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Henrik Ibsen 1828-1906
Sune Berthelsen Menneskeåndens revoltering Henrik Ibsen 1828-1906 Jeg går aldrig ind på at gøre friheden ensbetydende med politisk frihed. Hvad De kalder frihed, kalder jeg friheder; og hvad jeg kalder kampen for friheden er jo ikke andet end den stadige, levende tilegnelse af frihedens idé. Den, der besidder friheden anderledes end som efterstræbelse, han besidder den dødt og åndløst, thi frihedsbegrebet har jo dog det ved sig at det stadigt udvides under tilegnelsen, og hvis derfor nogen under kampen bliver stående og siger: nu har jeg den, - så viser han derved at han netop har tabt den. Ibsen i brev til Georg Brandes, 17/2 1871 Ibsens forfatterskab er på alle måder stort. Hans forfatterskab strakte sig over næsten 50 år, han nåede en verdensomspændende udbredelse, og overfor en lang række af eftertidens kunstneriske udtryksformer fik han kolossal betydning Hans internationale berømmelse kom da han udsendte sine naturalistiske problemdebatterende samtidsdramaer. Væsentlige forudsætninger for Ibsens store gennembrud var Georg Brandes og forlaget Gyldendals direktør Hegel. Om betydningen af de fordringer Georg Brandes havde opstillet for litteraturen i Emigrantlitteraturen (1872), sagde Ibsen: ”Farligere bog kunde aldrig falde i en frugtsommelig digters hænder.” Mens Hegel indtog en mere diskret men ikke mindre vigtig rolle. I samtiden gik vejen til berømmelsens tinder for norske forfattere gennem København. Da Gyldendal blev forlægger for Ibsen begyndte et tæt samarbejde mellem Ibsen og Hegel. For at nå et bredere publikum ønskede Hegel at fremelske et mere universelt præg, bl.a. skulle sproget normaliseres og særnorkse træk udrenses. Den meget oplagsbevidste Ibsen indvilgede straks. Ibsen realiserede med Samfundets Støtter (1877), Et Dukkehjem (1879), Gengangere (1881) og Vildanden (1884) i praksis de teoretiske ideer for det problemdebatterende naturalistiske teater. -
A Century of Ibsen
; A CENTURY OF IBSEN BY HENRY CHARLES SUTER OXR liundred years ago, there was born in a Norwegian town an "infant crying in the night" who grew to be a writer, but not one "with no language but a cry." For it has been well cited that Henrik Ibsen became the apostle of those who insist on self- realization and self-expression. In those days Ibsen sensed a devo- tion to formulas that fostered the use of fantastic phrases that possessed little positive potency. Crowd psychology took the place of individual thinking, and concerted action was more active than careful deliberation. Echoes multiplied by artifice were glorified as public opinion mathematical arrangements of votes contrived in consequence, a mechanical conception of society; and ultimately humanitarianism displaced humanism. Ibsen pilloried all this and made his appeal to those who were willing to pay the price of straight thinking. Ibsen owed little to life's circumstances of lowliness, since his father became insolvent ere he reached the age of eight. So his \outh was spent in studying poetry to relieve the monotony of ap- prenticeship to an apothecary. In his twenties he was aiding the management of the theater of Bergen, his home town, but the chief outcome was that comradery critics caused him to witness drama in larger cities. Before he had seen one play produced, he had written several himself, although these are not found among those preserved for us. The wretched attic in the JVild Duck was con- jured up in his memory from childhood; when nearly forty he was often unable to buy stamps to dispatch his manuscripts ; and even at successful maturity, a "poet's pension" arrived changing neerl into frugal comfort. -
University of Warwick Institutional Repository: a Thesis Submitted for the Degree of Phd at The
University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/36168 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Critical and Popular Reaction to Ibsen in England: 1872-1906 by Tracy Cecile Davis Thesis supervisors: Dr. Richard Beacham Prof. Michael R. Booth Submitted for the degree of Doctor of Philosophy, University of Warwick, Department of Theatre Studies. August, 1984. ABSTRACT This study of Ibsen in England is divided into three sections. The first section chronicles Ibsen-related events between 1872, when his work was first introduced to a Briton, and 1888, when growing interest in the 'higher drama' culminated in a truly popular edition of three of Ibsen's plays. During these early years, knowledge about and appreciation of Ibsen's work was limited to a fairly small number of intellectuals and critics. A matinee performance in 1880 attracted praise, but successive productions were bowdlerized adaptations. Until 1889, when the British professional premiere of A Doll's House set all of London talking, the lack of interest among actors and producers placed the responsibility for eliciting interest in Ibsen on translators, lecturers, and essayists. The controversy initiated by A Doll's House was intensified in 1891, the so-called Ibsen Year, when six productions, numerous new translations, debates, lectures, published and acted parodies, and countless articles considered the value and desirability of Ibsen's startling modern plays. -
Production Staff
PRODUCTION STAFF S1:age Management MARY MANCHEGO,· assisted b-y jEFFREY EMBLER, ALBERT HEE Company Manager MARGARET BusH Lighting LAURA GARILAO and RoY McGALLIARD, assisted by DANIEL S. P. YANG, MIR MAGSUDUS SALAHEEN, CAROL ANZAI Costume Maintenance CARROLL RrcE, assisted by PEGGY PoYNTZ Costume Construction FRANCES ELLISON, assisted by DoRoTHY BLAKE, LouiSE HAMAl Scene Construction and Painting HELENE SHIRATORI, AMY YoNASHIRo, RrcHARD YoUNG, jEANNETTE ALLYN, FLoRENCE FUJITANI, RoNDA PHILLIPs, CYNTHIA BoYNToN, RosEMARIE ORDONEZ, JoAN YuHAs, IRENE KAME~A, WILLIAM SIEVERS, JoHN LANE, CHRISTOBEL KEALOHA, MILDRED YEE, CAROLYN LEE, ERNEST CocKETT, LoRRAINE SAITO, JumTH BAVERMAN, JosEPH PrscroTTE, DENNIS TANIGUCHI, jANICE YAMASAKI, VIRGINIA MENE FEE, LoursE ELSNER, CHARLES BouRNE, VERA STEVENSoN, GEORGE OKAMOTO Makeup MrR MAGsuous SALAHEEN, assisted by BARBARA BABBS Properties AMANDA PEcK, assisted b)• MARY MANCHEGO Sound ARTHUR PARSON Business Management JoAN LEE, assisted by ANN MIYAMOTO, jACKIE Mrucr, CAROL SoNENSHEIN, RANDY KrM, Juoy Or Public Relations JoAN LEE, assisted by SHEILA UEDA, DouG KAYA House Management FRED LEE GALLEGos, assisted by DAVE McCAULEY, HENRY HART, PAT ZANE, VERNON ToM, CLYDE WoNG, Eo GAYAGAS Ushers PHI DELTA SIGMA, WAKABA KAI, UNIVERSITY YWCA, EQUESTRIANS, HUI LoKAHI Actors' Representatives ANN MIYAMOTO, WILLIAM KROSKE Members of the classes in Dramatic Productio11 (Drama 150), Theatre Practice (Drama 200), and Advat~ced Theatre Practice (Drama 600) have assisted in the preparation of this production. THEATRE GROUP PRODUCTION CHAIRMEN Elissa Guardino Joan Lee Amanda Peck Fred Gallegos Ann Miyamoto Clifton Chun Arthur Parson Carol Sonenshein Lucie Bentley, Earle Erns,t, Edward Langhans, Donald Swinney, John Dreier, ~rthur Caldeira, Jeffrey Embler, Tom Kanak (Advisers-Directors) ACKNOWLEDGMENT The Theatre Group wishes to thank Star Furniture Co. -
Social-Ecological Resilience in the Viking-Age to Early-Medieval Faroe Islands
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2015 Social-Ecological Resilience in the Viking-Age to Early-Medieval Faroe Islands Seth Brewington Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/870 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SOCIAL-ECOLOGICAL RESILIENCE IN THE VIKING-AGE TO EARLY-MEDIEVAL FAROE ISLANDS by SETH D. BREWINGTON A dissertation submitted to the Graduate Faculty in Anthropology in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2015 © 2015 SETH D. BREWINGTON All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Anthropology to satisfy the dissertation requirement for the degree of Doctor of Philosophy. _Thomas H. McGovern__________________________________ ____________________ _____________________________________________________ Date Chair of Examining Committee _Gerald Creed_________________________________________ ____________________ _____________________________________________________ Date Executive Officer _Andrew J. Dugmore____________________________________ _Sophia Perdikaris______________________________________ _George Hambrecht_____________________________________ -
Ibsen - Chronology
Ibsen - Chronology http://ibsen.nb.no/id/1431.0 1828 Henrik Johan Ibsen born on March 20th in Stockmannsgården in Skien. Parents: Marichen (née Altenburg) and Knud Ibsen, merchant. 1835 Father has to give up his business. The properties are auctioned off. The family moves to Venstøp, a farm in Gjerpen. 1843 Confirmed in Gjerpen church. Family moves to Snipetorp in Skien. Ibsen leaves home in November. Arrives in Grimstad on November 29th to be apprenticed to Jens Aarup Reimann, chemist. 1846 Has an illegitimate child by Else Sophie Jensdatter, one of Reimann’s servants. 1847 Lars Nielsen takes over ownership of the chemist’s, moving to larger premises. 1849 Ibsen writes Catiline. 1850 Goes to Christiania to study for the university entrance examination. Catiline is published under the pseudonym Brynjolf Bjarme. Edits the Students’ Union paper Samfundsbladet and the satirical weekly Andhrimner. First Ibsen staging in history: the one-act The Burial Mound is performed at Christiania Theatre on September 26th. 1851 Moves to Bergen to begin directing productions at Det norske Theatre. Study tour to Copenhagen and Dresden. 1853 First performance of St. John’s Night. 1854 First performance of The Burial Mound in a revised version. 1855 First performance of Lady Inger. 1856 First performance of The Feast at Solhaug. Becomes engaged to Suzannah Thoresen. 1857 First performance of Olaf Liljekrans. Is appointed artistic director of Kristiania Norske Theatre. 1858 Marries Suzannah Thoresen on June 18th. First performance of The Vikings at Helgeland. 1859 Writes the poem "Paa Vidderne" ("Life on the Upland") and the cycle of poems "I billedgalleriet" ("At the Art Gallery"). -
Henrik Ibsen's the Master Builder As a Case Study of Pre-Freudian Psychiatry Hansgerd Delbriick
Henrik Ibsen's The Master Builder as a Case Study of Pre-Freudian Psychiatry Hansgerd Delbriick Written in 1892 when Ibsen, aged 64, was already a world-famous, if highly controversial, playwright, The Master Builder was first produced in January 1893 in Trondheim and Berlin, and soon afterwards had its premieres in a number of other European capitals: in London (February of the same year), Copenhagen (March), and Paris (April). 1900 saw its first production in America (New York) and 1905 in Russia (St. Petersburg). 1 These dates mark the beginnings of an impressive stage history; even the London critics, who at the time of the premiere were almost unanimous in writing scathing reviews of the play, admitted that in spite of their own severe misgivings about its message, which they found incomprehensible and "the most dreary and purposeless drivel," the production was well received by the general public, since the actors "never let the attention of [the] audience run loose."2 And interest in the play was never restricted to the stage. While its New Zealand professional theatrical premiere took place as recently as March 1995 3, it had already been a set text in New Zealand university courses for decades. Both The Master Builder's popularity and the controversy it has generated can largely be attributed to the many issues it raises: the generation gap, sexual obsession, the capitalist exploitation of labour4 and of women, and the relationship between science and 1 See the table of the play's stage history from January 1893 to October 1983 in George B. -
Musikk Til Henrik Ibsens Dikterverker
Kirsti Grinde Musikk til Henrik Ibsens dikterverker NB tema 3 Nasjonalbiblioteket/bokselskap.no Oslo 2017 Kirsti Grinde: Musikk til Henrik Ibsens dikterverker NB tema 3 Nasjonalbiblioteket/bokselskap.no, Oslo 2017 ISBN: 978-82-7965-335-6 (digital, bokselskap.no), 978-82-7965-336-3 (epub), 978-82-7965-337-0 (mobi) ISSN: 2535-3810 Teksten er lastet ned fra bokselskap.no Oppdatert: juli 2020 Forord NB tema er Nasjonalbibliotekets serie for tematiske fagressurser. Den består av emne- og forfatterbibliografier, diskografier, biografier og andre oversikter. Serien gir kvalitetssikrede tematiske innganger til Nasjonalbibliotekets egen samling så vel som til andre relevante samlinger. Med NB tema ønsker Nasjonalbiblioteket å gjøre tilgjengelig ulike emneinnganger til norsk kulturarv til glede for forskning og dokumentasjon og for den allment interesserte. Hver utgave har en introduksjon om innhold, kilder og bakgrunn, samt om de prinsipper som ligger til grunn for utvalg, presentasjonsform m.m. Serien NB tema inneholder bl.a. separate oversikter over melodier til tekster av sentrale forfattere. Nevnes kan Henrik Wergeland (1808–1845), Henrik Ibsen (1828–1906), Bjørnstjerne Bjørnson (1832–1910) og Aasmund Olavsson Vinje (1818–1870). På «sangens vinger» har disse og mange andre diktere nådd ut, gjennom sangsamlinger, lesebøker og romansehefter. Oversiktene er for en del basert på tidligere versjoner som er blitt revidert og supplert i forbindelse med denne nye digitale utgivelsen. De har med andre ord ulik forhistorie og får følgelig i noen grad ulik struktur. Et viktig tildriv for igangsetting av prosjektet var et arbeid utført av Ivar Roger Hansen. Hans bibliografi over musikk knyttet til Knut Hamsuns diktning, Der synger i mig en Tone, kom ut i Nasjonalbibliotekets bibliografi-serie som nr. -
STMBOLISM M MODERN ENGLISH DRAMA
fcrj iU ^ !S. STMBOLISM m MODERN ENGLISH DRAMA BY KATHARINE J. WORTH, M,A. ( BEDFORD COLLEGE, UNIVERSITY OP LONDON ) P k 4. ProQuest Number: 10097991 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10097991 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Foreword. The title 'Symhollsm in Modem English Drama’ may appear somewhat misleading in view of the scope of this thesis. It has "been preferred, for the sake of neatness, to the clumsier, ’Symbolism in Drama written in the English Language’, which would in fact he a more accurate description since it includes the Irish and American contribution. A considerable proportion of this study has been devoted to the work of Ibsen, Strindberg and Maeterlinck, since nearly all subsequent developments must be referred back to them either by way of comparison or contrast. Quotations from Maeterlinck’s work are given in the original, those from other foreign drama in the standard translation. Dates of plays are those of the works’ first appearance, whether in production or publication: when relevant, attention has been called to any marked discrepancy between dates of writing and production or publication. -
Henrik Ibsen and Isadora Duncan” Author: India Russell Source: Temenos Academy Review 17 (2014) Pp
THE TEMENOS ACADEMY “Expressing the Inexpressible: Henrik Ibsen and Isadora Duncan” Author: India Russell Source: Temenos Academy Review 17 (2014) pp. 148-177 Published by The Temenos Academy Copyright © The Estate of India Russell, 2014 The Temenos Academy is a Registered Charity in the United Kingdom www.temenosacademy.org 148-177 Russell Ibsen Duncan.qxp_Layout 1 04/10/2014 13:32 Page 148 Expressing the Inexpressible: Henrik Ibsen and Isadora Duncan * India Russell he two seemingly opposing forces of Isadora Duncan and Henrik TIbsen were complementary both in their spirit and in their epic effect upon the world of dance and drama, and indeed upon society in general. From the North and from the West, Ibsen and Isadora flashed into being like two unknown comets hurtling across the heavens, creat - ing chaos and upheaval as they lit up the dark spaces of the world and, passing beyond our ken, leaving behind a glimmering trail of profound change, as well as misunderstanding and misinterpretation. I would like to show how these two apparently alien forces were driven by the same rhythmical and spiritual dynamics, ‘towards the Joy and the Light that are our final goal’. That a girl of nineteen, with no credentials, no institutional backing and no money should challenge the artistic establishment of wealthy 1890s San Francisco with the declaration of her belief in Truth and Beauty, telling a theatre director that she had discovered the danc e— ‘the art which has been lost for two thousand years’; and that, twenty years earlier, a young man, far away from the centres of culture in hide-bound nineteenth -century Norway, should challenge the beliefs and double standards of contemporary society, showing with his revolutionary plays a way out of the mire of lies and deception up into the light of Truth, is as astounding as the dramatic realisation of their ideals. -
Women and War in the German Cultural Imagination
Conquering Women: Women and War in the German Cultural Imagination Edited by Hillary Collier Sy-Quia and Susanne Baackmann Description: This volume, focused on how women participate in, suffer from, and are subtly implicated in warfare raises the still larger questions of how and when women enter history, memory, and representation. The individual essays, dealing with 19th and mostly 20th century German literature, social history, art history, and cinema embody all the complexities and ambiguities of the title “Conquering Women.” Women as the mothers of current and future generations of soldiers; women as combatants and as rape victims; women organizing against war; and violence against women as both a weapon of war and as the justification for violent revenge are all represented in this collection of original essays by rising new scholars of feminist theory and German cultural studies. RESEARCH SERIES / NUMBER 104 Conquering Women: Women and War in the German Cultural Imagination X Hilary Collier Sy-Quia and Susanne Baackmann, Editors UNIVERSITY OF CALIFORNIA AT BERKELEY Library of Congress Cataloging-in-Publication Data Conquering women : women and war in the German cultural imagination / Hilary Collier Sy-Quia and Susanne Baackmann, editors. p. cm — (Research series ; no. 104) Papers from the 5th Annual Interdisciplinary German Studies Con- ference held at the University of California, Berkeley, March 1997. Includes bibliographical references. ISBN 0-87725-004-9 1. German literature—History and criticism—Congresses. 2. Women in literature—Congresses. 3. War in literature—Congresses. 4. Violence in literature—Congresses. 5. Art, Modern—20th century—Germany— Congresses. 6. Women in art—Congresses. 7. -
IBSEN News and Comment the Journal of the Ibsen Society of America Vol
IBSEN News and Comment The Journal of The Ibsen Society of America Vol. 28 (2008) Phoenix Theatre, New York, An Enemy of the People, page 12 Gerry Goodstein IBSEN ON STAGE, 2008 From the Midwest: Two Minnesota Peer Gynt’s: Jim Briggs 2 From Dublin: The Gate’s Hedda Gabler: Irina Ruppo Malone 6 From New York: the Irish Rep’s Master Builder and the Phoenix’s Enemy: Marvin Carlson 10 From Stockholm: the Stadsteater’s Wild Duck: Mark Sandberg 14 NEWS AND NOTICES Ibseniana: The Rats’ Peer Gynt 16 ISA at SASS, 2009; Amazon’s Ibsen Collection, the Commonweal Ibsen Festival 17 IBSEN IN PRINT Annual Survey of Articles 18 Book Review: Thomas Van Laan on Helge Rønning’s Den Umulige Friheten. Henrik Ibsen og 43 Moderniteten (The Impossible Freedom. Henrik Ibsen and Modernity) The Ibsen Society of America Department of English, Long Island University, Brooklyn, New York 11201 www.ibsensociety.liu.edu Established in 1978 Rolf Fjelde, Founder is a production of The Ibsen Society of America and is sponsored by support from Long Island University, Brooklyn. Distributed free of charge to members of the So- ciety. Information on membership in the Society and on library rates for Ibsen News and Comment is available on the Ibsen Society web site: www.ibsensociety.liu.edu ©2008 by the Ibsen Society of America. ISSN-6171. All rights reserved. Editor, Joan Templeton Editor’s Note: We try to cover important U.S. productions of Ibsen’s plays as well as significant foreign pro- ductions. Members are encouraged to volunteer; please contact me at [email protected] if you are interested in reviewing a particular production.