogue would retain its richness and informativeness despite a mediocre performance by an actor. Anyone could find his or her favourite characters and stories. Nevertheless, in order to create the preconditions of a cathartic theatrical experience, it will be necessary to make significant revisions to the play. In my theoretical introduction I listed the general rules of classical and epic dramaturgy with the help of which we were able to examine John Gabriel Borkman through a magnifying glass. In my dramaturgical analysis, I hope to have explained, if not proved, the changes that I would recommend in staging the play. DRAMATURGICAL REVISIONS AND INTERVENTIONS To begin at the end: if we want to avoid two conclusions to the play, we must condense the events following the young people's departure in such a way as to mute the doubleness. 70