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

Felhasznált irodalom

If we really feel that Borkman should not be the main protagonist, and the ending is too melodramatic, then we should find a more general solution. In the treatment I suggested that we should reincorporate the young people in the final scene. It would not enhance the catharsis of the dramatic ending, but it would make it more stylish, considering the enormous significance of the play's symbols - which I have completely ignored in the course of my dramaturgical analysis. The young people's appearance above the dead Borkman and the twins could symbolize hope, the future, or, to the contrary, death, the end, the cyclical movement of fate. Foldal's reintroduction in the fourth act is a wonderful scene, a good showcase for an actor, as well as a fine counterpoint to the old people who grieve over Erhart. Foldal is glad because his daughter had the opportunity to leave, that she will be able to study, see the world, and do better than her parents. Nevertheless, I would suggest that the entire scene be dropped because it draws attention away from the protagonists' actions prior to the climax. It is a private matter that a minor character receives an affectionate farewell letter from his daughter, another minor character. I don't want to generalize, but I do wish to remark that in the majority of Ibsen's plays what inspires awe in me is the perfect molding of the "development of the conflict." Ibsen's messages and dramatic conclusions force me to continually ponder and seek new solutions. In Borkman 1 am unable to come to terms with a main character who remains concealed throughout the first act. I would put Borkman on the stage and allow him to make the first gesture in the play (e.g., reacting to an outside noise) even if only a split second ahead of the other characters. Then he could remain in the left comer of our eyes, on stage, on a second floor that is displaced. Here is the main character: it is for and against him that the women battle downstairs. He is counterbalanced by the young people, Erhart and Fanny. After we have learned Borkman's history and his relationships to the other characters, we witness Borkman - the living dead - confront the lies he and his employee have told each other, confront his former love, Ella, and confront his repressed conscience as well as his son's desire for life. In the end he is forced to embrace LIFE from which he dies. 71