Henrik Ibsen's Theatre Mask. Tableau, Absorption and Theatricality in The Wild Duck
Identifieur interne : 000153 ( Istex/Corpus ); précédent : 000152; suivant : 000154Henrik Ibsen's Theatre Mask. Tableau, Absorption and Theatricality in The Wild Duck
Auteurs : Erik SterudSource :
- Orbis Litterarum [ 0105-7510 ] ; 1996-06.
English descriptors
- Teeft :
- 0sterud, Absorptive, Absorptive qualities, Adult world, Camera obscura, Contrastive parallels, Curly hair, Daniel haakonsen, Dark loft, Diderot, Dinner party, Dutchman, Ekdal, Ekdal family, Endless stream, Erik, Erik 0sterud, Family life, Fine gentlemen, French painting, Gina, Great boyg, Gregers, Hedvig, Henrik, Henrik ibsen, Hjalmar, Ibsen, Ibsenesque, Ibsenesque concept, Ibsenesque stage, Illusory effect, Important source, Lighting effects, Loft, Long parade, Major role, Many years, Michael book absorption, More information, Naked truth, Norwegian, Opening scene, Opposite wall, Peer gynt, Present time, Real life, Relling, Same time, Situation hjalmar, Spectacular stagings, Subject matter, Tableau, Theatre mask, Theatre musk, Theatrical gestures, Theatricality, Trivial things, Verbal dialogue, Vintage wine, Visual confrontations, Visual cultures, Visual dialogue, Visuality, Wholesale merchant, Wild duck, Window shutter.
Abstract
This article gives an analysis of Henrik Ibsen's The Wild Duck based on some concepts developed from Michael Fried's book Absorption and Theatricality: Painting and Beholder in the Age of Diderot. Keywords are here: visuality, tableau, theatricality and absorption. It is my view that Ibsen is wrapped up in visuality in his plays, expressed not only by the richness of details and the precision of depiction given to the theater décor, but also by the way he chooses to introduce and develop the conflict. In addition to the verbal dialogue there is in The Wild Duck a “visual dialogue,” revolving around one dominant metaphor: the metaphor of photography. This makes life in the play unfold as if pictures were permanently taken both of the characters and by them. Life is here shaped as a long parade of spectacular stagings or tableaux, where the visual confrontations and conflicts between the characters can be described as an endless stream of clashes between the poser's self‐image and the seeing eye's interpretation of the person on display. The unconscious, which Ibsen explores in his late period, is rooted in the new visual culture brought forth by the overwhelming technical innovations in the visual field during the nineteenth century.
Url:
DOI: 10.1111/j.1600-0730.1996.tb00006.x
Links to Exploration step
ISTEX:0F5B83D432CC4CABF880C071F738328A90754B80Le document en format XML
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Keywords are here: visuality, tableau, theatricality and absorption. It is my view that Ibsen is wrapped up in visuality in his plays, expressed not only by the richness of details and the precision of depiction given to the theater décor, but also by the way he chooses to introduce and develop the conflict. In addition to the verbal dialogue there is in The Wild Duck a “visual dialogue,” revolving around one dominant metaphor: the metaphor of photography. This makes life in the play unfold as if pictures were permanently taken both of the characters and by them. Life is here shaped as a long parade of spectacular stagings or tableaux, where the visual confrontations and conflicts between the characters can be described as an endless stream of clashes between the poser's self‐image and the seeing eye's interpretation of the person on display. 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In addition to the verbal dialogue there is in The Wild Duck a “visual dialogue,” revolving around one dominant metaphor: the metaphor of photography. This makes life in the play unfold as if pictures were permanently taken both of the characters and by them. Life is here shaped as a long parade of spectacular stagings or tableaux, where the visual confrontations and conflicts between the characters can be described as an endless stream of clashes between the poser's self‐image and the seeing eye's interpretation of the person on display. 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Lecturer in Scandinavian literature, Aarhus University, Denmark. Has published articles on J.P.Jacobsen, Strindberg and Norwegian literature and is preparing a book on Visuality and theatricality in Henrik Ibsen's dramas.</affiliation></author></analytic><monogr><title level="j">Orbis Litterarum</title><idno type="pISSN">0105-7510</idno><idno type="eISSN">1600-0730</idno><idno type="DOI">10.1111/(ISSN)1600-0730</idno><imprint><publisher>Blackwell Publishing Ltd</publisher><pubPlace>Oxford, UK</pubPlace><date type="published" when="1996-06"></date><biblScope unit="volume">51</biblScope><biblScope unit="issue">3</biblScope><biblScope unit="page" from="148">148</biblScope><biblScope unit="page" to="177">177</biblScope></imprint></monogr><idno type="istex">0F5B83D432CC4CABF880C071F738328A90754B80</idno><idno type="DOI">10.1111/j.1600-0730.1996.tb00006.x</idno><idno type="ArticleID">OLI148</idno></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>1996</date></creation><langUsage><language ident="en">en</language></langUsage><abstract xml:lang="en"><p>This article gives an analysis of Henrik Ibsen's The Wild Duck based on some concepts developed from Michael Fried's book Absorption and Theatricality: Painting and Beholder in the Age of Diderot. 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Born 1936. M.A., Oslo University. Lecturer in Scandinavian literature, Aarhus University, Denmark. Has published articles on J.P.Jacobsen, Strindberg and Norwegian literature and is preparing a book on Visuality and theatricality in Henrik Ibsen's dramas.</correspondenceTo><linkGroup><link type="toTypesetVersion" href="file:OLI.OLI148.pdf"></link></linkGroup></publicationMeta><contentMeta><countGroup><count type="referenceTotal" number="0"></count><count type="linksCrossRef" number="2"></count></countGroup><titleGroup><title type="main">Henrik Ibsen's Theatre Mask. 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Keywords are here: <i>visuality, tableau, theatricality and absorption.</i></p><p>It is my view that Ibsen is wrapped up in visuality in his plays, expressed not only by the richness of details and the precision of depiction given to the theater décor, but also by the way he chooses to introduce and develop the conflict. In addition to the verbal dialogue there is in <i>The Wild Duck</i> a “visual dialogue,” revolving around one dominant metaphor: the metaphor of photography. This makes life in the play unfold as if pictures were permanently taken both <i>of</i> the characters and <i>by</i> them. 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