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Reproduction of the original.
Acclaimed director Richard Eyre's new adaptation of Henrik Ibsen's classic drama premiered at the Almeida Theatre in September 2013.
The plays in this volume focus on the family and how it struggles to stay together by telling lies - and exposing them. In "Ghosts", Osvald Alving returns home only to discover the truth about the father he always looked up to, and learns the horrific effect his father's debauchery has had on him. It was Ibsen's most provocative drama, stripping away the surface of a middle-class family to expose layers of hypocrisy and immorality. "A Public Enemy" sets two brothers against each other when one wishes to make public the facts about the polluted water in the public baths of their home town. And "When We Dead Wake" tells of an artist meeting an old lover by chance and rejecting his wife, in a symbolic exploration of Ibsen's own literary life and the sacrifices he made in his work. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
Four plays by Henrik Ibsen: A Doll's House, Ghosts, Hedda Gabler and the Master Builder.
This book argues that Shaw was a masterful reader of Ibsen's plays both as texts and as the cornerstone of the modern theatre. Dismantling the notion that Shaw distorted Ibsen to promote his own view of the world, and establishing Shaw’s initial interest in Ibsen as the poet of Peer Gynt, it chronicles Shaw’s important role in the London Ibsen campaign and exposes the falsity of the tradition that Shaw branded Ibsen as a socialist. Further, this study shows that Shaw’s famous but maligned The Quintessence of Ibsenism reflects Ibsen’s own anti-idealist notion of his work and argues that Shaw’s readings of Ibsen’s plays are pioneering analyses that anticipate later criticism. It offers new readings of Shaw’s “Ibsenist” plays as well as a comprehensive account of Ibsen’s importance for Shaw’s dramatic criticism, from his early journalism to Our Theatres of the Nineties, both as a weapon against the inanities of the Victorian stage and as the standard bearer for modernism.