Henrik Ibsen

If I get run over tomorrow, how are you paying the Amex off? If you get run over tomorrow, why should I care because I am flinging myself into the road after you. Nora and Torvald’s marriage vows are a binding contract, but when scandal threatens to wreck their lives, it’s time to renegotiate the terms. Money, sex, power – this time nothing’s off the table. This new version by Critics’ Circle Theatre Award winner Anya Reiss (Becoming Elizabeth; The Seagull) is a provocative drama about the lies we tell to keep things sweet at home. This edition was published to coincide with the production at Almeida Theatre in spring 2026.

Korol umoljal menja zhenitsja na printsesse, trolli khoteli ozolotit, mnoj interesovalis vse krasavitsy, a beduiny schitali menja prorokom; ja byl v zasnezhennykh gorakh i pustyne, torgoval po vsemu miru i stal bogatejshim chelovekom. A esche ja letal sredi chaek. I vse eto, razumeetsja, chistaja pravda. Tolko vse ravno chego-to ne khvataet. Kem by mne stat teper?.." Per Gjunt" - odno iz samykh znachitelnykh proizvedenij Genrika Ibsena, norvezhskogo dramaturga i reformatora evropejskogo teatra. Eto pesa o mechtakh, egoizme i beskonechnom poiske sebja, kotoraja po znachimosti sravnima s takimi proizvedenijami, kak "Faust" Ioganna Gete i "Gamlet" Uiljama Shekspira. V nastojaschem izdanii originalnyj tekst "Per Gjunta" privoditsja s parallelnym perevodom Anny i Petra Ganzenov. Dlja udobstva chtenija kazhdaja strofa na russkom jazyke raspolozhena naprotiv sootvetstvujuschej strofy na norvezhskom. Takoe raspolozhenie pozvolit bez truda sravnivat tekst originala s perevodom, obraschat vnimanie na trudnosti, s kotorymi stalkivalis perevodchiki, i otmechat naibolee tochno perevedennye fragmenty. Proizvedenie soprovozhdaetsja fantazijnymi illjustratsijami Artura Rekema, Dzhona Ostina, Teodora Kittelsena, Erika Verenshjollja i Gansa Klubera. Podarochnoe oformlenie, tverdyj pereplet, belaja bumaga, illjustratsii, krasivyj maket, tsvetnaja lenta ljasse dobavljajut knige izyskannost i privlekatelnost. Ee mozhno priobresti ne tolko dlja svoej kollektsii, no i v kachestve podarka dorogim i blizkim ljudjam.

'Oh, be not afraid. I am cast out of society, but you, is it not true, you walk around as a man of honour? What more do you want?' (Laura Kieler, Men of Honour) Very few readers and audiences know that Ibsen's iconic feminist drama A Doll's House was built upon the real-life story of a woman called Laura Kieler, who was his friend and fellow writer. Her life fell apart when A Doll's House came out and the world saw her deeply private life splashed across its stages. With tremendous determination and perseverance, she managed to recover from the trauma that Ibsen's play caused her, and channelled her pain into a successful play of her own called (pointedly) Men of Honour. The play, performed in Copenhagen in 1890, caused great debate and fierce controversy. Ibsen eventually responded to her play by likewise writing a drama: When We Dead Awaken, his final work. This new edition traces the conversation between Ibsen and Kieler through these plays, across almost two decades and brings Kieler centre stage, and deepens our understanding of Ibsen's A Doll's House and When We Dead Awaken. These three plays create a fascinating whole: a fusion of vantage points, contexts, and visions still reverberating on and off stage today. Furthermore, the two Ibsen plays speak to each other in startling and fresh ways. This volume also explores 21st century concerns about consent and the many ways in which women in particular are still not heard. ABOUT 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.

Tri bessmertnykh shedevra mirovoj dramaturgii, perevedennye na vse krupnye jazyki, vkhodjaschie v zolotoj fond literatury vsekh vremen i narodov i v nashi dni ne skhodjaschie s luchshikh stsen mira i ekranizirovannye v obschej slozhnosti 43 raza (v tom chisle i v nashej strane). Dramaticheskaja poema "Per Gjunt", s ego prichudlivym sochetaniem realnosti i mistiki, sotsialnoj satiroj i filosofskimi temami poiska sebja. Odno iz glavnykh khudozhestvennykh proizvedenij feminizma - legendarnaja "Nora, ili Kukolnyj dom", esche v pozaproshlom veke postavivshaja problemu zhenskoj svobody i nezavisimosti. I "Gedda Gabler", mnogokratno sravnivavshajasja kritikami i literaturovedami s antichnymi tragedijami, - moschnaja i zhestokaja istorija silnoj zhenschiny, bolshe vsego na svete nenavidjaschej v sebe zhenstvennost i sposobnost k materinstvu...

Finally, I'm being brave. London, 1948. The war is over, India is newly independent, and Hedda Gabler has retired: early, elegantly, and with secrets. Once a Hollywood star, now the wife of rising British film director George Tesman, Hedda lives in Chelsea, hiding behind drawn curtains. But the past is beginning to stir. An old friend has written a screenplay that cuts too close to the truth. And there’s a powerful producer in town who never takes no for an answer. Inspired by the story of screen legend Merle Oberon, Hedda is a bold new version of Henrik Ibsen’s classic drama about blackmail, secrecy and power. Written by Tanika Gupta (Tupperware of Ashes) this edition was published to coincide with the Orange Tree Theatre production in October 2025, directed by BAFTA-winning director Hettie Macdonald (Normal People) and starring Pearl Chanda (I May Destroy You) in the title role.