By Julie Holledge, Jonathan Bollen, Frode Helland, Joanne Tompkins
This ebook addresses a deceptively easy query: what debts 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 background of the play’s construction, 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 bargains new insights into theatrical version. Key parts of study comprise the worldwide excursions of nineteenth-century actress-managers, Norway’s tender 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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Additional resources for A Global Doll's House: Ibsen and Distant Visions
Interpreting these patterns in the data as symptomatic of forces operating on the play’s productions is such a crucial premise for our work that it needs to be explained before we can proceed. This interpretation draws on a cross-disciplinary model proposed by philosopher Robert Brandon and paleobiologist Daniel McShea. They collaborate across cultural studies and the natural sciences to hypothesise new ways of thinking about diversity in biology and culture. Beginning with biology, they propose a new ZeroForce Evolutionary Law that challenges the conventional view that natural selection creates diversity (McShea and Brandon 2010, 4).
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.
1057/978-1-137-43899-7_2 29 30 J. HOLLEDGE ET AL. While maps visualise this first global transmission of Et dukkehjem, there is a major question that they prompt but cannot answer: why did these early Noras devote so much of their creative energy to the international dissemination of this play? To answer this question, we shift from the distancing provided by maps to the close-ups of biographies to examine the lives of eight early Noras where the relationships between the role and lived experience were particularly entangled.