Hedda Gabler Form and Structure

‘Well Made Play’

Hedda Gabler has certain characteristics that are easily associated with
the 19th Century structure of the ‘Well Made Play.’

A well made play is defined by certain elements:

 The play involves a secret, which is essential in the plot (for

example, Hedda’s possible pregnancy)
 Exposition (when the audience is informed of background
information, by the use of dialogue between the characters or
action, for example with the opening dialogue between Berta and
Aunt Julia)
 The audience discovers the secret (or has a very good idea of what
it could be, for example, Hedda’s Pregnancy is implied)
 The characters try to find out the secret by use of questions and
answer sessions (dramatic irony for the audience as they know the
secret, this adds to the tension)
 Secret is revealed to characters
 Denouncement (resolution, very usually a happy ending, unlike in
Hedda Gabler)
 Plays usually set in the same place throughout, with a
chronological time span (with Hedda Gabler being set in the house
throughout)
 A Hero character, with flaws in their character, reaches their
demise during the play (As Hedda Gabler)

However, Ibsen does not follow exact outline. He uses a variation of his
own:

 No happy ending
 Combined with elements of Tragic Greek Theatre
 Far less farcical

Ibsen almost uses his own structure to mock the structure of the ‘Well
Made Pay’. He disliked the farcical nature of these plays, and that would
not be appropriate for the serious sub-texts present in Hedda Gabler.
Ibsen was interested in social realism of characters, and wanted to show
what they were thinking in the most realistic way possible.

Greek Tragedy
The Greek Tragic structure encompasses many features, some of which
can be found in Hedda Gabler:

 There is a tragic protagonist, who brings misfortune on themselves

 There is normally a horrific ending
 Dramatic Irony is used
 The play follows a set structure (in Hedda Gabler’s case a 4 act
play)
 The plot remains chronological (As in Hedda Gabler)

However, unlike virtually all Greek Tragedies, the plot isn’t based on a
religious story. It could be argued however that characters such as Tesman
take the roles of the Gods while Brack takes the role of the devil
character. Brack’s obvious connotations with evil, with him chasing an
affair with Hedda and using blackmail against her qualify him for this,
while Tesman’s generous and pure character qualify him as a God.
Hedda would play the role of the mortal attempting to increase her power
to immortal form, a very common story found in Greek Theatre, and as is
common place in productions of this kind, her arrogance eventually
becomes her demise.

The term ‘Problem Plays’ is also well associated with Ibsen, a form of
theatre with which he is well known for.

Hedda Gabler follows the main principles of the ‘Problem Play’, with
social issues being shown to the audience by the use of the characters on
stage. In Hedda Gabler’s case, the social issue is woman’s oppression,
with Hedda being forced to stay at home.

Another feature of the ‘Problem Play’ form is that it is in a realistic

context. In the case of Hedda Gabler this is true, having a very believable
setting of a loveless marriage, along with the social norms and values that
were around at the period the play is set in. This realism helps to convey
the messages that Ibsen wants, in this case, women’s oppression.
 Use of language

Ibsen’s aim with Hedda Gabler was to make the dialogue as realistic as
possible, by the use of very naturalistic language and words suited to the
period and the characters. For example, Berta uses more simplistic
language than Hedda, who uses quite sophisticated and polite language,
as would be expected of her at the time.

References to Greek Theatre

There are references to Greek Theatre in the language itself as well as in

Hedda Gabler’s form and structure. The are mentions in the text of ‘Vine
leaves’ in Eilert Lovburg’s hair. This is a reference to Dionysus, the Greek
God of sex and intoxication. The reference to the Gods has large
connotations with the idea of Greek Tragedy plots, and the mortal and
immortal characters. In this case, the vine leaves are there to represent
Lovburg’s alcoholism, which is a point of focus for Hedda’s manipulation
of him.

Repetition

There is a lot of repetition throughout Hedda Gabler. Repetition of

phrases such as ‘Vine leaves in his hair’ emphasise the comparison with
Greek Theatre, and also Hedda’s manipulation of Mrs Elvested and
Lovburg.

There is also heavy repetition of the word ‘trust’. This is an underlying

theme throughout the play, and is repeated heavily by Hedda, Lovburg
and Brack. This is ironic, as all three intend to have an affair behind
Tesman’s back. Furthermore, Hedda’s lack of honesty adds to the irony
even more so.

Tesman also uses a lot of repetition. This is to represent how boring and
predictable he is. Especially compared to Lovburg, Tesman is shown to
be passive and unexciting. This is portrayed best through the vast
differences in their books (domestic crafts in the 14th century, compared
to a book about the future).

Tesman also repeats phrases used by Hedda. This portrays how she has
very considerable influence and power over him, and how Tesman may
be worried as to what Hedda thinks about what he says. It shows a lack of
confidence in his character, and lack of imagination.
Imagery

There are large amounts of imagery used in Hedda Gabler, particularly

during scenes with Brack and Hedda. The best example of this is the train
metaphor in Act Two. The train journey is used to represent their lives,
and getting out and ‘stretching one’s legs’ refers to the affair which both
seem to want to have.

The fact that they are using this metaphor is fitting to the time. To discuss
matters such as adultery would have been completely outrageous. By
hiding the fact they are doing this by the use of a metaphor, they can
consider an affair without breaking the social codes.

Tension

There is a lot of tension involved in Hedda Gabler. This is most evident

when Hedda’s secret is becoming unravelled. Brack uses short, sharp
interrogating questions to gain information from Hedda. She replies with
short sentences which in turn builds tension. This also adds to the
dramatic irony of the scene, as the audience know what Brack is
attempting to confirm.

Stichomythia

This is particularly apparent when Brack and Hedda speak about the
‘train’. They constantly finish each others sentences and treads of
thought. This is a way they can show each other that they agree without
having to openly say it, and risk rejection and breaking moral codes.

It also shows how well they understand each other, and the other’s
situation. It also implies that Brack has the ability to manipulate Hedda;
however, this doesn’t become fully evident until Act 4, where the
language is of a complete contrast.
 Social and Historical Context

Ibsen was born in 1828, in a small port town in Norway into a reasonably
financially comfortable family. He was the descendant of some major
Norwegian families, and his early education was very privileged.
However, his family’s business took a turn for the worse and he suffered a
spell of poverty. This is the reason why many financial issues are
confronted in his plays, for example, in Hedda Gabler; Tesman is
struggling to get his professorship in order to support Hedda and the
house. During his family’s depression he grew a doubt over how society
worked, and wanted to break out of it. These ideas of freedom can be
seen in Hedda Gabler, with Hedda being trapped in a loveless marriage.

Ibsen also relates the play to a marked change in society in the 19th
century, with the apparent beginning of feminism. Ibsen had a definite
interest in feminism, and the issues related to it such as women’s
oppression. This is evident is some of his other works such as ‘The Dolls
House’. In the case of Hedda Gabler, the framework of the ‘Problem
Play’ is used to convey the social issue of feminism, with Hedda being
trapped in the house, and unable to take a position in society.

The characters in the play are consistent with the stereotypical ones of the
period. Women were expected to get married and stay at home, being
seen as fragile and unintelligent. Of course, Hedda is neither of things,
thus emphasising Ibsen’s point of female oppression in the 19th century.
The idea that women were supposed to have children early in a marriage
is also discussed, with Hedda’s possible pregnancy. The male role was
expected to be dominance over the woman, and to be the ‘bread winner’.
Tesman breaks this stereotype too, by having to be reliant on Hedda to get
his professorship and it being made obvious that Hedda is the more
powerful one in the relationship. This adds irony, because despite Hedda
being more dominant, she is still made to stay at home.

To a modern audience, the play may be interpreted differently, due to the

stereotypes and social issues being present at the time no longer being so
pungent. With the advent of things such as ‘house husbands’, women’s
oppression is no longer as much of an issue as it was a century ago. In a
class activity, we discussed how it would be possible to address this issue:

 The instance in which Hedda feels trapped could be changed.

Possibly, Hedda could be trapped in an abusive relationship, which
 occurs more often today or perhaps in a forced marriage from a
different culture (for example, the Asian community)
 How the actors flirt could also be brought up to modern day. More
outrageous flirting could be used in sections of the script, for
example, between Brack and Hedda when Tesman leaves the room.

These alterations represent change in our society since then, and would
possibly give the play more impact than with social themes tailored to
suit a 19th century audience.

Ibsen’s move later on in his career to the more personal and physiological
side of presenting his ideas is evident in Hedda Gabler. In his earlier
works, Ibsen uses far more stereotypical characters, and focuses mainly
on their social context. However, as can be seen in Hedda Gabler, he
began to focus more on the characters interactions with one another and
mind games that are played. This is most evident with Hedda herself,
whose thoughts and physiological state are of interest to the audience all
the way through, and help Ibsen to transmit his ideas and themes of
female oppression.