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Approaching Incidental Music: ‘Reflexive Performance’ and Meaning in Till Damaskus (III)

Published online by Cambridge University Press:  02 March 2023

LEAH BROAD
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Abstract

Incidental music of the early twentieth-century has received little musicological attention, despite its widespread use during this period of history. Theatres were a popular means by which audiences could interact with new music, and composers could experiment with new ideas and build collaborative relationships. Using a 1926 Swedish production of August Strindberg’s Till Damaskus (III), directed by Per Lindberg with music by Ture Rangström, this article argues for the importance of analysing incidental music as collaborative performance. It explores the use of ‘reflexive performance’ as a method of analysis, combined with semiotic and intermedial approaches.

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Journal of the Royal Musical Association , Volume 147 , Issue 2 , November 2022 , pp. 495 - 532
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© The Author(s), 2023. Published by Cambridge University Press on behalf of the Royal Musical Association

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Footnotes

This work was supported by the Arts and Humanities Research Council (Grant Number 1473112). I am immensely grateful to the staff at both the Musik och- Teaterbibliotek and the Oxford Research Centre in the Humanities for all their assistance, and to John Warner, Matthew Reese and Thomas Herring, without whom the performances discussed in this article would not have been possible.

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34 Especially if events such as world’s fairs and open-air pageants are categorized as theatre.

35 For example, Sibelius’s Valse triste, which originated from his theatre score for Kuolema. Even today, audience numbers at theatres are usually considerably higher than those at comparable opera houses or concert halls. Compare, say, London’s National Theatre (NT) and English National Opera (ENO). In the financial year 2017–18, NT sold 3.3 million tickets worldwide, with 65 per cent of them sold to UK audiences outside London, whereas 0.5 million people saw an ENO production in the same financial year, approximately 20 per cent of the tickets being sold to non-UK audiences. National Theatre annual review, 2017–18, <https://review.nationaltheatre.org.uk/#2018/welcome/81> (accessed 8 December 2019). English National Opera annual review, 2017–18, <https://d2ae1n566nbglo.cloudfront.net/wp-content/uploads/2019/03/13124706/ENO_AnnualReview_201718_Web_FINAL.pdf> (accessed 8 December 2019).

36 Hibberd, ‘Introduction’, 1. In addition, until recently the reception of theatre music was largely limited to the writing of established critics with positions at newspapers large enough to fund a review section. Consequently, this gave only a limited, predominantly middle-class perspective of spectators’ interpretations, as the vast majority of audience members left behind no written accounts of their theatre-going.

37 See, for example, Julius Hirn’s review of Svanehvit (‘Swanwhite’, 1908) at the Swedish Theatre in Helsinki. He wrote that he would leave the music to be discussed by someone with a more ‘competent perspective’ (‘från competent håll’). Habitué [Julius Hirn], ‘Svenska teatern: Strindbergs Svanehvit med musik af Sibelius’, Nya Pressen, 9 April 1908. (Where the original text is provided, all translations are the author’s own.)

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41 Ibid., 270 (emphasis original).

42 Hibberd, ‘Introduction’, 1.

43 To name just a few examples, the Moscow Art Theatre Museum contains Ilya Sats’s scores, and the Musik- och Teaterbibliotek in Stockholm is home to a vast quantity of musical material from Swedish theatres covering the past three centuries. The Royal Shakespeare Company’s archive held by the Shakespeare Birthplace Trust in Stratford-upon-Avon is particularly valuable, because all their production material – sonic, visual and administrative – is held in one archive.

44 See, for example, Stenhammar’s music for As You Like It, which was used as a significant part of the show’s marketing campaign. Broad, ‘“Clear, Happy, and Naïve”’, 361, 365.

45 See, for example, Daniel Fallström, ‘Strindbergs “Klostret” på Konserthusteatern’, Stockholms-Tidningen, 16 October 1926, and Bo Bergman, ‘Till Damaskus Part III, Konserthusteaterns Strindberg premiere’, Dagens Nyheter, 16 October 1926.

46 Conducted by Matthew Reese; Sansara Choir directed and conducted by Thomas Herring; the Stranger acted by Felix Westeren.

47 ‘Lost and Found: Till Damaskus (III)’ at the Being Human festival, Oxford, 2017. Conducted by John Warner; the Tempter acted by Olivia Madin, the Stranger by Ryan Laughton, the Lady by Rosa Garland. Details at https://podcasts.ox.ac.uk/lost-and-found-till-damaskus-iii (accessed 22 December 2022).

48 Hesselager, ‘Sonorizing Melodramatic Stage Directions’, 25.

49 Ibid., 24.

50 Ibid., 28 (emphasis original).

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52 ‘Uppgiften var tvåfaldig: dels att med toner av mera formlös, fantastisk art liksom färglägga vissa scener, dels att i mera fast form ge uttryck åt religiöst tänkta moment. … Orgeln har här fått en användning, varpå man väl knappast tänkt, då den restes i en profan lokal.’ Patrik V, ’Det tredje Damaskusdramat: Musiken’, Social Demokraten, 16 October 1926.

53 ‘Men då åskådaren har sin blick scen efter scen fastnaglad på samma fläck måste han ju ha en alldeles otrolig fantasi för att kunna följa med på bergsbestigningen. Gordon Graigh [sic] har just i en intervju i dagarna varnat för att överanstränga åskådarens hjärna. Och det är vad Per Lindberg i viss grad gör och måste göra då han inte har en verklig scens resurser till sitt förfogande. Där brister det. Men i stället har han någonting som ingen annan teater i världen förfogar över: en orgel av den mäktiga verkan att man tror sig förflyttad till en väldig domkyrka. Och denna orgel gav i går publikens fantasi och andakt vingar och lyfte den högt över nuet, den utfyllde vad scenrummet inte kunde ge och förvandlade Konserthuset till ett heligt rum.’ Fallström, ‘Strindbergs “Klostret” på Konserthusteatern’.

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56 Ibid., 197.

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58 Ibid., 63.

59 Ibid., 77.

60 Veltruský does argue that to a certain extent, concert performance incorporates a strong ‘element of theatricality’, but maintains that ‘the situation that arises when the musicians appear on a theatre stage is essentially different’, not least because ‘on the stage, the performer represents a musician as well as being one’. Ibid., 140 (my emphasis).

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62 Ibid., 2.

63 ‘Dyrbart smyckad och pyntad’; ‘Stor skall teatern vara, så att där blir plats, och billig plats för många, enkelt och utan prålande grannlåt skall huset resas, så att äfven de ringa i samhället skola våga sig därin.’ Wilhelm Stenhammar, ‘Göteborgs teaterfråga: En Enquete’, Göteborgs Handels- och Sjöfartstidning, 1 December 1909.

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68 Stenhammar regularly attended rehearsals with a stopwatch, timing actors’ speeches so he could fit his underscore as precisely as possible to the onstage action.

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71 ‘En demokratisk teatern – teatern vars storlek skulle kunna tillåta den att hålla populära pris, utan att teatern behövde inskränka driftskostnaden […] teatern som vågade räkna med den nya publiken i det nya samhället och välja repertoar och gestaltning för den’. Per Lindberg, ‘Den stora folkteatern’, Dagens Nyheter, 3 July 1926. ‘Democratic’ theatre here does not have the same connotations of cooperatively owned and run theatre as in Russia, but refers to a self-funded theatre run by a small board, aiming at a broader demographic than the Swedish Theatre and the Royal Dramatic Theatre, or small theatres such as Strindberg’s Intimate Theatre (also in Stockholm).

72 ‘Teatern har fåfängt med gamla medel sökt försvara sin plats i kultur och samhällsliv mot filmens prisbillighet och överväld igande reklamresurser.’ Per Lindberg, ‘Konfidentiell orientering rörande bildandet av en folkteater förening’, Folkteatern material held at the Musik- och Teaterbibliotek, Stockholm, Gäddviken archive, Per Lindberg Collection.

73 ‘Det gäller nu ett erövra folket från filmen, som filmen erövrat den från den realistiska teatern.’ Bo Bergman, ‘Folkteatern och tittskåpsteater’, Dagens Nyheter, 4 June 1926.

74 Mikael Lönnborg, Anders Ögren and Michael Rafferty, ‘Banks and Financial Crises in the 1920s and 1930s’, Business History, 53/2 (2011), 230–48. For detailed analysis of the value of the Swedish krona in 1920, see Bohlin, Jan, ‘From Appreciation to Depreciation – the Exchange Rate of the Swedish Krona, 1913–2008’, Exchange Rates, Prices, and Wages, 1277–2008, ed. Rodney Edvinsson, Tor Jacobson and Daniel Waldenström (Stockholm: Ekerlids Förlag, 2010), 340–411 Google Scholar.

75 Per Lindberg, ‘Orientering’, Folkteatern material held in the Musik- och Teaterbibliotek, Stockholm, Gäddviken archive, Per Lindberg Collection.

76 See Swift, E. Anthony, ‘Workers’ Theater and “Proletarian Culture” in Pre-Revolutionary Russia, 1905–1917’, Russian History, 23/1 (1996), 67–94 CrossRefGoogle Scholar.

77 Marker and Marker, A History of Scandinavian Theatre, 193.

78 ‘Självklart’; ‘expressionistisk karaktär’. Per Lindberg, ‘Till Damaskus och tysk modernism’; material held in the Musik- och Teaterbibliotek, Stockholm, Gäddviken archive, Per Lindberg Collection.

79 For more on Rangström’s relationship with Strindberg, see Macgregor, Anne, ‘Portrayals of Identity in the Romanser and Reception of Ture Rangström’ (Ph.D. thesis, University of Nottingham, 2017)Google Scholar.

80 All lighting cues are taken from Per Lindberg’s marked-up script for Till Damaskus (III). I have also used this script for all translations of the play text. Material held in the Musik- och Teaterbibliotek, Stockholm, Gäddviken archive, Per Lindberg Collection.

81 Veltruský, An Approach to the Semiotics of Theatre, 74.

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83 ‘Varför leder om mig omkring på dessa krokiga, backiga vägar, som aldrig taga slut?’ Lindberg’s marked-up script for Till Damaskus (III), 3.

84 See n. 52.

85 Mats Arvidson, ‘Music and Musicology in the Light of Intermediality and Intermedial Studies’, STM-Online, 15 (2012), <http://musikforskning.se/stmonline/vol_15/arvidson/index.php?menu=3> (accessed 12 April 2016).

86 Elleström, Lars, ‘The Modalities of Media: A Model for Understanding Intermedial Relations’, Media Borders, Multimodality and Intermediality, ed. Elleström, (London: Palgrave Macmillan, 2010), 11–48CrossRefGoogle Scholar.

87 Ibid., 17.

88 Ibid., 17.

89 Ibid., 19.

90 Ibid., 22.

91 Ibid., 24.

92 Ibid., 27.

93 Ibid., 27.

94 ‘Strindberg var […] musikaliskt en banbrytare genom ingivelsens och språkets otroligt melodiska rörelse.’ Ture Rangström, ‘Strindberg som jag minns honom’, 1942. Material held in the Musik- och Teaterbibliotek, Stockholm, Rangström Collection, box 20.

95 ‘De ställen, där han talar om, beskriver eller föreskriver musik’; ‘Den musik, som lever i hans dikt, närmare hans hjärta än de synliga orden.’ Ibid.

96 Jens Hesselager, ‘Operatic or Theatrical? Orchestral Framings of the Voice in the Melodrama Sept heures’, Melodramatic Voices, 27–43 (pp. 28, 39).

97 ‘Jag hör en sång och jag ser! Jag ser den … jag såg den för ett ögonblick’. Lindberg’s marked-up script for Till Damaskus (III), 20.

98 ‘Hela livet’. Ibid.

99 Note that in Swedish, the first k in ‘kyrkans’ sounds closer to the English ‘sh’ than it does to the English ‘k’.

100 Thomaidis, Konstantinos, Theatre & Voice (London: Palgrave Macmillan, 2017), 30 CrossRefGoogle Scholar.

101 Compare Track 1 (spoken without the musical cue) and Track 2 (spoken with the musical cue), which can be accessed in the Supplemental Material online at 10.1017/rma.2022.20.

102 Hesselager, ‘Operatic or Theatrical?’, 30.

103 ‘Iakttagelse, återgivande, real exakthet’; ‘skönhet, uttryck, tekniskt kunnande, konstnärlig generositet och lyftning’. Per Lindberg quoted in Bo Wallner, Wilhelm Stenhammar och hans tid, 3 vols. (Stockholm: Norstedts, 1991), iii, 344.

104 ‘Rösten har inga större nyansmöjligheter, och den riktigt levandegörande gnistan fattades.’ B B-n [Bo Bergman], ‘Till Damaskus III, Konserthusteatern’s Strindberg Premiere’, Dagens Nyheter, 16 October 1926.

105 ‘Den mässande deklamationen, vilken tycks som fylld med luft i stället för med eld och blod’. Erik Wettergren, ‘Till Damaskus III på Konserthusteatern’, Göteborgs Handels- och Sjöfartstidning, 18 October 1926.

106 ‘Hans stämma harmonierade verkligen med den [R]angströmska musikens tunga orgelbrus.’ Göran Lindblad, ‘Till Damaskus på Konserthusteatern’, Svenska Dagbladet, 18 October 1926.

107 ‘Den skorrande norskan, det torra skrattet, den insvängda ryggen i den gröna fantasifracken, hela den vippiga elasticiteten hos figuren - allt bidrog till att skänka äskådarna det intryck av talangfullhet och världsmannamässigt diableri.’ Ibid.

108 ‘Spetsigt och ihåligt’. Rbs [Olof Rabenius], ‘Till Damaskus: Urpremiär på Konserthusscenen’, clipping from an unknown newspaper, 16 October 1926, held at the Musik- och Teaterbibliotek, Stockholm, Gäddviken archive, Per Lindberg Collection.

109 ‘Kirurgiska skärpa’. Wettergren, ’Till Damaskus III’.

110 Susan Rutherford, ‘“La cantante delle passioni”: Giuditta Pasta and the Idea of Operatic Performance’, Cambridge Opera Journal, 19/2 (2007), 107–38 (p. 109).

111 ‘Som ger karikatyrens sanning om rättsskipningen på jorden’. Rbs, ‘Till Damaskus’.

112 J. D-n, ‘Det Tredje Damaskusdramat’, Social Demokraten, 16 October 1926.

113 For more on this issue, see Fahlgren, Margaretha, ‘Strindberg and the Woman Question’, The Cambridge Companion to August Strindberg, ed. Robinson, Michael (Cambridge: Cambridge University Press, 2009), 20–34 (pp. 22–3)CrossRefGoogle Scholar.

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116 ‘En enkel värdighet’. Wettergren, ‘Till Damaskus’.

117 ‘Det mest minnesvärda’. Lindblad, ‘Till Damaskus’.

118 ‘Strindberg till tacksamt timme’. Ture Rangström, ‘Min älsklingsbit’, 25 May 1942. Material held in the Musik- och Teaterbibliotek, Stockholm, Ture Rangström Collection, box 11.

119 Jens Hesselager, ‘Music and Subterranean Space in La citerne (1809)’, The Melodramatic Moment, ed. Hambridge and Hicks, 117–36 (p. 127).

120 Hambridge and Hicks, ‘The Melodramatic Moment’, 19.

121 ‘Teaterkonstens senaste utvecklingsetapp’. Robin Hood [Bengt Idestam-Almquist], ‘Strindbergs “Klostret” på Konserthusteatern: S. K. Mellanakt’, Stockholms Tidningen, 16 October 1926.

122 Fahlgren, ‘Strindberg and the Woman Question’, 20.

123 Lehman, Frank, ‘Transformational Analysis and the Representation of Genius in Film Music’, Music Theory Spectrum, 35/1 (2013), 1–22 CrossRefGoogle Scholar (p. 1). See also Scott Murphy, ‘Transformational Theory and the Analysis of Film Music’, The Oxford Handbook of Film Music Studies, ed. David Neumeyer (New York: Oxford University Press, 2013).

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125 Cook, Nicholas, Beyond the Score (New York: Oxford University Press, 2014), 11 CrossRefGoogle Scholar (emphasis original).

126 Video recordings such as those by Shakespeare’s Globe have broadened the audience for theatre music in its production context, and the Royal Shakespeare Company has increasingly been recording the music for its productions. See, for example, the recording of Dame Evelyn Glennie’s 2018 music for Troilus and Cressida with sound by Dave Price: Troilus and Cressida: Music and Speeches (CD, Royal Shakespeare Company, 2018).

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