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1
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On Dr. Stockmann’s Parrhesia: Ibsen’s “An Enemy of the People” in the Light of Foucault

100%
Haj’jari M.-J., Hooti N.
Folia Scandinavica Posnaniensia
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2019
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vol. 26
27-48
EN
An honest intellectual dutifully standing with truth against lies and treacheries of his society is a parrhesiastic figure in Foucault’s terminology. Foucault takes parrhesia as the fearless and frank speech regarding the truth of something or a situation before truth-mongering and public deception and he takes the parrhesiastic as the spokesperson for truth. In this light, Dr. Stockmann in Ibsen’s An Enemy of the People occupies a unique position within Ibsen’s political philosophy. Dutifully criticizing what the majority blindly take for granted from their liar leaders in the name of democracy, Dr. Stockmann fulfills the role of a parrhesiastic figure that stands against socio-political corruption. He enters a parrhesiastic game with both the majority and the officialdom to fulfill his democratic parrhesia as a truthful citizen before the duped community, while covertly preparing for his own philosophic parrhesia or self-care within the conformist community. However, his final failure lies in his confrontation with democracy itself, which wrongly gives the right of speaking even to the liars. This article thus aims at analyzing Ibsen’s play through a Foucauldian perspective regarding the concept of parrhesia and its relation to democracy. It is to reveal Ibsen’s satire on the fake ideology of democracy and highlight the necessity of humanity’s parrhesiastic self-care for the well-being of the self and the others.
2
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Ibsenov pharmakon: Sokrat i Stockmann

100%
Tomljenović A.
Poznańskie Studia Slawistyczne
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2019
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issue 17
269-283
EN
Although An Enemy of the People has always been one of Ibsen’s most popular plays, ibsenology often dismisses it as a revolutionary pamphlet and the critique of the tyranny of the compact majority and the mediocrity of parliamentary democracy. Instead of focusing on the conflict that arises between the Conservatives and the Liberals, minority and majority, I want to draw attention to Ibsen’s poetic revolt. Building on Derrida’s study of the pharmakon in the Phaedrus, I argue that Ibsen continues to investigate the conflict between the speaker and the listener, between the actor and the audience, between speech and writing.
3
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Metateatralne finały Ibsena

100%
Partyga E.
Pamiętnik Teatralny
|
2016
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vol. 65
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issue 3(259)
117-134
EN
The article brings a comparative reading of the finales of three dramas by Henrik Ibsen: Rosmersholm (1886), Hedda Gabler (1890), and The Master Builder (1892). The metatheatrical techniques used by the dramatist in these three final scenes serve to problematize the situation of the spectators and the audience with their varied interpretative strategies. Death of the characters is presented in a metatheatrical frame that is constructed a little differently in each drama. The metatheatrical devices complement one another in order to underscore the power of perceptual schemas, to demonstrate the way they operate, and to suggest ways of undermining them. Ibsen does not, however, try to favour one interpretative strategy over any other; he encourages the audiences to take personal responsibility for the meaning of what they see. In all the plays under discussion, the scene of a play within a play involves an instance of repetition. For this reason, the proposed reading makes use of Kierkegaard’s concept of repetition, which enables one to comprehend the theatre as a place of expanding consciousness. Ibsen’s metatheatrical motifs reinforce this function of theatre, yet they also help us understand that both the meaning of a theatrical work or event and the process of its reception involve Kierkegaard’s dialectics of paradox.
4
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Recenzja książki Ewy Partygi Ibsenowskie konstelacje. Ćwiczenia w patrzeniu i czytaniu. (Instytut Sztuki Polskiej Akademii Nauk, Warszawa 2016).

88%
Sokół L.
Pamiętnik Teatralny
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2018
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issue 1-2(265-266)
216-225
EN
The book discusses a lot of important problems, plunging right in from the very first words. At the outset, we are given a severe, yet just assessment of the Polish reception of Ibsen in theatre, literature, and literary criticism, with all the myths that have accumulated there. A full reception of his oeuvre that encompasses modern translations, artistically rich theatre reception, as well as truly competent theatre and academic criticism in conjunction with a deep audience response has only just begun in Poland. The book Ibsenowskie inspiracje is a part of this new wave. The author is a comparatist, theatre scholar, Scandinavian philologist, and translator of dramas and various other literary and scholarly texts not only from the Norwegian but also from Danish, Swedish, and English. So far, however, she has not translated any play by Ibsen! The constellations of problems referring to his dramas as well as to various literary, artistic, and philosophical contexts of his work that show his oeuvre from different angles encompass, to use the author’s terminology, visual, philosophical, Scandinavian, and Young Polish constellations. The author has a full grasp of the newest developments in Ibsen studies, and against that backdrop, her own readings and interpretations turn out to be quite original. Perhaps the most brilliant of them belong to the visual constellations, in which the author tackles the relationships between Ibsen and Munch, “Ibsen in the theatre of photography,” “photography in Ibsen’s dramas” (in her own original and enlightening way Partyga uses the album edited by Peter Larsen, and her take on Ibsen’s strategy of self-promotion is highly engaging), and the relationship between Ibsen, Munch, and Vilhelm Hammershøi. The philosophical constellations consist of only to essays. The first uncovers some striking parallels between Ibsen as the author of The Master Builder and Nietzsche as the author of On the Genealogy of Morals. The second text is equally important, because it deals with Ibsen and Kierkegaard. It is a parallel reading of Repetition and three of Ibsen’s dramas (Rosmersholm, Hedda Gabler, and The Master Builder) with a view to metatheatricality. The Scandinavian and Young Polish constellations can be discussed jointly, because they are structured in a similar way: they focus on the problem of reception of Ibsen’s work in the drama and theatre of Scandinavia and Poland respectively. The Scandinavian reception refers to drama and theatre, whereas the Polish one includes theatre and literary criticism as well. In this constellation, Partyga examines the problem of Ibsen’s presence in Ingmar Bergman’s theatre; it is the first Polish study on the topic. A lot of attention is given to the relation between Ibsen, Jon Fosse, and Cecilie Løveid. The Young Polish constellations bring important revisions of Polish myths about Ibsen. The author does justice to Gabriela Zapolska as an Ibsenian actress and deals a final blow to the myth of Tadeusz Pawlikowski as an alleged “Ibsenist.” Another interesting phenomenon is Stanisław Brzozowski who, according to Partyga’s assessment, did not read Ibsen thoroughly enough. Thus we have lost a chance for dialogue of the outstanding mind with Ibsen. There is also a highly illuminating essay about vocation in Ibsen and in Wyspiański. What both playwrights have in common is that they “search for a new, capacious form of drama and theatre that could come to terms with the complicated and difficult experience of modernity,” as the author puts it. In the reviewer’s opinion, her book is an outstanding one.
5
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Imagining Hedda Gabler: Munch and Ibsen on Art and Modern Life

88%
Gjesdal K.
Text Matters: A Journal of Literature, Theory and Culture
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2017
|
issue 7
71-86
EN
Among Edvard Munch’s many portraits of Henrik Ibsen, the famous Norwegian dramatist and Munch’s senior by a generation, one stands out. Large in scope and with a characteristic pallet of roughly hewed gray blue, green and yellow, the sketch is given the title Geniuses. Munch’s sketch shows Ibsen, who had died a few years earlier, in the company of Socrates and Nietzsche. The picture was a working sketch for a painting commissioned by the University. While Munch, in the end, chose a different motif for his commission, it is nonetheless significant that he found it appropriate to portrait the Norwegian dramatist in the company of key European philosophers, indeed the whole span of the European philosophical tra­dition from its early beginnings to its most controversial spokesman in the late 1800s. In my article, I seek to take seriously Munch’s bold and original positioning of Ibsen in the company of philosophers. Focusing on Hedda Gabler-a play about love lost and lives unlived-I explore the aesthetic-philosophical ramifications of Ibsen’s peculiar position between realism and modernism. This position, I suggest, is also reflected in Munch’s sketches for the set design for Hermann Bahr’s 1906 production of the play.
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Ein Kapitel europäischer Theatergeschichte und eine politische Provokation: Die Meininger Festwoche 1886 mit Henrik Ibsen, Richard Voß und Paul Lindau

88%
Baumann C.
Germanica Wratislaviensia
|
2017
|
vol. 142
25-39
DE
Mit der Meininger Festwoche initiierte Georg II. von Sachsen-Meiningen 1886 an seinem Hofthea­ter ein Ereignis, das nicht nur das beschauliche Meiningen verschreckte, sondern einen gesellschaft­lichen Tabubruch bedeutete. Der Herzog brachte das skandalumwitterte Ibsen-Stück Gespenster neben Richard Voß‘ Alexandra und Paul Lindaus Echegaray-Bearbeitung Galeotto zur Aufführung. Damit inszenierte er moderne Gesellschaftsdramen, die in ihrem sozialkritischen Potenzial und ihrem Sittlichkeitsanspruch bereits auf den Naturalismus wiesen und – mit einem norwegischen, spanischen und deutschen Autor – dessen europäische Dimension herausstellten. Diese Festwoche bedeutete im Deutschen Kaiserreich eine politische Provokation, die bei den Gastspielen der Mei­ninger mit Verboten beantwortet wurde.
EN
At the Meiningen Festival Week in 1886, George II of Saxony-Meiningen at his court theater initi­ated an event which not only frightened the contemplative city of Meiningen but signified a social violation of tabus. The Duke had his theater produce the scandalous Ibsen play “Ghosts” in addition to Richard Voss’ “Alexandra” and Paul Lindau’s Echegaray adaptation of “Galeotto”. The socially critical potential of these plays and their new morality pointed to Naturalism. The fact that these plays were written by a Norwegian, a Spanish and a German author demonstrated the European dimension of these ideas. In Imperial Germany, this festival week signified a political provocation that resulted in bans of guest performances by the Meiningen theater troupe.
7
Publication available in full text mode
Content available

Imagining Hedda Gabler: Munch and Ibsen on Art and Modern Life

88%
Gjesdal K.
Text Matters: A Journal of Literature, Theory and Culture
|
2017
|
issue 7
71-86
EN
Among Edvard Munch’s many portraits of Henrik Ibsen, the famous Norwegian dramatist and Munch’s senior by a generation, one stands out. Large in scope and with a characteristic pallet of roughly hewed gray blue, green and yellow, the sketch is given the title Geniuses. Munch’s sketch shows Ibsen, who had died a few years earlier, in the company of Socrates and Nietzsche. The picture was a working sketch for a painting commissioned by the University. While Munch, in the end, chose a different motif for his commission, it is nonetheless significant that he found it appropriate to portrait the Norwegian dramatist in the company of key European philosophers, indeed the whole span of the European philosophical tra­dition from its early beginnings to its most controversial spokesman in the late 1800s. In my article, I seek to take seriously Munch’s bold and original positioning of Ibsen in the company of philosophers. Focusing on Hedda Gabler-a play about love lost and lives unlived-I explore the aesthetic-philosophical ramifications of Ibsen’s peculiar position between realism and modernism. This position, I suggest, is also reflected in Munch’s sketches for the set design for Hermann Bahr’s 1906 production of the play.
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