New PDF release: A Global Doll's House: Ibsen and Distant Visions
By Julie Holledge, Jonathan Bollen, Frode Helland, Joanne Tompkins
This e-book addresses a deceptively easy query: what debts for the worldwide luck of A Doll’s House, Henrik Ibsen’s most well liked play? utilizing maps, networks, and photographs to discover the realm historical past of the play’s construction, this question is taken into account from angles: cultural transmission and variation. 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 model. Key parts of study comprise the worldwide excursions of nineteenth-century actress-managers, Norway’s delicate international relations in selling gender equality, representations of the feminine appearing 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
12 Istanbul was the only city on the south-eastern border of Europe where the European Noras competed for audiences. The power struggles for influence over the Ottoman Empire, the ‘sick man of Europe’ prior to 1914, were reflected in the competition for audiences in this city. 13 Her company had toured extensively in Europe, visiting Italy, Austria, Belgium, Greece, and the Netherlands; she wrote the dates and places of all her performances on a tambourine given to her by Ibsen with his inscription ‘To the most beautiful Nora’.
Bourdieu identifies two oppositional poles or positions of power that are sought after by artists: dominance over the subfield of large-scale commercial production that attracted bourgeois artists seeking financial capital; and dominance over the subfield of alternative production that attracted bohemian artists in search of the prestige associated with informed critical acclaim, which he termed symbolic capital. He refers to works that are the focus of artistic competition as stakes in the game: [e]nrichment accompanies ageing when the work manages to enter the game, when it becomes a stake in the game and so incorporates some of the energy produced in the struggle of which it is the object.
She also toured to Manchuria and Vladivostok, which were under increasing Japanese influence from 1904 to 1905, but there is no documentation indicating that she included Nora in her repertoire. Although she never played Nora in China, news of her performance travelled by word of mouth to Shanghai through two students studying in Tokyo in 1911. When they returned home to Shanghai they established the New Play Group and in 1914 presented Nora in a theatre on the Nanjing Road (Kano 2001, 130). This was probably an improvised performance reconstructed from memory by an all-male theatre troupe; it initiated one of the richest and most complex cultural assimilations of a play in world theatre (Tam 1985; Eide 1987; He 2004).
A Global Doll's House: Ibsen and Distant Visions by Julie Holledge, Jonathan Bollen, Frode Helland, Joanne Tompkins