Ghosts
by Henrik Ibsen
In this drama Ibsen has touched issues that were severely sensitive. The characters drawn in detail are deeply embedded in the plot. The themes of infidelity, illegitimate children and incest have been touched upon that were taboo topics of the time. He proved his mettle as a brilliant and bold writer as he delves into the psychology of the main characters and discusses their troubles.[A spacious garden-room, with one door to the left, and two doors to the right. In the middle of the room a round table, with chairs about it. On the table lie books, periodicals, and newspapers. In the foreground to the left a window, and by it a small sofa, with a worktable in front of it. In the background, the room is continued into a somewhat narrower conservatory, the walls of which are formed by large panes of glass. In the right-hand wall of the conservatory is a door leading down into the garden. Through the glass wall a gloomy fjord landscape is faintly visible, veiled by steady rain.][ENGSTRAND, the carpenter, stands by the garden door. His left leg is somewhat bent; he has a clump of wood under the sole of his boot. REGINA, with an empty garden syringe in her hand, hinders him from advancing.] REGINA. [In a low voice.] What do you want? Stop where you are. You're positively dripping.ENGSTRAND. It's the Lord's own rain, my girl.REGINA. It's the devil's rain, I say.ENGSTRAND. Lord, how you talk, Regina. [Limps a step or two forward into the room.] It's just this as I wanted to say-REGINA. Don't clatter so with that foot of yours, I tell you! The young master's asleep upstairs.ENGSTRAND. Asleep? In the middle of the day?REGINA. It's no business of yours.ENGSTRAND. I was out on the loose last night-REGINA. I can quite believe that.ENGSTRAND. Yes, we're weak vessels, we poor mortals, my girl-REGINA. So it seems.ENGSTRAND.-and temptations are manifold in this world, you see. But all the same, I was hard at work, God knows, at half-past five this morning.REGINA. Very well; only be off now. I won't stop here and have rendezvous's [Note: This and other French words by Regina are in that language in the original] with you.ENGSTRAND. What do you say you won't have?REGINA. I won't have any one find you here; so just you go about your business.ENGSTRAND. [Advances a step or two.] Blest if I go before I've had a talk with you. This afternoon I shall have finished my work at the school house, and then I shall take to-night's boat and be off home to the town.REGINA. [Mutters.] Pleasant journey to you!ENGSTRAND. Thank you, my child. To-morrow the Orphanage is to be opened, and then there'll be fine doings, no doubt, and plenty of intoxicating drink going, you know. And nobody shall say of Jacob Engstrand that he can't keep out of temptation's way.
DramaPerforming ArtsTheater
RELEASED2020
PUBLISHERIndependently Published
LENGTH72
LANGUAGEEN
Henrik Ibsen was a major 19th-century Norwegian playwright, theatre director, and poet. He is often referred to as "the god father" of modern drama and is one of the founders of Modernism in the theatre.[1] His plays were considered scandalous to many of his era, when Victorian values of family life and propriety largely held sway in Europe. Ibsen's work examined the realities that lay behind many facades, possessing a revelatory nature that was disquieting to many contemporaries. It utilized a critical eye and free inquiry into the conditions of life and issues of morality. Ibsen is often ranked as one of the truly great playwrights in the European tradition, alongside Shakespeare. <cite>— [Wikipedia](https://en.wikipedia.org/wiki/Henrik_Ibsen)</cite>
Ghosts
by Henrik Ibsen
In this drama Ibsen has touched issues that were severely sensitive. The characters drawn in detail are deeply embedded in the plot. The themes of infidelity, illegitimate children and incest have been touched upon that were taboo topics of the time. He proved his mettle as a brilliant and bold writer as he delves into the psychology of the main characters and discusses their troubles.[A spacious garden-room, with one door to the left, and two doors to the right. In the middle of the room a round table, with chairs about it. On the table lie books, periodicals, and newspapers. In the foreground to the left a window, and by it a small sofa, with a worktable in front of it. In the background, the room is continued into a somewhat narrower conservatory, the walls of which are formed by large panes of glass. In the right-hand wall of the conservatory is a door leading down into the garden. Through the glass wall a gloomy fjord landscape is faintly visible, veiled by steady rain.][ENGSTRAND, the carpenter, stands by the garden door. His left leg is somewhat bent; he has a clump of wood under the sole of his boot. REGINA, with an empty garden syringe in her hand, hinders him from advancing.] REGINA. [In a low voice.] What do you want? Stop where you are. You're positively dripping.ENGSTRAND. It's the Lord's own rain, my girl.REGINA. It's the devil's rain, I say.ENGSTRAND. Lord, how you talk, Regina. [Limps a step or two forward into the room.] It's just this as I wanted to say-REGINA. Don't clatter so with that foot of yours, I tell you! The young master's asleep upstairs.ENGSTRAND. Asleep? In the middle of the day?REGINA. It's no business of yours.ENGSTRAND. I was out on the loose last night-REGINA. I can quite believe that.ENGSTRAND. Yes, we're weak vessels, we poor mortals, my girl-REGINA. So it seems.ENGSTRAND.-and temptations are manifold in this world, you see. But all the same, I was hard at work, God knows, at half-past five this morning.REGINA. Very well; only be off now. I won't stop here and have rendezvous's [Note: This and other French words by Regina are in that language in the original] with you.ENGSTRAND. What do you say you won't have?REGINA. I won't have any one find you here; so just you go about your business.ENGSTRAND. [Advances a step or two.] Blest if I go before I've had a talk with you. This afternoon I shall have finished my work at the school house, and then I shall take to-night's boat and be off home to the town.REGINA. [Mutters.] Pleasant journey to you!ENGSTRAND. Thank you, my child. To-morrow the Orphanage is to be opened, and then there'll be fine doings, no doubt, and plenty of intoxicating drink going, you know. And nobody shall say of Jacob Engstrand that he can't keep out of temptation's way.
DramaPerforming ArtsTheater
RELEASED2020
PUBLISHERIndependently Published
LENGTH72
LANGUAGEEN
Henrik Ibsen was a major 19th-century Norwegian playwright, theatre director, and poet. He is often referred to as "the god father" of modern drama and is one of the founders of Modernism in the theatre.[1] His plays were considered scandalous to many of his era, when Victorian values of family life and propriety largely held sway in Europe. Ibsen's work examined the realities that lay behind many facades, possessing a revelatory nature that was disquieting to many contemporaries. It utilized a critical eye and free inquiry into the conditions of life and issues of morality. Ibsen is often ranked as one of the truly great playwrights in the European tradition, alongside Shakespeare. <cite>— [Wikipedia](https://en.wikipedia.org/wiki/Henrik_Ibsen)</cite>
