Hedda Gabler

Henrik Ibsen, Sophie Duncan, Sophie Duncan

• Publisher: Methuen Drama
• Year: 2021
• ISBN:
  9781350110076
• Edition: 2
• Topic: Literature
• Subtopic: Drama
• Index: Literature

Too frightened of scandal to become involved with a brilliant writer, Hedda Gabler opts instead for a conventional but loveless marriage. But, when her first love returns with a masterpiece that might threaten her husband's career, Hedda decides to take drastic and fatal action. Universally condemned in 1890 when it was written, Hedda Gabler has subsequently become one of Ibsen's most performed and studied plays. Blending comedy and tragedy, Ibsen probes the thwarted aspirations and hidden anxieties of his characters against a backdrop of contemporary social Habits and hypocrisies. This Methuen Drama Student Edition is published with Michael Meyer's classic translation, and with commentary and notes by Dr. Sophie Duncan. These offer a contemporary lens on the play's gender politics, and consider some key twentieth and twenty-first century productions of Hedda Gabler, which include actresses like Maggie Smith, Harriet Walker, and Ruth Wilson taking on the iconic titular role.

Hedda Gabler

translated by Michael Meyer

This translation of Hedda Gabler was first performed on 9 November 1960 at the 4th Street Theatre, New York, in a production by David Ross with Anne Meacham as Hedda. The first London performance was on 29 June 1970 at the Cambridge Theatre, under the auspices of the National Theatre. The cast was:

George Tesman, research graduate in cultural history	Jeremy Brett
Hedda Tesman, his wife	Maggie Smith
Miss Juliana Tesman, his aunt	Jeanne Watts
Mrs Elvsted	Sheila Reid
Judge Brack	John Moffat
Eilert Loevborg	Robert Stephens
Bertha, a maid	Julia McCarthy

Directed by Ingmar Bergman

The action takes place in Tesman’s villa in the fashionable quarter of town.

Act One

A large drawing-room, handsomely and tastefully furnished; decorated in dark colours. In the rear wall is a broad open doorway, with curtains drawn back to either side. It leads to a smaller room, decorated in the same style as the drawing-room. In the right-hand wall of the drawing-room a folding door leads out to the hall. The opposite wall, on the left, contains french windows, also with curtains drawn back on either side. Through the glass we can see part of a veranda, and trees in autumn colours. Downstage stands an oval table, covered by a cloth and surrounded by chairs. Downstage right, against the wall, is a broad stove tiled with dark porcelain; in front of it stand a high-backed armchair, a cushioned footrest and two footstools. Upstage right, in an alcove, is a corner sofa, with a small, round table. Downstage left, a little away from the wall, is another sofa. Upstage of the french windows, a piano. On either side of the open doorway in the rear wall stand what-nots holding ornaments of terracotta and majolica. Against the rear wall of the smaller room can be seen a sofa, a table and a couple of chairs. Above this sofa hangs the portrait of a handsome old man in general’s uniform. Above the table a lamp hangs from the ceiling, with a shade of opalescent, milky glass. All round the drawing-room bunches of flowers stand in vases and glasses. More bunches lie on the tables. The floors of both rooms are covered with thick carpets. Morning light. The sun shines in through the french windows.

Miss Juliana Tesman, wearing a hat and carrying a parasol, enters from the hall, followed by Bertha, who is carrying a bunch of flowers wrapped in paper. Miss Tesman is about sixty-five, of pleasant and kindly appearance. She is neatly but simply dressed in grey outdoor clothes. Bertha, the maid, is rather simple and rustic-looking. She is getting on in years.

Miss Tesman (stops just inside the door, listens, and says in a hushed voice) Well, fancy that! They’re not up yet!

Bertha (also in hushed tones) What did I tell you, miss? The boat didn’t get in till midnight. And when they did turn up – Jesus, miss, you should have seen all the things madam made me unpack before she’d go to bed!

Miss Tesman Ah, well. Let them have a good lie-in. But let’s have some nice fresh air waiting for them when they do come down. (Goes to the french windows and throws them wide open.)

Bertha (bewildered at the table, the bunch of flowers in her hand) I’m blessed if there’s a square inch left to put anything. I’ll have to let it lie here, miss. (Puts it on the piano.)

Miss Tesman Well, Bertha dear, so now you have a new mistress. Heaven knows it nearly broke my heart to have to part with you.

Bertha (snivels) What about me, Miss Juju? How do you suppose I felt? After all the happy years I’ve spent with you and Miss Rena?

Miss Tesman We must accept it bravely, Bertha. It was the only way. George needs you to take care of him. He could never manage without you. You’ve looked after him ever since he was a tiny boy.

Bertha Oh, but, Miss Juju, I can’t help thinking about Miss Rena, lying there all helpless, poor dear. And that new girl! She’ll never learn the proper way to handle an invalid.

Miss Tesman Oh, I’ll manage to train her. I’ll do most of the work myself, you know. You needn’t worry about my poor sister, Bertha dear.

Bertha But, Miss Juju, there’s another thing. I’m frightened madam may not find me suitable.

Miss Tesman Oh, nonsense, Bertha. There may be one or two little things to begin with –

Bertha She’s a real lady. Wants everything just so.

Miss Tesman But of course she does! General Gabler’s daughter! Think of what she was accustomed to when the general was alive. You remember how we used to see her out riding with her father? In that long black skirt? With the feather in her hat?

Bertha Oh, yes, miss. As if I could forget! But, Lord! I never dreamed I’d live to see a match between her and Master Georgie.

Miss Tesman Neither did I. By the way, Bertha, from now on you must stop calling him Master Georgie. You must say Dr Tesman.

Bertha Yes, madam said something about that too. Last night – the moment they’d set foot inside the door. Is it true, then, miss...