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Chinese interest in Henrik Ibsen's plays has flourished for more than a century and many of his plays have been performed on or adapted for the Chinese stage since the early twentieth century. However, attempts to adapt his plays for the traditional Chinese theatre were only made in the past decade with Peer Gynt adapted into Peking opera in 2006, The Lady from the Sea and Hedda Gabler into Yue opera in 2006 and 2010. A close study of the re presentation of two Ibsenian women characters, namely, Ellida Wangel and Hedda Gabler on the Chinese traditional Yue operatic stage during Ibsen's centenary in 2006 reveals the Chinese cultural assimilation of the two Norwegian women with their distinct character and outlook of life to suit the traditional Chinese notion of femininity and morality, as well as the conventionality of the Yue theatre with its unique theatrical and aesthetic considerations. What is more important is the Chinese desire to invite the audience, especially the young audience, to reconsider what constitutes happiness and integrity for married women in the Chinese context with an emphasis on moral responsibility. [ABSTRACT FROM AUTHOR]

The purpose of this article is to relate Henrik Ibsen's Hedda Gabler to Woody Allen's Interiors with respect to their inquiry into women's relation to power and art. Both artists are close watchers and profound analysts of women's positions in times of transition, and both relate their themes to class and gender. The subordination of women is apparent in the use of cinematic and theatrical space. In order to compare the screenplay and the drama text I have studied how the artists allow women to use space, building on C. Hermann's theory (1976) about spatial systematization and hierarchization. [ABSTRACT FROM AUTHOR]

The article investigates the subject of history and historiography in Hedda Gabler through a revision of the prevalent view that intended Tesman to be a caricature on the historical profession. Tesman's research area is innovative; it foreshadows later developments in historical thinking and is therefore linked to Ibsen's modernism. [ABSTRACT FROM AUTHOR]

The author focuses on the play "Hedda Gabler," by Henrik Ibsen. The author suggests that the character of Hedda Gabler is a character that people can relate to as she can be seen on television or in the neighborhood. The author discusses several news on desperate women that partly complement the theme of the play as Hedda Gabler does some of these women's acts to secure her future and luxurious living. The author presents a study of the character, who is said to be preoccupied with self-determination.

Allusions to Henrik Ibsen's plays in the works of two prominent Israeli modernist writers, Amos Oz's autobiographical A Tale of Love and Darkness (2004) and David Grossman's The Zigzag Kid (1994) examined in the context of the Israeli reception of Ibsen in the 1950s and 1960s. To establish the variety of meanings Ibsen's plays had for the audiences of the Habimah production of Peer Gynt in 1952 and The Kameri production of Hedda Gabler in 1966, this article draws on newspaper reviews and actors' memoirs, as well as providing an analysis of Leah Goldberg's translation of Peer Gynt. It emerges that both authors enlisted Ibsen in their exploration of the myths surrounding the formation of Israeli nationhood and identity. [ABSTRACT FROM AUTHOR]