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The more successful Ibsen became as a playwright, the more reluctant he was to make public pronouncements about the practice of theatre, but his thoughts on the art form can be gleaned by mining his prefaces, letters, speeches and newspaper articles.
For the first time, these fragments have been gathered together in one volume. Arranged chronologically, they throw a unique light on Ibsen’s views on theatre production, casting, translation, the business of theatre, and most importantly his own plays. The result is an invaluable resource for those who seek to know what Ibsen himself thought about his work and about the theatre of his time.
Ibsen on Theatre is edited, introduced and annotated by Frode Helland and Julie Holledge, with new translations by May-Brit Akerholt. Also included is a foreword by Richard Eyre.
He is the co-founder, with Julie Holledge, of IbsenStage (ibsenstage.hf.uio.no), the international database for Ibsen performance.
Julie Holledge FAHA is a Professor at the Centre for Ibsen Studies at the University of Oslo. She has conducted performance research into acting techniques used in the rehearsal of Ibsen’s plays in Australia, Norway, China, India, Bangladesh and Nepal.
She is the author, with Frode Helland, of A Global Doll’s House (2016), Ibsen Between Cultures (2016) and Ibsen on Theatre (2018).
Together, Julie Holledge and Frode Helland are co-founders of IbsenStage (ibsenstage.hf.uio.no), the international database for Ibsen performance.