George Polti's 36 dramatic situations on film with Hannaleena Hauru

Uhrautuminen ideologian vuoksi

Kaikissa harjoitteissa en ole ohjaajan roolissa. Tämä harjoite sai alkunsa ilman että minulla oli siihen mitään osuutta. Minut pyydettiin näyttelemään teokseen myöhemmin – ja samoin päädyin teoksen leikkaajaksi. Teoksessa mainittu rinnakkaisteos on: ”Uhrautuminen intohimosta”

Ohjaus: Hetta Huhtamäki
Kuvaus: Begüm Güleç
Näyttelijät: Hetta Huhtamäki, Nick Shaw, Nicolas Servide, Hannaleena Hauru
Leikkaus: Hannaleena Hauru

TWENTIETH SITUATION

SELF-SACRIFICE FOR AN IDEAL

(The Hero ; the Ideal ; the ”Creditor” or the Person or
Thing Sacrificed)

The four themes of Immolation, of which this is the
first, bring before us three corteges: Gods (XX and
XXIII), Kindred (XXI and XXIII), and Desires
(XXII). The field of conflict is no longer the visible
world, but the Soul.

Of these four subjects, none is nobler than this of
our Twentieth Situation, all for an ideal! What the
ideal may be, whether political or religious, whether it
be called Honor or Piety, is of little importance. It
exacts the sacrifice of all ties, of interest, passion, life
itself, far better, however, under one of the three
following forms, if it be tarnished with the slightest,
even although the most sublime, egoism.

A (1) Sacrifice of Life for the Sake of Ones
Word: The ”Regulus” of Pradon and also of Metas-
tasio; the end of ”Hernani” (Carthage and Don Ruy
Gomez are the ”Creditors”). Is it not surprising that
a greater, number of examples do not at once present
themselves to us? This fatality, the work of the
victim himself, and in which the victory is won over
Self, is it not worthy to illuminate the stage with its
sacrificial flames ? There is, nevertheless, no necessity
for choosing a hero of an almost too-perfect type, such
as Regulus.

(2) Life Sacrificed for the Success of Ones People:
”The Waiting- Women” by Aeschylus; ”Protesilas”
by Euripides; ”Themistocles” by Metastasio. Partial
examples: ”Iphigenia in Aulis,” by Euripides and by
Racine. Historic examples: Codrus; Curtius; Latour
d’Auvergne. For the Happiness of Ones People:
The ”Suffering Christ” of St. Gregory Nazianzen.

(3) Life Sacrificed in Filial Piety: ”The Phoenic-
ian Women” by Aeschylus; the ”Antigones” of
Sophocles and Euripides; of Alamanni and Alfieri.
(4) Life Sacrificed for the Sake of Ones Faith:
”The Miracle of St. Ignace of Antioch” (XIV Century) ;
”Vive le Roi” (Han Rymer, 1911) ; ”Cesar Birotteau”
(Fabre, after Balzac, 1911) ; ”The Constant Prince” by
Calderon; ”Luther” by Werner. Familiar instances:
all martyrs, whether to religion or science. In fiction :
’ L’CEuvre” by Zola. For the Sake of Ones King:
”L’Enfant du Temple” (de Pohles).

B (1) Both Love and Life Sacrificed for Ones
Faith: ”Polyeucte.” In fiction ”L’Evangeliste”
(sacrifice of family and future for ones faith).

(2) Both Love and Life Sacrificed to a Cause:
”Les Fils de Jahel” (Mine. Armand, 1886).

(3) Love Sacrificed to Interests of State: This is
the favorite motif of Corneille, as in ”Othon,” ”Ser-
torius,” ”Sophonisbe,” ”Pulcherie,” ”Tite et Berenice.”
Add to these the ”Berenice” of Racine and the ”Sophon-
isbe” of Trissino, that of Alfieri and that of Mairet;
Metastasio’s ”Achilles in Scyro” and his ”Dido;” Ber-
lioz’ ”Troyons” (the best tragedy of his century) ;
”L’Imperatrice” (Mendes). The ”Creditor” in this
sub-class, remaining abstract, is easily confounded
with the Ideal and the Hero ; the ”Persons Sacrificed,”
on the contrary, become visible; these are Plautine,
Viriate, Syphax and Massinisse, Berenice, Deidamie.
In comedy: ”S. A. R.” (Chancel, 1908).

C Sacrifice of Well-Being of Duty: ”Resurrection”
by Tolstoi ; ”L’Apprentie” (Geffroy, 1908).

D The Ideal of ”Honor” Sacrificed to the Ideal of
”Faith”; Two powerful examples, which for secon-
dary reasons did not attain success (because the public
ear was incapable of perceiving a harmony pitched so
high in the scale of sentiment) : ”Theodore” by Cor-
neille and ”The Virgin Martyr” by Massinger. Partial
example: the good hermit Abraham in Hroswitha.