Posts Tagged ‘Henrik Ibsen’
July 23, 2014 | by Dan Piepenbring
- On the Booker longlist: Joshua Ferris, Joseph O’Neill, Richard Powers, Siri Hustvedt, Howard Jacobson, David Mitchell, David Nicholls, and others. Notably excluded: Donna Tartt.
- Earlier this month came news of Charlotte and Branwell Brontë’s tiny books; now it’s the Brontë sisters’ school progress reports. In the early nineteenth century, a minister at Cowan Bridge noted that Charlotte “writes indifferently … knows nothing of grammar, geography, history, or accomplishments.”
- Do you seek a bland font, a middling font, a dutifully average font? Try the Universal Typeface, “a constantly evolving, algorithmically produced font created by averaging hundreds of thousands of handwriting samples submitted to BIC’s website. Anyone with a touchscreen can help shape the Universal Typeface by linking their phone or tablet to the website and writing directly on the touchscreen—the lettering is quickly transferred to the Universal Typeface algorithm. As of this writing, more than 400,000 samples have been collected from around the world, and the resulting alphabet is … well, sort of boring.”
- Wallace Shawn discusses playwriting and his new take on Ibsen’s The Master Builder: “If a man can presume to make a list of men who contributed to the feminist view of life, you’d have to put Ibsen at the head of the list. But he’s laying out on the table some of the worst male fantasies. I mean, he was a very daring writer, and he dared to be sort of sickening. He dared to create these characters who were sort of dreadful.”
- “The jukebox musical can be an embarrassing phenomenon: a living, breathing pop-music wax museum. It can be pandering and disingenuous, fostering a dynamic that the Times has called ‘ovation-by-coercion.’ It can repackage your happiest memories as a Vegas revue … Our instinct is to sigh about it, but we shouldn’t. The form is evolving.”
March 18, 2014 | by Sadie Stein
Since I wish to spare you the disappointment I myself experienced Sunday morning, I’m going to give it to you straight. Despite what the New York Times headline—“A Star Was (Recently) Born: A Play Boldly Casts Babies”—may imply, the current production of A Doll’s House at the Brooklyn Academy of Music does not feature an all-baby ensemble. The baby in question plays Nora’s youngest child, and merely makes a brief cameo, apparently sporting a sheepskin vest.
It’s not that I don’t understand the risks inherent in having a real baby onstage, or the novelty of going for verisimilitude in a role customarily played by a doll. But having had five seconds of imagining baby Ibsen, it was hard to go back. Those five seconds were some of the most glorious of my life. Read More »
January 14, 2011 | by The Paris Review
I’m reading Randall Jarrell’s translation of Goethe’s Faust, for no better reason than that I found a good used copy while browsing at the Strand. Jarrell died before he could finish part I—at times the verse is a little rough—but Robert Lowell stepped in to translate Gretchen’s famous Spinning Song, which now reads, very movingly, like an elegy for his friend: “My peace is gone, / My heart is sore, / I never find it, / I never find it. // When I look through my window, / I look for him. / When I leave the house, / I go on looking.//...If only I could / Catch him and hold him.” —Robyn Creswell
I saw Ibsen’s John Gabriel Borkman on Tuesday night at the Brooklyn Academy of Music. Ben Bratley describes James Macdonald’s “thaw-proof” production as having a “sense-numbing wintriness” to it. I loved the sight of Lindsay Duncan, Alan Rickman, and Fiona Shaw standing amid large banks of snow on stage. A small blizzard descended on New York that evening, and when I exited the theater, snow was falling heavily. For a brief moment, it felt as if I hadn’t yet left the play. —Thessaly La Force
The box set of Sandy Denny’s complete recordings are an imposing introduction to one of the most indelible voices of the last fifty years. Fortunately, Rob Young is at hand to steer a course through her work. Denny’s rich and allusive personal mythology—which draws upon maritime literature, pre-Raphaelite poetry, and English classical music—has been a major influence on artists like Kate Bush and Joanna Newsom. Head straight for “All Our Days,” “an eight minute mini-cantata with chords streaking like shafts of sunlight stabbing through clouds, and the alien ripple of a vibraphone recalling the mystical opening of [Vaughan Williams’s] Eighth Symphony.” —Jonathan Gharraie