Entertainment In Finland During The Russian Invasion

Despite the Russian invasion, Helsinki’s theatre continued to stage performances in the early twentieth century. A newly independent Finland took over the building in spring 1918. But by 1918, censorship had been abolished and anti-clerical texts were rushed onto the stage. As a result, the theatre’s repertoire was similar to that of provincial Russian theatres. Its performances were cut to short plays, and the theatre’s target audience was civil servants in Helsinki.

Finnish directors frequently saw premieres in St Petersburg. However, the local kierratysvapaat ilmaiskierrokset newspapers did not report on the performances. There was also no scandal or opposition to the theatre’s opening. The company had the support of a local company, which offered assistance to actors visiting from St Petersburg. This prevented any negative opinions about Russians.

The Finnish actors were taught by the Russian influence. One of them, Pyotr Rosenheim, was a governmental official from St Petersburg who was stationed in Helsinki. He began to write drama, and after a play was staged he joined the theatre’s board of directors.

According to Byckling, the theatre’s repertoire was similar to the theatres in provincial Russian towns. As a result, the theatre regularly had financial losses. Moreover, the plays were short and had to be over by 11pm. As a result, the audience could not reach the theatre. The company had to cut the plays to fit the schedule of the actors.

According to Byckling, the local company offered a service for Russian actors to visit the company. It was also possible for actors to visit St Petersburg to attend a premiere. But, the company’s contract forbid any negative comments about the Russians.

In 1868, a Russian theatre opened in Helsinki. The theatre’s repertoire included plays by Alexander Ohqvist, who wrote plays in both Swedish and Russian. During the summer months, the theatre’s performances were in Finnish. The theatre was situated on an island fortress called Sveaborg.

However, ice prevented audiences from reaching the theatre. At times, the theatre had to close before the last ship sailed. It was therefore unable to maintain a full repertoire. By 1918, the theatre was operating under a new company, which was supported by wealthy Russians. It also had an audience of Russian troops stationed in Helsinki.

In 1918, the Finnish Civil War broke out. Although the theatre continued to stage performances, the Russians began to leave the country. After the war, the theatre closed, and it was eventually replaced by a theatre that was lit by electricity.

In her book, Keisarinajan kulisseissa: Behind the Scenes in Imperial Times, Liisa Byckling provides the first comprehensive study of Russian theatre in Helsinki. She based her study on Finnish, Swedish, and Russian sources, and consulted imperial periodicals. Byckling argues that the Russian performances were entertainment for expatriate Russians. It was a form of cultural exchange. However, she does not believe that the Russians aimed to "russify" the Finnish people. Instead, she believes that the plays were just another form of cultural exchange.