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 easy query: what money owed 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 heritage of the play’s construction, this query is taken into account from angles: cultural transmission and model. Analysing the play’s transmission finds the social, financial, and political forces that experience secured its position within the canon of worldwide drama; a comparative learn of the play’s 135-year construction heritage throughout 5 continents deals new insights into theatrical variation. Key parts of study 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 swap in theatre.

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Even if the records for these years are underrepresented in 26 J. 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.

The maps of the last two eras covering the period from the middle of the twentieth century until today reveal the importance of major Norwegian theatre institutions and the Norwegian state. The patterns created by their activity at home and abroad reveal the historical importance of the play in the creation of a national imaginary for domestic consumption and the making of a national icon for export. If there is a single institution that has worked to promote Et dukkehjem as a major text in world theatre, it is the Norwegian government.

Fourteen major international touring productions in eleven European languages travel to thirty-five countries over five continents. Between the First and Second World Wars there is comparatively little touring: IbsenStage holds 431 records on productions with only five European tours from 1914 to 1945. Even if the records for these years are underrepresented in 26 J. 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.

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