By Julie Holledge, Jonathan Bollen, Frode Helland, Joanne Tompkins
This publication addresses a deceptively uncomplicated 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 background of the play’s construction, this question is taken into account from angles: cultural transmission and edition. Analysing the play’s transmission finds the social, monetary, and political forces that experience secured its position within the canon of worldwide 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 contain 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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Additional info for A Global Doll's House: Ibsen and Distant Visions
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. It is a serious play, a family drama, really, dealing with current conditions and problems in a marriage; the play will be divided into three rather long acts’ (Ibsen 1879a, 498–99). 5. This is William Archer’s translation of Ibsen’s ‘Notes for a Modern Tragedy’. All of Archer’s translations within this book have been amended by Frode Helland and any changes are indicated with square brackets.
The transition from maps to biography, from distance to close up, is central to our methodology. Distant visions guide us to new sites of critical enquiry; when we reach these sites, we zoom in to consider the specifics of people and performances to answer the new questions stimulated by this research methodology. Combining these two approaches in this chapter uncovers a major social force behind the first global success of the play. Although discernible in multiple and sometimes contradictory ways, this force is the European women’s rights movements of the late nineteenth and early twentieth centuries.
Achurch used the New York press to publicise her predicament: her employer would not produce Candida and none of the plays he suggested as substitutes had roles that appealed to her. Whitney. Whitney had been replaced by Thomas Namack and the season at the Hoyt’s Theatre would be shortened to a week. With all the confusion, it is not surprising that the first-night audience for A Doll’s House was small and the New York Times found ‘the acting of the support company 42 J. HOLLEDGE ET AL. 32 The review challenged the statement in the programme that Nora was Achurch’s ‘original character’ by pointing out that numerous productions in Germany and Scandinavia had preceded the Novelty Theatre season in London.