By Julie Holledge, Jonathan Bollen, Frode Helland, Joanne Tompkins
This e-book addresses a deceptively easy query: what money owed for the worldwide good fortune of A Doll’s House, Henrik Ibsen’s hottest play? utilizing maps, networks, and pictures to discover the realm background of the play’s creation, this question 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 global drama; a comparative research of the play’s 135-year creation heritage throughout 5 continents deals new insights into theatrical model. Key parts of study comprise 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
42 Suzanne Després had created the role for the symbolist Théâtre de l’Oeuvre in Paris, where her husband, AurélienMarie Lugné-Poë, had played the role of Torvald. As Ibsen was no longer a novelty to Brazilian audiences, the critics concentrated on the symbolist techniques used in the production, praising Després for being less histrionic than the Noras of Lucília Simões and Clara Della Guardia. With the exception of Teresa Mariani Zampieri, who became the first Nora to play Mexico in 1904, none of the European Noras ventured beyond the established theatrical touring circuit of Brazil, Argentina, and Uruguay.
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.
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). 7 As a city on the periphery of Europe, St Petersburg hosted Noras from Italy, Poland, Finland, and Germany.