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[53] [54] The Ibsen Society of America (ISA) was founded in 1978 at the close of the Ibsen Sesquicentennial Symposium held in New York City to mark the 150th anniversary of Henrik Ibsen's birth. Distinguished Ibsen translator and critic Rolf Fjelde , Professor of Literature at Pratt Institute and the chief organizer of the Symposium, was ...
The Master Builder was the first work Ibsen wrote upon his return to Norway in July 1891 after many years spent elsewhere in Europe. It is usually grouped with Ibsen's other works written during this late period of Ibsen's life such as Little Eyolf, John Gabriel Borkman, When We Dead Awaken, and Hedda Gabler. Early reactions to the play by ...
Ibsen's Kingdom: The Man and His Works is a book about Henrik Ibsen and his works by Evert M. Sprinchorn (1923–2022), an American Scandinavian literature scholar. It was published by Yale University Press in 2021 when Sprinchorn was 98. It is described as a biography and more specifically as a biographical reading of Ibsen's plays. [1]
The Oxford Ibsen is a book series containing the most comprehensive English translations of the noted playwright Henrik Ibsen's collected works, edited by James Walter McFarlane (1920–1999) and published between 1960 and 1977. [1]
The League of Youth (Norwegian: De unges Forbund) is a play by Henrik Ibsen finished in early May 1869. [1] It was Ibsen's first play in colloquial prose and marks a turning point in his style towards realism and away from verse. [1] It was widely considered Ibsen's most popular play in nineteenth-century Norway. [2]
Hedda Gabler (Norwegian pronunciation: [ˈhɛ̂dːɑ ˈɡɑ̀ːblər]) is a play written by Norwegian playwright Henrik Ibsen. The world premiere was staged on 31 January 1891 at the Residenztheater in Munich. Ibsen himself was in attendance, although he remained back-stage. [1]
The Four Greats (Danish and Norwegian: De fire store) is a term used for four of the most influential Norwegian writers of the late 19th century. [1] The Four Greats were: Henrik Ibsen (1828–1906) playwright, theatre director, and poet who introduced Theatrical realism to the Norwegian stage. [2]
The play is dominated by images of stone and petrification. The play charts a progression up into the mountains, and Rubek is a sculptor. One of Ibsen's most dreamlike plays, When We Dead Awaken is also one of his most despairing. "When we dead awaken," Irene explains, "we find that we have never lived."