Ibsen – for Braunschweig – is a kind of obsession. The Wild Duck – staged at the Théâtre de la Colline in Paris, January 10, 2014 – is the sixth ibsenian performance of forty year French director. Braunschweig eliminates the first act, set in the rich living room of Werle. Thus fails the sociological dimension of the text, the contrast with the petty bourgeois environment of Hjalmar, and it dictates the psychological dimension, the contrast between Werle and Gregers, his son. The director profoundly alters the critical tradition, making Gregers a homosexual potential, interpreting the couple Gregers-Werle as a double filtered through the model Hippolytus-Theseus. A further test of maturity of the director, after the diptych of 2009, A Doll House/Rosmersholm, of which Braunschweig reproduces two main features: the great scenographic inventiveness, and the use of an ambiguous acting, capable of arousing laughter from the audience.