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A play is fundamentally a text for performance, capable of achieving complete expression only in the living encounter between actor and spectator, the Markers argue in their new study of Henrik Ibsen in the theatre. The challenge of his plays has stimulated a remarkable range of creative responses on the part of actors, directors, and stage designers. All agree that a deeper meaning underlies the 'reality' Ibsen represents, yet the precise manner of its expression is the lively variant that gives his greatest plays their abiding fascination in performance. Ibsen's Lively Art explores key stage productions and clusters of productions in detail, in an effort to shed new light on the central problems of interpretation governing each of six major Ibsen plays, from a romantic work like Peer Gynt to a late 'symbolic' one like John Gabriel Borkman. Guided by primary sources and often supported by their own firsthand observation, the authors push beyond the more familiar confines of English Ibsen into the less commonly traversed territory of German, Russian, French, and, in particular, Scandinavian theatre culture.
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A play is fundamentally a text for performance, capable of achieving complete expression only in the living encounter between actor and spectator, the Markers argue in their new study of Henrik Ibsen in the theatre. Each generation seems to discover - or rediscover - elements in the great Norwegian playwright's work that renew the dialogue in which the past and the present meet in theatrical performance.
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"Ibsen's Lively Art must surely be one of the best books on Ibsen we have. A model of scholarship and dramatic and literary sensitivity, it is, quite simply, a useful and a wise book; it is also a joy to read." Essays in Theatre
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- PublisherCambridge University Press
- Publication date2005
- ISBN 10 0521619246
- ISBN 13 9780521619240
- BindingPaperback
- Number of pages268
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