I. Introduction – A Canadian play for a German audience
While talking about the play “Billy Bishop goes to war” by John Gray and Eric Peterson that was written in 1976, different points of view play a decisive role. The play deals with a Canadian boy who joins the military because of a lack of possibilities. The action begins in Canada in 1914. That means it is the time of World War I and Canadian forces fight as a part of the Empire against the enemy, namely Germany. The play describes Billy Bishop’s rise from a Canadian boy to a national hero as a fighter ace. Consequently there are different attitudes towards the play, for instance if you are an opponent of war or an advocate of it. Furthermore there is the question of age: if you have fought in a war and have seen how friends die or if you are a young man who is full of bravery, strength and patriotism, you have a different attitude towards such a play. But above all there is the question of nationality. As the play is of Canadian origin and originally played for Canadians, the question is meaningless. But on the one hand the fact that the play received great honor and was performed on Broadway and on the other hand the existence of a German film version opens a completely new kind of adapting the play for Germany.
In the film version there are German actors that play Billy and the piano player and the text is German, too. What these facts mean and how film and play are adapted for Germany is analyzed in the following term paper. Concerning that there is not any kind of secondary literature about this topic that can be accessed by a German Library, the analysis is based upon my own results of analyzing play and film as well as studying the preface of the drama.
The version of the play is the one in the Jerry Wasserman anthology “Modern Canadian Plays” published by Talonbooks, Vancouver and the film version is the one directed by Peter Meincke and Norman McCandlish of the year 1984/1985.
II.1 Summary
The Canadian play “Billy Bishop goes to war” by John Gray and Eric Peterson deals with a young Canadian from Owen Sound, Ontario who becomes a flying-ace and a hero. The play takes place in the year 1914, which means the time of World War I, where recruits from the British colonies were drafted to support the British Empire against the Germans, or as they call it, the Huns. At the age of twenty Billy enters the Royal Military College (R.M.C.) because of a lack of opportunities and the qualification of
Table of Contents
I. Introduction – A Canadian play for a German audience
II. 1 Summary
II.2 Formal structure
II.2.1 Importance of a two-man show
II.2.2 Importance of the letters
II.2.3 Importance of the songs
II.3 What is a Hun?
II.4 Role of the Hun in the play
II.5 Transforming the role of the Hun into a German play
III. Conclusion - Adapting an anti-German film for Germany
Research Objectives and Key Topics
This paper examines the challenges and strategies involved in adapting the Canadian play "Billy Bishop goes to war" for a German audience, specifically focusing on the transition from an anti-German theatrical production to a version suitable for German television. The study explores how cultural perception and national identity influence the portrayal of historical figures and the representation of the enemy in war dramas.
- The impact of the two-man show format on audience engagement and narrative delivery.
- The symbolic function of songs and letters in expressing soldier sentiment and war trauma.
- The linguistic and historical connotations of the term "Hun" in an Allied versus a German context.
- The structural and thematic adjustments made in the film adaptation to accommodate a German perspective.
- The balancing of historical accuracy with the necessity of making war narratives palatable for different national audiences.
Excerpt from the Book
II.4 Role of the Hun in the play
The appellation “Hun” provides an insight into the role of the Hun in the Canadian view of World War I. Namely the Canadian attitude as well as the attitude of the rest of the Allies is a German hating one. The soldiers hate the Germans, although they have never seen a “Hun” before. Logically their hatred is explained by the hostile relationship to the Germans. Naturally this loathing is transferred to the play. Thus the drama was intended for Canadians who probably lost beloved friends and family members; the “Hun” is described as a faceless enemy who has to be deleted. As a consequence there are certain scenes in the play which underline this attitude in a clear way.
Despite of the song “We were off to fight the Hun” there is the scene when Billy learns to know about what it means to be a pilot. In this specific moment his dream of being a pilot has come true and now he is told what happens to Allied forces if they fall down over “Hunland”. Namely the Germans take a photograph of a dead pilot’s grave to the other side of the line while pretending to have a peaceful aim and wearing the white flag. Although this treatment is pretty brutal, the chance of surviving and being taken a prisoner does not sound better to Billy: As a German prisoner you have to witness a great party in the officers’ mess where the winners let the corks pop. This cruel behavior is linked with the way of life of the old Huns and answered by the Allies with the intention to “force the German down” and then have a little celebration of their own bravery where the German has to take part in before he is imprisoned.
Chapter Summaries
I. Introduction – A Canadian play for a German audience: This section sets the stage by identifying the core conflict of adapting a Canadian play for a German audience, noting the lack of secondary literature and the author's reliance on primary analysis.
II. 1 Summary: This chapter outlines the plot of "Billy Bishop goes to war," detailing the protagonist's transition from an aimless young man to a celebrated flying ace during World War I.
II.2 Formal structure: This section discusses the play's unique two-man format and the significance of recurring narrative devices like letters and music.
II.2.1 Importance of a two-man show: This chapter analyzes how the choice of a two-man performance was driven by both economic constraints and a desire to connect authentically with a Canadian audience.
II.2.2 Importance of the letters: This section examines the role of letters to Margaret as a means of revealing Billy’s inner emotional state and his developing perspective on the war.
II.2.3 Importance of the songs: This chapter explores the function of songs in the play as vehicles for expressing war-related sentiments and the changing attitude toward the enemy.
II.3 What is a Hun?: This section explores the historical origins of the term "Hun" and its transformation into a derogatory label during World War I.
II.4 Role of the Hun in the play: This chapter analyzes the portrayal of the "Hun" as a faceless, villainous entity in the original Canadian play and how this influences the audience's perception of the conflict.
II.5 Transforming the role of the Hun into a German play: This section discusses how the film adaptation modifies the treatment of the enemy, incorporating German perspectives such as the role of the Red Baron.
III. Conclusion - Adapting an anti-German film for Germany: This final chapter evaluates the success of the film adaptation in maintaining the play's core message while making it culturally acceptable and nuanced for a German audience.
Keywords
Billy Bishop, Canadian Drama, World War I, Cultural Adaptation, The Hun, German Film, War Representation, Narrative Structure, John Gray, Eric Peterson, Manfred von Richthofen, Historical Perspective, National Identity, Military Heroism, Theatre Analysis.
Frequently Asked Questions
What is the primary focus of this academic paper?
The paper focuses on the cultural adaptation of the Canadian play "Billy Bishop goes to war" for a German audience, analyzing how the film version adjusts themes and perspectives to suit a different national context.
What are the central thematic fields covered in this study?
The study covers themes of war, patriotism, national identity, the representation of the "enemy," and the challenges of historical interpretation in drama and film.
What is the central research question?
The research asks how an explicitly anti-German play can be successfully transformed for a German audience without losing its original dramatic impact and message.
Which methodology is employed in this work?
The author uses a qualitative analysis approach, primarily comparing the original play text with the film adaptation to identify shifts in narrative, symbolism, and character portrayal.
What topics are discussed in the main body?
The main body examines the play’s formal structure, the psychological importance of letters and songs, the historical and pejorative significance of the term "Hun," and the strategic changes made in the film version regarding the portrayal of German figures.
Which keywords best characterize the paper?
Key terms include Billy Bishop, Cultural Adaptation, World War I, The Hun, German Film, and War Representation.
How does the film version address the "anti-German" sentiment of the original play?
The film shifts the perspective by reducing the use of the slur "Hun," introducing German historical icons like the Red Baron, and acknowledging that the responsibility for the war was not uniquely German.
Does the author consider the film adaptation a success?
Yes, the author concludes that the filmmakers succeeded in their task by creating a version that remains true to the original play while effectively addressing the expectations and sensibilities of a German audience.
- Quote paper
- Sabrina Middeldorf (Author), 2007, Adapting "Billy Bishop goes to War" for Germany, Munich, GRIN Verlag, https://www.grin.com/document/150208
