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Study GuideWritten by Sophie WatkissEdited by Hannah Clifford

This programme has been made possible by the generous support of Universal Consolidated Group and The Noël Coward Foundation

The Wild DuckBy Henrik IbsenA New Version by David Eldridge

From a Literal Translation by Charlotte Barslund

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Contents

Section 1 Cast and Creative Team

Section 2 An introduction to Henrik Ibsen HenrikIbsen:achronologyofkeyeventsintheplaywright’slife

Backgroundinformation

Section 3: An introduction to THE WILD DUCK Themilieuoftheplay

Thesymbolismintheplay

Theplayastragicomedy

CharactersinTHEWILDDUCK

Section 4: Preparation work for students prior to seeing THE WILD DUCK in performance

Act 1 BackgroundtoOldEkdal;Thirteenatthetable

Act 2 ThebuilduptoGregers’firstentranceintotheEkdalhousehold;Spiritualvphysicalblindness;theaudience’sintroductiontothewildduckintheloft;Greger’suseoflanguage

Act 3 Gregers’relationshipwithHedvig;Gregers’missionandhis‘ClaimoftheIdeal’

Act 4 TheshiftinrelationshipbetweenHjalmarandhisfamily

Act 5 Idealsvtheillusionofthelifelie;GregersconfrontsHedvig

Section 5: Ideas for further practical work and reading

Appendix: Noël Coward

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CastandCreativeTeam

Cast:

John Atterbury Petterson

Susan Brown MrsSørby

Peter Caulfield Jensen

Ben Daniels GregersWerle

Peter Eyre OldEkdal

Michelle Fairley GinaEkdal

William Gaunt HåkonWerle

Paul Hilton HjalmarEkdal

Sean Jackson MolvikandBalle

Nicholas Le Prevost Relling

Sinead Matthews Hedvig

Richard Syms Flor

Creative Team:

Michael Grandage Director

Vicki Mortimer Designer

Neil Austin LightingDesigner

Music and Sound Score AdamCork

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AnintroductiontoHenrikIbsen

Henrik Ibsen: a chronology of key events in the playwright’s life

1828 BorninthetownofSkien,Norway

1850 Hisfirstplay,Catilina,ispublishedunderthepseudonymofBrynjolfBjarme

1851 Thestagingofhissecondplay,The Warrior’s BarrowleadstohisappointmentasresidentplaywrightwiththenewlyformedNorwegianNationalTheatreatBergen

1857 TakesupthepostofArtisticDirectoroftheNorwegianTheatre,Oslo

1858 MarriesSuzannahThoresen.Ason,Sigurd,isbornthefollowingyear

1864 The PretendersisperformedattheNorwegianNationalTheatre.ThesameyearIbsenisofferedascholarshipandleavesNorwaytolivefirstinItalyandthenGermany

1866 Brand,anearlyverseplay,ispublished.Althoughnotstageduntil1885,itbecomeshisfirstmajorsuccess,introducinghimtoaEuropeanaudience

1867 Peer Gynt,nowthebestknownofhisverseplays,iswritten,butnotproduceduntil1876

1877 Pillars of Society

1879 A Doll’s House

1881 Ghosts

1882 An Enemy of the People

1884 �The�Wild�Duck.Ibsen’sfirstexperimentationwithsymbolism,whichhedevelopsfurtherwith The Master Builderin1884

1886 Rossersholm

1888 The Lady from the Sea

1890 Hedda Gabler

1891 IbsenreturnstoliveinNorway

1892 The Master Builder

1894 Little Eyolf

1896 John Gabriel Borkman

1899 When We Dead Awaken.Ibsen’slastplay,writtenattheageofseventy,isoftencomparedtoShakespeare’slastplay,The Tempest,intermsofitswisdomandmaturity

1906 Ibsendies.Inrecognitionofhisworldwidereputationasaplaywright,heishonouredwithastatefuneralinhisnativeNorway

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Background information

HenrikIbsenwrotehistragicomedy,The Wild Duckin1884attheageof56.Atthisstageinhiscareer,IbsenhadbecomebothhighlypraisedandsavagelydenouncedthroughoutEuropeforhiswork.PerformancesoftheplaywerestagedinmostEuropeancapitalcities.Theseperformanceswereaccompanied,asusual,byheateddiscussionoverIbsen’sunsettling,elusivemeaningsand,atthetime,stillrevolutionarydramatictechnique,whicheschewedthetraditionofthe‘well-madeplay’andpresentedambiguousasopposedto‘stock’characters.

AlthoughIbsenstruggledforrecognitionforthebulkofhiscareer,onlytheworksofShakespearearemorefrequentlyperformedontheinternationalstage.Ibsen’searlyworks,suchasBrandandPeer Gyntareromanticandhistoricaldramas,oftencentringonarebelherowhodestroyshimselfsearchingforanindefinable“truth”.WithPillars of Society(1877),Ibsenenteredhis“modern”period,widelyregardedashismostsuccessful,inwhichhefocusedontheproblemsofcontemporarysociety.Thepsychologicaldepthofhislatercharacters,combinedwithhisconstantquestioningofmoralandpoliticalconventions,haveleadtohimbeingfrequentlyhailedasthe“fatherofmoderndrama”.

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Did you know that. . .

Ibsen’s first major success, A Doll’s House (1879), so scandalised Victorian society with its sympathetic portrayal of a woman who abandons her family, that many theatres refused to stage it, pressuring Ibsen into writing an alternative ending. This artistic betrayal distressed the author so much, however, that he occasionally submitted a last minute “correction” to actors on the opening night, replacing the new ending with the original.

Ibsen’sfamilywasruinedwhenhewasachild,andfinancialdifficultyformsabackdroptomanyofhisworks,whileanumberofhischaracters-thebitterHjalmarEkdal,forexample,inTHEWILDDUCK-beardistinctresemblancestohisparents.AlthoughIbsenlivedabroadfor27years,nearlyallhisplaysaresetinNorway,andmostinthekindofsmall,coastaltowninwhichhegrewup.Socialandideologicalconflictsweremuchmoreclearlyexposedinthesemicro-communitiesthaninlargecities,makingthemidealsettingsforIbsen’sdrama.

Ibsen’smostfamousdisciplewasGeorgeBernardShaw,whosharedhishero’sunabashedintellectualismandconcernwithcontemporarysocialissues.ButIbsen’sinfluencecanalsobefeltinmostofthegreat20thcenturydramaticrealists,fromAntonChekhovtoJohnOsborne,whileithasbeenarguedthathisearlier,moreimpressionisticwork,Peer Gynt,isoneofthesourcesofboththesurrealistandexpressionistmovements.

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AnintroductiontoTHEWILDDUCK

‘Much of the effectiveness of his radical social dramas derives from his refusal to allow idealism to cloud the realities of human nature.’

Robin Young1

LikeallofIbsen’slaterplays,THEWILDDUCKisessentiallyamiddle-class‘familydrama’.ItisabouttheimpoverishedEkdalfamily:theineffectualdreamerHjalmar,hisstolidwifeGina,theiradolescentdaughterHedvigandHjalmar’sageingdefeatedfather.TheirworldisinvadedbyGregersWerle,abrooding,guiltriddenidealistwhosetsouttoredeemtheirfamilylifefromthespectresofthepast,and,insodoing,destroythepropsofillusionthatholdtogethertheirexistence,finallyleadingtothefamily’semotionaldestruction.

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The milieu of the play

Themilieuoftheplay,i.e.theenvironmentwhichthecharactersinhabitandareinfluencedby,iswhatIbsenwouldhaveidentifiedasmiddle-class.Duringtheprecedingcentury,westerncivilisationhadbeentransformedfromanaristocratictoapredominantlydemocraticsocialorderthroughpoliticalrevolutionsinitiatedbythefalloftheBastillein1789.ThisisreflectedinActOne,wherethecourtChamberlains,representativeoftheoldaristocraticorder,arenow‘holdingcourt’withthemostinfluentialmanintheneworder,theindustrialistHåkonWerle.

Research tasks

• Divide the following research tasks up amongst the class:

• THE WILD DUCK was written in 1884. Find out about the demographics of Norway in the late nineteenth century.

• Who held political power in Norway at the time?

• When did the industrial revolution begin in Norway? How does this compare with the timing of the industrial revolution in England?

The symbolism in the play

FromActTwoonwardstheplayissetinHjalmar’sstudiowhichappearstobeanatticroom.Whatwasonceanartist’sstudioisnowtheplaceofbusinessofaphotographer,anoperatorofamachine.Thephotographicequipmentandinstrumentsareavisualmetaphorfortheexactimagesofreality,asopposedtothewildduck,representingthemysteriousrealmoffantasywithintheloftupstairs.Duringtheplay,wecometoseeeachmemberoftheEkdalfamilypolarisedbetween,anddefinedby,theiraffinitiesforthecamera,producingitsexactimagesofexternalrealityinthestudio.Forexample,Ginaisthepragmatistwhoactuallyrunsthestudio:itisshe,notHjalmarwhotranspirestobethephotographer.Hjalmaronly‘retouches’thephotographicprints.Hisfantasisingislinkedtothedomainofthewildduckwithintheloft,thesameenvironmentthatsustainsoldEkdal’snostalgicdreamsofthepast.ForHedvig,theloftcanbeimaginativelytransformedinto‘thedepthsofthedeepbluesea.’

The play as tragicomedy

Theplaycontainscharactersandsituationswhichareunmistakablycomic.HjalmarandGregersarebothabsurdintheirownways:Hjalmarcouldbedescribedasaweak,vain,self-deceiver,Gregersafixatedhero-worshipperwhoseawarenessofotherpeopleandofhisowninnermotivesiswoefullydistorted.Eachcharacterappearstooperateintheirownworld–Gregersattheironworks,broodingoverhisfamily’spastandcoercingtheworkerstoaccepthis‘ClaimsoftheIdeal’;

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Hjalmarpresidingoverhiswifeanddaughter,baskinginself-delusionwhichsustainshimbuttrapsGinaandHedvig.

Didyou know that. . .

The way in which Gina Ekdal conceals her seduction as a servant by the wealthy Werle by marrying Hjalmar Ekdal and leading him to believe that the child is his, has resonances in the sub-plot of Ibsen’s play Ghosts. In this play Mrs Alving finds a husband for the maid her husband has made pregnant.

Characters in THE WILD DUCK

The Ekdal household

Old Ekdal.

FormerlyaLieutenantinthearmyandHåkonWerle’sdisgracedbusinesspartner.Hislifeissustainedbytheillusionhehascreatedforhimselfintheloftabovetheatticroominwhichheliveswithhisson’sfamily.HehasmadetheloftintoatoyforestwithanumberofoldChristmastrees.Herehecanplayatbear-huntingthehobbyofhisyouth.Theloftisalsofullofrabbitsandpigeonswhichheoccasionallyshootsandbringsdownstairsasbounty.

Hjalmar Ekdal.

OldEkdal’sson,aphotographer,whobelievesheisconstantlyunderpressuretosupporthisfamilybyputtingfoodonthetable–wheninfactitishiswife,Gina,whoisthebreadwinner.Devoteshislifetoclearinghisfather’snamefromthedisgracebroughtonbyimprisonmentforbreachoftheforestrylaws.Heintendstodothisbymakinghimselffamousasagreatinventor.

Gina Ekdal.

Hjalmar’swife,theonlymemberofthefamilywhoseestherealityoftheimpoverishedsituationinwhichthefamilylive.

Hedvig.

Their14yearolddaughter,believesabsolutelyinherfatherandthepromiseofhisinvention.Thewildduck,whichlivesintheloftalongwithhergrandfather’smenagerieofrabbitsandpigeons,isherspecialpossession.

Relling.

Adoctorwholivesdownstairs.Heisapassionatebelieverinwhathecalls‘thelifelie’:thenecessityofillusiontosustainthosewhofindtherealityinwhichtheyliveunbearabletotolerate.

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Molvik.

Adisgracedclergyman,adrunkard,wholivesdownstairs.HemaintainsrespectforhimselfandhislifethroughtheillusioninventedforhimbyRelling.RellinghasmadeMolvikbelievethathehastoindulgeinboutsofdrinkingasheis‘demonic’bynature,thusexcusinghisaddictiontoalcohol.

The Werle Household

Håkon Werle.

Asuccessfulandwealthywholesalemerchant,whoholdsapositionofhighstatuswithinthecommunity.

Gregers Werle.

Hisson.ApassionateidealistwhomakesithismissionintheplaytobringHjalmarandGinatothestateofthe‘idealmarriage’.Heachievesthisbyexposingthefactthatthemarriageiscurrentlybasedonalie:HjalmardoesnotknowthatGinawasthemistressofGregers’father,priortohermarriage.Gregers’missioniskeytotheactionoftheplay.

Mrs Sørby.

HousekeepertoHåkonWerleandsubsequentlyhisfiancée.

Gråberg.

Werle’sbookkeeper.

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PreparationworkpriortoseeingTHEWILDDUCKinperformance

ThissectionoftheStudyGuidehighlightskeyelementsoftheplay,actbyact,forstudentstolookoutforinperformance.Italsosuggestsresearchtasksandpracticalexercisestogainaninsightintotheproductioneitherbeforeoraftertheyhaveseenit.

Act 1

Background to Old EkdalInAct1welearnabouttheshiftsinstatusthathaveoccurredinEkdal’slife.AsayoungmanhewasaLieutenantinthearmyandthenbecameMrWerle’spartneratthesawmill.Alawsuitagainsthimforallegedlyfellingtreesillegallyledtobankruptcyandprison.Atthestartoftheplayheisdescribedashaving‘fallenonhardtimes’,humblyearningapittancefromcopyingworkgiventohimbytheclerkofhisformerbusinesspartner.

Research Task

• Find out the seniority in status of a Lieutenant in the 1880s Norwegian and/or British army. Now find out about debtor’s prisons during the period.

• What insight does this research give you about the background to Old Ekdal’s character?

Thirteen at tableAsdinnerfinishes,Werleenters.HisopeninglinesexpresshisuneaseathissonGregers’invitationtoHjalmartodinewiththem:

Werle: Idon’tthinkanyonenoticed.

Gregers: What?

Werle: Youdidn’tnoticeGregers?

Gregers: Whatwastheretonotice?

Werle: Wewerethirteen.

Gregers: Really–Werewethirteen?

Werle glances at Hjalmar.

Werle: We’reusuallytwelve…

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Discussion Point

• What does Werle’s reference to there being ‘thirteen’ at dinner allude to?

• What is the significance of there being thirteen guests at Werle’s dinner table?

• How does the closing image of the production allude to this metaphor?

Practical Exercise

Read aloud the following extracts from the play. Extract 1 is taken from Act 1 as Mrs Sørby flirts and jokes with the Chamberlains after dinner; extract 2 is taken from Act 2 as Hjalmar recounts his evening at the Werle’s dinner party.

Extract 1

Mrs Sørby: The old vintages are the finest.

Shortsighted Gentleman: Would you consider me one of the oldest vintages?

Mrs Sørby: Far from it.

Balding Gentleman: What about me Mrs Sørby?

Podgy Gentleman: And me! What vintage do you consider us?

Mrs Sørby: You are the sweetest vintages gentleman. Sweet and youthful.

She sips a glass of punch. The Chamberlains laugh.

Extract 2

Hjalmar: Well I told them one or two things.

Ekdal: Who the Chamberlains?

Hjalmar: I might have done. We exchanged a few words over the Tokai.

Ekdal: Tokai that’s a fine wine take my word for it that’s a fine wine.

Hjalmar: Not all the vintages are fine it depends on how much sunshine the grape gets.

Gina: Ekdal you know everything.

Ekdal: And did they take issue with you?

Hjalmar: They tried to but I told them Chamberlains were just the same and their vintages aren’t all as fine as each other either.

Gina: The things you think of –

Ekdal: And you said that straight to their faces? He told them straight to their faces.

Gina: Imagine that.

What does Hjalmar’s rendition of the story tell us about his character? What is the purpose of the story and to what extent do you think Hjalmar believes in it himself?

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Act 2

The build up to Gregers’ first entrance into the Ekdal householdInthefirstpartofAct2,IbsenshowshisaudiencetheinteractionbetweenthemembersoftheEkdalhouseholdandcleverlycraftsthemomentspriortoGregers’firstentranceintothehome:

Hjlamar: Nobeerformenow.Goandgetmyflute.

Hedvig runs to the bookcase and gets it.

Hjalmar: Lookatthis.Myfluteandyoutwo,Ah–

Hedvig sits with Gina. Hjalmar walks backwards and forwards very slowly; he breathes in deeply and plays a Bohemian folk dance. The pace is gentle and lyrical and his interpretation sensitive. He breaks off and stretches out his hand to Gina.

Hjlamar ItmightbehumblebutthisisourhomeGina.

He resumes playing. There is a knock at the front door. Gina stands.

Gina: Ithinkthere’ssomeoneatthedoor.

Hjalmar puts the flute back in the bookcase….Gina opens the door. Gregers stands in the hallway.

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Discussion Point

• Why is Gregers’ first entrance into the Ekdal household a significant moment in the play?

• How has Michael Grandage directed the section of the scene printed above in order to maximise the impact of Gregers’ entrance?

Spiritual versus physical blindnessHjalmarandGinarevealtoGregersthatHedvigisgoingblind,butthattheycan’tbringthemselvestotellherbecause‘she’shappyandcarefreeasalittlebird.’Ononelevel,thisblindnessisametaphorforthestateofself-deceptioninwhichthefamilylives.Italsocontributestooneofthekeythemesoftheplay:spiritualversusphysicalblindness.SpiritualblindnessisattributedtoGregersbyRelling,whenhereferstoHjalmaras‘thisidolwhoyou’resoblindedby’.(Act5).

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Discussion Point

• How is the theme of spiritual versus physical blindness highlighted in the Donmar’s production of THE WILD DUCK?

The audience’s introduction to the wild duck in the loftEkdalshowsGregerstheloftandrevealsthemenagerieofpigeons,chickens,andrabbitsthatlivethere–andofcoursethewildduck:

Ekdal: Astrangecreaturebelieveyoume.

Gregers: Buthowdidyoucatchit?

Ekdal: Ididn’tcatchit.There’sacertainmanIhavetothankforit.

Gregers: Myfather?

Ekdal: Yesyourfather–exactly.Hum.

Hjalmar: HowstrangethatyouguessedGregers?

Gregers: Youtoldmeearlierthatyouowemyfatheragreatdeal–

Gina: Wedidn’tgettheduckfromMrWerlehimself–

Ekdal: Hewasoutinhisboatandheshother.Butyourfather’ssight’spoornow.Hum.Soheonlywingedher.

Gregers: Iseeheonlyhitherwithafewpellets.

Hjalmar: Acouple.

Hedvig: Shewashitbelowherwingandshecouldn’tfly.

Gregers: Didshediverighttothebottom?

Ekdal: Theyalwaysdo.Righttothebottomdownasfarastheycanandholdontosomeseaweedandwhateverelsetheycanfindwiththeirbeaksandtheyneversurfaceagain.

Gregers: ButLieutenantEkdalshedid.

Ekdal: Yourfather’sgotaferociousdoganditdivedinafteritandfetcheditbackupagain.

Discussion Point

• When the loft and its contents are revealed to Gregers – and the audience – in the Donmar’s production of THE WILD DUCK, how is the moment staged to accentuate the importance of both the loft and the wild duck as symbols?

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Gregers’ use of languageMuchofthelanguageusedbyGregersintheplayisidiomatic,i.e.ithasanunderlyingmeaningotherthantheonededuciblefromthewordsthatheuses.Anexampleofthisisprintedbelow:

Hjalmar: Ifyouweren’tGregersWerlewhatwouldyoubethen?

Gregers: I’dbeacleverdog.

Gina: Adog?

Hedvig: Ohno!

Gregers: Areallycleverdog–onethatdivesrightdowntothebottomofthedeepblueseaafterwildducks.

ThroughinterpretingGregers’idiomaticdialogue,theaudiencecandetectthatGregersseeshimselfastherescueroftheEkdalhouseholdwhohisfather,asthepredator,haswoundedandsentdownintothedepths.Hedvig,inconversationwithhermotherafterGregers’departure,recognisesthecomplexityofGregers’idiomaticlanguage:

Gina: Whatapeculiarthingtosaythathewantedtobeadog?

Hedvig: Ithinkhemeantsomethingelsebyit.

Gina: What?

Hedvig: Ithinkhemeantsomethingelsebywhathewassayingallthetime.

Gina: Doyouthinkso?

Thisistheaudience’sfirstindicationofHedvig’sawarenessthateverythingGregers’saysissymbolic.

Act 3

Gregers’ relationship with Hedvig

GregerstalkstoHedvigabouttheloftwherethewildducklives:

Hedvig: …ifI’dlearnttoweavethenIcould’vemadeanewbasketformyduck.

Gregers: Yesyoucould.Andyou’rethepersontodoit.

Hedvig: Wellit’smyduck.

Gregers: Itis.

Hedvig: It’smyduckbutPapaandGrandpapacanborrowitwhenevertheylike.

Gregers: Whywhatdotheydowithit?

Hedvig: Theylookafteritandbuildthingsforit.

Gregers: Wellit’sthefinestcreatureinthere.

Hedvig: That’sbecauseshe’sfromthewild.That’swhyIfeelsosorryforherbecauseshe’snotgotanyonetolookafter.

Gregers: Notliketherabbits.

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Hedvig: Noandthehensknowsomanyotherhenstheyusedtobechickenswith.That’swhat’sstrangeabouttheduck.Nooneknowsherandnooneknowswhereshe’sfromeither.

Gregers: Andshe’sbeentothebottomofthedeepbluesea.

Hedvig glances at him quickly and suppresses a smile.

Hedvig: Whydidyousaybottomofthedeepbluesea?

Gregers: WhywhatshouldIhavesaidthen?

Hedvig: Youcouldhavesaidthebottomoftheseaor–theseabed.

Gregers: Can’tIsaythebottomofthedeepblueseaaswell?

Hedvig: Itsoundspeculiarwhenotherpeoplesaythebottomofthedeepbluesea.

Gregers: Why?Tellme.

Hedvig: Noit’ssilly.

Gregers: No–whydidyousmile?

Hedvig: BecausewheneverIthinkofeverythinginthereIalwaysthinkit’slikethebottomofthedeepbluesea.Thatissosilly.

Gregers: Noitisn’t.

Hedvig: Itisit’sonlyaloft.

Gregers: Areyousureaboutthat?

Hedvig: Thatit’sonlyaloft?

Gregers: Yes–Whyareyousosure?

Hedvig is silent and looks at him with her mouth open.

Observation point

• When you see the Donmar’s production of THE WILD DUCK, view the scenes between Gregers and Hedvig from Hedvig’s perspective – the eyes of a fourteen year old young girl.

• How does she appear to respond to Gregers’ behaviour and conversation, both in the scenes when they are alone and in the company of others?

Gregers’ mission and his ‘Claim of the Ideal.’InthefollowingsceneweseeGregers’firstattempttoconfrontHjalmarwithhismissionto‘save’himfromthedeceitinwhichhebelieveshehasbeenliving:

Gregers: Don’tyouthinkallthethingsintheloftdistractyoutoomuch?

Hjalmar: ListenIcan’twanderabouttheplaceboggeddownbythesameexhaustingthoughtsdayafterday.I’vegottodosomethingelsetofillthetime.Inspirationandtheimaginativeimpulsecomeswhenitcomes.

Gregers: Hjalmarpartofmethinkssomethingofthewildduck’sgotintoyou.

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Hjalmar: Howdoyoumean?Doyouthinktheshotthatwingedmyfathernearlykilledmeaswell?

Gregers: NoIwouldn’tsayyouwerecrippledbyit.Butyou’veendedupinapoisonousswampHjalmar.You’vegotadiseaseinyourbodyandIthinkyou’vedivedtothebottomtodieinthedark.

Discussion Point

• In performance, how does Hjalmar initially respond to Gregers’ interpretation of his life?

• Observe how Ben Daniels interprets the part of Gregers in performance. As an actor, what performance techniques does he employ to inveigle his way into the Ekdal household and carry out his mission to help Hjalmar realise the ‘Claim of the Ideal’?

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Act 4

The shift in the relationship between Hjalmar and his familyTheActbeginswithGinahavingjustfinishedaphotographicsessionforayoungcouple.Hjalmarthenreturnstothestudio.ItisevidentfromhisbehaviourthatGregershasspokentohimaboutGina’spast.Fromnowonhewantstodoeverythinghimselfandgetonwithhisworkonhisown:

Hedvig: AndwhatabouttheanimalsPapa?

Hjalmar: Don’tmentionthatnonsensetomeeveragain!FromtomorrowI’mnotgoingtosetfootinthatlofteveragain.

Hedvig: Butyoupromisedmetomorrowwe’dhavemypartyinthere!

Hjalmar: Wellthedayafterthen–ThatbloodywildduckI’dliketowringitsneck!

Gina: Ekdal!

Hedvig: NoPapanoit’smyduck!

Hjalmar: Ihaven’tgottheheart–foryoursakeHedvigbutIshouldn’thavetosufferacreatureundermyroofwhichhasbeeninthosehands.

LeftalonewithGina,Hjalmarconfrontsherwiththe‘swampofdeceit’inwhichtheyhavebeenliving.Ginadefendsherselfbysayingthatshe’shadplentytodowiththedaytodayrunningofthehouseandbusinessnottotormentherselfwithremorseanddoubtsoverherpast.

Observation point

When you see the Donmar’s production of THE WILD DUCK, consider how Hjalmar’s entrance in Act 4 shows a shift in his relationship with Gina and Hedvig in comparison with his entrance in Act 2.

Practical Exercise

• In pairs, improvise the conversation that takes place between Gregers and Hjalmar, where Gregers reveals that Gina was Werle’s mistress prior to her marriage to Hjalmar.

• How would this exercise help you to approach playing the part of Hjalmar during the opening of Act 4?

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AsGinagoesouttosearchforHjalmar,HedvigisleftalonewithGregers.Sheisdistraughtbyherfather’sbehaviourandisathermostvulnerable:

Hedvig sits upright and dries her tears.

Hedvig: Whywon’tpapahaveanythingtodowithmeanymore?

Gregers: Youshouldn’taskaboutthatuntilyou’vegrownup.

Hedvig: Ican’tfeellikethisuntilI’vegrownup.IthinkIknowwhatitis–I’mnotPapa’srealchild.

Gregers: Howcouldthatbe?

Hedvig: Mamafoundmeandnowpapa’sfoundout.I’vereadaboutthingslikethat.

Gregers: Wellif–

Hedvig: Hecanbefondofmejustthesameorevenmore.ThewildducktooarrivedasapresentandI’mstillfondofthat.

Gregers: That’strue.Let’stalkaboutyourduckHedvig.

Hedvig: Thepoorthing.Hecan’tbeartolookathereithernow.Hewantstowringherneck.

Gregers: Idon’tthinkhe’lldothat.

Hedvig: HesaiditandIthoughtitwasverynastyofpapatosaythatbecauseIsayaprayerformyduckeverynighttobepreservedfromdyingandeverythingevil.

Gregers: Doyoualwayssayaprayerintheevening?

Hedvig: Yes.

Gregers: Whotaughtyouthat?

Hedvig: Idid.Oncepapawassoillhehadleechesonhisthroatandhesaidthathewasatdeath’sdoor.

Gregers: Didhe?

Hedvig: SoIsaidaprayerforhimwhenIwasinbed.AndI’vedonethateversincethen.Ithoughtitwasagoodideatoincludetheduckaswellbecauseshewassosickatthebeginning.

Gregers: Doyousayyourprayersinthemorning?

Hedvig: No.

Gregers: Why?

Hedvig: Inthemorningitislightandthereisnothingtobefrightenedof.

Gregers: Andyourfatherwantedtowringitsneck?

Hedvig: Hesaidit’dbebestifhedidbuthe’dkeepitformysake.

Gregers: Butwhatifyousacrificedthewildduckforyourfather’ssake?

Hedvig gets up.

Hedvig: Doyouthinkitwouldhelphim?

Gregers: TryitHedvig.

Hedvig: Yes,I’lltryit.

Gregers: Canyoudoit?

Hedvig: I’llaskGrandpapatoshootherforme.

Gregers: Notawordofthistoyourmother.

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Hedvig: Whynot?

Gregers: Shewouldn’tunderstand.

Hedvig: I’lltryittomorrowmorning.

Discussion Point

In this scene, Hedvig talks about seeing things differently depending on the time of day and the weather.

• When you have seen the Donmar’s production of THE WILD DUCK, try and chart the time of day for each scene.

• How are production elements – such as lighting and sound - used to create the atmosphere of the outside world impinging on the Ekdal household?

Act 5

Ideals versus the illusion of the life lieGregersandRellingrepresenttwoopposingviewsoflife:idealsversustheillusionofthelifelie.

Relling’sformulaforsurvivaliswhathecalls‘thelifelie’:thenecessityofillusiontosustainthosewhofindtherealityoftheirlivesunbearabletotolerate.HehassustainedHjalmar’semotionalwellbeingbyencouraginghimtofantasiseabouthis‘invention’–aninventionthathewillnevercreate,butkeepsHjalmarhappybecauseHedvigbelievesinboththeinventionandHjalmar,‘withallthepowerofachild’simagination’(Hjalmar,Act5).Itisthesameillusion/lifeliethathassustainedOldEkdal:

Relling: Whatdoyouthinkaboutthebearhunterwanderingaroundupinthelofthuntingrabbits?There’snomorecontentahunterintheworldthantheoldmanwhenhe’sfoolingaroundamongsttherubbish.ThefourorfiveoldChristmastreesaretheforestofHøydal.Thehensarethegameinthepinetreetopsandtherabbitsarethebearswhichhechallenges.Themightymanoftheoutdoors!

Gregers: Poor,oldlieutenantEkdalhe’scertainlycompromisedtheidealsofhisyouth.

Relling: Don’tusethatforeignword:ideals.We’veourowngoodNorwegianword:lies.

Gregers: Doyouthinkthetwoarerelated?

Relling: Liketyphusandputridfever.

Gregers: Iwon’tgiveupuntilI’vesavedHjalmarfromyourclawsDrRelling!

Relling: Theworstthingforhim–Ifyoutakethelifeliefromanordinarymanthenyoutakeawayhishappinessaswell.

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Gregers confronts HedvigOnceagainleftonhisownwithHedvig,GregersconfrontsHedvigphysicallyandmentally.Havingacceptedthesymbolismofhiswordslastnight,Hedvignowrejectsitinthecoldlightofday.Gregersreadsthisasevidencethatshetohasbeenruinedbyherenvironment,ashasherfatherandgrandfather:

Gregers: Icantellfromlookingatyouit’snotbeendone.

Hedvig: No.

Gregers: YouletyourselfdownwhenyoustartedtodoasIexpect?

Hedvig: NobutwhenIwokeupearlythismorningandIrememberedwhatwe’dtalkedaboutIthoughtitwasstrange.

Gregers: Strange?

Hedvig: YesterdaywhenwetalkedaboutitIthoughtitwaslovelybutwhenIhadhadasleepandrememberedIdidn’tthinkmuchofit.

Gregers: Youcan’thelpbeingspoiltbygrowinguphere.

Hedvig: Idon’tcareifonlyPapawouldcomeupstairs.

Gregers: Ifonlyyoucouldseethethingsthatmakelifeworthliving–thecourageoussenseofsacrifice–ButIstillbelieveinyouHedvig.

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Discussion Point

This is the final exchange between Gregers and Hedvig in the play.

• How is it staged in the Donmar’s production of THE WILD DUCK to emphasise the climax of the relationship between Hedvig and Gregers at this point? Pay particular attention to the stage picture created as Gregers delivers his final line in the scene.

InAct2,HedvigcomestotheconclusionthatGregersmeans‘somethingelsebywhatheissayingallthetime’.ByAct5,Hedvig,confusedandterrifiedbyherfather’sharshness,thinksthatshehasfinallygraspedGregers’symbolismand,presumingthatsheisthe‘sacrifice’healludestotowardsthecloseofAct4,goesintotheloftwiththepistoltocarryoutthefatefulsacrifice.

Discussion Point

• Could it be said that the tragedy of THE WILD DUCK is partially brought about by Hedvig’s mis-interpretation of the symbolism of Gregers’ words?

• Are there any other factors that impact on the tragedy of Hedvig’s suicide?

• How are these highlighted to the audience in the Donmar’s production of the play?

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Ideasforfurtherpracticalworkandreading

Practical Exercises

The Donmar commissioned a new version of THE WILD DUCK by David Eldridge, derived from a literal translation of Ibsen’s original text written in Norwegian. Find another translation/version of the play. Compare some of the extracts printed in the Study Guide from David Eldridge’s version of the play with the version that you find. In what ways do they differ? What do you notice about the way David Eldridge has put the language down on the page? Stylistically, how does this differ from the translation/version of the play that you have found? Experiment with reading the comparative extracts aloud.

• Write the brief (i.e., the outline) of a version of THE WILD DUCK located in a modern day setting. Consider some of the following to get you started:

• What job would your modern day Hjalmar do and how could you reflect this in the setting for Acts 2 to 4?

• What would Gregers’ ‘Claim of the Ideal’ be in today’s society?

• How would you deal with the symbolism of the loft and the wild duck?

• Consider some of the important events that have taken place before the start of the play that have had an impact on the characters. For example, the day when the wild duck was brought to the Ekdal’s house; a day in Gregers’ and Hjalmar’s childhood when they were close friends; the day that Hjalmar’s mother died; a meeting between Werle and Gina when he advised her to marry Hjalmar. Improvise the events. What discoveries do you make about the ‘back story’ of your character as a result?

Further Reading

Ibsen Plays 1 – 6 PublishedbyMethuen

The Cambridge Companion to Ibsen JamesMcFarlane(Ed)

Drama from Ibsen to Brecht RaymondWilliams

Ibsen and Early Modernist Theatre KirstenShepherd-Barr

Modern drama in theory and practice 1:

Realism and Naturalism JLStyan

Ibsen’s Women JoanTempleton

Footnote

1 RobinYoung,‘IbsenandComedy’inJamesMcFarlane(ed)The Cambridge Companion to Ibsen,CambridgeUniversityPress,1994,p.66

5section

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Appendix

NOËL COWARD

NoëlCowardwasborninTeddingtonon16thDecember1899.Bythetimehe’dreachedtheageof7½hehadmadehisfirstpublicappearanceinanend-of-termconcertatStMargaret’sSchoolinSutton.

InJanuary1911NoëlmadehisprofessionaldebutinTheGoldfish,achildren’smusical,whichpremièredattheLittleTheatrefollowedbyrunsattheRoyalCourtTheatreandtheCrystalPalaceTheatre.HisperformancecaughttheattentionofthegreatCharlesHawtreywhoaskedtheboyactortoappearinhisautumnproductionofTheGreatNameatthePrinceofWalesTheatre.HewentontoappearintheveryfirstproductionofWhereTheRainbowEndsattheSavoyTheatre,afairytaleshowthatwasindemandalmosteveryChristmasforthenext40years.Duringthisrun,Hawtreyencouragedthechildrenintheshowtostagetheirownspecialmatinees.ItwasatoneofthesethatCowarddiscoveredanothertalent–in1912hedirected11-yearoldDotTemple’sfirstplay.Fromthenontherewasnostoppinghim.

By1915CowardplayedhisfirstadultroleinCharley’sAuntandhadwrittenboththemusicandlyricstohisfirstsong,ForbiddenFruit.Hemadehiscabaretdebutin1916,andby1917hehadproducedaplayforthefirsttime,IdaCollaboratesbyEsmeWynne.

“I’llLeaveItToYou”,Coward’sfirstplaywasproducedinLondon’sWestEndin1920inwhichheplayedoneofthejuvenileleads.By1922hisfirstbook,AWitheredNosegay,waspublishedandtheverynextyearheproducedhisfirstrevue,London’sCalling!starringGertrudeLawrence.

In1929hecompletedandproducedBitter-Sweetand,whilstitwasplayinginManchester,hewrotePrivateLives,oneofhismostproducedplays.ThispremièredintheWestEndstarringCowardandGertrudeLawrenceandthenwentontoBroadwayin1931,onceagainwithNoëlandGertie.

In1932CowardwonanOscarforBestPictureforCavalcade,andayearlaterDesignForLivingwasproducedonBroadwayfeaturingCowardandtheLunts.

During1934heappearedinhisfirstmajorfilmroleinTheScoundrel.HealsoformedTransatlanticProductionsforthepurposeofproducinghisplays(aswellasothers)alongwiththeLunts.

By1937thefirstvolumeofNoelCoward’sautobiography,PresentIndicative,waspublishedandthesecondpart,FutureIndefinite,in1954.Thethirdpartofthisautobiography,PastConditional,wasworkedonin1967butlaterabandoned.

Photo courtesy of Alan Brodie Representation Ltd 6th Floor, Fairgate House, 78 New Oxford Street, London WC1A 1HB

Tel: 020 7079 7990 Fax: 020 7079 7999 info@alanbrodie.com www.alanbrodie.com

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DuringWorldWarII,CowardhadapostintheEnemyPropagandaOfficeinParis.Whilstworkingthere,fromSeptember1939toApril1940,hesangtothetroopsforthewareffort,arolehetookupagainin1944.

In1941,anotherwidelyproducedplay,BlitheSpirit,beganalongrunintheWestEndbeforetransferringtoBroadwayandbytheendoftheyear,CowardhadcompletedInWhichWeServeforwhichhewonanOscarforBestProductionthenextyear,whenitwaspremièred.

YetanotherveryfamousplayofCoward’s-PresentLaughter-wasproducedintheWestEndin1943,alongwithThisHappyBreedwithCowardintheleadingrole.ThefollowingyearhisfilmBriefEncounterpremièred.

In1948,sadly,CowardmadehislastappearancewithGertrudeLawrenceasareplacementforGrahamPayninTonightAt8:30.In1951hemadehisfirstcabaretappearanceattheCafédeParis,London.Hiscompany,TransatlanticProductionsproducedtheirlastplay,Quadrille,in1954andin1955NoëlmadehistelevisiondebutinTogetherWithMusicwithMaryMartin.

In1958NoëlmadehislastBroadwayappearancesinNudeWithViolinandPresentLaughterandin1966hemadehisfinalstageappearanceinhislastthreeplays,SuiteInThreeKeysintheWestEnd.

In1968hewasportrayedbyDanielMasseyinafilmaboutGertrudeLawrencecalledStar!Coward’s70thbirthdaythefollowingyearwascelebratedwithmanytributesonstage,screen,televisionandradio,andin1970hewasknighted.

In1972twocompilationsofhiswork,OhCoward!andCowardyCustardwereproducedinNewYorkandLondonrespectively.CowardwaslastseeninpublicatagalaperformanceofOhCoward!

Hediedon26thMarch1973inJamaica.

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TheDonmarWarehouseisanintimate

(notforprofit)251seattheatrelocated

intheheartofLondon’sWestEnd.The

theatreattractsalmost100,000peopleto

itsproductionsayear.Since1992,under

theArtisticDirectionofMichaelGrandage

andhispredecessor,SamMendes,the

theatrehaspresentedsomeofLondon’s

mostmemorabletheatricalexperiencesas

wellasgarneredcriticalacclaimathome

andabroad.Withadiverseartisticpolicy

thatincludesnewwriting,contemporary

reappraisingofEuropeanclassics,British

andAmericandramaandmusictheatre,the

Donmarhascreatedareputationforartistic

excellenceoverthelast12yearsandhas

won25OlivierAwards,12Critics’Circle

Awards,10EveningStandardAwardsand

10TonyAwardsforBroadwaytransfers.

FormoreinformationabouttheDonmar’sEducationActivities,pleasecontact:

DevelopmentDepartment,DonmarWarehouse,41EarlhamStreet,LondonWC2H9LX.

T:02078455815,F:02072404878,E:friends@donmarwarehouse.com.

About the Donmar Warehouse –

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