“I am half inclined to think we are all ghosts…it is not only what we have inherited from our fathers and mothers that exists again in us, but all sorts of old dead ideas and all kinds of old dead beliefs and things of that kind. They are not actually alive in us; but there they are dormant all the same, and we can never be rid of them. There must be ghosts all over the country.” Henrik Ibsen
An eerie loneliness rules among the Alving family. The most dangerous ghost in Ibsen’s counter-piece to “A Doll’s House” is the life-long lie of Helene Alving, who has – in stark contrast to Nora in “A Doll’s House” – been wearing her familial corset for far too long. Striving to give her son Osvald the most unencumbered life possible, she must face the painful truth that her devotion to social double standards amounts to the sacrifice of her beloved son. Because Osvald, entirely unaware of the truth, cannot break free from his family’s heritage and goes insane. Incurably ill – like a revenant of his dead father –, he asks his mother of all people to end his young life. We will never be free of the ghosts that we have conjured up because they dwell in our unexplored inner psyche.
Set designer Raimund Orfeo Voigt has created a spatial labyrinth from which there seems to be no escape. No outside to be seen. The isolation that reigns in the Alving household and the impossibility for the individual to penetrate the situation is given a concentrated spatial rendering.
Slovenian theatre and opera director Mateja Koležnik has already directed four of Ibsen’s plays. She regularly works in Vienna, Munich, Frankfurt, Basel and Ljubljana. Mateja Koležnik has received numerous awards and distinctions; her most recent work at Berliner Ensemble was the German premiere of Arne Lygre’s “Nichts von mir (Nothing of Me)”.
Casts & Staff
as Tischler Engstrand
as Regine Engstrand
as Frau Helene Alving
as Osvald Alving
as Pastor Manders