Among these truths: Gregers' father impregnated his servant Gina, then married her off to Hjalmar to legitimize the child. Upon these helpless weaklings descends an infatuated truth-teller, Gregers Werle. Ibsen used this technique often, and it gained for him an international audience. In Vildanden (1884; The Wild Duck) Ibsen completely reversed his viewpoint by presenting onstage a gratuitous, destructive truth-teller whose compulsion visits catastrophic misery on a family of helpless innocents. Utterly disillusioned about her husband, whom she now sees as a hollow fraud, Nora declares her independence of him and their children and leaves them, slamming the door of the house behind her in the final scene. Without regard for a public he thought petty and illiberal, without care for traditions he found hollow and pretentious, he could now write for himself. There he supported himself meagerly as an apothecary’s apprentice while studying nights for admission to the university. [39][40][41] In 2006, the homebuilding company Selvaag also opened Peer Gynt Sculpture Park in Oslo, Norway, in Henrik Ibsen's honour, making it possible to follow the dramatic play Peer Gynt scene by scene. Henrik Ibsen is one of the most famous and controversial writers in world literature. The NRK produced a miniseries on Ibsen's childhood and youth in 2006, An Immortal Man. The fact that, whether read and staged, they still possess a compelling power is testament to his enduring quality as a thinker and a dramatist. Ibsen was nominated for the Nobel Prize in Literature in 1902, 1903, and 1904.[11]. In 1850 he went to Christiania (known since 1925 by its older name of Oslo), studied for entrance examinations there, and settled into the student quarter—though not into classes. The pastor had advised her to marry her fiancé despite his philandering, and she did so in the belief that her love would reform him. Although Ibsen read excerpts of the Danish philosopher Søren Kierkegaard and traces of the latter's influence are evident in Brand, it was not until after Brand that Ibsen came to take Kierkegaard seriously. But Ibsen had not yet found his proper voice; when he did, its effect was not to criticize or reform social life but to blow it up. One primary message of the play is that the individual, who stands alone, is more often "right" than the mass of people, who are portrayed as ignorant and sheeplike. He soon rejected the idea (his earlier attempts at entering university were blocked as he did not pass all his entrance exams), preferring to commit himself to writing. With him into exile Ibsen brought the fragments of a long semi-dramatic poem to be named Brand. He wrote a modern satire, De unges forbund (1869; The League of Youth) and then after many preliminary drafts a prose satire on small-town politics, Samfundets støtter (1877; Pillars of Society). The protagonist is a physician in a vacation spot whose primary draw is a public bath. Although Ibsen himself always looked back on this play as the cornerstone of his entire works, very few shared his opinion, and his next works would be much more acclaimed. [31] It was still a relatively new form of popular discussion and entertainment[citation needed]. it became a permanent family name, in the 17th century. With the help of a number of comforting delusions, Hjalmar Ekdal and his little family are living a somewhat squalid but essentially cheerful existence. Ibsen expected criticism: as he wrote to his publisher: “Ghosts will probably cause alarm in some circles, but it can’t be helped. Ibsen moved from Italy to Dresden, Germany, in 1868, where he spent years writing the play he regarded as his main work, Emperor and Galilean (1873), dramatizing the life and times of the Roman emperor Julian the Apostate. Henrik Ibsen is one of the most famous and controversial writers in world literature. When A Doll’s House was published, it had an explosive effect: it was the centre of every conversation at every social gathering in Christiana. Out of these materials young Ibsen was asked to create a “national drama.”. [5], Ibsen's early poetic and cinematic play Peer Gynt has strong surreal elements. [2] His major works include Brand, Peer Gynt, An Enemy of the People, Emperor and Galilean, A Doll's House, Hedda Gabler, Ghosts, The Wild Duck, When We Dead Awaken, Rosmersholm, and The Master Builder. His later plays became the sort of tourist attraction in Christiania. Distinguished Ibsen translator and critic Rolf Fjelde, Professor of Literature at Pratt Institute and the chief organizer of the Symposium, was elected Founding President. [8], Ibsen is often ranked as one of the most distinguished playwrights in the European tradition. This work, Catilina (1850; Catiline), grew out of the Latin texts Ibsen had to study for his university examinations. [22][23], With success, Ibsen became more confident and began to introduce more and more of his own beliefs and judgements into the drama, exploring what he termed the "drama of ideas". The couple lived in very poor financial circumstances and Ibsen became very disenchanted with life in Norway. The mention of venereal disease alone was scandalous, but to show how it could poison a respectable family was considered intolerable.[26]. Ibsen's biographer Henrik Jæger famously wrote in 1888 that Ibsen did not have a drop of Norwegian blood in his veins, stating that "the ancestral Ibsen was a Dane". Still, Ibsen was determined to be a playwright, although the numerous plays he wrote in the following years remained unsuccessful. He was awarded part of it, and in April 1864 he left Norway for Italy. He was too inhibited to make a forceful director but too intelligent not to pick up a great deal of practical stage wisdom from his experience. [17], When Henrik Ibsen was around seven years old, his father's fortunes took a significant turn for the worse, and the family was eventually forced to sell the major Altenburg building in central Skien and move permanently to their large summer house, Venstøp, outside of the city. [21] Ibsen's main inspiration in the early period, right up to Peer Gynt, was apparently the Norwegian author Henrik Wergeland and the Norwegian folk tales as collected by Peter Christen Asbjørnsen and Jørgen Moe. The patronymic became "frozen", i.e. He was the father of Prime Minister Sigurd Ibsen. Articles from Britannica Encyclopedias for elementary and high school students. So did conventionally minded critics; they denounced Ibsen as if he had desecrated all that was sacred and holy. Only too late do Hjalmar and Gregers realize that the absolute truth of the "ideal" is sometimes too much for the human heart to bear. When, on 22 May, his nurse assured a visitor that he was a little better, Ibsen spluttered his last words "On the contrary" ("Tvertimod!"). He wrote plays about ordinary people, but from them he elicited insights of devastating directness, great subtlety, and occasional flashes of rare beauty. Into this snug, not to say stifling, arrangement intrude several hard-minded outsiders, one of whom threatens to expose a fraud that Nora had once committed (without her husband’s knowledge) in order to obtain a loan needed to save his life. The setting of A Doll’s House is ordinary to the point of transparency. In An Enemy, controversy became the primary focus, and the antagonist was the entire community. Ibsen is a founder of the Modernist theater movement, a style of theater that focused on domestic interactions. Ibsen was born into an affluent merchant family in the wealthy port town of Skien in Bratsberg (Telemark). Ibsen's ancestry has been a much studied subject, due to his perceived foreignness[47] and due to the influence of his biography and family on his plays. The play ends with his complete ostracism. Born in Norway in 1828, his plays would eventually make him a household name. Their son was Tancred Ibsen, who became a film director and was married to Lillebil Ibsen; their only child was diplomat Tancred Ibsen, Jr. Sigurd Ibsen's daughter, Irene Ibsen, married Josias Bille, a member of the Danish ancient noble Bille family; their son was Danish actor Joen Bille. [36], On 23 May 1906, Ibsen died in his home at Arbins gade 1 in Kristiania (now Oslo)[37] after a series of strokes in March 1900. He cuts away the moral foundations (delusive as they are) on which the family has lived, leaving them despondent and shattered by the weight of a guilt too heavy to bear. His parents were Knud Ibsen (1797–1877) and Marichen Altenburg (1799–1869). There was no bitterness or reproach in her. Ibsen’s best-known plays included A Doll’s House, Hedda Gabler, Peer Gynt, The Wild Duck, Brand, and Rosmersholm. An annual newsletter Ibsen News and Comment is distributed to all members.[46]. In Ibsen's youth, Wergeland was the most acclaimed, and by far the most read, Norwegian poet and playwright. Ibsen’s plot exploits with cold precision the process known as “analytic exposition.” A secret plan (Nora’s forgery) is about to be concluded (she can now finish repaying the loan), but, before the last step can be taken, a bit of the truth must be told, and the whole deception unravels. Henrik Johan Ibsen (/ˈɪbsən/;[1] Norwegian: [ˈhɛ̀nrɪk ˈɪ̀psn̩]; 20 March 1828 – 23 May 1906) was a Norwegian playwright and theatre director. Learn how and when to remove this template message, Random House Webster's Unabridged Dictionary, "Ibsen Celebration to Spotlight 'Father of Modern Drama, "Henrik Ibsen – book launch to commemorate the 'Father of Modern Drama, "Henrik Ibsens skrifter: Brev til GEORG BRANDES (21. september 1882)", "Henrik Ibsen's greatest plays, from A Doll's House to Hedda Gabler", "In Our Time: Henrik Ibsen: Audio podcast", "Ibsen time of the year again – Hindustan Times", A Comparative Feminist Reading of Lesia Ukrainka’s and Henrik Ibsen’s Dramas, The Ibsen Society of America Official Website, Online course by Ibsen scholar Brian Johnston author of, Extensive resource in several languages from the Norwegian Ministry of Foreign Affairs, Multilingual edition of all Ibsen Plays in the Bibliotheca Polyglotta, Peer Gynt Sculpture Park, Official Website, Henrik Ibsen – A Bibliography of Criticism and Biography.

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