Home  ›  How to Know if Something Has Been Peer Reviewed

How to Know if Something Has Been Peer Reviewed

Written By Wednesday, April 20, 2022 Add Comment Edit

Five-act play in verse by the Norwegian dramatist Henrik Ibsen

Peer Gynt
Henrik-Klausen-Peer-Gynt-1876.jpg

Henrik Klausen as Peer (1876)
Written by Henrik Ibsen
Date premiered 24 February 1876 (1876-02-24)
Place premiered Christiania (now Oslo), Norway
Original language Norwegian
Genre Romantic dramatic verse form converted into a play

Peer Gynt (, Norwegian: [peːr ˈjʏnt, - ˈɡʏnt])[a] is a five-act play in poetry by the Norwegian dramatist Henrik Ibsen published in 1867. Written in Norwegian,[2] it is one of the most widely performed Norwegian plays. Ibsen believed Per Gynt, the Norwegian fairy tale on which the play is loosely based, to be rooted in fact, and several of the characters are modelled after Ibsen's own family, notably his parents Knud Ibsen and Marichen Altenburg. He was also generally inspired by Peter Christen Asbjørnsen's collection of Norwegian fairy tales, published in 1845 (Huldre-Eventyr og Folkesagn).

Peer Gynt chronicles the journey of its titular graphic symbol from the Norwegian mountains to the Due north African desert. According to Klaus Van Den Berg, "its origins are romantic, just the play also anticipates the fragmentations of emerging modernism" and the "cinematic script blends poesy with social satire and realistic scenes with surreal ones."[3] Peer Gynt has also been described as the story of a life based on procrastination and avoidance.[iv] The play was written in Italian republic and a first edition of 1,250 copies was published on fourteen November 1867 past the Danish publisher Gyldendal in Copenhagen.[5] Although the beginning edition swiftly sold out, a reprint of ii thousand copies, which followed after only fourteen days, did not sell out until seven years later.[6]

While Bjørnstjerne Bjørnson admired the play's "satire on Norwegian egotism, narrowness, and self-sufficiency" and described it as "magnificent",[7] Hans Christian Andersen, Georg Brandes and Clemens Petersen all joined the widespread hostility, Petersen writing that the play was not poetry.[8] Enraged by Petersen's criticisms in particular, Ibsen defended his piece of work by arguing that it "is verse; and if it isn't, it volition become such. The conception of poesy in our country, in Norway, shall shape itself co-ordinate to this book."[9] Despite this defense of his poetic accomplishment in Peer Gynt, the play was his final to employ poesy; from The League of Youth (1869) onwards, Ibsen was to write drama just in prose.[x]

Ibsen wrote Peer Gynt in deliberate disregard of the limitations that the conventional stagecraft of the 19th century imposed on drama.[eleven] Its xl scenes move uninhibitedly in time and space and between consciousness and the unconscious, blending folkloric fantasy and unsentimental realism.[12] Raymond Williams compares Peer Gynt with August Strindberg'due south early drama Lucky Peter'south Journey (1882) and argues that both explore a new kind of dramatic activity that was beyond the capacities of the theatre of the 24-hour interval; both created "a sequence of images in language and visual composition" that "became technically possible simply in film."[13] Peer Gynt was first performed in Christiania (now Oslo) on 24 February 1876, with original music equanimous by Edvard Grieg that includes some of today's most recognised classical pieces, "In the Hall of the Mountain King" and "Morning Mood". Information technology was published in German translation in 1881, in English in 1892, and in French in 1896.[14] The gimmicky influence of the play continues into the 20-start century; it is widely performed internationally both in traditional and in modern experimental productions.

Characters [edit]

  • Åse, a peasant's widow
  • Peer Gynt, her son
  • Ii quondam women with corn–sacks
  • Aslak, a blacksmith
  • Nuptials guest
  • A master Cook
  • A fiddler
  • A human being and a wife, newcomers to the commune
  • Solveig and picayune Helga, their daughters
  • The farmer at Hægstad
  • Ingrid, his daughter
  • The benedict and his parents
  • Three tall dairymaids
  • A dark-green-clad woman, a troll princess
  • The Onetime Homo of the Mountains, a troll male monarch (Also known equally The Mountain Male monarch)
  • Multiple troll-courtiers, troll-maidens and troll-urchins
  • A couple of witches
  • Brownies, nixies, gnomes, etc.
  • An ugly brat
  • The Bøyg, a voice in the darkness
  • Kari, a cottar'southward wife
  • Master Cotton.
  • Monsieur Ballon
  • Herr von Eberkopf
  • Herr Trumpeterstrale
  • Gentlemen on their travels
  • A thief
  • A receiver
  • Anitra, daughter of a Bedouin chief
  • Arabs
  • Female slaves
  • Dancing girls
  • The Memnon statue
  • The Sphinx at Giza
  • Dr. Begriffenfeldt, director of the madhouse at Cairo
  • Huhu, a linguistic communication reformer from the declension of Malabar
  • Hussein, an eastern Minister
  • A boyfriend with a royal mother
  • Several madmen and their keepers
  • A Norwegian skipper
  • His crew
  • A strange passenger
  • A pastor/The Devil (Peer Gynt thinks he is a pastor)
  • A funeral party
  • A parish-officer
  • A button-molder
  • A lean person

Plot [edit]

Act I [edit]

Peer Gynt is the son of the once highly regarded Jon Gynt. Jon Gynt spent all his coin on feasting and living lavishly, and had to leave his farm to become a wandering salesman, leaving his wife and son behind in debt. Åse, the female parent, wished to enhance her son to restore the lost fortune of his father, merely Peer is soon to be considered useless. He is a poet and a braggart, not different the youngest son from Norwegian fairy tales, the "Ash Lad", with whom he shares some characteristics.

Equally the play opens, Peer gives an business relationship of a reindeer hunt that went awry, a famous theatrical scene generally known as "the Buckride". His mother scorns him for his bright imagination, and taunts him considering he spoiled his chances with Ingrid, the daughter of the richest farmer. Peer leaves for Ingrid's wedding, scheduled for the post-obit solar day, because he may all the same get a risk with the helpmate. His female parent follows quickly to stop him from shaming himself completely.

Per Gynt, the hero of the folk-story that Ibsen loosely based Peer Gynt on

At the wedding, the other guests taunt and laugh at Peer, especially the local blacksmith, Aslak, who holds a grudge after an earlier ball. In the same wedding, Peer meets a family of Haugean newcomers from another valley. He instantly notices the elder daughter, Solveig, and asks her to dance. She refuses because her begetter would disapprove, and considering Peer's reputation has preceded him. She leaves, and Peer starts drinking. When he hears the helpmate has locked herself in, he seizes the opportunity, runs away with her, and spends the dark with her in the mountains.

Act 2 [edit]

Peer is banished for kidnapping Ingrid. Every bit he wanders the mountains, his mother and Solveig's father search for him. Peer meets three amorous dairymaids who are waiting to be courted by trolls (a folklore motif from Gudbrandsdalen). He becomes highly intoxicated with them and spends the next solar day alone suffering from a hangover. He runs head-outset into a rock and swoons, and the residual of the second act probably takes identify in Peer's dreams.

He comes across a adult female clad in green, who claims to be the daughter of the troll mountain king. Together they ride into the mountain hall, and the troll king gives Peer the opportunity to become a troll if Peer would marry his girl. Peer agrees to a number of weather, but declines in the end. He is then confronted with the fact that the greenish-clad adult female is with kid. Peer denies this; he claims not to have touched her, but the wise troll male monarch replies that he begat the kid in his head. Crucial for the plot and agreement of the play is the question asked past the troll king: "What is the difference between troll and man?"

The reply given by the Old Man of the Mountain is: "Out there, where sky shines, humans say: 'To thyself be true.' In here, trolls say: 'Be true to yourself and to hell with the world.'" Egotism is a typical trait of the trolls in this play. From then on, Peer uses this as his motto, ever proclaiming that he is himself. He then meets the Bøyg — a creature who has no real description. Asked the question "Who are you?" the Bøyg answers, "Myself". In fourth dimension, Peer likewise takes the Bøyg'due south important saying every bit a motto: "Get effectually". The residue of his life, he "beats effectually the bush" instead of facing himself or the truth.

Upon awaking, Peer is confronted by Helga, Solveig'southward sis, who gives him food and regards from her sister. Peer gives the girl a silver push button for Solveig to keep and asks that she not forget him.

Deed Three [edit]

As an outlaw, Peer struggles to build his ain cottage in the hills. Solveig turns upwardly and insists on living with him. She has made her option, she says, and there will be no render for her. Peer is delighted and welcomes her, just as she enters the cabin, an sometime-looking woman in greenish garments appears with a limping boy at her side.

This is the greenish-clad woman from the mountain hall, and her half-homo brat is the child begotten by Peer from his mind during his stay at that place. She has cursed Peer by forcing him to recall her and all his previous sins, when facing Solveig. Peer hears a ghostly vox maxim "Go roundabout, Peer", and decides to leave. He tells Solveig he has something heavy to fetch. He returns in time for his female parent's death, and then sets off overseas.

Human activity Iv [edit]

Peer is away for many years, taking part in various occupations and playing various roles, including that of a businessman engaged in enterprises on the coast of Morocco. Here, he explains his view of life, and we acquire that he is a businessman taking part in unethical transactions, including sending heathen images to China and trading slaves. In his defense, he points out that he has besides sent missionaries to China, and he treated his slaves well.

His companions rob him, after he decides to support the Turks in suppressing a Greek revolt, and leave him alone on the shore. He then finds some stolen Bedouin gear, and, in these wearing apparel, he is hailed every bit a prophet by a local tribe. He tries to seduce Anitra, the chieftain's daughter, simply she steals his money and rings, gets away, and leaves him.

Then he decides to go a historian and travels to Egypt. He wanders through the desert, passing the Colossi of Memnon and the Sphinx. As he addresses the Sphinx, believing it to be the Bøyg, he encounters the keeper of the local madhouse, himself insane, who regards Peer as the bringer of supreme wisdom. Peer comes to the madhouse and understands that all of the patients live in their own worlds, being themselves to such a caste that no one cares for anyone else. In his youth, Peer had dreamt of becoming an emperor. In this identify, he is finally hailed as one — the emperor of the "self". Peer despairs and calls for the "Keeper of all fools", i.e., God.

Human action Five [edit]

Finally, on his way home as an old homo, he is shipwrecked. Among those on lath, he meets the Strange Rider, who wants to make employ of Peer's corpse to find out where dreams have their origin. This passenger scares Peer out of his wits. Peer lands on shore bereft of all of his possessions, a pitiful and grumpy old man.

Back habitation in Norway, Peer Gynt attends a peasant funeral and an auction, where he offers for sale everything from his earlier life. The auction takes place at the very farm where the hymeneals one time was held. Peer stumbles along and is confronted with all that he did non practise, his unsung songs, his unmade works, his unwept tears, and his questions that were never asked. His mother comes back and claims that her deathbed went awry; he did not lead her to heaven with his ramblings.

Peer escapes and is confronted with the Push button-molder, who maintains that Peer'southward soul must be melted down with other faulty goods unless he can explain when and where in life he has been "himself". Peer protests. He has been simply that, and cypher else. Then he meets the troll king, who states that Peer has been a troll, non a man, most of his life.

The Push-molder says that he has to come up upwardly with something if he is not to be melted down. Peer looks for a priest to whom to confess his sins, and a graphic symbol named "The Lean One" (who is the Devil) turns up. The Lean I believes Peer cannot be counted a real sinner who can be sent to Hell; he has committed no grave sin.

Peer despairs in the finish, agreement that his life is forfeit; he is zilch. But at the same moment, Solveig starts to sing—the cabin Peer built is close at mitt, but he dares not enter. The Bøyg in Peer tells him "go around". The Push-molder shows up and demands a list of sins, only Peer has none to give, unless Solveig can vouch for him. Then Peer breaks through to Solveig, asking her to forgive his sins. Merely she answers: "You lot take not sinned at all, my dearest boy."

Peer does not understand—he believes himself lost. Then he asks her: "Where has Peer Gynt been since we last met? Where was I as the one I should have been, whole and truthful, with the mark of God on my forehead?" She answers: "In my faith, in my hope, in my dear." Peer screams, calls his female parent, and hides himself in her lap. Solveig sings her lullaby for him, and we might assume he dies in this last scene of the play, although there are neither stage directions nor dialogue to betoken that he really does.

Backside the corner, the Button-molder, who is sent by God, still waits, with the words: "Peer, we shall meet at the concluding crossroads, and then we shall come across if... I'll say no more than."

Analysis [edit]

Klaus van den Berg argues that Peer Gynt

... is a stylistic minefield: Its origins are romantic, only the play also anticipates the fragmentations of emerging Modernism. Chronicling Peer's journey from the Norwegian mountains to the Due north African desert, the cinematic script blends verse with social satire, and realistic scenes with surreal ones. The irony of isolated individuals in a mass order infuses Ibsen'southward tale of ii seemingly incompatible lovers – the deeply committed Solveig and the superficial Peer, who is more a surface for projections than a coherent grapheme.[3] The simplest determination one may draw from Peer Gynt, is expressed in the eloquent prose of the author: "If you lie; are you real?"

The literary critic Harold Blossom in his book The Western Catechism has challenged the conventional reading of Peer Gynt, stating:

Far more Goethe's Faust, Peer is the one nineteenth-century literary character who has the largeness of the grandest characters of Renaissance imaginings. Dickens, Tolstoy, Stendhal, Hugo, even Balzac have no single figure quite so exuberant, outrageous, vitalistic as Peer Gynt. He only seems initially to be an unlikely candidate for such eminence: What is he, we say, except a kind of Norwegian roaring boy? – marvelously attractive to women, a kind of bogus poet, a narcissist, absurd self-idolator, a liar, seducer, bombastic self-deceiver. But this is paltry moralizing – all likewise much similar the scholarly chorus that rants confronting Falstaff. True, Peer, dissimilar Falstaff, is not a great wit. But in the Yahwistic, biblical sense, Peer the scamp bears the blessing: More life.[15]

Writing process [edit]

On 5 January 1867 Ibsen wrote to Frederik Hegel, his publisher, with his plan for the play: information technology would be "a long dramatic verse form, having as its principal a part-legendary, office-fictional character from Norwegian folklore during recent times. It volition bear no resemblance to Brand, and will incorporate no directly polemics or anything of that kind."[xvi]

He began to write Peer Gynt on 14 January, employing a far greater variety of metres in its rhymed verse than he had used in his previous verse plays Brand (written 1865) or Dear's Comedy (written 1862).[17] The start 2 acts were completed in Rome and the tertiary in Casamicciola on the north of the island of Ischia.[eighteen]

During this time, Ibsen told Vilhelm Bergsøe that "I don't think the play's for acting" when they discussed the possibility of staging the play'due south prototype of a casting-ladle "big plenty to re-cast man beings in."[19] Ibsen sent the 3 acts to his publisher on 8 August, with a letter that explains that "Peer Gynt was a real person who lived in Gudbrandsdal, probably around the stop of the last century or the beginning of this. His name is still famous amid the people up there, but non much more than is known about his life than what is to be establish in Asbjørnsen's Norwegian Folktales (in the section entitled 'Stories from the Mount')."[20] In those stories, Peer Gynt rescues the three dairy-maids from the trolls and shoots the Bøyg, who was originally a gigantic worm-shaped troll-being. Peer was known to tell tall tales of his ain achievements, a trait Peer in the play inherited. The "buck-ride" story, which Peer tells his mother in the play's offset scene, is also from this source, but, equally Åse points out, it was originally Gudbrand Glesne from Vågå who did the tour with the reindeer stag and finally shot it.

Following an earthquake on Ischia on 14 Baronial, Ibsen left for Sorrento, where he completed the final two acts; he finished the play on fourteen October.[21] It was published in a offset edition of 1,250 copies a month later in Copenhagen.[5]

Background [edit]

Ibsen's previous play, Brand, preached the philosophy of "All or aught." Relentless, fell, resolute, overriding in will, Brand went through everything that stood in his way toward gaining an ideal. Peer Gynt is a compensating balance, a complementary color to Brand. In contrast to Brand, with his fe will, Peer is willless, insufficient, and changing. Peer "goes around" all bug facing him.[22]

Make had a phenomenal literary success, and people became curious to know what Ibsen's next play would be. The dramatist, about this fourth dimension, was relieved of financial worry by ii money grants, 1 from the Norwegian government and the other from the Scientific Guild of Trondhjem. This enabled him to give to his work an unfettered mind. He went with his family unit to Frascati, where, in the Palazzo rooms, he looked many anxiety down upon the Mediterranean, and pondered his new drama. He preserved a profound silence nigh the content of the play, and begged his publisher, Hegel, to create as much mystery about information technology as possible.[22]

The portrayal of the Gynt family unit is known to be based on Henrik Ibsen's own family and childhood memories; in a letter of the alphabet to Georg Brandes, Ibsen wrote that his own family and childhood had served "as some kind of model" for the Gynt family unit. In a alphabetic character to Peter Hansen, Ibsen confirmed that the character Åse, Peer Gynt's female parent, was based on his own mother, Marichen Altenburg.[23] [24] The graphic symbol Jon Gynt is considered to be based on Ibsen's male parent Knud Ibsen, who was a rich merchant earlier he went broke.[25] Even the name of the Gynt family's ancestor, the prosperous Rasmus Gynt, is borrowed from the Ibsen's family unit'due south earliest known ancestor. Thus, the character Peer Gynt could be interpreted as existence an ironic representation of Henrik Ibsen himself. In that location are hit similarities to Ibsen's own life; Ibsen himself spent 27 years living abroad and was never able to face his hometown again.

Grieg's music [edit]

Ibsen asked Edvard Grieg to etch incidental music for the play. Grieg composed a score that plays approximately ninety minutes. Grieg extracted two suites of four pieces each from the incidental music (Opus 46 and Opus 55), which became very popular as concert music. Ane of the sung parts of the incidental music, "In the Hall of the Mountain Rex", was included in the first suite with the vocal parts omitted. Originally, the 2nd suite had a fifth number, "The Dance of the Mountain King's Daughter", just Grieg withdrew it. Grieg himself declared that it was easier to make music "out of his ain head" than strictly following suggestions made by Ibsen. For case, Ibsen wanted music that would characterize the "international" friends in the 4th human action, past melding the said national anthems (Norwegian, Swedish, German, French and English). Reportedly, Grieg was not in the right mood for this task.[ citation needed ]

The music of these suites, especially "Morning Mood" starting the first suite, "In the Hall of the Mountain Male monarch", and the cord lament "Åse's Death" later reappeared in numerous arrangements, soundtracks, etc.

Other Norwegian composers who take written theatrical music for Peer Gynt include Harald Sæverud (1947), Arne Nordheim (1969), Ketil Hvoslef (1993) and Jon Mostad (1993–iv). Gunnar Sønstevold (1966) wrote music for a ballet version of Peer Gynt.

Notable productions [edit]

In 1906 scenes from the play were given by the Progressive Stage Society of New York.[22] The get-go US production of Peer Gynt opened at the Chicago Chiliad Opera House on Oct 24, 1906, and starred the noted actor Richard Mansfield,[22] in one of his very final roles before his untimely decease. In 1923, Joseph Schildkraut played the office on Broadway, in a Theatre Guild product, featuring Selena Royle, Helen Westley, Dudley Digges, and, before he entered films, Edward K. Robinson. In 1944, at the Old Vic, Ralph Richardson played the role, surrounded by some of the greatest British actors of the time in supporting or bit roles, amid them Sybil Thorndike as Åse, and Laurence Olivier every bit the Button Molder. In 1951, John Garfield fulfilled his wish to star in a Broadway production, featuring Mildred Dunnock as Åse. This production was not a success, and is said by some to accept contributed to Garfield's death at historic period 39.

On motion-picture show, years before he became a superstar, the seventeen-twelvemonth-quondam Charlton Heston starred as Peer in a silent, pupil-made, depression-budget film version of the play produced in 1941. Peer Gynt, however, has never been given a full-blown treatment as a sound picture show in English on the movement picture screen, although there accept been several boob tube productions, and a sound film was produced in German in 1934.

In 1957, Ingmar Bergman produced a v-hour stage version[26] of Peer Gynt, at Sweden'southward Malmö Urban center Theatre, with Max von Sydow as Peer Gynt. Bergman produced the play once more, 34 years later,[27] in 1991, at Sweden'due south Purple Dramatic Theatre, this fourth dimension with Börje Ahlstedt in the title role. Bergman chose not to use Grieg'south music, nor the more modern Harald Sæverud limerick, only rather traditional Norwegian folk music, and petty of that either.

In 1993, Christopher Plummer starred in his own concert version of the play,[28] with the Hartford Symphony Orchestra in Hartford, Connecticut. This was a new performing version and a collaboration of Plummer and Hartford Symphony Orchestra Music Director Michael Lankester. Plummer had long dreamed of starring in a fully staged production of the play, but had been unable to. The 1993 production was not a fully staged version, but rather a drastically condensed concert version, narrated past Plummer, who also played the title office, and accompanied by Edvard Grieg'southward complete incidental music for the play. This version included a choir and vocal parts for soprano and mezzo-soprano. Plummer performed the concert version again in 1995 with the Toronto Symphony Orchestra with Lankester conducting. The 1995 production was broadcast on Canadian radio. Information technology has never been presented on television. It has besides never been released on compact disc. In the 1990s Plummer and Lankester besides collaborated on and performed similarly staged concert versions of A Midsummer Night's Dream past William Shakespeare (with music past Mendelssohn) and Ivan the Terrible (an arrangement of a Prokofiev picture show score with script for narrator). Among the three aforementioned Plummer/Lankester collaborations, all received live concert presentations and live radio broadcasts, but just Ivan the Terrible was released on CD.

Alex Jennings won the Olivier Laurels for Best Actor 1995/1996 for his performance in the Royal Shakespeare Company's production of Peer Gynt.

In 1999 Braham Murray directed a production at the Royal Commutation Theatre in Manchester with David Threlfall as Peer Gynt, Josette Bushell-Mingo every bit Solveig and Espen Skjonberg every bit Button Moulder.

In 2000, the Royal National Theatre staged a version based on the 1990 translation of the play by Frank McGuinness.[29] The production featured 3 actors playing Peer, including Chiwetel Ejiofor equally the immature Peer, Patrick O'Kane as Peer in his adventures in Africa, and Joseph Marcell as the old Peer. Not simply was the use of three actors playing i grapheme unusual in itself, but the actors were role of a "colour-blind" cast: Ejiofor and Marcell are blackness, and O'Kane is white.[30]

In 2001 at the BBC Proms, the Gothenburg Symphony Orchestra and BBC Singers, conducted past Manfred Honeck, performed the complete incidental music in Norwegian with an English narration read past Simon Callow.[31]

In 2005 Chicago'south storefront theater The Creative Home mounted an acclaimed production (directed by Kathy Scambiatterra and written by Norman Ginsbury) that received two Jeff Nominations for its dynamic staging in a 28-seat house.[32] [33] The function of Peer was played by a single role player, John Mossman.[34]

In 2006, Robert Wilson staged a co-product revival with both the National Theater of Bergen and the Norwegian Theatre of Oslo, Norway. Ann-Christin Rommen directed the actors in Norwegian (with English subtitles). This production mixed both Wilson's minimalist (yet constantly moving) stage designs with technological effects to bring out the play's expansive potential. Furthermore, they utilized state-of-the-art microphones, sound systems, and recorded acoustic and electronic music to bring clarity to the complex and shifting action and dialogue. From April 11 through the 16th, they performed at the Brooklyn Academy of Music'southward Howard Gilman Opera House.

In 2006, as part of the Norwegian Ibsen ceremony festival, Peer Gynt was set at the human foot of the Groovy Sphinx of Giza nearly Cairo, Egypt (an important location in the original play). The manager was Bentein Baardson. The performance was the centre of some controversy, with some critics seeing it equally a brandish of colonialist attitudes.

In January 2008 the Guthrie Theater in Minneapolis debuted a new translation of Peer Gynt past the poet Robert Bly. Bly learned Norwegian from his grandparents while growing upwards in rural Minnesota, and later during several years of travel in Norway. This production stages Ibsen'south text rather abstractly, tying it loosely into a modernistic birthday party for a l-year-quondam human. It also significantly cuts the length of the play. (An earlier production of the full-length play at the Guthrie required the audience to render a 2nd night to run into the second half of the play.)

In 2009, Dundee Rep with the National Theatre of Scotland toured a production. This estimation, with much of the dialogue in modern Scots, received mixed reviews.[35] [36] The cast included Gerry Mulgrew as the older Peer. Directed past Dominic Hill.

In November 2010 Southampton Philharmonic Choir and the New London Sinfonia performed the complete incidental music using a new English translation commissioned from Beryl Foster. In the performance, the musical elements were linked by an English narrative read by role player Samuel West.[37]

From June 28 through July 24, 2011, La Jolla Playhouse ran a production of Peer Gynt every bit a co-product with the Kansas Metropolis Repertory Theatre, adjusted and directed by David Schweizer.

The 2011 Dublin Theatre Festival presented a new version of Peer Gynt past Arthur Riordan, directed past Lynne Parker with music by Tarab.

In Nov 2013, Basingstoke Choral Society (directed by David Gibson, who also directs Southampton Philharmonic Choir) reprised the earlier functioning by their colleagues in Southampton.

In June 2019, Toneelgroep Twister in Nijmegen, The Netherlands

The Peer Gynt Festival [edit]

At Vinstra in Gudbrandsdalen (the Gudbrand valley), Henrik Ibsen and Peer Gynt accept been historic with an annual festival since 1967. The festival is one of Norway's largest cultural festivals, and is recognized by the Norwegian Regime equally a leading institution of presenting culture in nature. The festival has a broad festival plan with theatre, concerts, an fine art exhibition and several debates and literature seminars.

The main issue in the festival is the outdoor theatre production of Peer Gynt at Gålå. The play is staged in Peer Gynt 's birthplace, where Ibsen claims he found inspiration for the character Peer Gynt, and is regarded by many as the most authentic version. The play is performed by professional actors from the national theater institutions, and near 80 local amateur actors. The music to the play is inspired by the original theatre music past Edvard Grieg – the "Peer Gynt suite". The play is ane of the most popular theater productions in Norway, alluring more than 12,000 people every summertime.

The festival also holds the Peer Gynt Prize, which is a national Norwegian honor prize given to a person or institution that has achieved distinction in society and contributed to improving Norway's international reputation.

Peer Gynt Sculpture Park [edit]

Peer Gynt Sculpture Park (Peer Gynt-parken) is a sculpture park located in Oslo, Norway. Created in award of Henrik Ibsen, information technology is a monumental presentation of Peer Gynt, scene by scene. Information technology was established in 2006 past Selvaag, the company backside the housing development in the area. Almost of the sculptures in this park are the result of an international sculpture contest.

Adaptations [edit]

Theatre posters for Peer Gynt and an accommodation entitled Peer Gynt-innen? in Ibsen Museum, Oslo

In 1912 German writer Dietrich Eckart adjusted the play. In Eckart'south version, the play became "a powerful dramatisation of nationalist and anti-semitic ideas", in which Gynt represents the superior Germanic hero, struggling against implicitly Jewish "trolls".[38] In this racial allegory the trolls and Not bad Bøyg represented what philosopher Otto Weininger – Eckart'south hero – conceived as the Jewish spirit. Eckart's version was ane of the all-time attended productions of the historic period with more than than 600 performances in Berlin solitary. Eckart later helped to constitute the Nazi Party and served every bit a mentor to Adolf Hitler; he was also the first editor of the political party's newspaper, the Völkische Beobachter. He never had another theatrical success after Peer Gynt.[39]

In 1938 German composer Werner Egk finished an opera based on the story.

In 1948, the composer Harald Sæverud made a new score for the nynorsk-product at "the Norwegian Theatre" (Det Norske Teatret) in Oslo. Sæverud incorporated the national music of each of the friends in the fourth act, every bit per Ibsen's request, who died in 1906.

In 1951, Due north Carolinian playwright Paul Green published an American version of the Norwegian play. This is the version in which actor John Garfield starred on Broadway. This version is also the American Version, and features subtle plot differences from Ibsen's original work, including the omittance of the shipwreck scene nearly the end, and the Buttonmolder graphic symbol playing a moderately larger office.[40]

In 1961, Hugh Leonard's version, The Passion of Peter Ginty, transferred the play to an Irish Civil War setting. It was staged at Dublin's Gate Theatre.[41]

In 1969, Broadway impresario Jacques Levy (who had previously directed the first version of Oh! Calcutta!) commissioned The Byrds' Roger McGuinn to write the music for a pop (or land-rock) version of Peer Gynt, to be titled Gene Tryp. The play was apparently never completed, although, every bit of 2006, McGuinn was preparing a version for release.[ commendation needed ] Several songs from the abortive bear witness appeared on the Byrds' albums of 1970 and 1971.[ citation needed ]

In March 1972 Jerry Heymann's adaptation,[42] called Mr. Gynt, Inc., was performed at La MaMa Experimental Theatre Gild.[43]

In 1981, Houston Ballet presented Peer Gynt as adjusted by Artistic Director Ben Stevenson, OBE.

In 1989, John Neumeier created a ballet "freely based on Ibsen's play", for which Alfred Schnittke composed the score.

In 1998, the Trinity Repertory Company of Providence, Rhode Island commissioned David Henry Hwang and Swiss director Stephan Muller to practice an adaptation of Peer Gynt.

In 1998, playwright Romulus Linney directed his adaptation of the play, entitled Gint, at the Theatre for the New City in New York. This adaptation moved the play's activeness to 20th-century Appalachia and California.

In 2001, Rogaland Theatre produced an adaptation entitled Peer Gynt-innen?, loosely translated as Peer the Gyntess? This was a i-human action monologue performed by Marika Enstad.[44]

In 2007, St. John's Prep of Danvers, Massachusetts won the MHSDG Festival with their production starring Bo Burnham.

In 2008, Theater in the Open in Newburyport, Massachusetts, produced a production of Peer Gynt adjusted and directed by Paul Wann and the company. Scott Smith, whose great, keen gramps (Ole Bull) was one of the inspirations for the character, was cast as Gynt.

In 2009, a DVD was released of Heinz Spoerli's ballet, which he had created in 2007. This ballet uses by and large the Grieg music, but adds selections by other composers. Spoken excerpts from the play, in Norwegian, are also included.[45]

In State of israel, poet Dafna Eilat (he:דפנה אילת) equanimous a poem in Hebrew chosen "Solveig", which she also fix to music, its theme derived from the play and emphasizing the named character's boundless faithful love. It was performed by Hava Alberstein (see [46]).

In 2011, Polarity Ensemble Theatre in Chicago presented some other version of Robert Bly'southward translation of the play, in which Peer's mythic journey was envisioned as that of America itself, "a 150-yr whirlwind tour of the American psyche."[47]

On an episode of "Inside the Actor'south Studio", Elton John spontaneously equanimous a song based on a passage from Peer Gynt.

The German a cappella metallic band Van Canto also fabricated a theatrical a cappella metal adaption of the story, naming it "Peer Returns". The beginning episode that has been released up until now, called "A Storm to Come", appears on the band'south album Intermission the Silence.

Will Eno'south adaptation of Ibsen'south Peer Gynt titled Gnit had its world premiere at the 37th Humana Festival of New American Plays in March 2013.[48]

In 2020, a new audio drama adaptation of Peer Gynt by Colin Macnee, written in verse class with original music, was released[49] in podcast form.

Films [edit]

At that place take been a number of film adaptations including:

  • Peer Gynt (1915 motion picture), an American film directed by Oscar Apfel and Raoul Walsh
  • Peer Gynt (1919 film), a German pic directed past Richard Oswald
  • Peer Gynt (1934 motion picture), a German moving-picture show directed by Fritz Wendhausen
  • Peer Gynt (1941 film), notable for being the moving picture debut of Charlton Heston
  • Peer Gynt (1971 film), a German language Goggle box film starring Edith Clever
  • Peer Gynt (1979 blithe film), Russian animation studio Soyuzmultfilm animated motion picture "Пер Гюнт".
  • Peer Gynt (1981 movie), a French TV motion-picture show directed by Bernard Sobel
  • Peer Gynt (2006 motion-picture show), a German Goggle box picture directed by Uwe Janson
  • Peer Gynt (2017 pic), a Belgian brusque picture directed by Michiel Robberecht

Notes [edit]

  1. ^ While historically more accurate, the pronunciation [ˈjʏnt], with a soft 1000, is now uncommon in Kingdom of norway.[ane]

References [edit]

  1. ^ "Mener vi uttaler Peer Gynts navn feil" (in Norwegian). NRK. 17 Nov 2017.
  2. ^ Falkenberg, Ingrid. "Ibsens språk" (in Norwegian). Norwegian Language Council.
  3. ^ a b Klaus Van Den Berg, "Peer Gynt" (review), Theatre Journal 58.4 (2006) 684–687
  4. ^ Brockett and Hildy (2003, 391) and Meyer (1974, 284).
  5. ^ a b Meyer (1974, 284).
  6. ^ Meyer (1974, 288).
  7. ^ Leverson, Michael, Henrik Ibsen: The farewell to poetry, 1864–1882, Hart-Davis, 1967 p. 67
  8. ^ Meyer (1974, 284–286). Meyer describes Clemens Petersen as "the nigh influential critic in Scandinavia" (1974, 285). He reviewed Peer Gynt in the xxx November 1867 edition of the paper Faedrelandet. He wrote that the play "is not poetry, because in the transmutation of reality into art information technology fails to come across the demands of either art or reality."
  9. ^ Letter to Bjørnstjerne Bjørnson on 9 December 1867; quoted by Meyer (1974, 287).
  10. ^ Watts (1966, x–xi).
  11. ^ Meyer (1974, 288–289).
  12. ^ Brockett and Hildy (2003, 391) and Meyer (1974, 288–289).
  13. ^ Williams (1993, 76).
  14. ^ Farquharson Sharp (1936, 9).
  15. ^ Bloom, Harold. The Western Canon. p. 357.
  16. ^ Quoted by Meyer (1974, 276).
  17. ^ Peer Gynt employs octosyllabics and decasyllabics, iambic, trochaic, dactylic, anapaestic, besides as amphibrachs. See Meyer (1974, 277).
  18. ^ Meyer (1974, 277–279).
  19. ^ Quoted by Meyer (1974, 279).
  20. ^ See Meyer (1974, 282).
  21. ^ Meyer (1974, 282). Meyer points out that Ibsen'due south fright of subsequent earthquakes in the town, which motivated his swift departure from the island, were not baseless, since information technology was destroyed by one 16 years later.
  22. ^ a b c d This article incorporates text from a publication now in the public domain:Moses, Montrose J. (1920). "Peer Gynt". In Rines, George Edwin (ed.). Encyclopedia Americana.
  23. ^ "Bumerker i teksten – Om shop og små gjengangere i Ibsens samtidsdramaer | Bokvennen Litterært Magasin". Blm.no. 2010-01-24. Archived from the original on 13 May 2013. Retrieved one July 2013.
  24. ^ Robert Ferguson, Henrik Ibsen. A New Biography, Richard Cohen Books, London 1996
  25. ^ Templeton, Joan (2009). "Survey of Articles on Ibsen: 2007, 2008" (PDF). IBSEN News and Comment. The Ibsen Club of America. 29: 40. Archived (PDF) from the original on 2011-09-28. Retrieved September 27, 2019.
  26. ^ Ingmar Bergman Foundation. "Ingmar Bergman produces Peer Gynt at Malmö Urban center Theatre, 1957". Ingmarbergman.se. Archived from the original on 2009-01-xi. Retrieved 2010-01-05 .
  27. ^ Ingmar Bergman Foundation. "Ingmar Bergman produces Peer Gynt at Royal Dramatic Theatre, 1991". Ingmarbergman.se. Archived from the original on 2010-08-17. Retrieved 2010-01-05 .
  28. ^ "Christopher-Plummer.com". Christopher-Plummer.com. Archived from the original on 2002-08-03. Retrieved 2010-01-05 .
  29. ^ "Peer Gynt". National Theatre. Retrieved 30 March 2012. [ permanent dead link ]
  30. ^ Billington, Michael (26 April 2002). "National'southward Peer Gynt shambles into life". Guardian Uk. Retrieved thirty March 2012.
  31. ^ Jeal, Erica (11 August 2001). "Prom 27: Peer Gynt". Theguardian.com . Retrieved 23 December 2017.
  32. ^ "Peer Gynt". Theartistichome.org . Retrieved 23 December 2017.
  33. ^ "Archived copy". www.jeffawards.org. Archived from the original on 28 September 2011. Retrieved 14 January 2022. {{cite spider web}}: CS1 maint: archived copy as championship (link)
  34. ^ "John Mossman". IMDb.com . Retrieved 23 December 2017.
  35. ^ "Peer Gynt, Barbican Theatre, London". Independent.co.united kingdom of great britain and northern ireland. 7 May 2009. Retrieved 23 December 2017.
  36. ^ Spencer, Charles (5 May 2009). "Peer Gynt at the Barbican, review". Telegraph.co.uk. Archived from the original on fourteen May 2009. Retrieved 23 Dec 2017.
  37. ^ "Grieg – Peer Gynt, with Narrator, Samuel W; Mendelssohn – Hebrides Overture (Fingal'southward Cave); Delius – Songs of Farewell – Southampton Philharmonic Choir". 28 July 2011. Archived from the original on 28 July 2011. Retrieved 23 December 2017.
  38. ^ Brown, Kristi (2006) "The Troll Among Us", in Powrie, Phil et al. (ed), Changing Tunes: The Apply of Pre-existing Music in Picture, Ashgate. ISBN 9780754651376 pp.74–91
  39. ^ Weber, Thomas (2017). Becoming Hitler: the Making of a Nazi. New York: Basic Books. ISBN978-0-465-03268-half-dozen.
  40. ^ Ibsen, Henrik; Light-green, Paul (23 December 2017). Ibsen'due south Peer Gynt: American Version. Samuel French, Inc. ISBN9780573613791 . Retrieved 23 December 2017 – via Google Books.
  41. ^ "Archived copy". www.irishplayography.com. Archived from the original on nineteen May 2015. Retrieved xiv Jan 2022. {{cite web}}: CS1 maint: archived copy as title (link)
  42. ^ http://www.newlighttheaterproject.com/jerry-heymann [ dead link ]
  43. ^ La MaMa Athenaeum Digital Collections, "Production: Mr. Gynt, Inc.". Retrieved March 7, 2018.
  44. ^ "Sceneweb". sceneweb.no . Retrieved 2018-x-22 .
  45. ^ "Peer Gynt: Marijn Rademaker, Philipp Schepmann, Yen Han, Christiane Kohl, Zürcher Ballett, Sarah-Jane Brodbeck, Juliette Brunner, Julie Gardette, Arman Grigoryan, Vahe Martirosyan, Ana Carolina Quaresma, Andy Sommer, Corentin Leconte: Movies & Television". Amazon. 27 October 2009. Retrieved 1 July 2013.
  46. ^ "חוה אלברשטיין סולווג LYRICS". 5 April 2008. Archived from the original on five April 2008. Retrieved 23 Dec 2017.
  47. ^ "Polarity Ensemble Theatre's Peer Gynt at Chicago's Storefront Theater". petheatre.com . Retrieved 23 December 2017.
  48. ^ "Premiere of Will Eno'southward Gnit, Accommodation of Peer Gynt Directed past Les Waters, Opens March 17 at Humana Fest - Playbill.com". viii January 2014. Archived from the original on viii Jan 2014. Retrieved 23 Dec 2017.
  49. ^ "Announcement of Macnee's audio drama version of Peer Gynt".

Sources [edit]

  • Banham, Martin, ed. 1998. The Cambridge Guide to Theatre. Cambridge: Cambridge Upwards. ISBN 0-521-43437-viii.
  • Brockett, Oscar G. & Franklin J. Hildy. 2003. History of the Theatre. 9th, International edition. Boston: Allyn & Bacon. ISBN 0-205-41050-2.
  • Farquharson Abrupt, R., trans. 1936. Peer Gynt: A Dramatic Poem. Henrik Ibsen. Edinburgh: J. G Dent & Sons and Philadelphia: J. B. Lippincott. Available in online edition.
  • McLeish, Kenneth, trans. 1990. Peer Gynt. Henrik Ibsen. Drama Classics ser. London: Nick Hern, 1999. ISBN i-85459-435-4.
  • Meyer, Michael, trans. 1963. Peer Gynt. Henrik Ibsen. In Plays: Six. World Classics ser. London: Methuen, 1987. 29–186. ISBN 0-413-15300-ii.
  • –––. 1974. Ibsen: A Biography. Abridged. Pelican Biographies ser. Harmondsworth: Penguin. ISBN 0-14-021772-Ten.
  • Moi, Toril. 2006. Henrik Ibsen and the Birth of Modernism: Art, Theater, Philosophy. Oxford and New York: Oxford Upward. ISBN 978-0-xix-920259-i.
  • Oelmann, Klaus Henning. 1993. Edvard Grieg: Versuch einer Orientierung. Egelsbach Cologne New York: Verlag Händel-Hohenhausen. ISBN iii-89349-485-5.
  • Schumacher, Meinolf. 2009. "Peer Gynts letzte Nacht: Eschatologische Medialität und Zeitdehnung bei Henrik Ibsen". Figuren der Ordnung: Beiträge zu Theorie und Geschichte literarischer Dispositionsmuster. Ed. Susanne Gramatzki and Rüdiger Zymner. Cologne: Böhlau. pp. 147–162. ISBN 978-iii-412-20355-9 Bachelor in online edition.
  • Watts, Peter, trans. 1966. Peer Gynt: A Dramatic Poem. By Henrik Ibsen. Harmondsworth: Penguin. ISBN 0-xiv-044167-0.
  • Williams, Raymond. 1966. Modern Tragedy. London: Chatto & Windus. ISBN 0-7011-1260-3.
  • –––. 1989. The Politics of Modernism: Against the New Conformists. Ed. Tony Pinkney. London and New York: Verso. ISBN 0-86091-955-2.
  • –––. 1993. Drama from Ibsen to Brecht. London: Hogarth. ISBN 0-7012-0793-0.

External links [edit]

  • Complimentary Scores of piano arrangements of the two suites.
  • Peer Gynt (in Norwegian), freely available at Project Runeberg (in Norwegian)
  • Peer Gynt public domain audiobook at LibriVox
  • Peer Gynt: a dramatic poem, Philadelphia: J. B. Lippincott, 1936. Colour illustrations by Arthur Rackham via Internet Archive.
  • The Peer Gynt Festival,

chabrillanannothing.blogspot.com

Source: https://en.wikipedia.org/wiki/Peer_Gynt

0 Response to "How to Know if Something Has Been Peer Reviewed"

Post a Comment

Subscribe to: Post Comments (Atom)

Iklan Atas Artikel

Iklan Tengah Artikel 1

Iklan Tengah Artikel 2

Iklan Bawah Artikel