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• W200014540 abstract "(The Seen and the Unseen, Sight and Site, In the Theater of the Mind) PROLOGUE (WHAT IF WE SAW WHAT HEDDA SAW?) What do you intend to do? Hedda Gabler asks her distraught companion, Ejlert Lovborg. Nothing he answers. Just put an end to it all. The sooner the better. Coming one step closer to him, she responds, Couldn't you that--that it's beautifully? As if as an afterthought, she gives him one of her pistols. Ejlert dies that night, but the fatal gun shot wound is not deliberate, clean, or well-aimed. Conventional, critical wisdom maintains that Hedda thus puts the second pistol to her own temple and pulls the trigger, finally bringing about the thing of beauty that not only Ejlert could not arrange for her but that has eluded her all her life. Though her death is witnessed only from this side of the curtain, Hedda is taken at her word. She has done it it is said. what does this really mean? If beauty is, indeed, in the eye of the beholder, what did Hedda see? And what, pray tell, do we see? Some years ago a Los Angeles production of Hedda Gabler provoked the very question, What if we saw what Hedda saw? Directed by Robert Egan at the Ahmanson at the Doolittle in 1986, Kate Mulgrew played Hedda. The premise of the production was, I think it is fair to say, the slow death of the unique, emotionally constricted, aesthetically starved Hedda Gabler at the deceptively innocent hands of the small-minded, materialistic, ambitious, and ultimately ruthless bourgeoisie. The Tesman group(1) moved in on Mulgrew's taut, perturbed Hedda like wolves in sheep's clothing. Tesman was, underneath the boyishness, spoiled, manipulative, and aware. Thea, underneath the piety, was competitive and grasping. Lovborg was definitively tall, dark, and handsome, sentimental, and weak. Brack and Aunt Julie gradually revealed themselves to be unexpected bedfellows, both driven by an obsession to control, with Hedda as the prize. Slowly, silently, surely they surrounded her, a cabal disguised as a social group. The set mimicked the players, like them at first deceptively benign. The outer living room was large, in muted colors, and rimmed in vaguely kitchy borders. As the action moved toward its inevitable conclusion, the room grew evermore suffocating, both in dimension and hue. The borders seemed to leer. Hedda's costumes, three elegant, corseted gowns, each one a satin prison, both mimicked and mocked the Tesman world, the first in Act I, an eggshell white, the second in Acts II and III, a bloody red, and the third in Act IV, a deep, night-black. In the beginning Hedda seemed too ostentatious for her surroundings, in the end she seemed too fine for them. Robert Egan took some liberties. He added a prologue in pantomime. Anxious to have the audience sec Hedda first, and, indeed, in keeping with his sympathy for her, he opened with Hedda, in the living room, in the early morning twilight, agitatedly rearranging the furniture that (for the initiated) Aunt Julie had arranged in the days prior to the Tesman's arrival home. The prologue foreshadowed a most dramatic epilogue, a tableau vivant of shock and beauty. Hedda, from the back room, called out, You, the one cock of the walk--(2) The gun shot was heard. Tesman jumped up, opened the back room curtain, and cried out, herself! Shot herself in the temple! Can you imagine! Brack, in the arm chair, declaimed, But people don't do such things! And with that the entire back wall of the Tesman set lifted up like a snapped window shade onto a great, pristinely white-washed wall, a white canvas larger than the room it replaced. On it was painted a large, upward-sweeping, bright splash of red, at once wild and contained. At its base lay a woman dressed in black, outstretched center stage to right on the sofa, her whole body like an elegant, long black feather blown beautifully backward by the wind. …" @default.
• W200014540 created "2016-06-24" @default.
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• W200014540 date "1999-03-22" @default.
• W200014540 modified "2023-09-26" @default.
• W200014540 title "Suicide and Ibsen's Hedda Gabler" @default.
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