By Julie Holledge, Jonathan Bollen, Frode Helland, Joanne Tompkins
This booklet addresses a deceptively uncomplicated query: what debts for the worldwide good fortune of A Doll’s House, Henrik Ibsen’s hottest play? utilizing maps, networks, and pictures to discover the realm historical past of the play’s creation, this question is taken into account from angles: cultural transmission and model. Analysing the play’s transmission unearths the social, monetary, and political forces that experience secured its position within the canon of global drama; a comparative examine of the play’s 135-year construction background throughout 5 continents bargains new insights into theatrical edition. Key parts of analysis contain 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 switch in theatre.
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Additional resources for A Global Doll's House: Ibsen and Distant Visions
She also toured to Manchuria and Vladivostok, which were under increasing Japanese influence from 1904 to 1905, but there is no documentation indicating that she included Nora in her repertoire. Although she never played Nora in China, news of her performance travelled by word of mouth to Shanghai through two students studying in Tokyo in 1911. When they returned home to Shanghai they established the New Play Group and in 1914 presented Nora in a theatre on the Nanjing Road (Kano 2001, 130). This was probably an improvised performance reconstructed from memory by an all-male theatre troupe; it initiated one of the richest and most complex cultural assimilations of a play in world theatre (Tam 1985; Eide 1987; He 2004).
21 As Charrington explained in a letter to George Bernard Shaw, they had no alternative but to reconstruct the performance from Achurch’s memory: ‘[w]e wrote the play from memory, her memory mainly, there was nothing else to do. Archer had kept the script of his printed Edition de Luxe’ (1916). Herbert Fleming, who had played Krogstad in London, was a member of their touring company, but Charrington had to take over the role of the absent Torvald. As the rehearsals for the local actors playing the remaining parts were minimal, the premiere of A Doll’s House in Australia must have been heavily biased towards the scenes involving Nora, Helmer, and Krogstad.
HOLLEDGE ET AL. Fig. 1 Touring Et dukkehjem, 1879–2014—a time-map depicting the trajectories of actresses playing Nora in three or more countries (Source: IbsenStage) CULTURAL TRANSMISSION 27 the database, there is still a clear indication that the global market for European productions of the play was severely disrupted during these years. From the middle to the late twentieth century, global touring makes a comeback. The final era, which sees a global explosion of activity, begins in 1990. It exceeds the boundaries of the first global wave with German and English as the dominant languages; in addition, there are a number of touring productions originating outside Europe, particularly in the Americas, and East and South Asia.
A Global Doll's House: Ibsen and Distant Visions by Julie Holledge, Jonathan Bollen, Frode Helland, Joanne Tompkins