Peer Gynt (1892) was a theatre production by Christiania Theatre, based on the play by Henrik Ibsen.
Bjørn Bjørnson directed it. He also interpreted the title role.
Information(Objekt ID 52499)
|Premiere||March 8, 1892|
|Produced by||Christiania Theatre|
|Based on||Peer Gynt by Henrik Ibsen|
|Number of events||50|
|Running period||March 9, 1892 — June 7, 1893|
Requirements to venue
The National Library of Norway, ibsen.nb.no, 12.01.2016, http://ibsen.nb.no/id/24178
|Henrik Ibsen||– Playwright|
|Jens Wang||– Stage design|
|Jean Berg||– Actor (Kjøkemesteren)|
|Bjørn Bjørnson||– Actor (Peer Gynt)|
|Hans Brun||– Actor (Solveigs far)|
|Ole Bucher||– Actor (Brudgommens far)|
|Johanne Dybwad||– Actor (Solveig)|
|Sigurd Eldegard||– Actor (Brudgommen)|
|Alma Fahlstrøm||– Actor (Seterjente)|
|Johan Fahlstrøm||– Actor (Et hofftroll)|
|Fredrik Garmann||– Actor (Aslak smed)|
|Sigvard Emil Gundersen||– Actor (Bonden på Hægstad)|
|Didi Heiberg||– Actor (Ingrid)|
|Sofie Parelius||– Actor (Mor Aase)|
|Sophie Reimers||– Actor (Solveigs mor)|
|Arnoldus Reimers||– Actor (Bøygen)|
|Berent Schanche||– Actor (Brudgommen)|
|Leonora Selmer||– Actor (Den grønnkledde)|
|Jens Selmer||– Actor (Dovregubben)|
|Johanne Vogt||– Actor (Ingrid)|
|Ragna Wettergreen||– Actor (Seterjente)|
"In particular, it was in Mr. Bjørn Bjørnson's rendition of Per (SIC) Gynt himself, that the characterisation and interpretation at times became too external. I completely agree that his efforts were thoroughly competent, and that Christiania Theatre for the time being has no actor who could give a better Per (SIC) Gynt than him. But just this competence in her performance with the many straight-out excellent singularities brought us to demand a deeper penetration into the character, a more sincere appropriation of the human."
"On the whole Bjørnson delivers - what one should also expect from such an energetic and intelligent actor as him - a credible image of the main character in this masterpiece of Ibsen's. There is life in his acting, paired with youthful spryness, warmth and sincerity. Mrs. Dybwad gave a sympathetic Solveig; in particular, her silent acting in the first act had effect. The fellow actors contributed also to a good ensemble through good acting. The main praise, though, belongs to Miss Parelius as Aase. Her splendid acting is the main thing to fill the first act with the needed juice and power, making the scene in front of the cottage after the auction so moving, giving justice to the beautiful final scene of the third act. Bjørnson also reached his peaks in his scenes with Aase."