Ibsen in Practice

The Political Limits and Possibilities of the Eucharist: A Theatrical Intervention

“…As Helland notes, the audience becomes united in a 'shared experience of being manipulated, tricked, and forced into submission … we had our say, even voted and won, but to no avail'. 52 In this way the production, while mirroring forms of the political theatre of the 1970s in raising political consciousness and empowering action, consciously constructs this effect 'as transitory and illusory'. 53 Ostermeier wants the audience to 'recognise the cynical mechanism [and] acknowledge that we are manipulated and coerced'.…”

“…52 In this way the production, while mirroring forms of the political theatre of the 1970s in raising political consciousness and empowering action, consciously constructs this effect 'as transitory and illusory'. 53 Ostermeier wants the audience to 'recognise the cynical mechanism [and] acknowledge that we are manipulated and coerced'. 54 This is vital to Ostermeier's view of theatre within the anti-autonomous age of capitalist realism which posits an 'inherent contradiction between capitalism and democracy', where, despite our best individual efforts to be ethical, despite our suffrage, we seemingly have less and less say in the organising of our social, economic, and political lives together.…”

New translations of Henrik Ibsen’s contemporary dramas into Russian

“…И тут самое время напомнить, что речь идет о «новой драме», и главным своим достижением Ибсен считал умение добиться, чтобы герои на сцене говорили точно как в жизни. Об этом общеизвестном факте хорошо пишут, в частности, биограф Ибсена Иво де Фигейредо ] и Фруде Хелланд в своей работе, посвященной практике постановок Ибсена в разных театрах мира [Helland 2015]. Ибсен бывал недоволен, если ему казалось, что актеры слишком кричат, манерничают или как-то еще нарушают его требование полной идентичности нормальной разговорной речи.…”