By Julie Holledge, Jonathan Bollen, Frode Helland, Joanne Tompkins
This publication addresses a deceptively basic query: what money owed for the worldwide good fortune 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 query is taken into account from angles: cultural transmission and edition. Analysing the play’s transmission unearths the social, fiscal, and political forces that experience secured its position within the canon of global drama; a comparative learn of the play’s 135-year creation heritage throughout 5 continents deals new insights into theatrical variation. Key parts of analysis 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 switch in theatre.
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Additional resources for A Global Doll's House: Ibsen and Distant Visions
According to Debray, competition between artists will not ensure the duration of any work without additional institutional support. He suggests that every idea, religion, or text that survives through time has behind it an ‘institution’ (2004, 11). 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.
1 (a) European tours by Agnes Sorma, Auguste Prasch-Grevenberg, Betty Hennings, Eleonora Duse, Emma Gramatica, Gabriela Zapolska, Irene Triesch, Johanne Dybwad, Kyveli Adrianou, Lilli Petri, Lucinda Simões, Suzanne Després, Teresa Mariani Zampieri (also known as Teresa Mariani), Thessa Klinkhammer, and Vera Komissarzhevskaya, 1879–1930 (Source: IbsenStage). 7 As a city on the periphery of Europe, St Petersburg hosted Noras from Italy, Poland, Finland, and Germany. 12 Istanbul was the only city on the south-eastern border of Europe where the European Noras competed for audiences.
These visualisations indicate lines of descent from the earliest productions and clusters of closely related productions that consolidate traditions; they also indicate points of disconnection, including isolated clusters of production and breaks in transmission (see Fig. 5). In Moretti’s terms, these patterns in the play’s production history suggest the play of forces in theatrical production; for our purposes, they have prompted further investigations. We also apply methods of quantification, data visualisation, and pattern recognition to our study of diversity and adaptation in productions of Ibsen’s plays, although here our methods have been more exploratory, inspired by the possibilities of image processing in ‘cultural analytics’ (Manovich 2011) and the prospects of visual recognition systems that are in development (Shih 2010).