Libretto (engl.)
LETTERS FROM RUTH
(RUTH MAIER)
A musical by
GISLE KVERNDOKK (Music & Libretto) and
AKSEL-OTTO BULL (Libretto)
Based on “Ruth Maier´s Diary - A Jewish Girl´s Life in Nazi Europe“ (edited by Jan Erik Vold)
Distribution by:
Musik und Bühne Verlagsgesellschaft mbH
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Bahnhofstraße 44-46 | 65185 Wiesbaden, Germany
e-mail: post@musikundbuehne.de
Internet: www.musikundbuehne.de
im Auftrag von STÜCKEKONTOR
MB/JW GbR
rev. 05/23
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Bahnhofstraße 44-46 | 65185 Wiesbaden -----------------------------------------------------------------
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Characters:
The parts can be played by an ensemble of at least 9; 6 women and 3 men,or 5 women and 4 men.
Ideal cast would be an ensemble of 11: 8 women and 3 men. There are many possibilities for role combinations (See suggestions next page).
Ruth Maier – app. 20 years – mezzo/soprano
Gunvor Hofmo – app. 20 years – mezzo
Judith, Ruth Maier’s sister – app. 17 years - soprano
The Mother – app. 45 years - mezzo
Professor Williger – Ruth´s Latin teacher – app. 50/60 yearsbaritone
Herman Thimig – actor at the Burgtheater – app. 45 yearstenor
Mr. Strøm – app. 45 years - tenor
Gustav Vigeland, sculptor - app. 70 years - baritone
A male publisher – speaking role
A boy at school - tenor
A man on the platform – speaking role
Two German SS-men - dumb roles
A young Jewish man – dumb role
Patient 1 - mezzo
Patient 2 – soprano
Patient 3 – soprano
Pupil 1 (Per), in Oslo - speaking role
Pupil 2, in Oslo - speaking role
A young horny man/boy - tenor
A Finnish soldier - tenor
His friend - speaking role
Bjørg, a friend (woman) – dumb role
Mrs. Strøm – dumb role
A radio voice – speaking role
A voice, Questionnaire for Jews – speaking role
A woman in the synagogue – dumb role
2 Norwegian policemen – dumb role
Ensemble: Women in the work camp at Biri, Men singing in the synagogue, other friends (women), pupils, people in the streets of Vienna, German soldiers, Norwegian girls etc.
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A possible casting (8 female - 3 men:
Sopran/Mezzo: Ruth Maier
Mezzo: Gunvor Hofmo
1st soprano: Judith, Ensemble
2nd soprano: Mrs. Strøm, 2nd patient, Woman in the work camp at Biri, Woman in the synagogue, Ensemble
3rd soprano: 3rd patient , A friend, Ensemble
1st Mezzo: 1st patient, A friend, Ensemble
2nd Mezzo: The mother, Ensemble
Alto: Pupil 2, Bjørg, Woman in the work camp at Biri, A friend, Ensemble
1st Tenor: Hermann Thimig, Mr. Strøm, A Publisher, A German SS-man, A Finnish soldier, Ensemble
2nd Tenor: A boy, A young Jewish man, Pupil 1 (Per), A young horny man/boy, The Finnish soldier´s friend, A man on the platform, A Norwegian policeman, Ensemble
Baritone: Professor Williger, Gustav Vigeland, A radio voice, A voice/Questionnaire for Jews, A German SS-man, A Norwegian policeman, Ensemble
The cast at the world premiere, Musical Frühling in Gmunden, Austria, March 31., 2023:
5 women and 4 men:
Soprano/Mezzo: Ruth Maier
Mezzo: Gunvor Hofmo
1st soprano: Judith, A friend, Ensemble.
2nd soprano: Mrs Strøm, 2nd patient, A friend, Woman in the work camp at Biri, Woman in the synagogue, Ensemble.
Mezzo: The mother, 3rd patient, A friend, Woman in the work camp at Biri, Ensemble
1. Tenor: Hermann Thimig, Herr Strøm, Gustav Vigeland, A voice/Questionnaire for Jews, A Norwegian policeman, Ensemble.
2. Tenor: A boy, A young horny boy, A Norwegian policeman, A German SS man, The Finnish soldier's friend, Ensemble.
3. Tenor: The publishing editor, A young Jewish man, A man on the platform, Student 1 (Per), A voice on the radio, A Finnish soldier, Ensemble.
Baritone: Professor Williger, 1st Patient (falsetto), Ensemble.
In this version, the role of the 1st Patient (act 2, scene 5) was played as a transgender person, sung by a male voice in falsetto. The mother's lines in this scene (act 2,scene 5) were performed by Ruth. Bjørg was not visible in this scene, but was referred to off stage.
The start of act 2, scene 6, the dialogue between the mother and Judith, was performed off stage.
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All the women in the ensemble were in the "Hitch-hiking scene", act 2, scene 6.
In act 1, scene 7, one SS man was played by a stage technician.
(Oslo, 1953.
We see the editor of a publishing house, a man, facing the audience. He hands Gunvor Hofmo a book, or some well used books and other things. Gunvor is standing with her back towards the audience. She receives the book(-s).)
THE EDITOR:
No, Gunvor Hofmo, we cannot publish these diaries from your… (He hesitates:) …Girlfriend. This material is far too private for that. You should rather concentrate on your own writing. You are a very gifted poet!
(The publishing editor disappears. The music starts. Gunvor is facing the audience.
We see the photograph from the Akershus pier in 1942, where GUNVOR HOFMO stands at the right in the crowd, looking at the ship SS DONAU, as it is leaving the dock.
After a while the projection starts to live. THE PEOPLE leave the pier. GUNVOR is left alone. We hear the voice of RUTH:)
RUTH´S VOICE:
“I think it's just as well that it has come to this. Why shouldn´t we suffer when there is so much suffering?
Do not worry about me.
I might not have switched with you.”
GUNVOR:
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On a rainy night like this you feel as if she´s returned, a Jewish girlfriend they killed, she whose body they burned along with thousands of others.
1 PROLOGUE
ACT 1
SCENE 1
(GUNVOR is opening the diary and reads. She is on stage, as a narrator, during act 1, until she enters the action in scene 16.)
GUNVOR:
Vienna, the 16th of October, 1934. The world isn´t evil, because if it were evil, then one would ask: How does the good come into the world?
(RUTH´s voice is heard, she appears in the distance. GUNVOR continues reading.)
GUNVOR/RUTH:
I would very much like to be famous. I don´t want to just fall off the edge like a bolt from a machine.
RUTH:
(Isolated in light:)
People disappear. I want to live! And leave something behind, a document saying that I was there.
A great, beautiful work of art!
SCENE 2
GUNVOR:
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Vienna, January 1936...
(The stage transforms to a classroom in Vienna. RUTH MAIER sits at a desk and is diligently writing in her diary. It is between two classes and THE OTHER SCHOOLMATES are wandering around. RUTH writes.)
RUTH:
(Writes:)
WHEN I HAVE WRITTEN IN MY DIARY EVERYTHING FEELS FINE.
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AS IF THE DIARY WAS MY FRIEND AND NOT JUST PAGES IN A BOOK.
(Suddenly A BOY snaps the diary from RUTH. Lots of noise and commotion.
BOY reads out loud for the rest of THE CLASS. BOY sings mockingly:)
A BOY:
Hey! Now listen:
“…SOMETHING WANTS TO BREAK OUT OF ME, I JUST DON´T KNOW WHAT! I WOULD LIKE TO...
TO WRITE A DRAMA, SOMETHING I HAVE LIVED THROUGH, OR A NOVEL THAT IS GRAND!”
(RUTH manages to get the diary back and runs out, crying.)
RUTH:
(Alone:)
I FEEL GLOOMY AND SORROWFUL. I JUST DON´T KNOW WHY.
SOMETIMES I REALLY THINK THAT I AM A FAILURE. I CAN SEE MYSELF AS A LEADING ACTRESS. BUT AS A POET, WHAT I DEEP INSIDE ME ALWAYS LONG FOR, WELL, THAT´S NOT WHAT I´M CERTAIN OF.
SOMETIMES I´M INSPIRED; I JUST WRITE!
I DON´T EVEN KNOW WHAT I´M WRITING! I´M DEEPLY IN LOVE WITH LIZZY KANTOR! LAST NIGHT I WAS DREAMING OF HER, AND WE KISSED. OH!
OH, WHAT WILL LOVE TRULY BE LIKE, I WONDER?
(JUDITH enters.)
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JUDITH:
Ruth! Mama wants to talk to you. (She stops.) What´s wrong with you?
3
RUTH:
DITA!
DEAREST LITTLE SISTER!
THERE´S SOMETHING PECULIAR ABOUT LOVE! AND I DON´T MEAN ONLY MAN AND WOMAN, BUT LOVE BETWEEN TWO GIRLS!
JUDITH: Between two girls?
RUTH:
I WOULD REALLY LIKE TO HAVE A GIRLFRIEND. LIZZY KANTOR!
ROSA SCHALL…
I AM SO FULL OF QUESTIONS, I AM SO FULL OF THOUGHTS OF LOVE. I´M DEEPLY IN LOVE WITH LIZZY KANTOR!
JUDITH: Don´t you want to get married?
RUTH: Yes! To someone like Papa!
JUDITH: (Laughs:)
And what do you want to call your children?
RUTH: MY FIRST-BORN CHILD, I´LL NAME HIM LUDWIG. LIKE PAPA.
JUDITH: Like Papa?
RUTH:
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LAST NIGHT I MET PAPA IN MY DREAMS. I WAS IN HIS ARMS AND HE SAID “DON´T CRY!” NO, I WON´T FORGET MY PAPA. I´LL NAME MY FIRST CHILD LUDWIG. LIKE PAPA.
JUDITH: WHY COULDN´T PAPA LIVE FOREVER?
4
RUTH:
DEATH WAS BEFORE YOU.
DEATH WILL ALSO COME AFTER.
LIVE YOUR LIFE NOW, DITA!
A LIFE WORTH LIVING!
I AM SO FULL OF QUESTIONS, I AM SO FULL OF THOUGHT OF LOVE.
I´M DEEPLY IN LOVE WITH LIZZY KANTOR!
SCENE 3
(Their MOTHER enters, in a beautiful dress with dots, cf. ”A memory” in Act 2/last scene. JUDITH hugs her MOTHER.)
JUDITH:
Mama! How beautiful!
RUTH:
(While JUDITH and the MOTHER are hugging:)
MUTTI… MUTTI…
SHE FORGETS ME COMPLETELY!
Last night she didn´t kiss me good night.
KISS ME, MUTTI!
AND NOW SHE DOESN´T WEEP ANYMORE FOR PAPA…
MUTTI IS ABOUT TO BE INDEPENDENT. SHE GOES OUT EVERY NIGHT!
MUTTI… MUTTI; IGNORING ME COMPLETELY!
(The phone rings, the MOTHER answers.)
THE MOTHER:
Hello, darling!
“Hello, darling!”!
RUTH:
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I´m already tracking him down.
THE MOTHER:
I´ll meet you by the opera at five! (She hangs up.)
5
RUTH:
(mocking her mother:)
”I´ll meet you by the opera at five!”
I HATE MUTTI!
THE MOTHER:
What is it, darling?
RUTH:
Do not ’darling’ me!!
(The MOTHER steps back.)
DO NOT SAY ´DARLING´ TO ME!!
(The MOTHER turns away.)
MUTTI CAN NEVER COMFORT ME.
I´M MATURE AND I´M LONELY. SO EXCEPTIONALLY LONELY.
I´M DREAMING EVERY NIGHT THAT I AM A DYING WOMAN, AND VERY OLD.
BY MY BED IS MUTTI, SHE´S CRYING.
THE MOTHER:
“SO YOUNG AND YET SHE MUST LEAVE THIS WORLD.”
RUTH:
I REACH OUT MY HAND AND I TOUCH MUTTI´S FOREHEAD.
“I WILL BLESS YOU NOW, MY CHILD”
THE MOTHER: You cried in your sleep. Did you have bad dreams?
(She kisses RUTH.)
RUTH:
(To the audience:) Mutti needs me. Now I understand her, little Musch…
I´M A BIT IN LOVE WITH… WELL, HANS. IT´S RIDICULOUS, THAT´S HOW IT IS.
OH, I´M FEELING ATTRACTED TO EVERYBODY.
LIZZY! LIZZY KANTOR!
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SHE IS WISE. NO GOOD LOOKS, BUT HER EYES THEY HAVE A DEEP GLOW. I GUESS THAT SHE ALSO IS LONELY.
AH! ABOUT THE SOULS OF YOUNG GIRLS, ONE CAN WRITE MANY NOVELS!
6
SCENE 4
GUNVOR:
(Reading from the diary:) Vienna, Saturday 14th of March 1936.
RUTH:
To night I´m going to the Burgtheater to see ”King Lear”. With Hermann Thimig as the fool. I´m quite crazy about Hermann Thimig!
(HERMANN THIMIG enters, as the fool, sings text from ”King Lear”, act 3, scene 2.)
THIMIG:
”...WHEN PRIESTS AR MORE IN WORD THAN MATTER. WHEN BREWERS MAR THEIR MALT WITH WATER. WHEN USURERS TELL THEIR GOLD I´ THE FIELD; AND BAWDS AND WHORES DO CHURCHES BUILD; THEN COMES THE TIME, WHO LIVES TO SEE´T, THAT GOING SHALL BE USED WITH FEET.”
RUTH:
I OFTEN DREAM OF HERMANN THIMIG, AND WISH I COULD KISS HIS PALE WHITE FINGERS.
(THIMIG focuses on RUTH, and comes to her.)
THIMIG:
AND WHAT IS YOUR NAME, MY PRINCESS SUNSHINE?
RUTH:
MY NAME IS CUNIGUNDE, BUT THEY´RE CALLING ME UNDINA.
THIMIG:
AND WHERE DO YOU LIVE, MY PRINCESS UNDINA?
RUTH:
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THE GOLDEN BLUE LAND IS MY HOME, WHERE EVERYTHING IS GOLDEN AND BLUE. I MAKE PEOPLE HAPPY WHEN THEY ARE MOURNFUL.
7
THIMIG: AND HOW OLD ARE YOU, YOU JOYFUL MESSENGER FROM GOLDEN BLUE LAND?
RUTH:
I AM JUST AS OLD AS THE WORLD IS.
THIMIG: ...JUST AS OLD AS THE WORLD IS! CUNIGUNDE!
RUTH: THEY´RE CALLING ME UNDINA.
THIMIG: ...JUST AS OLD AS THE WORLD IS!
RUTH: AND YOU, SO WHO ARE YOU?
SCENE 5
(Professor WILLIGER enters and is reaching out his hand. The scene with THIMIG dissolves.)
GUNVOR:
(Reading from the diary:)
I have met a new person. His name is.
(RUTH and WILLIGER meet and shake hands.)
WILLIGER:
PROFESSOR HERBERT WILLIGER.
GUNVOR:
- And I like him a very much.
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RUTH:
(To the audience:)
I´VE GROWN SO FOND OF HIM, JUST LIKE A DAD.
8
WILLIGER: SIXTEEN YEARS, MY CHILD, WHEN YOU ARE SIXTEEN YOUR LIFE COMES INTO BEING.
GUNVOR:
(Reading:)
Because I was weak in latin, Mama found a private teacher for me.
Dr. Brauchbar told me what a genius, what a talented and wise man this professor Williger was.
WILLIGER:
I WILL CULTIVATE YOUR MANNERS, RUTH. WE WILL READ THE DIALOGUES OF PLATO, YOU AND I…
RUTH:
(To the audience:)
HE IS AN OLDER MAN. HE IS VERY LONELY.
I AM TO HIM SOMETHING DEAR AND PRECIOUS.
WILLIGER:
(With a gesture towards a table.)
RUTH; DO YOU LIKE BEAUTIFUL FLOWERS? DO YOU?
RUTH: YES.
WILLIGER: CAN YOU SAY SOMETHING NICE TO ME, RUTH.
RUTH:
(To the audience:)
THEN THE PROFESSOR CAME TO MY HOUSE. THAT WAS AWFUL.
I THOUGHT HE WAS LIKE A TOAD-FROG. BUT THEN HE GAVE US SOME CHOCOLATE. AND KISSED ME ON MY HAND – IN SECRET.
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THE MOTHER: DON´T FORGET THAT PROFESSOR WILLIGER IS A MAN.
RUTH:
IT WOULD BE REALLY TERRIBLE IF HE THOUGHT OF ME AS HIS WIFE.
9
WILLIGER:
RUTH; YOU KNOW HOW MUCH I CARE FOR YOU? YOU ARE THE ONLY WOMAN WHO KNOWS HOW TO TREAT ME WITH HONOUR. YOU KNOW, RUTH?
THAT WOMEN HAVE NEVER SHOWN ME RESPECT. THAT´S WHY I´M IN PAIN. I´VE NEVER TOLD SO MUCH TO ANYBODY BEFORE.
GUNVOR:
(Reading from the diary:) I know he wants the best for me.
RUTH:
I KNOW HE WANTS THE BEST FOR ME.
GUNVOR:
(Reads:) A person who wants the best for me.
WILLIGER:
(Holding up a pencil:)
You left this one, you have bitten on it... (Pointing:) Here! I will keep this. Look away, Ruth. WHEN YOU LOOK AT ME, ALL MY THOUGHTS ARE FADING.
RUTH:
” WHEN YOU LOOK AT ME, ALL MY THOUGHTS ARE FADING.”
WILLIGER:
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WHEN YOU LOOK AT ME, ALL MY THOUGHTS ARE FADING.
SCENE 6
GUNVOR:
(Reading:) Vienna, Sunday 14th of November, 1937. I think it´s so unnatural that life doesn´t last longer than it does. Maybe I´ll become an artist, sometime.
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RUTH:
MAYBE I´LL BECOME AN ARTIST, SOMETIME. MAYBE ACTING, MAYBE WRITING. LIVE A LIFE WORTH LIVING! AND I´LL BE PAINTING!
I´LL PAINT THE SKY AND THE EARTH, THE FIELDS, THE WOODS, THE SEA.
GUNVOR:
(Reading:) Maybe someone will read this after my death?
RUTH:
I wish them good luck!
GUNVOR:
(Reading:) Why am I thinking so much about death. Maybe because I fear that I never will have accomplished anything?
Strange, huh?
RUTH:
I WANT TO HAVE A CHILD, SOME DAY. I WANT TO WRITE A NOVEL, SOME DAY. PAINTING A PICTURE.
I AM NOT AFRAID OF DEATH. BUT I WILL FIGHT TO MAKE THE WORLD BETTER.
GUNVOR:
(Reading:) Tomorrow I am going to the Burgtheater. Thimig is playing a wood-fairy. I am so excited. Because I love Thimig.
(HERMANN THIMIG appears, as a wood-fairy. He dances with RUTH.)
THIMIG:
GOODNESS COMES INTO BEING
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WHEN THE CURTAIN GOES UP IN THE THEATRE AND WE STAND THERE WITH OUR LIPS PAINTED, PERFORMING!
GOODNESS COMES WHEN WE´RE CREATING POEMS AND ART.
GOODNESS COMES WHEN WE PLAY THE VIOLIN AND THEN; MUSIC IS MADE!
11
RUTH: I WILL FIGHT TO MAKE THE WORLD BETTER.
SCENE 7
(A young well-dressed JEWISH MAN is walking down the street, carrying a violin-case. Two SS-MEN enter. One of them is hitting the JEWISH MAN, a box on the ear, and then the other one is doing the same. The young MAN is stumbling, holding on to his head…and walks away. Ruth witnesses this.)
RUTH:
I, RUTH MAIER, AGE EIGHTEEN, AM ASKING THE WORLD TODAY IF THIS IS ALLOWED?
GOD; IF YOU SEE US NOW: THIS BRUTALITY MUST BE PAID BACK IN BLOOD!
GUNVOR:
(Reading from the diary:) In the year 1938 the world was a very dark place!
ENSEMBLE: RED, THE JEW WILL BLEED WHEN YOU BEAT HIM.
(JUDITH joins RUTH.)
RUTH: ENSEMBLE: AND THE JEWS RED, THE JEW WILL BLEED ARE SUFFERING. WHEN YOU BEAT HIM. I LOVE THE JEWS BECAUSE THEY SUFFER.
I AM A JEWESS! AND THEY CAN BEAT ME AND KICK ME, SPIT ON ME NOW!
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I AM A JEWESS! SEE MY VEINS! CUT THEM OPEN. SO MY RED, JEWISH BLOOD IS FLOWING. I AM A JEWESS.
(RUTH and JUDITH are together, close.)
12
It is silent.)
GUNVOR:
(Reading from the diary:)
Vienna, Friday 11th of November, 1938.
RUTH:
Yesterday, my 18th birthday, was the most horrible day of my life. Now I know what humans are capable of doing. Humans, created in the image of God.
(We hear a solitary violin playing. The young JEWISH MAN is playing.)
RUTH:
A Jew is playing the violin in the neighborhood. Despite pogromes and brutality, the Jew in the neighborhood will play the violin.
(HERMANN THIMIG appears.)
HERMANN THIMIG: GOODNESS COMES INTO BEING WHEN THE CURTAIN GOES UP IN THE THEATRE. GOODNESS COMES WHEN WE PLAY THE VIOLIN AND THEN; MUSIC IS MADE!
RUTH:
I WILL FIGHT TO MAKE THE WORLD BETTER.
SCENE 8
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(JUDITH is leaving Vienna.)
GUNVOR:
(Reading from the diary:)
Vienna, Friday 9th of December, 1938. Dita is leaving tomorrow. For England. To a camp for Jewish children, refugees: Away from here. Away from me.
(On a platform, at Hütteldorf train station, Vienna.)
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RUTH:
Dita! I will miss you. Miss you, miss you!
(JUDITH and the MOTHER are hugging each other, while RUTH is watching them. Then she hugs them both.)
A MAN:
(Shouts:) Number 258!
THE MOTHER:
(Answers him:) Yes! Here!
RUTH:
(To Judith:) There you go; now you are only a number.
JUDITH:
Oh, no, I am still Judith Maier. (She leaves. Then she turns around:) Mama!
(The MOTHER runs to her, but the MAN stops her.)
A MAN: Don´t make it more difficult!
RUTH:
(Shouting to JUDITH:) Live beautifully, Dita! Only you are life!
JUDITH:
(Shouting back:) Live beautifully, Ruth!
GUNVOR:
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(Reading:) Sunday 11th of December. Writing a diary is horrible. Horrible. On the previous page it is written: Dita is leaving tomorrow. And today:
RUTH:
DITA IS GONE. MAMA´S CRYING. DITA IS GONE.
14
LEAVING! LEAVING! LEAVING! WHO INVENTED THE ACT OF LEANING?
I DREAMED ABOUT PAPA LAST NIGHT.
LIVING COULD HAVE BEEN GOOD, SO GOOD.
SCENE 9
(RUTH is walking in the streets, Christmas Eve.)
GUNVOR:
(Reading from the diary.)
It is Christmas Eve.
I walked through the streets... Snow. Empty streets. Broken glass shimmers in the Jewish shop.
They have painted ”Jew”, only that. At another shop: ”Go to Dachau, you bastard.” In the windows above, the Christmas lights are lit. Christmas Eve in Hitler´s Germany.
RUTH:
LIVING COULD HAVE BEEN GOOD, SO GOOD. THE JEWS THEY ARE WANDERING. THEY ARE WANDERING. WHEN WILL IT COME TO AN END?
DITA IS GONE.
Lizzy Kantor is in Switzerland.
GUNVOR:
(Reading:)
Throughout my schoolyears, I loved Lizzy Kantor.
RUTH:
She never knew. NOW MY LIZZY IS GONE.
PAPA IS DEAD.
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I THINK I WOULDN´T HAVE NEEDED WILLIGER IF I ONLY HAD PAPA.
WILLIGER IS ALSO GONE. HE WROTE AND TOLD ME SO AND I?
LIVING COULD HAVE BEEN GOOD.
15
SCENE 10
GUNVOR:
(Reading, the first letter to JUDITH.)
Vienna, Thursday 19th of January, 1939.
Dearest Dita!
RUTH:
I AM REALLY HAPPY TODAY. WE JUST GOT GREAT NEWS FROM NORWAY:
Mr. STRØM.
“VISA ARRANGED, ALL TICKETS MAILED, LETTER SENT!”
RUTH: DITA, I AM SO HAPPY NOW!!! I WILL LIVE WITH THE FAMILY STRØM. JUST OUTSIDE THE CITY OF OSLO
MR. STRØM, I THINK HE KNEW OUR PAPA! DITTL, I AM LONGING JUST TO SEE YOU AGAIN NOW IT WILL TAKE A WHILE. BUT YOU KNOW THAT TIME FLIES SO FAST. TOO FAST, I SHOULD THINK. AND NOW I´M TRAVELLING TO NORWAY.
(RUTH and her MOTHER is hugging, saying farewell at the train station – and RUTH is travelling to Norway. Maybe we see RUTH, the MOTHER and JUDITH – each of them isolated in separate lights on stage. The ENSEMBLE is singing Ruth´s poem ”Impressionistic image”:)
ENSEMBLE:
GREY HOUSES PASS BY LIKE OLDER WOMEN. PEOPLE THEY ARE PUPPETS WITH FACES DARK AND CLOSED. A ROSE IS SHINING RED THROUGH A GLASS, BROKEN, AND WAVES UP TO HEAVEN RESTING IN PEACE, LIKE A HOUSE SO CRYSTAL BLUE.
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(We see RUTH arriving at the train station in Oslo, Norway. She is welcomed by MR. and MRS. STRØM.)
16
(RUTH is in her room, in Lillestrøm. She is writing a letter to JUDITH.)
GUNVOR:
(Reading.)
Lillestrøm, Wednesday 1th of February, 1939.
JUDITH:
(Reading:) Dearest Dita!
This is only the second day here, but it feels like I have been in Norway a month already.
Dittl, I can´t describe Mr. Strøm for you. He is veeery nice.
Smoking his pipe and speaking German to me.
Yesterday he danced a waltz with me, to the music from the radio.
Handsome or what?
Mrs. Dagmar is also veery sweet. My room is pretty small and narrow. A little piece of Norway is looking in through the window.
I am learning Norwegian, which is my only proper occupation.
RUTH:
THAT MAN IS SO NICE. MAYBE – AND THIS I´LL TELL YOU NOWHE MIGHT REPLACE A MANLY CREATURE.
(JUDITH is laughing.)
RUTH:
DITA, DON´T YOU LAUGH!
DITTL, YOU ARE SIXTEEN NOW.
WILLIGER:
(Isolated in a separate light:)
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SIXTEEN YEARS, MY CHILD, WHEN YOU ARE SIXTEEN YOUR LIFE COMES INTO BEING.
JUDITH:
(Reading:) Please, don´t think that I am dreaming of Williger anymore.
I can assure you that by mail!
17
SCENE 11
RUTH: FINIS AMORIS.
I LIKE MR. STRØM SO MUCH MORE ALREADY. DITTL, I FEEL LIKE AN OLD AND SILLY SPINSTER, WITH ALL THE BABBLE THAT I AM WRITING. IT WILL NEVER END.
(Mr. STRØM is singing off-stage. “La, la, la…”)
RUTH: A man in the house! Is not to be underrated!
(Mr. STRØM is entering, with a vacuum cleaner.)
RUTH: How charming!
(Mr. STRØM jokes and is clumsy. RUTH is laughing her guts out. Mr. STRØM whistles. RUTH takes over the vacuum cleaner and Mr. STRØM is relieved.)
Mr. STRØM: Tomorrow we are going to Oslo.
RUTH: Awzlaw!
Mr. STRØM: No, Oslo! Look at me; Oslo – O!
RUTH & Mr. STRØM: Oshlo!
RUTH: Oslo!
Mr. STRØM: (He applauds.) Bravo!
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Your Norwegian is very good! You can start your studies any time now!
RUTH: I would like to try and do my graduation here.
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Mr. STRØM: We´ll get you into the high school.
RUTH: What about my visa?
Mr. STRØM: We´ll get it prolonged. We´ll do that in Oslo. Tomorrow! In Oslo!
RUTH: Oslo!
RUTH and Mr. STRØM: Oslo!
(He is patting her hair. Mrs. Dagmar Strøm enters. Mr. Strøm leaves, Mrs. Strøm follows him.)
RUTH: HE PATTED ME. LIKE A DOG!
I’M FEELING...
I think it´s because of my chronic unsatisfied need for love.
(JUDITH is laughing.)
RUTH:
NO, DITA, DON´T YOU LAUGH! YOU´RE TURNING SEVENTEEN. FULL STOP.
NO, RATHER COLON.
SEVENTEEN:
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THE TIME WHEN LOVE IS JUST THE THING, THE TIME OF SEXUAL AWAKENING, THE KISSES YOU WILL GET... AND ALL THE LONGINGS.
RUTH & JUDITH:
DEAREST MOON, YOU SILENT WANDERER.
MOON, I SEE YOU.
MOON, I SEE YOU. YOU AND I CAN SEE THE MOON.
(They long for each other.)
19
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RUTH:
Dear Dittl; If I shall wish you something ...something solid, I wish that the whole of Germany, Hitler and his consorts suddenly explode! Bang!
But that isn´t very much likely now!
(Mr. STRØM is knocking on RUTH´s door.)
Mr. STRØM: Ruth, are you asleep? Come and see the northern light.
(They go to the window. Standing there, looking at the northern light together. Mr. STRØM is getting a blanket, putting it around RUTH´s shoulders.)
JUDITH:
MOON, I SEE YOU. MOON, I SEE YOU. YOU AND I CAN SEE THE MOON.
SCENE 12
(RUTH at school, in Oslo.)
GUNVOR:
(Reading:) I start school in August, and in June 1941 I will do my graduation.
RUTH:
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I don´t know what is best: To stay in Norway or go to England.
(A loud discussion in the classroom. RUTH is trying to say something, but is hushed down. The PUPILS are going out. RUTH wants to stay in, to write in her diary, but can´t find her pencil.)
RUTH:
(To one of the other pupils:) May I borrow a pencil, please?
20
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PUPIL 1: Why haven´t you brought your own?
PUPIL 2: Everybody has to leave the room for the break.
PUPIL 1:
(To RUTH:) You are a queer one.
GUNVOR:
(Reading:) I´m sneaking down to the toilets, instead of wandering around by myself.
RUTH: I HAVE MY BOOKS WITH ME, DITA. (Holding up a book:) TROTSKY, YOU KNOW, DITA, TROTSKY!
GUNVOR:
(Reading:) The danger is that one can be to proud. Eventually you won´t allow anyone near.
SCENE 13
Mr. STRØM: (Entering:) Come, Ruth, let´s go for a walk.
RUTH:
(Eager:) Have you read Trotsky? Trotsky is a socialist, he believes in the revolution of the world. And he holds a pen! Every sentence excites you, the wit, the spirit!
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Mr. STRØM: But what about Stalin?
RUTH:
The fact that Stalin has banished Trotsky makes an even better reason for praising him. You have to read Trotsky!
21
(Mr. STRØM kisses RUTH.)
GUNVOR:
(Reading:)
When I think about it now, it was very nice. But at the time!! I lost my head. Wanted to run away. You know what; That night I put an armchair in front of the door, and had a pair of scissors by my bed. I was terrified of Mr. Strøm´s hands, and for that matter; his whole body.
MR. STRØM: RUTH, I BEG YOU: FORGIVE ME. I PROMISE IT WILL NEVER HAPPEN AGAIN. I ASSURE YOU, RUTH. I AM A NICE, CARING MAN.
GUNVOR:
(Reading:)
The walks in the sunshine have come to an end. And for kissing the cheek and patting the hair as well.
RUTH:
TO BE PATTED LIKE A DOG. DEAREST DITTL, I PRINCIPALLY DON´T BELIEVE IN THE ONE AND ONLY LOVE. BUT I WOULD LOVE TO HAVE A MANLY CREATURE, WITH A WONDERFUL PHYSIQUE, AND HAVE A CHILD AS SOON AS POSSIBLE. Dittl, there is something more than noble thoughts about socialism and the persecution of Jews... You see? There is something called “your body”.
SCENE 14
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(RUTH is sitting on a bench. PER, PUPIL 1, from her class is standing and watching her. Pause. A tension builds up, then he says:)
PER: Jews are not allowed here.
22
RUTH:
DITTL, I´VE BEEN ALONE FOR ALMOST A YEAR. AND I MEAN ALONE...
NOT EVEN ONE WHO´S REALLY CLOSE TO ME
(We see JUDITH and the MOTHER embrace in England. RUTH runs towards them, but they are out of reach and they can´t see her.
Simultaneously GUNVOR is reading from the diary:)
GUNVOR:
(Reading:) You know, Dittl, lately I´ve longed so much for you both. Just the thought of Musch´s hands makes me cry.
You know what? I´m looking immensely forward to seeing you again.
You know how it will be like?
Three very small people will run towards each other.
RUTH:
DITTL!
WHAT WILL THIS YEAR REALLY BE LIKE?
I THINK THAT 1940 SOUNDS LIKE A HORROR. My going to Norway was the biggest stupidity of this century.
SCENE 15
GUNVOR:
(Reading:) Lillestrøm, 9th of April, 1940.
RUTH:
The Germans are over me again.
(“SPRING NIGHT”. Poem by Ruth Maier)
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WOMEN OF THE ENSEMBLE: (around RUTH:)
LANKY MEN ARE SAUNTERING THROUGH THE LIGHT OF THE SPRING NIGHT.
AS A SECRET BETWEEN THEIR FINGERS; CIGARETTES GLOW, A LONG AWAITED PLEASURE.
CLOSELY THEY ARE GLIDING BY THE YOUNG GIRLS,
23
HANGING ON THE CORNER WEARING THEIR GLOWING DRESSES, FACES SO GLOWING.
WHEN THEY LAUGH, THE SOUND RISES UP TO HEAVEN LIKE A PRAYER, SO BRAVE, FOR PLEASURE.
(A YOUNG MAN or BOY is coming towards RUTH.)
BOY: You want to go for a walk in the forest, miss?
RUTH: No, thank you!
BOY: Are you sure?
RUTH: I don´t want to! (She´s trying to get away.)
BOY:
(Holding her back) You have a cunt, right?
RUTH:
I don´t know what you´re talking about!
BOY:
(Smiling friendly:) When did you have your period?
RUTH:
Shut up!
(RUTH runs away.)
BOY:
Eey, miss! I only want to do you a favour! The only chance that you´ll get is with me! THE ONLY CHANCE THAT YOU´LL GET IS WITH ME!
RUTH:
(Alone:) AH! WHY NOT DO IT?
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I´M ONLY A HUMAN.
I WOULD LIKE TO... I WOULD LIKE TO...
GIVE BIRTH TO A CHILD.
OH, HOW I HATE THIS TOWN.
AND I HATE NORWAY.
I DON´T WANT TO STAY HERE!
24
THE SPRINGTIME IS SO HORRIBLE WHEN YOU´RE SAD AND LONELY. AND ALL THE NIGHTS ARE TOO BRIGHT.
THERE WILL NOT BE A HAPPY ENDING. THERE WILL NOT BE A HAPPY ENDING.
SCENE 16
(The work-camp.)
NEWS REEL/RADIOVOICE:
«All Norwegian women older than 14 and a half, who can get away, are urged to join a voluntary work-camp this year.
The country is expecting your contribution. The food-supply must increase, but the farmers are in need of workers. That is why everybody who can spare their time, are asked to join a voluntary work-camp! The participants will travel for free, free lodgings indoors, free food and clothing, headscarves and blankets in the camp. If you have a sleeping bag, bring it with you!
(Christmas Eve, 1940. A work-camp for WOMEN at Biri, Norway.)
WOMAN:
...And therefore let us tonight, on this Christmas Eve here at Biri, in the year 1940, sing the hymn we all love; ”Beauty around us”.”
ANOTHER WOMAN:
No! How can we sing that song now? When there is a war going on and the world is so evil?
RUTH:
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No! The world is not evil. For if it was evil, then I ask you: How does the good come into the world? People, they are both good and evil.
25
Goodness comes into being when the curtain goes up in the theatre and we stand there with our lips painted, performing!
Goodness comes when we´re creating poems and art. Goodness comes when we play the violin and music is made!
People are evil when they kill each other. Today the Germans are roaring like animals towards their Führer.
Later on... Later on... yet another Goethe will ascend among them.
Hear what Goethe says:
”Thus mine eyes were opened for the holy and almighty nature, and I embraced it all in my throbbing heart.”
My friends, listen: The world is beautiful!
Look at Norway! Fjords, the sea, mountains, snow, waterfalls, sky... Sometimes it is really wonderful to be alive.
(The WOMAN who didn´t want to sing ”Beauty around us” is now starting to sing, and one after the other, PEOPLE are joining her. During Ruth's monologue, Gunvor enters the scene. GUNVOR and RUTH see each other for the first time. RUTH is very aware of GUNVOR.)
ENSEMBLE:
“BEAUTY AROUND US.
GLORY ABOVE US.
LOVELY IS EARTH AND THE SMILING SKIES…”
(During ”Beauty around us”, GUNVOR and RUTH sing Ruth´s poem “To a girlfriend”.)
GUNVOR:
WHEN I STEPPED BACK FOR THE FIRST TIME, BLINDED BY YOUR EYES... IT WASN´T OUR FIRST TIME.
RUTH:
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WHEN I STEPPED BACK FOR THE FIRST TIME, BLINDED BY YOUR EYEs...
IT WASN´T OUR FIRST TIME. IT WAS OUR REUNION.
26
GUNVOR & RUTH:
LOVELY AS ONCE WHEN TIME WAS YOUNGER.
TO ME IT FELT LIKE WE HAD FOR AGES WALKED TOGETHER.
YOU AND ME TOGETHER ON SUNNY PATHWAYS.
SO UNIFIED THAT THE TWO OF US WERE ONLY ONE.
YOU, THAT WAS I. AND I, I WAS YOU.
ENSEMBLE:
“AGES ARE COMING, ROLL ON AND VANISH, CHILDREN SHALL FOLLOW WHERE FATHERS PASSED. NEVER OUR PILGRIM SONG, JOYFUL AND HEAVEN BORN, SHALL CEASE WHILE TIME AND MOUNTAIN LAST.”
GUNVOR & RUTH:
WHEN I STEPPED BACK FOR THE FIRST TIME, BLINDED BY YOUR EYES...
IT WASN´T OUR FIRST TIME.
IT WAS OUR REUNION.
LOVELY AS ONCE WHEN TIME WAS YOUNGER.
TO ME IT FELT LIKE WE HAD FOR AGES WALKED TOGETHER.
YOU AND ME TOGETHER ON SUNNY PATHWAYS.
SO UNIFIED THAT THE TWO OF US WERE ONLY ONE.
ENSEMBLE:
“…GLORY TO GOD ON HIGH, PEACE AND GOOD WILL TO MEN TODAY IS CHRIST, OUR SAVIOUR, BORN!”
GUNVOR & RUTH:
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YOU, THAT WAS I. AND I, I WAS YOU. - End ACT 1 -
27
ACT 2
SCENE 1
(The work-camp at Biri.)
RUTH:
ALL THE DAYS GET BRIGHTER WHEN YOU´RE IN LOVE WITH SOMEONE.
I REALLY CAN´T SAY HOW WARM I´M FEELING WHEN GUNVOR IS NEAR ME.
I LOVE HER DEEP BLUE EYES.
I LOVE HER WAYS OF APPROACHING THINGS. SHE´S CAREFUL AND HUMBLE, AND WITTY AS WELL. I WILL SACRIFICE TRULY EVERYTHING TO GIVE HER HAPPINESS.
ALL THE DAYS GET BRIGHTER WHEN YOU´RE IN LOVE WITH SOMEONE.
(Letter to England. We see JUDITH in a separate light, reading a letter from RUTH.)
JUDITH:
(Reading:) Dear Dita.
I´m in a winter-camp at Biri, north of Oslo. You´ll probably find it on the map. We are farmgirls on the farms nearby. All the girls are very nice. There is a girl I am very fond of... Like Lizzy Kantor once.
(RUTH is isolated in a separate light, GUNVOR in another one.)
RUTH:
GUNVOR´S EYES THEY ARE DARK AND BLUE. AN ETERNAL GLANCE. SHE´S THE NICEST PERSON I HAVE EVER SEEN. ALL THE DAYS GET BRIGHTER WHEN YOU´RE IN LOVE WITH SOMEONE.
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28
(Gunvor is with friends and turns to RuthJ
GUNVOR: Ruth, are you coming with us to the café?
RUTH: (Playing hard to get.) I don´t know...
GUNVOR: Come on, let´s go!
RUTH: Allright. – Or, no, I don´t think so.
GUNVOR: Why not?
RUTH: What do you mean?
GUNVOR: What´s wrong with you?
RUTH: (To the audience:)
I WANTED FULL REVENGE FOR ALL THE TIME SHE HAS STOLEN FROM ME, SPENDING HER TIME WITH SO MANY OTHERS.
GUNVOR:
Are you coming?
RUTH: No, I don´t think so...
(GUNVOR leaves and RUTH cries.)
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RUTH: ALL I WISH FOR... IS TALKING TO HER. I REALLY LOVE HER, BECAUSE I LOVE THE PERSON SHE IS. JUST LIKE HERR WILLIGER.
29
2
SCENE
(Again we see GUNVOR in a separate light.)
RUTH:
GUNVOR´S EYES THEY ARE DARK AND BLUE. AN ETERNAL GLANCE.
SHE´S THE NICEST PERSON I HAVE EVER SEEN. ALL THE DAYS GET BRIGHTER WHEN YOU´RE IN LOVE WITH SOMEONE.
(GUNVOR turns to RUTH.)
RUTH: I want to sketch you!
SCENE 3
(Ruth is sketching Gunvor.)
GUNVOR: My family is rather crazy. Nearly all my mother´s sisters have turned mad. My mother is an illegitimate child. Or... I don´t know if that´s true.
I feel that I can open myself to you. It is not like that with Reidar. I don´t love him anymore. Bu he is counting on marrying me. Should I break up with him?
RUTH: Yes!
GUNVOR:
Ah, I am an idiot telling you all of this. Never mention it again...never ever.
(Ruth is quiet.)
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One has to have demands for a relationship. One has to love each other unconditionally.
RUTH:
I´d only have one who could save me from masturbation.
C’est tout! (i.e. ” That's it!”)
30
(They laugh. And out of that laugh, RUTH is singing:)
RUTH:
ONE HAS TO LOVE EACH OTHER UNCONDITIONALLY... ALL THE DAYS GET BRIGHTER WHEN YOU´RE IN LOVE WITH SOMEONE.
SCENE 4
(RUTH is isolated in a separate light. She´s having a nervous breakdown. She´s holding on to her head, intensely, as if she is screaming. Then complete silence.)
RUTH:
Gunvor helped me when I got ill. I´ll never forget her for that. She went with me to see the doctor. It didn´t surprise me; the cause was a kind of illness on my mind.
DEBILITAS NERVOSA.
That´s what you get for having done the latin course!
IT´S LIKE I’M WALKING ON THE EDGE OF SOMETHING HOLLOW...
IMMENSELY DEEP...
AND I MUST TRY TO BALANCE SO THAT I´M NOT FALLING. I am going to the hospital tomorrow.
(GUNVOR enters, embracing RUTH.)
RUTH:
NOW I´M DOING FINE.
(Speaks to the audience:)
Finally I was courageous enough to show her my love. (They climb into bed together. RUTH is caressing
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GUNVOR´s hand. She is singing to GUNVOR:)
EVERYONE SHOULD GIVE YOU SO MUCH LOVE AS I´M GIVING YOU.
EVERYONE SHOULD HAVE ANOTHER ONE TO REALLY LOVE AND CARE FOR, AS I DO FOR YOU.
31
GUNVOR: What time is it?
RUTH: Hush. Don´t ask.
(To the audience:) ALL IS DARK. ONLY FROM GUNVOR THERE IS A LIGHT.
(RUTH is leaving GUNVOR and changes into a hospital robe, while GUNVOR is singing.)
GUNVOR:
EVERYONE SHOULD GIVE YOU SO MUCH LOVE AS I´M GIVING YOU.
EVERYONE SHOULD HAVE ANOTHER ONE TO REALLY LOVE AND CARE FOR, AS I DO FOR YOU.
SCENE 5
(RUTH is a patient in the psychiatric ward of the Ullevål hospital.
RUTH is in bed. She´s sketching and sketching. A fellow PATIENT comes in and sings:)
PATIENT 1:
YOU WERE ALSO A CHILD ON A WOMAN´S KNEE, BUT THE DAYS AHEAD YOU WILL NEVER SEE.
HALLELUJAH, HALLELUJAH, HALLELUJAH.
RUTH:
(Has stopped sketching:)
WHY IS IT ALWAYS SO DIFFICULT TO LIVE? EVERYTHING SEEMS SO MEANINGLESS. ONLY WHEN I´M SKETCHING OR I´M THINKING OF GUNVOR, I´M FEELING GOOD.
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(RUTH draws. Another PATIENT is entering:)
PATIENT 2:
I HAVEN´T BEEN SLEEPING FOR MANY NIGHTS NOW. I CAN´T TAKE IT ANYMORE.
32
(PATIENT 1 is staring into the air, crying. RUTH walks over to her and embraces her. PATIENT 3 enters:)
PATIENT 3:
SHE DEMANDED THAT WE ALWAYS HAD TO CALL HER “MUM”. I DECIDED THEN; I AM LEAVING.
(The situation changes.
RUTH is sitting in her bed, writing to her mother and sister. JUDITH is reading the letter:)
JUDITH:
DEAREST DITTL AND MUSCH!
AS YOU KNOW BY NOW, I´M IN THIS WORK-CAMP AT BIRI. AND I LIKE IT HERE.
I HAVE TO TELL YOU ABOUT A GIRL THAT I HAVE MET, GUNVOR. SHE´S A GIRLFRIEND.
RUTH:
Yes, Dittl. You´re right; that was what I was missing.
You must excuse me for writing about her. She means so much to me.
JUDITH:
MY BELOVED DITTL AND MUSCH. TIME IS PASSING BY.
I AM HAPPY WHEN I KNOW YOU´RE HAPPY TOO. Dittl, it pleases me that you like van Gogh. You should definitely read his letters to his brother.
(GUNVOR enters.
GUNVOR and RUTH see each other. RUTH is delighted. Then she discovers that GUNVOR isn´t alone. BJØRG is there too, one of the other girls from the workcamp.)
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GUNVOR:
Look, I´m sorry I´m not alone, like we agreed. I met Bjørg when I came here.
(They sit down. They seem distant to each other. They watch each other carefully.
33
PATIENT 1 enters, watching them, and sings:)
PATIENT 1:
YOU WERE ALSO A CHILD ON A WOMAN´S KNEE, BUT THE DAYS AHEAD YOU WILL NEVER SEE.
HALLELUJAH, HALLELUJAH, HALLELUJAH.
(Then the visit is over. GUNVOR and BJØRG leave, followed by PATIENT 1.)
RUTH: IT SHOULD HAVE BEEN MUCH MORE. SHE AND I WE LOVE EACH OTHER. YES, IT SHOULD HAVE BEEN SO MUCH MORE. IT WASN´T ENOUGH.
(PATIENT 2 enters.)
PATIENT 2:
OH, HOW I HATE ALL THE BRIGHT NIGHTS HERE. I´M WAITING, WAITING! THE DARKNESS SHOULD HAVE COME. SEE THE SUNSHINE! ALL THAT SUNSHINE!
(She leaves.)
RUTH: ALWAYS WHEN THE SUN IS SHINING, I ALWAYS THINK OF GUNVOR. WITHOUT GUNVOR THERE WOULDN´T BE ANY REASON LIVING.
(GUNVOR enters, alone. They embrace. PATIENT 1 enters.)
PATIENT 1:
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YOU WERE ALSO A CHILD ON A WOMAN´S KNEE, BUT THE DAYS AHEAD YOU WILL NEVER SEE.
HALLELUJAH, HALLELUJAH, HALLELUJAH.
GUNVOR: I´m going back to Biri again.
34
RUTH: No! Stay here with me!
GUNVOR: Ruth, you need not despair.
RUTH:
I AM OFTEN DESPAIRING. THEN MY LIFE IS NOTHING MORE THAN A TERRIBLE ANIMAL SO RIDICULOUS TO TRY TO FIGHT BACK. OR PERHAPS: LIKE A DARK NIGHT... AND I HAVE NO MORE LIGHT.
(GUNVOR embraces RUTH, who is clinging to her as in ‘unspeakable horror’.
PATIENT 3 enters, with heavy steps. Then Patient 2. They are standing watching GUNVOR and RUTH, who dissolve their embrace.)
PATIENT 3: NOW I AM NOT ABLE TO HAVE A CHILD.
GUNVOR:
(Hurrying a bit:) I will write to you. And we we´ll go hitchhiking in the spring.
(They part. PATIENT 2+3 is following GUNVOR as she leaves, PATIENT 2 humming her theme.)
PATIENT 2: AH… AH… AH…
(If possible: We see JUDITH and the MOTHER in a separate light in the background.
RUTH is in her bed, writing a letter to them. The MOTHER is reading the letter, or RUTH is reading while she’s writing.)
THE MOTHER/RUTH:
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(Reading:) Dear Musch; if you love me, then you also have to love Gunvor.
(RUTH is sketching. Then stops.)
35
RUTH:
Tomorrow Mr. Strøm is coming to pick me up. To Lillestrøm.
I can´t imagine a life outside this hospital anymore.
ALL THINGS ARE DRAWING TOO CLOSE TO ME NOW. TREES. PEOPLE.
ALL THE THINGS ARE DRAWING SO CLOSE. THEY´RE BURNING.
(She draws. Then stop:)
ALL I WANT WITH MY PAINTING IS RELEASING JUST THAT NEED WITHIN ME.
A NEED TO BE CREATIVE.
I WANTED TO BE JUST A FAMOUS ACTRESS, A FAMOUS AUTHOR.
TO SHOW THE WORLD WHAT I COULD BE, WHO I REALLY WAS.
I DON´T WANT THAT ANYMORE.
(She draws. Stops. She´s packing her suitcase.)
I KNOW THAT GUNVOR DOESN´T FEEL AS DEEPLY AS I DO NOW.
I DON´T REALLY CARE.
THE DOCTORS BELIEVE THAT I HAVE UNNATURAL FEELINGS. BUT WHAT I´M FEELING FOR HER IS NATURAL FEELINGS.
I FEEL THAT MY SOUL IS CONNECTED TO GUNVOR. SHE; WHO I WILL LOVE UNCONDITIONALLY
(The three PATIENTS enter. They are standing watching RUTH, who is packing. )
PATIENT 1 + 2 + 3: YOU WERE ALSO A CHILD ON A WOMAN´S KNEE, BUT THE DAYS AHEAD YOU WILL NEVER SEE.
HALLELUJAH, HALLELUJAH, HALLELUJAH.
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(RUTH takes leave of them. RUTH is ready to leave:)
RUTH:
WHERE AM I GOING TO?
WHERE AM I GOING TO?
(Mr. STRØM enters.)
I KNOW I AM A BURDEN TO THEM. MY BOOKS IS THE ONLY THING I HAVE NOW AT THEIR PLACE. ALL THINGS ARE DRAWING TOO CLOSE TO ME NOW.
36
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TREES. PEOPLE. ALL THE THINGS ARE DRAWING SO CLOSE. THEY´RE BURNING.
(To Mr. STRØM:) What shall I do to get out of Norway?
MR. STRØM: You have to wait.
ENSEMBLE:
(Singing from Ruth´s poem ”Impressionistic image”:) GREY HOUSES PASS BY LIKE OLDER WOMEN. PEOPLE THEY ARE PUPPETS WITH FACES DARK AND CLOSED.
SCENE 6
(The MOTHER reads a letter from RUTH, and JUDITH is reading over her shoulder:)
THE MOTHER:
”Dear Dita, beloved Muscherle! I can´t stand it here in Lillestrøm.”
JUDITH:
”It is a terrible town.”
THE MOTHER:
”And now there is not the slightest contact anymore between the Strøm family and me. You know there is something called ”to drift apart”.
JUDITH:
”Tomorrow I´m going hitchhiking with Gunvor and some other girls.”
What is that, Mama?
(RUTH and her FRIENDS sing:)
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RUTH:
Day one: Sinsen tramstation, 9th of June: We try to get a lift!
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RUTH & FRIENDS: AT FIVE O´CLOCK, AT FIVE O´CLOCK THE CARS ARE ALL AROUND US, CARS ARE ALL AROUND US, CARS ARE ALL AROUND US, BUT WHAT IS REALLY WRONG WITH THIS; THEY ALL ARE PASSING BY US, ALL ARE PASSING BY US, ALL ARE PASSING BY US!
- LA LA LA LA LA...
RUTH:
Next day: Vinstra: We spend the night in the barn!
RUTH & FRIENDS: IT´S WHISTLING AND IT´S SIZZLING AND WE WONDER WHAT THAT SOUND IS. WONDER WHAT THAT SOUND IS. WONDER WHAT THAT SOUND IS. BUT WHAT IS REALLY WRONG WITH THIS; IT COMES FROM OUR TUMMIES, COMES FROM OUR TUMMIES, COMES FROM OUR TUMMIES!
- LA LA LA LA LA...
RUTH:
Next day: Mashed potatoes by the side of the Lågen river.
RUTH & FRIENDS: WE´RE HIKING AND WE´RE HIKING AND WE HOPE TO GET TO SOMEWHERE, HOPE TO GET TO SOMEWHERE, HOPE TO GET TO SOMEWHERE. BUT WHAT IS REALLY WRONG WITH THIS; IT SEEMS WE´RE GETTING NOWHERE, SEEMS WE´RE GETTING NOWHERE, SEEMS WE´RE GETTING NOWHERE!
- LA LA LA LA LA...
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(They are using their thumbs to get a lift, but no one stops.)
RUTH & FRIENDS: BUT FINALLY A TRUCK APPEARED, AND THEN WE ALMOST CRIED,
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STANDING SIDE BY SIDE, THEN WE ALMOST CRIED, WE CRIED SIDE BY SIDE. AND WHAT WAS REALLY GOOD IS THAT WE FINALLY GOT A RIDE, FINALLY GOT A RIDE, FINALLY GOT A RIDE, FINALLY GOT A RIDE!
- LA LA LA LA LA...
RUTH:
NEXT DAY: TRONDHEIM! FINALLY! WE´VE GOT WORK!
TWO KRONER A DAY!
(GUNVOR and RUTH take leave with the other girls.)
RUTH & GUNVOR: AND WE GOT ROOM AT THE Y´! (i.e. YWCA.)
SCENE 7
(Trondheim. RUTH and GUNVOR in their room.)
RUTH:
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Suddenly, like over night, autumn is here. The nights are already dark. And I don´t see Gunvor during the night when she´s laying by my side, like a little child. I only feel her mouth and her delicate skin, and hear her:
GUNVOR:
Come!
It´s so nice when you are laying here by me. So safe.
RUTH:
IN GUNVOR THERE´S A MELANCHOLIA AND IT OVERPOWERS HER COMPLETELY. THEN I´LL BE THERE FOR HER.
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(RUTH turns to GUNVOR, caressing her forehead and kisses her. She sits on the bed, or gets into bed with GUNVOR.)
RUTH & GUNVOR:
EVERYONE SHOULD GIVE YOU SO MUCH LOVE AS I´M GIVING YOU.
EVERYONE SHOULD HAVE ANOTHER ONE TO REALLY LOVE AND CARE FOR, AS I DO FOR YOU.
SCENE 8
(RUTH alone, back in Lillestrøm.)
RUTH:
It´s been a while since I last wrote in my diary. Since Gunvor and I lived in Trondheim. In vain I tried to convince Gunvor about how stupid it was to leave, to leave our home. Now I travel every day from Lillestrøm to Oslo. I´m learning typing, Norwegian and German shorthand, with Gunvor.
GUNVOR, I LOVE HER SO.
I CANNOT IMAGINE A LIFE WITHOUT HER, NEVER. IF ONLY GUNVOR WASN´T SO SAD.
SCENE 8 B
(GUNVOR joins RUTH.)
(Suddenly:)
GUNVOR:
Today is the last time I walk with you in town.
RUTH:
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(Surprised, but is trying to joke it away.)
What? Are you kidding me?
GUNVOR:
You are like a stranger to me and I´m indifferent to you, completely indifferent.
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RUTH:
How did that happen? All of a sudden?
GUNVOR: No, it´s been a while.
RUTH: A while? What do you mean? Is it over?
GUNVOR: Yes.
RUTH: Are you serious?
GUNVOR: Yes, I´m serious.
RUTH: I have to go. Go!
(She wants to go. GUNVOR is holding her back, but RUTH gets away and runs off. She stops. Listening, but no one is following her…)
RUTH:
NOTHING EXISTS, NOTHING BUT THE TREMBLING OF EMPTINESS HERE IN MY CHEST.
OH, ALL THE WORDS YOU GAVE ME, ARE THEY GONE NOW? ARE THEY GONE? DOESN´T SHE UNDERSTAND HOW MUCH I NEED HER? TIME AND AGAIN SHE CARESSED ME... WELL, I KNOW SHE LOVED ME.
(A flashback, to Trondheim:)
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RUTH: In Trondheim, I remember it well. We were downhearted. A nasty weather that autumn. It rained continuously, the sky was grey. I had found another room for us, on a farm at Søberg, outside the city.
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We were in a café.
Gunvor wanted to return to Oslo. I was distressed and upset.
(RUTH gets up, as if she´s leaving. GUNVOR stops her.)
GUNVOR:
Seriously!
Ruth, you have to understand. We cannot be here anymore.
The work in the shop doesn´t lead to anything.
RUTH:
Shut up.
GUNVOR: Listen to me! Come with me to Oslo!
RUTH:
Shut up.
GUNVOR:
There we can start studying, there we might find a room together.
RUTH:
(Quiet.) (Then, to the audience:)
When she didn´t talk, I longed to hear her voice, only to throw in her face:
GUNVOR:
Ruth, listen to me -!
Shut up!
Ruth…
RUTH:
GUNVOR:
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RUTH:
Shut up!
(She´s exploding, throwing herself at GUNVOR, wanting to strangle her, letting go after a while and says to the audience, while sitting down on the bench:)
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RUTH: I SAT IN MY LITTLE DUSTY, OLD PARK, IN TRONDHEIM, YES, ON THAT DUSTY, OLD BENCH. I SAT THERE, AND CRIED.
(GUNVOR is coming and sits down beside RUTH:)
GUNVOR: When are you going to that farm at Søberg, outside the city?
RUTH: Tomorrow, you know that.
(Quiet. They smile.)
GUNVOR:
(Playful:) Tell me, Miss...
(Big smile:) Am I permitted to accompany you?
(RUTH is relieved. They laugh. GUNVOR disappears, laughing. They are isolated in separate lights.)
RUTH:
(Alone:) NOTHING EXISTS, NOTHING BUT THE TREMBLING OF EMPTINESS HERE IN MY CHEST. IT WAS ALWAYS ONLY RUTH AND GUNVOR, GUNVOR AND RUTH. IT WAS NEVER RUTH, IT WAS NEVER GUNVOR, ALONE. TIME AND AGAIN SHE CARESSED ME... WELL, I KNOW SHE LOVED ME.
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(RUTH looks out of the window. Moonshine. GUNVOR disappears. We see RUTH´s sister, JUDITH, in a separate light.)
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RUTH & JUDITH: MOON, I SEE YOU. MOON, I SEE YOU. YOU AND I CAN SEE THE MOON.
SCENE 9
(RUTH in GUSTAV VIGELAND's studio. She is modelling for the sculpture,"Surprised." GUSTAV VIGELAND is standing looking at her.)
VIGELAND:
I ATE A LOT OF SNAILS IN PARIS. HAVE YOU EVER TASTED SNAILS, MY DEAR MISS MAIER?
RUTH:
(laughs:) NO, MR. VIGELAND, I´VE NEVER TRIED IT. BUT I KNOW THAT I´D LOVE TO TRY.
VIGELAND:
AU GRATIN WITH GARLIC, IT IS OH SO WONDERFUL. A SENSUAL GOURMET EXPERIENCE. MY BEAUTIFUL MODEL IN PARIS, WHO BETRAYED ME, SHE LOVED TO MUNCH SOME SNAILS WHILE SHE WAS POSING FOR ME WITHOUT CLOTHES. BUT DO YOU, DEAR MISS MAIER, KNOW WHAT IT REALLY MEANS TO: TO POSE WITHOUT CLOTHES? IT DOESN´T BOTHER YOU?
RUTH:
OH, I´M SURE IT CANNOT BE SO ALARMING.
(To the audience:)
GUSTAV VIGELAND! I LOVE HIS WORKS; "Mother and Child", "Man with a woman on his lap," the Camilla Collett monument, the statue of Wergeland...
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But I don´t have the impression that he is a wise man.
(Looks back at him.)
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VIGELAND: YOU HAVE BITTEN ON THIS PENCIL, MISS MAIER. I WILL KEEP IT AS A MEM´RY OF YOU...
RUTH:
(To the audience:)
By the way. It is ok again between Gunvor and me. Well, here's what happened: We were at school.
I noticed she placed herself far away from me and spoke to the others around her.
I had to go out once to dry my tears. When the class was over, I followed her out into the hall.
(GUNVOR enters.)
RUTH:
I need to talk to you.
GUNVOR:
What?
RUTH:
I want to know the reason and I want to know if you are serious.
GUNVOR:
(Grabbing childish after Ruth's hands.)
I don´t know ... Well, maybe it was just nonsense!
RUTH:
Why are you doing this to me?
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GUNVOR:
I can´t help being like that.
(She laughs.) And you like drama, it reminds you of the theatre, right?
RUTH:
You´re hurting me.
GUNVOR:
You know I´m mad, but everything is okay now. It's true, really.
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RUTH:
So we´ll let it be. I forgive you. I forgive you everything.
(To the audience:)
FROM NOW ON, ALL MY LOVE FOR HER WILL BE TWICE AS PAINFUL.
I WAS TOO SURE ABOUT HER, NOW COMES THE JUDGEMENT...
(Back to GUSTAV VIGELAND´s studio. He has been talking all the time.)
VIGELAND:
AND SHE WAS MODELLING FOR JESUS CHRIST, AND SHE BETRAYED ME.
IMAGINE; THE GLORIOUS HOLINESS CHRIST! BETRAYED ME!
(He laughs.)
BUT YOU KNOW, MISS MAIER, EVERYTHING HAPPENS WHEN YOU´RE IN PAREE!
RUTH:
DO YOU KNOW, HERR VIGELAND?
(Going over to him, seductively:)
TODAY, ON THE TRAIN, THERE WAS A MAN WHO KISSED ME.
VIGELAND:
OH, BUT, DEAR MISS MAIER...
RUTH:
YOU KNOW A PROPER MAN WILL ALWAYS TAKE WHAT HE WANTS.
VIGELAND:
OH, MISS MAIER...
RUTH:
ON THE TRAIN, HE DIDN´T ASK ME. HE DREW ME CLOSE, AND THEN WE KISSED. WE WERE BOTH SO FILLED WITH A PASSIONATE DESIRE. (She laughs and starts to undress.)
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ARE YOU A PROPER MAN?
ARE YOU?
(He makes a sudden move, is about to embrace her. She stops him.)
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RUTH:
But, honestly, Mr. Vigeland. Shouldn´t we work?
VIGELAND:
IT WAS YOUR FAULT.
(RUTH is smiling, then isolated in a separate light. Maybe while she gets dressed.)
RUTH: NOTHING EXISTS, NOTHING EXISTS, NOTHING BUT THE TREMBLING OF EMPTINESS HERE IN MY CHEST.
SCENE 10
RUTH: A childish dream has come to life in me again; to draw, to paint, to live for the arts. If I could really do this, my life wouldn’t have been in vain.
(GUNVOR appears.)
GUNVOR:
You´ve got a strength inside you.
RUTH:
But is it a strength to create, to endure, to sacrifice everything?
Painting, like any other human is drinking and eating?
Because it is a necessity?
GUNVOR:
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Writing is for me a necessity. As I know it is for you as well.
RUTH: No, I'm just vain!
I only want to know as much as everyone else.
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GUNVOR: BUT YOU ARE ALWAYS MOVED BY WHAT IS ENCIRCLING YOU. YOU SET THE WORDS TO IT, A POETRY OF PAIN: A FEELING, A LANDSCAPE, A BEING. IT LIVES WITHIN YOU, RUTH. IN WHAT YOU´RE WRITING, AND IN WHAT YOU´RE PAINTING. IT LIVES WITHIN YOU, RUTH.
(GUNVOR sings her own poem, ”The words”:)
GUNVOR:
ALL THE WORDS, RADIANT, QUIET, I WILL FIND THEM GIVE THEM TO YOU, POUNDING A FEW MOMENTS TOGETHER WITHIN THE FRAME OF FOREVER, SO YOU WILL REMEMBER ME.
IMAGES, SPIRIT AND EARTH ALL THAT IS YOU, HEARTACHE, TURMOIL AND HOPE ALL THAT IS ME: WITNESS THE WORD OF WORDS AND WE WILL NEVER FIND IT, WITNESS BY EYES SO CLEARLY SEARCHING, BUT BLINDLY THAT THE FIRE WILL NEVER DIE!
ALL THE WORDS, RADIANT, QUIET.
SCENE 11
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RUTH: Wednesday December 24th 1941. So-called Christmas Eve. I'm alone this time. But I don't want to write about that. There is war outside. I have often thought about it, but never felt it like today. So awfully close.
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I traveled by train to Lillestrøm to celebrate Christmas by myself.
(RUTH is on a train. TWO MEN enter. One is Finnish. He seems drunk, waving his arms. Speaking an unknown language. Some German occasionally)
MAN 1: We come from Finland. People think he's drunk. But he's got a nerve shock.
(RUTH is quiet. THE FINNISH MAN continues to talk in a confusing way, hiding his face in his hands, suddenly excited, gives a military salute, laughing scornfully. Suddenly he is quiet. Staring with a flickering glance into the air. He cries.)
MAN 2: MEINE VOLK, ALLE MANNA! KAMARAT, ALLE MANNA!
(He pretends that he charges a rifle. Suddenly he falls back in the seat. Crying. Arms hanging loose. Then he sits up and looks at RUTH.)
RUTH:
(To the audience:)
I THINK ABOUT THAT ILL-FATED SOLDIER. NOT EVEN FOR SOMETHING INFINITELY GOOD SHOULD A MAN HAVE TO SUFFER LIKE THAT. NEVER COULD SUFFERING JUSTIFY THE REASON FOR SUFFERING. RATHER SUFFER WITH THE SUFFERER THAN TO CAUSE OTHER PEOPLE’S SUFFERING.
(THE FINNISH MAN on the train takes RUTH´S hand, a farewell. He and his friend exit. RUTH is alone.)
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A VOICE:
Questionnaire for Jews in Norway, from Romerike police department.
(This is spoken with a clear and ice cold voice. Ruth answers:)
A VOICE: Family name.
RUTH:
Maier.
A VOICE: First name.
RUTH: Ruth.
A VOICE: Born. Place. Date of birth. Country.
RUTH:
In Vienna, November 10th, 1920, Austria.
A VOICE: Private address.
RUTH:
Storgata 7, Lillestrøm.
Current religion.
None.
A VOICE:
RUTH:
A VOICE:
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Previous religion.
Jewish by birth.
RUTH:
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12
SCENE
A VOICE: Marital status.
RUTH: Single. A VOICE: Nationality.
RUTH: German. A VOICE: Citizenship.
RUTH: German. A VOICE: When did you come to Norway.
RUTH: January 30th, 1939.
SCENE 13
(In a synagogue. We hear the Hebrew prayer ”Avinu Malkeinu”, a prayer for peace. RUTH is isolated from the others, singing her own poem "Nothing exists" over this. RUTH is clearly maladaptive, she feels like a stranger. But she still wants to be one of them.)
ENSEMBLE:
AVINU MALKEINU, CHANEINU V´ANEINU, KI EIN BANU MA´ASIM.
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ASSEI IMANU TS´DAKAH VACHESED, VEHOSHIYEINU.
(I.e.: Hear our voice, Lord our God, pity and be compassionate to us, and accept – with compassion and favour – our prayer.)
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RUTH:
NOTHING EXISTS, NOTHING BUT THE TREMBLING OF EMPTINESS HERE IN MY CHEST.
OH, ALL THE WORDS YOU GAVE ME, ARE THEY GONE NOW? ARE THEY GONE?
THAT WINDOW, WHICH OPENS ACROSS OF A BRIGHT SUMMER, THAT RED, BLUSHING CLOUD EXTENDING OVER A QUIVERING TREE´S GOLDEN CROWN, WHAT ELSE DO I WANT, THAN THIS? WHAT ELSE HAVE I WANTED? AND YET, YOU OMNISCIENT –WHERE CAME THIS EMPTINESS FROM IF NOT PRECISELY THIS FEELING: A PAIN UNSPOKEN AS A BRIGHT NEW SUMMER.
(A WOMAN is approaching RUTH and includes her in the community, while the choir sings :)
ENSEMBLE: AVINU MALKEINU, CHANEINU V´ANEINU, KI EIN BANU MA´ASIM.
ASSEI IMANU TS´DAKAH VACHESED, VEHOSHIYEINU.
SCENE 14
(Ruth has moved into a pension, in Oslo…)
RUTH:
(Writing:) Oslo, September, 1942. It has been a while since I moved from Lillestrøm to Oslo.
Here I live in a small room overlooking a courtyard. It is very quiet here.
A small bookcase beside the bed.
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Gunvor is visiting sometimes, in her grey coat. I love her, but I have the feeling that she doesn´t love enough.
(GUNVOR enters. RUTH is resigned.)
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GUNVOR:
They are arresting Jews. All men between 16 and 72!
RUTH:
Reichkommissar Terboven has written to this pension. And asked who is living here. Maybe they will come and get me too. Qui sait? (i.e. ”Who knows?”)
GUNVOR: Ruth, you must escape!
RUTH: What shall I escape to? What shall I escape from?
GUNVOR: Ruth!
RUTH: I am a Jewess. I will stand by them, whatever happens.
SCENE 14B
(In a new light.)
ENSEMBLE: RED, THE JEW WILL BLEED WHEN YOU BEAT HIM...
(Ruth and Gunvor isolated in separate lights.)
GUNVOR & RUTH:
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LOVELY AS ONCE WHEN TIME WAS YOUNGER. TO ME IT FELT LIKE WE HAD FOR AGES WALKED TOGETHER. YOU AND ME TOGETHER ON SUNNY PATHWAYS. SO UNIFIED THAT THE TWO OF US WERE ONLY ONE. YOU, THAT WAS I. AND I, I WAS YOU.
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SCENE 15
(RUTH, from her text "A Memory." At the same time we may see her MOTHER and SISTER in a separate light, and maybe also the father?...)
RUTH:
I remember one evening. You were going to the theater. How we enjoyed that word. A twilight in the room and you in the front of the mirror. You were wearing your dress, Mama, the one with white dots. We sneaked us up your long legs and said: Mama, how pretty you are! You smiled. Papa was standing behind. Tall and very different from when he was dead. He was waiting and you, you were standing in front of the mirror.
ENSEMBLE: RED, THE JEW WILL BLEED WHEN YOU BEAT HIM...
SCENE 15 B
(In her room. Night. RUTH is writing in the diary.)
RUTH:
(Writing:) Oslo, November, 1942. Once everything will end and then everything will be good.
It's like a restless trembling in my chest. A grudge: What are you? What do you live for? Everything I started has been a failure. It is as if it was too late for me, as if my life has been missing something important. The only consolation is to lay a hand on the forehead.
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Seek tranquility in ones own pain. LIVING COULD HAVE BEEN GOOD. SO GOOD…
By the way; tomorrow we will see “The Wild Duck” by Henrik Ibsen…
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(Music. Knocking on the door. TWO POLICEMEN enter. This is what happens, but the audience cannot hear what is being said:
POLICEMAN: Ruth Maier?
RUTH: Yes.
POLICEMAN: You are arrested. You are allowed to pack the essentials. Move on!)
(RUTH walks slowly around, packing some books and some clothes. She is resigned. THE POLICEMEN are leading RUTH, with her suitcase, towards the door. Then she stops and opens the suitcase - She takes out her diary and leaves it behind.)
RUTH: I will never come back.
(She turns and is being led out by the two POLICEMEN. GUNVOR walks over and takes up the book, holding it tightly to her chest.)
GUNVOR: You hear her sad, gentle voice as if it was there in the mist, questioning without complaint, as if she would still exist:
RUTH'S VOICE: Warum sollen wir nicht leiden wenn so viel leid ist?
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(After the last chord in the music, we hear the voice of YOUNG RUTH:)
I want to leave something behind! A document saying that I was there! A great, beautiful work of art!
- The End -
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