Schaubühne Berlin (Germany) - Melbourne Festival

Schaubühne Berlin (Germany) 

Hedda Gabler 

Performed in German with English Surtitles 

Education Resource Pack 

Written and compiled by Daniel Betty 

Principal Partner Public Partner 

Image Arno Declair

Melbourne Festival Education Resource Pack – Hedda Gabler 

Table of Contents 

Pg. 3 Foreword 

Pg. 4 Curriculum Links 

Pg. 5 to 14 Teaching Activities 

Let’s Start At The Beginning – Story Of Hedda Gabler 

The Great Debate 

Thematic Exploration 

Hot Seating 

Exploring Hedda Gabler Through Tableau 

Interpreting Hedda Gabler 

Pg. 15 Appendix List 

Pg. 16 to 31 Appendices 

Reacting Is Acting – Part One 

Reacting Is Acting – Part Two 

Translating, Analysing And Discussing Script 

Response To Performance Of Hedda Gabler 

2


Foreword 

“People don't do such things?” 

Judge Brack (Hedda Gabler) 

Henrik Ibsen’s work has been pivotal in the development of theatre. He compels us to challenge our social 

views. What do we do? Why do we do it? Is how we do it important? After William Shakespeare, Ibsen is the 

most widely produced dramatist in history. A Norwegian playwright, writing in the last half of the 19th century, 

Ibsen is known as "the father of modern drama". Ibsen wrote in a new realist style – covering everyday topics 

and everyday people – his writing style inspired many realist writers to come, among them the very famous 

Anton Chekov. Ibsen proved that with very realistic settings, characters, and scenarios, you could still comment 

on big abstract ideas. He was also a bit scandalous, always raising eyebrows with his unflattering portrayals of 

Victorian values. 

Hedda Gabler explores issues that are both contemporarily relevant, and timeless. It is a heightened reflection 

of our societal values and is unrelenting in its depiction of a hyperbolic realistic portrayal of everyday life. The 

play asks questions of the power dynamic between women and men, the proper role of women in marriage, and 

of the concept of morality. In Hedda, we find a woman who is strong, brazen, and independent, yet is 

determined to live her life through the context of the society around her. She is a woman caught in a vicious 

cycle of expectation and disappointment. She comes to the realisation that she has settled into a life that she had 

not chosen for herself, and aimlessly attempts to gain headway. Hedda Gabler is a play about our unwillingness 

to challenge our own gender and societal roles. Teachers are advised that this production contains confronting 

themes, which will need to be discussed with students before viewing the show. 

Thomas Ostermeier and the acclaimed Schaubühne Berlin have brought Ibsen’s work into the 21 st Century. 

Ostermeier transforms Hedda into a damaged child, trapped in her vast, minimalist, glass-walled apartment. 

Ostermeier uses a revolving stage and as the transparent house endlessly turns, an overhead mirror ensures that 

the inhabitants are always on display, like insects under glass. He uses the gloss of Hedda's surroundings to 

dissect her discontent and the surprise she feels at having ended up married to the wrong man, living the 

wrong life, stretched out on the wrong sofa because she made the wrong choices. Her final choice is, of course, 

the worst of all, displaying the spoilt child's "they'll all be sorry" mentality. The tragedy of the play is further 

developed because everybody is so intent on getting on with their own busy lives that they fail to notice the 

blood running down the walls. 

The following activities and resources have been developed to motivate deeper understanding of the 

production. The activities listed below have not been organised sequentially. It is unnecessary for students to 

complete ALL the activities to gain an understanding and appreciation of the performance. Teachers may 

choose from these activities according to what is appropriate for their students and teaching circumstances. 

Daniel Betty 

Education Pack Writer 

3


Curriculum Links For Hedda Gabler 

The Victorian Essential Learning Standards (Level 6) were consulted in the preparation of this Education Pack. 

Some of the connections are outlined below. 

The Arts – Drama 

Students are engaged in activities that enable them to: 

• Analyse, interpret, compare and evaluate the stylistic, technical, expressive and aesthetic features of 

Hedda Gabler. 

• Comment on the impact of stagecraft from the production Hedda Gabler 

Responding to the Arts – Exploring and Responding 


• Appreciate the performance of Hedda Gabbler and draw comparisons between the world created in the 

production and current and historical political contexts. 

• Identify key features of the production of Hedda Gabbler including the use of transformation of 

character, through voice, transformation of place and disjointed time sequences, to enhance 

performance. 

• Appreciate the social and historical context in which Hedda Gabbler was first produced and the current 

social and political context in which the production is performed. 

• Consider the ways in which drama and theatre challenge, reinforce and construct social, cultural and 

artistic values and attitudes. 

• Recognise ways in which an understanding of Hedda Gabbler can influence and inform their own 

performance making 

• Evaluate each other’s work orally, and refine their group performances in response to peer evaluation 

• Appreciate the elements of drama and the thematic symbols that can be transmitted to an audience, even 

when the language is in a foreign tongue. 

• Evaluate the work of professional artists and gain skills in developing both written and oral responses to 

performance work. 

English 


• Compare ideas, build on others’ ideas, provide and justify other points of view, and reach conclusions 

that take account of aspects of issues contained in Henrik Ibsen’s work; 

• Explain how Ibsen’s works and audience responses to them have been shaped by the time, place and 

cultural setting in which they were created and presented; and 

• Critically examine the variety of ways in which spoken language influences audiences, with a particular 

focus on the techniques used by Ibsen. 

Languages Other Than English – German 


• Extend their knowledge of the German language and cultural understanding and use this knowledge for 

self expression in oral and written communication; and 

• Experiment with language and approximate accurate applications in new contexts and in open-ended 

situations, including written translation. 

4


Activity One – Research 

Let’s start at the beginning – The Story of Hedda Gabler 

HEDDA [Goes up the room.] Well, I shall have one thing at least to kill time with in the meanwhile. 

TESMAN [Beaming.] Oh thank heaven for that! What is it, Hedda. Eh?  

HEDDA [In the middle doorway, looks at him with covert scorn.] My pistols, George. 

TESMAN [In alarm.] Your pistols! 

HEDDA [With cold eyes.] General Gabler's pistols. [She goes out through the inner room, to the left.] 

Preparation 

Print off the ‘Synopsis of Hedda Gabler’ (Appendix A), one copy for each student. Print off 4 copies of the 

‘Character Descriptions’ (Appendix B). Cut these out so you can give these to students separately. 

Objective 

To identify key features of the story of Hedda Gabler and allow students to explore ways of manipulating their 

expressive skills in the presentation of these characters. Students will develop an appreciation and 

understanding of the plot and characters. 

Description of activity 

1. Ask the students to sit in a circle and allocate a character to each student. Hand each student a 

character from the ‘Character Descriptions’ (Appendix B). Depending on the size of the class you 

could double up the roles. 

2. Discuss the characters as a group and then in pairs ask the students to think about how they would 

portray the characters using; movement, gesture, body language, voice and expressive skills. 

3. Get students on their feet and individually explore how the character; 

a. Walks 

b. Stands 

c. Gestures to others 

4. Reacts to others in the room 

5. Get the group back in the circle and discuss how they used their bodies to portray these characters 

with the little information that they were given. Students could record their discoveries as reflections 

or verbally discuss as a group. 

6. Hand out the ‘Synopsis of Hedda Gabler’ (Appendix A) and read to class. 

7. Allocate a character to each student. If you have doubled up the roles you will need to specify when 

the new student is to take over the role. 

8. Read the synopsis and get students to enter the performance space and verbally, or nonverbally, act 

out each situation. This will help students identify plot lines, key relationships within the story, and 

allow the students to gain an understanding of the character’s roles within the play. 

Extension activity 

An extension of this activity is to discuss with the students the different storylines and characters and get them 

to focus/ improvise and discuss particular plotlines. You could do this activity a number of times as the students 

become more familiar with the storyline. Swap the students around to play different roles. This will give the 

students a chance to explore other characters and show how each character can be interpreted in different 

ways. 

Questions for reflection 

1. Explain which character you explored and what expressive skills you utilised to emphasise this 

character’s personality. 

2. Explain why relationships are so important to the development of the story in Hedda Gabler 

3. How does Hedda Gabler highlight in a heightened way key issues faced in society today? 

4. What were the key moments in the play? 

5


Activity Two – The Great Debate 

Ibsen said about Hedda Gabler, “...it was not my desire to deal in this play with so-called problems. What I 

principally wanted to do was to depict human beings, human emotions, and human destinies, upon a 

groundwork of certain social conditions and principles of the present day.” 

His statement raises a number of questions: 

• What kinds of people are being depicted? And why? 

• What emotions does the play focus on? And why? 

• What destiny unfolds? What factors cause that destiny (e.g. the individual's psychological make-up, 

society pressures, impact of others, of religion, of marriage, or of social class)? Is that destiny inevitable? 

• What social conditions and principles are at work? What is their impact? 

The best way to explore Ibsen’s statement and the question’s it raises is by allowing students to formulate their 

own responses. A controlled debate allows each individual to respond, engage and reflect on Hedda Gabler. 

Preparation 

• Break the class up into two even groups. Be mindful of having a mix of students in each group, who can 

act as leaders and scribes and ensure the balance of each group. 

• Have A3 paper and pens for each group to make notes. 

• Have a stopwatch or egg timer to time each speaker. 

• Print out of ‘The Great Debate Rules’ (Appendix C) 

• Prepare a prize for the winners (bag of lollies, canteen voucher, free time, etc.) 

Objective 

To identify, analyse and discuss the key factors that impact on the characters depicted in Hedda Gabler. 


1. Break the class into two even groups. 

2. Explain that this will be their team for the great debate. Explain that each group is going to argue for or 

against a particular topic relating to Hedda Gabler. Hand out and read ‘The Great Debate Rules’ 

(Appendix C). Emphasise that each group has to debate their topic with conviction and that they will 

need to create rebuttal notes while members of the opposition are speaking. 

3. Select a topic for the debate from the following questions; 

a. Should Henrik Ibsen’s Hedda Gabler be banned? 

b. Is Hedda Gabler an example of class distinction in our society? 

c. Does Hedda Gabler resonate for woman in the 21 st Century? 

9. Allow time for the students to work on the main points of their arguments. Access to computers and/or 

a library would be advisable so that students can support their arguments with research and 

evidence. 

10. Remind the students of the rules and show them the prize that they will be playing for. Also reiterate 

that the teacher will be allocating points to each speaker and this will determine the winner. 

11. Start the great debate. At some points you may wish to interrupt the debate to pose key questions or 

stimulate the argument in some way. 

12. Record a mark for each student and write a quick note about each student’s key points, their use of 

evidence and research to support their arguments, and their ability to present their arguments in an 

engaging and entertaining manner. 


1. How did your group work throughout this process? 

2. What was your key point and how did you articulate it? 

3. Who do you think made a really strong point? 

4. How did they present their argument in an engaging and entertaining way? 

6


Activity Three – Thematic Exploration 

What did Ibsen mean when he said that Hedda Gabler portrayed certain "social conditions and principles of 

the present day"? To answer this question, let’s examine the major themes: 

Preparation 

1. Living a heroic life in modern society. 

2. Freedom and self-fulfillment in modern society (this theme may also be called The Self vs. Society). 

3. The role and the nature of the artist in modern society. 

4. Living vicariously versus living life directly. 

Have enough A3 paper and pens for students to make notes about their specific themes. Print off the ‘Hedda 

Gabler Thematic Exploration’ template (Appendix D), one for each student. 

Objective 

Students will identify, examine and discuss key themes from the performance Hedda Gabler. They will explore 

how these themes were enhanced by stagecraft and develop an understanding of how they can be developed 

through dramatic elements such as tension, conflict, climax and mood. 

Description of Activity 

Lesson One 

Write Hedda Gabler in the middle of the board and brainstorm with students themes that were prominent in the 

performance. Choose three or four central themes from the list. Break the class into groups and give each group 

a central theme. Ask the students to analyse and discuss specific examples where this theme was present in the 

performance and record how this theme was developed in the play. Once they have finished, stick their 

responses on the board as a stimulus for the writing of their essay response. 

Hand out and read the ‘Thematic Exploration’ templates (Appendix D). This will allow students to familiarise 

themselves with the essay questions and discuss them before coming into the next lesson. 

Lesson Two 

Write the following essay questions up on the board and give the students the rest of the lesson to formulate a 

response to one of the questions. Have the A3 pieces of paper stuck to the board so the students can read 

through the material as part of their planning. If students do not finish the essay in class they can complete it for 

homework. 

1. Choose one dominant theme in Hedda Gabler and discuss how this theme was presented in the 

performance. 

2. How was the central theme developed through the dramatic elements of tension, conflict, climax and 

mood? 

3. Choose three elements of stagecraft from the production and discuss how they enhanced the 

audience’s understanding of a specific theme in Hedda Gabler. 

7


Activity Four – Hot Seating 

Hot seating is where people take on the role of characters from a story or production and other people ask them 

questions to elicit a more complex understanding of the character. The characters have to answer the questions 

in as much detail as possible. 

Preparation 

Students must have read or researched characters from Hedda Gabler to complete this activity. 

Print off ‘Generic Questions’ (Appendix E) for each group. 

Print off ‘Character Descriptions’ information (Appendix B) 

Print off the ‘Reflection Template (Appendix F) 

Objective 

Students will evaluate each other’s work orally, and refine character choices. Students will develop a deeper 

understanding of the characters and the motivations for their thoughts, words and actions. Students will 

develop skills in reflecting on their performance work through peer evaluation. 


1. Break the class up into groups of three or four and get them to choose a different character from 

Hedda Gabler. 

2. Hand out the ‘Character Descriptions’ information (Appendix B) to each student to refresh their 

memories 

3. Get the students who are about to be hot seated to walk around the room and think about who their 

character; their age, their gender, their status, their profession, etc. 

4. Get them to sit down in front of the class, or they can stand by their seat if the student feels that this 

would be more appropriate to their character. 

5. Encourage the class to ask each student questions about their character. Students might base questions 

on specific events, the characters actions or their relationship with other characters in the play. 

Students can also refer to the ‘Generic Questions’ handout (Appendix E). 

6. Once the student in the hot seat has responded to the question the other students have the 

opportunity to respond to the same question from the perspective of their character. 

7. Allow time for the group to analyse how each actor used their expressive skills in the portrayal of their 

character. Students should also discuss how effectively each actor responded to the questions. This 

peer evaluation enables the students to reflect on the hot seating process. 

8. Continue this exploration until all members of the group have had a turn in the hot seat. 


For homework get the students to complete the ‘Reflection Template’ (Appendix E). This is to reinforce their 

learning and enable students to reflect on outcomes from the activity. 

8


Activity Five – Exploring Hedda Gabler through Tableau 

Tableau is a representation of a scene, painting, sculpture, by a person or group posed silent and motionless. 

Preparation 

Print off the ‘Images of Hedda Gabler’ (Appendix R) 

Objective 

To critically analyse, discuss photos from Thomas Ostermeier’s production of Hedda Gabler and consider what 

these tell us about the theme, characters and mood of the play. Students will explore how images can be used as 

a stimulus for creating tableaus. 


1. Break the class into groups of three or four. 

2. Hand out the ‘Images of Hedda Gabler’ (Appendix R) one to each group. 

3. Give the students some time to consider the images and discuss what is happening in each of the 

pictures. Ask them to consider what the images tell us about the themes, the characters and mood in 

Hedda Gabler. Ask them what they see, think and wonder about these images. 

4. Explain that they are to select one of the images and create three tableaus which incorporate the 

image they have selected. 

5. They are to show what has happened before this image and what will happen after. 

6. Once they have created their three images give each of the groups a line from Hedda Gabler, which 

has to be incorporated in their work. Select from the following lines; 

a. Well then, we must try to drift together again 

b. People don’t do such things 

c. And for that I will fight—with every weapon I can command. 

d. General Gabler's pistols. 

7. Once the group has rehearsed their scenes have a showing of the work. 

8. Select one or two scenes to add figures into the tableaus. For example have the General touching 

Hedda throughout her three tableaus or Aunt Rina watching George Tesman. 

9. Once you add these figures to the tableau ask the group to perform the piece again in slow motion. 


1. How did the image stimulate your ideas for creating your tableaus? 

2. How did you use gesture and facial expression to effectively communicate the narrative of your 

tableaus? 

3. How did the addition of figures and the use of slow motion change the impact of the presentations? 

4. Which tableaus were most successful in communicating characters and narrative? Why? 

9


Activity Six – Interpreting Hedda Gabler 

Henrik Ibsen's works blur the barriers of culture, language and sensibility. 

What would happen if we interpret Hedda Gabler and place it in a Greek Tragedy, or present it in an Epic 

Theatre style? Does it change the story significantly and loose the main themes of the storyline? Or does it 

connect with a particular theatrical style, historical context or societal view? 

Preparation 

Students will need a prior knowledge of Hedda Gabler 

Print off the Interpreting Hedda Gabler Template (Appendix G) 

Print off Actor checklists – Greek Tragedy (Appendix H), Shakespeare (Appendix I), Brecht Epic Theatre 

(Appendix J), Absurd Theatre (Appendix K) 

Break class into groups of three or four. Have access to a computer/internet to research 

Objective 

To appreciate the performance of Hedda Gabbler and draw comparisons between the worlds created in the 

production and past or current historical political contexts. They will identify key events within the production 

of Hedda Gabbler, and interpret these events by researching and applying theatrical style and historical setting 

to create their own interpretation of Hedda Gabbler. 


1. Break the class into groups of three or four. 

2. Get students to reflect on the key events and themes of Hedda Gabler and collate these on the board 

for each group to see. 

3. Hand out the Interpreting Hedda Gabler Template (Appendix G) to each student. 

4. Give each group a particular theatre style and hand them the appropriate Actor Checklist (Appendix 

H, I, J, K). 

5. Explain that each group is to select a historical setting, a theme to focus their work and three key 

events to base their interpretation on. 

6. Allow the group’s access to computers/internet to research if need be. 

7. The aim for each group is to use techniques from the theatrical style to support their scene, a theme to 

focus their work and a historical setting which supports their interpretation. 

8. Allow time to rehearse their work and the teacher is to support the groups by reviewing and 

supporting the student’s work. 

9. If you have access to stagecraft (lighting, costume, sound, mask, make-up) encourage the students to 

utilise these within their scene work. 

10. Perform the scenes as a class and allow time to reflect on the process and discuss which moments 

stood out throughout the scene work and why. 

Questions for Reflection 

1. Could your interpretation be applied to the full Play? 

2. Did you notice any particular theatrical style that highlighted the interpretation of a group? Why? 

How? 

3. Was the historical setting important in the development of your work? 

10


Activity Seven – Reacting Is Acting! (Part One) 

Sanford Meisner took Konstantin Stanislavski’s principals and focused the actor on living in the moment. The 

goal of the Meisner Technique is to get actors to "live truthfully under imaginary circumstances." Built on the 

work of Konstantin Stanislavski and Lee Strasberg’s Method Acting, Meisner's work encourages a more 

specifically active, "moment-to-moment" spontaneity. 

These activities work well with students who find it difficult to react as their character. It incorporates 

awareness of voice and movement within a scene. 

Preparation 

Print off ‘Meisner Scripts’ (Appendix L and Appendix M) 

Have access to show ‘YouTube Link’ to students (Appendix N) 

Objective 

Students will gain an understanding of acting processes developed to assist actors to create truthful characters that 

react in the moment. 


1. Show students the ‘YouTube Link’ (Appendix N) as inspiration for this activity. 

2. Get the students to scatter around the room. 

3. Ask them to move into a neutral stance (feet slightly apart, hands at their side and spine aligned 

feeling relaxed). 

4. Ask the students to concentrate on their breath. 

5. As a chorus the students are to say their name over and over with no expression in their voice or on 

their face. Meisner calls this the ‘actor’s norm’, a blank canvas on top of which the actor can develop 

his character. Once the students have a sense of focus break the group into pairs. 

6. Hand out one of the ‘Meisner Scripts’ (Appendix L or M). 

7. Get the actors to choose a line each. 

8. Discuss the difference between high and low status, this will come in later in the activity. 

9. Facing each other they are to find their ‘actors norm’ and then, with no expression in their voice, 

deliver their line. Do this for about 1 minute so the actors feel a sense of nothingness. This is important 

as Meisner believed that all performance comes from nothing. 

10. Once they complete this, explain that what they are about to do is the essence of Meisner. They are to 

start their scene again from a neutral expressionless position. At a specified point one of the students 

is to adopt a specific status and apply expression in their voice, taking on a particular energy. Their 

partner is to react to this and respond, using only their line. Once the actors have explored this status 

relationship, challenge the actors to do the activity again and focus on establishing a different status 

relationship that shifts during the scene. 

11. Repeat the exercise three or four times encouraging the students to explore different aspect of the 

performance. For example get the actors to explore with levels in movement, gesture and voice. 


1. What did you discover in your scene? 

2. How did you feel after the scene? 

3. Select a moment from your scene and describe how you responded to your fellow actor. How did they 

make you feel? What did you do in response? 

11


Activity Eight – Reacting Is Acting! (Part Two) 

Objective 

Students will explore techniques and processes for developing instinctive responses in their performance 

making. Students will experiment with the spontaneous delivery of lines from the play to find truth and realism 

in their performance work. 


1. Get the students to work in pairs and face each other in a neutral position. They are to begin with no 

expression. When the actors feel it is time to extend the activity they can start to react to each other. 

2. The students are to start with the same lines from the ‘Meisner Scripts’ used in the previous activity. 

3. Ask students to introduce a new line of dialogue. This new line of dialogue should be in reaction to 

what the other student has given them. They then repeat this new line until there is another shift in 

energy. By doing this the actors have to listen to each other and react naturally by ‘living in the 

moment’. 

4. The students should repeat the activity a number of times and see what they discover each time. 

Encourage the students to experiment with manipulating their expressive skills (voice, gesture, 

movement and facial expression). 


Now that the students are familiar with a basic understanding of Meisner’s work you can use this extension 

activity to develop their understanding of the characters in Hedda Gabler. 

Take a section of text or scene from Hedda Gabler and get the students to choose two significant lines from the 

text. 

1. Get the students to start in a neutral position and facing each other. Ask the students to say their lines 

without any expression. The students are then to take on different energies and explore different 

ways they could say these lines. 

2. Once they feel they have found the truth of the line get the students to explore other lines from the 

scene and go over the scene again. 

Encourage the students to take their time with this activity so they can explore a variety of energies. You, as the 

director, can call out different words (such as anger, seduction, sadness, ugly, fire, breathless, tempestuous, etc.) 

to encourage or direct the actors to take on specific energies. 

You will find that the performers will react naturally as their character to the situation in the play. This enables 

them to use gesture and voice more dynamically. 


1. How did it feel to be able to explore the characters in this way? 

2. Reflect on how you and your partner gave meaning to the lines 

What did you notice when you applied this activity to the script of Hedda Gabler? 

12


Activity Nine – Translating, Embodying and Understanding Script 

“Translations are a partial and precious documentation of the changes the text suffers.”- Jorge Luis Borges 

What happens when you translate a script from one language to another? A translator has to try and capture the 

essence of a script and capture the tone the writer intended in their native language. 

Preparation 

Print off Hedda Gabler Script Template (Appendix O) 

Break the class into pairs, each pair must have a highlighter 

Objective 

Students will extend their knowledge of the German language, create cultural awareness and use this 

knowledge for self-expression in oral and written communication. Students will experiment with language in 

new contexts and situations, including written translation. 


1. Handout the Hedda Gabler Script template (Appendix O) 

2. Break the group into pairs and ask the students to translate the Script from English to German. 

3. Ask the students to identify the verbs and nouns in the sentence and highlight these. 

4. Do these verbs or nouns change position in the sentence structure when you translate from English to 

German? If so, acknowledge this on the template. 

5. In their pairs, they are to read out loud the English version of the script. 

6. Now for each verb, ask students to create an action (strong movement) that exemplifies this verb. 

7. Each pair is to verbalise the script and perform the verbs where appropriate in the script. 

8. After a period of time repeat steps 5, 6 and 7 with the German translation 

Questions for Reflection 

1. What did you notice happened to your placement of actions when you translated from English to 

German? 

2. Why was it important to identify the verbs and nouns in the sentence and create an action for these? 

13


Activity Ten – Responding to Hedda Gabler 

Preparation 

Print off the, ‘Responding to Hedda Gabler‘ template (Appendix P). Print off one copy for each student. 

Objective 

Students will formulate written responses on Hedda Gabler and will express their opinions on the effectiveness 

of the production. Students will analyse, interpret, compare and evaluate the stylistic, technical, expressive and 

aesthetic features of Hedda Gabler. They will comment on the productions performance style and use of 

stagecraft. 


Students will be given a lesson to formulate a response to the production of Hedda Gabler. It would be 

advantageous if the students were able to do this activity shortly after seeing the performance. Hand out the 

‘Responding to Hedda Gabler’ template (Appendix P) to each student and get them to work in one of the 

following ways. 

1. Individually write their answers in a quiet environment. 

2. Work in pairs to analyse and discuss answers before writing their responses.. 

3. Break into small groups and create notes before writing individual responses. 

14


Appendix List 

Pg. 16 Appendix A – Synopsis of Hedda Gabler 

Pg. 17 Appendix B – Character Descriptions 

Pg. 18 Appendix C – The Great Debate Rules 

Pg. 19 Appendix D – Hedda Gabler Thematic Exploration 

Pg. 20 Appendix E – Hot Seating Generic Questions 

Pg. 21 Appendix F – Hot Seating Reflection Template 

Pg. 22 Appendix G – Interpreting Hedda Gabler Template 

Pg. 23 Appendix H – Actor Checklist – Greek Tragedy 

Pg. 23 Appendix I – Actor Checklist – Shakespeare 

Pg. 24 Appendix J – Actor Checklist – Brecht Epic Theatre 

Pg. 25 Appendix K – Actor Checklist – Absurd Theatre 

Pg. 26 Appendix L – Meisner Script One 

Pg. 26 Appendix M – Meisner Script Two 

Pg. 26 Appendix N – YouTube Link on Sanford Meisner 

Pg. 27 Appendix O – Translating Hedda Gabler Template 

Pg. 29 Appendix P – Responding to Hedda Gabler 

Pg. 30 Appendix Q – Online Resources 

15


Appendix A 

Synopsis of Hedda Gabler 

Hedda Gabler and her new husband, George Tesman, return from their six-month honeymoon to their new 

house. We soon learn that Hedda, the daughter of an esteemed general, deigned to marry Tesman only because 

she had reached the age at which society dictated she should wed. Hedda, not even a year into her marriage, is 

showing signs of boredom with Tesman even though she's pregnant with his child. 

Tesman's Aunt Julia is there to welcome them home. Hedda is quite rude to the older woman, so Julia leaves 

quickly. After her departure, Mrs. Elvsted arrives to let the Tesmans know that Eilert Lovborg, Tesman's 

academic nemesis, has returned to town after having fallen into alcoholism and taken two years to achieve 

sobriety and return to society. Mrs. Elvsted hints to Hedda that she truly loves Lovborg, and doesn't care about 

her husband anymore – but that she's worried that Lovborg's return to the city will mean that he'll start drinking 

again. 

Judge Brack arrives as soon as Mrs. Elvsted leaves, and lets the Tesmans know that Lovborg has been greeted 

warmly, and that his new book has been a major success. Indeed, Brack tells Tesman that the professorship he's 

been expecting might go to Lovborg instead. Privately, Hedda tells Brack that she cares little for her new 

husband, and that she hopes that the Judge might be able to somehow entertain her during these dull years of 

marriage. She agrees that Brack will be part of their "triangle" – a relationship that won't necessarily involve 

explicit adultery, but will provide her with some much-needed companionship. 

Tesman returns to the room and says that he's going to the stag party that the Judge is holding later that night. 

Eilert Lovborg soon arrives, and privately confesses his long-held love for Hedda. Once upon a time, they used 

to be friends, but Lovborg got "too close" and Hedda cut off ties with him – even, at one point, threatening to 

shoot him. Now he hopes to at least restart a friendship. Mrs. Elvsted arrives, and Hedda mischievously uses the 

information she has from both parties to pit the two against one another. She makes Mrs. Elvsted look like a fool 

for having worried that Lovborg would suddenly start drinking again. In retaliation, Lovborg decides to follow 

Tesman and Brack to their stag party, clutching the pages of the handwritten manuscript for his "revelatory" 

new book about the future. 

Hedda and Mrs. Elvsted wait all night for the men to return, but Tesman doesn't arrive until morning. He is 

carrying Lovborg's manuscript, which he says the scholar dropped in a fit of late-night drunkenness. Tesman 

leaves the manuscript with Hedda while he goes out to visit a dying relative, and in the meanwhile, Judge 

Brack arrives to tell the women that Lovborg got into trouble with the police the night before after assaulting a 

group of women whom he said took his manuscript. 

Lovborg soon arrives and tells Hedda and Mrs. Elvsted that he didn't lose the manuscript, but rather tore it into a 

thousand pieces. Mrs. Elvsted leaves, devastated that Lovborg has become so self-destructive. Just before 

leaving, however, Lovborg tells Hedda that he did in fact lose the manuscript. Hedda, who possesses the 

manuscript herself, says nothing about it, but rather encourages him to follow through on his thoughts of 

suicide, handing him one of her father's pistols. Lovborg leaves, and Hedda burns the manuscript. 

Mrs. Elvsted arrives that night and tells the Tesmans that Lovborg is missing and is rumored to be in the hospital. 

Brack arrives to confirm the reports that Lovborg has died of a bullet wound to the chest. While Mrs. Elvsted and 

Tesman sit in the living room trying to reconstruct his manuscript from the notes Mrs. Elvsted possesses, Brack 

privately tells Hedda that Lovborg did not kill himself, but rather died from a wound inflicted to the bowels – 

either the result of an accident or someone else's fire. Brack tells Hedda that either she must account for the 

pistol being hers, or do whatever he tells her to, as only he can keep her from falling into the police's hands or 

suffering through a public scandal. Realizing that she is now in Brack's power, Hedda goes into the next room 

and shoots herself. 

Synopsis: http://www.shmoop.com/hedda-gabler/summary.html 

16


Appendix B 

Character Descriptions 

Hedda Tesman – Hedda Gabler is not a nice person. She taunts a recovering alcoholic about his masculinity 

and goads him into drinking again. She takes advantage of her husband’s dying aunt to steal an irreplaceable 

document. She tries to trick a man into committing suicide and takes pleasure in the romance of his death. 

George Tesman – Right from the get-go, it’s clear that George Tesman comes from a class below Hedda. Where 

she is formal and reserved, he is casual and open. At the least, he’s unsophisticated or, as Brack refers to him, "a 

simple soul." 

Eilert Lovborg – Eilert is perpetually caught in between. He’s in between Hedda and Thea, aristocracy and life 

as an outcast, scholarly fame and shameful disrepute, drinking and not drinking, courage and cowardice. His 

role in Hedda Gabler revolves around the tension of being in between – the pressure to move in one direction or 

another. 

Judge Brack – We first hear about Judge Brack as the man who helped Aunt Julie arrange to put up the money 

for a security deposit. Then we learn that he helped George with the finances involved in buying the "dream" 

house. When he first comes over to the Tesmans, he’s bringing news with regard to George getting the post as 

professor, which he promises will still go through. So from the get-go, it’s clear that this is a guy who makes 

things happen. He’s the one to know. He’s got power, sure, but more importantly, he’s a man of action. 

Thea Elvsted – As a woman in Hedda Gabler, Mrs. Elvsted struggles with the same question as Hedda and Miss 

Tesman: to what or whom can she possibly devote her life? Her answer is a simple one: Eilert Lovborg. Mrs. 

Elvsted isn’t exaggerating when she claims to have reformed, if indirectly, the formerly debauched Eilert. 

Lovborg himself confirms this when he sits in the parlor with Hedda and Thea. She has really inspired him, 

both personally and professionally. He even gives her credit as the co-author of his book, and Tesman confirms 

the value of such a muse when he declares that Eilert has never written this well before. 

Miss Juliana Tesman – We know that she lives with her invalid sister and devotes her life to looking after her. 

She enjoys giving up things for George because, as she says, "What other joy do I have in the world?" Notice that 

after Rina dies, Julie is all too eager to have another invalid, even if it’s a stranger, move into her house. In her 

own words: "I do so much need someone to live for—I, too." It’s interesting that she says "I, too" – we wonder if 

Julie, as the oldest woman in the play, really gets it, and perhaps has a greater understanding of this universal 

female problem. 

Berta – Berta used to work as a maid for Miss Julie and Miss Rina; she has been with the family since George 

was a little boy. Now she works as a live-in maid for George and Hedda. 

Character Breakdown: http://www.shmoop.com/hedda-gabler/characters.html 

17


Appendix C 

The Great Debate Rules 

Following are the rules for The Great Debate. 

1. Everyone in your team is to speak at least once. 

2. You must allocate the following roles in your team; 

a. LEADER/S – to guide the group and encourage everyone to participate. 

b. SCRIBE/S – to collate notes on the other speakers and prepare notes for your teams rebuttal. 

c. RESEARCHERS – responsible for providing supporting evidence for your teams arguments. 

3. Nobody is to speak while someone else is speaking. 

4. Nobody is to speak for more than 1 minute. 

5. There is to be no personal attacks on individuals. Speakers can only attack/refute the other teams 

arguments. 

6. You must raise your hand to speak. 

7. The teacher is responsible for selecting who speaks and will tell each speaker when they have 10secs 

left. 

8. The leader will have 2 minutes at the start to outline their arguments and 2 minutes at the end to sum 

up and reinforce the group’s message. 

9. The teacher will give each student up to 3 points based on: 

10. The effectiveness of the student’s argument 

11. Their ability to support their argument with research and evidence 

12. The students ability to engage and entertain their audience. 

13. The teacher has final say and has the right to interject at any point in the debate. 

18


Appendix D 

Hedda Gabler – Thematic Exploration 

After viewing Hedda Gabler you are to write an essay on one of the following questions. There is enough space 

under each question for planning. Write your essay on the back of the page provided. You must structure your 

essay with an introduction stating what you will cover in the essay, three points of discussion and a conclusion, 

which sums up your analysis. Remember that your essay is a discussion between you and the reader and you 

must express your views as clearly as possible by stating what you will discuss, give an example/s and reflect as 

to why or how you see this example as being important. You will have the rest of the lesson to complete this task. 

Question One 

Choose the dominant theme (in your opinion) in Hedda Gabler and discuss where and how this theme was 

presented in the performance. Give three examples. 

Question Two 

How is the central theme explored? Identify three examples. 

Question Three 

Choose two areas of stagecraft and discuss how they supported the central theme. 

Choose one of the above questions as an essay topic. Write your essay on the back of this sheet. 

19


Appendix E 

Hot Seating – Generic Questions 

The following questions are just a guide. Students need to remember if the actor goes in a different direction 

within their hot seating to let them. 

Generic Questions 

1. What is your name? 

2. What is your purpose in Hedda Gabler? 

3. Who do you like in the play and why? 

4. Who do you not like and why? 

5. What is the most important moment in the play for your character? 

6. When do you feel most comfortable? 

7. Is there something that you are hiding from others? 

8. Tell me about your life before this play. 

9. Where do you live? Describe your house and or surroundings to me. 

10. What is your community like? 

20


Appendix F 

Hot Seating – Reflection Template 

Question Response 

Name 3 things you 

discovered about your 

character. 

What was one Question your 

character enjoyed answering 

and why? 

What did you notice about 

your characters body 

language throughout the hot 

seating activity? 

How did your voice portray 

the character? 

How did your fellow 

classmates respond to your 

work? 

21


Appendix G 

Interpreting Hedda Gabler Template 

The following template is a guide for you to create your group interpretation. 

Theatre Style Historical Setting Theme Key Events 

Please choose one of the 

following theatre styles; 

Greek Tragedy 

Shakespeare 

Brecht – Epic Theatre 

Absurd Theatre 

What is your Theatre 

Style? 

These are examples of 

historical settings in 

which you might interpret 

Hedda Gabler. Select one 

or choose one of your own: 

• World War 1 

• A tribal setting 

• Alexander the 

Great 

• Russian Revolution 

• American Civil War 

What is your historical 

setting and how will it 

work for your 

intepretation? 

Select a theme to 

influence which key 

moments you will choose 

to focus your 

interpretation; 

22 

• Manipulation 

• Women and 

Femininity 

• Respect and 

Reputation 

• Courage 

• Appearances 

• Dreams, Hopes and 

Plans 

• Drugs and Alcohol 

Which theme is your 

interpretation focusing 

on? 

Select three key events 

from Hedda Gabler to 

present in your 

interpretation. 

For Example; 

Theme: 

Dreams, Hope and Plans 

Key Events: 

• (Character focus 

George Tesman) 

• Celebrating being 

home 

• Hedda declares she 

is pregnant 

• Hedda shoots 

herself 

Which 3 key events from 

Hedda Gabler is your 

group focusing on?


Appendix H 

Actor Checklist – Greek Tragedy Style 

Voice Heightened word emphasis; precise diction; varied tone qualities; close to 

declamatory; rhetorical; oratorical; lyrical; or sung mode during the key 

emotional or lyrical movements. 

Movement Generally slow, suggestive, and rhythmic; rare use of sitting positions; rare 

use of physical contact with other characters; predominately 

presentational mode. 

Gestures Restrained, large, fluid and complete; highly selective and mostly in the 

upper portion of the body. 

Pantomimic Dramatisation Clear, appropriate, limited, and highly selective; rare use of hand props 

such as staffs, and emblems; use of full masks, half masks, or makeup 

simulating a mask. 

Character Truthful, though somewhat larger than life; almost exclusively of high rank 

including Gods. 

Emotion Complex and penetrating, particularly Sophocles and Euripides; clearly 

established and projected; somewhat larger than life; rooted in human 

psychology, particularly Euripides. 

Ideas Lofty, complex, clear; effectively theatricalised. 

Language Complex, clear, lyric and rhythmic. 

Mood and Atmosphere Serious, restrained, lofty, passionate and intense. 

Pace and Tempo Controlled, disciplined, rhythmic, and generally moderate to deliberate. 

Special Techniques Singing and Dancing for chorus numbers especially 

Acting in person and in style, Jerry L. Crawford 

Appendix I 

Actor Checklist – Elizabethan and Shakespearian Style 

Voice Clear articulation; well projected; varied; slightly elevated tone 

Movement Full and fluid; appropriate to character; slightly elevated but natural and 

comfortable; highly selective for tragedy; free and spontaneous for comedy; 

presentational delivery generally used in soliloquy and aside; 

representational mode dominates slightly in tragedy and comedy. 

Gestures Use of full body; clear, fluid, and appropriate; slightly elevated; highly 

selective in tragedy; flexible in comedy. 

Pantomimic Dramatisation Clear, appropriate; use of hand and costume props, particularly in comedy; 

highly selective for tragedy; highly inventive for comedy 

Character Truthful and believable; clear; empathic, if appropriate; appropriate 

dimension. 

Emotion Complex and multidimensional; clear; disciplined; rooted in human 

psychology. 

23


Ideas Complex and clear; rooted in renaissance and Elizabethan Social, 

philosophical and theological thought; effectively theatricalised. 

Language Often unusual vocabulary; clear and understandable; iambic pentameter 

rhythmically intact with interpretative freedom permitted; correct 

pronunciation; lyrical and musical when intended. 

Pace and Tempo Varied; rhythmic; disciplined 

Special Techniques Dancing and Singing depending on the context; specialised musical 

instruments when required; vocal dexterity in the delivery of the language; 

attention to movement in costume. 


Appendix J 

Actor Checklist – Brecht Epic Theatre Style 

Voice Selective combination of human and dehumanised; pliant; flexible; lively; 

unusual attention to vowels and consonants; national and regional dialects; 

class distinction; dissonant singing, chanting, intonation, and lyrical, as 

appropriate. 

Movement Appropriate mixture of realistic, biomechanical, expressionistic; loose and 

flexible muscle control; some use of acrobatics, dance, mime and 

gymnastics; ranges from graceful to forceful; mix of presentational and 

representational mode. 

Gestures Varied; at times full use of entire body; highly inventive; descriptive; fluid; 

isolated body gestures. 

Pantomimic Dramatisation Unusual use of mask, makeup, costume, music; particularly for Asian; 

highly inventive; theatrical; rhythmic 

Character Combination of real and nonreal; combination of historical and fictional; 

ranges from simple to complex; oriented toward social issues and themes; 

clear; controlled; realised with a mixture of alienation devices and human 

behaviour; diversified and theatrical. 

Ideas Unusually important; clear; didactic; socially, politically and 

philosophically oriented; directed to the masses. 

Emotion Ranges from simple to complex; ranges from nonhuman to human; ranges 

from full empathy to no empathy. 

Language Colloquial-poetic; sensual simplicity; diversified; unusual use of songs. 

Mood and Atmosphere Clear; controlled; tied to idea; social, and political purpose; combination of 

real and nonreal; combination of serious and comic. 

Pace and Tempo Unusually varied. 

Special Technique Selective use of alienation devices and Asian techniques; unusual vocal 

and physical flexibility; unique character and emotional analysis and 

execution. 


24


Appendix K 

Actor Checklist – Absurd Theatre 

Voice Words, sound and noise as spectacle; energy; variety; certainty; unusual 

use of silence and pause; rhythmic; monotone; wide range; combination of 

real and nonreal techniques. 

Movement Mix of realistic, non-realistic, ritualistic, circus, commedia, acrobatics, 

silent films; dexterity and precise timing; muscles relaxed; disciplined and 

nimble, vaudeville and dance activity; balance of presentational and 

representational mode. 

Gestures Inventive; disciplined; fluid; considerably oriented to hands and feet. 

Pantomimic Dramatisation Inventive as appropriate to routine behaviour of life, combined with 

theatrical and entertainment techniques; see movement. 

Character Combination of multidimensional and complex with stereotype and 

simplistic; heavily oriented to action of the moment; real to nonreal. 

Emotion Same combination as described for character; special use of primitive, 

ritualistic Artaud techniques. 

Ideas Clear and usually relevant to existentialism. 

Language Part of theatrical spectacle; often illogical; often immediate meaning only; 

often stereotyped and clichéd; combination ranging from prose to lyric 

poetry; philosophical – usually existentialism. 

Mood and Atmosphere Extremely varied; at times, moment to moment combination of serious and 

comic. 

Pace and Tempo Generally used in consistently fast or consistently slow tempo. 

Special Techniques Cabaret or vaudeville activity; soft-shoe and tap dancing, pratfalls, 

tumbling, juggling, magic, balancing. slight gags, and slapstick. 


25


Appendix L 

Meisner – Script One 

Take your time with this exercise. Let the changes happen naturally and try to make the changes in the scene clear. 

Remember acting is about having FUN with FOCUS. 

Rules 

One student is to play A and the other student is to play B 

A is to start and is to have HIGH STATUS 

B is to respond and is to have LOW STATUS 

A can only say; “What are you doing?” 

B can only say; “What does it look like?” 

Remember these are the only lines that you can say. Use your inner voice and body language to change the 

feeling of the scene. 

Appendix M 

Meisner – Script Two 

Take your time with this exercise. Let the changes in energy happen naturally and try to make the changes in the 

scene clear. Remember that acting is about having FUN with FOCUS. 

Rules 

One student is to play A and the other student is to play B 

A is to start and is to have HIGH STATUS 

B is to respond and is to have LOW STATUS 

A can only say; “This was mine!” 

B can only say; “I found it” 

Remember these are the only lines that you can say. Use your inner voice and body language to change the 

feeling of the scene. 

Appendix N 

YouTube Link for Sanford Meisner Technique 

http://www.youtube.com/watch?v=wSCUx9Tnb_A 

26


Appendix O 

Hedda Gabler Script Template 

English Script German Translation 

HEDDA. – [In a low voice.] Oh, what a sense of 

freedom it gives one, this act of Eilert Lovborg's. 

BRACK Freedom, Mrs. Hedda? Well, of course, it is a 

release for him--- 

HEDDA I mean for me. It gives me a sense of freedom 

to know that a deed of deliberate courage is still 

possible in this world,--a deed of spontaneous beauty. 

BRACK [Smiling.] H'm--my dear Mrs. Hedda--- 

HEDDA Oh, I know what you are going to say. For you 

are a kind of specialist too, like--you know! 

BRACK [Looking hard at her.] Eilert Lovborg was more 

to you than perhaps you are willing to admit to 

yourself. Am I wrong? 

HEDDA I don't answer such questions. I only know 

that Eilert Lovborg has had the courage to live his life 

after his own fashion. And then--the last great act, 

with its beauty! Ah! that he should have the will and 

the strength to turn away from the banquet of life--so 

early. 

BRACK- I am sorry, Mrs. Hedda,--but I fear I must 

dispel an amiable illusion. 

HEDDA Illusion? 

BRACK Which could not have lasted long in any case. 

HEDDA What do you mean? 

BRACK Eilert Lovborg did not shoot himself-voluntarily. 

HEDDA Not voluntarily? 

BRACK No. The thing did not happen exactly as I told 

it. 

HEDDA [In suspense.] Have you concealed 

something? What is it? 

BRACK For poor Mrs. Elvsted's sake I idealised the 

facts a little. 

HEDDA What are the facts? 

BRACK First, that he is already dead. 

HEDDA At the hospital? 

BRACK Yes--without regaining consciousness. 

HEDDA What more have you concealed? 

BRACK This--the event did not happen at his 

lodgings. 

27


HEDDA Oh, that can make no difference. 

BRACK Perhaps it may. For I must tell you--Eilert 

Lovborg was found shot in--in Mademoiselle Diana's 

boudoir. 

HEDDA [Makes a motion as if to rise, but sinks back 

again.] That is impossible, Judge Brack! He cannot 

have been there again to-day. 

BRACK He was there this afternoon. He went there, 

he said, to demand the return of something which they 

had taken from him. Talked wildly about a lost child--- 

HEDDA Ah--so that is why--- 

BRACK I thought probably he meant his manuscript; 

but now I hear he destroyed that himself. So I suppose 

it must have been his pocket-book. 

HEDDA Yes, no doubt. And there--there he was 

found? 

BRACK Yes, there. With a pistol in his breast-pocket, 

discharged. The ball had lodged in a vital part. 

HEDDA In the breast--yes? 

BRACK No--in the bowels. 

HEDDA [Looks up at him with an expression of 

loathing.] That too! Oh, what curse is it that makes 

everything I touch turn ludicrous and mean? 

BRACK There is one point more, Mrs. Hedda-another 

disagreeable feature in the affair. 

HEDDA And what is that? 

BRACK The pistol he carried--- 

HEDDA [Breathless.] Well? What of it? 

BRACK He must have stolen it. 

HEDDA [Leaps up.] Stolen it! That is not true! He did 

not steal it! 

BRACK No other explanation is possible. He must 

have stolen it---. Hush! 

28


Appendix P 

Responding to Hedda Gabler 

After viewing the performance of Hedda Gabler, answer the following questions. These questions are to 

encourage you to reflect on the performance and formulate responses for discussion in class. 

Question 

Identify five moments in the 

production where stagecraft 

(set, costume, lighting, sound, 

props, etc.) was effectively 

used. 

Identify three moments in the 

play where the actors’ 

expressive skills were 

particularly effective. 

How were the dramatic 

elements of conflict, mood, 

pace, space, and rhythm, 

manipulated within the 

performance 

How did the director interpret 

Hedda Gabler and bring it into 

a modern context? (give 

examples and explain in 

detail). 

Response 

1. 

2. 

3. 

4. 

5. 

1. 

2. 

3. 

Conflict: 

Mood: 

Pace: 

Space: 

Rhythm: 

Choose three aspects of the performance you enjoyed and answer the following in essay form. 

1. 

2. 

3. 

Analyse and evaluate the production of Hedda Gabler. In your response, ensure that you discuss the 

performance style/s, the expressive skills of at least two actors, the use of two areas of stagecraft (set, costume, 

lighting, sound, props, etc.), as well as the effectiveness of two of the following dramatic elements (conflict, 

mood, pace, space, and rhythm). Be sure to give key examples from the performance to support your 

observations. 

29


Appendix Q 

Online resources for Hedda Gabler 

Study Notes 

http://www.shmoop.com/hedda-gabler/ 

http://en.wikipedia.org/wiki/Hedda_Gabler 

http://www.enotes.com/hedda-gabler 

http://academic.brooklyn.cuny.edu/english/melani/cs6/ibsen.html 

Plot 

http://www.shmoop.com/hedda-gabler/summary.html 

http://www.sparknotes.com/lit/heddagabler/context.html 

http://www.sparknotes.com/lit/heddagabler/summary.html 

Themes 

http://www.shmoop.com/hedda-gabler/themes.html 

Characters 

http://www.shmoop.com/hedda-gabler/characters.html 

http://www.sparknotes.com/lit/heddagabler/characters.html 

Quotes 

http://www.shmoop.com/hedda-gabler/quotes.html 

Activities 

http://www.shmoop.com/hedda-gabler/questions.html 

http://www.shmoop.com/hedda-gabler/quizzes.html 

http://www.sparknotes.com/lit/heddagabler/study.html 

http://www.sparknotes.com/lit/heddagabler/quiz.html 

Movie and TV Productions 

http://www.imdb.com/title/tt0175710/ 



Thomas Ostermeier – Interview 

http://performingarts.jp/E/pre_interview/0508/1.html 

http://www.signandsight.com/features/430.html 

http://www.guardian.co.uk/stage/2008/feb/29/theatre1 

Videos – Hedda Gabler – the production 

http://www.youtube.com/watch?v=6AQa2HZO5uQ 

http://www.youtube.com/watch?v=UJWWvgB5yv4 

http://www.youtube.com/watch?v=6quhjwhYZjE 

http://www.youtube.com/watch?v=6AQa2HZO5uQ 

30


Videos – Hedda Gabler 

http://www.youtube.com/watch?v=qKgcjssJgvY 

http://www.youtube.com/watch?v=KsyD7sOzels 

http://www.youtube.com/watch?v=dOQxqGzc3hM 

Images 

http://www.google.com.au/search?q=Hedda+Gabler&hl=en&client=firefoxa&hs=Nxx&rls=org.mozilla:en- 

GB:official&prmd=ivnsbo&tbm=isch&tbo=u&source=univ&sa=X&ei=nOwOTtmyIsHqmAXb1cDFDg&ved=0CE 

MQsAQ&biw=1280&bih=647 

Documents 

http://www.smh.com.au/news/arts/cate-reels-themin/2006/02/27/1141020023979.html?page=fullpage 

http://www.nytimes.com/2004/10/10/theater/newsandfeatures/10edel.html?_r=2&adxnnl=1&adxnn 

lx=1309577391-YSNobwkdImfUJyEM1NZI9w 

http://www.theatredatabase.com/19th_century/henrik_ibsen_001.html 

http://www.sparknotes.com/lit/heddagabler/bibliography.html 

Schaubühne Theatre Company 

http://www.youtube.com/watch?v=EWiZdDdhwkA 

http://www.youtube.com/watch?v=sWu-ltOqOPQ 

31

Schaubühne Berlin (Germany) - Melbourne Festival

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