By Julie Holledge, Jonathan Bollen, Frode Helland, Joanne Tompkins
This e-book addresses a deceptively easy query: what money owed for the worldwide luck of A Doll’s House, Henrik Ibsen’s hottest play? utilizing maps, networks, and photographs to discover the realm historical past of the play’s creation, this query is taken into account from angles: cultural transmission and version. Analysing the play’s transmission finds the social, financial, and political forces that experience secured its position within the canon of global drama; a comparative research of the play’s 135-year construction historical past throughout 5 continents deals new insights into theatrical variation. Key components of analysis contain the worldwide excursions of nineteenth-century actress-managers, Norway’s delicate 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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Extra resources for A Global Doll's House: Ibsen and Distant Visions
Apart from the Calcutta location, the only connection between this production and the earlier Achurch colonial performance is the William Archer version that Mitra used as the basis of his translation into Bengali. The last stop between India and London on the Achurch and Charrington touring map was Cairo, and it was here that they began to encounter some resistance. Arriving at the Cairo Khedivial Theatre, Achurch was met with cultural hostility from the French and Italian communities: ‘I don’t believe they dreamt of the possibility of such a thing as an English artist; to their minds it seemed incomprehensible, incredible, beyond the nature of things’ (Achurch 1892, 1–2).
Yet the cultural diversity and sheer size of the audiences reached by these actress-managers far exceeded the numbers of spectators attending the limited seasons of the play presented by European avant-garde theatres. From the struggle of the early Noras for a commercial share in the global theatre market, we move in Chapter 3 to examine the institutional forces at work in Et dukkehjem. To negotiate the shift from artists to institutions, we draw on the work of Régis Debray, who has theorised the role of the powerful institutional players in the process of cultural transmission.
In themselves these forces do not contribute to the successful adaptation of Et dukkehjem, but they do stimulate the creative innovation of artists who decide to use the play to challenge or reinforce these representational conventions, particularly in eras marked by sexual vectors of social change. What accounts for the global success of Et dukkehjem? The question is simple, but the answer is not. Multiple forces have shaped the Et dukkehjem cultural field; they are multi-faceted and contradictory.