Themes

The Individual & Freedom

Aristocratic Individualism is the idea that an individual can only achieve self-realization outside the confines of society. This philosophical movement grew out of the thoughts of Nietzsche, Schopenhauer, and Palante.

Hedda Gabler (played by Bronwyn Doebbling) and Commissioner Brack (played by Patrick PJ Rivers) in rehearsal for ASU's production.

Paul Walsh and Dave Osmundsen discuss Hedda as a modern woman trapped in the wrong era.

European intellectuals at the turn of the 20th century began to critique the social "herd" mentality that grew from the nationalist movements of the 18th and 19th centuries. Ibsen's plays (A Doll's House, An Enemy of the People, Ghosts), including Hedda Gabler, can be read as a prescriptive critique of Aristocratic Individualism. However, Ibsen believed in the evolution of humanity away from nation-states toward the liberation of individuals.

Aristocratic Individualism stems from the idea that a person can only obtain complete self-realization outside the constraints of society. Many of Ibsen’s plays explore the challenges of asserting one’s individuality in society. His protagonists are often individuals who need to go against the grain in order to achieve their goals.

Despite his advocation for the individual (or perhaps because of it), Ibsen was not one for the masses. He believed that society should be dedicated to developing individual and independent thought rather than pandering to the masses. One of his more uncharitable quotes reads, “The masses lack any understanding of higher matters both at home and abroad.” He believed that the individual, the one who would stand away from the crowd, was the strongest one of all.

Language and silence

Hedda Gabler, in contrast to many of Ibsen’s plays and plays that were popular in the 19th century, does not use long, dramatic, declamatory speeches. The longest piece of dialogue only takes up four lines in the script. However, Ibsen included a lot of nuance in his dialogue that I invite you to look out for while experiencing and encountering the play.

Language

Pay attention to how the characters address one another, especially how the characters address Hedda herself. At some points, she is called “Mrs. Tesman,” and at others she’s simply called “Hedda,” and at other points “Miss Hedda.” How does this affect the temperature in the room? How does it establish hierarchy? How does it give, or take, power from a character?

Hedda uses the metaphor “vine leaves in his hair” frequently throughout the play. What do you think she means when she says this? What do you think has happened to her emotionally when she says she doesn’t believe in them anymore?

Silence

According to Ibsen scholar Toril Moi, there are three types of silences in the Norwegian language that are used throughout Hedda Gabler:

Stille/Stillhet—The absence of noise and absence of notion; can be translated as “quiet,” “silent,” “calm,” or even “peaceful.”
Taus/taushet—To say nothing without implication of knowledge withheld
Tie—The act of saying nothing when you have important information

I invite you to look out for these silences and when they come into the play. Also consider what silences may have occurred in the past, such as when Hedda and Lovborg discuss their history.

Control & Quarantine

Hedda (Bronwyn Doebbling) begins to work her charms on Lovbourg (Nick Devor)

“The greatest hazard of all, losing one’s self, can occur very quietly in the world, as if it were nothing at all. No other loss can occur so quietly; any other loss - an arm, a leg, five dollars, a wife, etc. - is sure to be noticed.”

–Søren Kierkegaard

Hedda (Bronwyn Doebbling) manipulates Thea's (Kara Scott) emotions and relationship with Lovbourg.

One theme we kept encountering in rehearsals for Hedda Gabler is the idea of control, and how that plays out in the context of quarantine. Hedda says about halfway through the play, “For once I would like to have power over another’s destiny.” We looked for ways that Hedda’s lack of agency and autonomy in her situation ties into how we, as a society, have had activity restricted during the pandemic.

According to a literature review in the Lancet, the following are the top 5 stressors during quarantine:

- Duration: The longer quarantine is, the higher the chance of PTSD post-quarantine.
- Fears of Infection: particularly when continually weighing the risks of exposure as one navigates quarantine
- Frustration and boredom: Confinement, loss of usual routine, and reduced social and physical contact with others were frequently shown to cause boredom, frustration, and a sense of isolation from the rest of the world, which was distressing to participants. This frustration was exacerbated by not being able to take part in usual day-to-day activities, such as shopping for basic necessities or taking part in social networking activities via the telephone or internet.
- Inadequate Supplies: Lacking access to food, water, clothing, or accommodation. Will the required supplies come on time?
- Inadequate Information: Poor information from authorities, if any information at all. In this context, information is a source of power.

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