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Hedda Gabler

Autor Henrik Ibsen
en Limba Engleză Paperback – 22 mar 2012
Hedda's married name is Hedda Tesman; Gabler is her maiden name. On the subject of the title, Ibsen wrote: "My intention in giving it this name was to indicate that Hedda as a personality is to be regarded rather as her father's daughter than her husband's wife." Hedda Gabler, daughter of an aristocratic general, has just returned to her villa in Kristiania (now Oslo) from her honeymoon. Her husband is Jørgen Tesman, an aspiring, young, reliable (but not brilliant) academic who has combined research with their honeymoon. It becomes clear in the course of the play that she has never loved him but has married him for reasons pertaining to the boring nature of her life.
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Specificații

ISBN-13: 9781617207037
ISBN-10: 1617207039
Pagini: 128
Dimensiuni: 152 x 229 x 8 mm
Greutate: 0.2 kg
Editura: SMK Books

Descriere

Descriere de la o altă ediție sau format:
Known as the father of modern drama, Henrik Ibsen is considered one of the world's greatest playwrights. His ability to turn revolutionary philosophical ideas into brilliant social dramas inspired the likes of George Bernard Shaw, while his drive to manifest the truths of the human heart is mirrored in the plays of Anton Chekhov. Ibsen's genius, revealed in these four selections, lies in his startling abiliy to define his characters and their struggles, whih epitomize the inner conflicts that beset all human beings. A chilling play of manipulation and obsession, "Hedda Gabler" features one of the stage's most unforgettable modern heroines. A delightful early work, "Peer Gynt" is both a satire on the nature of man and a masterpiece of folklore and fantasy that follows the adventures of an irrepressible youth. Mysterious, lyrical, and tragic, "The Master Builder" symbolically dramatizes the trajectory of Ibsen's own art as well as the impossible aspirations of the soul. This Bantam Classic edition also includes "Little Eyolf," a brilliantly consrtucted psychological study of paternal responsibility and the impact of a child's death on a man torn between two women.

Notă biografică

Born in Norway in 1828, Henrik Ibsen began his writing career with romantic history plays influenced by Shakespeare and Schiller. In 1851 he was appointed writer-in-residence at the newly established Norwegian Theatre in Bergen with a contract to write a play a year for five years, following which he was made Artistic Director of the Norwegian Theatre in what is now Oslo. In the 1860s he moved abroad to concentrate wholly on writing. He began with two mighty verse dramas, Brand and Peer Gynt, and in the 1870s and 1880s wrote the sequence of realistic ‘problem’ plays for which he is best known, among them A Doll’s House, Ghosts, An Enemy of the People, Hedda Gabler and Rosmersholm. His last four plays, The Master Builder, Little Eyolf, John Gabriel Borkman and When We Dead Awaken, dating from his return to Norway in the 1890s, are increasingly overlaid with symbolism. Illness forced him to retire in 1900, and he died in 1906 after a series of crippling strokes.

Mark O'Rowe is an Irish playwright whose plays include Howie the Rookie (Bush Theatre, London, 1999), From Both Hips (Fishamble, 1997), Made in China (Abbey Theatre, Dublin, 2001), Crestfall (Gate Theatre, Dublin, 2003), Terminus (Abbey Theatre, 2007) and Our Few and Evil Days (Abbey Theatre, 2014). His screenplays include Broken (2012), based on the novel by Daniel Clay, Perrier’s Bounty (2009), Boy A (2007), based on the novel by Jonathan Trigell, and Intermission (2004).

Caracteristici

A Student Edition featuring a scene-by-scene summary, a commentary on the dramatic, social and political context, and on the themes, characters, language and structure of the play.

Cuprins

ChronologyCOMMENTARYCultural and Theatrical ContextsTheatrical StyleThemesCharacterisationSettingTranslationPerformance HistoryScholarly and Popular DebateFurther reading and viewingHEDDA GABLERNotes

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.