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Peer Gynt INDHOLDSFORTEGNELSE UNDERVISNINGSMATERIALE peer gynt INDHOLDSFORTEGNELSE Om undervisningsmaterialet / 3 Henrik Ibsens liv og levned / 4 Ibsens forfatterskab og teknik / 6 Naturalismen og Det moderne gennembrud / 8 Peer Gynt / 10 Interview med instruktør Moqi Simon Trolin / 11 Oplevelse, analyse og diskussion / 12 Litteratur / 13 OM UNDERVISNINGS- MATERIALET Peer Gynt er et dramatisk digt skrevet af Henrik Ibsen i 1867. Peer Gynt fik premiere på Christiania Theater i Christiania 24. februar 1876 med musik af Edvard Grieg. Henrik Ibsen begejstrede og forargede sin samtid. Han begejstrer stadig sin eftertid og ingen dramatiker ud over Shakespeare er mere spillet på alverdens teaterscener. I modsætning til Shakespeare skrev nordmanden Henrik Ibsen også sine stykker med henblik på bogsalg, og som sådan, som bøger, læses de i dag langt bredere end mange af de store romaner fra perioden. Fortælleøkono- mien i Ibsens realistiske værker er uendelig stram, som om han anede, at han halvanden hundrede år senere skulle konkurrere med moderne massemedier om et for- vænt publikums opmærksomhed. Han revolutionerede teatret og havde stor indflydelse på litteraturen. Oscar Wilde, James Joyce og Anton Tjekhov er bare et par i den lange række af forfattere, som formentlig ikke ville have skrevet på helt samme måde, havde Ibsen ikke været der. Undervisningsmaterialet er opbygget sådan, at I får et indblik i Ibsens opvækst, uddannelse og karriere. Heref- ter følger en introduktion til Ibsens forfatterskab og den helt specielle tilbageskuende teknik, han mestrede til fulde. Dernæst følger et afsnit om naturalismen og Det moderne gennembrud og endelig et afsnit om Peer Gynt, et interview med instruktør Moqi Simon Trolin og lidt in- spiration til at arbejde videre med teksten. Undervisningsmaterialet henvender sig til folkeskolens ældste klasser samt de gymnasiale uddannelser. Materi- alet kan bruges i fag som dansk, historie og drama og vedrører bl.a. emner som det moderne menneskes selv- realisering og ligestilling. Litteraturhistorisk rummer ma- terialet artikler om naturalismen og Det moderne gen- nembrud. God fornøjelse med Peer Gynt. Folketeatret 2018/2019 / 3 HENRIK IBSENS LIV OG LEVNED Skien, Norge, 1828. På Stockmanns gård kommer en – ti år efter sin far. dreng til verden, og forældrene opkalder den lille efter hans to bedstefædre. Resultatet er: Henrik Johan Ibsen. MED OG UDEN PSEDONYM Siden udvider købmandsfamilien med fire børn, men i I 1850 er Ibsen udlært på apoteket og flytter til Christia- 1834 går forretningen fallit, og familien tvinges fra går- nia2 for at gøre sin studentereksamen færdig. Undervejs den og må flytte til en ny by. Oven i den tragedie svirrer besøger han sin familie i Skien. Det er den sidste gang, rygter om ørerne på Ibsen; han er et uægte barn – hans han ser dem, lige med undtagelse af en søster, som han far er ikke hans rigtige far. Meget tyder på, at Henrik Ib- bevarer kontakten til hele livet. Inden flytningen har Ib- sen var en følsom dreng med en god hukommelse, for sen forsøgt sig som dramatiker. Under pseudonymet mange af barndommens oplevelser bliver bearbejdet og Brynjolf Bjarme har han skrevet stykket Catilina og sendt fremstillet i flere af hans stykker. F.eks. optræder der det til teatret i Christiania. Han får afslag fra teatret og uægte børn i Gengangere (Regine), Vildanden (Hedvig), møder heller ingen velvilje fra hverken bogtrykkere eller Rosmersholm (Rebekka), Brand (Gerd) og flere andre. boghandlere. I 1850 skriver han sit næste stykke, Kjæm- Man mener, at deklasseringen og den økonomiske ruin pehøjen, som på alle måder er et ringere stykke end Ca- gør, at han hele sit liv er meget påpasselig med sine tilina, men dets handling er i pagt med de nationalro- penge. mantiske strømninger, der hærger på den tid, og denne gang bliver hans stykke antaget af teatret i Christiania. EN AKTIV DRENG Stykket får rosende omtale og giver Ibsen blod på tanden Henrik Ibsen var glad for at gå i skole og var især optaget til at fortsætte skriverierne. af religion og tegning. Han var, hvad man i dag ville Til gengæld går det ikke så godt med studentereksame- kalde et kreativt barn; han tegnede meget og var enormt nen. Ibsen dumper i både græsk og aritmetik, men han god til at danse. Han underholdt hele byen med dukke- får aldrig taget eksamenerne om. Alligevel kan han efter teaterforestillinger, som han opførte med hjemmelavede tidens normer kalde sig student og følge forelæsninger snoredukker og selvskrevne stykker. Han var en habil på universitet. Ibsen har for længst droppet idéen om tryllekunstner og optrådte gerne til byfester og selskaber. medicinstudiet og følger nu i stedet kurser i filosofi og Man ved ikke om Ibsen nogensinde var i teatret i sin litteratur med det formål at blive digter. Han melder sig barndom, men det er sandsynligt, idet man har opteg- ind i Den Litterære Forening, hvor han er et aktivt med- nelser fra omrejsende teatertrupper som fortæller, at de lem, og hans produktion af digte er stor dette år. I be- har spillet flere forestillinger i Skien. I januar 1844 tager gyndelsen af 1851 bliver han tilbudt stillingen som re- Ibsen til Grimstad for at starte som lærling hos apoteker daktør af Studentersamfundets håndskrevne avis, Reimann, hvor han bliver i de næste seks år. Sidelø- Samfundsbladet, og igennem den møder han en række bende med sin læreplads læser han om aftenen fag som skribenter. Sammen starter de et helt nyt samfundskri- græsk og latin i håbet om at kunne blive student og der- tisk og –satirisk blad. Det har i begyndelsen intet navn, med få mulighed for at komme på universitetet for at men kommer senere til at hedde Manden. Ibsen lever nu læse medicin. Reimann er medlem af et litterært sel- af at skrive digte og anmeldelser foruden politiske og ak- skab, den slags selskaber var meget populære dengang, tuelle kommentarer – i eget navn. og da Ibsen ikke har råd til at være medlem, låner Rei- mann ham en masse bøger. På den måde får Ibsen læst FIASKO OG SUCCES både Holberg og Oehlenschläger og højst sandsynligt Ved en støttefest for det ny-indviede Det Norske Teater i også Shakespeare. Ibsens første stykke Catilina (1849) er Bergen træffer Ibsen teaterdirektøren Ole Bull. Ibsen har i hvert fald meget Shakespeare’sk i både ide og opbyg- skrevet aftenens prolog og efter flere lovord i avisen de ning. Inden hans digtertrang kommer til udtryk i dette følgende dage, kontaktes han af Ole Bull, som ansætter historiske drama på blankvers1, har Ibsen dog været pro- Ibsen som dramatisk forfatter ved teatret. Ibsen flytter duktiv på en helt anden måde; han har gjort en ti år æl- til Bergen og lever her de næste seks år. Årene er en prø- dre pige gravid. Hun er tjenestepige hos apoteker Rei- velse for Ibsen. Han mangler konstant penge og oplever mann og rejser i 1846 væk fra byen for at føde en søn. både skuffelser og nederlag. Men det er også her, at han Denne søn betaler Ibsen pligtskyldigt til i de næste 14 for alvor lærer det dramatiske håndværk, der med tiden år, men han har aldrig kontakt med ham. Så vidt man skal gøre ham til en af de betydeligste dramatiske forfat- ved, sås de kun en gang. Sønnen opsøger Ibsen kort før tere i sin tid. Arbejdet på teatret spænder vidt og stiller dennes død, og mødet har givet vis været dramatisk. store krav til Ibsens talenter. På teatrets årlige stiftelses- Men Ibsen omtaler det aldrig selv, og sønnen dør i 1916 dag skal der opføres et nyskrevet stykke fra Ibsens hånd. 1Blankvers er vers uden rim. 2Det nuværende Oslo. / 4 HENRIK IBSENS LIV OG LEVNED Fortsat Han sætter i scene, tegner udkast til kulisser og kostu- mer, står for den forretningsmæssige ledelse og ordner regnskaberne. Det eneste han faktisk aldrig kommer til er at fungere som skuespiller. I løbet af sine år i Bergen rejser Ibsen også rundt i Europa og besøger flittigt både Danmark og Tyskland. Sideløbende skriver han bl.a. Sankthansaften og Fru Inger til Østeråt, men ingen af dem høster succes. Selv kort før sin død nægter Ibsen at Kjæmpehøjen og Sankthansaften skal optages i hans samlede værker – han synes selv, de er for ringe. Først i 1865 med Gildet på Solhaug oplever Ibsen en vaskeægte succes – stykket går på teatre i både Bergen og Oslo med fine anmeldelser til følge og udkommer siden hen i bog- form. IBSEN UDVANDRER I 1857 bliver Ibsen ansat som kunstnerisk direktør på Det Norske Teater i Christiania. Skriveriet lægges stort set på hylden i de næste fem år, bortset fra Hærmændene på Helgenæs, som han skriver i 1857 og selv sætter op på teatret i 1858 uden den store succes. Privat går det stry- gende; Ibsen gifter sig samme år med Suzannah Thore- Henrik Ibsen sen, som han har mødt i Bergen. I 1862 udkommer Kær- lighedens Komedier og afslutter den længste og mest uproduktive periode i Ibsens liv. Samme år går Det Nor- ske Teater i Christiania fallit. Ibsen står uden fast arbejde og kommer for alvor i gang med at udnytte og dyrke sit sublime talent for at skrive dramatik. I 1864 flytter Ibsen til Rom med sin familie, der nu er blevet udvidet med sønnen Sigurd. Norge genser de først 27 år senere. I Rom skriver han blandt andet Brand (1865), Peer Gynt (1867) og senere Gengangere (1881) og En Folkefjende (1882). Siden flytter de til Dresden, hvor han skriver De Unges Forbund (1869) og til München, hvor han blandt andet skriver Samfundets støtter (1877), Rosmersholm (1886) og Fruen fra havet (1888). Først i 1891 vender han til- bage til Norge, hvor han lever til sin død i 1906. Her skriver han blandt andet Lille Eyolf (1894) og det sidste skuespil Når vi døde vågner (1899).
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