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When Hedda hit the London stage, also in 1891, its first British performance went a long way in establishing the play’s place in wider Europe. Ibsen’s work was ‘taboo’, says actor Shepard elizabeth robbins A luxurious production has begun at an independent theater. This theater was a smaller theater where more avant-garde productions were performed to avoid “censorship” elsewhere in the main theater. ”[Her production] This work gave Ibsen a kind of dignity that people were not expecting, so they could not simply write him aside as an old-fashioned, vulgar, or cheap playwright. It was both stylish and scary at the same time,” Shepard says.
AlamyThis sense of splendor, exuberance and sensuality, perhaps lost in recent re-enactments, is what DaCosta’s version is trying to convey. “Certain [productions] “The films I’ve seen have been very traditional, very strict, and haven’t really delved into the humor or the thriller aspects or the psychological depth that I saw in the films,” the director explains.[Hedda] I think it’s impossible [to deal with] What she sees in other people is that everyone lies and pretends, even though she is the phonyest of them all. I think she sees it as a survival technique. But there were so many other dynamic things about her that drew me to her. […] Her weakness, her pain, her sadness, her trapped emotions. ”
Hedda’s set is a riot of mirrors, serving as a reminder that the characters refract each other’s natures. During this night of frenzied orgy, three women, Hedda, Irene, and Thea, compete against each other and make their own distinct bids for power. “These three women are trying to understand what freedom means and are asking the same questions that Hedda asks in the play,” DaCosta says.
Source: BBC Culture – www.bbc.com
