ABSTRACT
The Ibsen cult, which has conquered Germany and subjugated so much of England, is beginning, it seems, to invade France. But the work of Ibsen is more radically alien to the French temperament than even the work of the Russian dramatists. The mounting of the play was simple, adequate, following closely Ibsen’s very careful stage-directions. The tragedy of Oswald is mainly a physical one, and the tragedy, so far as it was physical, was played to perfection. The production by the Theatre-Libre of the dramatic masterpiece of Ibsen has a special interest in view of the projected representation of the play in England—a project which has long been on foot, and which is now not far from accomplishment. .
