By Julie Holledge, Jonathan Bollen, Frode Helland, Joanne Tompkins
This publication addresses a deceptively easy query: what bills for the worldwide luck of A Doll’s House, Henrik Ibsen’s most well liked play? utilizing maps, networks, and pictures to discover the area background of the play’s creation, this question is taken into account from angles: cultural transmission and edition. Analysing the play’s transmission unearths the social, financial, and political forces that experience secured its position within the canon of worldwide drama; a comparative examine of the play’s 135-year creation historical past throughout 5 continents bargains new insights into theatrical variation. Key parts of study comprise the worldwide excursions of nineteenth-century actress-managers, Norway’s tender international relations in selling gender equality, representations of the feminine acting physique, and the sexual vectors of social swap in theatre.
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Additional resources for A Global Doll's House: Ibsen and Distant Visions
Beginning with biology, they propose a new ZeroForce Evolutionary Law that challenges the conventional view that natural selection creates diversity (McShea and Brandon 2010, 4). They reverse this view to argue that natural selection is a force that gives shape to different species by constraining the diversity of ever-changing living matter. In other words, life is difference and requires no additional force to create new forms; life will continually proliferate unless an external force like INTRODUCTION 19 Fig.
The nomination cited the importance of the play in Asia and the Third World, ‘where its form became symbolic of modern Western drama and its content symbolic of values such as human rights and existential freedom’ (UNESCO 2015). CHAPTER 2 Mapping the Early Noras Et dukkehjem was an international success by the early twentieth century, with performances in forty-six countries across five continents. 1 The maps that shape this chapter follow the trajectories of the artists who were responsible for this first global transmission of Et dukkehjem.
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.