Why Do Ibsen's Children Die?

Total Page:16

File Type:pdf, Size:1020Kb

Why Do Ibsen's Children Die? Translation of medicine and art article published in The Journal of the Norwegian Medical Association: Vesterhus P. Why do Ibsen’s children die? Tidsskr Nor Legeforen 2008; 128: 2851–4 PERSPEKTIV OG DEBATT Perspektiv og debatt Medicine and art Medicine and art Why do Ibsen’s children die? In this article I wish to present Ibsen’s dren at home, drowns. «Black hunger lives Abstract dead children with emphasis on the course in his house» according to the captain. On of events and causes of death. I have exam- the overturned boat, the cook pleads for The death of children is a strikingly ined three long dramatic poems and his col- his life. «Å snille-spar! Husk på de små jeg frequent topic in Henrik Ibsen’s dra- lection of dramas from the so-called 100- hjemme har!» (Please spear me! Remember mas, and could be a key to his writing. year-edition which was published in the the young ones I have at home!). Peer is In this article I briefly discuss works period 1928–57. Some children are unborn unyielding, and we suspect that the cook’s where children die and analyse medical and some are older. The death of children children meet the same fate as Terje’s histories and possible causes. figuratively, where the writer uses meta- daughter. The cases vary considerably from a phors, has also been included. medical point of view. Some children The 1880s The dead children There has been a lively debate about simply die of starvation in his earlier The 1850s whether Osvald in Gengangere – Ghosts works. In our time we tend to forget the The first work about dead children, is Hær- (1881), was born with syphilis. It is high rate of childhood mortality in this mændene på Helgeland – The Vikings at believed that Ibsen set the scene for this country in the mid 1800s. Helgeland (1858). Ørnulf from the fjords (7, 8). The boy grows up, and crumbles at In Ibsen’s contemporary dramas the has seven sons who are all killed at the the age of approximately 27, as a handi- cause of death is often complex. Des- same time during a family feud. A 4-year- capped person. pite the fact that he uses symbols, old boy, Egil, should also have died, but just The 14-year-old Hedvig in Vildanden – there are medical elements which are managed to escape. This is one of Ibsen’s The Wild Duck (1884), also has a hereditary theoretically probable. He rarely makes earlier works, in which he is inspired by the disease, but meets a violent death. I believe blood dripping sagas. obvious mistakes about medical issues. she hears Hjalmar’s words to Gregers down below: «Hvis jeg så spurte hende: Hedvig, er A common feature in these tragic child The 1860s du villig til å gi’ slip på livet for meg?» (So if destinies is that the writer shows us In three works from the 1860s the topic I asked her: Hedvig are you willing to give inadequate or poor parents. reappears: Terje Vigen (1866), Brand up this life for my sake?). A shot is heard. (1866) and Peer Gynt (1867). Ellida’s and Dr. Wangel’s child in Fruen Terje rows to Denmark in an open boat to fra havet – The Lady from the Sea (1888), purchase wheat; he is taken prisoner and dies mysteriously at around 6 months of Per Vesterhus sent to «Prisonen». When he returns home, age. The stranger, a sailor, is the child’s [email protected] Barnesenteret his daughter and wife are both dead, buried spiritual father. Ellida has promised to be Sørlandet sykehus Kristiansand and forgotten. Time passes. After a horren- faithful to him. Later, she marries Wangel 4604 Kristiansand dous storm a helpless yacht is driven and becomes pregnant. During the preg- ashore. The pilot Terje can now take nancy she has a serious nervous breakdown revenge. He is, however, unable to be insen- and becomes fearful of her past. There is considerable disease and death in sitive towards the mother’s pleading cry for the works of Henrik Ibsen (1828–1906), her child. The comparison between Terje’s The 1890s affecting children and adults alike. Even dead daughter and the woman’s daughter The childhood home of Aline Solness in when adults are the main characters, chil- who is alive, is the poem’s nerve. When the Bygmester Solness – The Master Builder dren and adolescents play important parts. lord wishes to express his gratitude, Terje (1892), – burns down. The Master Builder The most famous children who die, are gently touches the child and answers. «Nej, starts his successful business in the burnt Hedvig in Vildanden – The Wild Duck den som frælste, da værst det kneb, det var out ruins. His conscience tells him that his (1884) and Eyolf in Lille Eyolf – Little nok den lille der!» (No, the one who res- career is based on an accident that he Eyolf (1894). Literary people like to refer to cued you when things were at their worst, this as «Kindermord». This is a notion was indeed this little one here). which is repeated in the research of Ibsen in In Brand’s coastal town, there is also star- several languages, expressing the fact that vation. Brand meets a woman who despera- Main message children die, more or less, as a direct result tely pleads him to help her dying husband. ■ Henrik Ibsen was to a large extent of the parents being inadequate (1–6). He has killed one of their three children preoccupied with the theme An obvious answer to why the writer lets out of darkest desperation before the child of childrens’ death the children die could be that he makes use starves to death. Then he turns the weapon on ■ Ibsen uses medical aspects more of it as a dramatic effect. It is more difficult himself. Brand crosses the fjord during a vio- or less successfully, but is rarely wrong to understand why he never stops (2, 5). lent storm, and because of the way he goes in a direct sense One explanation could be that experiences about his ministry deed he wins Agnes. Later ■ An important message is the signifi- in his childhood and adolescence were of he loses both her and their son Alf. cance of security and love during great significance. Another element is that In Peer Gynt child death is not the main childhood and adolescence his writing reflects the high rate of child theme. However, during the shipwreck, the mortality in Norway in the mid 1800s. ship’s cook, who has a whole tribe of chil- Tidsskr Nor Legeforen nr. 1, 2009; 129: 1 Translation of medicine and art article published in The Journal of the Norwegian Medical Association: VesterhusPERSPEKTIV P. Why do Ibsen’ OGs children DEBATT die? Tidsskr Medicine Nor Legeforen and 2008; art 128: 2851–4 wanted to happen. He loses his twin sons. children, literally or as a metaphor. In the diagnoses the problem. The incompetent However, Ibsen does not let them perish in extensive span of Ibsen’s works, this has been parents are usually the result of a difficult the fire. The children and Aline are carried an interesting subject (1–3). As late as in childhood themselves (13). out. Aline loses her nine beautiful dolls. 1994, it was established that «child abuse is She becomes ill with «feber som gikk over an almost obsessive theme in Ibsen» (9). Not Hunger and disease i mælken» (fever which spread to her milk). even Charles Dickens (1812–70), who wrote The death of children in Ibsen’s dramatic She insists on breast-feeding her twins, but a great deal about children, was so monoma- poems appears to be realistic. Child mor- they die of «poisoning». niac on this subject. Variations of the theme tality early in the 1800s was so extreme that Nine-year-old Eyolf on crutches in Lille where the victims do not necessarily die as nearly a third of all the children born in one Eyolf – Little Eyolf (1884), walks into the young children, are found in most of Ibsen’s year died before the age of 14. Data from the sea and drowns. As an infant he fell from writing. Greek tragedies, victim motifs in the south of Norway during Terje Vigen’s time the changing table and became permanently Bible, mindsets of the times and first and show this (14). We have great difficulty gra- handicapped. foremost his own life experiences have been sping this fact today. People were, however, discussed as contributing factors. much more accustomed to death and they «Kindermord» of unborn children A striking number of children in Ibsen’s expected that a new child would come. The and as metaphors works are illegitimate or a result of a love- birth rate was considerably higher. The cause In the four works Keiser og galilæer – less relationship between parents. In of death was often a result of poor general The Emperor and the Galilean (1873), modern literature it has become almost too health and living conditions complicated by Rosmersholm (1886), Hedda Gabler (1890) trite to point at the writer’s own background common infections such as measles, scarlet and Når vi døde vågner – When We Dead as an adolescent with an illegitimate child fever and whooping cough (14). 100 years Wake (1899), Ibsen occasionally uses in Grimstad (10, 11). No one can believe, came to pass before adequate nourishment, metaphors. Hedda’s suicide has several however, that this has not indeed had an improved hygiene, vaccinations, chemo- tragic consequences.
Recommended publications
  • A Dramatic Poem in Five Acts
    Henrik Ibsen Brand A Dramatic Poem in Five Acts Translated by John Northam I b s e n . n e t 2 0 0 7 Contents PREFACE................................................................................................................3 CHARACTERS .......................................................................................................5 ACT 1.......................................................................................................................6 ACT 2.....................................................................................................................22 ACT 3.....................................................................................................................42 ACT 4.....................................................................................................................64 ACT 5.....................................................................................................................92 NOTES.................................................................................................................133 PREFACE The imposing figure of Brand looms large in Ibsen’s development as a dramatist. The dramatic poem that bears his name links Ibsen’s earlier output with his later emergence as the writer of modern tragedies. Ibsen’s earlier career to date had been more or less equally divided between his poems (see The Collected Poems on this website) and his plays. The poetry shows a restless preoccupation with stanzaic forms: lyrics, odes, sonnets, together with long epic
    [Show full text]
  • 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.
    [Show full text]
  • Ibsen På Film | 159 Ibsen-Museet Lørdag Kl
    IBSEN PÅ FILM | 159 IBSEN-MUSEET LØRDAG KL. 13.00 Fra filmen A Doll’s House fra 1973 med Jane Fonda som Nora og David Warner som Torvald Helmer. Regi: Joseph Losey, GB/Frankrike. From the film A Doll’s House from 1973 with Jane Fonda as Nora and David Warner as Torvald Helmer. Directed by Joseph Losey, UK/France. SKUESPILL FOR KAMERA Norsk filminstitutt viser utstillingen «Skuespill for kamera The Norwegian Film Institute is organising the exhibi- – Ibsen på film» på Ibsen-museet i Grimstad under Kort- tion «Ibsen on Screen» at the Ibsen Museum in Grimstad filmfestivalen. Lørdag åpnes utstillingen med en innled- during the Norwegian Short Film Festival. It will open with ning av Ibsen-biograf Robert Ferguson. a lecture by Ibsen biographer Robert Ferguson. I forbindelse med at det i år er hundre år siden Henrik Ibsen døde In connection with this year’s 100th Anniversary of Henrik Ibsen’s viser Norsk filminstitutt et tilbakeblikk på noen av filmproduksjone- death, the Norwegian Film Institute will show a retrospective of ne som har sitt utspring i dramatikerens verk. Utstillingen starter some of the films adapted from the playwright’s work. The exhibi- med Victor Sjöströms filmatisering av Terje Vigen fra 1916. Denne tion opens with Victor Sjöström’s 1916 adaptation of Terje Vigen, filmatiseringen befinner seg i en særstilling, fordi den tar utgangs- unique among the exhibited films because it is adapted from a punkt i et dikt og fordi den er den eneste av Ibsen-filmatiseringene poem. It is also the only Ibsen adaptation that can be said to have som kan sies å ha fått klassikerstatus.
    [Show full text]
  • 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").
    [Show full text]
  • Ibsen in Context Edited by Narve Fulsås , Tore Rem Frontmatter More Information
    Cambridge University Press 978-1-108-42220-8 — Ibsen in Context Edited by Narve Fulsås , Tore Rem Frontmatter More Information IBSEN IN CONTEXT Henrik Ibsen, the ‘Father of Modern Drama’, came from a seemingly inauspicious background. What are the key contexts for understand- ing his appearance on the world stage? This collection provides thirty contributions from leading scholars in theatre studies, literary studies, book history, philosophy, music and history, offering a rich interdis- ciplinary understanding of Ibsen’s work, with chapters ranging across cultural and aesthetic contexts including feminism, scientific discov- ery, genre, publishing, music and the visual arts. The book ends by charting Ibsen’s ongoing globalization and gives valuable overviews of major trends within Ibsen studies. Accessibly written, while drawing on the most recent scholarship, Ibsen in Context provides unique access to Ibsen the man, his works and their afterlives across the world. a˚ is Professor of Modern History in the Department of Archeology, History, Religious Studies and Theology at the University of Tromsø – The Arctic University of Norway. He has published on Norwegian cultural and intellectual history in the nineteenth and twen- tieth centuries. The author of the introduction and notes to the critical edition of Ibsen’s letters published in Henrik Ibsens skrifter ( vols., –), he is also the co-author (with Tore Rem) of Ibsen, Scandinavia and the Making of a World Drama (Cambridge, ). is Professor of English Literature and the Director of the interdisciplinary research initiative UiO:Nordic at the University of Oslo. He has published on Victorian literature, book history and the early English language appropriations of Ibsen and has been head of the board of the Centre for Ibsen Studies.
    [Show full text]
  • 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.
    [Show full text]
  • THE COLLECTED POEMS of HENRIK IBSEN Translated by John Northam
    1 THE COLLECTED POEMS OF HENRIK IBSEN Translated by John Northam 2 PREFACE With the exception of a relatively small number of pieces, Ibsen’s copious output as a poet has been little regarded, even in Norway. The English-reading public has been denied access to the whole corpus. That is regrettable, because in it can be traced interesting developments, in style, material and ideas related to the later prose works, and there are several poems, witty, moving, thought provoking, that are attractive in their own right. The earliest poems, written in Grimstad, where Ibsen worked as an assistant to the local apothecary, are what one would expect of a novice. Resignation, Doubt and Hope, Moonlight Voyage on the Sea are, as their titles suggest, exercises in the conventional, introverted melancholy of the unrecognised young poet. Moonlight Mood, To the Star express a yearning for the typically ethereal, unattainable beloved. In The Giant Oak and To Hungary Ibsen exhorts Norway and Hungary to resist the actual and immediate threat of Prussian aggression, but does so in the entirely conventional imagery of the heroic Viking past. From early on, however, signs begin to appear of a more personal and immediate engagement with real life. There is, for instance, a telling juxtaposition of two poems, each of them inspired by a female visitation. It is Over is undeviatingly an exercise in romantic glamour: the poet, wandering by moonlight mid the ruins of a great palace, is visited by the wraith of the noble lady once its occupant; whereupon the ruins are restored to their old splendour.
    [Show full text]
  • Dr. Melissa Gjellstad HENRIK IBSEN E-Mail: [email protected] Wednesday 15:00-17:50 Telephone: 701.777.0487
    NORW 403: Great Literary Works of Norway Professor: Dr. Melissa Gjellstad HENRIK IBSEN E-mail: [email protected] Wednesday 15:00-17:50 Telephone: 701.777.0487 Required texts Ibsen, Henrik. Ibsen: Four Major Plays. Volume I. Trans. Rolfe Fjelde. New York: Signet Classics, 2006. Ibsen, Henrik. Ibsen: Four Major Plays. Volume II. Trans. Rolfe Fjelde. New York: Signet Classics, 2001. Ibsen, Henrik. Peer Gynt. Trans. Rolfe Fjelde. Minneapolis: U Minnesota Press, 1980. Recommended texts Figueiredo, Ivo de. Slipp meg. En bok om Henrik Ibsen. Oslo: Aschehoug, 2006. Runde, Øystein & Geir Moen. De fire store: Bukk fra luften, bukk fra bunnen, Obstfelder er forsunnen. Oslo: Gyldendal, 2007. Runde, Øystein & Geir Moen. De fire store: Når de døde våkner. Oslo: Gyldendal, 2007. Stranger, Simon. Gjengangeren. Oslo: N.W. Damm & Søn, 2006. Required productions A Doll House, Arild Brinchmann (1973) A Doll House, Simon Stephens (2012) An Enemy of the People, Erik Skjoldbjærg (2004) Gatas Gynt, Hallvard Bræin (2008) Ghosts, Richard Eyre (2014) Hedda Gabler, Paul Willis (2004) Immortal Ibsen, Erling Borgen (1999) The Lady from the Sea, Per Bronken (1979) Peer Gynt, by the Pyramids in Giza, Bentein Baardson (2006) Terje Vigen (1916) Recommended productions A Doll House, David Thacker (1992) An Enemy of the People, Gareth Davies (1980) Ghosts, Elijah Moshinsky (1987) Hedda Gabler, Alex Segal (1962) John Gabriel Borkman (1974) Sara, Dariush Mahrjui (1992) The Lady from the Sea, Basil Coleman (1974) The Master Builder, Michael Darlow (1988) The Master Builder, Stephen Harrison (1958) The Wild Duck, Alan Bridges (1971) The Wild Duck, Arild Brinchmann (1970) Course goals: Henrik Ibsen bears the title “The Father of Modern Drama.” This course will take an in- depth look at the plays of Henrik Ibsen that garnered him that designation, beginning with his 1867 play Peer Gynt and ending with his next to final work from 1896, John Gabriel Borkman (in 1899 came his last play, When We Dead Awaken).
    [Show full text]
  • A New Performance
    Course: CA1004 Degree Project 30 Credits 2021 Master of Musical Performance Kungliga Musikhögskolan ----------------------------------------------------- Supervisor: Katarina Ström-Harg Examiner: Cecilia Zilliacus Olav Eirik Løland A New Performance Exploring the possibilities and difficulties related to the inclusion of the voice in violin playing The sounding part consists of the following recording: TerjeVigenForViolin.mp4 1 Abstract This thesis seeks to explore the many possibilities that lie within the incorporation of the voice alongside playing the violin. This territory is still very unknown, and the author believes that many new artistic possibilities and tools are yet to be discovered. The attempts made seek to understand the difficulties and limitations of the incorporation of the voice, while discovering its bountiful treasures. Key Words Solo violin, performance, singing, voice, multiple instruments, memorization, stage performance, poem, Henrik Ibsen, Terje Vigen, Ivar Bøksle, Helge Jordal, arrangement, multitasking. 2 Contents: 1. Introduction and explanation of the project……………………………………………………...3 2. Exploration of the difficulties………………………………………………………………………6 2.1: Selecting the piece…….………………………………………………………………..6 2.2: The independence of the elements….………………………………………………..9 2.3: Intonation.………………………………………………………………………………10 2.4: Combination tones and difference tones……………………………………………12 2.5: Difficulties concerning the implementation of the voice and exercises…………..14 2.6: The memorization of the poem……………………………………………………….21 3. Structure and analysis of the original piece……………………………………………………26 3.1: Brief analysis of the piece.……………………………………………………………26 3.2: The selection of the key.……………………………………………………………...32 4. The construction of the elements……………………………………………………………….33 4.1: The construction of the major parts of the arrangement………..…………………33 4.2: The construction of the minor parts of the arrangement..…………………………40 4.3: The construction of the leitmotif……………………………………………………...43 5.
    [Show full text]
  • The Cambridge Companion to Ibsen
    In the history of modern theatre Ibsen is one of the dominating figures. His conquest of the theatre over the past hundred years - first in Scandinavia, and then very quickly in Europe, North America and the wider world - makes him one of the most frequently performed playwrights in the world today. The sixteen chapters of this Companion, contributed by a distinguished international team, explore Ibsen's life and work, providing an invaluable reference work for students of drama and of literature. In chronological terms they range from an account of Ibsen's earliest pieces, written during the 1850s when he was a young producer in Bergen, through the years of rich experiment- ation when he sought - in historical tragedy, in verse comedy, in dramatic poetry, in philosophical drama - to find his own style and dramatic idiom, to the mature 'Ibsenist' plays that made him famous towards the end of the nineteenth century. Among the thematic topics explored here are Ibsen and comedy, Ibsen and the realistic problem play, and Ibsen and feminism. Another little-known aspect of his art - his achievement as a lyric poet - is given close attention. Two chapters account for the spread of Ibsen's influence on the international stage to the end of the nineteenth century and to the present; three related chapters, including an interview with John Barton and an essay by Arthur Miller, address the challenge that Ibsen's plays continue to present to theatre directors and to the practising dramatists of today, as well as to those who work in film and television.
    [Show full text]
  • Henrik Ibsen ­ Wikipedia, the Free Encyclopedia Henrik Ibsen from Wikipedia, the Free Encyclopedia
    7/28/2015 Henrik Ibsen ­ Wikipedia, the free encyclopedia Henrik Ibsen From Wikipedia, the free encyclopedia Henrik Johan Ibsen (/ˈɪbsәn/;[1] Norwegian: [ˈhɛnɾɪk ˈɪpsәn]; 20 March 1828 – 23 May 1906) was a major Henrik Ibsen 19th­century Norwegian playwright, theatre director, and poet. He is often referred to as "the father of realism" and is one of the founders of Modernism in theatre.[2] His major works include Brand, Peer Gynt, An Enemy of the People, Emperor and Galilean, A Doll's House, Hedda Gabler, Ghosts, The Wild Duck, Rosmersholm, and The Master Builder. He is the most frequently performed dramatist in the world after Shakespeare,[3][4] and A Doll's House became the world's most performed play by the early 20th century.[5] Several of his later dramas were considered scandalous to many of his era, when European theatre was expected to model strict morals of family life and propriety. Ibsen's later work examined the realities Henrik Ibsen by Gustav Borgen that lay behind many façades, revealing much that Born Henrik Johan Ibsen was disquieting to many contemporaries. It utilized a 20 March 1828 critical eye and free inquiry into the conditions of life Skien, Grenland, Norway and issues of morality. The poetic and cinematic early play Peer Gynt, however, has strong surreal Died 23 May 1906 (aged 78) Kristiania, Norway elements.[6] (modern Oslo) Ibsen is often ranked as one of the truly great Occupation Writer playwrights in the European tradition.[7] Richard Nationality Norwegian Hornby describes him as "a profound poetic dramatist Genre Naturalism [8] —the best since Shakespeare".
    [Show full text]
  • Henrik Ibsen Strategier 2015-2024
    HENRIK IBSEN STRATEGIER 2015 – 2024 HENRIK IBSEN STRATEGIER 2015–2024 1 Kilde: Telemark Museum Kilde: Telemark 2 HENRIK IBSEN 1828 –1906 1828 født 20.mars i Skien sentrum (Stockmansgården) 1835 familien Ibsen flytter til Venstøp 1843 familien flytter til Snipetorp 1843 Henrik drar fra Skien til Grimstad 1849 gir ut sitt første skuespill, Catilina 1850 flytter til Oslo for å ta eksamen artium 1850 historiens første Ibsen-premiere: Kiæmpehøien på Christiania Theater 1851 flytter til Bergen for å bli sceneinstruktør 1858 gifter seg med Suzannah Thoresen 1859 sønnen Sigurd født 1861 gir ut diktet Terje Vigen 1866 slår gjennom med Brand, får livslang dikterlønn av Stortinget 1867 gir ut Peer Gynt, skrevet ferdig i Sorrento 1868 flytter til Dresden 1874 besøker Norge 1875 flytter til München 1878 flytter til Roma 1879 gir ut Et dukkehjem, skrevet ferdig i Sorrento/Amalfi 1884 gir ut Vildanden 1891 flytter til Christiania 1894 gir ut Lille Eyolf 1899 Når vi døde vaagner blir Henrik Ibsens siste skuespill 1900 rammes av slag første gang 1906 dør 23.mai 1906 begraves 1. juni i æreslunden på Vår Frelsers gravlund i Oslo HENRIK IBSEN STRATEGIER 2015–2024 3 BAKGRUNN Det er bare ett sted Henrik Ibsen er født: Skien. Dette er utgangspunktet for Skien kommunes engasjement og satsing på å synliggjøre dramatikerens barndom og oppvekst i Skien. Henrik Ibsen er en av verdens største dramatikere. Han regnes som skaperen av det moderne drama. Oppveksten i Skien var en sterk inspirasjonskilde for hans seinere diktning. Hans verker er fremdeles svært aktuelle og spilles verden over. Skien har en litterær arv å ivareta, og med det et forpliktende ansvar om å ta formidlingen av Henrik Ibsens liv og verker på alvor.
    [Show full text]