Word: gablers
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Consider a brief and highly incomplete roster of Western drama in which this struggle, or some variation of it, is powerfully present: Medea, Hedda Gabler, Dance of Death, The Father, Strange Interlude, Cat on a Hot Tin Roof, Walts of the Toreadors, The Homecoming, and Who's Afraid of Virginia Woolf...
...married Dankworth and began appearing with his band as a featured act, but she also kept up her new attachment to the theater. She played both Hippolyta and Titania in a West End production of A Midsummer Night's Dream, Hedda Gabler at Canterbury, and replaced an ailing Lotte Lenya in a production of the Weill-Brecht The Seven Deadly Sins in Edinburgh. Currently she is starring in a London revival of Show Boat, where her breathy, pulsating Bill is a showboat-stopper. Her musically adventurous nature has also led her to give lieder recitals, try some of Dankworth...
...film, set unspecifically near the turn of the century, recalls Bergman's National Theatre staging of Hedda Gabler. Here, as in that production, the dominant color motif is red of a dark, smothering, somehow vaguely menacing hue. "Don't ask me why it must be so because I don't know," Bergman writes in the Cries and Whispers screenplay. Perhaps it is because "ever since my childhood I have pictured the inside of the soul as a moist membrane in shades of red." Both Hedda Gabler and this film share, too, a careful choreography of movement, with...
...alternate weeks, the course replaces conventional classes with professional performances of excerpts from such plays as O'Neill's Long Day's Journey Into Night, Williams' A Streetcar Named Desire and Ibsen's Hedda Gabler. Before each 15-to 20-minute performance, the students are briefed by an English professor on the theme of the play and by a psychiatrist on psychological traits to be observed in the characters. Afterward students, faculty and the actors themselves take part in a two-hour discussion...
...Stock-mann, the idealist who heroically fights to improve his community in An Enemy of the People, reappears in The Wild Duck as Gregers Werle, a pre-Freudian busybody who demonstrates that helping people face their problems is often just a bland way of destroying them. Similarly, in Hedda Gabler, Nora, the relatively innocent victim of male chauvinism in A Doll's House, is re-examined as Hedda, a modern woman whose frustrated need to assert individuality transforms her into a "suburban Lady Macbeth...