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A Global Doll's House: Ibsen and Distant Visions by Julie Holledge, Jonathan Bollen, Frode Helland, Joanne

By Julie Holledge, Jonathan Bollen, Frode Helland, Joanne Tompkins

This booklet addresses a deceptively easy query: what bills for the worldwide good fortune of A Doll’s House, Henrik Ibsen’s most well liked play? utilizing maps, networks, and pictures to discover the realm heritage of the play’s construction, this question is taken into account from angles: cultural transmission and version. 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 learn of the play’s 135-year construction heritage throughout 5 continents deals new insights into theatrical version. Key components of study 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 switch in theatre.

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Et dukkehjem’. 1879. P. 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).

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). 4. Henrik Ibsen to Edmund Gosse, 4 July 1879: ‘I have lived here in Rome with my family since September and have during this time devoted myself to a new dramatic work, which will soon be finished, and which will come out in October.

The realities of performing Ibsen in South America at the beginning of the twentieth century can be glimpsed from a fascinating diary written by the actor Guido Noccioli, who was employed by Eleanora Duse on her 1906–07 tours to Brazil, Uruguay, and Argentina. 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).

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