By Julie Holledge, Jonathan Bollen, Frode Helland, Joanne Tompkins
This e-book addresses a deceptively uncomplicated query: what debts for the worldwide good fortune of A Doll’s House, Henrik Ibsen’s hottest play? utilizing maps, networks, and pictures to discover the realm historical past of the play’s construction, this question is taken into account from angles: cultural transmission and model. Analysing the play’s transmission unearths the social, monetary, and political forces that experience secured its position within the canon of worldwide drama; a comparative examine of the play’s 135-year creation historical past throughout 5 continents deals new insights into theatrical version. Key parts of analysis contain the worldwide excursions of nineteenth-century actress-managers, Norway’s gentle international relations in selling gender equality, representations of the feminine acting physique, and the sexual vectors of social swap in theatre.
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Additional resources for A Global Doll's House: Ibsen and Distant Visions
They are a great deal too tired and frivolous for anything but the lightest of comedy. Their constant complaint is that they are tired out. They work as hard as they possibly can in order to get back to England at the earliest moment, and half of them are invalids. Obviously, therefore, they are not in a condition to appreciate the work of a serious dramatist like Ibsen. (Achurch 1892, 1–2) There is no evidence that the Calcutta audience included anyone other than members of the expatriate British community.
1 (a) European tours by Agnes Sorma, Auguste Prasch-Grevenberg, Betty Hennings, Eleonora Duse, Emma Gramatica, Gabriela Zapolska, Irene Triesch, Johanne Dybwad, Kyveli Adrianou, Lilli Petri, Lucinda Simões, Suzanne Després, Teresa Mariani Zampieri (also known as Teresa Mariani), Thessa Klinkhammer, and Vera Komissarzhevskaya, 1879–1930 (Source: IbsenStage). 7 As a city on the periphery of Europe, St Petersburg hosted Noras from Italy, Poland, Finland, and Germany. 12 Istanbul was the only city on the south-eastern border of Europe where the European Noras competed for audiences.
This is usually attributed to the efforts of his famous advocates: the major translators Wilhelm Lange, William Archer, and Moritz Prozor; the critics Georg Brandes, George Bernard Shaw, and Edmund Gosse; and the avant-garde producers Otto Brahm at Freie Bühne in Berlin, André Antoine at Théâtre Libre, Aurélien-Marie Lugné-Poë at Théâtre de l’Oeuvre in Paris, and Jacob Grein at the Independent Theatre in Britain. Pascale Casanova has argued that it was the collective foreign adoption of Ibsen in Britain, Ireland, and France that made him ‘universally recognised as universal’ (2007, 229).