By Julie Holledge, Jonathan Bollen, Frode Helland, Joanne Tompkins
This ebook addresses a deceptively uncomplicated query: what money owed for the worldwide luck of A Doll’s House, Henrik Ibsen’s preferred play? utilizing maps, networks, and photographs to discover the realm heritage of the play’s creation, this query 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 examine of the play’s 135-year construction heritage throughout 5 continents deals new insights into theatrical version. Key components of study comprise the worldwide excursions of nineteenth-century actress-managers, Norway’s smooth 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
The Et dukkehjem legacy left by early Noras in North America was 44 J. HOLLEDGE ET AL. an absorption of the play into the silent film industry. The play may have been imported as theatre, but it was exported as film. South America While Modjeska, Réjane, Achurch, Sorma, Komissarzhevskaya, and Nazimova were competing for audiences in the North American theatre market, the famous Noras of Italy, France, and Portugal were performing for their diaspora audiences in South America (Fig. 2b). Between 1880 and 1900, over a million Italians arrived in Brazil.
This makes sense in a study of the production history of a single play, as no two performances are ever the same, let alone two productions. We attend to the repetitions, echoes, and imitations between productions because they indicate a force at work influencing cultural dissemination, creative processes, and performance practices. If these repetitions are frequent enough to produce patterns in our visualisations, we surmise that the force behind them may be influencing the production of Et dukkehjem.
HOLLEDGE ET AL. natural selection constrains or impedes such forms. The attraction of this model for our study is that we treat diversity in productions of Et dukkehjem as a given and concentrate on the forces of constraint: we look for the forces that have constrained the diversity of world theatre through the successful promotion of the play; we look for similarities between adaptations because they point to constraining forces that in some way influence the creative process. We argue that Et dukkehjem conforms to the general formulation of McShea and Brandon’s Law for non-biological systems where ‘reproduction’ and ‘heredity’ can be substituted with ‘persistence, variation, and memory’.
A Global Doll's House: Ibsen and Distant Visions by Julie Holledge, Jonathan Bollen, Frode Helland, Joanne Tompkins