History Creator / HenrikIbsen

21st Apr '17 11:59:51 AM bt8257
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* ScrewThisIAmOutOfHere: Many, many times. As a rule, it is a young girl who breaks out and leaves (Nora Helmer has to be counted with this lot). A male example is Erhart, the son of ''Theatre/JohnGabrielBorkman''.

to:

* ScrewThisIAmOutOfHere: ScrewThisImOuttaHere: Many, many times. As a rule, it is a young girl who breaks out and leaves (Nora Helmer has to be counted with this lot). A male example is Erhart, the son of ''Theatre/JohnGabrielBorkman''.
6th Jan '17 7:28:54 AM SeptimusHeap
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* ''Theatre/TheMasterBuilder'' (1892): Heavily auto biographical or at least self assessing play. This is both the last of his "realistic" plays and the first of his "symbolist" ones. Featuring an AntiHero, FemmeFatale, a bit of TheRashomon, and loads of FreudWasRight. Unsurprisingly, Freud himself quite liked this play.

to:

* ''Theatre/TheMasterBuilder'' (1892): Heavily auto biographical or at least self assessing play. This is both the last of his "realistic" plays and the first of his "symbolist" ones. Featuring an AntiHero, FemmeFatale, FemmeFatale and a bit of TheRashomon, and loads of FreudWasRight.TheRashomon. Unsurprisingly, Freud himself quite liked this play.
28th Nov '16 6:57:10 AM Spindriver
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Phase two overlaps roughly with the 1860s, beginning with a "revival" in 1862. This phase marks a transition from the early stage, and shows a more mature, but clearly seeking poet. At the same time, this is Ibsen's "angry years". Both ''Theatre/{{Brand}}'' and ''Theatre/PeerGynt'' as well as a string of poems, show that Ibsen was more disappointed with his lot, and showed himself as a veritable SnarkKnight. His early sentiments were turned inside out, and Ibsen seems to have made a point of "sacrificing himself" in each and every play. If there is an AuthorAvatar, be sure that he seldom survives the play in this period.

Come the 1870s and onwards, we find the Ibsen we know and love. The mature playwright with his realistic plays, occupied by his tendency to reveal all the corruption of the Norwegian bourgoisy. He also stands out as an elitist, with small regard for the commoners. The lower classes tend to be set as morons in some level or another, and the big cheeses, like Old Werle and Proprietor Brack, or Consul Bernick, all get off the hook scott free, while the people in the middle suffer. In this period, Ibsen clearly stated SillyRabbitIdealismIsForKids. Thus, we see a harsh deprecation of his youthful days.

His late phase, after 1885, shows a more introvert and symbolical playwright, searching for his roots, and he re-uses themes from early on, like the MedievalBallads, but it is moulded in a different way. As the years passed, Ibsen was more into dissecting himself, and deconstructing himself in the process. His last three plays is stock full of this. He wrote his last play, ''WhenWeDeadAwaken'', in the fall of 1899. With a career launched in 1850, he set a solid mark on the entire second half of the nineteenth century.

Ibsen was punctual to the point of parody, and people in Christiania (Oslo) knew they could tune their clocks after him, at least after he moved back to Norway in 1891, and settled in a flat in the western parts of town. Every day at a certain time, he went down to his favorite café, entering the spot when the clock stroke twelve. He kept this habit up for ''thirteen years''.

Ibsen continued his strolls through town until he got too sick to move around. He suffered a stroke about 1904, which made him incapable of social life, and finally died in 1906, hailed as the greatest playwright in Norway, a country he had less than good to say about in his plays. In that respect, he seems an inversion of Creator/HenrikWergeland. Wergeland had a vision of what Norway could become. Ibsen presented a nightmare, or at least a bad dream that never left.

to:

Phase two overlaps roughly with the 1860s, beginning with a "revival" in 1862. This phase marks a transition from the early stage, and shows a more mature, but clearly seeking still questing poet. At the same time, this is these are Ibsen's "angry years". Both ''Theatre/{{Brand}}'' and ''Theatre/PeerGynt'' as well as a string of poems, show that Ibsen was more disappointed with his lot, and showed himself as a veritable SnarkKnight. His early sentiments were turned inside out, and Ibsen seems to have made a point of "sacrificing himself" in each and every play. If there is an AuthorAvatar, be sure that he seldom survives the play in this period.

Come the 1870s and onwards, we find the Ibsen we know and love. The love; the mature playwright with his realistic plays, occupied preoccupied by his tendency to reveal all the corruption of the Norwegian bourgoisy. bourgeoisie. He also stands out as an elitist, with small little regard for the commoners. The lower classes tend to be set as morons in at some level or another, and the big cheeses, like Old Werle and Proprietor Brack, or Consul Bernick, all get off the hook scott free, while the people in the middle suffer. In this period, Ibsen clearly stated SillyRabbitIdealismIsForKids. Thus, we see a harsh deprecation of his youthful days.

His late phase, after 1885, shows a more introvert and symbolical playwright, searching for his roots, and he re-uses themes from early on, like the MedievalBallads, but it is moulded in a different way. As the years passed, Ibsen was more into dissecting himself, and deconstructing himself in the process. His last three plays is stock are chock full of this. He wrote his last play, ''WhenWeDeadAwaken'', in the fall of 1899. With a career launched in 1850, he set a solid mark on the entire second half of the nineteenth century.

Ibsen was punctual to the point of parody, and people in Christiania (Oslo) knew they could tune set their clocks after by him, at least after he moved back to Norway in 1891, 1891 and settled in a flat in the western parts part of town. Every day at a certain time, day, he went down to his favorite café, entering the spot when the clock stroke twelve. He kept this habit up for ''thirteen years''.

Ibsen continued his strolls through town until he got too sick to move around. He suffered a stroke about 1904, which made him incapable of social life, and finally died in 1906, hailed as the greatest playwright in Norway, a country he had less than good things to say about in his plays. In that respect, he seems an inversion of Creator/HenrikWergeland. Wergeland had a vision of what Norway could become. Ibsen presented a nightmare, or at least a bad dream that never left.
7th Aug '16 12:40:29 AM Eilevgmyhren
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* WhenSheSmiles: Because of his aloof personality and social quirks, Ibsen rarely smiled on portraits and photograps. However, he ''was'' pictured smiling once, by Norwegian painter Erik Werenskjold, and this painting shows a rare moment of pure fun from this rather sullen man. A local paparazzi also managed to shoot a picture of Ibsen while talking to a young child on his regular stroll. At that moment, a kind smile can be observed, but usually, he never cracked.

to:

* WhenSheSmiles: Because of his aloof personality and social quirks, Ibsen rarely smiled on portraits and photograps.photographs. However, he ''was'' pictured smiling once, by Norwegian painter Erik Werenskjold, and this painting shows a rare moment of pure fun from this rather sullen man. A local paparazzi also managed to shoot a picture of Ibsen while talking to a young child on his regular stroll. At that moment, a kind smile can be observed, but usually, he never cracked.
7th Aug '16 12:40:04 AM Eilevgmyhren
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to:

* WhenSheSmiles: Because of his aloof personality and social quirks, Ibsen rarely smiled on portraits and photograps. However, he ''was'' pictured smiling once, by Norwegian painter Erik Werenskjold, and this painting shows a rare moment of pure fun from this rather sullen man. A local paparazzi also managed to shoot a picture of Ibsen while talking to a young child on his regular stroll. At that moment, a kind smile can be observed, but usually, he never cracked.
8th Jun '16 10:34:03 AM Morgenthaler
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Ibsen continued his strolls through town until he got too sick to move around. He suffered a stroke about 1904, which made him incapable of social life, and finally died in 1906, hailed as the greatest playwright in Norway, a country he had less than good to say about in his plays. In that respect, he seems an inversion of HenrikWergeland. Wergeland had a vision of what Norway could become. Ibsen presented a nightmare, or at least a bad dream that never left.

to:

Ibsen continued his strolls through town until he got too sick to move around. He suffered a stroke about 1904, which made him incapable of social life, and finally died in 1906, hailed as the greatest playwright in Norway, a country he had less than good to say about in his plays. In that respect, he seems an inversion of HenrikWergeland.Creator/HenrikWergeland. Wergeland had a vision of what Norway could become. Ibsen presented a nightmare, or at least a bad dream that never left.
5th Feb '16 11:52:17 AM aye_amber
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* ''Theatre/{{Catilina}}'' (1850). A Roman PeriodPiece and the first in his collected works.
* ''Theatre/StJohnsEve'' (1853) ''Not'' to be found in his collected works. A revived OldShame.

to:


* ''Theatre/{{Catilina}}'' (1850). (1850): A Roman PeriodPiece and the first in his collected works.
* ''Theatre/StJohnsEve'' (1853) (1853): ''Not'' to be found in his collected works. A revived OldShame.



* ''Theatre/ComedyOfLove'': A short BreatherEpisode and UnintentionalPeriodPiece. Containing a virtual SnarkKnight who seems to be the spiritual predecessor of ''Brand''.

to:

* ''Theatre/ComedyOfLove'': ''Theatre/ComedyOfLove:'' A short BreatherEpisode and UnintentionalPeriodPiece. Containing a virtual SnarkKnight who seems to be the spiritual predecessor of ''Brand''.''Brand.''



* ''Literature/TerjeVigen'' (1865): Ibsen's best known narrative poem, and another national icon - obligatory in Norwegian schools for years.

to:

* ''Literature/TerjeVigen'' (1865): Ibsen's best known narrative poem, and another national icon - -- obligatory in Norwegian schools for years.



* ''Theatre/PeerGynt'' (1867): Notable in that the incidental music was composed by Edvard Grieg, including [[http://www.youtube.com/watch?v=dRpzxKsSEZg "In the Hall of the Mountain King"]] and [[http://www.youtube.com/watch?v=GUKRBeG-sGQ "Morgenstimmung"]].
* ''Theatre/TheLeagueOfYouth'' (1869): A satirical play, and a strong TakeThat on Norwegian politics at the time. Made quite a stir - the first performance instigated riots between different political fractions. Some people were personally offended.
* ''Theatre/EmperorAndGalilean'' (1873): Considered to be Ibsen's magnum opus. Even so, it's ''criminally'' under-appreciated, even considering the whole [[UsefulNotes/AdolfHitler Hitler]] thing.

to:

* ''Theatre/PeerGynt'' (1867): Notable in that the incidental music was composed by Edvard Grieg, including [[http://www."[[https://www.youtube.com/watch?v=dRpzxKsSEZg "In In the Hall of the Mountain King"]] King]]" and [[http://www."[[https://www.youtube.com/watch?v=GUKRBeG-sGQ "Morgenstimmung"]].
Morgenstimmung]]."
* ''Theatre/TheLeagueOfYouth'' (1869): A satirical play, and a strong TakeThat on Norwegian politics at the time. Made quite a stir - -- the first performance instigated riots between different political fractions. Some people were personally offended.
* ''Theatre/EmperorAndGalilean'' (1873): Considered to be Ibsen's magnum opus. Even so, it's ''criminally'' under-appreciated, under appreciated, even considering the whole [[UsefulNotes/AdolfHitler Hitler]] UsefulNotes/AdolfHitler thing.



* ''Theatre/{{Ghosts}}'' (1881)
** Features the same [[TheDiseaseThatShallNotBeNamed disease]] as ''A Doll's House'', and a very dark take on IncestIsRelative.
** Plus a famous NoEnding. The curtain drops while Mrs. Alving [[spoiler:is trying to decide whether or not to euthanize her now-comatose son.]] When asked by his English translator what he thought happens after that, he replied, [[ShrugofGod "I wouldn't dream of answering such an important question. What do you think?"]]
** After some critics reviled ''A Doll's House'', Ibsen wrote ''Ghosts'' partly [[TakeThat to show what can happen to a woman who stays with a deadbeat husband]]. Contemporary critical reception for ''Ghosts'' was far worse than for ''A Doll's House''.

to:

* ''Theatre/{{Ghosts}}'' (1881)
(1881):
** Features the same [[TheDiseaseThatShallNotBeNamed disease]] as ''A Doll's House'', House,'' and a very dark take on IncestIsRelative.
** Plus a famous NoEnding. The curtain drops while Mrs. Alving [[spoiler:is [[spoiler: is trying to decide whether or not to euthanize her now-comatose now comatose son.]] When asked by his English translator what he thought happens after that, he replied, [[ShrugofGod replied: [[ShrugOfGod "I wouldn't dream of answering such an important question. What do you think?"]]
** After some critics reviled ''A Doll's House'', House,'' Ibsen wrote ''Ghosts'' partly [[TakeThat to show what can happen to a woman who stays with a deadbeat husband]]. husband.]] Contemporary critical reception for ''Ghosts'' was far worse than for ''A Doll's House''.House.''



* ''Theatre/{{Rosmersholm}}'' (1886). Another play featuring an idealistic priest, who ends up DrivenToSuicide alongside TheIngenue. The play is halfway political, halfway symbolical.
* ''Theatre/TheLadyFromTheSea'' (1888). A uniquely psychological play, with a ShadowArchetype coming in to screw up the lead character.
* ''Theatre/HeddaGabler'' (1890): Featuring another TheDiseaseThatShallNotBeNamed (in this case, pregnancy), and one [[spoiler: DrivenToSuicide]].
* ''Theatre/TheMasterBuilder'' (1892): Heavily autobiographical or at least self-assessing play. This is both the last of his "realistic" plays and the first of his "symbolist" ones. Featuring an AntiHero, FemmeFatale, a bit of TheRashomon, and loads of FreudWasRight. Unsurprisingly, Freud himself quite liked this play.
* ''Theatre/LittleEyolf'' (1894): A symbolistic play presenting a [[IllGirl crippled little boy]], KilledOffForReal before the end of the first act. The rest of the play conserns a lot of angsting from the remaining adults (the parents), and a comment on CrossDressing.
* ''Theatre/JohnGabrielBorkman'' (1897). Ibsen's penultimate play, telling the story of a GrumpyOldMan, bitterly resenting the world and dying in the snow.

to:

* ''Theatre/{{Rosmersholm}}'' (1886). (1886): Another play featuring an idealistic priest, who ends up DrivenToSuicide alongside TheIngenue. The play is halfway political, halfway symbolical.
* ''Theatre/TheLadyFromTheSea'' (1888). A An uniquely psychological play, with a ShadowArchetype coming in to screw up the lead character.
* ''Theatre/HeddaGabler'' (1890): Featuring another TheDiseaseThatShallNotBeNamed (in this case, pregnancy), and one [[spoiler: DrivenToSuicide]].
DrivenToSuicide.]]
* ''Theatre/TheMasterBuilder'' (1892): Heavily autobiographical auto biographical or at least self-assessing self assessing play. This is both the last of his "realistic" plays and the first of his "symbolist" ones. Featuring an AntiHero, FemmeFatale, a bit of TheRashomon, and loads of FreudWasRight. Unsurprisingly, Freud himself quite liked this play.
* ''Theatre/LittleEyolf'' (1894): A symbolistic play presenting a [[IllGirl crippled little boy]], boy,]] KilledOffForReal before the end of the first act. The rest of the play conserns concerns a lot of angsting from the remaining adults (the parents), and a comment on CrossDressing.
* ''Theatre/JohnGabrielBorkman'' (1897). (1897): Ibsen's penultimate play, telling the story of a GrumpyOldMan, bitterly resenting the world and dying in the snow.



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4th Jan '16 5:32:16 AM Eilevgmyhren
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Added DiffLines:

* ScrewThisIAmOutOfHere: Many, many times. As a rule, it is a young girl who breaks out and leaves (Nora Helmer has to be counted with this lot). A male example is Erhart, the son of ''Theatre/JohnGabrielBorkman''.
7th Nov '15 11:43:19 AM Morgenthaler
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Phase two overlaps roughly with the 1860s, beginning with a "revival" in 1862. This phase marks a transition from the early stage, and shows a more mature, but clearly seeking poet. At the same time, this is Ibsen's "angry years". Both ''{{Brand}}'' and ''PeerGynt'' as well as a string of poems, show that Ibsen was more disappointed with his lot, and showed himself as a veritable SnarkKnight. His early sentiments were turned inside out, and Ibsen seems to have made a point of "sacrificing himself" in each and every play. If there is an AuthorAvatar, be sure that he seldom survives the play in this period.

to:

Phase two overlaps roughly with the 1860s, beginning with a "revival" in 1862. This phase marks a transition from the early stage, and shows a more mature, but clearly seeking poet. At the same time, this is Ibsen's "angry years". Both ''{{Brand}}'' ''Theatre/{{Brand}}'' and ''PeerGynt'' ''Theatre/PeerGynt'' as well as a string of poems, show that Ibsen was more disappointed with his lot, and showed himself as a veritable SnarkKnight. His early sentiments were turned inside out, and Ibsen seems to have made a point of "sacrificing himself" in each and every play. If there is an AuthorAvatar, be sure that he seldom survives the play in this period.
4th Sep '15 7:48:51 PM mlsmithca
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-->''To live is a fight with trolls, in the vaults of the heart and mind''.
-->''To write poems, is to hold a judgement over yourself''. (Epigram by Henrik Ibsen).

to:

-->''To ->''To live is a fight with trolls, in the vaults of the heart and mind''.
-->''To ->''To write poems, is to hold a judgement over yourself''. (Epigram by Henrik Ibsen).
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