By Julie Holledge, Jonathan Bollen, Frode Helland, Joanne Tompkins
This e-book addresses a deceptively uncomplicated 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 historical past of the play’s construction, this query is taken into account from angles: cultural transmission and edition. Analysing the play’s transmission unearths the social, monetary, 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 edition. Key parts of analysis contain the worldwide excursions of nineteenth-century actress-managers, Norway’s delicate 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 info for A Global Doll's House: Ibsen and Distant Visions
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.
Public readings of the play were given by the professional actress Kate Reignolds in Washington and New York in 1890 (Schanke 1988, 9), and Minnie Maddern Fiske, a successful child actress and musical comedy soubrette, presented a second full production of the play at the New York Empire Theatre in 1894. 27 To unravel the complex impact of European actress-managers on this fledgling market for Et dukkehjem in North America, we begin by examining the final episode of Janet Achurch’s global tour as Nora.
Touring circuits for commercial theatre were well established by the late nineteenth century; they had produced the first truly international stars, including Sarah Bernhardt and Tomasso Salvini. Transnational touring was also a financial necessity for managers with expensive theatres in major cities: for instance, Henry Irving and Charles Kean both toured to America and Australia to support their activities in London (Davis 1985, 21). While the touring circuits that carried Et dukkehjem may not in themselves be remarkable, the fact that the twenty-two Noras used them to successfully export Ibsen’s play challenges the conventional historical account of Ibsen’s first international breakthrough.
A Global Doll's House: Ibsen and Distant Visions by Julie Holledge, Jonathan Bollen, Frode Helland, Joanne Tompkins