6 audition scenes from Hedda Gabler. Available as monologue & duologue & groups — ready to download for self-tapes, drama school auditions, and practice.
Written by Henrik Ibsen
Showing 6 of 6 scenes from Hedda Gabler
Characters: Hedda Gabler
Hedda confesses her profound existential boredom and the emptiness of her marriage to Judge Brack. She expresses a desperate longing for a single act of genuine freedom or recklessness to break the monotony of her life.
Characters: Brack, Hedda
Judge Brack suggests a 'triangular' friendship with Hedda, implying an intimate and exclusive arrangement behind her husband's back. Hedda acknowledges the danger of his proposition while Brack asserts his dominance and determination to secure his place in her life. The scene is a high-stakes power struggle masked by polite social banter.
Characters: MISS TESMAN, TESMAN
Aunt Juliane visits her nephew George Tesman after his honeymoon, subtly probing about his new marriage and financial situation. The conversation reveals George's naivete and his aunt's deep sacrifices for his future, culminating in a surprising revelation about her financial support.
Characters: MISS TESMAN, TESMAN
Aunt Juliane visits her nephew George Tesman and his new wife Hedda, though Hedda is not present in this scene. Juliane subtly probes George about his new marriage and finances, eventually revealing a significant personal sacrifice she has made for him.
Characters: Miss Tesman, Hedda, Tesman, Berta, Mrs. Elvsted
Hedda asserts her dominance over her new husband and his aunt through a series of subtle insults and social manipulations.
Characters: Miss Tesman, Tesman
George Tesman returns from his honeymoon to his doting Aunt Julia, discussing his new home, his academic ambitions, and the financial sacrifices made for
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Both picks come from the conversation that opens Act II, when Hedda is back from a six-month honeymoon and Judge Brack calls while her husband is out. One half is Hedda admitting how bored she is; the other is Brack’s offer of a “triangle”, a friendship with the household that is really a bid for influence. They work as a pair or separately: choose the first to explore what Hedda lets slip, the second to explore what Brack wants in return.
Compare these picks from the full collection. Formats, characters and estimated durations are listed with each scene.
Hedda: admitting how bored she is
Alone with Brack, Hedda describes what married life with an academic has been like so far. Choose it to explore someone who has always controlled what others see, deciding to let one person see a little more.
Try in rehearsal: Treat each admission as a test of Brack: how much can you say before he could use it against you? Let a light, dismissive tone carry the first confessions, and drop it only when it stops working.
Brack and Hedda: a proposal dressed as friendship
Brack suggests he could be a trusted friend to the household, the third side of a triangle. Hedda understands exactly what he means and has to decide how far to play along. It is two people negotiating terms while appearing to make conversation.
Try in rehearsal: For Brack, make the offer sound like a favour you are doing her. For Hedda, keep it light, and find the moment you need to remind him who is in charge.
Ibsen gives Hedda and Brack polished, polite language over a great deal of calculation. Before rehearsing, decide what each wants: Hedda, an ally who can make her days less dull without costing her anything; Brack, a secure place in the household. Keep the surface courteous and let the tension sit underneath it. The play is in translation, and wording differs between versions, so check which edition your audition expects and time your own reading.
Check your audition brief for permitted material, format and time limits.
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