History Creator / HenrikIbsen

9th Feb '18 9:27:25 AM TheMountainKing
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** Theatre/{{Rosmersholm}}: a HauntedHouse.
** Theatre/WhenWeDeadAwaken: Irene, a heroine of the "gothic insane" variety.

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** Theatre/{{Rosmersholm}}: ''Theatre/{{Rosmersholm}}'': a HauntedHouse.
** Theatre/WhenWeDeadAwaken: ''Theatre/WhenWeDeadAwaken'': Irene, a heroine of the "gothic insane" variety.
9th Feb '18 9:26:35 AM TheMountainKing
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** Theatre/LadyIngerAtAustraat has the titular character walking sleeplessly about in an empty castle, believing it to be haunted, while her servants believe she herself is a ghost.
** Theatre/TheWarriorsAtHelgeland is even more gothic in the entire setup.

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** Theatre/LadyIngerAtAustraat ''Theatre/LadyIngerAtAustraat'' has the titular character walking sleeplessly about in an empty castle, believing it to be haunted, while her servants believe she herself is a ghost.
** Theatre/TheWarriorsAtHelgeland ''Theatre/TheWarriorsAtHelgeland'' is even more gothic in the entire setup.
6th Feb '18 8:13:37 PM MackWylde
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Added DiffLines:

* GreyAndGrayMorality
6th Nov '17 9:57:04 AM dlchen145
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A famous Norwegian playwright, and celebrated as a national symbol by Norwegians. Many of Ibsen's plays were critiques of the morality of his time, residing very far to the cynical end of the SlidingScaleOfIdealismVersusCynicism and often having NoEnding in a traditional storytelling sense. A noteworthy example is ''Theatre/ADollsHouse'', about a housewife and mother of three who has been taking deceptive means to support her family by herself. Her husband never suspects, but [[ManicPixieDreamGirl treats her as a child in a big toy house]] (hence ''A Doll's House''). The play as Ibsen wrote it ended with Nora flat-out leaving her husband after he reveals how he thinks of her: the last sound of the play is described as "the most famous door slam in the history of theater." However, for his German audience, Ibsen was pressured into writing a new ending, where the now self-assured and defiant Nora slips back into her meek role as a housewife when she is reminded of her children. Both endings are usually included in translations of the script, albeit with the German ending in significantly smaller letters.

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A Henrik Johan Ibsen (20 March 1828 23 May 1906) was a famous Norwegian playwright, and celebrated as a national symbol by Norwegians. Many of Ibsen's plays were critiques of the morality of his time, residing very far to the cynical end of the SlidingScaleOfIdealismVersusCynicism and often having NoEnding in a traditional storytelling sense. A noteworthy example is ''Theatre/ADollsHouse'', about a housewife and mother of three who has been taking deceptive means to support her family by herself. Her husband never suspects, but [[ManicPixieDreamGirl treats her as a child in a big toy house]] (hence ''A Doll's House''). The play as Ibsen wrote it ended with Nora flat-out leaving her husband after he reveals how he thinks of her: the last sound of the play is described as "the most famous door slam in the history of theater." However, for his German audience, Ibsen was pressured into writing a new ending, where the now self-assured and defiant Nora slips back into her meek role as a housewife when she is reminded of her children. Both endings are usually included in translations of the script, albeit with the German ending in significantly smaller letters.
10th Oct '17 12:16:03 PM MackWylde
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Added DiffLines:

* SlidingScaleOfIdealismVsCynicism: More on the cynical end (at least in terms of setting and tone)
* SlidingScaleOfRealismVersusFantastic: Ibsen is known as ''the father of realism''
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''.

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* 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.

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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, 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.
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