{"id":66541,"date":"2024-10-03T19:24:17","date_gmt":"2024-10-03T17:24:17","guid":{"rendered":"https:\/\/woordfees.co.za\/uncategorized\/resensie-hedda-gabler-begogel-en-verskroei\/"},"modified":"2024-10-03T21:19:16","modified_gmt":"2024-10-03T19:19:16","slug":"resensie-hedda-gabler-begogel-en-verskroei","status":"publish","type":"post","link":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/","title":{"rendered":"Resensie: \u2018Hedda Gabler\u2019 begogel en verskroei"},"content":{"rendered":"\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t
THEATER<\/h6>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Rolanda Marais verbysterend as Hedda <\/span> <\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Produksie:<\/span> Hedda Gabler<\/b>
Skrywer:<\/span> Marina Griebenow <\/b>
Foto\u2019s: <\/span>Nardus Engelbrecht<\/b><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

So skouspelagtig en vervlietend soos \u2019n komeet deur die hemelruim, so begogel en verskroei Henrik Ibsen se mees komplekse vrouekarakter, Hedda Gabler, almal wat oor haar pad kom of in haar pad staan. Ook in Christiaan Olwagen se nuwe produksie wat hier by die Woordfees op Stellenbosch debuteer. <\/p>\n

Hedda Gabler <\/span><\/i>is die tweede werk van di\u00e9 Noorweegse dramaturg wat die bekroonde regisseur Olwagen aanpak. As Standard Bank se Jong Kunstenaar vir Teater het hy in 2016 \u2019n Engelstalige produksie van <\/span>A Doll\u2019s House <\/span><\/i>met Jennifer Steyn in die hoofrol by die Baxter-teater in Kaapstad aangebied, wat groot lof ontvang het.<\/span><\/p>\n

Vandag is hy terug op eie turf by sy alma mater met sy verwerking en vertaling van <\/span>Hedda Gabler<\/span><\/i>, opgevoer met medewerkers wat al by menige van sy produksies betrokke was: Rolanda Marais (Hedda), Albert Pretorius (Tesman), Ludwig Binge (L\u00f8vborg), Martelize Kolver (Juliana), Ashley de Lange (mev. Elvsted) en Stian Bam (Brack).<\/span><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Ook die tegniese span is mense wat hy ken en vertrou om aan sy verbeeldingsvlugte en kreatiwiteit op die verhoog gestalte te gee: Rocco Pool, seun van die gerekende ontwerper Birrie le Roux, was verantwoordelik vir die grootse en manjifieke stelontwerp en -inkleding; Mariechen Vosloo se kostuums, veral vir Hedda, het \u2019n mens laat kwyl; Wolf Britz se beligtingsontwerp is soos altyd een vir die boeke; en die nimlike en uber-kreatiewe Charl-Johan Lingenfelder het met \u2019n verrassende dog nommerpas-klankbaan vorendag gekom.<\/span><\/p>\n

Hedda en haar man, \u2019n vaal geskiedkundige wat nie sy geluk kan glo dat die beeldskone en gesogte Hedda hom gekies het nie, keer terug van hul wittebrood na \u2019n huis so groot soos \u2019n paleis. Tesman het die kasarm gekoop omdat Hedda aangedring het dat dit die enigste huis is waarin sy sal bly. Nie te lank daarna nie ontdek die gehoor tot hul skok dat di\u00e9 bedorwe generaalskind haar man vir die gek gehou het, sommer net omdat sy kon. Die materialisme wat hierdie opmerking kenmerk, is \u2019n tema wat deurgaans na vore kom. Alles gaan eintlik oor geld en aansien, wie dit het en wie dit nie het nie. <\/span><\/p>\n

Hedda is vroeg al doodverveeld in haar huwelik. Toe sy dus van die onderdanige mev. Elvsted verneem dat \u2019n voormalige vryer, L\u00f8vborg, weer op die toneel is, is dit presies die afleiding en hy die speelding wat sy nodig het. Sy verkneukel haar boonop oor die nuus dat hy al etlike jare sober is en benader di\u00e9 brokkie nuus met venyn eerder as empatie of medelye. <\/span><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Rolanda Marais is verbysterend as Hedda. Sy is beeldskoon, selfs op haar mees waansinnige. Sy krys en tier die een oomblik… dan spin en karfoefel sy weer onweerstaanbaar soos \u2019n kat wat aandag soek. Niks omtrent haar is voorspelbaar nie. <\/em><\/h4>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

In sy produksie van <\/span>Hedda Gabler<\/span><\/i> by die National Theatre in Londen, verduidelik die gesiene regisseur Ivo van Hove aan sy Hedda dat die drie mans in haar lewe drie kante van haar persoonlikheid verteenwoordig. Tesman is haar ambisie en versugting na status en erkenning, Brack die regsman is haar perverse en donker kant, en L\u00f8vborg is haar beste kant, haar liefde en passie. Di\u00e9 ontleding maak algeheel sin, ook in die konteks van Olwagen se produksie. <\/span><\/p>\n

Namate die aksie vorder en Hedda se vernietigende tendense tot volle wasdom kom, sien jy al hoe duideliker hoe die mans se karakters in aspekte van haar persoonlikheid neerslag vind. Olwagen wend hom nou en dan na die stilistiese vir effek en tydsaanduidings. Hy span maskers in waaragter die karakters skuil: Tesman is \u2019n kapokhaan, Brack \u2019n eend en L\u00f8vborg \u2019n perd. Die inleidingstoneel bestaan uit \u2019n nagmerrieagtige dans van di\u00e9 dierekarakters met Hedda as die spilpunt in \u2019n pikswart kant-mantilla wat sy \u2019n paar keer as vermomming of skuiling gebruik. <\/span><\/p>\n

Marais is verbysterend as Hedda. Sy is beeldskoon, selfs op haar mees waansinnige. Sy krys en tier die een oomblik terwyl sy dreig met die pistole wat sy by haar pa ge\u00ebrf het; dan spin en karfoefel sy weer onweerstaanbaar soos \u2019n kat wat aandag soek. Niks omtrent haar is voorspelbaar nie. Nydigheid, afguns en wraak oorheers haar menseverhoudinge, selfs met diegene vir wie sy gevoelens het. Al wat uiteindelik seker is, is dat die drama nie op iets goeds kan uitloop nie. Die tragiese einde is onafwendbaar omdat dit in Hedda se hande l\u00ea. Marais se konsentrasie is merkwaardig. Op geen tydstip huiwer of wankel sy nie, al is dit op spykerhakskoene. <\/span><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Binge kwyt hom ook uitstekend van sy taak as L\u00f8vborg en die toneel met Marais waar hy die blommekrans in sy hare dra, is besonder treffend as \u2019n voorsmaak van sy ondergang. Ashley de Lange vaar puik as mev. Elvsted met die dun stemmetjie wat uiteindelik vir Tesman weglok, want sy irriteer jou grensloos. Kolver as tante Jules is betroubaar en standvastig. Sy kry altyd die ondankbare rolle, maar laat dit maklik lyk. Sowel Pretorius as Bam is verrassend genoeg nie met die openingsdag so sterk soos \u2019n mens hulle ken nie. Pretorius se weergawe van Tesman is dalk te karikatuuragtig en Bam kan Brack se siniese ennui dalk sterker na vore laat kom. Hy is \u2019n bliksem, maar tog sjarmant wanneer hy moet wees. <\/span><\/p>\n

Hedda Gabler is al \u2019n feministiese drama genoem \u2013 \u2019n mens vermoed die aanhaling van Antjie Krog se bekende \u201cEk is \u2019n vry fokken vrou\u201d in hierdie produksie is \u2019n verwysing daarna. Sy was immers een van die eerste vroulike hoofkarakters wat nie op so \u2019n manier geskep is dat \u2019n mens van haar moes of wou hou nie. Sy is bloot \u2019n mens, met foute asook goeie en weersinwekkende eienskappe. <\/span><\/p>\n

As \u2019n mens feminisme tot by sy logiese uiteinde neem, kom jy seker noodwendig uit by hoe Ibsen sy doelwit met die drama aan sy Franse vertaler, Hertog Prozor, verduidelik het: \u201cEk wou nie in di\u00e9 toneelstuk sogenaamde probleme hanteer nie. Wat ek hoofsaaklik beoog het, was om mense, menslike emosies en die menslike lotsbestemming uit te beeld teen die agtergrond van sekere maatskaplike toestande of die beginsels van vandag.\u201d Ironies genoeg spreek die emosies en lotsbestemmings van sy karakters vandag nog ewe hard tot ons, selfs uitgebeeld teen die hedendaagse omstandighede. Eintlik nog meer, want dit is nader aan ons en wat ons ken. <\/span><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Tesman is haar ambisie en versugting na status en erkenning, Brack die regsman is haar perverse en donker kant, en L\u00f8vborg is haar beste kant, haar liefde en passie. <\/em><\/h4>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Soos gewoonlik weerklink Lingenfelder se klankbaan betekenisvol soos jy na die toneelstuk kyk. By navraag n\u00e1 die opvoering het hy hul keuses soos volg verduidelik: \u201cEk en Christiaan het besluit om onsself weer te beperk tot Skandinawiese kunstenaars, soos met <\/span>A Doll\u2019s House<\/span><\/i>, maar hierdie keer het ek die bestaande liedjies heeltemal gedekonstrueer en herbou van die grond af om heeltemal in te pas by ons produksie. Ons het die liedjies gebruik om elke bedryf te anker.\u201d Hy gee dan \u2019n lys van die liedjies en noem dat hy die res van die klankbaan self gekomponeer het. Daar is by baie van ons geen twyfel nie dat Lingenfelder altyd onthou sal word as geniaal. Sy talle toekennings en pryse getuig daarvan. <\/span> <\/p>\n

Daar is ook niemand in die volgepakte Adam Small-ouditorium wat die refrein van R\u00f6yksopp en Robyn se lied \u201cRong\u201d ooit sal vergeet nie. Teen die polsende ritme van elektroniese instrumente en die oorblyfsels van Hedda se verwoesting sigbaar op die verhoog, doof die ligte n\u00e1 wat \u2019n ewigheid voel met \u201cWhat the fuck is wrong with you?\u201d. Dit is die vraag op almal se lippe, selfs met die staande applous vir \u2019n top-produksie. <\/span><\/p>\n<\/p>\n

Hedda Gabler<\/b><\/a>
4 OKT 20:00 | 5 OKT 10:00 13:30 | 6 OKT 10:00<\/span>
120 min | Adam Small-ouditorium<\/span>
R200-R300 | R230-R330 by die deur<\/span>
Geen o.16<\/span><\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

<\/i> Marina Griebenow <\/p>\n","protected":false},"author":3799,"featured_media":66464,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[400,516],"tags":[517],"class_list":["post-66541","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-theatre","category-ink-festival-newspaper-2024","tag-ink-festival-newspaper-2024"],"yoast_head":"\nResensie: \u2018Hedda Gabler\u2019 begogel en verskroei - Toyota Stellenbosch Woordfees<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Resensie: \u2018Hedda Gabler\u2019 begogel en verskroei - Toyota Stellenbosch Woordfees\" \/>\n<meta property=\"og:description\" content=\"Marina Griebenow\" \/>\n<meta property=\"og:url\" content=\"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/\" \/>\n<meta property=\"og:site_name\" content=\"Toyota Stellenbosch Woordfees\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/woordfees\/\" \/>\n<meta property=\"article:published_time\" content=\"2024-10-03T17:24:17+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-10-03T19:19:16+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/woordfees.co.za\/wp-content\/uploads\/2024\/10\/INK-banner2.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2400\" \/>\n\t<meta property=\"og:image:height\" content=\"1200\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"INK Redaksie\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@Woordfees\" \/>\n<meta name=\"twitter:site\" content=\"@Woordfees\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"INK Redaksie\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/\"},\"author\":{\"name\":\"INK Redaksie\",\"@id\":\"https:\/\/woordfees.co.za\/en\/#\/schema\/person\/4fa89144f1f64e8103a71de1d4d44c47\"},\"headline\":\"Resensie: \u2018Hedda Gabler\u2019 begogel en verskroei\",\"datePublished\":\"2024-10-03T17:24:17+00:00\",\"dateModified\":\"2024-10-03T19:19:16+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/\"},\"wordCount\":1301,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/woordfees.co.za\/en\/#organization\"},\"image\":{\"@id\":\"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/woordfees.co.za\/wp-content\/uploads\/2024\/10\/INK-banner2.jpg\",\"keywords\":[\"INK Festival Newspaper 2024\"],\"articleSection\":[\"Theatre\",\"INK Festival Newspaper 2024\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/\",\"url\":\"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/\",\"name\":\"Resensie: \u2018Hedda Gabler\u2019 begogel en verskroei - Toyota Stellenbosch Woordfees\",\"isPartOf\":{\"@id\":\"https:\/\/woordfees.co.za\/en\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/woordfees.co.za\/wp-content\/uploads\/2024\/10\/INK-banner2.jpg\",\"datePublished\":\"2024-10-03T17:24:17+00:00\",\"dateModified\":\"2024-10-03T19:19:16+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/#primaryimage\",\"url\":\"https:\/\/woordfees.co.za\/wp-content\/uploads\/2024\/10\/INK-banner2.jpg\",\"contentUrl\":\"https:\/\/woordfees.co.za\/wp-content\/uploads\/2024\/10\/INK-banner2.jpg\",\"width\":2400,\"height\":1200},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/woordfees.co.za\/en\/home-page\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Resensie: \u2018Hedda Gabler\u2019 begogel en verskroei\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/woordfees.co.za\/en\/#website\",\"url\":\"https:\/\/woordfees.co.za\/en\/\",\"name\":\"Toyota Stellenbosch Woordfees\",\"description\":\"28 Sept - 6 Oct\",\"publisher\":{\"@id\":\"https:\/\/woordfees.co.za\/en\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/woordfees.co.za\/en\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/woordfees.co.za\/en\/#organization\",\"name\":\"TOYOYA US Woordfees\",\"url\":\"https:\/\/woordfees.co.za\/en\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/woordfees.co.za\/en\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/woordfees.co.za\/wp-content\/uploads\/2022\/05\/cropped-woordfees-logo-salmon-pink-1.png\",\"contentUrl\":\"https:\/\/woordfees.co.za\/wp-content\/uploads\/2022\/05\/cropped-woordfees-logo-salmon-pink-1.png\",\"width\":800,\"height\":800,\"caption\":\"TOYOYA US Woordfees\"},\"image\":{\"@id\":\"https:\/\/woordfees.co.za\/en\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/woordfees\/\",\"https:\/\/x.com\/Woordfees\",\"https:\/\/www.youtube.com\/channel\/UCSUHCg3ZLsDWLrMCKcjiilA\",\"https:\/\/iono.fm\/p\/67\",\"https:\/\/www.instagram.com\/woordfees\/\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/woordfees.co.za\/en\/#\/schema\/person\/4fa89144f1f64e8103a71de1d4d44c47\",\"name\":\"INK Redaksie\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/woordfees.co.za\/en\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/76fa8af0ba0ad3d16d6a5507eeccd8a33f14c3cf8b6f1ccab83da08499be5645?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/76fa8af0ba0ad3d16d6a5507eeccd8a33f14c3cf8b6f1ccab83da08499be5645?s=96&d=mm&r=g\",\"caption\":\"INK Redaksie\"},\"url\":\"https:\/\/woordfees.co.za\/en\/author\/ink-redaksie\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Resensie: \u2018Hedda Gabler\u2019 begogel en verskroei - Toyota Stellenbosch Woordfees","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/","og_locale":"en_US","og_type":"article","og_title":"Resensie: \u2018Hedda Gabler\u2019 begogel en verskroei - Toyota Stellenbosch Woordfees","og_description":"Marina Griebenow","og_url":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/","og_site_name":"Toyota Stellenbosch Woordfees","article_publisher":"https:\/\/www.facebook.com\/woordfees\/","article_published_time":"2024-10-03T17:24:17+00:00","article_modified_time":"2024-10-03T19:19:16+00:00","og_image":[{"width":2400,"height":1200,"url":"https:\/\/woordfees.co.za\/wp-content\/uploads\/2024\/10\/INK-banner2.jpg","type":"image\/jpeg"}],"author":"INK Redaksie","twitter_card":"summary_large_image","twitter_creator":"@Woordfees","twitter_site":"@Woordfees","twitter_misc":{"Written by":"INK Redaksie","Est. reading time":"6 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/#article","isPartOf":{"@id":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/"},"author":{"name":"INK Redaksie","@id":"https:\/\/woordfees.co.za\/en\/#\/schema\/person\/4fa89144f1f64e8103a71de1d4d44c47"},"headline":"Resensie: \u2018Hedda Gabler\u2019 begogel en verskroei","datePublished":"2024-10-03T17:24:17+00:00","dateModified":"2024-10-03T19:19:16+00:00","mainEntityOfPage":{"@id":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/"},"wordCount":1301,"commentCount":0,"publisher":{"@id":"https:\/\/woordfees.co.za\/en\/#organization"},"image":{"@id":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/#primaryimage"},"thumbnailUrl":"https:\/\/woordfees.co.za\/wp-content\/uploads\/2024\/10\/INK-banner2.jpg","keywords":["INK Festival Newspaper 2024"],"articleSection":["Theatre","INK Festival Newspaper 2024"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/","url":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/","name":"Resensie: \u2018Hedda Gabler\u2019 begogel en verskroei - Toyota Stellenbosch Woordfees","isPartOf":{"@id":"https:\/\/woordfees.co.za\/en\/#website"},"primaryImageOfPage":{"@id":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/#primaryimage"},"image":{"@id":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/#primaryimage"},"thumbnailUrl":"https:\/\/woordfees.co.za\/wp-content\/uploads\/2024\/10\/INK-banner2.jpg","datePublished":"2024-10-03T17:24:17+00:00","dateModified":"2024-10-03T19:19:16+00:00","breadcrumb":{"@id":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/#primaryimage","url":"https:\/\/woordfees.co.za\/wp-content\/uploads\/2024\/10\/INK-banner2.jpg","contentUrl":"https:\/\/woordfees.co.za\/wp-content\/uploads\/2024\/10\/INK-banner2.jpg","width":2400,"height":1200},{"@type":"BreadcrumbList","@id":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/resensie-hedda-gabler-begogel-en-verskroei\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/woordfees.co.za\/en\/home-page\/"},{"@type":"ListItem","position":2,"name":"Resensie: \u2018Hedda Gabler\u2019 begogel en verskroei"}]},{"@type":"WebSite","@id":"https:\/\/woordfees.co.za\/en\/#website","url":"https:\/\/woordfees.co.za\/en\/","name":"Toyota Stellenbosch Woordfees","description":"28 Sept - 6 Oct","publisher":{"@id":"https:\/\/woordfees.co.za\/en\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/woordfees.co.za\/en\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/woordfees.co.za\/en\/#organization","name":"TOYOYA US Woordfees","url":"https:\/\/woordfees.co.za\/en\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/woordfees.co.za\/en\/#\/schema\/logo\/image\/","url":"https:\/\/woordfees.co.za\/wp-content\/uploads\/2022\/05\/cropped-woordfees-logo-salmon-pink-1.png","contentUrl":"https:\/\/woordfees.co.za\/wp-content\/uploads\/2022\/05\/cropped-woordfees-logo-salmon-pink-1.png","width":800,"height":800,"caption":"TOYOYA US Woordfees"},"image":{"@id":"https:\/\/woordfees.co.za\/en\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/woordfees\/","https:\/\/x.com\/Woordfees","https:\/\/www.youtube.com\/channel\/UCSUHCg3ZLsDWLrMCKcjiilA","https:\/\/iono.fm\/p\/67","https:\/\/www.instagram.com\/woordfees\/"]},{"@type":"Person","@id":"https:\/\/woordfees.co.za\/en\/#\/schema\/person\/4fa89144f1f64e8103a71de1d4d44c47","name":"INK Redaksie","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/woordfees.co.za\/en\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/76fa8af0ba0ad3d16d6a5507eeccd8a33f14c3cf8b6f1ccab83da08499be5645?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/76fa8af0ba0ad3d16d6a5507eeccd8a33f14c3cf8b6f1ccab83da08499be5645?s=96&d=mm&r=g","caption":"INK Redaksie"},"url":"https:\/\/woordfees.co.za\/en\/author\/ink-redaksie\/"}]}},"_links":{"self":[{"href":"https:\/\/woordfees.co.za\/en\/wp-json\/wp\/v2\/posts\/66541","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/woordfees.co.za\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/woordfees.co.za\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/woordfees.co.za\/en\/wp-json\/wp\/v2\/users\/3799"}],"replies":[{"embeddable":true,"href":"https:\/\/woordfees.co.za\/en\/wp-json\/wp\/v2\/comments?post=66541"}],"version-history":[{"count":0,"href":"https:\/\/woordfees.co.za\/en\/wp-json\/wp\/v2\/posts\/66541\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/woordfees.co.za\/en\/wp-json\/wp\/v2\/media\/66464"}],"wp:attachment":[{"href":"https:\/\/woordfees.co.za\/en\/wp-json\/wp\/v2\/media?parent=66541"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/woordfees.co.za\/en\/wp-json\/wp\/v2\/categories?post=66541"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/woordfees.co.za\/en\/wp-json\/wp\/v2\/tags?post=66541"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}