In the play "When We Dead Awaken," the setting shifts between two evocative locations that mirror the internal landscapes of the characters. The narrative opens at a picturesque seaside resort, a tranquil spa nestled along the Norwegian coast. This coastal retreat is where Rubek, a celebrated artist, and Maia, his wife, seek respite from their travels and the weight of Rubek's burgeoning fame, a consequence of his renowned sculptural masterpiece. Yet, the very fame they wish to escape is inescapable for Rubek. It is here, amidst the serenity of the sea, that Rubek encounters Irene, the woman whose likeness brought life to his acclaimed work, prompting him to confront his artistic destiny. As Rubek grapples with this, Maia becomes entranced by the vibrant sportsman Ulfheim, who tempts her with the allure of hunting in the mountains. Restlessness seizes her by the shore, and she succumbs to the call of adventure, setting the stage for her own transformative journey.

The dramatic landscape shifts to a Norwegian mountain resort for the play's concluding acts, where towering peaks become a metaphor for Rubek's artistic aspirations and emotional revelations. Here, amidst the majesty of the mountains, Rubek reminisces about his promise to Maia and Irene: to take them "up a high mountain" to witness "all the glory of the world." Yet, as Rubek ascends, a stark realization dawns—his path as an artist is solitary, incapable of accommodating the emotional bonds with Maia or Irene. Maia's decision to descend with Ulfheim to the valley below signifies her choice to forsake art for the pleasures of a more tangible existence. In contrast, Irene remains with Rubek, and together they face an avalanche. Their demise is not merely a physical end but rather a poignant affirmation that the purity of an artist's devotion to his craft cannot coexist with the demands of conventional life. The mountain, thus, becomes both a literal and figurative apex of art's isolating power.