Hedda Gabler by Henrik Ibsen | Paperback | Barnes & Noble
Hedda Gabler

Hedda Gabler

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by Henrik Ibsen
     
 

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Universally condemned in 1890 when it was written, Hedda Gabler has since become one of Ibsen's most frequently performed plays. Its title role is elusive and complex: Hedda is an intelligent and ambitious woman, who has no means of finding personal fulfilment in the stifling world of late nineteenth-century bourgeois society. Too frightened of scandal to

Overview

Universally condemned in 1890 when it was written, Hedda Gabler has since become one of Ibsen's most frequently performed plays. Its title role is elusive and complex: Hedda is an intelligent and ambitious woman, who has no means of finding personal fulfilment in the stifling world of late nineteenth-century bourgeois society. Too frightened of scandal to become involved with a brilliant, wayward writer, she opts for a conventional but loveless marriage in the hope of finding surrogate fulfilment through her husband's career. Blending comedy and tragedy disconcertingly together, Ibsen probes the thwarted aspirations and hidden anxieties of his characters against a background of contemporary social conditions and attitudes.

Editorial Reviews

NY Times
...stunning...amazingly contemporary in its considerations of the purpose of life, of the preservation of dignity and integrity...the big issues people don't dare to think about. And here is a staging that does not turn away...
Connecticut Post
...by far the best play of the season...HEDDA GABLER has so many layers. The tragedy plays upon the irony, which acts upon fully drawn characters to make up a thoroughly modern work...You won't see a better production of this fascinating play...
The Record-Journal
When Henrik Ibsen...wrote HEDDA GABLER 110 years ago, a woman's place in society was far different from what it is today. The fact that this psychological drama plays as well now as it did a century ago is apt tribute to the sheer genius of the playwright.

Product Details

ISBN-13:
9781566630061
Publisher:
Dee, Ivan R. Publisher
Publication date:
11/25/1992
Series:
Plays for Performance Series
Edition description:
Plays for Performance Edition
Pages:
128
Sales rank:
739,677
Product dimensions:
5.54(w) x 8.42(h) x 0.46(d)

Meet the Author

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).

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Hedda Gabler 4.3 out of 5 based on 0 ratings. 7 reviews.
Guest More than 1 year ago
From the view of a Theater major, this translation and adaptation of Henrik Ibsen's 'Hedda Gabler' allows an audience (and a reader, for that matter) to follow all the intricate little jokes and personality quirks. Unlike other translations, the way each character speaks is distinct from all the others. The words aren't the only thing translated from the Norwegian; the nuances and attitudes are as well. George Tesman is amusingly obtuse, and his Auntie Julia isn't simply the sweet old lady she appears to be. Judge Brack and Hedda can share some wonderful inside jokes without the rest of the characters noticing. Eilert Lovborg isn't just bipolar in his actions but also in his words. And unlike many other translations, it is actually possible to be sympathetic to Hedda's situation and not simply loath her for her attitude. One of Ibsen's greatest talents is his way with words: the characters are forever saying one thing and meaning something entirely different. As 'Hedda Gabler' is a play, it is not meant to be simply read; it is meant to be seen, and Jon Robin Baitz certainly makes it easier for the actors to get across the message Ibsen was trying to send. And studying the play intensively during rehearsals and production of 'Hedda Gabler' really make it easier to appreciate exactly how much is going on. It takes much more than just a reading to understand 'Hedda': at its finest, it takes a really stellar cast, especially in the title role, to pull it off.
Anonymous More than 1 year ago
Anonymous More than 1 year ago
No godmodding.<br> No weird-ass drama.<br> No killing unless necessary.<p> Done. Boom.
Anonymous More than 1 year ago
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Anonymous More than 1 year ago
Anonymous More than 1 year ago
Guest More than 1 year ago
Henrik Ibsen¿s ¿Hedda Gabler¿ traces the final fall of the play¿s antagonist, Hedda Gabbler. In Act I, we are first introduced to George¿s Aunt Julia, who is telling their long-time servant, Breta, that she must move to George and Mrs. Hedda Tessman¿s house, to act as their servant. Breta is distressed over this, for she fears that she will not be a good enough servant to Hedda, being General Gabler¿s daughter, and already accustomed to such fine and particular treatment. The fact that Breta is already distressed implies that Hedda may be a difficult woman to please. Hedda¿s ill treatment towards Berta throughout the act, on top of her outward criticism of Aunt Julia¿s hat, gives us insight to how truly impossible she is to please. She is rude to human beings in general, especially of a lower class, and has a flagrant disregard for her husband, by insulting his aunt¿s hat, which Julia bought to try and impress her. Hedda then manipulates Mrs. Elvstead into divulging all of her secrets of her association with Ejlert Lovborg, his whereabouts, and present situation. Hedda uses that information to then manipulate Lovborg, outwardly embarrassing both, having no shame. Hedda is frequently saying one thing, but meaning another. Because George is not as smart or quick, and also refuses to believe Hedda capable of thinking such sinister thoughts, she quickly covers up her true intentions. Due to boredom in her marriage, boredom in general, her discontent at an affair between Mrs. Elvstead and Ejlert Lovborg, and overall hostility, she encourages Lovborg to take his life in a ¿beautiful manner¿. Obviously, Hedda cares little about his life; we wonder if she cares about anyone¿s life at all, considering the tragic move she makes at the end of the play. Henrik Ibsen¿s ¿Hedda Gabler¿ lets us into the mind of a true psychopath, as we witness her every deranged move and thought, and are left with quite an unsettling feeling.