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  • 易卜生: 海达 ? 盖伯乐
    IBSEN: Hedda Gabler
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• • 易卜生: 海达 ? 盖伯乐 / IBSEN: Hedda Gabler
  • [ 读物介绍 ]
  • Henrik IbsenHedda GablerFrom the IntroductionBy William Archer From Munich on November 20, 1890 Ibsen wrote to his Frenchtranslator, Count Prozor: “My new play is finished; the manuscript went off toCopenhagen the day before yesterday… It produces a curious feeling of emptinessto be thus suddenly separated from a work, which has occupied one’s time andthoughts for several months, to the exclusion of all else. But it is a goodthing, too, to have done with it. The constant intercourse with the fictitiouspersonages was beginning to make me quite nervous.” To the same correspondent he wrote on December 4: “The title of the play is Hedda Gabler. My intention ingiving it this name was to indicate that Hedda, as a personality, is to beregarded rather as her father’s daughter than as her husband’s wife. It was notmy desire to deal in this play with so-called problems. What I principallywanted to do was to depict human beings, human emotions, and human destinies,upon a groundwork of certain of the social conditions and principles of thepresent day.” Hedda Gabler was published in Copenhagen on December 16,1890. This was the first of Ibsen’s plays to be translated from proof sheetsand published in England and America almost simultaneously with its firstappearance in Scandinavia. The earliest theatrical performance took place atthe Residenz Theater, Munich, on the last day of January 1891. Not untilFebruary 26 was the play given for the first time in Norway, where it hasalways ranked among Ibsen’s most popular works. The production of the play atthe Vaudeville Theatre, London, April 20, 1891, may rank as the second greatstep towards the popularization of Ibsen in England, the first being theproduction of A Doll’s House in 1889, which play it has subsequently come torival in worldwide popularity. It has been suggested that Ibsen deliberatelyconceived Hedda Gabler as an ‘international’ play, and that the scene is reallythe ‘west end’ of any European city. To me it seems quite clear that Ibsen hadChristiania (later called Oslo) in mind, and the Christiania of a somewhatearlier period than the ‘nineties. The electric cars, telephones and otherconspicuous factors in the life of a modern capital are notably absent from theplay. There is no electric light in Secretary Falk’s villa. It is still thehabit for ladies to return on foot from evening parties, with gallant swainsescorting them. This ‘suburban-ism’, which so distressed the London critics of1891, was characteristic of the Christiania Ibsen himself had known in the‘sixties rather than of the greatly extended and modernized city of the end ofthe century. Moreover Lovborg’s allusions to the fiord, and the suggestedpicture of Sheriff Elvsted, his family and his avocations, are alldistinctively Norwegian. The truth seems to be very simple – the environmentand the subsidiary personages are all thoroughly national, but Hedda herself isan ‘international’ type, a product of civilization by no means peculiar toNorway. We cannot point to any individual model or models that ‘satto’ Ibsen for the character of Hedda. But the fact is that in this, as in allother instances, the word ‘model’ must be taken in a very different sense fromthat in which it is commonly used in painting. Ibsen undoubtedly usedmodels for this trait and that, but never for a whole figure. If his characterscan be called portraits at all, they are composite portraits. Even when itseems pretty clear that the initial impulse towards the creation of aparticular character came from some individual, the original figure is entirelytransmuted in the process of harmonization with the dramatic scheme. We neednot, therefore, look for a definite prototype of Hedda; but two of that lady’sexploits were probably suggested by the anecdotic history of the day. Ibsen had no doubt heard how the wife of a well-knownNorwegian composer, in a fit of raging jealousy excited by her husband’sprolonged absence from home, burnt the manuscript of a symphony which he hadjust finished.Again, a still more painful incident probably came to hisknowledge about the same time. A beautiful and very intellectual woman wasmarried to a well-known man who had been addicted to drink, but had entirelyconquered the vice. One day a mad whim seized her to put his self-mastery andher power over him to the test. As it happened to be his birthday, she rolledinto his study a small keg of brandy, and then withdrew. She returned some timeafterwards to find that he had broached the keg, and lay insensible on thefloor. In these two anecdotes we cannot but recognize the germ, not only ofHedda’s temptation of Lovborg, and the burning of his manuscript, but of alarge part of her character. Out of small and scattered pieces of reality Ibsen fashionedhis close-knit and profoundly thought-out works of art. Of all Ibsen’s works, Hedda Gabler is the most detached, themost objective – a character-study pure and simple. It is impossible – or soit seems to me – to extract any sort of general idea from it. One cannot evencall it a satire, unless one is prepared to apply that term to the record of a‘case’ in a work of criminology. Reverting to Dumas’s dictum that a play shouldcontain “a painting, a judgment, an ideal”, we may say that Hedda Gablerfulfils only the first of these requirements. The poet does not even passjudgment on his heroine: he simply paints her full-length portrait withscientific impassivity. But what a portrait! How searching in insight, howbrilliant in coloring, how rich in detail! (Grant Allen’s remark, above quoted,was, of course, a whimsical exaggeration); the Hedda type is, mercifully, notso common as all that, else the world would quickly come to an end! But particulartraits and tendencies of the Hedda type are very common in modern life, and notonly among women. Hyperaesthesia lies at the root of her tragedy. With a keenlycritical, relentlessly solvent intelligence, she combines a morbid shrinkingfrom all the gross and prosaic detail of the sensual life. She has nothing totake her out of herself – not a single intellectual interest or moral enthusiasm.She cherishes, in a languid way, a petty social ambition; and even that shefinds obstructed and baffled. At the same time she learns that another womanhas had the courage to love and venture all, where she, in her cowardice, onlyhankered and refrained. Her malign egoism rises up uncontrolled, and calls toits aid her quick and subtle intellect. She ruins the other woman’s happiness,but in doing so incurs a danger from which her sense of personal dignityrevolts. Life has no such charm for her that she cares to purchase it at thecost of squalid humiliation and self-contempt. The good and the bad in heralike impel her to have done with it all; and a pistol-shot ends what is surelyone of the most poignant character-tragedies in literature. Ibsen’s brain neverworked at higher pressure than in the conception and adjustment of those“crowded hours” in which Hedda, tangled in the web of Will and Circumstance,struggles on until she is too weary to struggle any more. Notes by Sheridan Morley The Cast of Hedda Gabler Hedda Gabler JulietStevensonGeorge Tesman MichaelMaloneyJudge Brack Philip VossMrs. Elvsted EmmaFieldingLovborg RobertGlenisterAunt Juliana BrendaKayeBerta MelindaWalker Director JohnTydemanProducer NicolasSoamesStudio Manager PeterNovisRecording Engineer MikeEtherden JULIET STEVENSON has worked extensively for the RoyalShakespeare Company and the Royal National Theatre. She won an Olivier Awardfor her role in Death and the Maiden at the Royal Court, and a number of otherawards for her work in the film Truly, Madly, Deeply. Other film creditsinclude The Trial, Drowning by Numbers and Emma. MICHAEL MALONEY’s many Shakespearean roles on the Londonstage include Edgar in King Lear, the title roles in Hamlet and Romeo and Juliet,Prince Hal in Henry IV Parts 1 & 2; on film he has appeared in Branagh’sproductions of Hamlet and Henry V, as well as in Parker’s Othello. Othernotable films include Minghella’s Truly, Madly, Deeply. He frequently performson radio and TV. PHILIP VOSS is an associate of the Royal ShakespeareCompany. The roles he has played for that company include Prospero, Malvolioand Shylock. On film he has appeared in Alive and Kicking, Four Weddings and aFuneral, Octopussy and Frankenstein and the Monster from Hell. He plays theLord of the Nazgul in the BBC recording of The Lord of the Rings. EMMA FIELDING trained at RSAMD. She has worked for the RoyalNational Theatre and the Royal Shakespeare Company, most notably in John Ford’sThe Broken Heart, for which she won the Dame Peggy Ashcroft Award for BestActress and the Ian Charleson Award. She has also appeared in numerous radioplays for the BBC and performed the parts of Desdemona in Othello, Ophelia inHamlet and the title role in Lady Windermere’s Fan, as well as many readingsfor Naxos AudioBooks. ROBERT GLENISTER’s varied theater credits include Measurefor Measure, The Tempest and Little Eyolf for the Royal Shakespeare Company;The Duchess of Malfi, Rosencrantz & Guildenstern are Dead and Hamlet. Histelevision credits include Heartbeat, Midsomer Murders, A Touch of Frost,Bramwell, Prime Suspect, Only Fools & Horses and Soldier Soldier. BRENDA KAYE trained at the Central School of Speech andDrama. Her extensive repertory experience includes Sheffield Playhouse,Liverpool Playhouse and Bristol Old Vic. For the Royal National Theatre: Hamletand Plunder. West End credits include Night Must Fall for Theatre Royal,Haymarket. She is a former member of BBC Radio Drama Company with over 200broadcasts including The Woman’s Hour Serial, Poetry Please and With GreatPleasure. MELINDA WALKER has performed in countless radio plays andtheater nationally. As well as narrating television documentaries, she was thevoice of the daily quiz show 100% Gold. She devises and performs poetry andsong events, and read in a commemorative edition of Radio 4’s SomethingUnderstood for the Princess of Wales. Melinda writes for the theater with herhusband. JOHN TYDEMAN played a key role in BBC radio drama for nearlyfour decades, as producer, Assistant Head and then Head of Radio Drama. Duringthat time he directed most of the major plays in the classical repertory, fromGreek drama to Shakespeare, Chekhov and Shaw. He was also active incontemporary theater, directing works by Osborne, Stoppard, Albee, Pinter andmany others. Directing for television and the stage has been a regular featurethroughout his busy career.
  • • 作品列表
    • • CD01
      • 作品编号：33109  Hedda Gabler: Act 1

      • Enter MISS TESMAN and BERTA: MISS TESMAN Upon my word, I don't believe they are stirring yet

      • Enter TESMAN and AUNT JULIA: TESMAN Aunt Julia, Dear Aunt Julia. Come all this way - so early!

      • MISS TESMAN And to think that there you are a married man, George!

      • TESMAN Well fortunately, Judge Brack has secured the most favourable terms for me..

      • Enter HEDDA: MISS TESMAN Good morning, my dear Hedda!

      • TESMAN What are you looking at, Hedda?

      • Enter MRS ELVSTED: HEDDA How do you do, my dear Mrs Elvsted?

      • HEDDA There! We have killed two birds with one stone.

      • HEDDA What sort of man is your husband, Thea?

      • Enter TESMAN: TESMAN There now - the epistle is finished.

      • CD01
      • 作品编号：33110  Hedda Gabler: Act 2

      • Enter HEDDA (with a pistol in her hand) and JUDGE BRACK: HEDDA So here you are again, Judge!

      • Enter TESMAN with a pile of books: TESMAN Ouf - what a load for a warm day - all these books.

      • BRACK What bonnet were you talking about?

      • Enter TESMAN: TESMAN Hedda, has no message come from Eilert Lovborg?

      • Enter EILERT LOVBORG: TESMAN Well, my dear Eilert - so we meet again

      • LOVBORG Hedda Gabler!

      • Enter BERTA and MRS ELVSTED: BERTA Mrs Elvsted, madam.

      • MRS ELVSTED Hedda - Hedda - what will come of all this?

      • CD02
      • 作品编号：33111  Hedda Gabler: Act 3

      • Enter MRS ELVSTED and BERTA: MRS ELVSTED Not yet! Oh God - oh God - not yet!

      • Enter HEDDA: TESMAN Hedda?

      • Enter BERTA: BERTA Judge Brack is at the door, and wishes to know if he may come in.

      • HEDDA But tell me now, Judge...

      • Enter LOVBORG: LOVBORG And I tell you I must and will come in!

      • MRS ELVSTED Ah, Lovborg! At last!

      • HEDDA So you are not going to see her home, Mr Lovborg?

      • HEDDA What path do you mean to take then?

      • CD02
      • 作品编号：33112  Hedda Gabler: Act 4

      • Enter MISS TESMAN and HEDDA: MISS TESMAN Yes, Hedda, here I am, in mourning and forlorn;

      • Enter TESMAN: HEDDA Ah, you have come at last!

      • TESMAN Burnt! Burnt Eilert's manuscript!

      • Enter MRS ELVSTED: MRS ELVSTED Oh, dear Hedda, forgive my coming again.

      • Enter JUDGE BRACK: BRACK Tesman!

      • HEDDA Oh, what a sense of freedom it gives one, this act of Eilert Lovborg's.

      • TESMAN Hedda, dear, it is almost impossible to see under the lamp in the back room.

      • BRACK Well, Hedda - then comes the scandal!

      • HEDDA Well? Are you getting on, George?