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Peer Gynt was Ibsen's last work to use poetry as a medium of dramatic expression, and the poetry is brilliantly appropriate to the imaginative swings between Scandinavian oral folk traditions, the Morrocan coast, the Sahara Desert, and the absurdist images of the Cairo madhouse. This translation is taken from the acclaimed Oxford Ibsen.\n\nJohn McFarlane is Emeritus Professor of European Literature at the University of East Anglia, and General Editor of the Oxford Ibsen. \n\nABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Brand di Henrik Ibsen - Dall'incipit del dramma: ATTO PRIMO. L'azione ha luogo ai nostri giorni e si svolge lungo la riva d'un fiord, in una provincia della Norvegia Occidentale. Un altipiano coperto di neve; la nebbia vi è spessa e greve – piove; è quasi buio. Brand, vestito di nero, uno zaino sulle spalle, cammina in direzione di occidente, avanzando a stento; ha un bastone alla mano. Dietro a lui, un contadino col suo figlio vanno nella stessa direzione. CONTADINO. Olà, quel forestiero, non andare così svelto! Dove sei, ora? BRAND. Sono qui. CONTADINO (gridando). Tu smarrisci la strada. Guarda come la nebbia si fa più densa; quasi non si vede la punta del proprio bastone.

Brand di Henrik Ibsen - Dall'incipit del dramma: ATTO PRIMO. L'azione ha luogo ai nostri giorni e si svolge lungo la riva d'un fiord, in una provincia della Norvegia Occidentale. Un altipiano coperto di neve; la nebbia vi è spessa e greve – piove; è quasi buio. Brand, vestito di nero, uno zaino sulle spalle, cammina in direzione di occidente, avanzando a stento; ha un bastone alla mano. Dietro a lui, un contadino col suo figlio vanno nella stessa direzione. CONTADINO. Olà, quel forestiero, non andare così svelto! Dove sei, ora? BRAND. Sono qui. CONTADINO (gridando). Tu smarrisci la strada. Guarda come la nebbia si fa più densa; quasi non si vede la punta del proprio bastone.

Peer Gynt was Ibsen's last work to use poetry as a medium of dramatic expression, and the poetry is brilliantly appropriate to the imaginative swings between Scandinavian oral folk traditions, the Morrocan coast, the Sahara Desert, and the absurdist images of the Cairo madhouse. This translation is taken from the acclaimed Oxford Ibsen.\n\nJohn McFarlane is Emeritus Professor of European Literature at the University of East Anglia, and General Editor of the Oxford Ibsen. \n\nABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Scritto tra Roma e la Campania nel 1867, questo capolavoro teatrale in cinque atti in versi (di cui Edward Grieg scrisse le musiche di scena per la rappresentazione a Cristiania nel 1876) fonde memoria personale e leggenda, storia e fiaba per ricreare un uomo-simbolo, il nordico Peer del titolo, eroe-bambino teso a sempre nuove avventure e scoperte, sotto l’impulso di un indomabile esotismo.

Scritto tra Roma e la Campania nel 1867, questo capolavoro teatrale in cinque atti in versi (di cui Edward Grieg scrisse le musiche di scena per la rappresentazione a Cristiania nel 1876) fonde memoria personale e leggenda, storia e fiaba per ricreare un uomo-simbolo, il nordico Peer del titolo, eroe-bambino teso a sempre nuove avventure e scoperte, sotto l’impulso di un indomabile esotismo.

Niru is a young Bengali woman married to an English colonial bureaucrat - Tom.\n\nTom loves Niru, exoticising her as a frivolous plaything to be admired and kept; but Niru has a long-kept secret, and just as she thinks she is almost free of it, it threatens to bring her life crashing down around her.\n\nTanika Gupta reimagines Ibsen's classic play of gender politics through the lens of British colonialism, offering a bold, female perspective exploring themes of ownership and race.

Richard Eyre's version of Ibsen's Ghosts is a fresh and vivid depiction of a woman who yearns for emotional and sexual freedom, but who is too timid to achieve it.\n\n\n\nHelene Alving has spent her life suspended in an emotional void after the death of her cruel but outwardly charming husband. She is determined to escape the ghosts of her past by telling her son, Oswald, the truth about his father.\n\n\n\nBut on his return from his life as a painter in France, Oswald reveals how he has already inherited the legacy of Alving's dissolute life.\n\n\n\nRichard Eyre's version of Ghosts was first staged at the Almeida Theatre, London, in 2013.\n\n\n\nThis edition contains an introduction to the play by Richard Eyre.

'I think I'm a human being before anything else. I don't care what other people say. I don't care what people write in books. I need to think for myself.'\n\n Henrik Ibsen's A Doll's House premiered in 1879 in Copenhagen, the second in a series of realist plays by Ibsen, and immediately provoked controversy with its apparently feminist message and exposure of the hypocrisy of Victorian middle-class marriage. In Ibsen's play, Nora Helmer has secretly (and deceptively) borrowed a large sum of money to pay for her husband, Torvald, to recover from illness on a sabbatical in Italy. Torvald's perception of Nora is of a silly, naive spendthrift, so it is only when the truth begins to emerge, and Torvald appreciates the initiative behind his wife, that unmendable cracks appear in their marriage.\n\n This compelling new version of Ibsen's masterpiece by playwright Simon Stephens premiered at the Young Vic Theatre, London, on 29 June 2012. It was updated with minor changes in 2013.

There are ghosts everywhere. \nThere are ghosts here right now.\n\nPlagued by the ugly truth of her late husband’s legacy, Helene vows to erase the past and start again.\n\nIgnorant to the reality of his father’s character, Osvald, her son, returns home to face an uncertain future. But when the ember of an illicit romance stands to ruin Helene’s plans to play happy family, she is forced to make a decision that threatens to engulf what’s left of her – and her son’s – life completely.\n\nExperience the work of Henrik Ibsen, one of the most influential dramatists of all time, in a scandalous and searing exploration of family secrets and forbidden desire. Nearly 150 years after causing a furore when it premiered with its depiction of incest, infection and euthanasia, adaptor and director Joe Hill-Gibbins (The Marriage of Figaro, ENO; The Tragedy of King Richard The Second, Almeida), in his Globe debut, brings a new version of Ghosts, the first modern tragedy, to the Sam Wanamaker Playhouse.\n\nGhosts was part of the Sam Wanamaker Playhouse 10th Anniversary Season. This edition was published to coincide with the world premiere at The Globe's Sam Wanamaker Playhouse in November 2023.

There are ghosts everywhere. \nThere are ghosts here right now.\n\nPlagued by the ugly truth of her late husband’s legacy, Helene vows to erase the past and start again.\n\nIgnorant to the reality of his father’s character, Osvald, her son, returns home to face an uncertain future. But when the ember of an illicit romance stands to ruin Helene’s plans to play happy family, she is forced to make a decision that threatens to engulf what’s left of her – and her son’s – life completely.\n\nExperience the work of Henrik Ibsen, one of the most influential dramatists of all time, in a scandalous and searing exploration of family secrets and forbidden desire. Nearly 150 years after causing a furore when it premiered with its depiction of incest, infection and euthanasia, adaptor and director Joe Hill-Gibbins (The Marriage of Figaro, ENO; The Tragedy of King Richard The Second, Almeida), in his Globe debut, brings a new version of Ghosts, the first modern tragedy, to the Sam Wanamaker Playhouse.\n\nGhosts was part of the Sam Wanamaker Playhouse 10th Anniversary Season. This edition was published to coincide with the world premiere at The Globe's Sam Wanamaker Playhouse in November 2023.