A major biography of one of the most important figures in modern drama, evoked through a biographical reading of his playsNorwegian playwright Henrik Ibsen achieved unparalleled success in his lifetime and remains one of the most important figures in modern drama. The culmination of a lifetime of scholarship, Evert Sprinchorn’s biography constructs Ibsen’s life through a biographical reading of his plays with provocative and insightful analyses of his works, placing them and their author within the social, political, and intellectual foment of nineteenth-century Europe. This thought-provoking book will captivate anyone interested in the history of drama and the foundations of modernism.

This book examines the ritualistic and mythological features derived from various religious traditions depicted in ten Ibsen plays. The worshipping of the Great Mother, the Mysteries of Eleusis, the Hebrew Passover Meal and Yom Kippur, alongside with the most sacred feasts of Christianity, are identified in Ibsen's texts in a way not discovered before. The outcome is a fascinating voyage through a landscape of ritualistic visions. Throughout the book the author illustrates how the plays contribute to the revival of the sacred in modernist theatre. Each chapter of the book contains a synopsis of the play interpreted, followed by a detailed analysis, which focuses on religious concepts and mythological elements incorporated in Ibsen's texts.

The first comprehensive study of the women in Ibsen’s life and work, this landmark book provides a close reading of actual and fictional women as it re-examines the biographical and critical record. In clear, much praised writing, Templeton traces patterns of gender throughout Ibsen’s plays, from the portrayals of women in the little known early dramas to the famous protagonists of A Doll House, Ghosts, Hedda Gabler, and the women of the “last quartet.” Templeton offers a reappraisal of the debated question of Ibsen’s relation to feminism, arguing against a false and demeaning critical tradition, and provides important new information on the young women of Ibsen’s later years and their presence in his plays. The book has been praised as incisive, masterful, provocative, and — a rarity among scholarly books — accessible to the general reader. “Joan Templeton’s Ibsen’s Women is a book to contend with. Templeton is a major Ibsen scholar who has written a tonic evaluation of what a major dramatist actually wrought. A delight to read.” — Arnold Weinstein, Scandinavian Studies “Ibsen’s Women marks a paradigm shift in Ibsen scholarship, moving ‘the woman question’ from the marginal category of ‘an aspect of’ to the core of the dramatic oeuvre. This is dazzling close reading, sophisticated, rigorous, artful. Templeton’s command of her material is masterly.” — Mary Kay Norseng, Ibsen News and Comment “Why is A Doll House not dated? This is one of the questions Joan Templeton answers in this very important book. Her style is witty and graceful and blessedly free of jargon. Her text is aimed at a wide variety of readers.” — Barry Jacobs, The Boston Review of Books “A goldmine of information... The scope and wide-ranging coverage of this book make it indispensable for anybody wishing to teach or write about Ibsen.” — Toril Moi,Ibsen Studies “Rich and rewarding. The close textual analysis supports Templeton’s thesis that Ibsen’s plays and his women characters are quintessentially feminist. A strong argument for the connection between Ibsen’s women and Ibsen’s modernism. Recommended for all collections.” — Choice

A magnificent new biography of Henrik Ibsen, among the greatest of modern playwrights Henrik Ibsen (1820–1908) is arguably the most important playwright of the nineteenth century. Globally he remains the most performed playwright after Shakespeare, and Hedda Gabler, A Doll’s House, Peer Gynt, and Ghosts are all masterpieces of psychological insight. This is the first full-scale biography to take a literary as well as historical approach to the works, life, and times of Ibsen. Ivo de Figueiredo shows how, as a man, Ibsen was drawn toward authoritarianism, was absolute in his judgments over others, and resisted the ideas of equality and human rights that formed the bases of the emerging democracies in Europe. And yet as an artist, he advanced debates about the modern individual’s freedom and responsibility—and cultivated his own image accordingly. Where other biographies try to show how the artist creates the art, this book reveals how, in Ibsen’s case, the art shaped the artist.

Ibsen's Lively Art explores key stage productions and clusters of productions in detail.