Download A Global Doll's House: Ibsen and Distant Visions by Julie Holledge, Jonathan Bollen, Frode Helland, Joanne PDF

By Julie Holledge, Jonathan Bollen, Frode Helland, Joanne Tompkins

This booklet addresses a deceptively easy query: what money owed for the worldwide good fortune of A Doll’s House, Henrik Ibsen’s most well-liked play? utilizing maps, networks, and photographs to discover the area background of the play’s construction, this query is taken into account from angles: cultural transmission and model. Analysing the play’s transmission finds the social, financial, and political forces that experience secured its position within the canon of worldwide drama; a comparative learn of the play’s 135-year construction historical past throughout 5 continents bargains new insights into theatrical variation. Key parts of study contain the worldwide excursions of nineteenth-century actress-managers, Norway’s gentle international relations in selling gender equality, representations of the feminine appearing physique, and the sexual vectors of social switch in theatre.

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Extra info for A Global Doll's House: Ibsen and Distant Visions

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1879. P. Holst. Performed by Betty Hennings as Nora. Det Kongelige Teater, Copenhagen, Denmark. December 21. IbsenStage, Event 75660. no/ pages/event/75660. 2. uio. no/. INTRODUCTION 23 3. In the earlier English translation by Henrietta Frances Lord, the German tradition of using Nora as the title was applied. In his review of her translation, William Archer wrote, ‘[i]t is difficult to understand why Ibsen’s title, A Doll’s House, which fits the play so perfectly, should have been discarded, in England as well as in Germany, for the meaningless and commonplace Nora’ (Archer 1883, 5–6).

1a, shows the dense web of touring trajectories of the Noras who dominated the European market. The Polish actress Gabriela Zapolska had the distinction of being the first transnational European Nora. From 1882, her touring circuit covered the ghost country of Poland, which had been partitioned between Prussia, Austria, and Russia during the late eighteenth century. 6 It was not unusual to find performances produced in the Russian colonies touring to the capital, and Fig. 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).

To provide coherence to the convoluted history of the global transmission of Et dukkehjem beyond the borders of Europe, we follow the trajectory of the Nora who covered the greatest distance, the British actress Janet Achurch. 17 When Achurch went east she was a lone Nora following the trade and cultural routes of the British Empire, but when she went west she found herself in the congested market formed by European migration to North America. Not only was she absent from continental Europe, she also never ventured to South America, where the artists from southern Europe held sway.

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