Father of Modern Drama, and the champion of the naturalist movement, Norwegian playwright Henrik Ibsen. Ibsen began his dramatic career writing romantic style verse-dramas like Peer Gynt, (the play about a lively, difficult man wondering through-out the land in search of something more in life and always seeming to run into some sort of trouble, like trolls and other sorts of over exaggerated characters) but he made a sharp break in style when he moved into naturalism. When Ibsen's play Dollhouse was first presented the audience was shocked and when the stage manager came out and told them that the play had ended.
All of the characters in this are ordinary, everyday people with who the audience of the time could certainly identify. The insightful depth and complexity of his characters are undeniable. People always seem to want to label his characters as 'good' or 'bad', 'moral' or 'immoral', but their complicated personalities make such a generalization difficult. This is one of the things that most disturbed people at the time. Ibsen ignored simple definitions and brought forth idea that all people are both good and bad.
It’ s this undeniable textual complexity that gives Ibsen his continued relevance and relevance for contemporary interpretive practices. This investigation proceeds from the understanding that the textual complexities of Ibsen’ s work are ripe products for the application of post-structural critical practices. In many instances, Ibsen’ s texts seem to anticipate later developments in modernism and post-modernism. In what has become a favoured example of Ibsen pointing the way forward for Modern developments there is the oft-quoted passage from Act 5 of Peer when the passenger states, “ Peer Gynt can’ t die in the middle of Act Five” (Ibsen, pg.
89). The post-structural deconstructive forces underlining foundational elements of Wild Duck are taken up in Section 2 of this examination.
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