Cecilie Løveid's initial experiments with prose and poetry produced, as critics have commented, novels that read like poetry and verse that told stories, and they influenced a generation of writers--particularly women. She began to focus on drama in the 1980s, but the publication of some children's books and poetry collections in the 1990s shows that she has not entirely forsaken prose and poetry. In aesthetic form Løveid is a pioneer in all genres; but, with influences from European drama, especially German neo-expressionism, her innovations in the theatrical genre are, perhaps, the most notable. Transcending the Ibsenesque psychological realism that has dominated Norwegian drama, Løveid rebels against the supremacy of the written word and supplements it with visual, aural, and spatial elements. While these innovations have not made her popular with Norwegian audiences and have induced a difficult relationship with theatrical institutions in...