By Julie Holledge, Jonathan Bollen, Frode Helland, Joanne Tompkins
This ebook addresses a deceptively basic query: what bills 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 heritage of the play’s construction, this query is taken into account from angles: cultural transmission and version. Analysing the play’s transmission unearths the social, fiscal, and political forces that experience secured its position within the canon of global drama; a comparative examine of the play’s 135-year construction heritage throughout 5 continents bargains new insights into theatrical edition. Key components of analysis comprise 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 info for A Global Doll's House: Ibsen and Distant Visions
Their touring circuit, which was typical of the one-way traffic of theatre from Britain to Australasia in the late nineteenth century. 19 Achurch and Charrington wanted to capitalise on their London success and offered to pay the Australian management group Williamson, Garner, and Musgrove five hundred pounds in compensation to break their contract, but their offer—equivalent to five months’ touring (Charrington 1916)—was rejected. 21 As Charrington explained in a letter to George Bernard Shaw, they had no alternative but to reconstruct the performance from Achurch’s memory: ‘[w]e wrote the play from memory, her memory mainly, there was nothing else to do.
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).
38 Duse had played Nora with great success, particularly in London and Moscow, but on this tour her Ibsen repertoire was confined to Hedda Gabler and Rosmersholm. 39 In Montevideo, her company was touring with fifteen plays in repertoire and Casa di bambola was only seen once in a double bill with the one-act farce La Bustaja (The Corset Maker). The performance took place in a 600-seat theatre, but only a third of the tickets were sold and the play was presented for a single night. The text was Moritz Prozor’s French version translated into Italian by Luigi Capuana, which Eleonora Duse had used in Milan in 1891.