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The plays in this volume range from the once shockingly realistic Ghosts (1881), 'the play that launched a thousand ships of critical fury'; through The Wild Duck (1884) with its innovatory symbolism and its touching portrait of a fourteen-year-old girl held in thrall by her feckless father ('Where,' asked George Bernard Shaw, 'shall I find an epithet magnificent enough for The Wild Duck?'); to The Master Builder (1892), showing the semi-autobiographical relationship between an ageing genius and a dynamic young woman.Michael Meyer's translations are 'crisp and cobweb-free, purged of verbal Victoriana' (Kenneth Tynan)

Elevate your style with the blue sleeveless top Ibsen from Modström. This beautifully tailored top features a high neck and ruffles, perfect for pairing with a skirt, trousers, or jeans for an elegant look. Material: 60% viscose, 39% polyester, 1% elastane.

Elevate your style with the blue sleeveless top Ibsen from Modström. This beautifully tailored top features a high neck and ruffles, perfect for pairing with a skirt, trousers, or jeans for an elegant look. Material: 60% viscose, 39% polyester, 1% elastane.

Elevate your style with the blue sleeveless top Ibsen from Modström. This beautifully tailored top features a high neck and ruffles, perfect for pairing with a skirt, trousers, or jeans for an elegant look. Material: 60% viscose, 39% polyester, 1% elastane.

Power. Money. Morality. In a tight knit community a shocking discovery comes to light and threatens the lifeblood of the town. Truth and honour are pitched against wild ambition and corruption in Ibsen's emotional maelstrom. This is Rebecca Lenkiewicz's version of Ibsen's "An Enemy of the People" premiered at the Arcola Theatre, London in April 2008.

Since its publication in 1890, Ibsen's Hedda Gabler has been a recurring point of fascination for readers, theater audiences, and artists alike. Newly married, yet utterly bored, the character of Hedda Gabler evokes reflection on beauty, love, passion, death, nihilism, identity, and a host of other topics of an existential nature. It is no surprise that Ibsen's work has gained the attention of philosophically-minded readers from Nietzsche, Lou Andreas-Salomé, and Freud, to Adorno, Cavell, and beyond. Once staged at avant-garde theaters in Paris, London, and Berlin, Ibsen is now a global phenomenon. The enigmatic character of Hedda Gabler remains intriguing to ever-new generations of actors, audiences, and readers. Hedda Gabler occupies a privileged place in the history of European drama and as a work of literature, and, as this volume demonstrates, invites profound and worthwhile philosophical questions. Through ten newly commissioned chapters, written by leading voices in the fields of drama studies, European philosophy, Scandinavian studies, and comparative literature, this volume brings out the philosophical resonances of Hedda Gabler in particular and Ibsen's drama more broadly.

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Since its publication in 1890, Ibsen's Hedda Gabler has been a recurring point of fascination for readers, theater audiences, and artists alike. Newly married, yet utterly bored, the character of Hedda Gabler evokes reflection on beauty, love, passion, death, nihilism, identity, and a host of other topics of an existential nature. It is no surprise that Ibsen's work has gained the attention of philosophically-minded readers from Nietzsche, Lou Andreas-Salomé, and Freud, to Adorno, Cavell, and beyond. Once staged at avant-garde theaters in Paris, London, and Berlin, Ibsen is now a global phenomenon. The enigmatic character of Hedda Gabler remains intriguing to ever-new generations of actors, audiences, and readers. Hedda Gabler occupies a privileged place in the history of European drama and as a work of literature, and, as this volume demonstrates, invites profound and worthwhile philosophical questions. Through ten newly commissioned chapters, written by leading voices in the fields of drama studies, European philosophy, Scandinavian studies, and comparative literature, this volume brings out the philosophical resonances of Hedda Gabler in particular and Ibsen's drama more broadly.

Ibsen ascended to the first ranks of European writers in the late nineteenth century and has remained there ever since. The Norton Critical Edition includes five major plays spanning Ibsen’s long career in recent translations by Brian Johnston (Peer Gynt, The Wild Duck, and The Master Builder) and Brian Johnston and Rick Davis (A Doll House and Hedda Gabler). The translation of Peer Gynt appears for the first time in this Norton Critical Edition. “Backgrounds” gives students an understanding of Ibsen’s creative process with selections from his correspondence and other writings. Twenty-seven documents have been collected and arranged by play, with a section of autobiographical writings at the end. Ibsen’s plays continue to provoke diverse commentary. “Criticism” includes nineteen of the most important responses to Ibsen’s work, among them essays by Bernard Shaw, Sandra Saari, E. M. Forster, Hugh Kenner, and Joan Templeton. A Chronology and Selected Bibliography are also included.

This volume contains Ibsen's two most famous and frequently read, studied and performed plays about women: A Doll's House (1879), his first international success, which 'exploded like a bomb into contemporary life', and Hedda Gabler (1890), now one of his most popular plays, but greeted at first with bewilderment and outrage ('The play is simply a bad escape of moral sewage-gas' Pictorial World). Also included is An Enemy of the People (1883), whose central character was the actor Konstantin Stanislavski's favourite role.Michael Meyer's translations are 'crisp and cobweb-free, purged of verbal Victoriana' (Kenneth Tynan)

Announcing a new series of Drama Classic Collections.

This book will be useful to students of Ibsen and therefore belongs in the reference collections of all but the smallest public and academic libraries. . . . In all respects admirable. Reference Books Bulletin.

"Meyer's translations of Ibsen are a major fact in one's general sense of postwar drama. Their vital pace, their unforced insistence on the poetic centre of Ibsen's genius, have beaten academic versions from the field" (George Steiner)The plays shine freshly from the pages . . .This will be our definitive Ibsen." (Jc Trewin) This volume contains Ibsen's first great modern prose play and his two last symbolic dramas. The Pillars of Society, written between 1875 and 1877, exhibits many of the classic elements which recur in the subsequent plays a marriage founded on a lie, women stunted by social conventions, an arrogant man destroying the happiness of those around him. John Gabriel Borkman (1896), according to Edvard Munch, is "the most powerful winter landscape in Scandinavian art"; and Ibsen's last play, When We Dead Awaken (1899), also dealing with "the coldness of heart", showed, said Bernard Shaw, "no decay of Ibsen's highest qualities. His magic is nowhere more potent. Michael Meyer's translations are 'crisp and cobwebfree, purged of verbal Victoriana' (Kenneth Tynan)

This is the first comprehensive study of the women in Ibsen's plays and their relationship to the women in the life and career of the playwright. Through close critical readings of the Ibsen texts, as well as the examination of such primary sources as letters and personal papers, Joan Templeton discovers how the important figures in his life (his family, wife, and the actresses themselves) influenced and informed the powerful and inspiring characters he created. Templeton also explores the importance of the early plays and their impact on the later works, and establishes some general patterns in Ibsen's general representation of women.

Power. Money. Morality. In a tight knit community a shocking discovery comes to light and threatens the lifeblood of the town. Truth and honour are pitched against wild ambition and corruption in Ibsen's emotional maelstrom. This is Rebecca Lenkiewicz's version of Ibsen's "An Enemy of the People" premiered at the Arcola Theatre, London in April 2008.

Ibsen, Henrik, -- 1828-1906 -- Criticism and interpretation.

The volume reveals an astonishing richness in the theatrical approaches to Ibsen across the world: it considers political theatre, institutional 'high art', theatre for development, queer and transgender theatre, Brechtian techniques, puppetry, post-dramatic theatre, rural village performance and avant-garde touring companies. Investigating varied renegotiations of his drama, including the work of Thomas Ostermeier in Germany and other parts of the world, versions of A Doll's House from Chile and China, The Wild Duck in Iran and productions of Peer Gynt in Zimbabwe and Egypt, Frode Helland provides a deeper understanding of a cross-cultural Ibsen. The volume gives an in-depth analysis of the practice of Ibsen in relation to political, social, ideological and economic forces within and outside of the performances themselves, and demonstrates the incredible diversity of his work in local situations.

"Meyer's translations of Ibsen are a major fact in one's general sense of post-war drama. Their vital pace, their unforced insistence on the poetic centre of Ibsen's genius, have beaten academic versions from the field" (George Steiner)Includes three of Henrik Ibsen's most important works from his middle period. Generally regarded as the father of modern theatre, Ibsen's 'influence on contemporaries and following generations, whether directly or indirectly...can hardly be overestimated' (John Russell Taylor). The three plays in this volume show how Ibsen gradually turned from the study of social problems to a closer concern with the sickness of individuals. In Rosmersholm (1886), 'this most enthralling of Ibsen's works' (George Bernard Shaw), he explores the hypnotic hold one person may gain over another, a theme he took up in his next play, The Lady from the Sea (1888), and which reappears in Little Eyolf (1894), which William Archer ranked 'beside, if not above, the very greatest of Ibsen's works'.Michael Meyer's translations are 'crisp and cobweb-free, purged of verbal Victoriana' (Kenneth Tynan)

Gathers the Norwegian writer's most important dramas, including A Doll's House, An Enemy of the People, Hedda Gabler, and Ghosts

Presents critical essays written by a woman contemporary of Ibsen's, detailing her thoughts on the depiction of women in Ibsen's plays and women's confined roles in society at the end of the nineteenth century