IBSEN IN SKIEN HENRIK IBSEN SKIEN NORWAY
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IBSEN IN SKIENHENRIK IBSEN SKIEN NORWAY
4 The Stockmann Building
6 The Altenburg Building
9 The Ibsen Park
10 Festiviteten, Skien’s cultural centre
11 Teater Ibsen
13 The Ibsen House
14 The Rat-Wife
16 The Artists’ Gift
17 Burial places of the Ibsen family
18 The Ibsen Steps
20 Snipetorp
22 Henrik Ibsen’s legacy today
24 Venstøp – the Henrik Ibsen Museum
27 Map
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Henrik Ibsen is one of the world’s most-performed playwrights. He was born in Skien on 20 March 1828 to
Knud and Marichen Ibsen, and spent his entire childhood here. At the time, Skien was a lively
trading town with a population of 3000. Both of Henrik Ibsen’s parents came from patrician
families belonging to the town’s mercantile elite. A big fire in 1886 left the town centre in ruins,
and the Skien that had made such an impression on Henrik Ibsen as a child was lost.
Today, Skien has over 53,000 inhabitants and is a vibrant cultural and commercial city. The
only surviving built environment from Henrik Ibsen’s time is found in the Snipetorp district. His
childhood home at Venstøp, a few kilometres north of the city, is now a museum. Traces of his
young days in Skien can be found in many of Ibsen’s works. And traces of Ibsen can be found all
over the city.
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4
The Stockmann Building
Henrik Ibsen was born in the Stockmann Building in 1828 and lived here until 1831.
Henrik Ibsen’s father, Knud Ibsen, opened a shop in the Stockmann Building in
1825, selling all manner of wares. He imported goods from far-off lands: grape
brandy, white and red wine from Bordeaux; cotton fabrics, woollen goods and yarn
from London; and linen from Altona in northern Germany. He also sold glassware,
combs made from ivory and horn, brass objects, mirrors, lace, pencils, optical
instruments and silk.
The original Stockmann Building, which stood by the present-day market place,
was lost in the big fire of 1886.
ome years ago, when the streets of Skien, the town of my birth, were given their names – or perhaps they were simply renamed – the
honor was bestowed upon me of a street bearing my name. This is at least what the newspapers tell me, and I have been made party to
From Henrik Ibsen’s unfinished autobiography “From Skien to Rome”. January 17th 1881:
S
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The Stockmann Building, Telemark Museum picture collection
the same information by reliable travellers. According to their description, this street supposedly runs from the town square down towards the
harbor, or “Muddringen”. But if their particulars are true, it is beyond me why the street in question has come to be named after me, as I was
not born on that street, nor have I ever lived there. I was, on the other hand, born in a building on the square, the Stockmann building […].
The building sat directly opposite the front of the church, with its tall steps and considerable steeple. To the right of the church the town
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The Altenburg Building
In 1831, the Ibsen family moved to the elegant Altenburg Building, the childhood
home of Marichen Ibsen. Here, the Ibsens hosted grand parties attended by other
affluent families. The guests arrived by horse and carriage, dressed in their finest
clothes, and were served the most exquisite food and drink, waited on by the fam-
ily’s servants. The guests and their hosts sat at beautifully decorated tables, where
they made speeches, smoked cigars and toasted one another with champagne.
Almost the entire family fortune was lost in 1835. The Altenburg Building and all
its contents were auctioned off, and the family had to move to their country home,
Venstøp, five kilometres outside the town.
The original Altenburg Building was also lost in the big fire of 1886.
pillory was located, and to the left was the police station, with jail cells and the “fool’s chest” (“Dårekisten”) – the madhouse. The fourth
side of the square was occupied by The Latin School and The Citizens School. The church stood freely in the middle. And so this scene was
my first view of the world […]; all architecture; no greenery; no rural countryside. But above this square space of stone and wood the air
hummed, all the day long, with a dim, churning rush from the waterfalls Langefos and Klosterfossen and the many other plummeting
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The Altenburg Building (left). Telemark Museum picture collection
waters, and from morning and well into the evening something pierced the roar of the rushing water, something resembling sharp, sometimes
shrieking, some times moaning, women screaming. It was the one hundred saw blades, full at work by the falls. When later in life I read
about the guillotine, those saw blades returned to my thoughts. Needless to say, the church was the most splendid edifice in town. Back when
Skien was set on fire one Christmas Eve towards the end of the previous century, due to the carelessness of a housemaid, the church of that
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The Ibsen Park, 20 March 1928.Telemark Museum picture collection
day also burned down. The housemaid was, as was to be expected, executed. But the town, which was rebuilt with straight and wide streets
on the hills and hollows in which it resides, was gifted with a new church, one that the citizens with a measure of pride claimed was built out
of yellow Dutch clinker, constructed by a master builder from Copenhagen, and was the mirror image of the church in Kongsberg. At the
time I did not sufficiently appreciate these merits; however, what forcefully caught my attention was a white, large, hugely proportioned
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The Ibsen Park
This town-centre park was laid out after the fire of 1886. On the
occasion of Henrik Ibsen’s 70th birthday in 1898, it was named
‘Henrik Ibsens Plass’ – Henrik Ibsen Square – and today goes by the
name ‘Ibsenparken’, the Ibsen Park.
There are several sculptures in the park
Henrik Ibsen 1828–1906 by Dyre Vaa
Bukkerittet [The Buck Ride] by Svein Tore Kleppan
Hedvig og Vildanden, Eyolf og Mopsemann [Hedvig and the Wild
Duck, Eyolf and Mopsemann] by Svein Tore Kleppan
“Good Lord, what can we possibly do better than play in this blessed world?”
Little EyolfPhoto: Tom Riis
angel that on most days hovered high underneath the vaulting with a bowl in its hands, though every Sunday when a child was to be
baptized, it came floating down amongst us. But more than the white angel inside the church, I was preoccupied with the black poodle that
had its abode in the very top of the tower, where the watchman called at night. It had eyes like glowing red embers, but did not show itself
frequently. To my knowledge it appeared only once. It was on New Years Eve, just as the watchman called One out of the window at the front
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Festiviteten
Festiviteten opened on 20 March 1891 as a cultural venue for the town. Henrik
Ibsen was invited to the grand opening but was unfortunately unable to attend. He
mentions the event in a letter to his sister:
“Oh, how I wish I could have been present for this occasion. Out of those I knew as a child, I suspect few would be there. I would have been surrounded by what to me would be an unfamiliar kin. But perhaps not as unfamiliar as all that; through all my years of absence I have felt as if I still belonged in the town of my birth.”
The building contained a large auditorium, a restaurant and smaller meeting rooms, as well as baths and steam baths. During the Second World War, Festiviteten was appropriated by the Nazis and renamed Hird-Huset after the paramilitary wing of Nasjonal Samling, a fascist party active at that time. From 1986 to 2010, Festiviteten was home to the regional theatre, Teater Ibsen. The building is now a privately owned events venue, and the main hall is once again a banqueting hall.
Photo: Telemark Museum picture collection
of the tower. That was when the black poodle came up the tower steps behind him and just stared at him with those glowing eyes, nothing
else, but the watchman plummeted from the tower window to the square below, where they found him lying dead, all those devout parishio-
ners walking to morning service on New Years Day. Ever since that night the watchman never called One through that particular window in
Skien church. However, this incident with the watchman and the poodle took place long before my time, and I have later been told that in
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Teater Ibsen
Teater Ibsen, the regional theatre for the counties of
Telemark and Vestfold, is based at Klosterøya in Skien.
Teater Ibsen stages productions for children and adults,
and aims to develop new works in all formats. It serves
as the city theatre for Skien, and also takes productions
on tour around Telemark and Vestfold.
Each year, Teater Ibsen awards international Ibsen
Scholarships and organises the annual Ibsen
Conference.
From John Gabriel Borkman, Teater Ibsen. Photo: Per Maning
the olden days similar episodes took place in a number of Norwegian churches. But back when I was a child that same tower window was
particularly notable in that it was from that very window I received my very first conscious and lasting impression. It so happened that one
day my nanny […] let me sit in the open window, secured from behind, of course, by her loyal arms. I can clearly recall how vividly I could
look down at the crowns of people’s hats; I could see into our own sitting rooms, could see the window sills, see the curtains, could see my
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Photo: Dag Jenssen
mother standing by one of the windows down there; yes, I could even see our brown horse tied by the stable door, lashing its tail. I remember
a shiny sheet metal bucket hanging on the stable wall. But then there was running and throng ing and waving down there in the door to our
house, and the maid rapidly pulled me inside and hurried down the steps with me. I do not recall the rest, but on many occasions hence the
story was told that my mother had caught a glimpse of me up there in the tower window, that she had screamed, that she had fainted, which
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The Ibsen House
The Ibsen House was formally opened in 1973 and is the city’s cultural centre,
offering a varied programme of events through much of the year. Sculptures of
both Ibsen himself and characters from his plays can be found in and around the
house. Skien Library is located in the same building, and is home to one of Norway’s
largest Ibsen collections, comprising more than 700 titles – Ibsen’s own works as well as a
wide variety of literature on his life and work.
The sculptures
Nina Sundby: Nora, bronze sculpture on pedestal
Nina Sundby: Henrik Ibsen, bronze sculpture on pedestal
Jo Visdal: Henrik Ibsen, bronze bust on pedestal
Nina Sundby: Mor Aase og Peer Gynt [Mother Aase and Peer Gynt], bronze sculpture on pedestal
was the custom in those days, and that she afterwards, when I was returned to her, had cried and kissed and stroked me. After that day, as a
boy I never crossed the square without glancing at the tower window. It seemed to me that window espec i ally concerned the church poodle
and myself. I have only retained a single additional memory of my earliest years. As a baptism gift I had […] received a large silver coin
with an engraving of a man’s head. The man had a high forehead, a prominent hooknose and a pro truding lower lip; and moreover, his
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The Rat-Wife
Rottejomfruen by Marit Benthe Norheim and 2318 pupils from Skien schools was
unveiled on 20 March 2006. The concrete sculpture is decorated with porcelain
eyes made by the pupils.
Eyolf: Auntie, isn’t it strange that she should be called the Rat-Wife?
Asta: Oh, people just call her that because she wanders around the country driving away all the rats.
Allmers: I have heard that her real name is Varg.
Eyolf: Varg! That means ‘wolf’, doesn’t it?
Allmers: So you know that, do you?
Eyolf: Then perhaps it may be true, after all, that she is a werewolf at night. Do you believe that, Papa?
Little Eyolf, 1894
Photo: Dag Jenssen
throat was naked, which I thought curious. My nanny taught me that the man on the coin was “king Fredrik rex”, and I once entertained
myself by rolling the coin across the floor, with the unfortunate consequence of the coin disappearing into a crack. I think my parents
considered it to be a bad omen, as it was a gift given while I was still in my cradle. The floor was broken open, and they searched and dug
for a very long time, but king Fredrik rex never again saw the light of day. It couldn’t be helped that I for a long time thereafter considered
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Photo: Dag Jenssen
myself to be a bad criminal, and when I saw the town constable, Peter Tysker, come out of the police station heading for our front door, I ran
as fast as I could into the nursery and hid under the bed. However, we did not remain for long in that building on the square. My father
bought a bigger house, and we moved in when I was four years or so. This, my new home, sat on a corner, situated somewhat higher in the
town, at the foot of “Hundevadbakken”, named after an old, German speaking doctor, whose stately wife rode in a “glass coach”, which in
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The Artists’ Gift
To mark his 70th birthday in 1898 and 75th birthday in 1903, Henrik Ibsen was
presented with gifts of art by contemporary artists. Leading Norwegian artists
of the time, including Frits Thaulow, Christian Krogh, Harriet Backer, Kitty
Kielland and many others, are represented in the collection. All these artists
wishing to honour Ibsen says something about his status in his lifetime and
among his fellow artists.
The collection comprises 54 works of art and is owned by Skien municipality.
The paintings and artists are detailed in the book Kunstgaven (2006).
the winter was turned into a sled. In our new house there were many, large living rooms both upstairs and downstairs, and much entertai-
ning took place. But we boys did not stay indoors for long at a time. The square […] was the natural rallying point and battleground for the
town’s youth. The Latin School was at the time ruled by the old, distinguished and most courteous principal Ørn; the foremost at the Citizens
School was most likely the caretaker, Iver Flasrud, another excellent bloke, who also doubled as the town hairdresser and barber. Many a
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Burial places of the Ibsen family
Henrik Ibsen’s parents, Marichen and Knut
Ibsen, are buried in Lie churchyard, Skien.
Their graves are on opposite sides of the
churchyard as they were separated for
the last years of their lives. Ibsen’s sister,
Hedvig Stousland, and her family are also
buried here. Henrik Ibsen is buried in Our
Saviour`s cemetery in Oslo.
Photo: Dag Jenssen
fierce battle was fought around the church between the boys from the two schools; but as I did not belong to either school, I was mostly
present as an observer. It should be stated that I was not at any time in my childhood a comba tive sort. The above-mentioned pillory and the
police station with all its spooky secrets presented a much more significant attraction to me. The pillory was a reddish brown pillar, about as
high as a man; on top there was a large, round knob, which originally had been painted black, but now the knob more resembled a friendly,
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Which way should I choose? Many a road is open to me; and by my choice a wise man or fool I will be.
Peer Gynt (1867)
The Ibsen Steps
The Ibsen Steps were completed in April 1995. 32 of the 127 steps are
decorated with well-known quotes from Ibsen’s Peer Gynt. You can follow the
entire play, from the opening line of the first act – “Peer, you are lying” – to
Solveig’s reply – “… in my hope, and in my love” – in the fifth act. The steps
are made of concrete and clad in granite, and lead up to Telemark Museum,
Brekkeparken. Next to the steps is a bust of Henrik Ibsen by Håkon Anton
Fagerås. A corresponding bust stands in Sorrento, Italy, where Ibsen wrote the
plays Peer Gynt and Ghosts.
inviting human face, slightly aslant. An iron chain was attached at the front of the pillar, and at the end was an open collar, which […]
looked like two small open arms that with the utmost pleasure prepared to cling to my throat. It should be noted that it had not been in use
for years, but even so I recall vividly that it remained for all my time in Skien. I do not know if it remains there to this day. And then there
was the police station. As it was with the church, it had a long flight of stairs up front. The jail cells with their barred windows were in the
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Photo: Tom Riis
basement, facing the square. Behind those bars I have seen many a pale and scary face. A room in the very depths of the police station was
referred to as the “fool’s chest” (“Dårekisten”) […], once upon a time it truly was used to incarcerate the insane. The room had bars like the
other cells, but inside the bars a massive sheet of iron, into which a number of small holes had been drilled, so that it resembled a strainer,
covered the whole opening. Moreover it was claimed that this cave served as dwel ling for an at the time notorious criminal by the name of
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Snipetorp
In autumn 1843, the Ibsen family moved to a house in Skien’s Snipetorp district. The first
floor was rented out to provide an income for the family, and Knud Ibsen raised chickens in
the backyard to supplement the family income. He had no regular work at the time, but did
odd jobs here and there, including helping people who wanted to travel to America. The
street outside the house is the only surviving built environment from Henrik Ibsen’s time. It
is hard to be certain whether he ever lived in Snipetorp himself; he had turned 15, was con-
firmed and would have been expected to make his own way in the world. On 16 November
1843, he left Skien aboard Lykkens prøve – the trial of fortune – for Grimstad. He returned
from Grimstad on holiday for a few weeks in the summer of 1845, and called in on his way
to take up studies in Christiania, modern-day Oslo, in 1850.
Today the house is available as a residence for artists in receipt of an artist’s stipend from
Skien municipality.Photo: Dag Jenssen
Brandeis, who had been branded; and I also believe it contained an escaped and recaptured man who had been sentenced to slavery for life,
and who was whipped at the stake up at Li-torvet. Eyewitnesses claimed that when the latter character was led to his place of punishment, he
had been dancing, but that when he was taken back to the jail cell, they had to pull him on a cart. During my childhood years Skien was an
exceedingly joyful and festive town, quite the contrary of what it would later become. At the time a number of supremely cultured, affluent
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Photo: Dag Jenssen
and highly regarded families lived partially in the town itself, partially on large farms in the area. Close or more remote kinship connected
most of these families amongst themselves, and balls, dinner parties and musical soirées came one after another in rapid succession both
during winters and summers. There was also a regular influx of travellers […], and as there were no real hotels […], one stayed with friends
and relatives. Visits from strangers were almost a constant occurrence at our spacious farmhouse and especially around Christmastime and
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Henrik Ibsen’s legacy today
As the place where Ibsen spent his childhood, Skien takes pride in curating the legacy
of one of the greatest figures in world literature. Special events are organised in the city
centre every March to mark Henrik Ibsen’s birthday.
Every year, Skien municipality presents Norway’s only prize for playwrights: the
Norwegian Ibsen Award. This is given to a Norwegian playwright who has had a new work
for children or adults performed at a professional theatre in the last year, or for a body of
works for the stage. The Norwegian Ibsen Award was first presented in 1986.
Skien municipality focuses in particular on communicating Ibsen’s legacy to children and
young people, in an ongoing project known as StøpeSkien.
Skien takes pride in curating Ibsens literary legacy. This work involves showcasing and
communicating high-quality literature, and creating meeting places where literature
takes centre stage.Children in Skien crown Ibsen every March. Photo: Skien municipality
the market days, our townhouse was full and the table was set from morning to nightfall. The Skien market days took place in the month
of February and it was a particularly happy time for us boys; as early as six months previous we started collecting money in preparation
for viewing the conjurers and tightrope walkers and horse riders, and in order to buy honey cakes down at the market stalls. I confess to be
ignorant of the importance of the market on business in town as a whole; but for me it remained a hugely festive occasion, lasting a full
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The Appelsinia Literature Festival takes place each year, with children and young people
as the main target group. The name of the festival – Appelsinia – is taken from Henrik
Ibsen’s The Master Builder and is rendered in the English version of the play as ‘the
kingdom of Orangia’ (appelsin is the Norwegian word for ‘orange’).
Skien’s Litteraturhuset – the house of literature – plays an important role in putting
contemporary literature on the agenda. It hosts a vibrant programme of events, and
provides an arena for debate and knowledge dissemination. Skien Library has a dedicated
Ibsen collection.
During the summer, Skien invites visitors and local residents alike to enjoy guided Ibsen
walks, combining culinary and cultural experiences in Henrik Ibsen’s childhood town.
Delightful Ibsen souvenirs are sold at several places in the city.
The Woman from the Sea for children. Photo: Hans Petter Eliassen
Ibsen walk in Skien. Photo: Telemark Museum
week. Back then the seventeenth of May was never much of an occasion in Skien. A few youngsters fired “key guns” out at Blegebakken or lit
“witches” – firecrackers; and that was about the extent of it. I suspect this reticence in our otherwise joyful town was observed in deference to
a certain highly trusted man, whose estate was located in the vicinity of the town, and who for various reasons one did not wish to provoke.
But Midsummer Eve was all the more festive. […] The boys and the grown youth of the town gathered in five or six or more societies,
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Venstøp – the Henrik Ibsen Museum
Five kilometres north of the centre of Skien is
Venstøp, the Ibsen family’s country home.
When Knud Ibsen had to sell all his properties in
Skien, the family moved here permanently in 1835.
Henrik was seven years old and a loner. He often
hid from his younger siblings in a boxroom under
the stairs, where he had peace and quiet to read
and draw.
Photo: Telemark Museum
whereupon each worked to gather materials for their group’s bonfire. As early as during Whitsun we gathered together to make the rounds at
the shipyards or the peddler’s stalls to “beg” empty tar barrels. A peculiar custom had been in effect since time immortal. Whatever we were
unable to procure as willingly given gifts, was stolen, without the owner or the police even remotely considering any punitive reaction to such
a violation. In this manner a society could by and by amass a whole pile of empty tar barrels. The same time-honored right was valid with
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25
As a boy, Henrik was already interested in theatre and experimented with
both tableaux and comedies. Neighbours later told of his cardboard puppet
theatre and how he would invite the other children to puppet plays. He also
performed impressive conjuring tricks at the many parties his father hosted.
The family lived at Venstøp for eight years, but their economic situation went
from bad to worse and in 1843 Knud Ibsen was forced to sell the house.
Venstøp is now the Henrik Ibsen Museum. Every summer, the museum opens
its doors for visitors to hear about Henrik Ibsen’s childhood, visit the ‘dark
attic’ that features in many of his plays, and see the drawing room where the
Ibsens entertained guests.
Photo: Telemark Museum
regard to old rowboats. If we came upon such a vessel on dry land, we would succeed in dragging the occasional specimen quietly away and
keep it hidden; we had thereby gained the right of ownership, or would at least be exempt from any consequences. And then, on the day
before Midsummer’s Eve, the boat was carried triumphantly through the streets to the place of the bonfire. In the boat sat a fiddler. I have
several times been a witness to and myself once partaken in such a parade.
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1. The Stockmann Building Henrik Ibsen’s home from 1828 to 18312. The Altenburg Building Henrik Ibsen’s home from 1831 to 18353. Ibsen Park Henrik Ibsen 1828–1906 by Dyre Vaa Bukkerittet [the buck ride] by Svein Tore Kleppan Hedvig og Vildanden, Eyolf og Mopsemann [Hedvig and the Wild Duck, Eyolf and Mopsemann] by Svein Tore Kleppan4. Festiviteten Opened as a cultural venue in 18915. The Ibsen House Skien’s cultural centre Nora by Nina Sundby Henrik Ibsen by Nina Sundby Henrik Ibsen by Jo Visdal Mor Aase og Peer Gynt [Mother Aase and Peer Gynt] by Nina Sundby 6. Teater Ibsen Regional theatre for the counties of Telemark and Vestfold 7. The Rat-Wife Rottejomfruen by Marit Benthe Norheim8. The Ibsen Steps Cultural steps with quotes from Peer Gynt Henrik Ibsen by Håkon Anton Fagerås 9. Snipetorp Henrik Ibsen’s home in 184310. Lie churchyard Burial places of the Ibsen family11. Venstøp Henrik Ibsen’s home from 1835 to 184312. Langbrygga in Skien Henrik Ibsen left Skien aboard Lykkens prøve in 1843
Snipetorpgata
Kongensgate
Kirkegata
Torggata
Handelstorget
Brekkeparken
Bryggevannet
Hjellevannet
Kverndalsgata
Liegata
Liegata Prinsessegata
Lundegata
Øvre Hjellegate
Nedre Hjellegate
Tele
mar
ksga
ta
Prinsessegata
Bakkestranda
Torggata
Henrik Ibsens gate
Kongensgate
98
2
31
11
10
5
6
7
4
Venstøp 5 km
12
27
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Snipetorpgata
Kongensgate
Kirkegata
Torggata
Handelstorget
Brekkeparken
Bryggevannet
Hjellevannet
Kverndalsgata
Liegata
Liegata Prinsessegata
Lundegata
Øvre Hjellegate
Nedre Hjellegate
Tele
mar
ksga
ta
Prinsessegata
Bakkestranda
Torggata
Henrik Ibsens gate
Kongensgate
98
2
31
11
10
5
6
7
4
Venstøp 5 km
12
N V
ØS
www.telemarkmuseum.no
www.skien.kommune.no
Layo
ut:
Rek
lam
ehu
set W
era
20
15 -
86
02
0
SKIEN KOMMUNEKulturkontoret
1828: born 20 March in the Stockmann Building in the centre of Skien
1835: the Ibsen family move to Venstøp
1843: the family move to Snipetorp
1843: Henrik leaves Skien for Grimstad
1849: publishes his first play, Catilina
1850: moves to Oslo to matriculate
1850: the first Ibsen play to be staged: The Burial Mound at Christiania Theater
1851: moves to Bergen to become a stage director
1858: marries Suzannah Thoresen
1859: their son Sigurd is born
1861: publishes the poem Terje Vigen
1862: is awarded a stipend and sets out on a journey in the Norwegian mountains
1864: is awarded a stipend and leaves Norway, staying abroad for 27 years
1866: makes his breakthrough with the play Brand, and receives a writer’s salary for life from the Norwegian parliament
1867: publishes Peer Gynt, completed in Sorrento
1879: publishes A Doll’s House, completed in Sorrento/Amalfi
1884: publishes The Wild Duck
1891: moves to Christiania, modern-day Oslo
1894: publishes Little Eyolf
1899: When We Dead Awaken is to be Henrik Ibsen’s last play
1900: suffers his first stroke
1906: dies on 23 May
1906: is buried on 1 June in the Memorial Ground at Our Saviour`s cemetery in Oslo
Henrik Ibsen
182
0
182
5
1830
1835
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0
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5
185
0
185
5
186
0
186
5
1870
188
0
189
0
190
0
1875
188
5
189
5
190
5
1910
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