THEATRICAL ROLES, FEMINISM AND DEMONISM IN IBSEN’S PLAYS
THEATRICAL ROLES, FEMINISM AND DEMONISM IN IBSEN’S PLAYS

Summary/Abstract: The role of the ingénue was a deep-rooted tradition for actresses of Ibsen’s time, especially on the romantic stage in Denmark, where this role was also marked by intense sensuality and a demonic quality. Although he revolutionised the concept of drama, Henrik Ibsen maintained this theatrical remnant, but he adapted it in various ways, such as the case of Nora in A Doll’s House, a feminine exaltation of the spirit of freedom; or Hedvig in The Wild Duck and Hilde in The Master Builder, where there is a progressive transfiguration of in-depth psychology, in order to create driven characters. Thus we come to understand that – as in the case of the great musician Igor Stravinsky – Ibsen’s approach was to create something new out of “the readjustment of old ships”.

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