- Paperback: 114 pages
- Publisher: CreateSpace Independent Publishing Platform (September 25, 2013)
- Language: English
- ISBN-10: 1463796552
- ISBN-13: 978-1463796556
- Product Dimensions: 8 x 0.3 x 10 inches
- Shipping Weight: 11 ounces (View shipping rates and policies)
- Average Customer Review: 4.3 out of 5 stars See all reviews (5 customer reviews)
- Amazon Best Sellers Rank: #6,839,740 in Books (See Top 100 in Books)
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When We Dead Awaken Paperback – September 25, 2013
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Attractively printed with brightly colored covers..... Whatever is currently on your library's shelves, these adaptations would be an exciting addition. (Kliatt) --This text refers to the Kindle Edition edition.
About the Author
The Plays for Performance series is edited by Nicholas Rudall, former artistic director of the Court Theatre at the University of Chicago where he is professor of classics, and Bernard Sahlins, founder and director of the Second City. They both live in Chicago, Illinois.
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Top Customer Reviews
The distance between them is measured in other figures who "haunt" the spa. One is a woman, Irene, an old acquaintance who inspired Rubek's masterpiece. She believes that her soul has been destroyed since her time with the professor - she blames the professor for sucking the life out of her for his work with no concern for the person beneath ("The work of art first - then the human being") - and, now dead to the world, she has subsequently brought death to everyone around her. Maia, on the other hand, is inspired by the bear-hunter Ulfheim towards the physical, natural world, simultaneously repelled and attracted by his baseness.
Unlike Ibsen's other brooding plays with supernatural symbolism, there's little consequently that is subtle, mysterious or unexplained in When We Dead Awaken. The subtext that remains beneath the surface of the dramatist's previous play John Gabriel Borkman is here given foreground and precedence at the expense of realism, pushing it almost to the point of caricature, the play full of ominous foreshadowing and heavy metaphors (carving life out of a dead stone, a statue a "child" placed in a "grave" of a museum). It's quintessentially full-blooded Ibsen however, deeply moody, reflective and some of the imagery (Rubek's time with Irene "an episode" that she takes "so painfully to heart", the patching together of lives into a tattered rag) are at times brilliantly incisive in establishing an overall tone of dark cynicism, disillusionment and derision.