Word: gablers
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...Hedda Gabler has become for actresses what Hamlet has always been for actors. If Hamlet is the classic male neurotic-the man who cannot act-Hedda is the classic female neurotic-the woman who cannot feel. With both roles, the performer does not so much assume a part as submit an interpretation of a fascinating set of symptoms...
...Angeles run that it has one actress on its roster with the special authority of a star, Maggie Smith. As Masha, flinging herself into the brief, doomed adulterous affair with Colonel Vershinin (Robert Stephens), she is the incandescent epitome of all women in love. Here is a Hedda Gabler of a Russian provincial town, a woman of fire, intelligence, gravity and spirit, married to a bureaucratic paper clip of a man who bores her to headaches rather than tears. Impelled to passion with a man who must leave her, she conveys a heartrending gallantry. Perhaps the saddest fate...
...basic premise from which this radically new Hedda has sprung is simply stated in the program notes by Ted van Griethuysen, who directed the play and is also the company's artistic director: "Hedda Gabler is a good person." The premise itself is highly debatable. Is Falstaff a good person? Are Ivanov and Amanda Wingfield good persons? As soon as a great playwright has performed an in-depth analysis and portrayal of a character, that character transcends the confining categories of good and evil. Such a character then becomes rich, opaque, fascinating, and strangely elusive of definition-in precisely...
Angles of Vision. In A Doll's House, Ibsen showed the transition of a woman from a pampered doll to an independent being. In Hedda Gabler, he examines a woman who has totally left the doll's house in spirit, but who still occupies it out of social convention, a woman trying to "keep house" with desperate calm while undergoing an inner earthquake. One reason that the present production seems so fresh is that Hedda's plight is seen from Hedda's angle of vision. The ultraneurotic Hedda has always been seen from...
When Hedda Gabler's fatal pistol shot rang out offstage on opening night, a young woman in the second row quivered as if the bullet had entered her body, and the only sounds that those sitting near her heard thereafter, except for the last lines of the play, were her muffled sobs. On subsequent evenings, other women similarly wept. Laughter is always touted in the New York theater, but tears are too rare to go unmentioned. That is earned emotion, a spontaneous accolade to an extremely fine actress and a very great play...