After Peer Gynt, Ghosts and Brand, Stéphane Braunschweig continues his examination of the work of Ibsen by staging simultaneously A Doll’s House and Rosmersholm. What do the rigorist house of pastor Rosmer, where the dead come to haunt the living with their reproaches, and Nora’s house, in which a successful plan for family happiness seems to be playing out, have in common? Among other things, the way the characters are forced to an urgent, decisive and radical choice: the passage that opens before them – the hope for a new life, outside a world of conventions – contains a significant part of destruction. This radicalism slowly rises in A Doll’s house in a totally unexpected way when it imposes itself from the very beginning in Rosmersholm, politically and intimately, as the only way to reach happiness. Cast into the void, deprived of the values they had build their life on, Ibsen’s characters must make another path up, and inexorably work their way through to their own rebirth, whatever the cost.

by Henrik Ibsen
french translation from Norwegian Éloi Recoing
director and set designer Stéphane Braunschweig
costumes Thibault Vancraenenbroeck
lighting Marion Hewlett
sound Xavier Jacquot
co-set design Alexandre de Dardel
artistic collaboration Anne-Françoise Benhamou
assistant director Caroline Guiela
with Christophe Brault, Bénédicte Cerutti, Claude Duparfait, Maud Le Grevellec, Annie Mercier, Marc Susini, Jean-Marie Winling

La Colline – théâtre national / Paris