Henrik Ibsen

The winter of 1879-80 Ibsen spent in Munich, and the greater part of the summer of 1880 at Berchtesgaden. November 1880 saw him back in Rome, and he passed the summer of 1881 at Sorrento. There, fourteen years earlier, he had written the last acts of Peer Gynt; there he now wrote, or at any rate completed, Gengangere. It was published in December 1881, after he had returned to Rome. On December 22 he wrote to Ludwig Passarge, one of his German translators, "My new play has now appeared, and has occasioned a terrible uproar in the Scandinavian press; every day I receive letters and newspaper articles decrying or praising it.... I consider it utterly impossible that any German theatre will accept the play at present. I hardly believe that they will dare to play it in the Scandinavian countries for some time to come." How rightly he judged we shall see anon. In the newspapers there was far more obloquy than praise. Two men, however, stood by him from the first: Bj rnson, from whom he had been practically estranged ever since The League of Youth, and Georg Brandes. The latter published an article in which he declared (I quote from memory) that the play might or might not be Ibsen's greatest work, but that it was certainly his noblest deed. It was, doubtless, in acknowledgment of this article that Ibsen wrote to Brandes on January 3, 1882: "Yesterday I had the great pleasure of receiving your brilliantly clear and so warmly appreciative review of Ghosts.... All who read your article must, it seems to me, have their eyes opened to what I meant by my new book-assuming, that is, that they have any wish to see. For I cannot get rid of the impression that a very large number of the false interpretations which have appeared in the newspapers are the work of people who know better. In Norway, however, I am willing to believe that the stultification has in most cases been unintentional; and the reason is not far to seek. In that country a great many of the critics are theologians, more or less disguised; and these gentlemen are, as a rule, quite unable to write rationally about creative literature. That enfeeblement of judgment which, at least in the case of the average man, is an inevitable consequence of prolonged occupation with theological studies, betrays itself more especially in the judging of human character, human actions, and human motives. Practical business judgment, on the other hand, does not suffer so much from studies of this order. Therefore the reverend gentlemen are very often excellent members of local boards; but they are unquestionably our worst critics." This passage is interesting as showing clearly the point of view from which Ibsen conceived the character of Manders. In the next paragraph of the same letter he discusses the attitude of "the so-called Liberal press"; but as the paragraph contains the germ of An Enemy of the People, it may most fittingly be quoted in the introduction to that play.

Hedda is an intelligent and ambitious woman, trapped in the stifling environment of a bourgeois 19th-century marriage. When writer Eilert Loevborg, an old flame returns to Hedda's life with a masterpiece that might threaten her husband's career, Hedda decides to take drastic and fatal action. 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 satisfaction 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.

"You have never loved me. You have only thought it pleasant to be in love with me." --- Henrik Ibsen, A Doll's House A Doll's House is a three-act play in prose by Henrik Ibsen. It premiered at the Royal Theatre in Copenhagen, Denmark, on 21 December 1879, having been published earlier that month. The play is significant for its critical attitude toward 19th-century marriage norms. It aroused great controversy at the time, as it concludes with the protagonist, Nora, leaving her husband and children because she wants to discover herself. Ibsen was inspired by the belief that "a woman cannot be herself in modern society," since it is "an exclusively male society, with laws made by men and with prosecutors and judges who assess feminine conduct from a masculine standpoint." Its ideas can also be seen as having a wider application: Michael Meyer argued that the play's theme is not women's rights, but rather "the need of every individual to find out the kind of person he or she really is and to strive to become that person." In a speech given to the Norwegian Association for Women's Rights in 1898, Ibsen insisted that he "must disclaim the honor of having consciously worked for the women's rights movement," since he wrote "without any conscious thought of making propaganda," his task having been "the description of humanity." In 2006, the centennial of Ibsen's death, A Doll's House held the distinction of being the world's most performed play for that year. UNESCO has inscribed Ibsen's autographed manuscripts of A Doll's House on the Memory of the World Register in 2001, in recognition of their historical value.

Henrik Ibsen: Kom die der Liebe. Kom die in drei Akten Edition Holzinger. Taschenbuch Berliner Ausgabe, 2016 Vollst ndiger, durchgesehener Neusatz mit einer Biographie des Autors bearbeitet und eingerichtet von Michael Holzinger Kj rlighedens Komedie. Erstdruck: 1862. Textgrundlage: S mtliche Werke. Volksausgabe in f nf B nden. Herausgegeben von Julius Elias und Paul Schlenther. Einzige autorisierte deutsch Ausgabe. S. Fischer, Berlin 1907. Herausgeber der Reihe: Michael Holzinger Reihengestaltung: Viktor Harvion Umschlaggestaltung unter Verwendung des Bildes: Nils Gude, Portrait von Henrik Ibsen in M nchen, M rz 1891 Gesetzt aus Minion Pro, 11 pt.

Ibsens skuespil i tre akter blev f rste gang udgivet i 1881. Stykkets behandling af utroskab, k nssygdomme og dobbeltmoral i det borgerlige gteskab har gjort det til et af Ibsens mest kontroversielle v rker, men ogs et af hans mest fuldendte og oftest spillede stykker. Gengangere kan sammenlignes med en gr sk tragedie, men udspiller sig blandt almindelige mennesker i det vestlige Norge. Dramaet handler om fru Alving, som bner et asyl i sin afd de mand, kaptajn og kammerherre Alvings navn. Hun f r hj lp af pastor Manders, barndomsven og pr st af kaptajn Alving, til at administrere de konomiske forhold. Fru Alving er lykkelig over at hendes s n, Oswald, er vendt hjem fra det store udland p ubestemt tid. Som dramaet udvikler sig, viser det sig at kaptajn Alving var en synder, som skejede ud og f rte en d rlig livsstil. Fru Alving p tog sig opgaven at d kke over denne adf rd, efter hun fors gte at forlade Alving til fordel for pr sten, efter et rs gteskab. Manders f rte pligten over lykken, og overtalte fru Alving til at vende tilbage, hvorefter fru Alving begyndte at holde kaptajn Alvings livsstil skjult. Men alle l gnene blotl gges til slut og stykket ender uforl st i typisk Ibsensk stil.

Et Dukkehjem er et af den norske forfatter og dramatiker Henrik Ibsens hovedv rker. Det er et skuespil i tre akter udgivet og opf rt f rste gang i K benhavn i 1879. Det beskriver Nora og Torvalds samliv i et viktoriansk borgerhjem. Nora ender med at forlade sin mand og b rn for at finde sig selv, noget der var uh rt p den tid og medf rte at der blev skabt bl st omkring v rket i samtiden. V rket er en absolut milep l i klassisk, nordisk litteratur. Henrik Ibsen (1828-1906) blev f dt i Skien i Norge. Han regnes som en af hovedforfatterne i Det Moderne Gennembrud, en af de vigtigste forfattere i anden halvdel af det 19. rhundrede og en af de vigtigste dramatikere i den europ iske teaterhistorie. Med de realistiske samtidsdramaer Samfundets st tter (1877), Et dukkehjem (1879), Gengangere (1881) og En folkefiende (1882) opfyldte Ibsen den indflydelsesrige danske kritiker Georg Brandes' krav om at s tte problemer under debat. Et dukkehjem blev det internationale gennembrud for Ibsen. Det fik enorm betydning for kvindesagskampen overalt i verden og er sandsynligvis verdens mest spillede drama i moderne tid.

Henrik Ibsen: Kaiser und Galil er. Ein weltgeschichtliches Schauspiel in zwei Teilen Edition Holzinger. Taschenbuch Berliner Ausgabe, 2016 Vollst ndiger, durchgesehener Neusatz mit einer Biographie des Autors bearbeitet und eingerichtet von Michael Holzinger Kejser og Galil er. Erstdruck 1873. Textgrundlage: S mtliche Werke. Volksausgabe in f nf B nden. Herausgegeben von Julius Elias und Paul Schlenther. Einzige autorisierte deutsch Ausgabe. S. Fischer, Berlin 1907. Herausgeber der Reihe: Michael Holzinger Reihengestaltung: Viktor Harvion Umschlaggestaltung unter Verwendung des Bildes: Nils Gude, Portrait von Henrik Ibsen in M nchen, M rz 1891 Gesetzt aus Minion Pro, 11 pt.

Un enemigo del pueblo (1882) describe la lucha de un individuo decidido a revelar la verdad aun cuando sta amenaza la supervivencia de toda una ciudad y a pesar de que su porvenir y el de su familia est n en juego.

Casa de mu ecas fue la primera obra dram tica de Ibsen que caus sensaci n. En la actualidad es quiz su obra m s famosa y su lectura es obligatoria en muchas escuelas y universidades. Cuando Casa de mu ecas se public gener gran controversia, ya que critica fuertemente las normas matrimoniales del siglo XIX. Aunque Ibsen neg que su obra fuera feminista, es considerada por muchos cr ticos como la primera verdadera obra teatral feminista.