Ibsen's KingdomPub Date : 2021-01-26DOI: 10.2307/j.ctv1b0fwbx.40
L. Patton
{"title":"The Depths of the Sea","authors":"L. Patton","doi":"10.2307/j.ctv1b0fwbx.40","DOIUrl":"https://doi.org/10.2307/j.ctv1b0fwbx.40","url":null,"abstract":"","PeriodicalId":188209,"journal":{"name":"Ibsen's Kingdom","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-01-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125486875","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ibsen's KingdomPub Date : 2021-01-26DOI: 10.2307/j.ctv1b0fwbx.44
E. Dolgin
{"title":"The Lady from the Sea","authors":"E. Dolgin","doi":"10.2307/j.ctv1b0fwbx.44","DOIUrl":"https://doi.org/10.2307/j.ctv1b0fwbx.44","url":null,"abstract":"The Shaw Festival, Niagara-on-the Lake, Ontario April 30-September 13, 2015A fully realized cliff dominates the set of this production, all the more remarkable because the theatre, the Court House, is a small, intimate space. A \"Prologue Song,\" from the Norwegian songwriter Jenny Hval's album, \"I Have Walked This Body,\" adds to the grounding of place. As the music ebbs, Ellida Wangel (Moya O'Connell) struggles for breath as she sprawls across the cliff, naked, and peers bewilderedly through the fourth wall and past the audience's vision. It is an enervating sight, a bold re-imagining of the talk of Ellida's ritual swims in the fjord that will soon follow.Erin Shields's cut \"new version\" shows itself prominently in act one. Rather than raise a flag, Ballested admires Bolette's flowers, a choice that sharpens the focus on the important symbol in the first act, in which flowers are used to celebrate, to rekindle feelings, or to serve as remembrance, thus establishing emotional states and reminders of a past that renders the image of a happy family illusory. But when Ballestee! (Neil Barclay) tells Lyngstrand (Kyle Blair) about the mermaid in his painting, Shields changes Ibsen's title from \"The Dying Mermaid\" to the unfortunate \"The Mermaid's Decomposition.\" Apart from the suggestion of rot, to announce this dire psychological diagnosis so quickly is preemptive, as audiences are now prompted to see Ellida as far more ill than Ibsen's dialogue for her in the opening act suggests. Shields continually focuses on Wangel's solution of medicating Ellida, perhaps as corollary to his own self-medicating through alcohol, which emphasizes that the isolation in Ibsen's play is not Ellida's alone but belongs to each character, except, of course, for the \"acclimatizing\" Ballested. Shields has not eliminated much of the dialogue, but the subtleties of this opening act are nevertheless diminished.The Lady from the Sea alludes directly to well-known motifs ofNorwegian folklore, especially the archetype of the mermaid who attempts to acclimatize to land, and it also relies on the contrasting tropes of sea and land to suggest psychological ebbs and flows, making the pauses and interruptions in scenes paramount. The point/counterpoint of the relationships in the play as fulfilling or constricting gives the text its musing, wistful aura. In this production, some scenes illuminate these overtones, but an astonishing production choice-to run the five acts together without intermission, reducing the running time to about ninety minutes-makes it impossible to suggest the nuances of Ibsen's subtle, probing text. Inevitably, what the audience should experience psychologically through the push and pull of the tidal sea disappears, along with the dominant tone of introspection amid conversation. Although Shields has compressed the dialogue, she does not omit key scenes, and it is the vital pauses in speech, and thus thought and action, that are absent. Actors come on stage to ","PeriodicalId":188209,"journal":{"name":"Ibsen's Kingdom","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-01-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124895329","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ibsen's KingdomPub Date : 2021-01-26DOI: 10.2307/j.ctv1b0fwbx.16
Julian Novitz
{"title":"The League of Youth","authors":"Julian Novitz","doi":"10.2307/j.ctv1b0fwbx.16","DOIUrl":"https://doi.org/10.2307/j.ctv1b0fwbx.16","url":null,"abstract":"","PeriodicalId":188209,"journal":{"name":"Ibsen's Kingdom","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-01-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116343180","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}