Romantic remains: Ibsen's decadence, with and against Georg Lukács by Olivia Noble Gunn

“…In order to better understand what decadence can mean in the case of Ibsen, I consider Lukács’s readings of The Wild Duck and When We Dead Awaken. I then offer my own reading of When We Dead Awaken and, via that reading, my own definition of Ibsen’s decadence. …”
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Two intercultural performances: Double Nora and Resurrection Day by Mitsuya Mori

“…The first production was Double Nora, based on A Doll’s House, which premiered at a noh theatre in Tokyo in 2005, and the second was Resurrection Day, based on When We Dead Awaken, performed at the Ibsen Festival in Tokyo in 2010. …”
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Otto Brahm's Ibsen cycle at the Lessing-Theater in Berlin by Jens-Morten Hanssen

“…In 1909, an Ibsen cycle comprising all of Ibsen’s thirteen contemporary dramas, from The League of Youth to When We Dead Awaken, was presented at the Lessing-Theater in Berlin. …”
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Hedda Gabler by Roland Lysell

“… Hedda Gabler: A Woman's Will to Power Hedda Gabler (1890) is the eighth of Henrik Ibsen’s twelve social plays from The Pillars of Society (1877) to When We Dead Awaken (1899). Most critics and stage directors construe it as a play in the realist tradition and as a pièce bien faite. …”
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