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Hedda Gabler: Student Editions

Autor Henrik Ibsen Editat de David Thomas
en Limba Engleză Hardback – 28 ian 2016
Hedda is an intelligent and ambitious woman, trapped in the stifling environment of a bourgeois 19th-century marriage. When writer Eilert Loevborg, an old flame returns to Hedda's life with a masterpiece that might threaten her husband's career, Hedda decides to take drastic and fatal action.


Universally condemned in 1890 when it was written, Hedda Gabler has since become one of Ibsen's most frequently performed plays. Its title role is elusive and complex: Hedda is an intelligent and ambitious woman, who has no means of finding personal fulfilment in the stifling world of late nineteenth-century bourgeois society. Too frightened of scandal to become involved with a brilliant, wayward writer, she opts for a conventional but loveless marriage in the hope of finding surrogate satisfaction through her husband's career.

Blending comedy and tragedy disconcertingly together, Ibsen probes the thwarted aspirations and hidden anxieties of his characters against a background of contemporary social conditions and attitudes.
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Specificații

ISBN-13: 9781474261371
ISBN-10: 147426137X
Pagini: 208
Dimensiuni: 129 x 198 x 19 mm
Greutate: 0.39 kg
Ediția:POD
Editura: Bloomsbury Publishing
Colecția Methuen Drama
Seria Student Editions

Locul publicării:London, United Kingdom

Notă biografică

Henrik Johan Ibsen (20 March 1828 - 23 May 1906) was a Norwegian playwright, theatre director, and poet. As one of the founders of modernism in theatre, Ibsen is often referred to as "the father of realism" and one of the most influential playwrights of his time.[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, When We Dead Awaken, Pillars of Society, The Lady from the Sea, Rosmersholm, The Master Builder, and John Gabriel Borkman. He is the most frequently performed dramatist in the world after Shakespeare,and by the early 20th century A Doll's House became the world's most performed play. 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 that lay behind the facades, revealing much that was disquieting to a number of his contemporaries. He had a critical eye and conducted a free inquiry into the conditions of life and issues of morality. His early poetic and cinematic play Peer Gynt, however, has also strong surreal elements.[6] Ibsen is often ranked as one of the most distinguished playwrights in the European tradition.[7] Richard Hornby describes him as "a profound poetic dramatist-the best since Shakespeare".[8] He is widely regarded as the foremost playwright of the nineteenth century.[7][9] He influenced other playwrights and novelists such as George Bernard Shaw, Oscar Wilde, Arthur Miller, James Joyce, Eugene O'Neill, and Miroslav Krle¿a. Ibsen was nominated for the Nobel Prize in Literature in 1902, 1903, and 1904.[10] Ibsen wrote his plays in Danish (the common written language of Denmark and Norway during his lifetime)[11] and they were published by the Danish publisher Gyldendal. Although most of his plays are set in Norway-often in places reminiscent of Skien, the port town where he grew up-Ibsen lived for 27 years in Italy and Germany, and rarely visited Norway during his most productive years. Born into a merchant family connected to the patriciate of Skien, Ibsen shaped his dramas according to his family background. He was the father of Prime Minister Sigurd Ibsen. Ibsen's dramas have a strong influence upon contemporary culture.

Cuprins

Chronology

COMMENTARY
Cultural and Theatrical Contexts
Theatrical Style
Themes
Characterisation
Setting
Translation
Performance History
Scholarly and Popular Debate

Further reading and viewing


HEDDA GABLER

Notes

Recenzii

The production of an Ibsen play impels the inquiry, What is the province of art? If it be to elevate and refine, as we have hitherto humbly supposed, most certainly it cannot be said that the works of Ibsen have the faintest claim to be artistic. We see no ground on which his method is defensible...Things rank and gross in nature alone have place in the mean and sordid philosophy of Ibsen.