*to approach Ibsen it needs a heroic spirit.

*dramatic performances are not interpretations, as one says or thinks, but variations, creations of new artistic works.The interpretation of a drama thus is a work of approximation.

*each generation approaches the masterpieces of past times in a new way; they thus obtain a certain immortality through movement.

*sometimes Ibsen’s work reflects the dramatic techniques of Dumas. But both create an idea of overcoming, of perfecting, turning what is given into something new and yet unforseen.

*but of Ibsen as poet we sensibly ask-just as of any other artist- fables, fantasy and no reasoning.

*Hedda enters as third on the scenein the first act, in the second act we observe her absent- mindedly playing with pistols, in the third act as she is sleeping on the couch waiting for the return of the men of the nightly orgy and the fourth act she moves in restless unease.

*Lovborg will leave the play at the end of the third act and - becoming subject to polce proceedings and general gossip of the “demeure”- will not appear again.

*in times in which Nora and Mrs Alving consume their youth carrying out an enraged struggle for the defeat of truth, we see Hedda pass the afternoons sitting on the couch in company of Lovborg.

*the personality represents an indefinitely renewable place of production of sense.

*if someone grows too tall, proceeds dangerously towards the stage, he will inevitably be removed, redimensionized, otherwise he will be expelled.

*Hedda: Poor us! We are filled with sun!

*Brack: Courage!
Hedda: Ah, yes, have some!

*Hedda: Isn’t there anything I can do for you?
Tesman: No, absolutely nothing, don’t you worry.

*every time that the characters of Ibsen have to describe the background, the secret truth, thus every time they need to pronounce-as we have seen- a judgement over others and their lifes, they accomodate themselves next to each other and start with a prelude to what they have to say. So the center of the characters in Ibsen’s drama is located exactly in this “come, sit next to me”.

*Hedda is not only bored by her husband , but also by the dramaturgical background in which she is forced to move.

*Hilde: How stupid that is... how absurd that one cannot hold out the hand obtaining happiness.

*mysterious energies extract essence of the essence of the humans, forcing them to the essenciality; the tragic process develops through a growing expression of that singolar being.

*the actor who knows the quality of his being alone like a man in a great deserted vastness or in any other natural vastness and who knows how to transport this particolar quality in very crowded zones, like an inhabited center, this actor can be considered a super-actor.

*“Doll’s House” and “Hedda Gabler” are set in houses located inside of inhabitated centers, but here the space is animated on the inside and the relations inside/outside, internal/external are expressed through the characters.

*in Hedda Gabler the movement of the furniture enlarges and widens Tesman’s space whereas it restricts Hedda’s at the same time.

*the orders of the director indicated that the actor personifying Hilmar the second is to play without make-up and with his own hair. He did it, but not without protesting.

*in my opinion the ideal title would be one expressing the final innocence(or guilt) of all the doing harm.
Because in a comedy after all they are all right, as it happens very often in life.

*it is true that Ibsen has impressed me deeply and that he partly changed my conception of dramatic works; but it is just as true that I would nor want, nor am I capable to bend my talent according to his ideas, nor can I reason instead of perform.

words of
Franco Antonicelli, Silvio D’Amico, Berit Erbe, Anatole France, Giuseppe Giacosa, Piero Gobetti, Henrik Ibsen, Georgy Lukàcs, Thomas Mann, Lou Andreas Salomé, Paolo Puppa, Daniela Quarta, Scipio Slataper and Teatrino Clandestino