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Theater -- Finland Books
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Eliel Aspelin-Haapkylä
Suomalaisen teatterin historia 4 Bergbomin loppukausi: Kansallisteatteri.
"Suomalaisen teatterin historia IV" by Eliel Aspelin-Haapkylä is a historical account written in the early 20th century. This work specifically focuses on the later years of Finnish theater, particularly during the time of Kaarlo Bergbom and the National Theater of Finland. It delves into the struggles and achievements of this theater movement, highlighting key figures and events that shaped its development. The opening of this volume introduces readers to the context of the Finnish theater scene as it unfolds through the seasons from 1893 to 1905. It recounts Kaarlo Bergbom's return to Helsinki and his reunion with friends, along with the challenges faced by the theater, including financial difficulties and the rising competition from a touring group led by actress Ida Aalberg. The text also touches on important themes such as the tension between national loyalty and artistic ambition, illustrated through the reactions of Bergbom and his contemporaries regarding Aalberg's endeavors in the broader theatrical landscape. Throughout this introduction, the author expresses gratitude towards numerous contributors and theater members, setting the stage for a comprehensive exploration of Finnish theatrical history.
Eliel Aspelin-Haapkylä
Suomalaisen teatterin historia 2 Puhenäyttämön alkuvuodet ja suomalainen ooppera. 1872-79
"Suomalaisen teatterin historia II" by Eliel Aspelin-Haapkylä is a historical account written in the early 20th century. The work chronicles the early years of Finnish theatre and the establishment of a national opera from 1872 to 1879. Focusing on the challenges and triumphs faced by the new theatre group, it delves into the contributions of various key figures, particularly Kaarlo Bergbom and his sister Emilie, as well as the enthusiastic reception of their performances. At the start of the book, the foundation of the Finnish theatre is established, illustrating the initial skepticism it faced from detractors and the passionate support from its advocates. The narrative describes how a small troupe, led by Bergbom, quickly moved into rehearsals shortly after the theatre's formation. It introduces the members of the troupe, showcasing their diverse backgrounds and previous experiences in the performing arts, while highlighting the eagerness of both the actors and the audience for a culturally significant Finnish theatre. The opening sets a tone of determination and national pride as the ensemble prepares for their first performances, marking a turning point in Finland's theatrical landscape.
Jalmari Finne
Kaarlo Bergbom: Henkilökuvaus
"Kaarlo Bergbom: Henkilökuvaus" by Jalmari Finne is a biographical account written in the early 20th century. The book explores the life and contributions of Kaarlo Bergbom, a key figure in Finnish theatre and cultural movements. It discusses his collaborations with other notable Finnish intellectuals and artists, illustrating how his efforts were foundational to the establishment of the Finnish Theatre. The opening of the book introduces the concept of "great men" emerging in groups, suggesting that significant figures like Bergbom are shaped by their context and connections to others. It highlights the resistance he faced while striving to establish the Finnish Theatre and emphasizes how his determination and collaborative spirit with figures such as Snellman and Lönnrot helped solidify the institution's national significance. The narrative paints Bergbom as a transformative character whose struggle against opposition underscored the importance of creative expression in advancing national identity and culture.
Eliel Aspelin-Haapkylä
Suomalaisen teatterin historia 1 Teatterin esihistoria ja perustaminen
"Suomalaisen teatterin historia 1" by Eliel Aspelin-Haapkylä is a historical account written in the early 20th century. The book focuses on the history of Finnish theatre, particularly its prehistory and establishment, leading to the development of the first Finnish national theatre. Aspelin-Haapkylä explores key figures, such as Kaarlo and Emilie Bergbom, and discusses the evolution of theatrical performances and companies in Finland. The opening of this work introduces the context of Finnish theatre's development prior to 1869, highlighting the challenges and aspirations of those who envisioned a national theatre. The text emphasizes the early efforts to establish Finnish-language theatre in the face of cultural dominance from Swedish and German influences, detailing various attempts to foster theatrical expression, educate actors, and gather resources. The narrative sets the stage for a broader discussion about the cultural significance and history of Finnish theatre, suggesting that subsequent sections will cover its diverse phases and notable productions, leading up to the establishment of a distinct Finnish theatrical identity.
Erkki Kivijärvi
Näyttämöltä ja katsomosta
"Näyttämöltä ja katsomosta" by Erkki Kivijärvi is a scholarly work published in the early 20th century that explores the history and development of theatrical presentations in Finland. The book likely focuses on various stages of theatrical expression, including medieval spiritual plays, university performances in the 17th century, and modern theater techniques. Kivijärvi delves into the works and influence of Finnish actors and the evolution of different theatrical forms, providing readers with a comprehensive understanding of Finland's theatrical heritage. The opening of the work introduces the concept of medieval spiritual dramas in Finland, emphasizing the importance of visual storytelling in Christian worship. Kivijärvi explains how these early plays evolved from church rituals and became more accessible to the public, leading to the emergence of various genres such as moralities and miracles. The text discusses how these theatrical forms contributed to the development of Finnish theater, highlighting significant performances and the roles of prominent actors in shaping its identity. This foundational overview sets the stage for a deeper exploration of theatrical art and its significance in Finnish culture.
Kaarlo Johan Bergbom
Kaarlo Bergbomin kirjoitukset 2. Tutkimukset ja arvostelut
"Kaarlo Bergbomin kirjoitukset II. Tutkimukset ja arvostelut" by Kaarlo Johan Bergbom is a scholarly publication written in the early 20th century. This volume collects rigorous studies and critiques focusing primarily on the evolution of historical drama, with a particular emphasis on its development in Germany. Bergbom explores significant literary figures such as Heinrich Heine and the impact of historical events on literature, presenting an in-depth analysis of the genre and its cultural relevance. The opening of this work provides a preface by Eliel Aspelin-Haapkylä, outlining the contents of the collection and highlighting the academic importance of Bergbom's contributions. It introduces various studies, starting with a detailed examination of historical drama in Germany, discussing key elements such as national identity, realism, and grand themes of human experience. Bergbom critically engages with notable authors and their relationships with historical contexts, asserting the significance of these dramas in shaping cultural narratives. Through this analysis, the author sets the foundation for understanding the intricate connections between history, literature, and the theatrical arts in a formative period of intellectual thought.
Eliel Aspelin-Haapkylä
Suomalaisen teatterin historia 3 Nousuaika, 1879-93.
"Suomalaisen teatterin historia 3" by Eliel Aspelin-Haapkylä is a historical account written in the early 20th century. This volume appears to chart the progress of Finnish theater during the period of 1879 to 1893, focusing on its development, key players, performances, and the cultural significance of theater in Finland during that time. The book likely covers notable figures, specific productions, and the interplay between theater and the rise of Finnish nationalism. At the start of the book, the narrative reflects on the transition from opera to spoken theater in Finland, specifically noting the positive atmosphere among theater enthusiasts following the conclusion of the opera season in 1879. Correspondence reveals the successful performances and enthusiastic reception of plays like "Jane Eyre," highlighting the growing appreciation for Finnish theater among the public, including audience diversity. Additionally, the text captures the contributions of individuals like Emilie Bergbom and remarks on the collective resolve necessary to uphold the theater as a vital cultural institution during a period marked by financial challenges and a burgeoning national identity.
Lauri Haarla
Teatterikirja : $b Kirjoitelmia ja näyttelijäkuvia
"Teatterikirja : Kirjoitelmia ja näyttelijäkuvia" by Lauri Haarla is a collection of theatre essays and actor portraits written in the early 20th century. The volume examines Finnish stage art in both aesthetics and practice, combining critical reflections on drama’s purpose with intimate psychological profiles of actors and discussions of theatre’s organization and craft. The opening of this collection declares a mission to expand Finland’s sparse theatre literature, especially through psychologically acute actor studies, while also justifying practical essays on theatre as an institution. It begins with a major portrait of Hilda Pihlajamäki as a “priestess of destiny,” contrasting her era with Ida Aalberg’s and praising her extraordinary transformative power, dramatic instinct, and matured depth. An essay on theatre’s “heroic service” then surveys history from classical Greece through the Renaissance and Schiller to modern expressionism, contrasting apollonian passivity with faustian will and arguing for theatre’s moral, personality-centered mission in a time of upheaval. A profile of Aarne Leppänen highlights his exceptional capacity for self-surrender to roles and his range from active romantic heroes to suffering figures, alongside noted limits in rapid, cerebral dialogue. A brief “genesis” of the play Synti roots its inspiration in a childhood vision of innocent suffering and a 17th‑century Finnish setting and idiom. The section closes with a sensitive portrait of Tyyne Juntto—especially her consummate Acacia in Benavente—and the start of a theoretical piece on dramatic imperatives that rejects hazy romanticism and flattening naturalism/realism in favor of a tightened, will-driven, expressionist intensity.
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