Hedda Gabler (1890)
By Henrik Ibsen
3.5/5
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About this ebook
Henrik Ibsen (20th March, 1828 – 23rd May, 1906) is often referred to as the father of realism and ranked just below Shakespeare as Europe’s greatest ever playwright especially as his plays are performed most frequently throughout the world after Shakespeare’s. Ibsen was Norwegian and although set his plays in Norway, he wrote them in Danish and lived most of his professional life in Italy and Germany. His affect on the theatre is still evident today and shapes the distinction of plays being art as opposed to entertainment since he broke down all previous traditions and explored issues, developed characterisation, revealed uncomfortable truths, challenged assumptions and broke down facades in ourselves as well as society. These factors are clearly demonstrated in Hedda Gabler where Ibsen presents one of the most interesting and elusive heroines in theatrical history. Hedda is the daughter of a deceased General and enters into a loveless marriage with the lacklustre George Tesman. Hedda’s desperation is totally misunderstood by those around yet portrayed so realistically with some of his finest most memorable prose that we can empathise with her behaviour. Hedda aptly points out: "I think I have a natural talent for boring myself to death." This Ibsen work certainly does not bore and is an essential riveting read.
Henrik Ibsen
Henrik Ibsen (1828-1906) was a Norwegian playwright who thrived during the late nineteenth century. He began his professional career at age 15 as a pharmacist’s apprentice. He would spend his free time writing plays, publishing his first work Catilina in 1850, followed by The Burial Mound that same year. He eventually earned a position as a theatre director and began producing his own material. Ibsen’s prolific catalogue is noted for depicting modern and real topics. His major titles include Brand, Peer Gynt and Hedda Gabler.
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Reviews for Hedda Gabler (1890)
386 ratings8 reviews
- Rating: 3 out of 5 stars3/5Why, oh why, do I get the impression that Ibsen didn't like his female protagonists very much?
Or, in other words, is there a specific reason that both Nora (from A Doll's House) and Hedda are written as two rather silly women, both incapable of a rational thought?
Surely, exploring the theme of individuals trapped in situation which they want to escape from has more to offer than half-baked schemes, lies, deception, and artistic illusions?
Ugh... - Rating: 4 out of 5 stars4/5Read this for a Lit class... Gosh, Hedda Gabler was not very nice.
- Rating: 3 out of 5 stars3/5What a bitch and what a great role. I could see her character translated into a corporate-type taking on the glass ceiling -- ruthless and manipulative. A timeless character.
- Rating: 4 out of 5 stars4/5This classic Ibsen play is about a woman who has ambitions beyond her modest life, and her beauty has captured a number of men who are willing to help her meet those ambitions. She has no scruples, and will do anything to get what she desires. It is a quick and easy read, and keeps you turning the pages until you reach the final, startling ending.
- Rating: 4 out of 5 stars4/5I can't decide whether to hate Hedda or feel pity for her… She is one of the most conniving women I have ever read about, yet she doesn't seem to get any enjoyment out of it. I would love to see this on the stage.
- Rating: 3 out of 5 stars3/5This is a short play that packs a punch! It also has an exciting ending. A Wikipedia quote says "Depending on the interpretation, Hedda may be portrayed as an idealistic heroine fighting society, a victim of circumstance, a prototypical feminist, or a manipulative villain." So you can decide!
- Rating: 4 out of 5 stars4/5I recommend it for the compactness of the story, the solid foreshadowing, and the ending. The play is about control, Hedda's mastery at controlling others and her despondency when her greatest attempt fails. The end came back to me often over next few days.
- Rating: 4 out of 5 stars4/5Hedda is kind of a stuck-up, manipulative, hopelessly romantic to the point of nihilistic woman, with an unsubsidiable pride and exaggerated sense of aestheticism. This is an extremely difficult character to portray that when I read the script, I just love Hedda and in some way see myself in her but when seeing it onstage she was such a bitch I just needed to punch her on the face 8-}. Anyways, the character's ambiguity and openness to interpretation is precisely what to love I guess