{"title":"The Depths of the Sea","authors":"L. Patton","doi":"10.2307/j.ctv1b0fwbx.40","DOIUrl":"https://doi.org/10.2307/j.ctv1b0fwbx.40","url":null,"abstract":"","PeriodicalId":188209,"journal":{"name":"Ibsen's Kingdom","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-01-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125486875","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Shaw Festival, Niagara-on-the Lake, Ontario April 30-September 13, 2015A fully realized cliff dominates the set of this production, all the more remarkable because the theatre, the Court House, is a small, intimate space. A "Prologue Song," from the Norwegian songwriter Jenny Hval's album, "I Have Walked This Body," adds to the grounding of place. As the music ebbs, Ellida Wangel (Moya O'Connell) struggles for breath as she sprawls across the cliff, naked, and peers bewilderedly through the fourth wall and past the audience's vision. It is an enervating sight, a bold re-imagining of the talk of Ellida's ritual swims in the fjord that will soon follow.Erin Shields's cut "new version" shows itself prominently in act one. Rather than raise a flag, Ballested admires Bolette's flowers, a choice that sharpens the focus on the important symbol in the first act, in which flowers are used to celebrate, to rekindle feelings, or to serve as remembrance, thus establishing emotional states and reminders of a past that renders the image of a happy family illusory. But when Ballestee! (Neil Barclay) tells Lyngstrand (Kyle Blair) about the mermaid in his painting, Shields changes Ibsen's title from "The Dying Mermaid" to the unfortunate "The Mermaid's Decomposition." Apart from the suggestion of rot, to announce this dire psychological diagnosis so quickly is preemptive, as audiences are now prompted to see Ellida as far more ill than Ibsen's dialogue for her in the opening act suggests. Shields continually focuses on Wangel's solution of medicating Ellida, perhaps as corollary to his own self-medicating through alcohol, which emphasizes that the isolation in Ibsen's play is not Ellida's alone but belongs to each character, except, of course, for the "acclimatizing" Ballested. Shields has not eliminated much of the dialogue, but the subtleties of this opening act are nevertheless diminished.The Lady from the Sea alludes directly to well-known motifs ofNorwegian folklore, especially the archetype of the mermaid who attempts to acclimatize to land, and it also relies on the contrasting tropes of sea and land to suggest psychological ebbs and flows, making the pauses and interruptions in scenes paramount. The point/counterpoint of the relationships in the play as fulfilling or constricting gives the text its musing, wistful aura. In this production, some scenes illuminate these overtones, but an astonishing production choice-to run the five acts together without intermission, reducing the running time to about ninety minutes-makes it impossible to suggest the nuances of Ibsen's subtle, probing text. Inevitably, what the audience should experience psychologically through the push and pull of the tidal sea disappears, along with the dominant tone of introspection amid conversation. Although Shields has compressed the dialogue, she does not omit key scenes, and it is the vital pauses in speech, and thus thought and action, that are absent. Actors come on stage to
2015年4月30日至9月13日，安大略省尼亚加拉湖畔的萧伯纳戏剧节，一个完全实现的悬崖主导了这部作品的设置，更引人注目的是，剧院，法院，是一个小而亲密的空间。挪威词曲作者珍妮·赫瓦尔(Jenny Hval)的专辑《我走过这具身体》(I Have walk This Body)中的一首“序曲”(Prologue Song)增加了场地的基础。随着音乐的减弱，埃莉达·万格尔(莫亚·奥康奈尔饰)挣扎着呼吸，她赤裸着四肢躺在悬崖上，困惑地凝视着第四堵墙，越过观众的视线。这是一个令人疲惫的景象，是对即将到来的埃莉达在峡湾游泳仪式的大胆重新想象。艾琳·希尔兹的剪辑版“新版本”在第一幕中表现突出。Ballested欣赏的不是升旗，而是波莱特的花，这一选择使第一幕中的重要象征更加突出，在第一幕中，花被用来庆祝，重新点燃感情，或作为纪念，从而建立情感状态，提醒人们过去，使幸福家庭的形象变得虚幻。但是当巴列斯提!(尼尔·巴克利)告诉林斯特兰德(凯尔·布莱尔)关于他画中的美人鱼，希尔兹把易卜生的标题从“垂死的美人鱼”改成了不幸的“美人鱼的分解”。除了暗示腐烂之外，如此迅速地宣布这个可怕的心理诊断是先发制人的，因为观众现在被提示看到埃莉达的病情远比易卜生在开场为她写的对话所暗示的要严重得多。希尔兹持续关注着旺格尔给埃莉达服药的解决方案，这也许是他自己通过酒精给自己服药的必然结果，这强调了易卜生戏剧中的孤立不是埃莉达一个人的，而是属于每个角色的，当然，除了“适应环境”的巴列斯特德。《希尔兹》并没有删去太多对白，但开篇的微妙之处却被削弱了。《来自大海的女人》直接暗示了挪威民间传说中众所周知的主题，尤其是试图适应陆地的美人鱼的原型，它还依靠海洋和陆地的对比比喻来暗示心理的起伏，使场景中的停顿和中断变得至关重要。剧中关系的点/对位作为满足或限制赋予文本沉思，渴望的气氛。在这部作品中，一些场景阐明了这些暗示，但一个令人惊讶的制作选择——五幕一起上演，没有中场休息，将运行时间减少到大约90分钟——使得它不可能暗示易卜生微妙的、探究性的文本的细微差别。不可避免地，观众应该通过潮汐海的推拉来体验的心理体验，随着谈话中自省的主导基调消失了。虽然希尔兹压缩了对话，但她并没有省略关键场景，而是省略了讲话中至关重要的停顿，从而省略了思想和行动。演员们上台开始表演，打断其他人，打破了易卜生分层展开的故事情节的情感和智力线索。…
{"title":"The Lady from the Sea","authors":"E. Dolgin","doi":"10.2307/j.ctv1b0fwbx.44","DOIUrl":"https://doi.org/10.2307/j.ctv1b0fwbx.44","url":null,"abstract":"The Shaw Festival, Niagara-on-the Lake, Ontario April 30-September 13, 2015A fully realized cliff dominates the set of this production, all the more remarkable because the theatre, the Court House, is a small, intimate space. A \"Prologue Song,\" from the Norwegian songwriter Jenny Hval's album, \"I Have Walked This Body,\" adds to the grounding of place. As the music ebbs, Ellida Wangel (Moya O'Connell) struggles for breath as she sprawls across the cliff, naked, and peers bewilderedly through the fourth wall and past the audience's vision. It is an enervating sight, a bold re-imagining of the talk of Ellida's ritual swims in the fjord that will soon follow.Erin Shields's cut \"new version\" shows itself prominently in act one. Rather than raise a flag, Ballested admires Bolette's flowers, a choice that sharpens the focus on the important symbol in the first act, in which flowers are used to celebrate, to rekindle feelings, or to serve as remembrance, thus establishing emotional states and reminders of a past that renders the image of a happy family illusory. But when Ballestee! (Neil Barclay) tells Lyngstrand (Kyle Blair) about the mermaid in his painting, Shields changes Ibsen's title from \"The Dying Mermaid\" to the unfortunate \"The Mermaid's Decomposition.\" Apart from the suggestion of rot, to announce this dire psychological diagnosis so quickly is preemptive, as audiences are now prompted to see Ellida as far more ill than Ibsen's dialogue for her in the opening act suggests. Shields continually focuses on Wangel's solution of medicating Ellida, perhaps as corollary to his own self-medicating through alcohol, which emphasizes that the isolation in Ibsen's play is not Ellida's alone but belongs to each character, except, of course, for the \"acclimatizing\" Ballested. Shields has not eliminated much of the dialogue, but the subtleties of this opening act are nevertheless diminished.The Lady from the Sea alludes directly to well-known motifs ofNorwegian folklore, especially the archetype of the mermaid who attempts to acclimatize to land, and it also relies on the contrasting tropes of sea and land to suggest psychological ebbs and flows, making the pauses and interruptions in scenes paramount. The point/counterpoint of the relationships in the play as fulfilling or constricting gives the text its musing, wistful aura. In this production, some scenes illuminate these overtones, but an astonishing production choice-to run the five acts together without intermission, reducing the running time to about ninety minutes-makes it impossible to suggest the nuances of Ibsen's subtle, probing text. Inevitably, what the audience should experience psychologically through the push and pull of the tidal sea disappears, along with the dominant tone of introspection amid conversation. Although Shields has compressed the dialogue, she does not omit key scenes, and it is the vital pauses in speech, and thus thought and action, that are absent. Actors come on stage to ","PeriodicalId":188209,"journal":{"name":"Ibsen's Kingdom","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-01-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124895329","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The League of Youth","authors":"Julian Novitz","doi":"10.2307/j.ctv1b0fwbx.16","DOIUrl":"https://doi.org/10.2307/j.ctv1b0fwbx.16","url":null,"abstract":"","PeriodicalId":188209,"journal":{"name":"Ibsen's Kingdom","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-01-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116343180","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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