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Humanities 2018, 7(4), 99; https://doi.org/10.3390/h7040099

The Montage Rhetoric of Nordahl Grieg’s Interwar Drama

Department of Scandinavian Studies, University of Wisconsin-Madison, Madison, WI 53706, USA
Received: 1 October 2018 / Revised: 10 October 2018 / Accepted: 10 October 2018 / Published: 15 October 2018
(This article belongs to the Special Issue Nordic and European Modernisms)
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Abstract

This essay explains the modernist montage rhetoric of Nordahl Grieg’s 1935 drama Vår ære og vår makt in the context of the playwright’s interest in Soviet theater and his Communist sympathies. After considering the historical background for the play’s depiction of war profiteers in Bergen, Norway, during the First World War, the article analyzes Grieg’s use of a montage rhetoric consisting of grotesque juxtapositions and abrupt scenic shifts. Attention is also given to the play’s use of incongruous musical styles and its revolutionary political message. In the second part, the article discusses Grieg’s writings on Soviet theater from the mid-1930s. Grieg embraced innovative aspects of Soviet theater at a time when the greatest period of experimentation in post-revolutionary theater was already ending, and Socialist Realism was being imposed. The article briefly discusses Grieg’s controversial pro-Stalinist, anti-fascist position, before concluding that Vår ære og vår makt represents an important instance of Norwegian appropriation of international modernist and avant-garde theater. View Full-Text
Keywords: theater; modernism; avant-garde; Norwegian literature theater; modernism; avant-garde; Norwegian literature
This is an open access article distributed under the Creative Commons Attribution License which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited (CC BY 4.0).
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Krouk, D. The Montage Rhetoric of Nordahl Grieg’s Interwar Drama. Humanities 2018, 7, 99.

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