Biography of henrik ibsen

Bjorn Hemmer is a professor at the University of Oslo Introduction Henrik Ibsen published his last drama, "When We Dead Awaken", inand he called it a dramatic epilogue. For half of a century he had devoted his life and his energies to the art of drama, and he had won international acclaim as the greatest and most influential dramatist of his time.

Biography of henrik ibsen

See Article History Alternative Title: Henrik Johan Ibsen Henrik Ibsen, in full Henrik Johan Ibsen, born March 20,SkienNorway—died May 23,Kristiania [formerly Christiania; now Oslo]major Norwegian playwright of the late 19th century who introduced to the European stage a new order of moral analysis that was placed against a severely realistic middle-class background and developed with economy of action, penetrating dialogueand rigorous thought.

Early life Ibsen was born at Skien, a small lumbering town of southern Norway. His father was a respected general merchant in the community untilwhen he suffered the permanent disgrace of going bankrupt. There was no redeeming the family misfortunes; as soon as he could, aged just 15, Henrik moved to Grimstad, a hamlet of some persons 70 miles km down the coast.

And during this period he used his few leisure moments to write Biography of henrik ibsen play. First plays and directing This work, Catilina ; Catilinegrew out of the Latin texts Ibsen had to study for his university examinations.

Though not a very good play, it showed a natural bent for the theatre and embodied themes—the rebellious hero, his destructive mistress—that would preoccupy Ibsen as long as he lived.

In he went to Christiania known since by its older name of Oslostudied for entrance examinations there, and settled into the student quarter—though not into classes. For the theatre was in his blood, and at the age of only 23 he got himself appointed director and playwright to a new theatre at Bergenin which capacity he had to write a new play every year.

This was a wonderful opportunity for a young man eager to work in drama, but it brought Ibsen up against a range of fearsome problems he was ill equipped to handle. In addition to writing plays which were uncongenial to him and unacceptable to audiences, he did a lot of directing.

He was too inhibited to make a forceful director but too intelligent not to pick up a great deal of practical stage wisdom from his experience. After he moved to Christiania and after his marriage to Suzannah Thoresen inhe began to develop qualities of independence and authority that had been hidden before.

Two of the last plays that Ibsen wrote for the Norwegian stage showed signs of new spiritual energy. This one play was in fact the national drama after which Ibsen had been groping so long, and before long it would be recognized as such.

Without regard for a public he thought petty and illiberal, without care for traditions he found hollow and pretentious, he could now write for himself. He decided to go abroad and applied for a small state grant.

He was awarded part of it, and in April he left Norway for Italy. For the next 27 years he lived abroad, mainly in Rome, Dresdenand Munichreturning to Norway only for short visits in and Universitetsbiblioteket, Oslo With him into exile Ibsen brought the fragments of a long semi-dramatic poem to be named Brand.

Its central figure is a dynamic rural pastor who takes his religious calling with a blazing sincerity that transcends not only all forms of compromise but all traces of human sympathy and warmth as well. He is a moral hero, but he is also a moral monster, and his heart is torn by the anguish that his moral program demands he inflict on his family.

He never hesitates, never ceases to tower over the petty compromisers and spiritual sluggards surrounding him. Yet in the last scene where Brand stands alone before his god, a voice thunders from an avalanche that, even as it crushes the pastor physically, repudiates his whole moral life as well: So the play is not only a denunciation of small-mindedness but a tragedy of the spirit that would transcend it.

The poem faced its readers not just with a choice but with an impasse; the heroic alternative was also a destructive and self-destructive alternative. In Norway Brand was a tremendous popular success, even though and in part because its central meaning was so troubling. Hard on the heels of Brand came Peer Gyntanother drama in rhymed couplets presenting an utterly antithetical view of human nature.

The wild and mocking poetry of Peer Gynt has ended by overshadowing Brand in the popular judgment. Like Don Quixote and Sancho Panzathey are universal archetypes as well as unforgettable individuals. With these two poetic dramas, Ibsen won his battle with the world; he paused now to work out his future.

A philosophical historical drama on the Roman emperor Julian the Apostate had long been on his mind; he finished it in under the title Kejser og Galilaeer Emperor and Galilean but in a act form too diffuse and discursive for the stage.

But Ibsen had not yet found his proper voice; when he did, its effect was not to criticize or reform social life but to blow it up. This play presents a very ordinary family—a bank manager named Torvald Helmer, his wife, Nora, and their three little children.

Torvald supposes himself the ethical member of the family, while his wife assumes the role of a pretty irresponsible in order to flatter him. Utterly disillusioned about her husband, whom she now sees as a hollow fraud, Nora declares her independence of him and their children and leaves them, slamming the door of the house behind her in the final scene.Henrik Ibsen was also a major poet, and he published a collection of poems in However, drama was the focus of his real lyrical spirit.

For a period of many hard years, he faced bitter opposition. A Norwegian playwright and poet Henrik Ibsen is considered as the father of Modern Theatre. He is also referred as the father of realism.

After Shakespeare, he is considered as the second most influential and insightful dramatist and poet of the 19th attheheels.com was born on . At a Glance. Henrik Ibsen is, without a doubt, the father of realist theater.

Biography of henrik ibsen

The Norwegian playwright is considered the starting point for modern drama, particularly realism, which dominated the. Henrik Johan Ibsen was born to Knud Ibsen and his wife Marichen on March 20, in the small town of Skien on the coast of Norway (Meyer 17).

His mother nurtured a life-long love of the theater and encouraged Ibsen with his artistic endeavors, and his father enjoyed great successful in his schnapps distillery; only sixteen others in the. Henrik Ibsen: Henrik Ibsen, major Norwegian playwright of the late 19th century who introduced to the European stage a new order of the moral analysis that was placed against a severely realistic middle-class background and developed with economy of action, penetrating dialogue, and rigorous thought.

Henrik Ibsen was born on March 20, , in Skien, Norway. His father was a successful merchant. When Ibsen was eight, his father's business failed, which was a shattering blow to the family. Ibsen left home at age fifteen and spent six years as a pharmacist's (one who prepares and sells drugs that.

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