Gabler, Hedda

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Hedda, main character in a play by Henrik Ibsen who kills herself during pregnancy to avoid a scandal.
Hedda Gabler syndrome - suicide committed while pregnant
References in periodicals archive ?
The actress is starring in the Royal Lyceum's acclaimed production of Henrik Ibsen's Hedda Gabler, with critics showering her performance with praise.
Little can she have imagined she would later return to make her main stage solo debut playing the lead role in Hedda Gabler.
Tiina Rosenberg and Maria Shevtsova both incorporate Hedda Gabler into their account of the discourses on women's right, with Rosenberg offering the most interesting explicitly 'gendered' readings of the two productions she describes that 'challenge the hegemonic position of normative heterosexuality' (p.
He also authored the nonmusical but very deft comedy "The Further Adventures of Hedda Gabler," which ran at the Oregon Shakespeare Festival in 2008.
Johan Svendsen's countryman, the playwright Henrik Ibsen, used the story about the destroyed manuscript, in his play Hedda Gabler.
Discussing Marina Carr's experimental tragedy, Portia Coughlan (1999), Cathy Leeney compares Cart's "anti-heroine" to Ibsen's Hedda Gabler (94).
The last third of this memoir is devoted to Granger's considerable work in theatre and television, where he starred with Julie Harris in The Heiress, waltzed with Barbara Cook in the 1960 first revival of The King and I at City Center, toured in the National Repertory Theatre with the legendary actress (and "outspoken lesbian") Eva LeGallienne in classics such as The Crucible, The Seagull, and Hedda Gabler, and appeared in Deathtrap and Lanford Wilson's Talley & Company, with the Circle Rep, for which he won an Obie Award.
Finally, the book concludes with a discussion of guns in Hedda Gabler, Happy Days, and Fefu and Her Friends.
Johnston, a well established expert on Ibsen's life and works, here gives us authoritative texts of five of the playwright's most famous works: Peer Gynt, A Doll House, The Wild Duck, Hedda Gabler and The Master Builder.
The section on genre is completely Eurocentric, with essays on the vampiric ballads of Coleridge ("Christabel") and Goethe (Die Braut von Korinthy); on English and German novels by women from 1725 to 1814, just as the novel was becoming the predominant literary artistic form; on the politics of violence as reflected in Hedda Gabler, Coriolanus, and Le misanthrope; on women's war novels, a much-neglected subgenre in feminist writings; and on Jane Eyre.
Ibsen's Hedda Gabler (1890) gave this mounting distaste for the familial ethos imposed on women a wrenching twist.
Platt's productions at ASF included Rostand's Cyrano de Bergerac, Chekov's Uncle Vanya, Ibsen's Hedda Gabler, Shaw's Pygmalion and Arms and the Man, Wilde's Importance of Being Earnest, Stoppard's Rough Crossing and Rosencrantz and Guildenstern are Dead, as well as productions of 23 of Shakespeare's plays.