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This eBook edition of "IBSEN'S NEW DRAMA" has been formatted to the highest digital standards and adjusted for readability on all devices. James Augustine Aloysius Joyce (2 February 1882 – 13 January 1941) was an Irish novelist and poet, considered to be one of the most influential writers in the modernist avant-garde of the early 20th century. Joyce is best known for Ulysses (1922), a landmark work in which the episodes of Homer's Odyssey are paralleled in an array of contrasting literary styles, perhaps most prominent among these the stream of consciousness technique he perfected. Other major works are the short-story collection Dubliners (1914), and the novels A Portrait of the Artist as a Young Man (1916) and Finnegans Wake (1939). His complete oeuvre also includes three books of poetry, a play, occasional journalism, and his published letters.
An early appreciation and close study in English of Ibsen's use of symbolism -- particularly in "A Doll's House" and "Hadda Gabler" --how it occurs, how it developed, what it means, and how it is related to his plots.
Over a quarter of a century ago Michael Meyer's three-volume biography provided the English-speaking world with its most comprehensive study of Ibsen's life and work. Robert Ferguson is deeply appreciative of Meyer, but he argues that Meyer, like other critics, was content to write about the public reputation - Ibsen as a world figure, the critical response to Ibsen, Ibsen in performance. Ferguson succeeds in getting behind the daunting outside image of the dramatist, to reveal in greater depth than any previous biography the story of Ibsen's life, the workings of his mind and emotions and the making of some of the greatest plays ever written. Using recently unearthed material that includes Ibsen's own letter admitting paternity of his illegitimate son, and details of how Ibsen's inability to pay maintenance for the boy almost landed him in jail, Ferguson shows for the first time the real impact these early experiences of humiliation had on Ibsen's development both as man and artist, as well as emphasizing the degree to which Ibsen was, in modern parlance, one of the great therapeutic artists. The result is a biography which does not necessarily produce a likeable or lovable man, but one whom we can understand and appreciate. Robert Ferguson has written a biography on the grand scale - deeply researched, wide-ranging, and providing insights into both Ibsen and the world in which he lived.
The Drama of History plumbs the rich relationship between drama and philosophy. Kristin Gjesdal offers a lively and accessible discussion of the philosophical aspects of Henrik Ibsen's work. She shows how well-known nineteenth-century philosophers such as Hegel and Nietzsche develop their thoughts in interaction with the dramatic arts. At the heart of this interaction is a shared interest in exploring the existential condition of human life as lived andexperienced in history. In this sense, Gjesdal engages philosophy's capacity beyond its narrow academic confines.
The Master Builder and Other Plays by Henrik Ibsen Pdf
Ibsen's greatest late plays in superb modern translations, part of the new Penguin Ibsen series. This volume includes The Master Builder, Little Eyolf, John Gabriel Borkman and When We Dead Awaken - Ibsen's last four plays, written in his old age in Oslo. In The Master Builder, a married, middle-aged architect becomes bewitched by a strange young woman who claims to have known him for years. A sudden death in Little Eyolf is the catalyst that drives a couple into a greater understanding of themselves. In John Gabriel Borkman, a banker recently released from prison must choose between his wife and her sister, while a sculptor on holiday is reunited with the woman who inspired his greatest art in When We Dead Awaken. The new Penguin series of Ibsen's major plays offer the best available editions in English, under the general editorship of Tore Rem. All the plays have been freshly translated by leading translators and are based on the definitive Norwegian edition of Ibsen's works. This volume includes an introduction by Toril Moi on the themes of death and human limitation in the plays, and additional editorial apparatus by Tore Rem. Henrik Ibsen (1828-1906) is often called 'the Father of Modern Drama'. Born in the small Norwegian town of Skien, he left Norway in 1864 for a twenty-one-year long voluntary exile in Italy and Germany. After successes with the verse dramas Brand and Peer Gynt, he turned to prose, writing his great twelve-play cycle of society dramas between 1877 and 1899. This included The Pillars of Society, A Doll's House, Ghosts, An Enemy of the People, The Wild Duck, Rosmersholm, The Lady from the Sea, Hedda Gabler, The Master Builder, Little Eyolf, John Gabriel Borkman, and, finally, When We Dead Awaken. Ibsen returned to Norway in 1891 and died there at the age of seventy-eight. Barbara J. Haveland and Anne-Marie Stanton-Ife are both freelance literary translators. Toril Moi is Professor of English, Theater Studies and Philosophy at Duke University. Her books include Henrik Ibsen and the Birth of Modernism (2006). Tore Rem is Professor of British literature at the University of Oslo and author of Henry Gibson/Henrik Ibsen (2006).
Four Major Plays: Volume I A Doll House • The Wild Duck • Hedda Gabler • The Master Builder Among the greatest and best known of Ibsen’s works, these four plays brilliantly exemplify his landmark contributions to the theater: his realistic dialogue, probing of social problems, and depiction of characters’ inner lives as well as their actions. Rich in symbolism and often autobiographical, each of these dramas deals convincingly and provocatively with such universal themes as greed, fear, and sexual hostility, and confronts the eternal conflict between reality and illusion. These Rolf Fjelde translations have been widely acclaimed as the definitive versions of the major works of the father of modern theater. Translated and with a Foreword by Rolf Fjelde And an Afterword by Joan Templeton
Text and Supertext in Ibsen's Drama by Brian Johnston Pdf
Brian Johnston's approach to Ibsen, now well known, is unlike any other. Johnston sees Ibsen's twelve realist plays as a single cyclical work, the "realist" method of which hides a much larger poetic intention than has previously been suspected. He believes that the cycle constitutes one of the major works of the European imagination, comparable in scale to Goethe or Dante. And he has shown Ibsen to be the heir to Romantic and Hegelian art and thought, adapting this heritage to the circumstances of his own day. This work demonstrates how the language and scene, characters and "props," of the Ibsen dramas establish a bold and far-reaching theatrical goal: nothing less than an account of our biological and cultural identity in its multilayered totality. Johnston argues that Ibsen's realist text, while stimulating the appearance of nineteenth-century life, also objectively and precisely builds up an alternative image in which archetypal figures and situations from our cultural past repossess the realist stage. Thus he sees the Ibsen "strategy" in his realist plays as twofold: (1) the dialectical subversion of the nineteenth-century reality presented in the plays, and (2) the forced recovery of the archetypal from the past, in a procedure similar to James Joyce's in Ulysses. By "supertext" Johnston means a reservoir of cultural reference upon which Ibsen continuously drew in his realist work just as in is earlier poetic and historical dramas. Brian Johnston is Chief Editor of Theater Three. He is the author of The Ibsen Cycle and To the Third Empire, and is Visiting Professor, Department of Drama, Carnegie Mellon University.
Henrik Ibsen's A Doll's House by Henrik Ibsen,Nicholas Michael Bashour Pdf
Secrets. Lies. Love. Lust. Betrayal. Freedom. Experience one of the most iconic plays of all time in this brand-new adaptation of Henrik Ibsen's classic play A Doll's House. Nora Helmer is a typical upper middle-class housewife living an exquisitely divine life, as she would say. But there's much more below the surface than she's willing to let on! When an old friend shows up unexpectedly on Christmas Eve, it sets off a chain of events that, over the course of three days, changes Nora's life forever. While this is more of an adaptation than a literal translation, Henrik Ibsen wrote that "I consider it most important that the dialogue in the translations be kept as close to ordinary, everyday speech as possible...I believe that a translator should employ the style which the original author would have used if he had written in the language of those who are to read him in translation." This adaptation honors Ibsen's original dialogue and intentions (many of which had been lost in translation) while also making the dialogue sound like it was meant for actors today instead of the Victorian-era. Keep in mind that Ibsen had always intended for this play to be set in the present, not the past. How can we do that when the circumstances of the play are so rooted in the time in which the play was written? We can't set it in the present day because the characters wouldn't behave this way in the present. However, if we set the language in the present day while keeping everything else in the past, the circumstances of the play will work while also feeling like it belongs "in the present."
Robert David MacDonald's majestic version of Ibsen's poem-drama about the triumph of will over compromise. Brand, a fiery priest-hero, urges his flock to sacrifice their lives to save their souls. Cast size: 12
A Companion to Modern British and Irish Drama, 1880 - 2005 by Mary Luckhurst Pdf
This wide-ranging Companion to Modern British and Irish Drama offers challenging analyses of a range of plays in their political contexts. It explores the cultural, social, economic and institutional agendas that readers need to engage with in order to appreciate modern theatre in all its complexity. An authoritative guide to modern British and Irish drama. Engages with theoretical discourses challenging a canon that has privileged London as well as white English males and realism. Topics covered include: national, regional and fringe theatres; post-colonial stages and multiculturalism; feminist and queer theatres; sex and consumerism; technology and globalisation; representations of war, terrorism, and trauma.
This book argues that Shaw was a masterful reader of Ibsen's plays both as texts and as the cornerstone of the modern theatre. Dismantling the notion that Shaw distorted Ibsen to promote his own view of the world, and establishing Shaw’s initial interest in Ibsen as the poet of Peer Gynt, it chronicles Shaw’s important role in the London Ibsen campaign and exposes the falsity of the tradition that Shaw branded Ibsen as a socialist. Further, this study shows that Shaw’s famous but maligned The Quintessence of Ibsenism reflects Ibsen’s own anti-idealist notion of his work and argues that Shaw’s readings of Ibsen’s plays are pioneering analyses that anticipate later criticism. It offers new readings of Shaw’s “Ibsenist” plays as well as a comprehensive account of Ibsen’s importance for Shaw’s dramatic criticism, from his early journalism to Our Theatres of the Nineties, both as a weapon against the inanities of the Victorian stage and as the standard bearer for modernism.