By Julie Holledge, Jonathan Bollen, Frode Helland, Joanne Tompkins
This booklet addresses a deceptively uncomplicated query: what bills for the worldwide luck of A Doll’s House, Henrik Ibsen’s most well liked play? utilizing maps, networks, and photographs to discover the area historical past of the play’s construction, this question is taken into account from angles: cultural transmission and edition. Analysing the play’s transmission finds the social, fiscal, and political forces that experience secured its position within the canon of global drama; a comparative research of the play’s 135-year creation historical past throughout 5 continents bargains new insights into theatrical edition. Key parts of analysis contain the worldwide excursions of nineteenth-century actress-managers, Norway’s tender 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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Extra resources for A Global Doll's House: Ibsen and Distant Visions
The text was Moritz Prozor’s French version translated into Italian by Luigi Capuana, which Eleonora Duse had used in Milan in 1891. The newspapers had been following the Ibsen phenomenon in Europe and the performance attracted media attention, but according to the reviewer from El Siglo the audience was perplexed at this new style of theatre and somewhat shaken by the ending of the play. The critic went on to question whether Ibsen was ‘deeply mentally disturbed or just a bitter and MAPPING THE EARLY NORAS 45 irredeemable skeptic when it comes to the truth and morality of our social institutions’ (qtd in von Bergen 2006, 109).
Thence we proceeded to Ceylon, where the planters took A Doll’s House very well. From Ceylon we went to Calcutta—still by the British India line—arriving there just about Christmas; indeed we spent Christmas night on board the steamer, and gave an entertainment for the benefit of our fellow passengers. We opened in Calcutta on Boxing Day. (Achurch 1892, 1–2)24 Charrington was not happy with the response of the expatriate audience in Calcutta and complained of the difficulties involved in ‘changing plays constantly as is necessary in a town of small population’ (1892, 2).
The maps of the last two eras covering the period from the middle of the twentieth century until today reveal the importance of major Norwegian theatre institutions and the Norwegian state. The patterns created by their activity at home and abroad reveal the historical importance of the play in the creation of a national imaginary for domestic consumption and the making of a national icon for export. If there is a single institution that has worked to promote Et dukkehjem as a major text in world theatre, it is the Norwegian government.