In the Eye of the Beholder
Decadence, an unhealthy deviation from an undefined norm, is necessarily in the eye of the beholder, and this was never more apparent than in theatrical representations of the modern woman. Through analyzing the performance history and reception of two fin-de-siècle plays centered on a rebellious woman—Ibsen’s Hedda Gabler (1891) and Sudermann’s Magda (1893)—this article examines the instability of the notion of decadence as applied to the heroines of avant-garde drama. As professionals, themselves negotiating assumptions about their sexual and moral status as public performers, the actresses who chose to perform these roles were well aware of the artistic and moral debates that surrounded them. Their performances can thus be understood as active interventions in debates about literary, cultural, and social notions of decadence and the role of women within them.