Maybe the future of theater doesn’t just consist of performance insanity and deconstruction headaches, but rather, for example: theater. At the Berliner Ensemble, young directors can try out their work under professional conditions in the small workshop, an unpretentious training camp, although at a prominent house, but free of neurotic world championship demands. The Norwegian director Heiki Riipinen has now given Ibsen’s “Hedda Gabler” a lively, somewhat mocking production that only has the first name in the title. The direction lovingly sticks to the literary original and tells the four acts so linearly and clearly that even Ibsen newcomers could easily follow without consulting the acting guide.
“Hedda Gabler” at the Berliner Ensemble: Marriage? A bad joke – culture
