Name: 象徴主義、リアリズム、北欧劇作家の怨み合いクラッシュコースシアター#33 (Symbolism, Realism, and a Nordic Playwright Grudge Match: Crash Course Theater #33)
Uploaded: 2021-01-14T10:31:36.000Z
Duration: 13 min 9 s
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This is Crash Course in theater and today will be visiting one of the greatest grudge matches of 19th century drama, the Bidder.

Scandinavian rivalry between Norway's Henrik Ibsen and Sweden's August Strindberg.

Simpson bought a portrait of Strindberg, re titled it The Outbreak of Madness and hung it above his writing desk.

He is my mortal enemy, Ibsen told a friend, and shall hang there and watch while I write.

What did I say about acting like a gentleman?

Will also be looking at how both Ibsen and Strindberg created shattering, realistic and naturalistic dramas and then made late career turns towards symbolism.

The two of them basically invented modern drama.

Lights up, meet Henrik Ibsen and his mutton chops.

Simpson was born in Norway, in the port town of Shen.

He left school at the age of 15 and apprenticed himself to a pharmacist.

At 18 he got the pharmacists 28 year old maid pregnant and she had a son that he never met.

He spent the next few years writing verse dramas that no one paid much attention to and helping to head a theater.

Then he married and left Norway and wrote a pair of hugely influential verse plays Brand, which is about a priest so stern and unshakable that he lets everyone die.

And Pierre Ghent, a parable about identity derived from folk tales.

It has trolls, runaway brides, the Sphinx and the fearsome monster called the Boy.

And even though Ibsen I thought it was basically unstable, directors like to try now Maybe you're thinking, uh, this is the guy who transforms realism.

The everyone dies in an avalanche party down with the Troll King Dude.

Yeah, because after writing Emperor and Gallon, which Ibsen and only ABS and considers his best play, something wild happened.

Ibsen decided that prose is for reality verse for visions, and he started writing plays about bourgeois people in trouble, which, incidentally, is also the rejected first title for House Hunters International.

First, Ibsen wrote the pillars of society and then a doll's house ghost and an enemy of the people.

No more, no less, and Gibson gave it to them.

It's hard to describe how important and shocking these plays were to 19th century theater, they seemed to shake the very foundations of civil society in Europe.

One of the things that made them so radical is that they don't look radical.

If you squint, they look like scribbles, well made plays with end of act cliffhangers, plenty of plot twists and a recognizable narrative arc.

He got rid of the really artificial stuff like the soliloquies and streamlined the exposition, shifting the themes towards heredity and environment.

Screams sacrificed characterization to the demands of plot but IBS and held character, complicated, multi layered character Paramount.

Before I write down one word, I have to have the character in my mind, through and through, I must penetrate into the last wrinkle of his soul, he wrote.

Plays end with discoveries that reaffirm comfortable ideas about marriage and Children.

Instance, plays end by revealing the bourgeois family as a sham.

Thes plays don't complacently transmit received ideas.

They argue that the ideas themselves are the problem.

Unlike some realistic and naturalistic writers, Simpson never enjoyed degradation for its own sake, he wrote.

A little prudish Lee Zola descends into the sewer to bathe in it, I to cleanse it.

But plenty of his critics felt that his plays weren't clean enough.

There's a famous review of ghosts that compared to the play to a kn open drain, a loathsome sore unbanned edged a dirty act.

Done publicly, Elazar House, with all its doors and windows open.

For a closer look, let's explore one of Gibson's only slightly less controversial plays, his 18 79 work A Doll's House.

The ending was such a shock that Ibsen wrote an alternate ending for German audiences.

Nora Helmer is a nice middle class wife preparing a nice middle class Christmas for Torvald, her bank manager, husband and their three Children.

Nora receives a visit from her school friend Christine, who hopes that Torvald will give her a job at his bank As they chat, Nora reveals that years ago she borrowed money for a trip to improve Torvalds health, forging her dad's signature on the bank loan.

Torvald says that yes, he could give Christine a job because he's about to fire creepy craw Gstaad.

But after Torvald leaves, cranks Todd sneaks in and tells Nora he now knows about her loan secret, and if he's fired, he'll expose her as a forger.

Torvald refuses to rehire Crocs Todd So Croc's dad shoves a letter detailing Nora's crimes into Torvalds mailbox.

Dr Rank returns and tells Nora that he's dying of a veneer eel disease.

Contract it by his father, heredity and environment and that he loves her.

He says this using an elaborate metaphor involving asparagus.

Nora confesses to Christine and Christine's all craw Gstaad.

I used to date that dude, let me see what I can do.

Hey, why don't you practice your sexy dance that you're going to do it tomorrow's costume party because it's important that we establish how I see you as a sexual object rather than a human being.

But Nora dances badly on purpose so that Torvald will have to spend the evening coaching her and won't have time to check the mail.

In the final act, Christine tells Crocs, Dad that she's always loved him.

Dad says, Okay, I'm so happy I'll take back the letter.

Nora and Torvald returned from the costume party with Dr Rank, who tells them he has toe go off and die now, and Torvald finally checks the mail.

He reads the letter, and instead of praising Nora for her ingenuity and sacrifice, he turns on her and tells her that she's ruined them all and that she's not a fit mother.

Then a letter arrived from Crow Gstaad returning the forged document.

You've just shown me that our marriage was always a hollow fiction.

I'm leaving you and the Children and going out into the world to discover who I really am.

It's and borrows from bourgeois drama and melodrama but also inverts their conclusions.

Earlier dramas imply a return to conservative values, but Gibson's work suggests that these values are all wrong and that they keep people from realizing their full humanity and potential in the late 19th century.

It's hard to imagine an act more brave and subversive.

The Nora's It's and continued to write prose dramas.

But in his late plays like The Wild Duck and especially when we did awaken, he returned to a kind of mystical symbolism.

Ducks aren't just ducks, Mountains aren't just mountains.

Thes tragic, beautiful plays became a huge influence on later writers who argued that maybe realism actually isn't the best way to capture the experience of life after his trist with the pharmacists made Ibsen is life.

For the record, it was impeccably upright, moral and bourgeois itself.

That was just one of the many things that Strindberg hated about him.

Strindberg was a playwright, historian and alchemist and apparently a really fun guy when he wasn't having bouts of extreme paranoia or raging against the Jews.

Strindberg was born in 18 49 to a mother who had been a servant after a brief stint as a pharmacist's assistant.

Coincidence, he studied modern languages and wrote a bunch of history plays.

While working as a librarian, he married Siri von Essen, an actress from an aristocratic family, and together they left Sweden in the 18 eighties, Strindberg began to correspond with Zola and discovered naturalism before eventually turning to symbolism.

He had two more marriages and periodic breakdowns, including instances of paranoia, where he thought the world was full of Strindberg impersonators.

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象徴主義、リアリズム、北欧劇作家の怨み合いクラッシュコースシアター#33 (Symbolism, Realism, and a Nordic Playwright Grudge Match: Crash Course Theater #33)

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