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* AnAesop: Ibsen wrote ''Theatre/{{Brand}}'' and ''Theatre/PeerGynt'' and published them successively in 1866 and 1867, to underline the point of being either too uncompromising, or being the total opposite (no backbone at all). In ''Brand'', Ibsen is far from subtle, and hammers his message down: ThePowerOfLove is essential when helping out your fellow men in a time of need. ''Peer Gynt'' discusses the meaning of "self", also connected to the power of love and the relation to your fellow men. The fourth act in both plays sets up the message of isolation and communication, with the danger of isolated madness as a possible result (in ''Peer Gynt'').
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* ''Theatre/EmperorAndGalilean'' (1873): Considered to be Ibsen's magnum opus. Even so, it's ''criminally'' under appreciated, even considering the whole UsefulNotes/AdolfHitler thing.
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* ''Theatre/EmperorAndGalilean'' (1873): Considered to be Ibsen's magnum opus. Even so, it's ''criminally'' under appreciated, even considering the whole UsefulNotes/AdolfHitler thing.
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* ''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 concerns a lot of angsting from the remaining adults (the parents), and a comment on CrossDressing.
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* ''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 concerns a lot of angsting from the remaining adults (the parents), and a comment on CrossDressing.
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wick cleaning
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** Features the same [[TheDiseaseThatShallNotBeNamed disease]] as ''A Doll's House,'' and a very dark take on IncestIsRelative.
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** Features the same [[TheDiseaseThatShallNotBeNamed disease]] as ''A Doll's House,'' and a very dark take on IncestIsRelative.incest.
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* AnAesop: Ibsen wrote ''Theatre/{{Brand}}'' and ''Theatre/PeerGynt'' and published them successively in 1866 and 1867, to underline the point of being either too uncompromising, or being the total opposite (no backbone at all). In ''Brand'', Ibsen is far from subtle, and hammers his message down: ThePowerOfLove is essential when helping out your fellow men in a time of need. ''Peer Gynt'' discusses the meaning of "self", also connected to the power of love and the relation to your fellow men. The fourth act in both plays sets up the message of isolation and communication, with the danger of isolated madness as a possible result (in ''Peer Gynt'').
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Henrik Johan Ibsen (20 March 1828 – 23 May 1906) was a Norwegian playwright, 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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Henrik Johan Ibsen (20 March 1828 – 23 May 1906) was a Norwegian playwright, 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.
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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[[quoteright:310:https://static.tvtropes.org/pmwiki/pub/images/Henrik_Ibsen_7953.jpg]]
->''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 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).
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->''To
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* AcceptableTarget: Upper class Norwegians. ''Chamberlains'' are the most acceptable targets in the plays of Ibsen (Bratsberg, Alving, the greater lot of guests at Werle's).
* AuthorAppeal: Ibsen ''loved'' walking in the Norwegian mountains. He even wrote a song about this (suffering from the WeirdAlEffect because everyone in Norway knows it, but hardly remember that the author was Ibsen). Many of Ibsen`s characters frequently stroll the mountain areas, are on their way up, or down, or just roaming around there. Theatre/{{Brand}} does it, Theatre/PeerGynt (obviously), Hilde Wangel, Falk the poet, and many others.
* AuthorAppeal: Ibsen ''loved'' walking in the Norwegian mountains. He even wrote a song about this (suffering from the WeirdAlEffect because everyone in Norway knows it, but hardly remember that the author was Ibsen). Many of Ibsen`s characters frequently stroll the mountain areas, are on their way up, or down, or just roaming around there. Theatre/{{Brand}} does it, Theatre/PeerGynt (obviously), Hilde Wangel, Falk the poet, and many others.
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