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Brand (Theatre)

995 statements
196 feature instances
17 referencing feature instances

Brand (Theatre)	type	TVTItem
Brand (Theatre)	label	Brand (Theatre)
Brand (Theatre)	page	Brand
Brand (Theatre)	comment	Brand is a dramatic/epic play written by Henrik Ibsen and published in 1866. The play tells the story of a young and idealistic priest, who more than anything else wishes to make society better. His uncompromising attitude alienates him from his parish over time, and he ends up alone in the wild mountains, wondering what went wrong.The cast, for the convenience of the reader: Brand, the proverbial title character, and The Hero of the play. Priest by profession. Agnes, his wife. Married to him after the end of the second act. Einar, a painter and childhood friend of Brand. Something of a light-hearted fellow from the start. Formerly engaged to Agnes, who left him for Brand. Gerd, a beggar girl with a fatal effect on Brand. Brand's mother, no name given. A hard hearted old woman of some wealth.Officials: The Bailiff, main antagonist. Keeper of law and order in the community. The Provost, superior of Brand. Tries to keep him in check just barely. The Bellringer The Schoolmaster, both close up to the work of the priest in different ways. Other unnamed officials present in the fifth act, there for the sake of a speech and a good meal.Others: A farmer and his son, people Brand meets in the mountains at the beginning of the play. A beggarwoman and her child. People of the parish, farmers and their wives. The congregation and everybody else.Present off stage: The beggar band. Only spoken of, but of great importance. Gerd and the unnamed mother belongs to this band.Dying off stage: A man killing his child because he isn't able to feed him, and then committing suicide. Brand's mother, Brand's infant son Alf, between the third and the fourth act. Agnes between the fourth and the fifth.This play, or rather, book, marks an early example of Ticket-Line Campout, making the trope Older Than Television. At the sole expectation of the new play of Ibsen coming into print, people massed at the quay to see the boat coming in and loading off the bookstacks. The first edition was sold out soon after, and people were seen discussing the text on every street the following days.
Brand (Theatre)	fetched	2023-08-06T11:46:23Z
Brand (Theatre)	parsed	2023-08-06T11:46:23Z
Brand (Theatre)	processingComment	Dropped link to CallBack: Not a Feature - ITEM
Brand (Theatre)	processingComment	Dropped link to ScrewThisImOutOfHere: Not a Feature - UNKNOWN
Brand (Theatre)	processingComment	Dropped link to TheSandman: Not a Feature - ITEM
Brand (Theatre)	processingComment	Dropped link to ThirdOption: Not a Feature - UNKNOWN
Brand (Theatre)	processingComment	Dropped link to buffythevampireslayer: Not a Feature - ITEM
Brand (Theatre)	processingUnknown	ScrewThisImOutOfHere
Brand (Theatre)	processingUnknown	ThirdOption
Brand (Theatre)	isPartOf	DBTropes
Brand (Theatre) / int_116499d8	type	StockCharacter
Brand (Theatre) / int_116499d8	comment	Stock Character: The bailiff, who does not get any Character Development at all, and the provost in the fifth act, who represents "the body of the church" in all its unintended silliness.
Brand (Theatre) / int_116499d8	featureApplicability	1.0
Brand (Theatre) / int_116499d8	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_116499d8
Brand (Theatre) / int_11b90e87	type	SnarkKnight
Brand (Theatre) / int_11b90e87	comment	Snark Knight: Brand to a T.
Brand (Theatre) / int_11b90e87	featureApplicability	1.0
Brand (Theatre) / int_11b90e87	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_11b90e87
Brand (Theatre) / int_11cac491	type	Tragedy
Brand (Theatre) / int_11cac491	comment	Tragedy. Possibly the purest tragedy Ibsen ever wrote.
Brand (Theatre) / int_11cac491	featureApplicability	1.0
Brand (Theatre) / int_11cac491	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_11cac491
Brand (Theatre) / int_1439161f	type	Heroic BSoD
Brand (Theatre) / int_1439161f	comment	Heroic BSoD: Brand in the fifth act after the death of his wife Agnes. Also Agnes in the fourth after the death of her son. The third act has Brand considering a Face–Heel Turn for the sake of his sick son, but decides not to, so the BSOD moment can be said to start from there.
Brand (Theatre) / int_1439161f	featureApplicability	1.0
Brand (Theatre) / int_1439161f	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_1439161f
Brand (Theatre) / int_14beeefd	type	Darker and Edgier
Brand (Theatre) / int_14beeefd	comment	Darker and Edgier: The tone of the play: Cold and callous. Probably the most dark and edgy play in the entire corpus of Ibsen. This is the only play he wrote where each and every character bites the dust.
Brand (Theatre) / int_14beeefd	featureApplicability	1.0
Brand (Theatre) / int_14beeefd	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_14beeefd
Brand (Theatre) / int_14ed6ab7	type	Does This Remind You of Anything?
Brand (Theatre) / int_14ed6ab7	comment	Does This Remind You of Anything?: A mother and her child seeking shelter and clothes on Christmas eve? Could you possibly have dropped a bigger anvil, Ibsen?
Brand (Theatre) / int_14ed6ab7	featureApplicability	1.0
Brand (Theatre) / int_14ed6ab7	featureConfidence	1.0
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Brand (Theatre) / int_154aa477	type	Big, Screwed-Up Family
Brand (Theatre) / int_154aa477	comment	Big, Screwed-Up Family: Brand was born into an arranged marriage. His parents never loved or seemed to care for each other, and the father of Brand's mother pushed her into it, because the boy she had in mind was poor. So he left with a Romani girl, becoming the father of Gerd.
Brand (Theatre) / int_154aa477	featureApplicability	1.0
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Brand (Theatre) / int_15b09af9	type	Heelâ€“Face Door-Slam
Brand (Theatre) / int_15b09af9	comment	Heel–Face Door-Slam: Brand is taken by an avalanche at the very moment of realization.
Brand (Theatre) / int_15b09af9	featureApplicability	1.0
Brand (Theatre) / int_15b09af9	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_15b09af9
Brand (Theatre) / int_1badfb3a	type	The Heart
Brand (Theatre) / int_1badfb3a	comment	The Heart: Agnes is the heart to Brand (or his "link to humanity"). With her gone, he feels shut off, both from himself and the people around him.
Brand (Theatre) / int_1badfb3a	featureApplicability	1.0
Brand (Theatre) / int_1badfb3a	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_1badfb3a
Brand (Theatre) / int_1c5002bc	type	The Stoic
Brand (Theatre) / int_1c5002bc	comment	The Stoic: Brand wishes to cope with his problems without anyone interfering. He even shuts down his wife in the process.
Brand (Theatre) / int_1c5002bc	featureApplicability	1.0
Brand (Theatre) / int_1c5002bc	featureConfidence	1.0
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Brand (Theatre) / int_1e3a9a21	type	Angrish
Brand (Theatre) / int_1e3a9a21	comment	Angrish: Brand towards the Bailiff in the fifth act, when he loses his temper, spitting out to him the essential "You have not the faintest clue what I am trying to say here, do you?" and ending in a total loss of words.
Brand (Theatre) / int_1e3a9a21	featureApplicability	1.0
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Brand (Theatre) / int_1effdd6b	type	White Man's Burden
Brand (Theatre) / int_1effdd6b	comment	White Man's Burden: The Romani case invokes the trope. The Bailiff puts on a dark tone when he callously arrests them for jaywalking, and ousts them from the municipality. Brand himself invokes it when the beggar woman on his doorstep clearly is one (although he and Agnes probably would have helped her anyway).
Brand (Theatre) / int_1effdd6b	featureApplicability	1.0
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Brand (Theatre) / int_1f799027	type	Obstructive Bureaucrat
Brand (Theatre) / int_1f799027	comment	Obstructive Bureaucrat: The local bailiff, who dislikes Brand, but plays along until Brand "shows his true colours". He is often played as a comic relief, but is in truth a callous opportunist who doesn't give a toss about people outside his jurisdiction. In the famine scene in the second act, he is cold against everyone who can't consider themselves "registered".
Brand (Theatre) / int_1f799027	featureApplicability	1.0
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Brand (Theatre) / int_21d70919	type	Crapsack World
Brand (Theatre) / int_21d70919	comment	Crapsack World: The entire community, set in a narrow west Norwegian fjord under a glacier and a possible avalanche, set off at the very end. The people tend to be narrow minded, but seem to see Brand as "the right kind of priest". The glacier also keeps the sun from warming the area, and the result is that Brand's son dies. Brand himself grew up in the coldest part of the area with an uncaring mother.
Brand (Theatre) / int_21d70919	featureApplicability	1.0
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Brand (Theatre) / int_224f98fa	type	It Sucks to Be the Chosen One
Brand (Theatre) / int_224f98fa	comment	It Sucks to Be the Chosen One: Justified several times. Brand feels the burden, but he doesn't neccesarily enjoy it. Nope.
Brand (Theatre) / int_224f98fa	featureApplicability	1.0
Brand (Theatre) / int_224f98fa	featureConfidence	1.0
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Brand (Theatre) / int_22cf536c	type	Chekhov's Gun
Brand (Theatre) / int_22cf536c	comment	Chekhov's Gun: The phrase All or nothing. This leads to him never giving his mother absolution (because she never gave up everything), and later causes the death of Agnes, because he insists she gives the beggar woman all the leftover clothes from their dead son. The final straw that breaks her, is when she is forced to give up the very last piece of clothing. Had he relented a little in both cases, all of them would have been happier.
Brand (Theatre) / int_22cf536c	featureApplicability	1.0
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Brand (Theatre) / int_2319aa2e	type	All or Nothing
Brand (Theatre) / int_2319aa2e	comment	All or Nothing: Brand's favorite Catchphrase. He is arguably an early Trope Namer here.
Brand (Theatre) / int_2319aa2e	featureApplicability	1.0
Brand (Theatre) / int_2319aa2e	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_2319aa2e
Brand (Theatre) / int_237404cc	type	Ironic Echo
Brand (Theatre) / int_237404cc	comment	Ironic Echo: The reception of the play, echoing the way Brand himself gets trashed in the fifth act, by the very elite Ibsen tried to rail against (in Norway who were the butt of Ibsen's ironic treatment).
Brand (Theatre) / int_237404cc	featureApplicability	1.0
Brand (Theatre) / int_237404cc	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_237404cc
Brand (Theatre) / int_23e32a30	type	Genre Deconstruction
Brand (Theatre) / int_23e32a30	comment	Genre Deconstruction: Brand is arguably The Hero, and even lampshades his own heroic efforts. His view of God is also a rather heroic one, a Hercules lookalike and Old Testament badass}. But Ibsen would not have been Ibsen if he did not at least try to deconstruct the hero tropes. And seemingly Brand does not fit his actual environment at all, and his larger than life visions is almost, but not quite, lost on his fellow men. If not, someone with actual power is there to stop him. Hence, tragedy ensues.
Brand (Theatre) / int_23e32a30	featureApplicability	1.0
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Brand (Theatre) / int_23ff95fb	type	Brutal Honesty
Brand (Theatre) / int_23ff95fb	comment	Brutal Honesty: Brand towards Agnes after their son is dead. He refers to "the body" lying in the churchyard, while Agnes still refers to the child as a person, in the churchyard. From a Christian point of view, the child is not there anymore, leaving only a body behind.
Brand (Theatre) / int_23ff95fb	featureApplicability	1.0
Brand (Theatre) / int_23ff95fb	featureConfidence	1.0
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Brand (Theatre) / int_24321e44	type	Only Sane Man
Brand (Theatre) / int_24321e44	comment	Only Sane Man: Brand, at several occasions, thinks he is... Thank God for Agnes. The doctor, who argues that the family should leave the area for the sake of their son's ailment, also counts. He is the first to point out to Brand that his ability to love is somewhat barren.
Brand (Theatre) / int_24321e44	featureApplicability	1.0
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Brand (Theatre) / int_24d85d41	type	Disappears into Light
Brand (Theatre) / int_24d85d41	comment	Disappears into Light: Played on Agnes in her I Die Free speech. When she goes off stage, her "goodbye" could as well be played as a symbolical death, and Brand's reaction may imply that she is dead already.
Brand (Theatre) / int_24d85d41	featureApplicability	1.0
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Brand (Theatre) / int_25d95a37	type	Principles Zealot
Brand (Theatre) / int_25d95a37	comment	Principles Zealot: Brand most of the time. Much of the criticism in-play and outside of it, stems from the fact that he is such a hardliner on his basic principles.
Brand (Theatre) / int_25d95a37	featureApplicability	1.0
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Brand (Theatre) / int_260926c3	type	Failure Is the Only Option
Brand (Theatre) / int_260926c3	comment	Failure Is the Only Option: Brand's "quest".
Brand (Theatre) / int_260926c3	featureApplicability	1.0
Brand (Theatre) / int_260926c3	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_260926c3
Brand (Theatre) / int_285f34c7	type	World of Symbolism
Brand (Theatre) / int_285f34c7	comment	World of Symbolism: Often played straight. The play is not intended to be realistic. The rather literal-minded bailiff actually thought Brand meant a physical church when he probably thought of something else. This is most probably an in-joke in the play, as Brand strives with his ideas to the point where nobody follows them anymore. This could arguably make Brand a Cloud Cuckoolander}}, something that can explain the role of Gerd in his life. The last part of the play can be said to represent a Mental World occupied only by Brand and Gerd.
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Brand (Theatre) / int_2adc858b	type	In the End, You Are on Your Own
Brand (Theatre) / int_2adc858b	comment	In the End, You Are on Your Own: Brand is left alone in the mountains, to cope with The Dark Side all by himself. He actually pisses it off, and is left alone, to eventually be comforted by Gerd.
Brand (Theatre) / int_2adc858b	featureApplicability	1.0
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Brand (Theatre) / int_2b9e3fb0	type	Give Me a Sign
Brand (Theatre) / int_2b9e3fb0	comment	Give Me a Sign: Invoked by Brand in the fourth act, because he knows he has to make Agnes snap out of her depression, but hasn't the heart to do it himself. The beggar woman comes knocking soon after, and Brand interprets her as the sign he prayed for. Tragedy ensues.
Brand (Theatre) / int_2b9e3fb0	featureApplicability	1.0
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Brand (Theatre) / int_2bc8bdeb	type	Speak of the Devil
Brand (Theatre) / int_2bc8bdeb	comment	Speak of the Devil: Inverted in The Final Temptation scene when Brand, convinced he is talking to Agnes, and who is supposedly not dead, utters the words "Thanks to.." only to be hushed by the being in question.
Brand (Theatre) / int_2bc8bdeb	featureApplicability	1.0
Brand (Theatre) / int_2bc8bdeb	featureConfidence	1.0
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Brand (Theatre) / int_2e8875f0	type	Misplaced Retribution
Brand (Theatre) / int_2e8875f0	comment	Misplaced Retribution: Because his mother never gave up everything, Brand forces Agnes to do it in her place. He effectively punishes her for his mother's actions, and it kills her.
Brand (Theatre) / int_2e8875f0	featureApplicability	1.0
Brand (Theatre) / int_2e8875f0	featureConfidence	1.0
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Brand (Theatre) / int_2fef0c01	type	Twisted Christmas
Brand (Theatre) / int_2fef0c01	comment	Twisted Christmas: The pauper mother and her freezing child begging for clothes on Christmas Eve, while Agnes mourns her lost child by cherishing what is left of him: his clothes. Moral Dilemma up to eleven...
Brand (Theatre) / int_2fef0c01	featureApplicability	1.0
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Brand (Theatre) / int_32e279c4	type	Humans Are Flawed
Brand (Theatre) / int_32e279c4	comment	Humans Are Flawed: Alas. Brand is not exactly a philantropist, and the world is crapsack anyway.
Brand (Theatre) / int_32e279c4	featureApplicability	1.0
Brand (Theatre) / int_32e279c4	featureConfidence	1.0
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Brand (Theatre) / int_38ad0e6a	type	BreakingSpeech
Brand (Theatre) / int_38ad0e6a	comment	Breaking Speech: Brand gives this to a couple of farmers trying to make him stay as a priest in the second act. He clearly doesn't want to.
Brand (Theatre) / int_38ad0e6a	featureApplicability	1.0
Brand (Theatre) / int_38ad0e6a	featureConfidence	1.0
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Brand (Theatre) / int_38bb862f	type	Don't You Dare Pity Me!
Brand (Theatre) / int_38bb862f	comment	Don't You Dare Pity Me!: The Beggarwoman when afforded shelter. She also refuses on the grounds that the priest is an official, and she may get arrested there.
Brand (Theatre) / int_38bb862f	featureApplicability	1.0
Brand (Theatre) / int_38bb862f	featureConfidence	1.0
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Brand (Theatre) / int_39297f53	type	Bigger Is Better
Brand (Theatre) / int_39297f53	comment	Bigger Is Better: Brand tries to convince the officials (the Bailiff) that the church is too small. He needs a bigger one. The bailiff disagrees, but gives in, completely missing the point, though. At the beginning of the fifth act, the new church is ready for use, only for Brand to discard it. Total havoc ensues, and Brand goes haywire in the process. Reality Subtext: Ibsen got inspired while visiting the Church of St. Peter in Rome. The dome of that church is the greatest in Europe, hence the vision of a "bigger church" in the fourth act.
Brand (Theatre) / int_39297f53	featureApplicability	1.0
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Brand (Theatre) / int_39441318	type	Horny Vikings
Brand (Theatre) / int_39441318	comment	Horny Vikings: The Bailiff is prone to remind Brand of past national glory, when the area was ruled by a sentient viking king.
Brand (Theatre) / int_39441318	featureApplicability	1.0
Brand (Theatre) / int_39441318	featureConfidence	1.0
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Brand (Theatre) / int_3ae51e0	type	Resigned to the Call
Brand (Theatre) / int_3ae51e0	comment	Resigned to the Call: Brand takes the job rather reluctantly.
Brand (Theatre) / int_3ae51e0	featureApplicability	1.0
Brand (Theatre) / int_3ae51e0	featureConfidence	1.0
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Brand (Theatre) / int_3b113b7	type	Character Development
Brand (Theatre) / int_3b113b7	comment	Character Development: Agnes. She starts out as a Manic Pixie Dream Girl who is taken by the speech of Brand, then progresses to Action Girl and dutiful wife, ending with a Heroic Sacrifice and Ascend to a Higher Plane of Existence. Brand's cravings of a serious view of life turns her into a lancer for his cause, and braves the harsh seas with him in complete trust of God, only to save a man's soul. After getting married, he confides in her, and she gives him the strength to choose in the direst situations. In the end, after her son is dead, Brand puts her to the test when a frozen child needs clothes, and she reluctantly gives away what she got left from her own dead child. When she finally admits freedom from this mortal coil, she accepts death as a rise to a higher plane of existence. During the course of the play, she has passed from pixie girl to a near saint. Einar the painter goes the opposite path (off-stage). After loosing Agnes, he turns sick, and gets saved, only to turn into an even Darker and Edgier version of Brand himself. Brand starts out idealistic, but a sense of world-weariness grows in him during the play. Actually, he seems to be sick of the world from the very beginning, and keeps himself in check until the fifth act, when he snaps because he can't take it anymore. Sliding Scale of Idealism Versus Cynicism could actually fit Brand's development trope. His rebellion in the fifth act is, in fact just as much a over the edge moment for him as a social uprising.
Brand (Theatre) / int_3b113b7	featureApplicability	1.0
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Brand (Theatre) / int_3cfeeb48	type	I Die Free
Brand (Theatre) / int_3cfeeb48	comment	I Die Free: Agnes plays this trope fairly straight when she has given away all her belongings. When nothing binds her, she is free, and earth has no hold on her anymore.
Brand (Theatre) / int_3cfeeb48	featureApplicability	1.0
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Brand (Theatre) / int_3fca462c	type	Deus ex Machina
Brand (Theatre) / int_3fca462c	comment	Deus ex Machina: Number 2 or 3, to be precise. Only featured by a booming voice crying An Aesop through the massive avalanche. This is also the very last words of the play:
Brand (Theatre) / int_3fca462c	featureApplicability	1.0
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Brand (Theatre) / int_3fe2b13f	type	Ungrateful Bastard
Brand (Theatre) / int_3fe2b13f	comment	Ungrateful Bastard: Arguably the entire community when chasing Brand away in the fifth act. Note that this is the same people who begged him to become their priest in the second act, and who asked him to stay on in the third...
Brand (Theatre) / int_3fe2b13f	featureApplicability	1.0
Brand (Theatre) / int_3fe2b13f	featureConfidence	1.0
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Brand (Theatre) / int_40bb59d0	type	Blatant Lies
Brand (Theatre) / int_40bb59d0	comment	Blatant Lies: Brand's mother tells him she has toiled for her money with sweat and tears her entire life. Brand tells her quite clearly she didn't - she robbed her father for the entire fortune on his deathbed. On a symbolical level, she did give her life away to this man (sweat, tears and everything), but that did not imply the literal fortune, which she, as a married woman, had no right to own while he lived.
Brand (Theatre) / int_40bb59d0	featureApplicability	1.0
Brand (Theatre) / int_40bb59d0	featureConfidence	1.0
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Brand (Theatre) / int_4108bb3e	type	Doomed Hometown
Brand (Theatre) / int_4108bb3e	comment	Doomed Hometown: The community is placed under a glacier that is doomed to crack at some point. Lampshaded in the first act, when Brand is reminded of an old story, telling that a loud sound, like the shot of a rifle, is enough to break it. And in the end, Gerd fires the shot...
Brand (Theatre) / int_4108bb3e	featureApplicability	1.0
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Brand (Theatre) / int_43a045de	type	Dropped a Bridge on Him
Brand (Theatre) / int_43a045de	comment	Dropped a Bridge on Him: Ibsen drops a glacier on the entire set!
Brand (Theatre) / int_43a045de	featureApplicability	1.0
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Brand (Theatre)	hasFeature	Brand (Theatre) / int_43a045de
Brand (Theatre) / int_454d9422	type	Rocks Fall, Everyone Dies
Brand (Theatre) / int_454d9422	comment	Rocks Fall, Everyone Dies: Variation, because it is a glacier - that would be great chunks of ice falling down and killing everyone. A rare non-game example.
Brand (Theatre) / int_454d9422	featureApplicability	1.0
Brand (Theatre) / int_454d9422	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_454d9422
Brand (Theatre) / int_466b51ae	type	TheCloudcuckoolanderWasRight
Brand (Theatre) / int_466b51ae	comment	The Cloud Cuckoolander Was Right: Gerd on warning Brand from going down in the valley at their first meeting. Can also be played as a Foreshadowing, because of her immediate proposal of going to the "ice church" (the glacier), where they both finally end up, and perish. Gerd's visions of grandeur are possibly bigger than Brand's. A moment of Fridge Brilliance occurs in the fourth act when Brand actually begins to think like her (although not realizing it at the time).
Brand (Theatre) / int_466b51ae	featureApplicability	1.0
Brand (Theatre) / int_466b51ae	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_466b51ae
Brand (Theatre) / int_483152c4	type	The Resenter
Brand (Theatre) / int_483152c4	comment	The Resenter: Towards the officials altogether. Also towards his mother, and arguably the whole friggin community he grew up in.
Brand (Theatre) / int_483152c4	featureApplicability	1.0
Brand (Theatre) / int_483152c4	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_483152c4
Brand (Theatre) / int_49d3b595	type	Cradle of Loneliness
Brand (Theatre) / int_49d3b595	comment	Cradle of Loneliness: When Agnes comforts herself with the clothes of her dead son. Brand, quite correctly, tells her to move on. She does, but it breaks her heart.
Brand (Theatre) / int_49d3b595	featureApplicability	1.0
Brand (Theatre) / int_49d3b595	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_49d3b595
Brand (Theatre) / int_4b32995a	type	Friend-or-Idol Decision
Brand (Theatre) / int_4b32995a	comment	Friend-or-Idol Decision: Stay as a priest for The Needs of the Many or save my sick son? Taken up to eleven in the third act. For Brand, there is apparently no Third Option.
Brand (Theatre) / int_4b32995a	featureApplicability	1.0
Brand (Theatre) / int_4b32995a	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_4b32995a
Brand (Theatre) / int_4e52a624	type	Screw the Money, I Have Rules!
Brand (Theatre) / int_4e52a624	comment	Screw the Money, I Have Rules!: Brand is this trope to a T.
Brand (Theatre) / int_4e52a624	featureApplicability	1.0
Brand (Theatre) / int_4e52a624	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_4e52a624
Brand (Theatre) / int_4e7c4536	type	Wham Line
Brand (Theatre) / int_4e7c4536	comment	Wham Line: "Folks, the spirit of compromise is Satan!" And the crowd went totally wild...
Brand (Theatre) / int_4e7c4536	featureApplicability	1.0
Brand (Theatre) / int_4e7c4536	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_4e7c4536
Brand (Theatre) / int_4f292929	type	Tall, Dark, and Snarky
Brand (Theatre) / int_4f292929	comment	Tall, Dark, and Snarky: Brand to a T.
Brand (Theatre) / int_4f292929	featureApplicability	1.0
Brand (Theatre) / int_4f292929	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_4f292929
Brand (Theatre) / int_5077c424	type	The Morlocks
Brand (Theatre) / int_5077c424	comment	The Morlocks: How Brand sees the development of humans, Norwegians especially.
Brand (Theatre) / int_5077c424	featureApplicability	1.0
Brand (Theatre) / int_5077c424	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_5077c424
Brand (Theatre) / int_509f178b	type	Stand Your Ground
Brand (Theatre) / int_509f178b	comment	Stand Your Ground: Gerd effectively orders Brand not to back out of the fight at the end of the third act. She argues that The Dark Side will prevail if he does not hold the line against it.
Brand (Theatre) / int_509f178b	featureApplicability	1.0
Brand (Theatre) / int_509f178b	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_509f178b
Brand (Theatre) / int_5313c266	type	Bookends
Brand (Theatre) / int_5313c266	comment	Book Ends: the play begins and ends in the mountains, close by the glacier.
Brand (Theatre) / int_5313c266	featureApplicability	1.0
Brand (Theatre) / int_5313c266	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_5313c266
Brand (Theatre) / int_54804ea9	type	Always on Duty
Brand (Theatre) / int_54804ea9	comment	Always on Duty: Brand chooses to stay on because of this. He reasons that he was a priest before he became a father, so the has obligations. The Bailiff also counts, being so into his job that he almost sacrificed himself to help save his archives.
Brand (Theatre) / int_54804ea9	featureApplicability	1.0
Brand (Theatre) / int_54804ea9	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_54804ea9
Brand (Theatre) / int_5539b84f	type	Corrupt Church
Brand (Theatre) / int_5539b84f	comment	Corrupt Church: Played straight on the provost in the fifth act. At least Brand blows the accusation wide open in his Rousing Speech. The provost does not find it amusing.
Brand (Theatre) / int_5539b84f	featureApplicability	1.0
Brand (Theatre) / int_5539b84f	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_5539b84f
Brand (Theatre) / int_5860c090	type	Sitcom Arch-Nemesis
Brand (Theatre) / int_5860c090	comment	Sitcom Arch-Nemesis: Brand's feud with the bailiff. He even begrudgingly admits the bailiff's many positive character traits, but all of these are used in service of a secular worldview that Brand despises.
Brand (Theatre) / int_5860c090	featureApplicability	1.0
Brand (Theatre) / int_5860c090	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_5860c090
Brand (Theatre) / int_59165e81	type	Second-Act Breakup
Brand (Theatre) / int_59165e81	comment	Second Act Break Up: Agnes with Einar, when he refuses to help Brand because he fears for his life. She immediately goes herself, and her fate is sealed.
Brand (Theatre) / int_59165e81	featureApplicability	1.0
Brand (Theatre) / int_59165e81	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_59165e81
Brand (Theatre) / int_60b21fa3	type	The Lancer
Brand (Theatre) / int_60b21fa3	comment	The Lancer: Agnes. Coupled with The Champion trope.
Brand (Theatre) / int_60b21fa3	featureApplicability	1.0
Brand (Theatre) / int_60b21fa3	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_60b21fa3
Brand (Theatre) / int_61996785	type	Sacrificial Lamb
Brand (Theatre) / int_61996785	comment	Sacrificial Lamb: Agnes, wearing the appropriate name (Agnus Dei). She ends up dead, after sacrificing everything for the good cause. The last sacrifice, though, is Brand's, when he has to give up his wife.
Brand (Theatre) / int_61996785	featureApplicability	1.0
Brand (Theatre) / int_61996785	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_61996785
Brand (Theatre) / int_62663d88	type	Men Don't Cry
Brand (Theatre) / int_62663d88	comment	Men Don't Cry: Brand for most of the time, until he bursts out in Tears of Remorse right before the end.
Brand (Theatre) / int_62663d88	featureApplicability	1.0
Brand (Theatre) / int_62663d88	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_62663d88
Brand (Theatre) / int_6439de78	type	Heroic Sacrifice
Brand (Theatre) / int_6439de78	comment	Heroic Sacrifice: Brand when choosing to stay on in the third act, Agnes upon giving away the clothes of her son to he freezing child. Brand when realizing that Agnes probably dies shortly after.
Brand (Theatre) / int_6439de78	featureApplicability	1.0
Brand (Theatre) / int_6439de78	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_6439de78
Brand (Theatre) / int_64e975cf	type	Manly Tears
Brand (Theatre) / int_64e975cf	comment	Manly Tears: Brand bursts out when entering the "ice church" with Gerd, and finally realizing where he is. So far, frustration, anger and possible Mangst has tortured him. A Cataclysm Climax is right around the bend, though. Can also be troped as Tears of Remorse.
Brand (Theatre) / int_64e975cf	featureApplicability	1.0
Brand (Theatre) / int_64e975cf	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_64e975cf
Brand (Theatre) / int_66755d29	type	Author Avatar
Brand (Theatre) / int_66755d29	comment	Author Avatar: Brand himself. Ibsen said that the character was "himself in his finest moments". He was quite fond of this guy. For the record: Ibsen himself enjoyed posing as the lonely, brooding and heroic type. One of the reasons he rarely smiled on photographs. Consider the physical description of Brand in the "epic Brand": Pale skin and raven hair. Ibsen himself was known for his paleness, and his hair and beard was black in his youth (as described by fellow poet Bjørnson: "with a deadly white complexion and a big beard black as coal"). To top this: Ibsen, like Brand, was a loner at school, who rarely hung with the other kids.
Brand (Theatre) / int_66755d29	featureApplicability	1.0
Brand (Theatre) / int_66755d29	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_66755d29
Brand (Theatre) / int_67a7cd88	type	Battle in the Center of the Mind
Brand (Theatre) / int_67a7cd88	comment	Battle in the Center of the Mind: All the time. This is a non-action play, of course, but a lot of hero and warrior tropes are invoked. The battles in the play are battles of ideas and the will.
Brand (Theatre) / int_67a7cd88	featureApplicability	1.0
Brand (Theatre) / int_67a7cd88	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_67a7cd88
Brand (Theatre) / int_6a2d1b1a	type	Rebel Leader
Brand (Theatre) / int_6a2d1b1a	comment	Rebel Leader: Brand in the fifth act, when he finally snaps and lets the officials have it all. The crowd follows him for some time, but not overly long. The Bailiff is actually trying to read the "rebel act" to stop him, but is pushed away by the crowd.
Brand (Theatre) / int_6a2d1b1a	featureApplicability	1.0
Brand (Theatre) / int_6a2d1b1a	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_6a2d1b1a
Brand (Theatre) / int_6a696742	type	The Power of Love
Brand (Theatre) / int_6a696742	comment	The Power of Love: The Aesop of the play, and played straight with Agnes. Also pointed out by the local doctor. Arguably Brand's greatest flaw, as he insists on the Heroic Willpower alone. The man is in for a serious screw up from The Powers That Be.
Brand (Theatre) / int_6a696742	featureApplicability	1.0
Brand (Theatre) / int_6a696742	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_6a696742
Brand (Theatre) / int_6bda9a30	type	Meaningful Name
Brand (Theatre) / int_6bda9a30	comment	Meaningful Name. Brand, meaning "Sword". Agnes even lamshades this in the fourth act. The name also connects with the Norwegian word for "fire". Agnes, of course, means "chaste" (Greek) and "lamb" (Latin). Einar means "lone warrior" (for all those that thinks he is not connected to Brand), while Gerd means "fence". Brand, Einar and Gerd all have norse names. Agnes does not. Some intended Fridge Logic here?
Brand (Theatre) / int_6bda9a30	featureApplicability	1.0
Brand (Theatre) / int_6bda9a30	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_6bda9a30
Brand (Theatre) / int_6c275297	type	The Fettered
Brand (Theatre) / int_6c275297	comment	The Fettered: definitely.
Brand (Theatre) / int_6c275297	featureApplicability	1.0
Brand (Theatre) / int_6c275297	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_6c275297
Brand (Theatre) / int_6e2997fe	type	Intrinsic Vow
Brand (Theatre) / int_6e2997fe	comment	Intrinsic Vow: Brand takes this on in the first act, setting off his "good fight".
Brand (Theatre) / int_6e2997fe	featureApplicability	1.0
Brand (Theatre) / int_6e2997fe	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_6e2997fe
Brand (Theatre) / int_6e70b12b	type	Nominal Importance
Brand (Theatre) / int_6e70b12b	comment	Nominal Importance: To a degree. Brand, Agnes, Einar and Gerd all have their names. The others are either names by designation, like the bailiff, or "voices in the crowd". We have of course the outstanding mother of Brand, who is only that at nothing else. One possible exception is Nils Snemyr, a Mauve Shirt who actually gets his name addressed during the famine scene in the second act.
Brand (Theatre) / int_6e70b12b	featureApplicability	1.0
Brand (Theatre) / int_6e70b12b	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_6e70b12b
Brand (Theatre) / int_6f7c8268	type	Waif Prophet
Brand (Theatre) / int_6f7c8268	comment	Waif Prophet: Gerd. Her first encouter with Brand at the end of the first act serves as a Foreshadowing on what will happen at the end of the play.
Brand (Theatre) / int_6f7c8268	featureApplicability	1.0
Brand (Theatre) / int_6f7c8268	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_6f7c8268
Brand (Theatre) / int_71e8a5c5	type	Trauma Conga Line
Brand (Theatre) / int_71e8a5c5	comment	Trauma Conga Line: For Brand and Agnes respectively, beginning with the death of Brand's mother, then immediately on to the fatal sickness of their son, and then his untimely death. From which we conclude the death of Agnes. No wonder Brand is screwed up at the beginning of the fifth act, complaining that he has lost his link to God, and nothing actually matters anymore. And all this time, he tries to keep a stiff upper lip.
Brand (Theatre) / int_71e8a5c5	featureApplicability	1.0
Brand (Theatre) / int_71e8a5c5	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_71e8a5c5
Brand (Theatre) / int_72bafff5	type	Doomed Moral Victor
Brand (Theatre) / int_72bafff5	comment	Doomed Moral Victor: Brand to the last breath. He clearly represents the "theory of courage" à la Tolkien. But it is not exactly Christian, though. And he is an ordained priest... Brand even lampshades this early on in his "God is a hero" speech to Einar. He is not exactly sure if he can call himself "Christian", but he knows he is a man.
Brand (Theatre) / int_72bafff5	featureApplicability	1.0
Brand (Theatre) / int_72bafff5	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_72bafff5
Brand (Theatre) / int_72cc2b00	type	The Dividual
Brand (Theatre) / int_72cc2b00	comment	The Dividual: The schoolmaster and the bellringer in the fifth act, doing the work of Mr. Exposition.
Brand (Theatre) / int_72cc2b00	featureApplicability	1.0
Brand (Theatre) / int_72cc2b00	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_72cc2b00
Brand (Theatre) / int_76e24530	type	Delicate and Sickly
Brand (Theatre) / int_76e24530	comment	Delicate and Sickly: Alf, the son of Brand, succumbs to pneunomia in the third act.
Brand (Theatre) / int_76e24530	featureApplicability	1.0
Brand (Theatre) / int_76e24530	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_76e24530
Brand (Theatre) / int_77891f98	type	Right Place, Right Time, Wrong Reason
Brand (Theatre) / int_77891f98	comment	Right Place, Right Time, Wrong Reason: Brand chose to stay not for The Needs of the Many, but because of his mother. He actually hoped she would come around. She didn't.
Brand (Theatre) / int_77891f98	featureApplicability	1.0
Brand (Theatre) / int_77891f98	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_77891f98
Brand (Theatre) / int_799d05eb	type	Not Listening to Me, Are You?
Brand (Theatre) / int_799d05eb	comment	Not Listening to Me, Are You?: After their first meeting with Brand, Agnes reacts with Stunned Silence, while Einar tries to shrug it off. He tries to direct her attention towards the sea and the skyline, and their further plans, in a short, but quite beautiful monologue. At the end of it, he tries to adress her more directly, asking her if she saw anything at all. She answers with a distracted "yes, but did you notice..." clearly lost in the words of Brand. The first sign that Einar is about to lose her forever.
Brand (Theatre) / int_799d05eb	featureApplicability	1.0
Brand (Theatre) / int_799d05eb	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_799d05eb
Brand (Theatre) / int_79b5990c	type	Mr. Vice Guy
Brand (Theatre) / int_79b5990c	comment	Mr. Vice Guy: For Brand: pride. For his mother: greed.
Brand (Theatre) / int_79b5990c	featureApplicability	1.0
Brand (Theatre) / int_79b5990c	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_79b5990c
Brand (Theatre) / int_7b144404	type	Mental World
Brand (Theatre) / int_7b144404	comment	Mental World: actually a pivotal point in the play, invoked and played straight by Agnes, and resulting in an "Eureka!" Moment for Brand. Agnes has a soliloquy in the second act, staring "inwards" to a new world, which she herself has the responsibility for, to cultivate and to populate. Brand follows suit, and concludes that this "inward path" has to be the right one.
Brand (Theatre) / int_7b144404	featureApplicability	1.0
Brand (Theatre) / int_7b144404	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_7b144404
Brand (Theatre) / int_7bc90010	type	Hearing Voices
Brand (Theatre) / int_7bc90010	comment	Hearing Voices: Brand alone on the mountain. The voices call to him that he "is not worthy" and will never be more than a nobody. They come as a prelude to The Final Temptation.
Brand (Theatre) / int_7bc90010	featureApplicability	1.0
Brand (Theatre) / int_7bc90010	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_7bc90010
Brand (Theatre) / int_7d89315b	type	"The Reason You Suck" Speech
Brand (Theatre) / int_7d89315b	comment	"The Reason You Suck" Speech: Brand gets this through many times, mostly in his rousing speech, calling the officials out on their flaws.
Brand (Theatre) / int_7d89315b	featureApplicability	1.0
Brand (Theatre) / int_7d89315b	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_7d89315b
Brand (Theatre) / int_7dafc482	type	ChewToy
Brand (Theatre) / int_7dafc482	comment	Chew Toy: Brand.
Brand (Theatre) / int_7dafc482	featureApplicability	1.0
Brand (Theatre) / int_7dafc482	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_7dafc482
Brand (Theatre) / int_7f2427a6	type	Dawson Casting
Brand (Theatre) / int_7f2427a6	comment	Dawson Casting: Brand has often been played by actors way beyond the age of forty. One of the latest productions cast an actor who was seventy years old, or close. This makes Einar's youth, and his pinpointing that they went to school together, rather odd. Brand is seemingly a man in his twenties.
Brand (Theatre) / int_7f2427a6	featureApplicability	1.0
Brand (Theatre) / int_7f2427a6	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_7f2427a6
Brand (Theatre) / int_80eb641c	type	Straw Nihilist
Brand (Theatre) / int_80eb641c	comment	Straw Nihilist: Brand has shades of it.
Brand (Theatre) / int_80eb641c	featureApplicability	1.0
Brand (Theatre) / int_80eb641c	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_80eb641c
Brand (Theatre) / int_823c6e3e	type	Large Ham
Brand (Theatre) / int_823c6e3e	comment	Large Ham: Brand, of course. He is often played that way, or cast to be played by a natural ham.
Brand (Theatre) / int_823c6e3e	featureApplicability	1.0
Brand (Theatre) / int_823c6e3e	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_823c6e3e
Brand (Theatre) / int_8411ab92	type	Red Oni, Blue Oni
Brand (Theatre) / int_8411ab92	comment	Red Oni, Blue Oni: Gerd (red) vs Brand (blue). Or Agnes (also blue).
Brand (Theatre) / int_8411ab92	featureApplicability	1.0
Brand (Theatre) / int_8411ab92	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_8411ab92
Brand (Theatre) / int_84764598	type	Dramatic Thunder
Brand (Theatre) / int_84764598	comment	Dramatic Thunder: in The Final Temptation when Brand counters with the concept of longing. The being then disappears in a burst of thunder with a scream of horror:
Brand (Theatre) / int_84764598	featureApplicability	1.0
Brand (Theatre) / int_84764598	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_84764598
Brand (Theatre) / int_84cbf6e4	type	Grandpa God
Brand (Theatre) / int_84cbf6e4	comment	Grandpa God: Subverted and spoofed. Brand spoofs the trope heavily in the first act, preferring a young, heroic divine being for the visionings of the painter Einar, who painted God that way, earning a long snark from Brand (covering two pages).
Brand (Theatre) / int_84cbf6e4	featureApplicability	-0.3
Brand (Theatre) / int_84cbf6e4	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_84cbf6e4
Brand (Theatre) / int_8543ec22	type	Reality Subtext
Brand (Theatre) / int_8543ec22	comment	Reality Subtext: Ibsen got inspired while visiting the Church of St. Peter in Rome. The dome of that church is the greatest in Europe, hence the vision of a "bigger church" in the fourth act.
Brand (Theatre) / int_8543ec22	featureApplicability	1.0
Brand (Theatre) / int_8543ec22	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_8543ec22
Brand (Theatre) / int_859bbabc	type	The Cassandra
Brand (Theatre) / int_859bbabc	comment	The Cassandra: Gerd warns Brand against going down to the fjord. She is right, of course.
Brand (Theatre) / int_859bbabc	featureApplicability	1.0
Brand (Theatre) / int_859bbabc	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_859bbabc
Brand (Theatre) / int_86c2f7aa	type	The Antagonist
Brand (Theatre) / int_86c2f7aa	comment	The Antagonist: Mainly the Bailiff, playing the role of Obstructive Bureaucrat from the second act. In the fifth act, he is coupled with the provost, representing The Church, and other unnamed officials. This bunch gets the greater lot of Brand's anger, and is paired with Satan himself. The provost even gives Brand a lesser temptation early in the fifth act, to counter with the more "spiritual" one later. For the more intangible antagonism Brand is up against, see The Dark Side trope.
Brand (Theatre) / int_86c2f7aa	featureApplicability	1.0
Brand (Theatre) / int_86c2f7aa	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_86c2f7aa
Brand (Theatre) / int_875615dd	type	Truth in Television
Brand (Theatre) / int_875615dd	comment	Another dramatic case of Truth in Television: Romani people were known for traveling all over Norway in this time, and the official attitude towards them was often criminalization, arrest, or just making them leave for whatever excuse available. Their plight was not good, and many resorted to petty crimes and begging. The criticism implied in the play is justified by history.
Brand (Theatre) / int_875615dd	featureApplicability	1.0
Brand (Theatre) / int_875615dd	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_875615dd
Brand (Theatre) / int_8774fb47	type	Eldritch Abomination
Brand (Theatre) / int_8774fb47	comment	Eldritch Abomination: The "something" that Gerd is constantly shooting at. It goes by various names, and resides inside or on the glacier. She eventually gets the better of it at the time of Brand's final epiphany. Cataclysm Climax ensues. To be realistic, it is probably a hawk. On a symbolical level, it is not... When Brand resists The Final Temptation, and the being in question leaves with a scream, Gerd shows up immediately afterwards, and asks him if he "saw the hawk", and Brand states that he just saw it flee. Moments before that, Brand stated that "it" left like a hawk. Lampshade Hanging if ever there was one.
Brand (Theatre) / int_8774fb47	featureApplicability	1.0
Brand (Theatre) / int_8774fb47	featureConfidence	1.0
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Brand (Theatre) / int_88472ef3	type	Desperately Looking for a Purpose in Life
Brand (Theatre) / int_88472ef3	comment	Desperately Looking for a Purpose in Life: Brand all the way. From the outstart, when he literally wavers in the fog, only sure of one thing, he will follow the will of God, whatever that is. A number of times during the play (at least one time pr act, possibly twice in the fifth), Brand has a lesser realization on how things are supposed to be. Every time, it goes From Bad to Worse, until he finally realizes that he left The Power of Love out of his equation.
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Brand (Theatre) / int_8a2d8868	type	Not Afraid to Die
Brand (Theatre) / int_8a2d8868	comment	Not Afraid to Die: As long as it is the purpose of God.
Brand (Theatre) / int_8a2d8868	featureApplicability	1.0
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Brand (Theatre) / int_8cb844c6	type	Mr. Exposition
Brand (Theatre) / int_8cb844c6	comment	Mr. Exposition: The Bailiff, who tells Brand, and the audience, some chunky pieces of background plot during the play. Also the Schoolmaster and the Bellringer. They have a long scene at the beginning of the fifth act, with a main purpose in bringing the audience up to date on recent events. And also some philosophical outlooks in the process.
Brand (Theatre) / int_8cb844c6	featureApplicability	1.0
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Brand (Theatre) / int_9053903	type	Ignored Epiphany
Brand (Theatre) / int_9053903	comment	Ignored Epiphany: Brand gets epiphany proper when reaching the "Ice Church" with Gerd. Tears of Remorse quickly follows, as he understands what his Fatal Flaw was. He doesn't come around to make amends because of the avalanche, not because he ignored his epiphany. The true meaning of the final Deus ex Machina has been debated for decades.
Brand (Theatre) / int_9053903	featureApplicability	1.0
Brand (Theatre) / int_9053903	featureConfidence	1.0
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Brand (Theatre) / int_916c72b3	type	Rule of Symbolism
Brand (Theatre) / int_916c72b3	comment	Rule of Symbolism: Brand speaks of a "church" that has to be built bigger. The "symbolical church" is implied to be built in the minds of men (a church not made with hands...). also the glacier/the "ice church", falling down at the end. "The world", as defined by the entity passing for Agnes in the fifth act, hinting of a dualistic Christian view, where the physical world is to be shrugged off anyway. In Gnosticism, this world is technically evil.
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Brand (Theatre) / int_98a19d7f	type	Money, Dear Boy
Brand (Theatre) / int_98a19d7f	comment	Money, Dear Boy: The provost actually tries to tell Brand that this is the point of being an official, clergy or not. Brand does not buy it. Brand's mother came up with the same argument. She got to live for her collected treasure. It is implied that she in turn had the trope invoked by her father.
Brand (Theatre) / int_98a19d7f	featureApplicability	1.0
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Brand (Theatre) / int_99ddfcec	type	Unwitting Instigator of Doom
Brand (Theatre) / int_99ddfcec	comment	Unwitting Instigator of Doom: Gerd. Emphasis on the "unwitting" part. She is the one calling Brand out on it, making his plight worse, and in the end, she fires the rifle shot that ends the whole community by burying the valley under a ravine.
Brand (Theatre) / int_99ddfcec	featureApplicability	1.0
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Brand (Theatre) / int_9a3b7208	type	The Needs of the Many
Brand (Theatre) / int_9a3b7208	comment	The Needs of the Many: Brand's motivation, or also the motivation of the parish people, who time and again argues this way to make him stay. Subverted from the start, but played straight in the third act. Brand originally chose to stay for the sake of his mother.
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Brand (Theatre) / int_9b54d536	type	Evil Counterpart
Brand (Theatre) / int_9b54d536	comment	Evil Counterpart: The impersonation of Agnes in The Final Temptation scene at the end of the play. "She" tells him that It Was All A Dream, and everything is all right, or will be, if only he gives in and renounces his principles. It almost works. The temptor is always cast as the same actor who plays Agnes. This is often done to confuse both Brand and the audience. In the written play, the being is somewhat undefinable, and only recognized by Brand when it presents itself as Agnes.
Brand (Theatre) / int_9b54d536	featureApplicability	1.0
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Brand (Theatre) / int_9bee1a7f	type	Eldritch Location
Brand (Theatre) / int_9bee1a7f	comment	Eldritch Location: The "Ice Church" where Brand and Gerd finally end up.
Brand (Theatre) / int_9bee1a7f	featureApplicability	1.0
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Brand (Theatre) / int_9c209a57	type	The Hecate Sisters
Brand (Theatre) / int_9c209a57	comment	The Hecate Sisters: The female trio of the play: Brand's mother (Crone), Agnes (mother), and Gerd (maiden). Doubling with the Freudian Trio.
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Brand (Theatre) / int_9c5e78d0	type	Kill the Cutie
Brand (Theatre) / int_9c5e78d0	comment	Kill the Cutie: Agnes, finished off at the end of the fourth act. She has been a case of breaking the cutie up to that point.
Brand (Theatre) / int_9c5e78d0	featureApplicability	1.0
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Brand (Theatre) / int_9cc1e9ec	type	Unwanted False Faith
Brand (Theatre) / int_9cc1e9ec	comment	Unwanted False Faith: Brand reacts when Gerd tries to make a Messianic Archetype of him, complete with wounds in the right places. Earlier, Gerd pointed out to him that his priorities were wrong when setting the life of his son over the work of God. Referring to Alf as a "false God" is the trick that makes him stay.
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Brand (Theatre) / int_9d4b58ba	type	I Let Gwen Stacy Die
Brand (Theatre) / int_9d4b58ba	comment	I Let Gwen Stacy Die: Brand had to let go of Agnes. And his son. And mother.
Brand (Theatre) / int_9d4b58ba	featureApplicability	1.0
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Brand (Theatre) / int_9dfd7154	type	Fridge Logic
Brand (Theatre) / int_9dfd7154	comment	Brand, Einar and Gerd all have norse names. Agnes does not. Some intended Fridge Logic here?
Brand (Theatre) / int_9dfd7154	featureApplicability	1.0
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Brand (Theatre) / int_9e062ca3	type	Suicide Mission
Brand (Theatre) / int_9e062ca3	comment	Suicide Mission: Brand at the beginning of the play. Yes, as long as he does God's work, he clearly doesn't care if he lives or dies.
Brand (Theatre) / int_9e062ca3	featureApplicability	1.0
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Brand (Theatre) / int_9e9203e1	type	Dramatically Missing the Point
Brand (Theatre) / int_9e9203e1	comment	Dramatically Missing the Point: Brand invokes the trope in the fifth act, only to have the bailiff walking off and still completely... All the male characters seem to miss something through the play.
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Brand (Theatre) / int_9f037665	type	Quit Your Whining
Brand (Theatre) / int_9f037665	comment	Quit Your Whining: In a rather kind way, as Brand actually tries to make Agnes come over her sorrow for her dead child. He knows she has to, but looking into the Despair Event Horizon himself, he prays for someone to intervene. Cue the beggar woman. Brand has arguably beaten himself up to get over it on his own accord.
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Brand (Theatre) / int_a132a4fe	type	Where I Was Born and Razed
Brand (Theatre) / int_a132a4fe	comment	Where I Was Born and Razed: Brand brings the destruction with him, although unwittingly. His rebellion in the fifth act leads to him being chased off, conveniently towards the glacier. Then, Gerd follows him with her rifle, fires it, and makes the cataclysm ensue. Inverted when the responsibility for this lies on a number of people involved. Brand was the triggering factor.
Brand (Theatre) / int_a132a4fe	featureApplicability	1.0
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Brand (Theatre) / int_a448674	type	Gratuitous Latin
Brand (Theatre) / int_a448674	comment	Gratuitous Latin: This is the only play of Ibsen featuring this much Latin. The actual Aesop of the play comes in Latin, much to the arguable annoyance of scholars.
Brand (Theatre) / int_a448674	featureApplicability	1.0
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Brand (Theatre) / int_a4f2570d	type	Muggles
Brand (Theatre) / int_a4f2570d	comment	Muggles: The greater lot of the cast. Notably, Brand gets their attention when he goes badass in the second act. They end up useful idiots in the fifth act, and then become canon fodder at the end of the play because the author willed it so...
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Brand (Theatre) / int_a6cda066	type	Rule of Three
Brand (Theatre) / int_a6cda066	comment	Rule of Three: The first act presents three characters, who sets Brand off on his first "quest": A farmer who wants him as a priest for his dying daughter, the painter Einar (and his fiancée Agnes), who lives on the light side, and finally Gerd, the wild one. All of them are sides of life he wants to set straight: The dull (the farmer), the idle (the artist), and the wild one.
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Brand (Theatre) / int_a6ff7243	type	Hates Being Touched
Brand (Theatre) / int_a6ff7243	comment	Hates Being Touched: Brand's mother warns him off with a staff when he comes too close to her. Their only meeting in the play is setting them at least tree yards apart.
Brand (Theatre) / int_a6ff7243	featureApplicability	1.0
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Brand (Theatre) / int_a964c793	type	Mangst
Brand (Theatre) / int_a964c793	comment	Mangst. A lot.
Brand (Theatre) / int_a964c793	featureApplicability	1.0
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Brand (Theatre) / int_aa2bd65c	type	Mordor
Brand (Theatre) / int_aa2bd65c	comment	Mordor: Brand's Nightmare Fuel soliloqui in the fifth act clearly has some envisionings of this.
Brand (Theatre) / int_aa2bd65c	featureApplicability	1.0
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Brand (Theatre) / int_aaece264	type	Rousing Speech
Brand (Theatre) / int_aaece264	comment	Rousing Speech: Several. Most apparent in the fifth act, when Brand actually convinces the entire parish to go to the mountains with him, in search of a better destiny. At this point, Brand seems to have had a lot of rousing speeches off-stage, as the other officials rightly has begun to fear him. Agnes has one in the second act, to the point where Brand gets new revelations and remakes his choices. Even a local farmer gets his moment of awesome in the same act, trying to convince Brand that his task is right before his eyes.
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Brand (Theatre) / int_aba8065b	type	Fatal Flaw
Brand (Theatre) / int_aba8065b	comment	Fatal Flaw: see The Power of Love.
Brand (Theatre) / int_aba8065b	featureApplicability	1.0
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Brand (Theatre) / int_add931af	type	I Choose to Stay
Brand (Theatre) / int_add931af	comment	I Choose to Stay: Brand for the sake of his mother, Agnes for the sake of Brand, Brand at the expense of his son's life.
Brand (Theatre) / int_add931af	featureApplicability	1.0
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Brand (Theatre) / int_ae3d6438	type	Deadpan Snarker
Brand (Theatre) / int_ae3d6438	comment	Deadpan Snarker: Brand again. Lots of times during the play. Many of the snarks could have been Ibsen's, as he also was fond of the trope in Real Life. Considering Ibsen's innate anger at the time of writing, the entire play can be considered a snark.
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Brand (Theatre) / int_af3ea0e3	type	Faceâ€“Heel Turn
Brand (Theatre) / int_af3ea0e3	comment	Face–Heel Turn: The community, when abandoning Brand to struggle alone for the last part of the play.
Brand (Theatre) / int_af3ea0e3	featureApplicability	1.0
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Brand (Theatre) / int_afc6df04	type	What You Are in the Dark
Brand (Theatre) / int_afc6df04	comment	What You Are in the Dark: Brand stays for The Needs of the Many at the cost of his son's life. But he sure as anything does not tell about it. This backfires when the people of the parish turn on him, accusing him of not caring for his son.
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Brand (Theatre) / int_b01abe4f	type	Catchphrase
Brand (Theatre) / int_b01abe4f	comment	Catchphrase: "All or Nothing" - Brand's slogan. Also "Brand, you are stern", heard many times. "If you gave it all except your life, then know you have given nothing." One might also count in the bailiff's "always inside my jurisdiction" statement. In time, the practical follow-up of the "all or nothing" slogan, kills Agnes.
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Brand (Theatre) / int_b06bbf4b	type	Be Careful What You Wish For
Brand (Theatre) / int_b06bbf4b	comment	Be Careful What You Wish For: When Brand tries to get things straight, he begs God for help. Immediately afterwards, someone turns up only to set events off in the wrong direction. Even though that was not what Brand meant. Crapsack God indeed. The beggar woman coming for clothes on Christmas Eve should be a good example, since Brand actually asked God to intervene. Tragedy follows. The second time Brand prays for guidance in this way, Einar shows up turned into The Fundamentalist. The revelation coming over Brand after that encounter leads directly into open rebellion.
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Brand (Theatre) / int_b0cd3349	type	Fridge Brilliance
Brand (Theatre) / int_b0cd3349	comment	A moment of Fridge Brilliance occurs in the fourth act when Brand actually begins to think like her (although not realizing it at the time).
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Brand (Theatre) / int_b15b6a35	type	Cosmic Plaything
Brand (Theatre) / int_b15b6a35	comment	Cosmic Plaything: Brand qualifies.
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Brand (Theatre) / int_b26ca4f5	type	The Champion
Brand (Theatre) / int_b26ca4f5	comment	The Champion: Agnes thinks Brand is the man. She also obviously champions him. Brand, of course, is a champion of God, nontheless.
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Brand (Theatre) / int_b2f26025	type	Genki Girl
Brand (Theatre) / int_b2f26025	comment	Genki Girl: Gerd, also working as a foil to Agnes' Manic Pixie Dream Girl qualities. Fridge Logic: When a genki turns up in an Ibsen play, it seldom bodes well for the titular character.
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Brand (Theatre) / int_b38ebb09	type	Miles to Go Before I Sleep
Brand (Theatre) / int_b38ebb09	comment	Miles to Go Before I Sleep: From the very first scene.
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Brand (Theatre) / int_b42e16fb	type	Feathered Fiend
Brand (Theatre) / int_b42e16fb	comment	Feathered Fiend: The entity Gerd is tracking, which turn out to be the Eldritch Abomination constantly pestering Brand.
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Brand (Theatre) / int_b53077b3	type	Take That!
Brand (Theatre) / int_b53077b3	comment	Take That!: Much of Brand's rantings are criticisms of Norwegian society at the time, and the portraits of the Bailiff and the provost (the officials) sets them out as comical villains. The play is an inversion of Peer Gynt, and written at the same time. A prominent example comes in the fourth act, when the bailiff proposes building a "political party house", and Brand calmly interprets it as a possible madhouse: "and if somebody gets too crazy, we always have the great hall" (a kick to the Norwegian parliament, assembled at "the great thing" or stortinget). And the provost's rantings in the fifth act arguably serves as a "Take that, church!". Hence, all officials, priests and politicians are in for a beating in the play. A possible take on Capitalism with an ironic twist?
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Brand (Theatre) / int_b593baf1	type	Author Filibuster
Brand (Theatre) / int_b593baf1	comment	Author Filibuster: Very likely.
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Brand (Theatre) / int_b5cd93e	type	Powder Keg Crowd
Brand (Theatre) / int_b5cd93e	comment	Powderkeg Crowd: The common folk, turning and heel face turning during the course of the play. In the second act, the come close to lynching Brand when he arrives on the scene, then to turn 180 degrees when he braves the unpassable fjord. Later, Brand stirs up the crowd to open rebellion, only to lose them completely to the rumors of a quick income.
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Brand (Theatre) / int_b6cc7fc0	type	Dysfunctional Family
Brand (Theatre) / int_b6cc7fc0	comment	Brand has used most of the act on denying his mother his presence, both as a son and as a priest. The mother on her side, denied to give up anything of her goods to charity, and Brand surely didn't want any of it. So she died without redemption from her son. Dysfunctional Family indeed.
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Brand (Theatre) / int_b6f54fbe	type	Cataclysm Climax
Brand (Theatre) / int_b6f54fbe	comment	Cataclysm Climax: The avalanche at the end of the play, set off by a gunshot from Gerd. Described to have swallowed the whole valley (and everyone in it).
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Brand (Theatre) / int_b72923df	type	The Final Temptation
Brand (Theatre) / int_b72923df	comment	The Final Temptation: Brand alone in the wilderness, struggling with his actions and their dire consequences, is tempted by a being who presents itself as his dead wife. The being craves that he gives up his cause, and his slogan "all or nothing." He defeats the being when he brings up the concept of longing, which the being cannot overrule. In a recent production, the being was actually cast as Agnes, and the producer stated that it/she was right.
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Brand (Theatre) / int_ba8b13ad	type	Catch-22 Dilemma
Brand (Theatre) / int_ba8b13ad	comment	Catch-22 Dilemma: Agnes presents Brand with one at the end of the fourth act. He can recall the clothes of his dead son from the beggar mother (who definitely needs them for her freezing child), and thus break with his own principles. Alternatively, he and Agnes can follow the path they are on, but then, Agnes will die. Brand has to choose between his principles or the life of Agnes (a breach on his principles may possibly kill another child). He is quick to cross the Despair Event Horizon.
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Brand (Theatre)	hasFeature	Brand (Theatre) / int_ba8b13ad
Brand (Theatre) / int_bbc77bb5	type	Hard Truth Aesop
Brand (Theatre) / int_bbc77bb5	comment	Hard Truth Aesop: "Give away the goods of your dead loved ones instead of clinging to them when someone needs them more than you, even if it breaks your heart."
Brand (Theatre) / int_bbc77bb5	featureApplicability	1.0
Brand (Theatre) / int_bbc77bb5	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_bbc77bb5
Brand (Theatre) / int_bbfaa837	type	Knight Templar
Brand (Theatre) / int_bbfaa837	comment	Knight Templar: Brand can arguably be seen as one, though not a conscious one. He is often interpreted in this way, though.
Brand (Theatre) / int_bbfaa837	featureApplicability	1.0
Brand (Theatre) / int_bbfaa837	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_bbfaa837
Brand (Theatre) / int_bec3d7c9	type	Staring Contest
Brand (Theatre) / int_bec3d7c9	comment	Staring Contest: Brand vs his mother in the second act. They stand in a way that almost points towards a showdown situation. The "staring" continues for three years until she finally dies.
Brand (Theatre) / int_bec3d7c9	featureApplicability	1.0
Brand (Theatre) / int_bec3d7c9	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_bec3d7c9
Brand (Theatre) / int_bef696dd	type	Mind Screw
Brand (Theatre) / int_bef696dd	comment	Mind Screw: Possibly the entire play, and a rather brilliant one at that.
Brand (Theatre) / int_bef696dd	featureApplicability	1.0
Brand (Theatre) / int_bef696dd	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_bef696dd
Brand (Theatre) / int_c2cedc1c	type	Big "NO!"
Brand (Theatre) / int_c2cedc1c	comment	Big "NO!": Brand when realizing his wife is leaving him. Though not said literally, it is clearly the implied meaning.
Brand (Theatre) / int_c2cedc1c	featureApplicability	1.0
Brand (Theatre) / int_c2cedc1c	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_c2cedc1c
Brand (Theatre) / int_c3c18143	type	Hope Spot
Brand (Theatre) / int_c3c18143	comment	Hope Spot: Brand was just about to pack his things and rush his wife and sick son out of the door... Then Gerd arrived on scene with another What the Hell, Hero? speech. He chose to stay after all.
Brand (Theatre) / int_c3c18143	featureApplicability	1.0
Brand (Theatre) / int_c3c18143	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_c3c18143
Brand (Theatre) / int_c420a553	type	We Can Rule Together
Brand (Theatre) / int_c420a553	comment	We Can Rule Together: What the provost essentially tries to tell Brand. He has to give in to compromise, and the world will be his to command.
Brand (Theatre) / int_c420a553	featureApplicability	1.0
Brand (Theatre) / int_c420a553	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_c420a553
Brand (Theatre) / int_c4db3679	type	The Dark Side
Brand (Theatre) / int_c4db3679	comment	The Dark Side: The not so easy defeated entity Brand is up against. He defines it as "the spirit of compromise", and will not yield at any cost. In time, he comes to see it incarnated in the officials, and he defines the being he meets in The Final Temptation scene as this. In his Rousing Speech, he actually defines it as Satan.
Brand (Theatre) / int_c4db3679	featureApplicability	1.0
Brand (Theatre) / int_c4db3679	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_c4db3679
Brand (Theatre) / int_c696f3ba	type	Heroic Willpower
Brand (Theatre) / int_c696f3ba	comment	Heroic Willpower. Brand calls on this, and argues with it, time and again. His Moment of Awesome draws on this in the second act. His last question to God at the end of the play is if the willpower really was worth it. The answer comes in the form of a Deus ex Machina.
Brand (Theatre) / int_c696f3ba	featureApplicability	1.0
Brand (Theatre) / int_c696f3ba	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_c696f3ba
Brand (Theatre) / int_c75df49a	type	Shout-Out
Brand (Theatre) / int_c75df49a	comment	Shout-Out: To The Bible from beginning to end, both as direct reference and as allusions. Brand himself uses the Messianic Archetype trope over and over, and the author uses it shamelessly on the title character. After all, he is a man of the cloth...
Brand (Theatre) / int_c75df49a	featureApplicability	1.0
Brand (Theatre) / int_c75df49a	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_c75df49a
Brand (Theatre) / int_c819533b	type	Rage Breaking Point
Brand (Theatre) / int_c819533b	comment	Rage-Breaking Point: The Crowd scene in the fifth act, when Brand finally has it. Up to this point, he has played nice, but with an occasional snark. Have in mind that he is severely traumatized by now, and has endured a lengthy speech by the provost, only interrupted by more snarks. The theologial/political views of the provost may have been an unintended Berserk Button as well. He is supposed to formally open the new church, but instead rebels and throws the key into the fjord, and basically says Screw the Rules, I'm Doing What's Right!.
Brand (Theatre) / int_c819533b	featureApplicability	1.0
Brand (Theatre) / int_c819533b	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_c819533b
Brand (Theatre) / int_c868a42a	type	Freudian Excuse
Brand (Theatre) / int_c868a42a	comment	Freudian Excuse: Essentially a basic plot point. Brand has a Freudian Excuse of a magnitude that would have made Sigmund Freud weep with joy.
Brand (Theatre) / int_c868a42a	featureApplicability	1.0
Brand (Theatre) / int_c868a42a	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_c868a42a
Brand (Theatre) / int_c87660d5	type	Get a Hold of Yourself, Man!
Brand (Theatre) / int_c87660d5	comment	Brand has arguably beaten himself up to get over it on his own accord.
Brand (Theatre) / int_c87660d5	featureApplicability	1.0
Brand (Theatre) / int_c87660d5	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_c87660d5
Brand (Theatre) / int_c98b7916	type	Messianic Archetype
Brand (Theatre) / int_c98b7916	comment	Messianic Archetype: Gerd finding Brand alone on the mountain, claims that he is the messiah. Brand fiercely denies it as another temptation. Up to this point, the trope has been played straight on Brand time and again, but Gerd is the only one that actually says it. But she is quite far out, though.
Brand (Theatre) / int_c98b7916	featureApplicability	1.0
Brand (Theatre) / int_c98b7916	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_c98b7916
Brand (Theatre) / int_cc4d190a	type	Did You Just Punch Out Cthulhu?
Brand (Theatre) / int_cc4d190a	comment	Did You Just Punch Out Cthulhu?: Gerd, when she eventually shoots the entity with a rifle. The whole set collapses instantly.
Brand (Theatre) / int_cc4d190a	featureApplicability	1.0
Brand (Theatre) / int_cc4d190a	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_cc4d190a
Brand (Theatre) / int_ce1b6f32	type	Temple of Doom
Brand (Theatre) / int_ce1b6f32	comment	Temple of Doom: The "ice church" where Brand and Gerd ends up, in fact a part of the glacier. Gerd, being the Unwitting Instigator of Doom, has been heading in that direction for most of the play. When this construction collapses, everything else goes with it.
Brand (Theatre) / int_ce1b6f32	featureApplicability	1.0
Brand (Theatre) / int_ce1b6f32	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_ce1b6f32
Brand (Theatre) / int_ce60aef3	type	Heroic Resolve
Brand (Theatre) / int_ce60aef3	comment	Heroic Resolve: Brand's pledge at the end of the first act: to go to war against the three bad seeds(see the Rule of Three below.
Brand (Theatre) / int_ce60aef3	featureApplicability	1.0
Brand (Theatre) / int_ce60aef3	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_ce60aef3
Brand (Theatre) / int_cf168867	type	The Corruption
Brand (Theatre) / int_cf168867	comment	The Corruption: Brand works really hard to avoid this. He firmly believes that the road to corruption goes through compromise, but screws up fatally because he equates this with The Power of Love. His fear of The Corruption leads him to a Holier Than Thou solution, and Brand ends up screwed anyway - although he essentially stays uncorrupted, he did not count for the fact that he may have been corrupted from the very beginning (because of his Freudian Excuse).
Brand (Theatre) / int_cf168867	featureApplicability	1.0
Brand (Theatre) / int_cf168867	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_cf168867
Brand (Theatre) / int_d397657d	type	Hoist by His Own Petard
Brand (Theatre) / int_d397657d	comment	Hoist by His Own Petard: Brand has to accept that people around him use his own principles against him. If they are to follow them, he has to follow them as well (if not, he would be called out on hypocrisy). Of course, this makes up most of the tragic outcome of the play.
Brand (Theatre) / int_d397657d	featureApplicability	1.0
Brand (Theatre) / int_d397657d	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_d397657d
Brand (Theatre) / int_d39e327f	type	What the Hell, Hero?
Brand (Theatre) / int_d39e327f	comment	What the Hell, Hero?: the local doctor calls Brand out on his refusal to see his mother on her deathbed, and again on behalf of his sick son. Gerd calls Brand out on his decision to leave, making Brand's position impossible over time.
Brand (Theatre) / int_d39e327f	featureApplicability	1.0
Brand (Theatre) / int_d39e327f	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_d39e327f
Brand (Theatre) / int_d46ddfa2	type	CloudCuckooLander
Brand (Theatre) / int_d46ddfa2	comment	Cloud Cuckoolander: Gerd, the beggar girl. She is also troped as the wild one. Tends to turn up when Brand is troubled, and has a fatal effect on him, several times. She is also the only one left to tend to him in the end.
Brand (Theatre) / int_d46ddfa2	featureApplicability	1.0
Brand (Theatre) / int_d46ddfa2	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_d46ddfa2
Brand (Theatre) / int_d705a976	type	The Soulsaver
Brand (Theatre) / int_d705a976	comment	The Soulsaver: Twice. First, the man who killed his child for want of food to feed it. Brand to the rescue because he recongnizes the sheer need for salvation, or at least peace. Once again in the fourth act with Agnes, who cannot bear to part with the clothes of her dead son.
Brand (Theatre) / int_d705a976	featureApplicability	1.0
Brand (Theatre) / int_d705a976	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_d705a976
Brand (Theatre) / int_dae5c997	type	Action Girl
Brand (Theatre) / int_dae5c997	comment	Action Girl: Gerd is a good shot with stones, and later, she has that rifle of hers.
Brand (Theatre) / int_dae5c997	featureApplicability	1.0
Brand (Theatre) / int_dae5c997	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_dae5c997
Brand (Theatre) / int_dbc41ba9	type	Aloof Dark-Haired Girl
Brand (Theatre) / int_dbc41ba9	comment	Aloof Dark-Haired Girl: Brand fits, although he is a male version. The "epic Brand" states that he has "black, rather long hair".
Brand (Theatre) / int_dbc41ba9	featureApplicability	1.0
Brand (Theatre) / int_dbc41ba9	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_dbc41ba9
Brand (Theatre) / int_dcbe8a6e	type	Chekhov's Gunman
Brand (Theatre) / int_dcbe8a6e	comment	Chekhov's Gunman: Gerd. She solves the play with a gunshot, after five acts of pressing Brand into it.
Brand (Theatre) / int_dcbe8a6e	featureApplicability	1.0
Brand (Theatre) / int_dcbe8a6e	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_dcbe8a6e
Brand (Theatre) / int_dda99fa8	type	Despair Event Horizon
Brand (Theatre) / int_dda99fa8	comment	Despair Event Horizon: The agony of Agnes when asked to give up the clothes of her dead son. Brand in a similar agony when he first learns that his son is ill.
Brand (Theatre) / int_dda99fa8	featureApplicability	1.0
Brand (Theatre) / int_dda99fa8	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_dda99fa8
Brand (Theatre) / int_e0222ff2	type	Buy Them Off
Brand (Theatre) / int_e0222ff2	comment	Buy Them Off: To get the community coming back, the bailiff comes up with a story of a great steam of Herring coming in the fjord, which will make them all rich. This may be a case of Counterfeit Cash, but it actually works, and the people Heel–Face Turn on Brand in seconds, making themselves Ungrateful Bastards in the process. A case of Truth in Television: Herring was the greatest possible means of getting wealth for any Norwegian living in the western parts of Norway before the discovery of oil in the North Aea.
Brand (Theatre) / int_e0222ff2	featureApplicability	1.0
Brand (Theatre) / int_e0222ff2	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_e0222ff2
Brand (Theatre) / int_e11e88b6	type	Thousand-Yard Stare
Brand (Theatre) / int_e11e88b6	comment	Thousand-Yard Stare: Brand when he learns that his mother just died. This happens in the middle of the third act, and is the beginning of a continual Despair Event Horizon as well as the Trauma Conga Line. Brand has used most of the act on denying his mother his presence, both as a son and as a priest. The mother on her side, denied to give up anything of her goods to charity, and Brand surely didn't want any of it. So she died without redemption from her son. Dysfunctional Family indeed.
Brand (Theatre) / int_e11e88b6	featureApplicability	1.0
Brand (Theatre) / int_e11e88b6	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_e11e88b6
Brand (Theatre) / int_e16217f8	type	Historical Villain Upgrade
Brand (Theatre) / int_e16217f8	comment	Historical Villain Upgrade. Most of the producers after 1950, at least in Norway, tend to cast Brand as a tragic, unsympathetic character, sarcasm set aside.
Brand (Theatre) / int_e16217f8	featureApplicability	1.0
Brand (Theatre) / int_e16217f8	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_e16217f8
Brand (Theatre) / int_e2a41c3b	type	Literal-Minded
Brand (Theatre) / int_e2a41c3b	comment	Literal-Minded: The bailiff. Many times.
Brand (Theatre) / int_e2a41c3b	featureApplicability	1.0
Brand (Theatre) / int_e2a41c3b	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_e2a41c3b
Brand (Theatre) / int_e2abcbfd	type	Turbulent Priest
Brand (Theatre) / int_e2abcbfd	comment	Turbulent Priest: Brand from the third act and onwards. The bailiff covertly asks him to leave, and a local man tells him straight in his face that the bailiff wants to get rid of him. Come fourth act, the bailiff admits defeat because Brand is popular among ordinary people. In the fifth act. Brand is in for a knighting, and is also discussed when promoting a new bishop. When Brand violently bursts out against them, both the provost and the bailiff lapse into a sigh of relief:
Brand (Theatre) / int_e2abcbfd	featureApplicability	1.0
Brand (Theatre) / int_e2abcbfd	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_e2abcbfd
Brand (Theatre) / int_e2d457	type	The Ditz
Brand (Theatre) / int_e2d457	comment	The Ditz: The bailiff has this in spades.
Brand (Theatre) / int_e2d457	featureApplicability	1.0
Brand (Theatre) / int_e2d457	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_e2d457
Brand (Theatre) / int_e49686	type	The Hero
Brand (Theatre) / int_e49686	comment	The Hero: Brand. And a good tragic one too.
Brand (Theatre) / int_e49686	featureApplicability	1.0
Brand (Theatre) / int_e49686	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_e49686
Brand (Theatre) / int_e52a0409	type	Calling the Old Man Out
Brand (Theatre) / int_e52a0409	comment	Calling the Old Man Out: Brand actually calls his mother out on her greed. She initially wavers, but stiffens herself up. They never meet again.
Brand (Theatre) / int_e52a0409	featureApplicability	1.0
Brand (Theatre) / int_e52a0409	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_e52a0409
Brand (Theatre) / int_e567510d	type	Determinator
Brand (Theatre) / int_e567510d	comment	Determinator: Subverted in the third act when Brand actually (almost) decides to leave on the spot for the sake of his sick son. A stirring speech from Gerd makes him determined to carry on.
Brand (Theatre) / int_e567510d	featureApplicability	-0.3
Brand (Theatre) / int_e567510d	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_e567510d
Brand (Theatre) / int_e63228a7	type	InfoDump
Brand (Theatre) / int_e63228a7	comment	Info Dump: The bailiff has an essential one come the fourth act, telling the backstory of Gerd, only hinted on by Brand's mother. The Schoolmaster and the Bellringer likewise in the fifth, to get the audience up to speed on what has happened between the fourth and the fifth act. A good half year has passed since the death of Agnes.
Brand (Theatre) / int_e63228a7	featureApplicability	1.0
Brand (Theatre) / int_e63228a7	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_e63228a7
Brand (Theatre) / int_e68d9ddd	type	Not Blood Siblings
Brand (Theatre) / int_e68d9ddd	comment	Not Blood Siblings: Brand and Gerd. Gerd's father, a poor young man, loved Brand's mother, who discarded him. She married the wealthy man who became the father of Brand, while the boy went to live with the local stragglers (actually Romani stock), and became the father of Gerd...
Brand (Theatre) / int_e68d9ddd	featureApplicability	1.0
Brand (Theatre) / int_e68d9ddd	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_e68d9ddd
Brand (Theatre) / int_e78119cb	type	Girls with Guns
Brand (Theatre) / int_e78119cb	comment	Girls with Guns: Gerd gets her hands on a rifle come the fifth act. Up til then, she had to throw stones - and when she eventually gets that rifle, things get nasty.
Brand (Theatre) / int_e78119cb	featureApplicability	1.0
Brand (Theatre) / int_e78119cb	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_e78119cb
Brand (Theatre) / int_e8878c29	type	Despair Speech
Brand (Theatre) / int_e8878c29	comment	Despair Speech: Agnes has a long one in the fourth act, lamenting that everything is closed off, later that everything is taken from her. Brand has a similar one in the fifth act, concerning almost the same things.
Brand (Theatre) / int_e8878c29	featureApplicability	1.0
Brand (Theatre) / int_e8878c29	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_e8878c29
Brand (Theatre) / int_e8cae797	type	Freudian Trio
Brand (Theatre) / int_e8cae797	comment	Freudian Trio: The women of the play: Brand's mother (Superego), Agnes (Ego), Gerd (Id). Of course everything goes off the scale when both the mother and Agnes are gone.
Brand (Theatre) / int_e8cae797	featureApplicability	1.0
Brand (Theatre) / int_e8cae797	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_e8cae797
Brand (Theatre) / int_ed7817b2	type	Shrine to the Fallen
Brand (Theatre) / int_ed7817b2	comment	Shrine to the Fallen: the drawer containing the clothes of Alf, dead at that point in the play (the fourth act).
Brand (Theatre) / int_ed7817b2	featureApplicability	1.0
Brand (Theatre) / int_ed7817b2	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_ed7817b2
Brand (Theatre) / int_f16da697	type	Undying Loyalty
Brand (Theatre) / int_f16da697	comment	Undying Loyalty: Agnes to Brand.
Brand (Theatre) / int_f16da697	featureApplicability	1.0
Brand (Theatre) / int_f16da697	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_f16da697
Brand (Theatre) / int_f1d2c779	type	Raven Hair, Ivory Skin
Brand (Theatre) / int_f1d2c779	comment	Raven Hair, Ivory Skin: Brand (according to the "epic" Brand).
Brand (Theatre) / int_f1d2c779	featureApplicability	1.0
Brand (Theatre) / int_f1d2c779	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_f1d2c779
Brand (Theatre) / int_f2be6700	type	Stepford Snarker
Brand (Theatre) / int_f2be6700	comment	Stepford Snarker: Brand, with all his repressions.
Brand (Theatre) / int_f2be6700	featureApplicability	1.0
Brand (Theatre) / int_f2be6700	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_f2be6700
Brand (Theatre) / int_f332d990	type	Too Much Information
Brand (Theatre) / int_f332d990	comment	Too Much Information: Brand witnessed his mother robbing his father on the father's deathbed while still a boy! This Squicked him out good and proper, and made him get as far away from his mother as possible. When his mother begged him to take care of her wealth, he instantly turned her down, and told her exactly why.
Brand (Theatre) / int_f332d990	featureApplicability	1.0
Brand (Theatre) / int_f332d990	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_f332d990
Brand (Theatre) / int_f76842b1	type	The Fundamentalist
Brand (Theatre) / int_f76842b1	comment	The Fundamentalist: Einar the painter in the fifth act, after loosing all his vigour. At this point, he is on the verge of Knight Templar to the point that even Brand shivers at it.
Brand (Theatre) / int_f76842b1	featureApplicability	1.0
Brand (Theatre) / int_f76842b1	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_f76842b1
Brand (Theatre) / int_f8084d07	type	Society Is to Blame
Brand (Theatre) / int_f8084d07	comment	Many readers have been justly cross with Brand because of this. But then again, Society Is to Blame.
Brand (Theatre) / int_f8084d07	featureApplicability	1.0
Brand (Theatre) / int_f8084d07	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_f8084d07
Brand (Theatre) / int_f8c079b3	type	With Us or Against Us
Brand (Theatre) / int_f8c079b3	comment	With Us or Against Us: A cry from the crowd roused by Brand in the fifth act, to the distress of the county officials. Also an early Trope Namer. The crowd does not hold for long, though.
Brand (Theatre) / int_f8c079b3	featureApplicability	1.0
Brand (Theatre) / int_f8c079b3	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_f8c079b3
Brand (Theatre) / int_f933e594	type	How the Mighty Have Fallen
Brand (Theatre) / int_f933e594	comment	How the Mighty Have Fallen: Coupled with the Humans Are Flawed trope and the Horny Vikings.
Brand (Theatre) / int_f933e594	featureApplicability	1.0
Brand (Theatre) / int_f933e594	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_f933e594
Brand (Theatre) / int_fa2f6b63	type	Villain Corner
Brand (Theatre) / int_fa2f6b63	comment	Villain Corner: Brand, because of his Principles Zealotry. This is arguably the strongest argument against his character in literary criticism. His only way out of it is possible death or a Heroic BSoD, depending on who you ask. Consider The Sandman, who had to die to get out of the trap his own rules had set for him.
Brand (Theatre) / int_fa2f6b63	featureApplicability	1.0
Brand (Theatre) / int_fa2f6b63	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_fa2f6b63
Brand (Theatre) / int_fb8e9cf4	type	Samaritan Syndrome
Brand (Theatre) / int_fb8e9cf4	comment	Samaritan Syndrome: For Brand, who really wishes to be there for everyone.
Brand (Theatre) / int_fb8e9cf4	featureApplicability	1.0
Brand (Theatre) / int_fb8e9cf4	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_fb8e9cf4
Brand (Theatre) / int_fbd285b7	type	Comically Missing the Point
Brand (Theatre) / int_fbd285b7	comment	Comically Missing the Point: The provost. He seems to have comically missed the point of the whole bible, and one cannot help but wonder how the man ended up in such a high clerical position. Brand gets quite impatient with him.
Brand (Theatre) / int_fbd285b7	featureApplicability	1.0
Brand (Theatre) / int_fbd285b7	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_fbd285b7
Brand (Theatre) / int_fc451ba4	type	Follow the Leader
Brand (Theatre) / int_fc451ba4	comment	Follow the Leader: The TV series Angel may or may not owe some points or two to Brand when presenting the main character of the show. One actual line uttered by Darla to Angel (season 2) can be taken as a Shout-Out to Brand: One can also consider The first Evil, as presented in Buffy the Vampire Slayer, who does the Mind Screw by making Evil Counterparts of dearly loved but deceased persons. Darla's role in Angel is an inversion of this, though. Also the character of The Sandman by Neil Gaiman, next to Brand in stuffiness, and a Principles Zealot of the same order. Brand himself is often clad in black, and no wonder (black was actually the official colour of priests' garments at the time of the play, to underline the point). As is Sandman and Angel...
Brand (Theatre) / int_fc451ba4	featureApplicability	1.0
Brand (Theatre) / int_fc451ba4	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_fc451ba4
Brand (Theatre) / int_feaf12e8	type	Survivor Guilt
Brand (Theatre) / int_feaf12e8	comment	Survivor Guilt: Brand after the death of Agnes.
Brand (Theatre) / int_feaf12e8	featureApplicability	1.0
Brand (Theatre) / int_feaf12e8	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_feaf12e8
Brand (Theatre) / int_fed93e1b	type	Dark and Troubled Past
Brand (Theatre) / int_fed93e1b	comment	Dark and Troubled Past: Brand's childhood, which was far from happy. He grew up alone in the coldest part of the valley with a widowed mother who clearly did not love his dead father. Actually, she robbed him on his deathbed, and Brand hints that he was as greedy as she was. None of them would share their wealth, seemingly. Brand grew up a moody boy who hardly played with other kids, as his childhood mate Einar points out to him. No wonder, when push came to show, that Brand did not care for his mother's estate, and denied her a priest at her deathbed (yep, it was himself) because she never wanted to part with her money.
Brand (Theatre) / int_fed93e1b	featureApplicability	1.0
Brand (Theatre) / int_fed93e1b	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_fed93e1b
Brand (Theatre) / int_name	type	ItemName
Brand (Theatre) / int_name	comment
Brand (Theatre) / int_name	featureApplicability	1.0
Brand (Theatre) / int_name	featureConfidence	1.0
Brand (Theatre)	hasFeature	Brand (Theatre) / int_name
Brand (Theatre) / int_name	itemName	Brand (Theatre)

The following is a list of statements referring to the current page from other pages.

Brand (Theatre)	hasFeature	Accidentally-Correct Writing / int_437f4a1e
Brand	seeAlso	Brand (Theatre)
Brand (Theatre)	hasFeature	Break the Cutie / int_437f4a1e
Brand (Theatre)	hasFeature	Determinator / int_437f4a1e
Brand (Theatre)	hasFeature	Doomed Hometown / int_437f4a1e
Brand (Theatre)	hasFeature	Enraged by Idiocy / int_437f4a1e
Brand (Theatre)	hasFeature	Famous Ancestor / int_437f4a1e
Brand (Theatre)	hasFeature	Girls with Guns / int_437f4a1e
Brand (Theatre)	hasFeature	Go Mad from the Revelation / int_437f4a1e
Brand (Theatre)	hasFeature	Guilt Complex / int_437f4a1e
Brand (Theatre)	hasFeature	Heroic Willpower / int_437f4a1e
Brand (Theatre)	hasFeature	I Let Gwen Stacy Die / int_437f4a1e
Brand (Theatre)	hasFeature	Resigned to the Call / int_437f4a1e
Brand (Theatre)	hasFeature	Tall, Dark, and Snarky / int_437f4a1e
Brand (Theatre)	hasFeature	The Morlocks / int_437f4a1e
Brand (Theatre)	hasFeature	Unwitting Instigator of Doom / int_437f4a1e
Brand (Theatre)	hasFeature	The Snark Knight / int_437f4a1e

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