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Summary AQA Drama Level - Hedda Gabler revision

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Hedda Gabler

Institution
AQA

Includes generic essay intro; detailed character breakdowns; scene breakdowns; quotes / sections I'd choose to talk about in an essay for each character or theme; and my example essays. I used these for my Drama A-level in 2023 to get an A*.

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Uploaded on July 20, 2024
Number of pages 20
Written in 2023/2024
Type Summary

Study Level A/AS Level
Examinator AQA
Subject Drama
Unit Hedda Gabler

bellacs Member since 2 year 18 documents sold

GENERAL INTRO:

Ibsen's naturalistic (Ibsen was a founder of realism in theatre) and tragicomedy/modern tragedy,
'Hedda Gabler', was written in and takes place in 1890, at the Tesman's villa in Norway, Christiania, in
the fashionable quarter of town. It follows 29 year old Hedda Gabler who is confined by patriarchal
society - stuck in a loveless marriage and pregnant.

+ character / casting & costume / general voice, gait or mannerism
The actors would use a naturalistic style. If this performance was performed untranslated I would use
a Norwegian accent. However, as it's performed in English I would use received pronunciation
(standard English accent) and slower pace for the upper class characters of Hedda, Brack and Eilert,
or a fast pace and an English rural/cockney accent to reflect more middle bourgeois characters such
as George, Aunt Julianna and Thea.

CHARACTER INTRO/FACTS:

HEDDA = Twenty nine year old Hedda Tesman (nee Gabler) is the eponymous protagonist, and is
known as the "female Hamlet". Due to her father, General Gabler, Hedda has no profession and is of
a higher, aristocratic social status with a 'distinguished, aristocratic face and figure'. Ibsen implies she
has had something in the past with both Judge Brack, who also enjoys meddling in people's lives, and
Eilert Loevborg, whom she is attracted to his wildness. Hence, I would cast an actress in their late
twenties with 'red hair' as EIlert Loevborg also had a relationship with the red haired prostitute
Mademoiselle Diana which makes Hedda jealous, and to contrast Thea. However, in the play she has
just returned from her honeymoon with her husband George Tesman who she is unhappily pregnant
with - reinforced by her 'elegant, somewhat loose-fitting morning gown' to physically try and hide it.
Though she does not seem to reciprocate his love unless being performative for personal gain. This
emphasises Ibsen's "intention in [calling her Hedda Gabler rather than Tesman]… to indicate that
Hedda, as a personality, is to be regarded rather as her father's daughter than as her husband's wife".
Overall, she is unfulfilled and restrained in 19th century patriarchal society as she is expected to stay
submissive to her husband, be a mother, and stay at home - causing her to be dishonest, try and
control others' lives, and gain power over them. Like Nora Helmer in Ibsen's other modern tragedy, 'A
Doll's House', their desperation to escape results in almost mental insanity and drastic and
non-socially acceptable actions for freedom - for Norma this is leaving her family and home, and for
Hedda it is to commit suicide.

BRACK = The clever forty five year old Brack is a friend of the Tesman's and a Judge in Christiana,
which is ironic as he abuses his power and is not moral even though he works in the justice system.
Although age gaps were more common in 19th century relationships, the gap between him and the
twenty nine year old Hedda and the amount of time he spends with her alone is more scandalous and
not as socially accepted. I would cast a man in his late forties to early fifties to dramatise this further
and he would use a low pitched, loud volume voice to show his authority and arrogant confidence (as
he sees himself as the "cock on the dunghill"). Like how he tries to control others, he tries to control
his ageing and appearance which he is vain about, with 'carefully barbered [hair]' and 'wearing
outdoor clothes which are elegant but a little too youthful for him'. He wears a 'monocle on one eye",
which unlike Geogre whose habitual mannerisms would be to frequently adjust his spectacles, Brack
would not touch his. Ibsen shows how he desires to have a sexual relationship with Hedda,
emphasised at the end by him blackmailing her to be his mistress. Him and Hedda are arguably quite
similar, both are of an aristocratic class with an 'aristocratic profile', meddle in others personal affairs,
are selfish, witty, and mock George behind his back. However, ultimately his manipulation is more
successful than Hedda's attempt for power over him - resulting in Hedda's demise as he traps her into
either staying with him or killing herself for freedom.

THEA = Thea Elvsted, who is in her mid twenties being 'two or three years younger than Hedda', has
left her husband Mr Elvsted. She comes to the Tesman's as she cares about and is anxious and
concerned for Eilert, whom she helped with his manuscript and is in love with. Thea is an "old flame"
of George's and went to school with Hedda although she was "terribly frightened" of her and timid in
her presence - reinforced by her high pitched, quiet volume and whispered tone voice.. She is used by

,Ibsen to completely contrast Hedda. She physically is conventionally attractive: 'delicately built… eyes
are light blue… abundant [hair]', so I would cast a woman in their early twenties with blonde hair to
play her - contrasting Hedda's red hair. Unlike Hedda who is higher class and has no job, Thea is of a
lower class background - as reflected by her clothing that '[is] not quite in the latest fashion' and her
job as a Governess. Likewise, unlike Hedda she is able to leave her husband as she does not care
about society and scandal. Therefore, while on the surface she seems weak and easily manipulated
by Hedda, at core she is strong and represents the freedom Hedda wants but cannot get.

GEORGE = Thirty three year old orphan, George Tesman, is a research graduate in cultural history
and is writing a book about 'The domestic industries of Brabant in the Middle Ages. He is married to
Hedda Gabler. Although he is in awe of and devoted to her, their marriage appears unstable as they
seem incompatible - foreshadowing how her suicide will tear them apart at the end. He contrasts Eilert
and Brack with whom it is implied Hedda previously had relationships physically (so I would cast
someone with a shorter height, 'youthful appearance, rather plump'), by personality, and class. Unlike
these characters who are of a higher social class, he and his Aunt Juliana are part of the middle
bourgeois class, hence he is desperate for the job as Professor as Hedda's expensive taste is
threatening their stability. Likewise, his personality starkly contrasts Hedda. He is sentimental over
small things like his childhood slippers, very close and dependent on his family of Auntie Juju and
Rena, and so unselfish that he puts his work on hold for Eilert's. This makes him appear more
compatible with Thea, his old flame, who he starts working with at the end. Overall, Ibsen uses him as
a somewhat comic character. He is so comically naive - such as being unaware of Hedda's
pregnancy, calling Thea the wrong surname repetitively, or not being able to match Hedda or Brack's
wit. Likewise, his voice would be very lively, his irritating habitual mannerisms of the repetitive phrases
"What?" and "By Jove", and the action of pushing his 'spectacles' up would all add to this. This
garners sympathy from the audience, especially due to Hedda and Brack's treatment of him, and he
remains loyal and devoted to Hedda (and the other characters) throughout despite this.

EILERT = Thirty three year old Eilert Loevborg provides an escape (although it can never be acted
upon fully) for Hedda, as he was a wild and exciting man who she idealises as having "vine leaves
in… [his] hair" and once had a relationship with years back. While he was born into a higher class
family (and still dresses this way: 'in an elegant and fairly new black suit, and carries black gloves and
a top-hat', which would make him walk with a straight posture), his self-destructive behaviours as an
alcoholic and frequenting brothels ruined her social standing in their strict moralist society. His
recurring habitual mannerism of trembling, voice of a low pitch and slow volume, and casting of a man
with a beard who 'looks older [than George] and somewhat haggard' would reinforce the effects of his
behaviour and how he is in recovery. Yet, at the start of the play he has reformed - now governing the
children Thea taught, her love interest competition for George Tesman's professorship and has written
a promising manuscript. However, ultimately although he tries to suppress his more wild, true, past
personality in the first section, elements of it come to fruition and by the end he fully reverts back to
his old ways - drinking again, lying to Thea that he burnt the manuscript and having a fight in the
brothel where he gets shot and killed. This is reflected by the power struggle in his relationships - not
listening to Thea and being weak to Hedda's power by the end, which causes his demise.

AUNTIE JUJU = Aunt Julianna, or affectionately called Auntie Juju by George and Bertha, is George
Tesman's Aunt. Although she was more like a parent to George who is an orphan, resulting in her
coming off as bossy, interfering and annoying. As well, she over coddles and infantilizes George -
which I would emphasise by using a baby voice when talking to him, with a soft tone, high pitch and
exaggerated intonation - which infuriates Hedda who is much more serious and independent. As she
is sixty five I would cast an older woman, and as she is of the middle bourgeois class she would be
'simply dressed in grey outdoor clothes'. While she used to be Bertha's boss, she now has no
occupation apart from being Aunt Rena's carer and supports George financially, using her trust fund to
secure their house. Hence, she admires and unsuccessfully tries to impress the higher class Hedda,
such as through wearing a new 'hat' and 'parasol' which Hedda knowingly insults as being the maids
as she doesn't like her. Ultimately, Aunt Juliana reinforces the patriarchal society that stifles Hedda
and represents everything she is against - she is a stay at home woman and desires nothing more
than Hedda to have a baby with George.

, SCENE BREAKDOWN
ACT 1
● Auntie Juju & Bertha discuss George and Hedda
● Auntie Juju & George discuss his relationship
● Auntie Juju, George & Hedda, where Hedda insults Auntie Juju's hat
● Mrs Elvsted joins George & Hedda and tells them about leaving her husband, Hedda privately
encourages her to tell her more about her relationship with Loevborg
● Brack comes and lets George & Hedda know about how Eilert is now and him competing for
professorship

ACT 2
● Brack advances on Hedda in private, at the start she seems to reject it but by the end she is
warming up to it before George enters and interrupts. They both have inside jokes and mock
George when he speaks.
● Eilert enters a new man, seeing George and Hedda after years. In private with Hedda he tries
to get her to confess her love.
● Hedda, Eilert & Thea talk together and by the end Hedda convinces him of Thea's distrust
and to drink alcohol, before he leaves for Brack's party with George

ACT 3
● Thea struggled to sleep waiting for news on Eilert. George tells Hedda how drunk Eilert got
and how he picked up his manuscript from the road but hasn't given it back yet
● Brack then tells Hedda in more crude detail that Eilert went to a brothel and accused
Mademoiselle Danielle of stealing his manuscript
● Eilert lies to Thea that he burnt the manuscript, and tells Hedda how he wants to end it
prompting her to give him the pistol he kills himself with
● Hedda tells George she burnt the manuscript and lies saying it was to help him
● Brack tells George, Thea & Hedda that Eilert killed himself in a romantic way, but privately to
Hedda he tells her the truth that it was in a brothel. He also knows it was her pistol so
blackmails her to become his mistress
● Thea & George decide to try and re do Eilert's manuscript, don't need Hedda
● Hedda kills herself in the rear room

CHOSEN SECTIONS:

HEDDA = changeable mood
- Act 1
- Act 2
- Act 3
- Act 4
JUJU:
- (holds out her hand) Good morning, dear Miss Tesman. What an early hour to call. So kind
of you. - passive aggressive
- Oh, them. I remember you kept talking about them [slippers] on our honeymoon…
- (points) Look at that! She's left her old hat lying on the chair

GEORGE:
- (motionless in her armchair) How exciting, Tesman. It'll be a kind of duel, by Jove - not how
she talks, mocks Tesman for Brack's amusement
- You agreed that we should enter society. And keep an open house. That was the bargain.
- My pistols, George darling
- I did it for your sake, George
- I'm going to have - No, no - you'd better ask your Aunty Juju. She'll tell you
- Can't I be of use to you two in any way?

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