<<     >>
Henrik ibsen 1828-1906
Henrik ibsen 1828-1906
Hedda Gabler, Almeida Theatre 2005, starring Eve Best
Hedda Gabler, Almeida Theatre 2005, starring Eve Best
Sarah kanes blasted: royal court theatre upstairs, 1995
Sarah kanes blasted: royal court theatre upstairs, 1995
Ibsens open drain
Ibsens open drain
How ibsen changed theatre
How ibsen changed theatre
Theories of naturalism
Theories of naturalism
tRAGEDY OR FARCE
tRAGEDY OR FARCE
Ibsens notes
Ibsens notes
Ibsens notes
Ibsens notes
DESPERATE HOUSEWIVES
DESPERATE HOUSEWIVES
Beware of the Vampire
Beware of the Vampire
Henrik ibsen 1828-1906
Henrik ibsen 1828-1906
THE FEMALE HAMLET
THE FEMALE HAMLET
Hedda Gabler, dir
Hedda Gabler, dir
NATURALISM IN ACTING
NATURALISM IN ACTING
Ibsen and freud
Ibsen and freud
A DOLLS HOUSE, 1879
A DOLLS HOUSE, 1879

: . : Thomas Jones. : .pptx. zip-: 2612 .

.pptx
1 Henrik ibsen 1828-1906

Henrik ibsen 1828-1906

Week 1: Hedda Gabler

2 Hedda Gabler, Almeida Theatre 2005, starring Eve Best

Hedda Gabler, Almeida Theatre 2005, starring Eve Best

Hedda Gabler, Old Vic Theatre, 2012, starring Sheridan Smith

3 Sarah kanes blasted: royal court theatre upstairs, 1995

Sarah kanes blasted: royal court theatre upstairs, 1995

Facing something actual and true and ugly and painful Harold Pinter Blasted changed reality because it changed the means we have of understanding ourselves. It showed us a new way in which to see realty. Edward Bond

This disgusting feast of filth Daily Mail a gratuitous welter of carnage The Sunday Telegraph A sordid little travesty of a play, The Spectator

4 Ibsens open drain

Ibsens open drain

The London Daily Telegraph called Ghosts (1881) an open drain; a loathsome sore unbandaged; a dirty act done publicly; a lazar house with all its doors and windows open. Hedda was particularly controversial: Acrawl with the foulest passions of humanity (Pictorial World, 1891) Things rank and gross in nature alone have a place in the mean and sordid philosophy of Ibsen (Saturday Review, 1891) A horrid miscarriage of the imagination, a monster in female form to whom no parallel can be found in real life (Morganbladet, 1891) We are all Hedda! (A woman in the audience to the actress Elizabeth Robbins, London premiere, 1891) G B Shaw, The Quintessence of Ibsenism, 1891

5 How ibsen changed theatre

How ibsen changed theatre

Theatre is not entertainment Theatre as confrontational. Theatre that addresses the audience that it attacks. Theatre that becomes defended and supported by radicals G B Shaw, the Suffragettes, all of whom saw themselves as outside patriarchal bourgeois society (the dominant C19th class). Ibsen is one of the first playwrights to become internationally known through print.

6 Theories of naturalism

Theories of naturalism

Charles Darwin The Origin of Species (1859) Georg Brandes: Lecture in Copenhagen 1871: For it is not so much our laws that need changing as it is our whole conception of society. 1872 Main Currents in 19th Century Literature (six volumes). No more dangerous book could fall into the hand of a pregnant poet In twenty years, one will not be able to comprehend how spiritual existence at home was possible before these lectures. Ibsen, 1872 Every man shares the responsibility and the guilt of the society to which he belongsTo write is to sit in judgement on oneself Ibsen, 1880

7 tRAGEDY OR FARCE

tRAGEDY OR FARCE

?mile Zola, Naturalism in the Theatre, 1881: I believe that we must go back to tragedy one deed unwinds in all its reality, and moves the characters to passions and feelings, the exact analysis of which constitutes the sole interest of the play. I felt pity and terror, as though the play had been Greek Oscar Wilde on Hedda. The tragedy of a Hedda in real life is not that she commits suicide but that she continues to live! G B Shaw. Arthur Miller: Tragedy and the Common Man 1949

8 Ibsens notes

Ibsens notes

SHORT RANGE Expects great things of life and the joy of life. She really wants to live a mans life wholly. But then she has misgivings. Her inheritance, what is implanted in her. She marries Tesman but she devotes her imagination to Eilert Lovborg In reality she does not have the courage to be a part of anything like that. Then she realises her condition. Caught! Cant comprehend it! Hedda, who drives him beyond all limits, draws back at the thought of a scandal. Women have no influence on external matters of government. Therefore they want to have an influence on souls.

9 Ibsens notes

Ibsens notes

LONG RANGE The play shall deal with the impossible, that is, to aspire to and strive for something which is against all the conventions, against that which is acceptable to conscious minds Heddas included. The greatest misery in this world is that so many have nothing to do but pursue happiness without being able to find it. They perceive that the times are full of missions worth devoting ones life to, but they cannot discover them.

10 DESPERATE HOUSEWIVES

DESPERATE HOUSEWIVES

I must disclaim the honour of having consciously worked for womens rights. I am not even quite sure what womens rights really are. To me it has been a question of human rights My task has been the portrayal of human beings. (speech to the Norwegian Society for Womens Rights 1898). What I principally wanted to do was to depict human beings, human emotions, and human desires, upon a groundwork of certain of the social conditions and moral principles of the present day. (1890, a letter to his publisher)

11 Beware of the Vampire

Beware of the Vampire

Fin-de-siecle atmosphere: In literature it led to the characterisation of women as passive creatures of emotion and instinct or as dangerously attractive but ruthless dolls, whose instinct is to drag men down to their own biological level. The attempt of such women to control or usurp male creativity was emblematized by the Decadents in vampires, sphinxes, maenads but a particularly apt image was discovered in the symbolic castration. Brian Parker, Modern Drama, 32 (1989)

12 Henrik ibsen 1828-1906
13 THE FEMALE HAMLET

THE FEMALE HAMLET

Eve Best nails all the paradoxes of this great role, creating a woman who is at once sexy yet frigid, reckless yet cowardly, bored yet excited, powerful yet vulnerable. Charles Spencer, The Telegraph, 2005 "Richard says he always understood Hedda. I was nerve-racked by that, because I didn't at all. I kept reading it and she seemed quite unpindownable. I wrote a list of all the words you could use to describe her" - here Best frantically reels off a list of stark personality contradictions. "I thought: she's like a will o' the wisp!""She can be simultaneously forceful and fragile," she says. "That's a very rare combination. She can turn on a sixpence. Eve Best, interviewed by Dominic Cavendish, The Telegraph, 2005

14 Hedda Gabler, dir

Hedda Gabler, dir

Thomas ostermeier, schaub?hne, 2005

15 NATURALISM IN ACTING

NATURALISM IN ACTING

The stichomythia of the Greek and French tragedians was lengthy in comparison with this unceasing display of hissing conversational fireworks, fragments of sentences without verbs, clauses that come to nothing, adverbial exclamations and cryptic interrogatories This rapid broken utterance will give an extraordinary sense of reality. - Edmund Gosse, English translator of Hedda Gabler, 1891.

16 Ibsen and freud

Ibsen and freud

Freud is said to have learnt Norweigan purely to read Ibsens work. Freud: On the psychical mechanism of hysterical phenomena, 1893. The interpretation of Dreams, 1900 Our whole being is nothing but a fight against the dark forces within ourselves Ibsen. An archaeologist of the modern psyche? Im working on a poem, he saw Hedda as a poetic drama. The poetry of the everyday. Not simply a naturalist there are poetic and symbolic images.

17 A DOLLS HOUSE, 1879

A DOLLS HOUSE, 1879

Act 3: TORVALD Youre talking like a child. You dont understand, do you? You dont understand religion or morality or responsibility or society. You dont understand the society you live in. NORA I dont even really know what society is. I dont know if theres any such thing. Ibsens greatest achievement was that by means of the theatrehe made people think (Obituary, The Academy).

http://900igr.net/prezentacija/bez_uroka/teatr-naturalizma-emilja-zolja-240531.html
c

1