Nora, Hedda and their sisters
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| Title: | Nora, Hedda and their sisters |
| Genus: | drama |
| Original language: | German |
| Author: | Henrik Ibsen |
| Literary source: | Nora or A Doll's House , Hedda Gabler , The Woman from the Sea (Editing: Ulrike Syha) |
| Music: | Heiko Schnurpel |
| Publishing year: | 2018 |
| Premiere: | October 6, 2018 |
| Place of premiere: | Karlsruhe |
| Place and time of the action: | 1950 to 1980 |
| Duration of the premiere | 3¼ hours |
| Director of the premiere | Anna Bergmann |
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Nora, Hedda and their sisters is the staging by the director Anna Bergmann of the performance of three Henrik Ibsen plays - Nora or Ein Puppenheim , Hedda Gabler and The Woman from the Sea - adapted by Ulrike Syha . The world premiere on October 6, 2018 was the opening production by Acting Director Anna Bergmann for the 2018/2019 season at the Badisches Staatstheater Karlsruhe .
description
In Nora, Hedda and their sisters , the three Ibsen pieces are assembled into one another and the figures are related to one another, so that a unity is created. The pieces are told in parallel on three time levels: Nora plays in the 1950s, Hedda Gabler in the 1980s and The Woman from the Sea with the title character Ellida in the present. In this arrangement, Nora becomes the ancestor of this Ibsen clan. Her son Eilert (Lövborg) later fathered the daughter Bolette with Thea Elvstedt (from Hedda Habler ) (Dr. Wangel's daughter from his first marriage to his late wife Thea in The Woman from the Sea ). Other relationships can also be identified. The individual levels also differ in terms of language. For example, Nora and Hedda Gabler were used from translations that were at different times, and The Woman from the Sea was overwritten now. The social critic Ibsen's women are still in their assigned role models in the 1950s for Nora and in the 80s for Hedda too , these images have not yet been overcome. Nora and Hedda free themselves in their own way. Only the emancipated Ellida in the now will choose the freedom for herself to stay with her husband Wangel.
Acting director Anna Bergmann intertwines and counteracts the desires, hopes, but also the deep despair of Ibsen's female characters in her opening production on three time levels.
content
The following stories are intertwined:
Nora, treated like a doll by her husband Torvald Helmer in the 1950s, tries to break out of this situation. The children Eilert and Emmy are looked after by Annemarie, Nora's former wet nurse. In the Helmer house, the seriously ill Dr. Rank welcome, but not his lover Ballsted. Nora finds her widowed and destitute childhood friend Christine Linde a job in the bank, of which her husband is director. Employees Krogstad are to be dismissed for this. He once helped Nora forge a signature. Her father did not finance a trip to Italy by her sick husband Helmer, because he died shortly before the signing and Nora had forged his signature without further ado. Nora now wants to prevent Helmer from finding out about it. Krogstad writes to him. Helmer becomes angry and sees his existence threatened. When a second letter from Krogstad arrives, in which he declares that he will let everything go, Helmer is gracious, but Nora does not want to stay with him anymore ...
In the 1980s, Hedda did not find an equal partner in either her former lover or her husband Jörgen. There are also tensions between Hedda and Jörgen's aunt Jule. The artist Eilert Lövborg and Heddas artist friend Ballsted return from Nora's family: Ballsted was the lover Dr. Ranks and Eilert, who calls himself Löbvorg, is Nora's son. Lover Brack praises Nora the triangle as the ideal form of relationship, but Eilert is also a former lover. And Thea Elvsted, a former lover of Nora's husband Jörgen, is now also in love with Eilert. She is pregnant by him and wants to do it like Nora Helmer, Eilert's mother: she leaves her family to live a life in freedom. Lövborg come with a manuscript which he proudly presents to Jörgen Tesman. Tesman and Eilert are competitors. Through her husband, Hedda obtained Eilert's manuscript, which she burned. Hedda gives Eilert a pistol and drives Eilert to suicide, but Brack finds the evidence and can blackmail Hedda. Hedda frees herself with the only way out ...
And now, Ellida, the woman from the sea, sees herself facing overpowering men, her husband Wangel and a stranger. She never had a free choice, never actively advocated or opposed her marriage to Dr. Wangel and the adoption of his two daughters Bolette and Hilde. Bolette is the daughter of Wangel from his first marriage to the late Thea Elvsted. Wangel brings in Arnolm, a former head of house Bolettes, whom he thinks Ellida will be happy with. The terminally ill young sculptor Lyngstrand also appears in the Wangel house with Ballsted, who has meanwhile been trusted for both decades. He vies for Bolette and her younger sister Hilde. And Hilde is excited to play with the doomed. When Lyngstrand reports on his latest sculpture about a sailor and a subordinate wife, Ellida recognizes herself in this woman. Now the stranger appears with whom she could go. But Ellida, always in dialogue with her understanding and yet incomprehensible husband Wangel, will, since she is free, voluntarily stay with Wangel.
Reviews
The production was well received by the public. The response from the public and the press, including Die Welt , Süddeutsche Zeitung , Frankfurter Allgemeine Zeitung , Die Deutsche Bühne , Nachtkritik , Deutschlandfunk Kultur , Badisches Tagblatt , was consistently positive.
team
Director: Anna Bergmann - Stage: Katharina Faltner - Music: Heiko Schnurpel - Costumes: Sibylle Wallum - Video: Sebastian Pircher , Tina Wilke, Sophie Lux - Light: Aljoscha Glodde - Combat choreography: Robert Schnöll, Stefan Richter - Dramaturgy: Marlies Kink - Assistant director : Jenny Regnet - assistant set designer: Soojin Oh - music dramaturgy, music assistant: Felix Kusser - costume assistant: Jule Saworski - prompting: Hans-Peter Schenk - theater pedagogy: Benedict Kömpf
Web links
Individual evidence
- ^ Christian Mayer: Women's quota in the theater: In Karlsruhe only women are allowed to stage . October 8, 2018 ( welt.de [accessed July 24, 2019]).
- ↑ Süddeutsche de GmbH, Munich Germany: Grab the bull by the horns. Retrieved July 24, 2019 .
- ^ The German stage. Retrieved July 24, 2019 .
- ↑ Elisabeth Maier: Nora, Hedda and their sisters - Karlsruhe's new theater director Anna Bergmann is staging Henrik Ibsen in an adaptation by Ulrike Syha. Retrieved on July 24, 2019 (German).