The Ibsen Stage Company currently works both in the UK and Scandinavia and develops work in partnerships with other production companies, arts festivals og creative artists.
In 2010 - 2012 Ibsen Stage Company's artistic director, Terje J Tveit, staged Pergolesi's La Serva Padrona, Mozart's Bastien & Bastienne and Notes on a Requiem with actor Svein Tindberg of The Norwegian National Theatre (Det Norske Teatret) in association with Vestfold International Festival. In 2017 - 2022 co-produced Epistle 540: Holberg's Opera, A Promemoria and The Happy Prince with Larvik Barokk Festival. Ibsen Stage Company is currently developing Romeo, Guilio, Gulia and Juliet based on Shakespeare's Romeo and Juliet in partnership with Larvik Barokk Festival. In September 2023 the same festival will revive Notes on a Requiem co-produced by Early Voices and Ibsen Stage Company.
Ibsen Stage Company has also a hosted numerous Ibsen seminars in the UK featuring leading British and European Ibsen scholars, theatre practitioners, translators, art critics and theatre producers from the UK, Italy, Sweden and Norway.
"It may be that in 2003 Ibsen’s intentions in Little Eyolf can be more faithfully re-created in the theatre by non-naturalistic staging. This was forcibly brought home to me earlier this year by Ibsen Stage Company […] Ibsen’s text was all there, in a faithful translation into English by Terje Tveit, who had also directed; but the set was bare but for a few permanent props: a suitcase out of which spilled the blank leaves of Alfred Allmers’ unwritten book on Human Responsibility; a bench on which characters confronted each other; a flagpole round which they moved, their body language suggesting at times the same despair as those sentences which have nowhere to go but a dash, at other times a glimmer of purpose and hope. The actor who played Little Eyolf was an adult, and so attracted none of the extra-textual sympathy usually given to the child actor as such. Taller than any other member of the cast, six foot and more, he spoke the child’s lines through the crutch he held up. Less important in his own right than as an object of displacement and guilt, he stayed on stage (as did the Rat Wife) throughout the three Acts, a personified conscience. And the ending left us powerfully torn between believing and not believing that Rita and Allmers had a future other than emptiness and death. Here was a creative translation which had started from a faithful reading of Ibsen’s signs and had gone on to ask how these signs could be made to speak to a contemporary audience. And by ‘speak to’ here I don‘t mean suspend disbelief, but move, alert, harrow, disturb. That is, activate what James called ‘the hard compulsion’ of Ibsen’s art."
Through a Looking Glass: Little Eyolf
Professor Gunilla Anderman, University of Surrey
Professor Laura Caretti, University of Siena, Italy
Professor Janes Garton, University of East Anglia
Professor Frode Helland, University of Oslo, Norway
Associate Professor Anne-Marie Rekdal, University of Volda, Norway
Dr. Marie Wells, University College London
Ibsen from Page to Stage
Professor Laura Caretti, University of Siena, Italy
Ba Clemetsen, Nationaltheatret, Norway
Stephen Unwin, Artistic Director, English Touring Company, Rose Theatre Kingston
Dr. Marie Wells, University College London
Scandinavian Gloom – Or is There Room for Something New?
Paul Taylor, Critic, The Independent
Paul Binding, Author, Critic and Cultural Historian
Dr. Marie Wells, University College London
Adapting Ibsen – Betrayal or Reinvention?
Professor Laura Caretti, University of Siena, Italy
Deborah Dawkin, Penguin Classics
Rebecca Manson, Artistic Director, Just Jones &
Dr. Marie Wells, University College London
Disturbing Hedda – Connecting Conversation
Phil Stokoe, Psycoanalyst
– in converstaion with Kaja Bjørntvedt and Terje J Tveit
