Hedda Gabler more important than the rational one. Ibsen was interested in the then-embryonic science of mental illness and had a poor understanding by present-day standards. His "Ghosts" is another example of this. Examples of the troubled 19th-century female might include oppressed, but "normal", wilful characters; women in abusive or loveless relationships; and those with some type of organic brain disease. Ibsen is content to leave such explanations unsettled. Bernard Paris interprets Gabler's actions as stemming from her "need for freedom [which is] as compensatory as her craving for power... her desire to shape a man's destiny." The play was performed in
Hedda Vernon Piel. She also worked in other films directed by Piel and collaborated with Max Obal until 1914. Some of her early films are "The Struggle for the Heritage" (1912), "The Brown Beast" (1914), and "The Iron Cross" (1914). In 1914 she founded her own production company, Hedda Vernon Films, in Berlin and produced her own films for the Hedda Vernon series, including the self-directed "The Yellow Grimace" (1914) and "Hedda Vernon's Stage Sketch" (1916). She also acted in several Eiko film productions until the end of World War I, mainly under the direction of her husband Hubert Moest, who founded