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An Enemy of the People: A New Version by Christopher Hampton (Faber Plays)

An Enemy of the People: A New Version by Christopher Hampton (Faber Plays)

by Christopher Hampton (Author), Christopher Hampton (Author), Christopher Hampton (Author), Henrik Ibsen (Contributor)

  • Used

    Paperback 1997

    $5.66

  • Used

    Paperback 1993

    $9.45

  • New

    Paperback 1997

    $11.46
Synopsis

The strongest man in the world is he who stands most alone. Dr Stockmann attempts to expose a water pollution scandal in his home town which is about to establish itself as a spa. When his brother conspires with local politicians and the newspaper to suppress the story, Stockmann appeals to a public meeting - only to be shouted down and reviled as 'an enemy of the people'. Ibsen's explosive play reveals his distrust of politicians and the blindly held beliefs of the masses. Christopher Hampton's version of Ibsen's classic was first staged at the National Theatre, London, in 1997.

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More Information

Format: Paperback
 Pages: 144
 Edition: Main
 Publisher: Henrik Ibsen and Christopher Hampton
Published: 22 Sep 1997
ISBN 10: 057119429X
ISBN 13: 9780571194292
Book Overview: An Enemy of the People by Henrik Ibsen, and translated by Christopher Hampton, is an explosive play revealing Ibsen's distrust of politicians and the blindly held beliefs of the masses.

Media Reviews
An unequivocal triumph. -- Times Literary Supplement (London)
Christopher Hampton's new version of the text is also a revelation . . . An Enemy of the People has been reborn as a passionate current debate about the value of the individual . . . The dust has been blown off the original text, and it will not settle for a long time . . . There is a vitality, vehemence and victory here against the odds. -- Spectator (London)
More than any revival of Ibsen's plays I've seen, it creates a sense of place vital to the theme . . . An Enemy of the People is little short of superb, for it gives us both a big, rich, public play and the private drama of two men locked in rivalry that probably goes back to the playpen . . . You want an unforgettable picture of the idealist at his most necessary yet impossible? Here it is. -- The Times (London)

An unequivocal triumph. Times Literary Supplement (London)

Christopher Hampton's new version of the text is also a revelation . . . An Enemy of the People has been reborn as a passionate current debate about the value of the individual . . . The dust has been blown off the original text, and it will not settle for a long time . . . There is a vitality, vehemence and victory here against the odds. Spectator (London)

More than any revival of Ibsen's plays I've seen, it creates a sense of place vital to the theme . . . An Enemy of the People is little short of superb, for it gives us both a big, rich, public play and the private drama of two men locked in rivalry that probably goes back to the playpen . . . You want an unforgettable picture of the idealist at his most necessary yet impossible? Here it is. The Times (London)


An unequivocal triumph. Times Literary Supplement (London)

Christopher Hampton's new version of the text is also a revelation . . . An Enemy of the People has been reborn as a passionate current debate about the value of the individual . . . The dust has been blown off the original text, and it will not settle for a long time . . . There is a vitality, vehemence and victory here against the odds. Spectator (London)

More than any revival of Ibsen's plays I've seen, it creates a sense of place vital to the theme . . . An Enemy of the People is little short of superb, for it gives us both a big, rich, public play and the private drama of two men locked in rivalry that probably goes back to the playpen . . . You want an unforgettable picture of the idealist at his most necessary yet impossible? Here it is. The Times (London)


An unequivocal triumph. --Times Literary Supplement (London)

Christopher Hampton's new version of the text is also a revelation . . . An Enemy of the People has been reborn as a passionate current debate about the value of the individual . . . The dust has been blown off the original text, and it will not settle for a long time . . . There is a vitality, vehemence and victory here against the odds. --Spectator (London)

More than any revival of Ibsen's plays I've seen, it creates a sense of place vital to the theme . . . An Enemy of the People is little short of superb, for it gives us both a big, rich, public play and the private drama of two men locked in rivalry that probably goes back to the playpen . . . You want an unforgettable picture of the idealist at his most necessary yet impossible? Here it is. --The Times (London)

Author Bio
Henrik Ibsen (1828-1906), Norwegian poet and playwright, was one of the shapers of modern theatre, who tempered naturalism with an understanding of social responsibility and individual psychology. His earliest major plays, Brand (1866) and Peer Gynt (1867), were large-scale verse dramas, but with Pillars of the Community (1877) he began to explore contemporary issues. There followed A Doll's House (1879), Ghosts (1881) and An Enemy of the People (1882). A richer understanding of the complexity of human impulses marks such later works as The Wild Duck (1885), Rosmersholm (1886), Hedda Gabler (1890) and The Master Builder (1892), while the imminence of mortality overshadows his last great plays, John Gabriel Borkman (1896) and When We Dead Awaken (1899). Christopher Hampton was born in the Azores in 1946. He wrote his first play, When Did You Last See My Mother? at the age of eighteen. Since then, his plays have included The Philanthropist, Savages, Tales from Hollywood, Les Liaisons Dangereuses, White Chameleon, The Talking Cure and Appomattox. He has translated plays by Ibsen, Moliere, von Horvath, Chekhov, Florian Zeller (including The Father), Daniel Kehlman and Yasmina Reza (including Art and Life x 3). Musicals include Sunset Boulevard and Stephen Ward, both with Andrew Lloyd Webber and Don Black. His television work includes adaptations of The History Man and Hotel du Lac. His screenplays include The Honorary Consul, The Good Father, Dangerous Liaisons, Mary Reilly, Total Eclipse, The Quiet American, Carrington, The Secret Agent and Imagining Argentina, the last three of which he also directed, and A Dangerous Method, based on his play The Talking Cure. Appomattox was first presented on the McGuire Proscenium Stage of the Guthrie Theater, Minneapolis, USA, in September 2012 as the centrepiece of a major retrospective of his plays and films. It was subsequently turned into an opera by Philip Glass and premiered at the Kennedy Center, Washington in November 2014., Christopher Hampton wrote his first play When Did You Last See My Mother? at the age of eighteen. Later plays include The Philanthropist, Savages, Tales from Hollywood, Les Liaisons Dangereuses, White Chameleon, The Talking Cure and Appomattox; and numerous translations. Musicals include Sunset Boulevard and Stephen Ward. TV and film: The History Man, Hotel du Lac, The Honorary Consul, The Good Father, Dangerous Liaisons, Mary Reilly, Total Eclipse, The Quiet American, A Dangerous Method, Carrington, The Secret Agent and Imagining Argentina, the last three of which he also directed.