| Hedda Gabler | |
|---|---|
 Poster ofAlla Nazimova as Hedda Gabler (Sigismund Ivanowski, 1907) | |
| Written by | Henrik Ibsen |
| Date premiered | 1891 |
| Place premiered | Königliches Residenz-Theater Munich,Germany |
| Original language | Danish |
| Subject | A newlywed struggles with an existence she finds devoid of excitement and enchantment |
| Genre | Tragedy |
| Setting | Jørgen Tesman's villa, Kristiania, Norway; 1890s |
Hedda Gabler (Norwegian pronunciation:[ˈhɛ̂dːɑˈɡɑ̀ːblər]) is a play written by Norwegian playwrightHenrik Ibsen. The world premiere was staged on 31 January 1891 at theResidenztheater inMunich. Ibsen himself was in attendance, although he remained back-stage.[1] Though initial reviews were negative, it has since been canonized as a masterpiece of literaryrealism,19th-century theatre, and world drama in general.[2][3][4]
Hedda Gabler dramatizes the experiences of the title character, Hedda, the daughter of a general, who is trapped in a marriage and a house that she does not want. Hedda is considered one of the great dramatic roles in theater, and has been described as a female variation of Hamlet.[5][6]
Hedda's married name is Hedda Tesman; Gabler is hermaiden name. On the subject of the title, Ibsen wrote: "My intention in giving it this name was to indicate that Hedda as a personality is to be regarded rather as her father's daughter than her husband's wife."[7]
Hedda, the daughter of a general, has just returned to her villa inKristiania (now Oslo) from her honeymoon. Her husband is George Tesman, a young, aspiring, and reliable academic who continued his research during their honeymoon. It becomes clear in the course of the play that she never loved him, but married him because she thinks her years of youthful abandon are over.
The reappearance of George's academic rival, Eilert Løvborg, throws their lives into disarray. Eilert, a writer, is also a recovering alcoholic who has wasted his talent until now. Thanks to a relationship with Hedda's old schoolmate, Thea Elvsted (who has left her husband for him), Eilert shows signs of rehabilitation and has just published a bestseller in the same field as George's. When Hedda and Eilert talk privately together, it becomes apparent that they are former lovers.
The critical success of his recently published work makes Eilert a threat to George, as Eilert is now a competitor for the university professorship George had been anticipating. George and Hedda are financially overstretched, and George tells Hedda that he will not be able to finance the regular entertaining or luxurious housekeeping that she had been expecting. Upon meeting Eilert, however, the couple discovers that he has no intention of competing for the professorship, but rather has spent the last few years working on what he considers to be his masterpiece, the "sequel" to his recently published work.
Apparently jealous of Thea's influence over Eilert, Hedda hopes to come between them. Despite his drinking problem, she encourages Eilert to accompany George and his associate, Judge Brack, to a party. George returns home from the party and reveals that he found the complete manuscript (the only copy) of Eilert's great work, which the latter lost while drunk. George is then called away to his aunt's house, leaving the manuscript in Hedda's possession. When Eilert next sees Hedda and Thea, he tells them that he has deliberately destroyed the manuscript. Thea is horrified, and it is revealed that it was the joint work of Eilert and herself. Hedda says nothing to contradict Eilert or to reassure Thea. After Thea has left, Hedda encourages Eilert to commit suicide, giving him a pistol that had belonged to her father. She then burns the manuscript and tells George she has destroyed it to secure their future.
When the news comes that Eilert did indeed kill himself, George and Thea are determined to try to reconstruct his book from Eilert's notes, which Thea has kept. Hedda is shocked to discover from Judge Brack that Eilert's death, in a brothel, was messy and probably accidental; this "ridiculous and vile" death contrasts with the "beautiful and free" one that Hedda had imagined for him. Worse, Brack knows the origins of the pistol. He tells Hedda that if he reveals what he knows, a scandal will likely arise around her. Hedda realizes that this places Brack in a position of power over her, which he implies he will use to coerce her into a sexual relationship. Leaving the others, she goes into her smaller room and shoots herself in the head. The others in the room assume that Hedda is simply firing shots, and they follow the sound to investigate. The play ends with George, Brack, and Thea discovering her body.
Joseph Wood Krutch makes a connection betweenHedda Gabler andFreud, whose first work on psychoanalysis was published almost a decade later. In Krutch's analysis, Gabler is one of the first fully developedneurotic female protagonists of literature.[9] By that, Krutch means that Hedda is neither logical nor insane in the old sense of being random and unaccountable. Her aims and her motives have a secret personal logic of their own. She gets what she wants, but what she wants is not anything that normal people would acknowledge (at least, not publicly) to be desirable. One of the significant things that such a character implies is the premise that there is a secret, sometimes unconscious, world of aims and methods — one might almost say a secret system of values — that is often much more important than the rational one. It is regarded as a deep and emotional play, due to Ibsen's portrayal of ananti-heroine.[10]
Ibsen was interested in the then-embryonic science of mental illness and had a poor understanding of it by present-day standards. HisGhosts is another example of this. Examples of the troubled 19th-century female might include oppressed, but "normal", willful characters; women in abusive or loveless relationships; and those with some type of organic brain disease. Ibsen is content to leave such explanations unsettled. Bernard Paris interprets Gabler's actions as stemming from her "need for freedom [which is] as compensatory as her craving for power... her desire to shape a man's destiny."[11]
The play was performed inMunich at theKönigliches Residenz-Theater on 31 January 1891, with Clara Heese as Hedda, though Ibsen was said to be displeased with the declamatory style of her performance. Ibsen's work had an international following so that translations and productions in various countries appeared very soon after the publication in Copenhagen and the premiere in Munich. In February 1891 there were productions in Berlin and Copenhagen.[12][13] On 20 April 1891, the first British performance of the play occurred, at theVaudeville Theatre, London, starringElizabeth Robins, who directed it with Marion Lea, who played Thea. Robins also played Hedda in the first US production, which opened on 30 March 1898 at the Fifth Avenue Theatre,New York City.[14] In February 1899 it was produced as part of The Moscow Art Theatre's first season with Maria F. Andreeva as Hedda.[15][2][3][4]
A 1902 production starringMinnie Maddern Fiske was a major sensation onBroadway, and following its initial limited run was revived with the same actress the next year.
Many prominent actresses have played the role of Hedda:Vera Komissarzhevskaya,Eleonora Duse,Alla Nazimova,Asta Nielsen,Johanne Louise Schmidt,Mrs. Patrick Campbell,Eva Le Gallienne,Elizabeth Robins,Anne Meacham,Ingrid Bergman,Peggy Ashcroft,Fenella Fielding,Jill Bennett,Janet Suzman,Diana Rigg,Glenda Jackson,Isabelle Huppert,Claire Bloom,June Brown,Kate Burton,Geraldine James,Kate Mulgrew,Kelly McGillis,Fiona Shaw,Maggie Smith,Jane Fonda,Annette Bening,Amanda Donohoe,Judy Davis,Emmanuelle Seigner,Mary-Louise Parker,Harriet Walter,Rosamund Pike,Ruth Wilson,Cate Blanchett andKatie Holmes.
In 1970 theRoyal National Theatre in London staged a production of the play directed byIngmar Bergman, starringMaggie Smith, who gained much critical acclaim and won a Best ActressEvening Standard Theatre Award for her performance.[16] Also in the early 1970s,Irene Worth played Hedda at Stratford, Ontario, promptingNew York Times criticWalter Kerr to write, "Miss Worth is just possibly the best actress in the world."
A 1973/4Royal Shakespeare Company world tour of the play was directed and translated by Trevor Nunn, and starred Pam St Clement as Bertha,Patrick Stewart as Eilert Lovborg, Peter Eyre as George Tesman,Glenda Jackson as Hedda Tesman, Timothy West as Judge Brack, Constance Chapman as Juliana Tesman, and Jennie Linden as Mrs. Elvsted.
British playwrightJohn Osborne prepared an adaptation in 1972, and in 1991 the Canadian playwrightJudith Thompson presented her version at theShaw Festival. Thompson adapted the play a second time in 2005 atBuddies in Bad Times Theatre in Toronto, setting the first half of the play in the nineteenth century, and the second half during the present day. Early in 2006, the play gained critical success at theWest Yorkshire Playhouse in Leeds and theLiverpool Playhouse, directed by Matthew Lloyd withGillian Kearney in the lead role. A revival opened in January 2009 on Broadway, starringMary-Louise Parker as the title character andMichael Cerveris as Jørgen Tesman, at theAmerican Airlines Theatre, to mixed critical reviews.
In 2005, a production byRichard Eyre, starringEve Best, at theAlmeida Theatre in London was well-received and later transferred for an 11½ week run at theDuke of York's onSt Martin's Lane. The play was staged at Chicago'sSteppenwolf Theater starring actressMartha Plimpton.
In April 2009, a modernized New Zealand adaptation by The Wild Duck starring Clare Kerrison in the title role, opened at BATS Theatre in Wellington. It was lauded as "extraordinarily accessible without compromising Ibsen's genius at all."[17]
In 2010,Hedda Gabler was performed at the Theatre Royal in Bath, directed by Adrian Noble. The production starredRosamund Pike as Hedda, earning praise for her "compelling and multifaceted performance, which highlighted both the vulnerability and manipulative strength of Ibsen's iconic character."[18]
In 2011, the performance of a production of the play as translated and directed by Vahid Rahbani was stopped inTehran,Iran.[19] Rahbani was summoned to court for inquiry after an Iranian news agency blasted the classic drama in a review and described it as "vulgar" and "hedonistic" with symbols of a "sexual slavery cult."[20][21]
In February 2011, aSerbian production premiered at theNational Theatre in Belgrade.[22]
A 2012Brian Friel adaptation of the play staged at London'sThe Old Vic theatre received mixed reviews, especially forSheridan Smith in the lead role.[23][24][25]
In 2012,Hedda Gabler was staged at the Royal and Derngate Theatre in Northampton, directed by Jonathan Munby. The production featured Emma Hamilton in the title role, with her performance receiving attention for its "emotional depth and complexity, capturing the struggle of Ibsen's protagonist."[26]
In 2015,Hedda Gabler was staged at the Taras Shevchenko Dnipro National Academic Ukrainian Music and Drama Theatre in Ukraine. The production was directed byDiana Stein, with Nataliya Tafi in the title role.[27]
The play was staged in 2015 at Madrid'sMaría Guerrero. The production, which received mixed reviews, was directed by Eduardo Vasco and presented a text that was adapted by the Spanish playwright Yolanda Pallín withCayetana Guillén Cuervo playing the lead role.[28][29][30][31]
In 2016, Tony Award-winning directorIvo van Hove made his National Theatre debut in London with a period-less production of the play. This new version byPatrick Marber featuredRuth Wilson in the title role andRafe Spall as Brack.[32]
In 2017, a ballet interpretation of the play premiered at theNorwegian National Opera and Ballet under the direction ofMarit Moum Aune.
Since May 2019, the play has been staged in theNational Theatre, Warsaw, with Hedda portrayed byWiktoria Gorodeckaja [pl].[33]
In February 2023, the play was performed at Mulae Arts Factory (문래예술공장) in Seoul, South Korea. The director was Song Sun-ho (송선호).
The play was part of the 2024 season of theStratford Festival.
In February 2026, the play was performed atThe Old Globe Theatre in San Diego, California. The adaptation byErin Cressida Wilson starredKatie Holmes as Hedda withCharlie Barnett as George.[34][35]
In March 2026, the play will be performed in Oslo, Norway in English for the first time byOslo English Players.
The play has been adapted for the screen several times, from the silent film era onwards, in several languages.[36] The BBC screened a television production of the play in 1962, withIngrid Bergman,Michael Redgrave,Ralph Richardson, andTrevor Howard, while the Corporation'sPlay of the Month in 1972 featuredJanet Suzman andIan McKellen in the two main leads. A version shown on Britain's commercial ITV network in 1980 featuredDiana Rigg in the title role.Glenda Jackson was nominated for anAcademy Award as leading actress for her role in the British film adaptationHedda (1975) directed byTrevor Nunn. A version was produced for Australian television in 1961.[37]
An American film version released in 2004 relocated the story to a community of young academics inWashington state.[38]
An adaptation (byBrian Friel) of the 2012 Old Vic production was the first broadcast in theUnited Kingdom onBBC Radio 4 on 9 March 2013.
In 2014, Matthew John[39] alsoadapted Hedda Gabler starringRita Ramnani, David R. Butler, and Samantha E. Hunt.
Andreas Kleinert adapted the story to early 21st century Germany in his 2016 filmHedda, starringSusanne Wolff andGodehard Giese.
Hedda, directed byNia DaCosta and starringTessa Thompson in the title role, was released in 2025.[40][41]
The 1998 playThe Summer in Gossensass byMaría Irene Fornés presents a fictionalized account ofElizabeth Robins and Marion Lea's efforts to stage the first London production ofHedda Gabler in 1891.
In theNetflix animated show,Bojack Horseman, an episode features the main character putting on a stage production while in prison with inmates playing the roles.
An operatic adaptation of the play has been produced byShanghai's Hangzhou XiaoBaiHua Yue Opera House.
An adaptation with a lesbian relationship was staged inPhiladelphia in 2009 by the Mauckingbird Theatre Company.[42]
A production atPrinceton University's Lewis Center for the Arts featured a male actor, Sean Peter Drohan, in the title role.[43]
Philip Kan Gotanda 'loosely' adaptedHedda Gabler into his 2002 play,The Wind Cries Mary.
A prostitute in the feature filmTristram Shandy: A Cock and Bull Story is named Hedda Gobbler.[citation needed]
The 2009 albumUntil the Earth Begins to Part by Scottish folk indie-rock bandBroken Records features a song, "If Eilert Løvborg Wrote A Song, It Would Sound Like This".
John Cale, Welsh musician and founder of American rock bandThe Velvet Underground, recorded a song "Hedda Gabler" in 1976, included originally on the 1977 EPAnimal Justice (now a bonus track on the CD of the albumSabotage). He performed the song live in 1998, withSiouxsie Sioux,[44] and also in London (5 March 2010) with a band and a 19 piece orchestra in hisParis 1919 tour. The song was covered by the British neofolk bandSol Invictus for the 1995 compilationIm Blutfeuer (Cthulhu Records) and later included as a bonus track on the 2011 reissue of the Sol Invictus albumIn the Rain.
The Norwegian hard-rock bandBlack Debbath recorded the song "Motörhedda Gabler" on their Ibsen-inspired albumNaar Vi Døde Rocker ("When We Dead Rock"). As the title suggests, the song is also influenced by the British heavy metal bandMotörhead.
The original playHeddatron byElizabeth Meriwether (b. 1981) meldsHedda Gabler with a modern family's search for love despite the invasion of technology into everyday life.
In the 2013 novelBridget Jones: Mad About The Boy byHelen Fielding, Bridget tries and fails to write a modernized version ofHedda Gabler, which she mistakenly calls "Hedda Gabbler" and believes to have been written by Anton Chekhov. Bridget intends to call her version "The Leaves In His Hair" and set it inQueen's Park, London. Bridget claims to have studied the original play as an undergraduate at Bangor University.
The play is referenced in a short scene in the musical comedyA Gentleman's Guide to Love and Murder, where protagonist Monty Navarro tricks Lady Salome D'Ysquith Pumphrey, a terrible actress ahead of him in royal lineage, into shooting herself with real bullets at the end ofHedda Gabler to ascend to earldom.
In the 2025 filmBabygirl, the husband of the protagonist is staging a production ofHedda Gabler, and his comment to his wife that the play is "not about desire, it's about suicide" suggests that he has also misunderstood his wife's secret desires.
In the 2025 filmHedda, the character Eilert Lövborg was gender-switched to Eileen Lovborg, and the story was set in England in the mid-1950s.
Hedda Gabler public domain audiobook atLibriVox| International | |
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