Part 1

Introduction

Part 2

Skien had been a meeting place and a center of power for more than a thousand years before Henrik Ibsen was born.

Part 3

The foundation for Skien's power and wealth was laid with the Dags family at Bratsberg

Part 4

Ski – Skien – Scheen?

Part 5

Tellemarck – the white spot on the map that became Norway's first "industrial area"

Part 6

There was no mining town on Gimsøy, but the industrial revolution in Norway still started in Skien and Telemark.

Part 7

Norway was industrialized far earlier than the so-called "colonial power" Denmark.

Part 8

Before Ibsen's time, the population in cities and densely populated areas constituted a small proportion of the population in Norway. Most people lived in the countryside in sparsely populated areas.

Part 9

Henrik Ibsen's mother Marichen was also from a mining family from Kongsberg.

Part 10

The sawmill in Skien harbor laid the foundation for Porsgrunn. It opened up the way for return migration and new settlement in Skien.

Part 11

The first Ibsen came to Solum in first grade

Part 12

This entire elite environment, which was among the best in the country, disintegrated at the end of the 18th century and new players entered.

Part 13

House no. 27 in Løvestredet – Knud Ibsen's financial and cultural legacy was taken over by Ole Paus

Part 14

Ibsen's birth year, 1828, was the major turning point in Skien.

Part 15

Henrik Jæger established the myths about Henrik Ibsen's childhood

Part 16

Henrik Ibsen was a puppeteer, but not with marionettes

Part 17

The Ibsen family at Venstøp was still part of the upper class – and more than they knew.

Part 18

Henrik Ibsen also had third parents in the best families without them or him knowing that they were related.

Part 19

When the upper class was on the decline, it opened the way for children to become something completely different and previously unthinkable – as professional artists.

Part 20

Ibsen also first tried his hand at painting

Part 21

The civil service state

Part 22

The "modern"

Part 23

"The modern drama"

Part 24

The fall of the patrician class – and the rise of the modern nation-state

Part 25

Ibsen and Brandes on freedom and liberties and the state as the curse of the individual

Part 26

Ibsen's method – the conformity with the times

Part 27

When the old upper class fell, it was the turn of the common people in Ibsen's drama.

Part 28

The conclusion and challenge therefore becomes: