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 ebook addresses a deceptively uncomplicated query: what debts for the worldwide luck of A Doll’s House, Henrik Ibsen’s most well liked play? utilizing maps, networks, and photographs to discover the realm background of the play’s construction, this question is taken into account from angles: cultural transmission and version. Analysing the play’s transmission unearths 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 heritage throughout 5 continents bargains new insights into theatrical edition. 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 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

Sample text

Yet the Et dukkehjem maps suggest that it was the early Noras from Germany, Denmark, Norway, France, Italy, Portugal, Russia, Japan, the UK, and Greece who secured Ibsen’s first international successes. These women are the artists who lie behind the trajectory patterns that crisscross the maps. The lack of historical importance accorded to them in the Ibsen story is symptomatic of what Bourdieu has termed the constant struggle over the relative value placed on symbolic and financial capital. A scholar must be able to ‘proclaim the value of the author he defends’ (Bourdieu 1993, 77).

When the play toured New Zealand for three months, the response of the press was even more favourable (Angel 2014). 23 [w]e travelled by the British India line to Java, and played at Batavia for one night, much to the delight of the Dutch residents. Thence we proceeded to Ceylon, where the planters took A Doll’s House very well. From Ceylon we went to Calcutta—still by the British India line—arriving there just about Christmas; indeed we spent Christmas night on board the steamer, and gave an entertainment for the benefit of our fellow passengers.

When an actress succeeded in knocking out her national competition and had exhausted the local market, her next step was to embark on a transnational circuit in search of new audiences. Yet it was language and not distance that limited the touring trajectories of these actress-managers: they were performing in their mother tongues and, although they travelled great distances, they were playing to migrants from their own cultural backgrounds. Et dukkehjem became a valuable commodity in an age where gender issues were being hotly debated, and the actress-managers kept Nora in their personal repertoires for an average of fifteen years.

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