1. Henrik Ibsen
style after rebelling against conventions. When Ibsen appeared on the literary .
screen, drama was almost non-existent in Norway. In his hands Norwegian .
drama developed which brought its founder international fame. "He became one .
of Europe's most influential figures both as a dramatist and an intellectual .
leader." Observes Brown. Ibsen experienced multiple shifts in dramatic mode .
and philosophy as he slowly came to terms with the intellectual, spiritual and .
emotional forces that were at war within his psyche. His plays are often .
characterized by rebellious spirit and unforgiving scrutiny of his own faults and .
virtues. .
Ibsen's works can be classified into three periods. His early dramatic .
works were historical and romantic plays and also consisted of some verses. .
The Pillars of society was Ibsen's first truly realistic play, whose title hinted .
sarcastically about the corruption and hypocrisy that had deep-rooted itself in .
the society. Ibsen's early works included two verse dramas: The first, Brand .
(1866; first produced in 1885), dramatized the tragedy of blind devotion to a .
false sense of duty; the second, Peer Gynt (1867), related, in allegorical terms, .
the adventures of a charming opportunist.
Ibsen's early plays were wild concentrating on visions both romantic and .
poetical of the rebel in search of the truth. In Brand, the revolt is against God, .
howling at heavens, like Prometheos, only to be punished eventually with a .
huge avalanche, which buries him alive. In Peer Gynt, the rebel is against.
society where a young man chooses to live a life of a waste, only to find himself, .
ultimately, living in a world of lost opportunities. But with The League of .
Youth, he began a modern phase where focus was directed towards the problems .
of a modern society. The play deals with social justice, political theories, and .
ideas of liberty. These plays created a stir which both fascinated and shocked .
the spectators.
This is exactly the case for nineteenth century Norwegian playwright Henrik Ibsen. ... An inarguably feminist icon born of Ibsen's dramatic literature is Hedda Gabler. ... Regardless of whether or not Ibsen and critics considered his work to be feminist, women who attended performances of Ibsen plays were overwhelmingly empowered by what they saw. During the years of 1880 and 1900, all but three of Ibsen's plays were originally produced as matinees. ... When presented with the works of Ibsen, women could immediately identify with the situations being played out in front of them. ...
Henrik Ibsen lived in the Age of Invention and he alone invented the modern drama. One of Ibsen's most important contributions to literature or to drama is the throwing out of the kings and their courtiers. ... We find Pastor Manders, overtly careful of his reputation appearing as another specimen of Ibsen's artificial society. ... In these later works, Ibsen bares the very soul of bourgeois culture. ... The very best art cleanses the soul, and Henrik Ibsen is gentle in doing that as he scrubs you with a brittle brush in the freezing waters of fjords. ...
The play was seen as so controversial that Ibsen was forced to write a second ending that he called ''a barbaric outrage'' to be used only when necessary. ... The most direct historical comparison that can be made with A Doll's House is with the woman it is based on, Laura Kieler; who Ibsen based Nora on. ... Although Ibsen's depiction of Nora realistically illustrates the issues facing women in 1800's Norway. ... Ibsen, though, saw political freedom and personal freedom as two very different things; "I shall never agree to identify Freedom with political fre...
The ending to Ibsen's play, is pretty far from happy. ... Henrik Ibsen was one of the first realist writers of the nineteenth century. ... It is these, "essential structural features," that not only reflect human morality, presented by Ibsen, but reflect Ibsen's realist style of writing. ... Ibsen believed that people could realize themselves, by breaking out of society's norms. ... Ibsen also believed that people could form their lives by making the right choices. ...
Criminals of society's morals created a driving force for Ibsen. ... Ibsen has established familiar characters in familiar settings placed in tragic circumstances. ... Ibsen creates a societal background and forces an ordinary person against it. From the audience, Ibsen demands sympathy for his heroes. ... It is a paradox that none of Ibsen's characters manage to escape. ...
Ibsen shows the exploitation of woman through the interactions of Nora and Torvald. ... In the analysis of Ibsen's play, feminist Julia Kristeva analyzes Ibsen's play and uses his lines to draw conclusions about the exploitation of women. ... " (Ibsen, 786). ... Nora states "I've been your wife-doll here, just at home I was papa's doll child" (Ibsen, 817). ... Ibsen's entire play revolves around Nora's character. ...
This can be seen through the play A Doll's House by Henrik Ibsen. ... Within Henrik Ibsen's play, A Doll's House, Ibsen uses the symbolism of clothing to illustrate freedom. ... " Although Ibsen has Kristine directly referring to the fancy dress, Ibsen also has her indirectly referring to Nora's marriage. ... Throughout the novel, Ibsen shows how undoubting Nora is of Torvald. ... Within Henrik Ibsen's play, A Doll's House, Ibsen uses the symbolism of clothing to illustrate freedom....