The Wild Duck, in a New Version Created by Almeida Associate Director Robert Icke
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Elsa Bernstein's Dämmerung and the Long Shadow of Henrik Ibsen
Birkbeck College University of London MA in Modern German Studies Elsa Bernstein’s Dämmerung and the long shadow of Henrik Ibsen Manfred Pagel Assessed essay (4000 words): April 2006 Core Course: History in German Literature Course Co-ordinator: Dr Anna Richards M. Pagel Introduction Nomen est omen. When the young Elsa Bernstein (1866-1949) decided to adopt a male pseudonym at an early stage of her writing career, as many women authors did in the late 19th century, she chose one that made an unmistakable allusion to the contemporary Norwegian dramatist Henrik Ibsen (1828-1906). Her assumed nom de plume of “Ernst Rosmer” an “audible echo of Ibsen”1, clearly owed its invention to his play Rosmersholm2. In this way she signalled her literary affinity with the dominant themes and style (described as Naturalism) favoured by Ibsen during the 1880s and 1890s, when he was establishing his enduring reputation as a masterful writer of social drama. The pen-name, Susanne Kord writes, “defined her as a disciple of one of the major playwrights of her time and simultaneously allied her with the German naturalist movement, which was centrally indebted to Ibsen’s dramatic work”3. Bernstein’s five-act play Dämmerung4, originally published in 1893, will serve here as reference text in an attempt to explore some aspects of her subject matter and treatment that may be at least partly attributable to Ibsen’s influence. The characterisation of the two main female roles, in particular, will be considered because the evolving position of women in modern society and the related issue of feminist emancipation from traditional bourgeois constraints formed a recurring topic in Ibsen’s plays, such as A Doll’s House5, Hedda Gabler6, and Little Eyolf7. -
Ibsen's Philosophy of Religion. George Burman Foster 193
ftbe ®$en Court A MONTHLY MAGAZINE 2>evote& to tbe Science of IReliafon, tbe Helfaton of Science, ano tbe Extension of tbe "Religions parliament loea Founded by Edward C. Hegeles Vol. XXXVIII (No. 4) APRIL, 1924 No. 815 CONTENTS PAGE Frontispiece. Henrik Ibsen. Ibsen's Philosophy of Religion. George Burman Foster 193 Patriotism: With Some Aspects on the State. L. A. Shattuck 206 The Bhagavad Glta, or Song of the Blessed One. (Continued.) Franklin Edgerton 235 The New Liberalism. Curtis W. Reese 247 The Chinese State Religion. Julius J. Price 252 TLbe ©pen Court ^ublisbing Company 122 S. Michigan Ave. Chicago, Illinois Per copy, 20 cent* (1 shilling). Yearly, $2.00 (in the U.P.U., 9s. 6d.) Entered as Second-Class Matter March 26, 1887, at the Post Office at Chicago, 111., under Act of March 3, 1879. Copyright by The Open Court Publishing Company, 1924. ; This is the time to read The New Testament An American Translation By Edgar J. Goodspeed In translating the New Testament into the language of today, Doctor Goodspeed has not sought to supplant the King James' version, nor to replace its beautiful phrases with the slang of a rushing twentieth century America. He has tried merely to make the Bible passages as easily understood by us all as they were by the common folk of ancient Greece. He has utilized the best of our modern scholarship to bring out the original meaning of the New Testament in a dignified and reverent way. Regular Edition: postpaid, cloth, $3.12; leather, $4.12; morocco, $5.12. -
Helle 2016 Polve
Poljarnyj vestnik: Norwegian Journal of Slavic Studies, vol. 19, 2016, pp. 1–14 Ibsen in Russia Revisited: The Ibsenian Legacy in the Symbolist World of Andrei Belyi Lillian Jorunn Helle The intellectual atmosphere of Russian fin de siècle was characterized by a strong fascination for Norway, its nature, its culture and its literature. A good example is the Norwegian playwright Henrik Ibsen who was a significant source of inspiration for Russian dramatists, writers and poets.1 The Russian symbolists in particular recognized him as a tutelary spirit and especially the “younger” symbolists, the so-called second generation of Symbolism, regarded his works and thoughts as a prefiguration of their own. Typically, the second generation developed their own interpretation of Ibsen which differed significantly from the dominant contemporary European attitude to his dramas: In the West, at the beginning of the last century, there was a tendency to underline the pessimistic, resigned sides of Ibsen.2 The younger Russian symbolists however, read him in another light, as a fighter and rebel calling for ground-breaking renewals, although perceived in esoteric, spiritual terms (cf. Nilsson 1958, 194ff). This specific reading of Ibsen corresponded to and intensified their own dynamic attitude. In opposition to the older symbolists with their “l’art pour l’art”-programs, the task of the younger symbolists’ was a much more ambitious one; their strategies were to bring forth a new world, make life into art and art into life. As the poet Marina Tsvetaeva once contended, [с]имволизм меньше всего литературное течение (1994, 258),3 epitomizing that this movement was not merely an aesthetical revival, but first and foremost a Weltanschauung and a life building project (жизне- творчество).4 In this respect it was conceived as a unique possibility to overcome the cultural anxiety of the age and to realize the leap into a reconstructed reality, an 1 For a general study of the influence of Ibsen in Russia, see Shaikevich (1974). -
The Tension Between Illusion and Reality in H. Ibsen's the Wild Duck
Global Journal of HUMAN-SOCIAL SCIENCE: A Arts & Humanities - Psychology Volume 19 Issue 8 Version 1.0 Year 2019 Type: Double Blind Peer Reviewed International Research Journal Publisher: Global Journals Online ISSN: 2249-460x & Print ISSN: 0975-587X The Tension between Illusion and Reality in H. Ibsen’s The Wild Duck By Dr. Mahmoud Nayef Baroud Islamic University of Gaza Abstract- Much of contemporary criticism of Ibsen plays has examined one of two concerns: Ibsen and Feminism, or Ibsen as a realist and a pioneer of modern theatre and drama. Articles on the first matter are often critical of universalizing readings of Ibsen that would have the dramatist concerned with the ills of humanity; articles on the latter theme tend to rejoice Ibsen’s assumed anti-theatrical overcoming of melodrama. Both topics can be found in his masterpiece The Wild Duck which is more honoured and received well in the study more than the other plays. Like Hamlet, The Wild Duck can be interpreted by each one in his own image; one day it will be read as a tragedy or tragicomedy, the next as the harshest irony; parts of it are clumsy, in other parts are embedded old controversies of that time. So searching yet so delicate is the touch, that these flaws and notions seem in themselves to strengthen the play. In this work, Ibsen perfected his own special power to infuse the particular, dull, limited fact with a halo and a glory. This paper is an attempt to examine the tension between illusion and reality in the play. -
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. -
Existential Crisis: the Wild Duck by Henrik Ibsen
Academic Research International Vol. 9(3) September 2018 ____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ Existential Crisis: The Wild Duck by Henrik Ibsen Haafza Sonia Akhtar, Danish Farman, Sidra Abdul Ghani, Hina Ashraf Department of Language & Literature, University of Lahore, PAKISTAN. [email protected], [email protected] ABSTRACT This research interpreted The Wild Duck by Henrik Ibsen under the perspective of existential crisis in almost all the major characters of play. Researcher made an effort to culminate all the problems, agony and extreme poignant which they are facing due to their existence. Characters analysis can be further studied under the main postulates of Existential Philosophy by Kierkegaard and Albert Camus, and these philosophical views arouse some questions related to existential crisis in the play The Wild Duck. It puts a question about complex issue of human existence and their identity in the world. There is another question; is suicide necessary to end up the long lasting struggle of human existence in the world? Hedvig and its suicide, a reading in comparison to ‘The Myth of Sisyphus by Albert Camus’ Keywords: Existential, struggle, suicide INTRODUCTION The Wild Duck is written by Henrik Ibsen in 1884, one of Ibsen’s later plays. After receiving much disagreement and a lot of discussion it has been recognized universally as one of the greatest modern dramatic work. The Wild Duck is “generally acknowledged as one of Ibsen’s greatest play” (Moi, Toril. , 2006). LITERATURE REVIEW Henrik Ibsen a Norwegian playwright was an iconoclast, against the traditions and social factors that shape human lives. Infect he is the supporter of individualism. -
A Journey of Teaching Henrik Ibsen's a Doll House to Play Analysis
“ONLY CONNECT”: A JOURNEY OF TEACHING HENRIK IBSEN’S A DOLL HOUSE TO PLAY ANALYSIS STUDENTS Dena Michelle Davis, B.F.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS May 2004 APPROVED: Andrew B. Harris, Major Professor Donald B. Grose, Committee Member and Dean of Libraries Timothy R. Wilson, Chair of the Department of Dance and Theatre Arts Sandra L. Terrell, Interim Dean of the Robert B. Toulouse School of Graduate Studies Davis, Dena Michelle, “Only Connect”: A Journey of Teaching Henrik Ibsen’s A Doll House to Play Analysis Students. Master of Arts (Theatre), May 2004, 89 pp., bibliography, 14 titles. This work examines the author’s experience in teaching A Doll House by Henrik Ibsen to students in the course Play Analysis, THEA 2440, at the University of North Texas in the Fall 2003 and Spring 2004 semesters. Descriptions of the preparations, presentations, student responses, and the author’s self-evaluations and observations are included. Included as appendices are a history of Henrik Ibsen to the beginning of his work on A Doll House, a description of Laura Kieler, the young woman on whose life Ibsen based the lead character, and an analysis outline form that the students completed for the play as a requirement for the class. Copyright 2004 by Dena Michelle Davis ii TABLE OF CONTENTS INTRODUCTION ..................................................................................................1 PREPARATION: FALL 2003................................................................................3 PRESENTATION -
An Eco-Feminist Reading Of
An Eco-Feminist Reading of Four Plays of Henrik Ibsen Xujia Zhou Master Thesis in Ibsen Studies UNIVERSITETET I OSLO Summer 2012 Contents 1 Introduction ....................................................................................................................... .1 2 An Enemy of the People ................................................................................................... 12 3 The Wild Duck .................................................................................................................. 26 4 John Gabriel Borkman ..................................................................................................... 43 5 Pillars of Society .............................................................................................................. 54 6 Conclusion ........................................................................................................................ 70 7 Bibliography ..................................................................................................................... 78 II 1 Introduction One thing that has greatly fascinated me about Henrik Ibsen‟s plays is the playright‟s ingenious use of landscapes. As a meticulous dramatist who never overlooks even the smallest detail in his work, Ibsen never made use of any landscape without a concrete purpose behind. Not only different degrees of light and shadow are in many plays indicative of the characters‟ psychological nuances, but also geographical ups and downs, seasonal cliamte changes, etc. always have -
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"). -
Modern Dramatic Elements in Three Plays by Henrik Ibsen (IBS4390-Master Thesis in Ibsen Studies)
Modern dramatic elements in three plays by Henrik Ibsen (IBS4390-Master Thesis in Ibsen Studies) Student Supervisor Milica Vasic-Jovanovic Astrid Sæther 1 Contents: Introduction………………………………………………………………………………......1 A Doll’s House………………………………………………………………………….........10 Relationship between man and woman (the issue of idealism)………………………...13 Question of gender………………………………………………………………………..18 Psychological elements in the play…………………………………………………….....24 Aesthetic and psychological function of means of expression………………………….30 The Wild Duck…………………………………………………………………………..........37 Everyday and idealism in the play……………………………………………………....40 Symbolism in the play (the wild duck and the loft)………………………………….....46 The Wild Duck-subtext and metatext…………………………………………………...53 When We Dead Awaken………………………………………………………………...........58 Love as creative inspiration……………………………………………………………...62 Question of artistic creation……………………………………………………………..67 Motif of death…………………………………………………………………………….72 The function of stage space………………………………………………………………75 Conclusion…………………………………………………………………………………...84 References………………………………………………………………………………........89 2 INTRODUCTION A thing that has always interested me about literary art is how I am supposed to read and interpret it, not to mention questions such as: is the way I feel about a work of art similar to the one the author himself had in mind when he created it, or am I missing the essential part of it which is supposed to be the author’s hidden message, and so on and so forth. My dilemmas were to a certain extent cleared -
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. -
The Destructive Messiah : a Study of Henrik Ibsen's Search for Truth As Portrayed by Rebel Heroes in Brand, an Enemy Of
University of Richmond UR Scholarship Repository Master's Theses Student Research 1974 The destructive Messiah : a study of Henrik Ibsen's search for truth as portrayed by rebel heroes in Brand, An enemy of the people, and The wild duck Susan Taylor Soyars Follow this and additional works at: http://scholarship.richmond.edu/masters-theses Part of the English Language and Literature Commons, and the European Languages and Societies Commons Recommended Citation Soyars, Susan Taylor, "The destructive Messiah : a study of Henrik Ibsen's search for truth as portrayed by rebel heroes in Brand, An enemy of the people, and The wild duck" (1974). Master's Theses. Paper 1011. This Thesis is brought to you for free and open access by the Student Research at UR Scholarship Repository. It has been accepted for inclusion in Master's Theses by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. THE DESTRUCTIVE MESSIAH: A STUDY OF HENRIK IBSEN'S SEARCH FOR TRUTH AS PORTRAYED BY REBEL HEROES IN BRAND, AN ENEMY OF THE PEOPLE, AND THE WILD DUCK - -- BY SUSAN TAYLOR SOYARS A THESIS SUBMITTED TO THE GRADUATE FACULTY OF THE UNIVERSITY OF RICHMOND IN CANDIDACY FOR THE DEGREE OF MASTER OF ARTS IN ENGLISH AUGUST 1974 'IHI llSDUCUVB MISSJAB: A ntJD'f or llBDl1t DSBR'S TDA'JHD'l ~ nun AS mmm Ill mwm. 6!_ INEM! !2l. m ROPLI, 6!!I. m WJI.D !!VS! AUGUST, 1974 DEDICATED To my Parents Earl and Margaret Taylor Whose generosity and love I believe helped in the completion of this work and whose wisdom and understanding has forever been an inspirational force in my life TABLE OF CONTENTS PAGE Dedication Acknowledgements.