You might find it interesting to know that Edvard Munch, the Norwegian painter, was a big Ibsen fan. Ibsen was 30-odd years older than Munch and they only met a few times. But Much was pretty taken with him. Here’s a brief essay on the relationship between their work, including comments on Munch’s 1906 set designs for Ghosts (see above, Oswald sitting in the chair in the final scene, the sun rising outside as visible through the big picture window). I like this observation in particular:
To see was the most important thing for both Ibsen and Munch – but certainly not in an external, photographically recording sense. The artist’s ability and task is to see inwards – so that external motifs and inner, mental agitation are “lived through” (to use one of Ibsen’s favourite expressions) and melted together into valid expression. I do not paint what I see, but what I have seen, Munch once said – and Ibsen could have said the same about his “poetic visions”.
And here are a couple links to last year’s posts: the conveners’ post; one on humor (how much of this should we read as comedy?); and one on fatherhood — especially bad fathers — as one of Ibsen’s particular obsessions.