Visar resultat för..."Ibsen"

Henrik Ibsens samtidsdramer kom att förändra den moderna teatern i grunden. Med sin kritiska genomlysning av det borgerliga äktenskapet retade de Strindberg till vansinne och fick James Joyce att lära sig norska. Pjäserna hör till dem som spelas mest på världens scener idag: Ett dockhem, Vildanden, Gengångare, Hedda Gabler.

Författaren Östergren är också översättaren Östergren, inte minst av dramatik. Han har bland annat översatt Nigel Williams Klassfiende och Alan Ayckbournes pjästrilogi The Norman Conquests. Nu kommer Klas Östergrens Ibsenöversättningar i nytryck, med förord av teaterkritikern och författaren Leif Zern.

Klas Östergren, född 1955, är en av Sveriges främsta författare. Han har varit verksam i över fyrtio år, och har givit ut en lång rad prosaverk. Klas Östergren har skrivit manus till tv och film, nu senast till filmatiseringen av genombrottsromanen Gentlemen, och varit verksam som översättare av framför allt dramatik. Hans senaste roman Twist, som kom ut 2014, fick ett entusiastiskt mottagande av både kritiker och publik.

Henrik Ibsens samtidsdramer kom att förändra den moderna teatern i grunden. Med sin kritiska genomlysning av det borgerliga äktenskapet retade de Strindberg till vansinne och fick James Joyce att lära sig norska. Pjäserna hör till dem som spelas mest på världens scener idag: Ett dockhem, Vildanden, Gengångare, Hedda Gabler.

Författaren Östergren är också översättaren Östergren, inte minst av dramatik. Han har bland annat översatt Nigel Williams Klassfiende och Alan Ayckbournes pjästrilogi The Norman Conquests. Nu kommer Klas Östergrens Ibsenöversättningar i nytryck, med förord av teaterkritikern och författaren Leif Zern.

Klas Östergren, född 1955, är en av Sveriges främsta författare. Han har varit verksam i över fyrtio år, och har givit ut en lång rad prosaverk. Klas Östergren har skrivit manus till tv och film, nu senast till filmatiseringen av genombrottsromanen Gentlemen, och varit verksam som översättare av framför allt dramatik. Hans senaste roman Twist, som kom ut 2014, fick ett entusiastiskt mottagande av både kritiker och publik.

Taken from the highly acclaimed Oxford Ibsen, this collection of Ibsen's plays includes A Doll's House, Ghosts, Hedda Gabler, and The Master Builder. 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.

One of the best-known, most frequently performed of modern plays, A Doll's House richly displays the genius with which Henrik Ibsen pioneered modern, realistic prose drama. In the central character of Nora, Ibsen epitomized the human struggle against the humiliating constraints of social conformity. Nora's ultimate rejection of a smothering marriage and life in "a doll's house" shocked theatergoers of the late 1800s and opened new horizons for playwrights and their audiences.But daring social themes are only one aspect of Ibsen's power as a dramatist. A Doll's House shows as well his gifts for creating realistic dialogue, a suspenseful flow of events and, above all, psychologically penetrating characterizations that make the struggles of his dramatic personages utterly convincing. Here is a deeply absorbing play as readable as it is eminently playable, reprinted from an authoritative translation.

Henrik Ibsens klassiska pjäs har här bearbetats till en lättläst och spännande roman. Men den är inte förflyttad till modern tid. Samtidigt som läsarna i förenklad och anpassad form får stifta bekantskap med en av världens mest berömda skådespel, får de följa hemmafrun Noras utveckling från näpen, ansvarslös dockhustru till en mogen kvinna som tar det ödesdigra – men egna – beslutet att lämna hemmet.Henrik Ibsen skrev sin pjäs 1879 och den är – tyvärr – fortfarande högst angelägen och aktuell.Boken finns på svenska och på arabiska. Den finns även som e-bok och ljudbok.

With three plays focusing on the family and how it struggles to stay together by telling lies - and exposing them, Henrik Ibsen's Ghosts and Other Plays is translated with an introduction by Peter Watts in Penguin Classics.In Ghosts, Osvald Alving returns home only to discover the truth about the father he always looked up to, and learns the horrific effect his father's debauchery has had on him. It was Ibsen's most provocative drama, stripping away the surface of a middle-class family to expose layers of hypocrisy and immorality. A Public Enemy sets two brothers against each other when one wishes to make public the facts about the polluted water in the public baths of their home town. And When We Dead Wake tells of an artist meeting an old lover by chance and rejecting his wife, in a symbolic exploration of Ibsen's own literary life and the sacrifices he made in his work.Peter Watts's translation maintains the colloquial tone of the original dialogue. He has also provided an introduction and notes on the texts.Henrik Ibsen (1828-1906) turned to journalism and playwriting instead of pursuing a university career. Ibsen was one of the earliest writers to dramatise the individual's alienation from society. Although Ibsen was never fully appreciated during his lifetime, he has since come to be recognised as one of the great dramatists of all time and the 'Father of Modern Drama'.If you enjoyed Ghosts, you might like Ibsen's A Doll's House and Other Plays, also available in Penguin Classics.

A Doll's House/Ghosts/Pillars of the Community/An Enemy of the People'Our home has never been anything other than a play-house. I've been your doll-wife here, just as at home I was Daddy's doll-child'These four plays established Ibsen as the leading figure in the theatre of his day, sending shockwaves throughout Europe and beyond. A Doll's House scandalized audiences with its free-thinking heroine Nora. Ibsen's even more radical follow-up, Ghosts, exposes family secrets and sexual double-dealing, while Pillars of the Community and An Enemy of the People both explore the hypocrisy and the dark tensions at the heart of society. This new translation, the first to be based on the latest critical edition of Ibsen's works, offers the best version available in English.A new translation by DEBORAH DAWKIN and ERIK SKUGGEVIK With an Introduction by TORE REM General Editor TORE REM

Four of Ibsen's most important plays in superb modern translations, part of the new Penguin Ibsen series.In these four unforgettably intense plays, Henrik Ibsen explores the complex nature of truth, the tension between freedom and responsibility, and the terrible pull that the past exerts over the present. In The Wild Duck, an idealist destroys a family by exposing the lie behind his friend's marriage. In Rosmersholm, a respectable man is driven to extremes by guilt over his wife's death, while in The Lady from the Sea a woman is caught between her family and the enticement of the wild sea. And in Hedda Gabler, one of Ibsen's most famous and vivid anti-heroines struggles to break free from the conventional life she has created for herself, with tragic results.The new Penguin series of Ibsen's major plays offer the best available editions in English, under the general editorship of Tore Rem. The plays have been freshly translated by the best modern translators and are based on the recently published, definitive Norwegian edition of Ibsen's works. They all include new introductions and editorial apparatus by leading scholars.Vol. 1: Peer Gynt and BrandVol. 2: A Doll's House and Other PlaysVol. 3: Hedda Gabler and Other PlaysVol. 4: The Master Builder and Other Plays

A new Penguin edition of Ibsen's two great verse plays, in masterful versions by one of our greatest living poets, Geoffrey Hill. These two powerful and contrasting verse dramas by Ibsen made his reputation as a playwright. The fantastical adventures of the irrepressible Peer Gynt - poet, idler, procrastinator, seducer - draw on Norwegian folklore to conjure up mountains, kidnappings, shipwrecks and trolls in an exuberant examination of truth and the self; while Brand, an unsparing vision of an idealistic priest who lives by his steely faith, explores free will and sacrifice. This volume brings together the poet Geoffrey Hill's acclaimed stage version of Brand with a new poetic rendering of Peer Gynt, published for the first time.This Penguin edition includes an interview with Geoffrey Hill about recreating Ibsen in English, an introduction by Janet Garton and editorial materials by Tore Rem.

The idea of a critical theory is famous across the world, yet it is today rarely practised as originally conceived by the Frankfurt School. The waning influence of critical theory in the contemporary academy may be due to its lack of engagement with global problems and the postcolonial condition. This book offers the first systematic treatment of the idea of a critical theory of world society, advancing the conversation between critical theory and postcolonial and ecological thought. Malte Frøslee Ibsen develops a reconstruction of the Frankfurt School tradition as four paradigms of critical theory, in original interpretations of the work of Max Horkheimer, Theodor W. Adorno, Jürgen Habermas, and Axel Honneth, and considers how the global context has featured in their work and what might be salvaged for a critical theory of contemporary world society. Along the way, Ibsen advances new interpretations of the relationship between critical theory and justice, the idea of communicative freedom, and three conceptions of power in the Frankfurt School tradition. He further offers extended discussions of two emerging paradigms in the work of Amy Allen and Rainer Forst and argues that a critical theory of world society must combine and integrate a Kantian constructivist approach in a critique of global injustice, as Forst defends, with the reflexive check of a self-problematizing critique of its blind spots and taken-for-granted assumptions regarding the postcolonial condition, as defended by Allen. Finally, Ibsen rethinks the relationship between society and nature in critical theory, with far-reaching normative and methodological implications.

'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.

Henrik Ibsen (1828-1906) is the founder of modern theater, and his plays are performed all over the world. Yet in spite of his unquestioned status as a classic of the stage, Ibsen is often dismissed as a boring old realist, whose plays are of interest only because they remain the gateway to modern theater. In Henrik Ibsen and the Birth of Modernism, Toril Moi makes a powerful case not just for Ibsen's modernity, but also for his modernism. Henrik Ibsen and the Birth of Modernism situates Ibsen in his cultural context, emphasizes his position as a Norwegian in European culture, and shows how important painting and other visual arts were for his aesthetic education. The book rewrites literary history, reminding modern readers that idealism was the dominant aesthetic paradigm of the nineteenth century. Modernism was born in the ruins of idealism, Moi argues, thus challenging traditional theories of the opposition between realism and modernism. By reading Ibsen's modernist plays as investigations of the fate of love in an age of skepticism, Moi shows why Ibsen still matters to us. In this book, Ibsen's plays are showed to be profoundly concerned by theater and theatricality, both on stage and in everyday life. Ibsen's unsettling explorations of women, men, and marriage here emerge as chronicles of the tension between skepticism and the everyday, and between critique and utopia in modernity. This radical new account places Ibsen in his rightful place alongside Baudelaire, Flaubert, and Manet as a founder of European modernism.

Written in the aftermath of hostile criticism of Ghosts, Ibsen's three plays all deal with the moral courage needed to tell the truth. They are peopled not by symbolic figures and abstract concepts, but by complex individuals pitted against, or part of, a society that Ibsen felt was morally abhorrent and claustrophobically provincial. 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.

Peer Gynt was Ibsen's last work to use poetry as a medium of dramatic expression, and the poetry is brilliantly appropriate to the imaginative swings between Scandinavian oral folk traditions, the Morrocan coast, the Sahara Desert, and the absurdist images of the Cairo madhouse. This translation is taken from the acclaimed Oxford Ibsen.John McFarlane is Emeritus Professor of European Literature at the University of East Anglia, and General Editor of the Oxford Ibsen. 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.

Ibsen and the Irish Revival examines Henrik Ibsen's influence on the Irish Revival and the reception of his plays in turn-of-the-twentieth-century Dublin. It highlights the international dimension of the Irish Literary Revival and offers new perspectives on W.B. Yeats, J.M. Synge, Lennox Robinson, James Joyce, George Moore and Sean O'Casey.

Although Henrik Ibsen is secure in his reputation as a major dramatist and intellectual figure, little attention has been given to the connections between his dramatic practice and his plays' powerful impact on audience and culture. Michael Goldman examines "how the play attacks us in the theater" and the means by which Ibsen assaults the audience's expectations and opinions. Focusing on specific features of Ibsen's dramaturgy that have been overlooked or underappreciated, Goldman looks at the plays' unsettling dialogue and driving plots, then explores the impacts on both character and audience when Ibsen's powerful vision takes effect. How does Ibsen illustrate a character's inner turmoil, and how is this quality realized by the actor on stage? What is the "spine"-the single, definitive phrase used by actors to pinpoint the dominant motivation-in A Doll's House? How does the stage design in The Wild Duck arouse the audience's curiosity? With considerable attention to these plays as well as The Master Builder and Peer Gynt, Goldman examines the characteristic "moments of crisis" and the striking similarities of gesture and language from play to play.Goldman discusses every aspect of Ibsen's art, from language, psychological motive, and narrative construct, to approaches used by actors and directors in play productions.

Brian Johnston's approach to Ibsen, now well known, is unlike any other. Johnston sees Ibsen's twelve realist plays as a single cyclical work, the "realist" method of which hides a much larger poetic intention than has previously been suspected. He believes that the cycle constitutes one of the major works of the European imagination, comparable in scale to Goethe or Dante. And he has shown Ibsen to be the heir to Romantic and Hegelian art and thought, adapting this heritage to the circumstances of his own day.This work demonstrates how the language and scene, characters and "props," of the Ibsen dramas establish a bold and far-reaching theatrical goal: nothing less than an account of our biological and cultural identity in its multilayered totality. Johnston argues that Ibsen's realist text, while stimulating the appearance of nineteenth-century life, also objectively and precisely builds up an alternative image in which archetypal figures and situations from our cultural past repossess the realist stage. Thus he sees the Ibsen "strategy" in his realist plays as twofold: (1) the dialectical subversion of the nineteenth-century reality presented in the plays, and (2) the forced recovery of the archetypal from the past, in a procedure similar to James Joyce's in Ulysses. By "supertext" Johnston means a reservoir of cultural reference upon which Ibsen continuously drew in his realist work just as in is earlier poetic and historical dramas.

A magnificent new biography of Henrik Ibsen, among the greatest modern playwrights"A superb account of the social and political atmosphere of Scandinavia in Ibsen’s time, and of Ibsen’s peculiar and inconsistent place within it.”—Andrew Katzenstein, Harper’s“A stellar life of the celebrated father of modern European drama.”—ChoiceHenrik Ibsen (1820–1908) is arguably the most important dramatist of the nineteenth century. Globally he remains the most performed playwright after Shakespeare, and Hedda Gabler, A Doll’s House, Peer Gynt, and Ghosts are all masterpieces of psychological insight.This is the first full-scale biography to take a literary as well as historical approach to the works, life, and times of Ibsen. Ivo de Figueiredo shows how, as a man, Ibsen was drawn toward authoritarianism, was absolute in his judgments over others, and resisted the ideas of equality and human rights that formed the bases of the emerging democracies in Europe. And yet as an artist, he advanced debates about the modern individual’s freedom and responsibility—and cultivated his own image accordingly. Where other biographies try to show how the artist creates the art, this book reveals how, in Ibsen’s case, the art shaped the artist.

During the last decade, women's narrative has become a recognized force in Mexican letters. The essays in this collection explore the recent work of nine contemporary Mexican women writers. Many of the works have been translated into English; some, like Laura Esquivel's Like Water for Chocolate, have become international best sellers. The unprecedented commercial success of these novels has generated mixed reactions: at the same time that the secondary status afforded women's narrative has come to be questioned in many academic circles, some authors are dissociating themselves from women's writing. The essays in this volume address these issues, providing a much needed contribution to the study of women's narrative.