# 86. “Johanna”

*Play in three acts by Björn Björnson  
Performance at the Deutsches Theater, Berlin*

Björn Björnson is, as can be seen from his play "Johanna", a complicated personality. Firstly, he is a clever man who lacks the power with which real poets create. That is why he has a good understanding of an interesting problem that is in the air, but he cannot develop this problem so dramatically that one likes to follow him. Secondly, he is a man who understands stage routine and who could therefore write a good "play" if he wanted to exercise this ability, but at the same time he wants to be a distinguished artist. That's why his play hovers in the middle between "theater product" and work of art. Thirdly, he is a man who wants to be a free spirit, but who is only capable of replacing old prejudices with new ones. That is why he paints the bearers of outdated opinions as black as possible. And finally, fourthly, he is the bearer of a famous name. That's why his play is performed on stages that would hardly have bothered with it if it had been written by a common miller.

I'm sorry about the problem. Johanna Sylow is a talented girl who will probably go far in the musical arts if she can develop freely according to her talents. Her father is dead. Although he was a simple master carpenter, he had a rare love of art and a musical sense. He passed both on to his daughter. But she also received another heirloom from him, namely a groom. At the hour of his death, she had to promise him that she would seek her happiness in marriage to the theologian Otar Bergheim, for the caring father was of the opinion that he could die in peace, knowing that his beloved child would be under the protection of this faithful soul. Johanna now lives in a house with her mother, the widow Sylow, with her two siblings Hans and Johann, with her bridegroom and an old uncle. A bright future as an artist seems to be her "inner destiny". But how is she to reach her goal? Her mother is naturally stupid and understands nothing of her daughter's talents. The brothers are naughty wranglers who are always bickering and fighting and making such an unholy racket that Johanna can't work. The bridegroom is a good theologian who is determined to keep the promise he made to Johanna's father on his deathbed. He wants to be a firm support for Johanna in life, but he also wants to feel a little of that without which a love affair is not really possible: a kiss or something similar here and there. But Johanna lives too much in her artistic dreams to have time for such things. Moreover, the good theologian cannot bear his bride's artistry. He is constantly tormented by the thought that she will roam the world as an artist, while he, as a priest, must be pining for her somewhere. These two natures do not belong together; yet they seem to be chained together by the will of the deceased. What is to become of Johanna? A fine task for a true poet would be to show the terrible struggles the girl goes through until she is strong enough on her own to break the vow she has made to her father, or until she perishes because she is unable to do so. Björnson does things differently. Hans Sylow, the good uncle, fully understands his talented niece and does everything he can to pave the way for her to become a free artist. At the right time, Peter Birch, the impresario, is also there to take care of business matters, and Sigurd Strom, the poet with the free outlook on life, who raves to the girl about what lies dormant in her and what she is called to do - finally, to ensure that everything goes smoothly, a good friend who provides temporary accommodation when the good uncle, the rapturous poet and the clever impresario have brought the budding artist to the point where she runs away from her bridegroom.

The audience is shamefully deceived. He is promised an interesting conflict of the soul: he has to make do with an uninteresting plot and with people who are too insignificant to captivate us with the psychological conflicts that the poet wants to portray with them.

In addition to all this, the performance in the Deutsches Theater did not meet the expectations with which one goes to this house. Only Emanuel Reicher played Uncle Hans with the humor in which the role is intended. Lotti Sarrow seems to have none of the things that actors have to bring to their profession. The girl the poet had in mind is interesting - the girl he drew is less interesting - the girl Lotti Sarrow portrays is the least interesting.