Drayman Henschel | |
---|---|
Written by | Gerhart Hauptmann |
Characters | Drayman Henschel Mrs Henschel Hanne Schael Bertha Horse Dealer Walther Siebenhaar Karlchen Wermelskirch Mrs Wermelskirch Franziska Wermelskirch Hauffe Franz George Fabig Hildebrant Veterinarian Grunert Fireman |
Date premiered | 5 November 1898 |
Place premiered | Deutsches Theater, Berlin |
Original language | German |
Genre | Naturalism |
Setting | Grey Swan Hotel, Silesia Late 1860s |
Drayman Henschel (German : Fuhrmann Henschel), also known as Carter Henschel, is an 1898 five-act naturalistic play by the German playwright Gerhart Hauptmann. [1] Unlike his 1892 play The Weavers, Hauptmann focuses on the story's psychological rather than social dimensions. [2] As with his 1902 play Rose Bernd , the play charts the demise of an ordinary man who falls victim to circumstances beyond his control. [3] As with many of Hauptmann's dramas, it ends with the main character's suicide. [4]
Malchen Henschel is feeling sickly and feels she may die. She bandies words with Hanne, a gruff servant. Her husband enters, discussing his business as a drayman, carting goods from one place to another. Mrs. Henschel is jealous when she learns that her husband was kind enough to get Hanne's apron for her. If she dies, what would happen to Gustel, her baby daughter? Says Malchen: "One thing I tell you now- If I dies, Gustel dies along with me! I'll take her with me! I'll strangle her before I'd leave her to a damned wench like that!" and has Wilhelm promise not to marry Hanne after her death. Since the death of Mrs Henschel, Hanne is worried about what people say of her relations with the widower. Henschel reflects on Hanne: "The girl's a good girl. She's a bit young for an old fellow like me, but she c'n work enough for four men. An' she's taken very kindly to Gustel; no mother could do more'n she. An' the girl's got a head on her, that's sure, better'n mine." Siebenhaar, proprietor of a hotel, encourages him to forget his vow to the dead wife. Now married to Henschel, Hanne is stunned on learning that he has brought with him her daughter, born out of wedlock, from the grips of her irresponsible and drunken father, though she denies that the girl is hers. The death of Gustel may be compensated by the arrival of Berthel. In the tap room of Wermelskirch's public house, several men grumble about the changes in Henschel's character since his second marriage, blaming Hanne. Says Walther, the horse-dealer: "Very well, I s'pose you're noticin' it all yourself. Formerly, you had nothin' but friends. Nowadays nobody comes to you no more; an' even if they did want to come they stay away on account o' your wife." Hauffe, turned out of his job because of her, suggests that Gustel may have been poisoned by Hanne. Speaking of George, a waiter, Walther comments to Henschel: "Your wife an' he—they c'n compete with each other makin' a fool o' you!" Henschel challenges his wife: "He says that you deceive me before my face an' behind my back!" Says Hanne: "What? What? What? What?", to which Henschel responds: "That's what he says! Is he goin' to dare to say that? An' that ... my wife ...", after which Hanne says: "Me? Lies! Damned lies!", throwing her apron over her face and rushing out. Henschel is more and more despondent. In discussing his marriage woes with Siebenhaar, Henschel reminds him of his broken vow: "You know well enough!- I broke it an' when I did that, I was lost. I wa done for. The game was up.- An' you see: now she can't find no rest." Husband and wife retire for the night. Says Henschel: "Let it be. To-morrow is another day. Everythin' changes, as Siebenhaar says. To-morrow, maybe, everythin'll look different." But when Siebenhaar looks in at his silent figure in the bed, he tells Hanne that her husband is dead.
Hauptmann began writing the play in 1897 and completed it the following year, when it was also first published. [5] It received its première in Berlin, opening at the Deutsches Theater on 5 November 1898. [5]
The seminal theatre practitioner Konstantin Stanislavski directed a Russian-language production of the play as part of the second season of the Moscow Art Theatre. [6] Stanislavski worked on his production plan for the play during a holiday in March 1899 and rehearsals began in April; his score included the off-stage noises of striking billiard balls, coins clinking, and a banal waltz. [7] The production opened on 17 October [ O.S. 5 October] 1899. [8] V. L. Yuren'yeva wrote of it:
The people are really alive . . . There is very little make-up and no 'theatricality' whatsoever. They eat real sausage for breakfast, slice cheese with holes in it from a square block. The housemaids smell of freshly starched aprons and the rustle of their skirts can be heard about the stage. The actors literally ignore the audience, acting for and between themselves. They are swallowed up by their own feelings, weigh and absorb the eye contact of their fellow actors. [9]
There were at least two other productions of the play in Russia that year—one at the private Korsch Theatre (which opened on 31 August 1899) and another at the Maly (which opened on 2 September 1899). [10]
Konstantin Sergeyevich Stanislavski was a seminal Soviet Russian theatre practitioner. He was widely recognized as an outstanding character actor, and the many productions that he directed garnered him a reputation as one of the leading theatre directors of his generation. His principal fame and influence, however, rests on his "system" of actor training, preparation, and rehearsal technique.
Gerhart Johann Robert Hauptmann was a German dramatist and novelist. He is counted among the most important promoters of literary naturalism, though he integrated other styles into his work as well. He received the Nobel Prize in Literature in 1912.
The Seagull is a play by Russian dramatist Anton Chekhov, written in 1895 and first produced in 1896. The Seagull is generally considered to be the first of his four major plays. It dramatizes the romantic and artistic conflicts between four characters: the famous middlebrow story writer Boris Trigorin, the ingenue Nina, the fading actress Irina Arkadina, and her son the symbolist playwright Konstantin Treplev.
Stanislavski's system is a systematic approach to training actors that the Russian theatre practitioner Konstantin Stanislavski developed in the first half of the twentieth century. His system cultivates what he calls the "art of experiencing". It mobilises the actor's conscious thought and will in order to activate other, less-controllable psychological processes—such as emotional experience and subconscious behaviour—sympathetically and indirectly. In rehearsal, the actor searches for inner motives to justify action and the definition of what the character seeks to achieve at any given moment.
The Moscow Art Theatre (or MAT; Russian: Московский Художественный академический театр, Moskovskiy Hudojestvenny Akademicheskiy Teatr was a theatre company in Moscow. It was founded in 1898 by the seminal Russian theatre practitioner Konstantin Stanislavski, together with the playwright and director Vladimir Nemirovich-Danchenko. It was conceived as a venue for naturalistic theatre, in contrast to the melodramas that were Russia's dominant form of theatre at the time. The theatre, the first to regularly put on shows implementing Stanislavski's system, proved hugely influential in the acting world and in the development of modern American theatre and drama.
Realism in the theatre was a general movement that began in 19th-century theatre, around the 1870s, and remained present through much of the 20th century. It developed a set of dramatic and theatrical conventions with the aim of bringing a greater fidelity of real life to texts and performances. These conventions occur in the text, design, performance style, and narrative structure. They include recreating on stage a facsimile of real life except missing a fourth wall. Characters speak in naturalistic, authentic dialogue without verse or poetic stylings, and acting is meant to emulate human behaviour in real life. Narratives typically are psychologically driven, and include day-to-day, ordinary scenarios. Narrative action moves forward in time, and supernatural presences do not occur. Sound and music are diegetic only. Part of a broader artistic movement, it includes Naturalism and Socialist realism.
A Month in the Country is a play in five acts by Ivan Turgenev, his only well-known work for the theatre. Originally titled The Student, it was written in France between 1848 and 1850 and first published in 1855 as Two Women. The play was not staged until 1872, when it was given as A Month in the Country at a benefit performance for the Moscow actress Ekaterina Vasilyeva (1829–1877), who was keen to play the leading role of Natalya Petrovna.
The Moscow Art Theatre production of The Seagull in 1898, directed by Konstantin Stanislavski and Vladimir Nemirovich-Danchenko, was a crucial milestone for the fledgling theatre company that has been described as "one of the greatest events in the history of Russian theatre and one of the greatest new developments in the history of world drama." It was the first production in Moscow of Anton Chekhov's 1896 play The Seagull, though it had been performed with only moderate success in St. Petersburg two years earlier. Nemirovich, who was a friend of Chekhov's, overcame the writer's refusal to allow the play to appear in Moscow after its earlier lacklustre reception and convinced Stanislavski to direct the play for their innovative and newly founded Moscow Art Theatre (MAT). The production opened on 29 December [O.S. 17 December] 1898. The MAT's success was due to the fidelity of its delicate representation of everyday life, its intimate, ensemble playing, and the resonance of its mood of despondent uncertainty with the psychological disposition of the Russian intelligentsia of the time. To commemorate this historic production, which gave the MAT its sense of identity, the company to this day bears the seagull as its emblem.
Naturalism is a movement in European drama and theatre that developed in the late 19th and early 20th centuries. It refers to theatre that attempts to create an illusion of reality through a range of dramatic and theatrical strategies. Interest in naturalism especially flourished with the French playwrights of the time, but the most successful example is Strindberg's play Miss Julie, which was written with the intention to abide by both his own particular version of naturalism, and also the version described by the French novelist and literary theoretician, Emile Zola.
Ioasaf Aleksandrovich Tikhomirov (1872-1908) was a male actor from the Russian Empire. He trained under Vladimir Nemirovich-Danchenko, who offered "rigorous and intelligent" courses in actor training at the school of the Moscow Philharmonic Society. Tikhomirov was one of twelve students that Nemirovich brought with him to join the Moscow Art Theatre when he founded it with Constantin Stanislavski in 1898. He acted with the company until 1904 and also served as the director of the Art Theatre School. In 1904 Stanislavski sent Tikhomirov to help Maxim Gorky establish his newly founded theatre in Nizhny Novgorod, but the project was abandoned when the Russian censor banned every play that they proposed to stage.
Tsar Fyodor Ioannovich is a 1868 historical drama by Aleksey Konstantinovich Tolstoy. It is the second part of a trilogy that begins with The Death of Ivan the Terrible and concludes with Tsar Boris. All three plays were banned by the censor. Tsar Fyodor is written in blank verse and was influenced by the work of William Shakespeare, Casimir Delavigne, and Edward Bulwer-Lytton. It dramatises the story of Feodor I of Russia, whom the play portrays as a good man who is a weak, ineffectual ruler. The trilogy formed the core of Tolstoy's reputation as a writer in the Russia of his day and as a dramatist to this day. It has been considered Tolstoy's masterpiece.
The Death of Ivan the Terrible is a historical drama by Aleksey Konstantinovich Tolstoy written in 1863 and first published in the January 1866 issue of Otechestvennye zapiski magazine. It is the first part of a trilogy that is followed by Tsar Fiodor Ioannovich and concludes with Tsar Boris. All three plays were banned by the censor. It dramatises the story of Ivan IV of Russia and is written in blank verse. Tolstoy was influenced by the work of William Shakespeare in writing the trilogy, which formed the core of his reputation as a writer in the Russia of his day and as a dramatist to this day.
The Mistress of the Inn, also translated as The Innkeeper Woman or Mirandolina, is a 1753 three-act comedy by the Italian playwright Carlo Goldoni about a coquette. The play has been regarded as his masterpiece. Frederick Davies describes it as Goldoni's Much Ado About Nothing.
Armoured Train 14–69 is a 1927 Soviet play by Vsevolod Ivanov. Based on his 1922 novel of the same name, it was the first play that he wrote and remains his most important. In creating his adaptation, Ivanov transformed the passive protagonist of his novel into an active exponent of proletarian ideals; the play charts his journey from political indifference to Bolshevik heroism. Set in Eastern Siberia during the Civil War, it dramatises the capture of ammunition from a counter-revolutionary armoured train by a group of partisans led by a peasant farmer, Nikolai Vershinin. It is a four-act play in eight scenes that features almost 50 characters; crowd scenes form a prominent part of its episodic dramatic structure. Near the end of the play a Chinese revolutionary, Hsing Ping-wu, lies down on the railway tracks to force the armoured train to stop.
The Ascension of Little Hannele, also known simply as Hannele, is an 1893 play by the German playwright Gerhart Hauptmann. In contrast to Hauptmann's naturalistic dramas, The Assumption of Hannele adopts a more symbolist dramaturgy and includes a dream sequence. The play is the first in recorded world literature with a child as its heroine. The play tells the story of a neglected and abused peasant child, who, on her deathbed, experiences a vision of divine powers welcoming her into the afterlife. It was first published in 1894. Hauptmann was awarded the Grillparzer Prize in 1896 for the play.
Käthe Braun was a German stage and film actress. She was married to director Falk Harnack and acted in several of his films.
Alexander Akimovich Sanin was a Russian actor, director and acting teacher. He was a founder member of the Moscow Art Theatre and during his career directed plays, operas, and films.
Ekaterina Mikhaylovna Munt was a Russian stage actress, associated with the Moscow Art Theatre.
Maria Lyudomirovna Petrovskaya was a Russian stage actress associated with the Moscow Art Theatre, better known under her stage name Roksanova (Роксанова).