Terri’s West End Blog

In 2006 it was 100 years since Norwegian playwright Henrik Ibsen died. This has been commemorated with more than 6000 arrangements in 72 countries over five continents. No other playwright, except maybe Shakespeare, has been played more the world over. Ibsen was Norwegian by birth but universal in spirit.

Earlier this week I was in the centre of Oslo, finding myself walking past Henrik Ibsen’s old home in Arbins Gate 1. From his window, he could see the Royal Castle from his window. In other words, a prime location. Every day, apparently, his wife would kick him out of the house and force him to trot down to Theaterkafeen (The Theatre Café) that lies directly opposite the Norwegian National Theatre. Here he would sit at his usual table, drinking his usual beverage, eating his usual lunch - and write.

I remember being about 14 and being taken to this apartment (above) that’s been turned into a museum. We were guided through his apartment, all the way through to the bed where he died at the age of 78 in 1906. His whole family were standing around him, the doctor said, “He’s doing better”. Apparently Ibsen then sat up, said “No, quite the contrary!” and went into a coma he never woke up from.

Ibsen didn’t like Norway much, as many of his plays failed to attract an audience. So he left his country behind, moved to Italy and lived abroad for nearly thirty years. It was when he lived in Rome, Munich and Dresden that he wrote his best-known work; amongst them “Brand”, “Peer Gynt”, “The Emperor and the Galilean”, “Pillars of Society”, “A Doll’s House”, “Hedda Gabler”, “The League of Youth” and “When We Dead Awaken”.

He thought Norwegian society was too boxed in by the unwritten Law of Jante. There are ten different rules in the law, but they are all variations on a single theme and are usually referred to as a homogeneous unit: Don’t think you’re anyone special or that you’re better than us. Ibsen said that everyone is born with sealed marching orders, but when they are opened, they all say the same thing: You are here in this world to realise yourself. He couldn’t as easily realise himself in a country that would hold people like him back.

In January 2006 the introduction to the Ibsen Year 2006 was lead by Broadway legend Liv Ullmann alongside one of Norway’s most highly regarded actors - Corey Conradi - in the Oslo City Hall. The two did a mesmerising version of “The Death of Aase” from “Peer Gynt”. You can clips from the performance - as well as the intro by Liv and Kaare - in the video below.

Corey Conradi is moving to London for a longer period of time from March 2006 and hopes to get the opportunity to do Ibsen abroad - to add to his already extensive reportoire.

Translation of THE DEATH OF AASE below

 

PEER GYNT

Gee up! Get on with you, Blackie!

Mother, you’re sure you’re not cold?

Aha! Now we shall be moving,

When Grane kicks up his heels!

 

AASE

But, Peer – I hear something ringing

 

PEER GYNT

It’s the glittering sleigh-bells, dear.

 

AASE

They sound so strange and hollow

 

PEER GYNT

We’re driving over a fjord.

 

AASE

I’m frightened! What is it that’s sighing

And moaning so wild and drear?

 

PEER GYNT

It’s only the firs on the hillside

Whispering. Just sit still.

 

AASE

I seem to see lights in the distance.

What is it that’s glistening there?

 

PEER GYNT

It’s the windows and gates of the Castle.

Can you hear the dancers?

 

AASE

Yes

 

PEER GYNT

And outside stands Saint Peter

Asking you to come in.

 

AASE

Does he greet me?

 

PEER GYNT

Yes, with honour,

And offers you sweetest wine.

 

AASE

Wine! Does he offer cakes, too?

 

PEER GYNT

A plateful of them, yes!

And our parson’s wife preparing

Your coffee and your dessert.

 

AASE

What! Shall I really meet her?

 

PEER GYNT

As soon and as often as you please.

 

AASE

You’re driving your poor old mother

To a splendid party, Peer!

 

PEER GYNT (smacking his whip)

Gee up! Get on with you, Blackie!

 

AASE

Are you sure that you know the way?

 

PEER GYNT (smacking his whip again)

I can see the road

 

AASE

But the journey

Makes me feel ill and tired.

 

PEER GYNT

I can see the Castle before me;

The drive will soon be done.

 

AASE

I’ll lie back with my eyes shut,

And just trust you, my boy!

 

PEER GYNT

Now show your paces, Grane!

The Castle is all agog;

The folk all swarm to the gateway;

Peer Gynt and his mother arrive!

Why, what’s that, Mister Saint Peter?

You won’t let my mother in?

You must look far, I can tell you,

To find a worthier soul.

Of myself I will say nothing;

I can turn back to the gate.

I’ll take pot-luck, if you’ll have me;

If not, it’s all one to me.

Like the Devil in the pulpit,

I’ve told a heap of lies,

And have called my dear old mother

A silly old hen, I know,

Because she cackled and scolded;

But things must be different here.

You must respect and revere her,

Sincerely and honestly;

You’ll not get anyone better

From our parts nowadays.

Oho! Here’s God the Father!

Saint Peter, you’ll catch it now!

(Speaks in deep voice)

“Just stop that bullying, will you!

Mother Aase is welcome here!”

(Laughs aloud and turns to his mother)

I knew how ‘twould be! Saint Peter

Is singing small enough now!

(His voice takes on an anxious tone.)

Why do you stare so, mother?

Have you lost your senses, dear?

You mustn’t lie and stare so - !

Speak, mother; it’s I, your boy!

(Feels her forehead and hands cautiously; then

throws the cord away on the chairs and says

in a low voice: )

So it’s that! - You may rest now, Grane;

Our journey’s over and done

(Shuts her eyes)

Thanks, dear, for all you gave me,

Thrashings and kisses alike!

And now it’s for you to thank me -

(Presses cheek against her lips)

There – that was the driver’s fee.