Unwrapping a Doll's House
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Xia, Liyang Associate Professor at Centre for Ibsen Studies, University
Xia, Liyang Associate Professor at Centre for Ibsen Studies, University of Oslo Address: Henrik Wergelandshus, Niels Henrik Abels vei 36, 0313 OSLO, Norway Postal address: Postboks 1168, Blindern, 0318 Oslo, Norway Title: A Myth that Glorifies: Rethinking Ibsen’s early reception in China Author responsible for correspondence and correction of proofs: Xia, Liyang 1 A Myth that Glorifies: Rethinking Ibsen’s Early Reception in China Introduction There is a consensus among Ibsen scholars and scholars of Chinese spoken drama that the Spring Willow Society staged A Doll’s House in Shanghai in 1914 (e.g. A Ying / Qian 1956; Ge 1982; Eide 1983; Tam 1984, 2001; He 2004, 2009; Chang 2004; Tian and Hu 2008; Tian and Song 2013). In 2014, when the National Theatre in Beijing staged A Doll’s House to commemorate the centenary of this premiere,1 most of the news reports and theatre advertisements cited the Spring Willow Society’s prior performance.2 Scholars and journalists who write about the history of A Doll’s House in China agree in general not only that the performance took place but that it was the first performance of an Ibsen play in China.3 I myself referred to this performance in my doctoral thesis (Xia 2013). In recent years, however, doubts have emerged not only about the claim that the Spring Willow Society performed A Doll’s House, but that the Society performed any plays by Ibsen. The following scholars have asserted that there is no concrete evidence that the performance of A Doll’s House took place: Seto Hiroshi (2002, 2015), Huang Aihua -
Ibsen in Context Edited by Narve Fulsås , Tore Rem Frontmatter More Information
Cambridge University Press 978-1-108-42220-8 — Ibsen in Context Edited by Narve Fulsås , Tore Rem Frontmatter More Information IBSEN IN CONTEXT Henrik Ibsen, the ‘Father of Modern Drama’, came from a seemingly inauspicious background. What are the key contexts for understand- ing his appearance on the world stage? This collection provides thirty contributions from leading scholars in theatre studies, literary studies, book history, philosophy, music and history, offering a rich interdis- ciplinary understanding of Ibsen’s work, with chapters ranging across cultural and aesthetic contexts including feminism, scientific discov- ery, genre, publishing, music and the visual arts. The book ends by charting Ibsen’s ongoing globalization and gives valuable overviews of major trends within Ibsen studies. Accessibly written, while drawing on the most recent scholarship, Ibsen in Context provides unique access to Ibsen the man, his works and their afterlives across the world. a˚ is Professor of Modern History in the Department of Archeology, History, Religious Studies and Theology at the University of Tromsø – The Arctic University of Norway. He has published on Norwegian cultural and intellectual history in the nineteenth and twen- tieth centuries. The author of the introduction and notes to the critical edition of Ibsen’s letters published in Henrik Ibsens skrifter ( vols., –), he is also the co-author (with Tore Rem) of Ibsen, Scandinavia and the Making of a World Drama (Cambridge, ). is Professor of English Literature and the Director of the interdisciplinary research initiative UiO:Nordic at the University of Oslo. He has published on Victorian literature, book history and the early English language appropriations of Ibsen and has been head of the board of the Centre for Ibsen Studies. -
Ellen Rees Centre for Ibsen Studies, University of Oslo [email protected]
Ellen Rees Centre for Ibsen Studies, University of Oslo [email protected] Homing in on Henrik Ibsen: Norway’s Three Ibsen Museums When considering Norway’s literary canon, Henrik Ibsen looms largest and he is the only Norwegian writer to have an undisputed place in the world literary canon as well. His plays are staged around the globe, often supported by Norwegian government financing as part of a program of soft diplomacy with the aim of exporting Norwegian social values to so-called developing nations. Ibsen is thus a crucially important cultural figure both nationally and internationally, and there has been a concerted effort in Norway to disseminate both the works and their author as cultural commodities. In this paper, I want to analyze what Norway’s three separate Ibsen museums communicate about Ibsen as a canonical literary figure. The Oslo apartment, the farmhouse outside of Skien, and the apothecary’s shop in Grimstad have at times competed and at times collaborated in their presentation of the author. Now officially linked under the rubric “Ibsenmuseene i Norge,” they occupy a pivotal position in the dissemination of literary culture in Norway, and the Nordic countries more broadly through collaboration with “author museums” in Sweden and Denmark. Each Ibsen museum is marketed explicitly as a “home,” and each engages in a discourse of authenticity regarding Ibsen as an historical figure. I will investigate what the notion of “home” signifies in these three quite different constructions of the author. The study of literary museums is for the most part marginalized in the field of Nordic literature, at the same time that the Nordic countries are leaders in the field of museology. -
Henrik Ibsen Wikipedia, the Free Encyclopedia Henrik Ibsen from Wikipedia, the Free Encyclopedia
7/28/2015 Henrik Ibsen Wikipedia, the free encyclopedia Henrik Ibsen From Wikipedia, the free encyclopedia Henrik Johan Ibsen (/ˈɪbsәn/;[1] Norwegian: [ˈhɛnɾɪk ˈɪpsәn]; 20 March 1828 – 23 May 1906) was a major Henrik Ibsen 19thcentury Norwegian playwright, theatre director, and poet. He is often referred to as "the father of realism" and is one of the founders of Modernism in theatre.[2] His major works include Brand, Peer Gynt, An Enemy of the People, Emperor and Galilean, A Doll's House, Hedda Gabler, Ghosts, The Wild Duck, Rosmersholm, and The Master Builder. He is the most frequently performed dramatist in the world after Shakespeare,[3][4] and A Doll's House became the world's most performed play by the early 20th century.[5] Several of his later dramas were considered scandalous to many of his era, when European theatre was expected to model strict morals of family life and propriety. Ibsen's later work examined the realities Henrik Ibsen by Gustav Borgen that lay behind many façades, revealing much that Born Henrik Johan Ibsen was disquieting to many contemporaries. It utilized a 20 March 1828 critical eye and free inquiry into the conditions of life Skien, Grenland, Norway and issues of morality. The poetic and cinematic early play Peer Gynt, however, has strong surreal Died 23 May 1906 (aged 78) Kristiania, Norway elements.[6] (modern Oslo) Ibsen is often ranked as one of the truly great Occupation Writer playwrights in the European tradition.[7] Richard Nationality Norwegian Hornby describes him as "a profound poetic dramatist Genre Naturalism [8] —the best since Shakespeare". -
IBSEN News and Comment the Journal of the Ibsen Society of America Vol
IBSEN News and Comment The Journal of The Ibsen Society of America Vol. 29 (2009) Deborah Strang and J. Todd Adams in the last scene of Ghosts Ghosts from A Noise Within, Los Angeles, page 10 Craig Schwartz ELECTION OF ISA COUNCIL 2 IBSEN ON STAGE, 2009 From the United States and Canada: Marvin Carlson: Henri Gabler, Peer Gynt, and Sounding Off-Broadway 3 The Master Builder from the Yale Rep 8 Leonard Pronko: Ghosts from A Noise Within in Los Angeles 10 Joan Templeton: The Roundabout’s Hedda Gabler on Broadway 11 Jon Wisenthal: The Master Builder at the Telus Studio in Vancouver 13 From Germany and the UK: Barbara Lide: The Thalia/Gorki Peer Gynt 14 Marvin Carlson: The Deutsches Theater’s Wild Duck and the Schaubühne’s Borkman 17 The British National’s Mrs. Affleck; the Scottish National’s Peer Gynt 20 From Argentina: Don Levitt on Veronese’s Doll House and Hedda Gabler 24 NEWS/NOTICES: 2009 Ibsen Essay Contest; 2009 International Ibsen Conference 28 ISA at SASS, Seattle, 2010; The Pretenders at the Red Bull Theater 29 IBSEN IN PRINT: Annual Survey of Articles 30 The Ibsen Society of America Department of English, Long Island University, Brooklyn, New York 11201 www.ibsensociety.liu.edu Established in 1978 Rolf Fjelde, Founder is a production of The Ibsen Society of America and is sponsored by support from Long Island University, Brooklyn. Distributed free of charge to members of the Society. Information on membership and on library rates for Ibsen News and Comment is available on the ISA web site: www.ibsensociety.liu.edu ©2009 by the Ibsen Society of America. -
Henrik Ibsen
Henrik Ibsen By Edmund Gosse Henrik Ibsen CHAPTER I CHILDHOOD AND YOUTH The parentage of the poet has been traced back to a certain Danish skipper, Peter Ibsen, who, in the beginning of the eighteenth century, made his way over from Stege, the capital of the island of Möen, and became a citizen of Bergen. From that time forth the men of the family, all following the sea in their youth, jovial men of a humorous disposition, continued to haunt the coasts of Norway, marrying sinister and taciturn wives, who, by the way, were always, it would seem, Danes or Germans or Scotswomen, so that positively the poet had, after a hundred years and more of Norwegian habitation, not one drop of pure Norse blood to inherit from his parents. His grandfather, Henrik, was wrecked in 1798 in his own ship, which went down with all souls lost on Hesnaes, near Grimstad; this reef is the scene of Ibsen's animated poem of Terje Viken. His father, Knud, who was born in 1797, married in 1825 a German, Marichen Cornelia Martie Altenburg, of the same town of Skien; she was one year his senior, and the daughter of a merchant. It was in 1771 that the Ibsens, leaving Bergen, had settled in Skien, which was, and still is, an important centre of the timber and shipping trades on the south-east shore of the country. It may be roughly said that Skien, in the Danish days, was a sort of Poole or Dartmouth, existing solely for purposes of marine merchandise, and depending for prosperity, and life itself, on the sea. -
Redecorating a Doll's House in Contemporary German Theater
Ibsen Studies ISSN: 1502-1866 (Print) 1741-8720 (Online) Journal homepage: https://www.tandfonline.com/loi/sibs20 Redecorating A Doll’s House in Contemporary German Theater—Multiple Authorship in Ibsen’s Nora Clemens Räthel To cite this article: Clemens Räthel (2020) Redecorating ADoll’sHouse in Contemporary German Theater—Multiple Authorship in Ibsen’s Nora, Ibsen Studies, 20:1, 67-87, DOI: 10.1080/15021866.2020.1757302 To link to this article: https://doi.org/10.1080/15021866.2020.1757302 © 2020 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group on behalf of the Centre for Ibsen Studies. Published online: 13 May 2020. Submit your article to this journal Article views: 247 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=sibs20 Ibsen Studies, 2020 Vol. 20, No. 1, 67–87, https://doi.org/10.1080/15021866.2020.1757302 REDECORATING A DOLL’S HOUSE IN CONTEMPORARY GERMAN THEATER—MULTIPLE AUTHORSHIP IN Ã IBSEN’S NORA CLEMENS RÄTHEL INTRODUCTION OR: HOW TO END THE PLAY? The last time I went to see Ibsen’s A Doll’sHouse(1879) staged in Berlin, I was taken by surprise that, afterwards, a colleague did not ask me how much, or even if, I liked the production or the cast. Instead, she looked at me very excitedly and wondered: how did they end the play? I found that reaction quite telling: A Doll’s House counts amongst the most famous, most performed and most widely traveled pieces in the world. -
The 22 July Massacre in Norway Was Fake, Part 1
return to updates The 22 July Massacre in Norway was Fake part one by Miles Mathis First published October 7, 2019 Yes, this was first ready for publication on October 7, but it had to be totally rewritten. It disappeared from my computer moments before I was about to publish it. All backup files were also destroyed. It was a 30-page paper, but it only took me a couple of days to compile, and I am not busy for the next couple of days. So I look forward to making it even longer and more explosive this time. I am going to make whoever kidnapped the first version wish I had it back. This is the 2011 event starring Anders Behring Breivik as bad guy. But I will show you he is just a gay Jewish actor, likely to soon fake his death. In so doing, I will link him by blood and name to just about everyone famous in Scandinavia and Europe in the 20th century, and every project in Norway since WWI. Oh, and by the way, I have help from Norway on this one, though I won't divulge any sources. Over 95% of what we will find below can be found from an easy websearch in English, but a few juicy bits were suggested to me, and I may not have found them on my own. That isn't Breivik above. He has gotten enough attention, so I have led with three photos alleged to be of victim Viljar Hanssen instead. Hanssen is supposed to have been shot by Breivik on Utøya, and is supposed to still have a bullet in his brain. -
Henrik Johan Ibsen - Poems
Classic Poetry Series Henrik Johan Ibsen - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Henrik Johan Ibsen(20 March 1828 – 23 May 1906) Henrik Ibsen was a major 19th-century Norwegian playwright, theatre director, and poet. He is often referred to as "the father of prose drama" and is one of the founders of Modernism in the theatre. His major works include Brand, Peer Gynt, An Enemy of the People, Emperor and Galilean, A Doll's House, Hedda Gabler, Ghosts, The Wild Duck, Rosmersholm, and The Master Builder. Several of his plays were considered scandalous to many of his era, when European theater was required to model strict mores of family life and propriety. Ibsen's work examined the realities that lay behind many façades, revealing much that was disquieting to many contemporaries. It utilized a critical eye and free inquiry into the conditions of life and issues of morality. The poetic and cinematic play Peer Gynt, however, has strong surreal elements. Ibsen is often ranked as one of the truly great playwrights in the European tradition. Richard Hornby describes him as "a profound poetic dramatist—the best since Shakespeare". He influenced other playwrights and novelists such as George Bernard Shaw, Oscar Wilde, James Joyce, and Eugene O'Neill. Many critics consider him the greatest playwright since Shakespeare. Ibsen wrote his plays in Danish and they were published by the Danish publisher Gyldendal. Although most of his plays are set in Norway—often in places reminiscent of Skien, the port town where he grew up—Ibsen lived for 27 years in Italy and Germany, and rarely visited Norway during his most productive years. -
From: Samuel Adamson
-----Original Message----- From: Samuel Adamson [mailto:[email protected]] Sent: Thursday, March 29, 2018 12:19 PM To: Monica Bakken; [email protected]; [email protected] Subject: [postmottak] Centre for Ibsen Studies To the Members of the Faculty of Humanities Board, University of Oslo I am a playwright in the UK. I have written several English-language Ibsen versions for major theatres here, including a new version of A DOLL’S HOUSE for Southwark Playhouse, a new version of PILLARS OF THE COMMUNITY for the National Theatre of Great Britain, and an adaptation of LITTLE EYOLF (re-titled MRS AFFLECK) also for the National Theatre. A new original play of mine, WIFE, will soon be announced as part of the opening season of the newly renovated Tricycle Theatre here in London. This play is inspired by A DOLL’S HOUSE and looks at the impact of that play on one family across four generations. It’s come to my attention that the Centre for Ibsen Studies at the University of Oslo is again at risk of having its funding cut, and I write to you to express concern at this unfortunate development. I have in the past approached the staff at the Centre and have been delighted by their response to my queries, and I have often accessed the Centre’s digital resources. My understanding is that this kind of support for artists working on international Ibsen productions will no longer be possible if the funding is cut. I urge the Board to recognise the importance of the Centre’s work in supporting artists like myself, for whom Ibsen and his work are abiding inspirations. -
Henrik Ibsen (1828 – 1906)
Henrik Ibsen (1828 – 1906) Henrik Johan Ibsen (1828-I906), Norwegian poet and playwright, was born as a son of a middle-class family that suffered severe financial reverses. Ibsen was apprenticed to a druggist in his teens, then began to study medicine, but soon found his way into the theatre. In 1851, Ibsen was appointed manager and official playwright of the new National Theatre at Bergen, for which he wrote four plays based on Norwegian folklore and history, notably Lady Inger of Ostrat (1855), dealing with the liberation of medieval Norway. Ibsen left the Bergen theatre for the post of manager of the Norwegian Theatre at Christiania (now Oslo), remaining there until the theatre failed in 1864. To this period belong The Vikings of Helgoland (1858) and The Pretenders (1864), historical dramas, and Love's Comedy (1862), a satire. With the aid of a traveling scholarship, Ibsen began a period of self-imposed exile from his homeland, living in various cities of the Continent, primarily Rome, Munich and Dresden. In 1891, he returned to Christiania, where he lived until his death in 1906. Called the father of modern drama, Ibsen discarded the Scribean formula for the "well-made play" that had ruled the 19th century theatre. He brought the problems and ideas of the day onto his stage, emphasized character rather than ingenious plots, and created realistic plays of the psychological conflict. Throughout all his works, the social dramas as well as the symbolic plays, run the twin themes that the individual, not the group, is of paramount importance and that the denial of love is the one unforgivable sin, tantamount to a denial of life. -
Olivia Noble Gunn [email protected] Scandinavian Studies University of Washington 318 Raitt Hall, Box 353420 Seattle, WA 98195-3420
Olivia Noble Gunn [email protected] Scandinavian Studies University of Washington 318 Raitt Hall, Box 353420 Seattle, WA 98195-3420 Education University of California at Irvine, PhD in Comparative Literature, 2012 Dissertation Title: “At the Limits of Realism: Late Ibsen and other Neo-Romantic Estrangements” Committee: Margot Norris (chair), Carrie Noland, and Mark Sandberg University of California at Irvine, MA in Comparative Literature, 2007 New York University MA in Performance Studies, 2003 University of Washington, BA (Honors) in Norwegian, 2002 University of Washington, BA (Honors) in English with Dance Minor, 2002 Employment The University of Washington, Department Scandinavian Studies Assistant Professor (Fall 2015-) and Sverre Arestad Endowed Chair in Norwegian Studies (2019-) The University of Washington, Department Scandinavian Studies Visiting Assistant Professor, John Phillip Morgridge Lectureship in Norwegian Studies (Spring 2014) Pacific Lutheran University, Department of Languages and Literatures Visiting Assistant Professor of Norwegian and Scandinavian Studies (Fall 2012-Spring 2015) Peer Reviewed Publications Monograph Empty Nurseries, Queer Occupants: Reproduction and the Future in Ibsen’s Late Plays. Routledge, 2020. Book Chapter “Lost Boys in Little Eyolf” in On Replacement: Cultural, Social and Psychological Representations. Eds. Naomi Segal and Jean Owen, 2018, Palgrave Macmillan, 47-46. Articles “Growing Up: Knausgård on Proust, Boyishness, and (Straight) Time.” Scandinavian Studies, vol. 92, no. 3, 2020, pp. 325–347. “Other Mothers and the Limits of Bohemia in Alberte og Friheten and Bare Alberte.” Scandinavian Studies, vol. 88, no. 4, 2016, 337–363. “Baby Factory: Romance and Reproduction in Norway’s First Sound Film.” Journal of Scandinavian Cinema, vol. 6, no. 3, 2016, 207–224.