Word: awaken
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Dates: during 1930-1939
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This selection concludes a successful year during which three plays were given. Before Cambridge audiences the players have put on George Bernard Shaw's difficult "Great Catherine," Ibsen's seldom-given "When We Dead Awaken," and the well-received "Uncle Vanya," by Chekov, which the Guild Theatre revived in New York last year...
Next day in a grey dawn the odd lull still hung over the city as though the good citizens had refused to awaken. No windows were flung wide to groet the morning, no one went whistling to work, the breakfast bacon seemed to lie quiet in its own grease. As the day wore on a strange murmur like far off breakers on a distant beach began in the St. Antoine to break the sullen quietude. Travelling slowly along the crooked streets it gathered volume always nearer, always louder. At last with a great roar it burst out around the high...
...enthusiastic response shown the Studio Players in December when they presented Henrik Ibsen's "When We Dead Awaken," they have decided to remain in Cambridge and to offer five productions, approximately one a month from now until May. The Players feel that there is a definite public which will support the production of really worth while drama in Cambridge, and are offering this series of productions to prove their convictions. The other plays in the series will include Chekoff's "Uncle Vanya," Quintero's "Fortunato," and Pirandello's "Naked." "Uncle Vanya," which will be the next production, will be played...
...When, We Dead Awaken" is Ibsen's last play, but it is assuredly not his finest. Written at an advanced age, as was this drama of martial incompatibility and spiritual resurrection, the last dramatic moment of so great a man, was, obviously, not the best. The play, moreover, is a sort of apologia of an artist's life, the artist in question being, without doubt, Ibsen himself, and most apologias are over talkative. It is a notable tribute to the genius of a great writer that this loquacious effort, as presented last night by the Studio Players, should have aroused...
...that the artist gets the better of the argument in "When We Dead Awaken." Lovers of Ibsen will recall the rather cloudy complications resolving themselves "on the heights" of the Scandinavian mountains, between a middleaged sculptor, his youthful disillusioned wife, and the Strange Lady, Irene, exmodel and "grande dame" whom the sculptor had thrown over long ago for the sake of his art. It is the old dramatist's contribution to the eternal dilemma of the love of woman versus the love of art. Having chosen the latter and abandoned Irene, the sculptor discovers that, in killing his love...