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The Black Glove: Wilhelm Carlsson's production at the Dramaten, 1988
Published online by Cambridge University Press: 23 January 2009
Extract
On 1 December 1987, the production team for Strindberg's last and least performed chamber play, The Black Glove (Svarta Handsken) written in 1909, had gathered in one of the rehearsal rooms at the Royal Dramatic Theatre (Dramaten) in Stockholm. Wilhelm Carlsson, the director of the performance, started by explaining to the producer, the scenographer, the dramaturg, the composer, the actors and the other members of the team who were present, as well as myself who was going to follow the rehearsals, all in all about twenty people, that he had never directed Strindberg before, except for an exercise with Miss Julie during his training as a director at Dra-matiska Institutet in Stockholm. His plan was then to present this much more frequently performed piece with an on-stage double bed and to have Kristin leave the room when the relations between Jean and Julie become intimate.
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References
Notes
1. This article is based on research carried out during 1987–8 when I was a research fellow at the Department of Theatre Studies at the University of Stockholm funded by the Swedish Institute in Stockholm. Besides the extensive notes made during the rehearsals of The Black Clove I have consulted the video documentation done during one of the live performances, photographs and newspaper reviews. I want to thank all the members of the production team at Dramaten, and especially Wilhelm Carlsson, for their cooperation and encouragement, and Professor Kirsten Gram Holmström and Professor Willmar Sauter from the Department of Theatre at the University of Stockholm for their hospitality and support.
2. The production was given the following credits in the programme: Director: Wilhelm Carlsson, Scenography and Costume: Charles Koroly, Producer: Agneta Pauli, Drama-turg: Magnus Florin, Music: Thomas Jennefelt, Lighting: Björn Magnusson, Production Assistant: Mait Angberg, Props: Stefan Lundgren, Wigs: Sofia Ranow; The Old Man: Per Myrberg, The Tomte: Per Mofberg, The Woman: Lil Terse-lius, The Janitor: Christian Berling, The Angel: Katarina Gus-tafsson, Kristin: Marie Richardson, Ellen: Lena Endre. In my description of the rehearsals for the production I shall for reasons of convenience only refer to the names of the characters.
3. For a short description and analysis of this production see my article ‘Hur tvättar man ylle i varmt vatten utan att det krymper’, Nya Teatertidningen, 42, 10 1988, pp. 34–7. (Swedish)Google Scholar
4. All quotations from Strindberg's text are from Samlade Skrifter, vol. 45, Stockholm 1917.Google Scholar The translations are my own and the references in the text are to SS 45 and page number.
5. Elam, Keir, The Semiotics of Theatre and Drama, Methuen, London, 1980, p.73.CrossRefGoogle Scholar For further discussions and bibliography on the topic see also van Stapele, Peter, ‘Analysis of Deixis’, in Performance Theory: Reception and Audience Research, ed. Schoenmakers, Henri, Amsterdam, 1992, pp. 189–204.Google Scholar
6. The quotations from the performance itself are from the production manuscript prepared by Wilhelm Carlsson which can be found at the archives of the Royal Dramatic Theatre in Stockholm. The translations are my own and the references are to DT and page number.