TEHRAN-Iranian director Sarvenaz Nankali staged reading performance of Norwegian playwright Henrik Ibsen’s “Rosmersholm” at Tehran’s Homa Theater Hall on Sunday.
The performance was held by a cast composed of Amir Adib, Jahangir Ramezani, Ali Shajareh, Hannaneh Safdari and Omid Mohammadnejad.
Henrik Ibsen’s 1886 “Rosmersholm” is widely regarded as one of his most complex and enigmatic plays. The play explores deep themes of morality, societal change, and the inescapable influence of the past. Set amidst personal tragedy and political upheaval, “Rosmersholm” examines the psychological turmoil of its characters as they grapple with guilt, conviction, and the desire for renewal. Often praised for its subtlety and multilayered symbolism, it stands alongside “The Wild Duck” as one of Ibsen’s most profound works.
The central figure is Johannes Rosmer, a former clergyman and aristocrat who owns the estate of Rosmersholm. Haunted by his wife Beata’s suicide, Rosmer is caught between his aristocratic heritage and his revolutionary ideals for societal reform. Rebecca West, a resilient and morally ambiguous woman, lives at Rosmersholm and has a past that ties her to Beata’s death. Their relationship is intimate and intense, yet Rosmer insists it remains purely platonic. As the play unfolds, their bond becomes a battleground of moral conflict, desire, and guilt.
The story takes place a year after Beata’s death. Rebecca, once a friend of Beata, now resides at the estate, and her presence reveals the lingering shadows of tragedy. Rosmer, respected in his community, supports a reformist government, which puts him at odds with the conservative local figures. His brother-in-law, Professor Kroll, vehemently opposes Rosmer’s political stance, viewing it as a betrayal of their aristocratic roots. Kroll’s hostility intensifies when he publishes articles criticizing Rosmer and Rebecca, fueling suspicion, guilt, and internal conflict within Rosmer.
The climax occurs when Rosmer, overwhelmed by guilt and despair, proposes marriage to Rebecca. She, burdened by her own moral failings—she admits to having contributed to Beata’s despair—rejects him. Her confession reveals her complicity in the tragedy, destroying their fragile trust. In a final act of despair, Rosmer asks Rebecca to prove her devotion by committing suicide in the mill-race, as Beata did. Rebecca agrees calmly, giving instructions for her body’s recovery, and Rosmer joins her. The play concludes with their deaths, symbolizing the destructive power of guilt and the inability to reconcile with the past.
“Rosmersholm” is named after its protagonist’s namesake, echoing the Norwegian legend of Rosmer Havmand, a merman who lures a woman to her death—an allegory for the play’s themes of deadly allure and moral ambiguity. Its original title, “White Horses”, emphasizes the supernatural and ghostly elements that permeate the narrative.
Ibsen’s personal background greatly influenced the play. The themes of lost joy and societal change reflect his own experiences and observations of Norwegian society.
“Rosmersholm” remains a powerful exploration of the moral dilemmas facing individuals caught between tradition and reform. Its layered symbolism, ambiguous ending, and psychological depth continue to resonate with audiences and scholars alike. As one of Ibsen’s most subtle and profound plays, it challenges viewers to confront their own ghosts, the weight of history, and the possibilities for personal and societal renewal.
Henrik Ibsen (1828-1906) was a major Norwegian playwright largely responsible for the rise of modern realistic drama. He is often referred to as the “father of modern drama”. Ibsen is held to be the greatest of Norwegian authors and one of the most important playwrights of all time, celebrated as a national symbol by Norwegians.
He pioneered theatrical realism, but also wrote lyrical epic works. Ibsen is the most frequently performed dramatist in the world after Shakespeare, and “A Doll’s House” was the world’s most performed play in 2006.
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