Ep 22 — Toxic Femininity and Hidden Mythical Motifs in Henrik Ibsen’s Plays | The Cave of Apelles

The theater expert, Adara Ryum, makes her appearance to talk about the dramatist Henrik Ibsen and performance practice. Ryum points out how «updating» Ibsen always implies turning him into political propaganda, and that «modernizing» classical theatre results in losing the intensity of the story and insight into the fundamentals of human nature.

As a case study, Ryum points to Ibsen’s most famous play: A Doll’s House. Is Nora (the lead character) a feminist icon — or a spoiled, irresponsible, lying and cynical brat, devoid of empathy?

But even more importantly, are the last plays by Ibsen’s something more than “contemporary” drama?

From Jan-Ove Tuv’s conversation with Adara Ryum.

The centerpiece for this conversation was “The Crucifixion” by Sebastian Salvo.
The episode was hosted by Jan-Ove Tuv and produced by Bork S. Nerdrum, with assistance from Sebastian Salvo and Cassander Straumsgaard.

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  • Apelles was asked why he touched and retouched his pictures with so much care, to which he replied:
    "I paint for eternity"