**1. Introduction**

The dramatist, poet, and novelist Nordahl Grieg was in many ways the most internationally oriented Norwegian writer of the first half of the twentieth century. He sailed around the world in late adolescence (in the years after the First World War), he studied at Oxford in the early 1920s, and he published travelogues from Greece and China in the late 1920s. Grieg went on to spend almost two years in the Soviet Union in the early 1930s, and he later visited Spain as a war correspondent during the Civil War in 1937. During the early years of the Nazi occupation of Norway in the Second World War, Grieg served the Norwegian governmen<sup>t</sup> in exile before being shot down in an aircraft, at the age of 41, while observing an allied air raid over Berlin in December of 1943.

While in the Soviet Union in 1933–1934, Grieg responded with enthusiasm to new theatrical styles and techniques that he would later utilize in *Vår ære og vår makt* (first published in 1935, translated to English as "Our Power and Our Glory"). With this drama, Grieg brought avant-garde and modernist impulses to Norway in one of the decade's most significant and controversial theatrical events. *Vår ære og vår makt* employs a montage technique of contradictory juxtapositions, abrupt scenic shifts, and innovative musical, sound and lighting effects. The play shifts wildly in tone, from elegiac solemnity to darkly comic satire. Soviet theater was one of several international influences; other notable reference points include Erwin Piscator's documentary drama and Bertolt Brecht's Epic theater, as well as Noël Coward's 1931 play *Cavalcade*, which Grieg saw on the stage in London before it became a popular film in 1933. This article explains how *Vår ære og vår makt* employs what I will call a "montage rhetoric" to depict war profiteering and class divisions in Norway during the First World War, and to advance a revolutionary anti-capitalist and anti-war agenda in its own beleaguered historical moment.

"Montage" is a key term associated with Russian avant-garde film and theater, with Sergei Eisenstein as its central theorist in film and Vsevolod Meyerhold an important practitioner in the theater. While the play's borrowing of a montage technique from the Soviet avant-garde has long been noticed by commentators, the rhetorical function of Grieg's particular usage of montage has not been specified. By using a montage technique characterized by grotesquely contrasting juxtapositions, Grieg emphasizes inequalities and conflicts between the different the social groups depicted in the play, the ship-owners and the sailors of Bergen. These politically charged contrasts are also communicated through musical and stylistic incongruities, as Grieg draws on a range of musical genres, from folk song to jazz. Ideologically, the play reflects Grieg's conviction that Stalin's Soviet Union was the admirable land of the future that Norwegians should emulate: a bulwark against capitalist warfare and exploitation, in which class divisions had been eliminated and a new worker's society was being built.

In what follows, I will first explain the historical and political contexts of *Vår ære og vår makt*, before moving to a reading of the play's montage rhetoric and use of grotesque contradictions. Then I will consider the impact of Grieg's two-year stay in the Soviet Union in the early 1930s and discuss his writings about Soviet theater, as well as his controversial pro-Stalinist position throughout the decade. There is a historical irony, I suggest, in Grieg's embrace of avant-garde Soviet theater, in that it took place at a time when Stalinist repression and censorship was increasing, Socialist Realism was already being imposed as an official style, and the groundbreaking period of experimentation was coming to an end.

## **2. Sailors and Ship-Owners**

*Vår ære og vår makt* puts forward a scathing critique of Norwegian ship-owners who earned a fortune as war profiteers during the First World War. Before moving to a discussion of the play's techniques, a bit of historical background is in order. Norway has sometimes been referred to as a "neutral ally" in the First World War, due to its popular sympathies with Great Britain and France, and its reliance on British control of the seas for security (Derry 1979, p. 303). These sympathies only increased as Norwegian ships were torpedoed by German U-boats in the course of the war. Through neutral, Norway derived profits from the warring grea<sup>t</sup> powers, who purchased raw materials and requisitioned ships. Norwegian pyrite and copper became highly valuable in wartime, while the value of ships could often increase by up to six times (Furre 1992, p. 57). During the boom years (*jobbetiden*) early in the war, Norwegian war profiteers and ship-owners could made heaps of money while wage rates remained static. The cost of living grew by 280 percent over the four war years (Derry 1979, p. 305). As *nouveaux riches* ship-owners and investors gained handsomely, they ignored the social and economic conditions of the workers and crews. Nine hundred Norwegian ships were lost in shipwrecks during the war, and 2000 Norwegian sailors lost their lives (Furre 1992, p. 57). In 1918, the Norwegian labor party (*Arbeiderpartiet*) gave voice to the social unrest heightened by this situation and passed a motion supporting "revolutionary mass action" (Derry 1979, p. 306). By the time Grieg was writing his play in 1935, however, *Arbeiderpartiet* had changed its course and become a reformist, Social Democratic party.

In selecting this difficult aspect of recent Norwegian history as the topic of his drama, Grieg was intentionally spotlighting a tense issue, especially for the local Bergen audience. As part of his archival research when writing the drama, Grieg studied old wartime issues of the Bergen-based leftist newspaper *Arbeidet*. Here he encountered reports about an espionage case that he remembered from his youth in the city, which he then incorporated into the story (Hoem 1989, p. 198). He also scoured the right-leaning newspapers from the war years to find arguments to give to the bourgeois character in his play. In an interview with *Arbeidet* in March of 1935, Grieg observed that "reality is in its grotesque brutality so much worse than anything anyone could sit and think up, that you would have to be stupid not to make use of old newspapers and archives" ("virkeligheten er i sin groteske råskap så mege<sup>t</sup> veldigere enn noe menneske kan sitte og pønske ut at man måtte være mege<sup>t</sup> dum om man ikke tok avisårgangene or arkivene til hjelp") (Vold 1983, pp. 110–11). Another aspect of his research involved spending time talking to old sailors at the homeless shelters and near the Fish Market in Bergen.

At a more general level, *Vår ære og vår makt* sounds an alarm for its own time about a looming war desired by capitalists, investors, and profiteers. It was the first piece of literature Grieg wrote after his Soviet trip, and the first of three political dramas he wrote in the 1930s, followed by *Men imorgen*—(*But Tomorrow*—, 1936) and *Nederlaget* (*The Defeat*, 1937). Although he originally planned it as a film manuscript, the theater director Hans Jacob Nilsen at *Den Nationale Scene* in Bergen convinced Grieg to write a play instead, overcoming his doubts about theater after the bad reception of *Atlanterhavet* (The Atlantic) in 1932 (Hoem 1989, p. 195). Nilsen has been credited with turning *Den Nationale Scene* into a significant site of avant-garde theater in 1930s Norway, and he was instrumental in bringing *Vår ære og vår makt* to the stage for its Bergen premiere in May 1935 (Dahl 1984, p. 427). As the theater director from 1934 to 1939, Nilsen showed an interest in anti-fascist plays, having started his directorship with Pär Lagerkvist's *Bödeln* (The Hangman), a drama that highlights the barbarism and evil of Nazism (Lagerkvist [1934] 1956). Nilsen took an active role in the formation of the play, and without his support during the controversy before its premiere, the play never would have made it to the public (Hoem 1989, p. 208). Police were present at the premiere, and amidst the enormous applause, booing and outbursts of anger were also heard. Grieg's drama clearly touched a raw nerve, and some even saw it as a treasonous attack on a nationally vital industry. Nonetheless, the Bergen production went through 60 performances with a full house, and it was praised by many critics for its daring and innovation (Skjeldal 2012, p. 199). The play was performed in the fall of 1935 at *Nationaltheatret* in Oslo and the following year at *Det Kongelige Teater* in Copenhagen.
