Hedda Gabler (Norwegian pronunciation: [²hɛdːɑ ˈɡɑːblər]) is a play written by Norwegian playwright Henrik Ibsen. Ibsen was present at the world premiere, which took place on 31 January 1891 at the Residenztheater in Munich. It is recognized as a classic of realism, nineteenth century theatre, and world drama. The title character, Hedda, is considered one of the great dramatic roles in theatre.
Poster of Alla Nazimova as Hedda Gabler, 1907
|Written by||Henrik Ibsen|
|Place premiered||Königliches Residenz-Theater|
|Subject||A newlywed struggles with an existence she finds devoid of excitement and enchantment|
|Setting||Jørgen Tesman's villa, Kristiania, Norway; 1890s|
Hedda's married name is Hedda Tesman; Gabler is her maiden name. On the subject of the title, Ibsen wrote: "My intention in giving it this name was to indicate that Hedda as a personality is to be regarded rather as her father's daughter than her husband's wife."
- Hedda Tesman (née Gabler) — The main character, newly married and bored with both her marriage and life, seeking to influence a human fate for the first time. She is the daughter of General Gabler.
- George (Jørgen) Tesman — Hedda's husband, an academic who is as interested in research and travel as he is in his wife. Despite George's presumed rivalry with Eilert over Hedda, he remains a congenial and compassionate host, and even plans to return Eilert's manuscript after Eilert loses it in a drunken stupor.
- Juliana (Juliane) Tesman — George's loving aunt who has raised him since early childhood. She is also called Aunt Julle in the play, and Aunt Ju-Ju by George. In an earlier draft Ibsen named her Mariane Rising, clearly after his own aunt (father's younger half-sister) and godmother Mariane Paus who grew up (with Ibsen's father) on the stately farm Rising near Skien; while she was later renamed Juliane Tesman, her character was modelled after Mariane Paus.
- Thea Elvsted — A younger schoolmate of Hedda and a former acquaintance of George. Nervous and shy, Thea is in an unhappy marriage.
- Judge Brack — An unscrupulous family friend. It is implied that the Judge has a lascivious personality, which he directs towards Hedda.
- Eilert Lövborg (Ejlert Løvborg) — George's former colleague, who now competes with George to achieve publication and a teaching position. Eilert was once in love with Hedda.
- Bertha (Berte) — A servant of the Tesmans.
Hedda, the daughter of an aristocratic and enigmatic general, has just returned to her villa in Kristiania (now Oslo) from her honeymoon. Her husband is George Tesman, a young, aspiring, and reliable (but not brilliant) academic who continued his research during their honeymoon. It becomes clear in the course of the play that she has never loved him but married him because she thinks her years of youthful abandon are over. It is also suggested that she may be pregnant.
The reappearance of George's academic rival, Eilert Løvborg, throws their lives into disarray. Eilert, a writer, is also a recovered alcoholic who has wasted his talent until now. Eilert shows signs of rehabilitation and has just published a bestseller in the same field as George. When Hedda and Eilert talk privately together, it becomes apparent that they are former lovers.
The critical success of his recently published work makes Eilert a threat to George, as Eilert is now a competitor for the university professorship George had been counting on. George and Hedda are financially overstretched, and George tells Hedda that he will not be able to finance the regular entertaining or luxurious housekeeping that she had been expecting. Upon meeting Eilert, however, the couple discover that he has no intention of competing for the professorship, but rather has spent the last few years working on what he considers to be his masterpiece, the "sequel" to his recently published work.
Apparently jealous of Thea's influence over Eilert, Hedda hopes to come between them. Despite his drinking problem, she encourages Eilert to accompany George and his associate, Judge Brack, to a party. George returns home from the party and reveals that he found the complete manuscript (the only copy) of Eilert's great work, which the latter lost while drunk. George is then called away to his aunt's house, leaving the manuscript in Hedda's possession. When Eilert next sees Hedda and Thea, he tells them that he has deliberately destroyed the manuscript. Thea is mortified, and it is revealed that it was the joint work of Eilert and herself. Hedda says nothing to contradict Eilert or to reassure Thea. After Thea has left, Hedda encourages Eilert to commit suicide, giving him a pistol that had belonged to her father. She then burns the manuscript and tells George she has destroyed it to secure their future.
When the news comes that Eilert has indeed killed himself, George and Thea are determined to try to reconstruct his book from Eilert's notes, which Thea has kept. Hedda is shocked to discover from Judge Brack that Eilert's death, in a brothel, was messy and probably accidental; this "ridiculous and vile" death contrasts with the "beautiful and free" one that Hedda had imagined for him. Worse, Brack knows the origins of the pistol. He tells Hedda that if he reveals what he knows, a scandal will likely arise around her. Hedda realizes that this places Brack in a position of power over her. Leaving the others, she goes into her smaller room and shoots herself in the head. The others in the room assume that Hedda is simply firing shots, and they follow the sound to investigate. The play ends with George, Brack, and Thea discovering her body.
Joseph Wood Krutch makes a connection between Hedda Gabler and Freud, whose first work on psychoanalysis was published almost a decade later. In Krutch's analysis, Gabler is one of the first fully developed neurotic female protagonists of literature. By that, Krutch means that Hedda is neither logical nor insane in the old sense of being random and unaccountable. Her aims and her motives have a secret personal logic of their own. She gets what she wants, but what she wants is not anything that normal people would acknowledge (at least, not publicly) to be desirable. One of the significant things that such a character implies is the premise that there is a secret, sometimes unconscious, world of aims and methods — one might almost say a secret system of values — that is often much more important than the rational one.
Ibsen was interested in the then-embryonic science of mental illness and had a poor understanding by present-day standards. His Ghosts is another example of this. Examples of the troubled 19th-century female might include oppressed, but "normal", wilful characters; women in abusive or loveless relationships; and those with some type of organic brain disease. Ibsen is content to leave such explanations unsettled. Bernard Paris interprets Gabler's actions as stemming from her "need for freedom [which is] as compensatory as her craving for power... her desire to shape a man's destiny."
The play was performed in Munich at the Königliches Residenz-Theater on 31 January 1891, with Clara Heese as Hedda, though Ibsen was said to be displeased with the declamatory style of her performance. Ibsen’s work had an international following, so that translations and productions in various countries appeared very soon after the publication in Copenhagen and the premiere in Munich. In February 1891 there were two productions: Berlin and Copenhagen. The first British performance was at the Vaudeville Theatre, London, on 20 April 1891, starring Elizabeth Robins, who directed it with Marion Lea, who played Thea. Robins also played Hedda in the first US production, which opened on 30 March 1898 at the Fifth Avenue Theatre, New York City. A 1902 production starring Minnie Maddern Fiske was a major sensation on Broadway, and following its initial limited run was revived with the same actress the next year. In February 1899 it was produced as part of The Moscow Art Theatre’s first season with Maria F. Andreeva as Hedda.
Many prominent actresses have played the role of Hedda: Vera Komissarzhevskaya, Eleonora Duse, Alla Nazimova, Asta Nielsen, Johanne Louise Schmidt, Mrs. Patrick Campbell, Eva Le Gallienne, Elizabeth Robins, Anne Meacham, Ingrid Bergman, Peggy Ashcroft, Fenella Fielding, Jill Bennett, Janet Suzman, Diana Rigg, Isabelle Huppert, Claire Bloom, June Brown, Kate Burton, Geraldine James, Kate Mulgrew, Kelly McGillis, Fiona Shaw, Maggie Smith, Jane Fonda, Annette Bening, Amanda Donohoe, Judy Davis, Emmanuelle Seigner, Harriet Walter, Rosamund Pike and Cate Blanchett, who won the 2005 Helpmann Award (Australia) for Best Female Actor in a Play. In the early 1970s, Irene Worth played Hedda at Stratford, Ontario, prompting New York Times critic Walter Kerr to write, "Miss Worth is just possibly the best actress in the world." Glenda Jackson returned to the RSC to play Hedda Gabler. A later film version directed by Nunn was released as Hedda (1975) for which Jackson was nominated for an Oscar. In 2005, a production by Richard Eyre, starring Eve Best, at the Almeida Theatre in London was well-received, and later transferred for an 11½ week run at the Duke of York's on St Martin's Lane. The play was staged at Chicago's Steppenwolf Theater starring actress Martha Plimpton.
British playwright John Osborne prepared an adaptation in 1972, and in 1991 the Canadian playwright Judith Thompson presented her version at the Shaw Festival. Thompson adapted the play a second time in 2005 at Buddies in Bad Times Theatre in Toronto, setting the first half of the play in the nineteenth century, and the second half during the present day. Early in 2006, the play gained critical success at the West Yorkshire Playhouse in Leeds and at the Liverpool Playhouse, directed by Matthew Lloyd with Gillian Kearney in the lead role. A revival opened in January 2009 on Broadway, starring Mary-Louise Parker as the title character and Michael Cerveris as Jørgen Tesman, at the American Airlines Theatre, to mixed critical reviews.
Performance of a production of the play, as translated and directed by Vahid Rahbani, was stopped in Tehran, Iran in 2011. Vahid Rahbani was summoned to court for inquiry after an Iranian news agency blasted the classic drama in a review and described it as "vulgar" and "hedonistic" with symbols of "sexual slavery cult." A modernised New Zealand adaptation by The Wild Duck starring Clare Kerrison in the title role, and opening at BATS Theatre in Wellington in April, 2009, was referred to as "extraordinarily accessible without compromising Ibsen's genius at all."
The play was staged in 2015 at Madrid's María Guerrero. The production, which received mixed reviews, was directed by Eduardo Vasco and presented a text that was adapted by the Spanish playwright Yolanda Pallín with Cayetana Guillén Cuervo playing the lead role.
Tony Award-winning director Ivo van Hove made his National Theatre debut in London with a period-less production of Ibsen’s masterpiece. This new version by Patrick Marber featured Ruth Wilson in the title role and Rafe Spall as Brack.
Mass media adaptationsEdit
The play has been adapted for the screen a number of times, from the silent film era onwards, in several languages. The BBC screened a television production of the play in 1962, with Ingrid Bergman, Michael Redgrave, Ralph Richardson, and Trevor Howard, while the Corporation's Play of the Month in 1972 featured Janet Suzman and Ian McKellen in the two main leads. A version shown on Britain's commercial ITV network in 1980 featured Diana Rigg in the title role. Glenda Jackson was nominated for an Academy Award as leading actress for her role in the British film adaptation Hedda (1975) directed by Trevor Nunn. A version was produced for Australian television in 1961.
An American film version released in 2004 relocated the story to a community of young academics in Washington state.
Awards and nominationsEdit
- 1992 Laurence Olivier Award for Best Revival
- 2006 Laurence Olivier Award for Best Revival
- 2005 Lucille Lortel Award for Outstanding Revival
Alternative productions, tribute and parodyEdit
An operatic adaptation of the play has been produced by Shanghai's Hangzhou XiaoBaiHua Yue Opera House.
Philip Kan Gotanda 'loosely' adapted Hedda Gabler into his 2002 play, The Wind Cries Mary.
The 2009 album Until the Earth Begins to Part by Scottish folk indie-rock band Broken Records features a song, "If Eilert Løvborg Wrote A Song, It Would Sound Like This".
John Cale, Welsh musician and founder of American rock band The Velvet Underground, recorded a song "Hedda Gabler" in 1976, included originally on the 1977 EP Animal Justice (now a bonus track on the CD of the album Sabotage). He performed the song live in 1998, with Siouxsie Sioux, and also in London (5 March 2010) with a band and a 19 piece orchestra in his Paris 1919 tour. The song was covered by the British neofolk band Sol Invictus for the 1995 compilation Im Blutfeuer (Cthulhu Records) and later included as a bonus track on the 2011 reissue of the Sol Invictus album In The Rain.
The Norwegian hard-rock band Black Debbath recorded the song "Motörhedda Gabler" on their Ibsen-inspired album Naar Vi Døde Rocker ("When We Dead Rock"). As the title suggests, the song is also influenced by British heavy metal band Motörhead. The original play Heddatron by Elizabeth Meriwether (b. 1981) melds Hedda Gabler with a modern family's search for love despite the invasion of technology into everyday life.
In the 2013 novel Bridget Jones: Mad About The Boy by Helen Fielding, Bridget tries and fails to write a modernised version of Hedda Gabler, which she mistakenly calls "Hedda Gabbler" and believes to have been written by Anton Chekhov. Bridget intends to call her version "The Leaves In His Hair" and set it in Queen's Park, London. Bridget claims to have studied the original play as an undergraduate at Bangor University.
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- Bunin, Ivan. About Chekhov: The Unfinished Symphony. Northwestern University Press (2007) ISBN 9780810123885. page 26
- Checkhov, Anton. Anton Chekhov's Life and Thought: Selected Letters and Commentary. Editor: Karlinsky, Simon. Northwestern University Press (1973) ISBN 9780810114609 page 385
- Haugen, Einer Ingvald. Ibsen’s Drama: Author to Audience. University of Minnesota Press (1979) ISBN 9780816608966. page 142
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- Krutch, Joseph Wood (1953). Modernism in Modern Drama: A Definition and an Estimate. Ithaca: Cornell University Press. p. 11. OCLC 255757831.
- Paris, Bernard. Imagined Human Beings: A Psychological Approach to Character and Conflict in Literature, New York University Press: New York City, 1997, p. 59.
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- Meyer, Michael Leverson, editor and introduction. Ibsen, Henrik. The Wild Duck and Hedda Gabler. W. W. Norton & Company (1997) ISBN 9780393314496. page 139.
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- Hitchings, Henry (13 September 2012). "Hedda Gabler, Old Vic". London Evening Standard. Retrieved 10 November 2012.
- Morales Fernández, Clara (23 April 2015). "Redimir a Hedda" [Advocating Hedda]. El País (in Spanish). Retrieved 5 November 2015.
- Fernández, Lorena (9 May 2015). "'Hedda Gabler', en el María Guerrero" ['Hedda Gabler' at Maria Guerrero Theater]. Estrella Digital (in Spanish). estrelladigital.es. Retrieved 5 November 2015.
- Vicente, Álvaro. "Crítica de Hedda Gabler" [Review of Hedda Gabler]. Godot (in Spanish). Retrieved 5 November 2015.
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- "Hedda Gabler - National Theatre". www.nationaltheatre.org.uk.
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- "Siouxsie - the Creatures with John Cale - Hedda Gabler". youtube. 1998. Retrieved 2 March 2015.
|Wikisource has the text of the 1905 New International Encyclopedia article Hedda Gabler.|