Pub Date : 2023-01-02DOI: 10.1080/15021866.2023.2214998
Magnus H Sandberg
Henrik Ibsen’s drama Peer Gynt (1867) has been adapted for a video game. While it is meant for educational use and has already been launched on a Norwegian publisher’s school site, its learning mechanics are subtle enough that the game will also be offered in the entertainment market as a narrative adventure game (The Peer Gynt Game, n.d.). An adaptation of a written play as a video game implies that new modes of storytelling are being introduced, as well as a degree of agency for the players. The capability for this medium to adapt to and develop more traditional narrative expressions, considering their immense popularity and increased acknowledgement as works of art, makes video games an increasingly important area of study (Ensslin 2014; Kulturdepartementet 2019). This was part of the reasoning behind the decision to develop a video game version of Peer Gynt for students in secondary school. The project was initiated by Peer Gynt AS, the organizer of the annual Peer Gynt festival in Gudbrandsdalen district in Norway, where three of the play’s five acts are set. They were searching for new ways to introduce a new generation to the story world of Peer Gynt. Peer Gynt AS initiated a dialogue with the Norwegian publishing house Aschehoug, and later with game developers at Sarepta Studio in Hamar. This led to a
{"title":"Peer Gynt: From Play to Game","authors":"Magnus H Sandberg","doi":"10.1080/15021866.2023.2214998","DOIUrl":"https://doi.org/10.1080/15021866.2023.2214998","url":null,"abstract":"Henrik Ibsen’s drama Peer Gynt (1867) has been adapted for a video game. While it is meant for educational use and has already been launched on a Norwegian publisher’s school site, its learning mechanics are subtle enough that the game will also be offered in the entertainment market as a narrative adventure game (The Peer Gynt Game, n.d.). An adaptation of a written play as a video game implies that new modes of storytelling are being introduced, as well as a degree of agency for the players. The capability for this medium to adapt to and develop more traditional narrative expressions, considering their immense popularity and increased acknowledgement as works of art, makes video games an increasingly important area of study (Ensslin 2014; Kulturdepartementet 2019). This was part of the reasoning behind the decision to develop a video game version of Peer Gynt for students in secondary school. The project was initiated by Peer Gynt AS, the organizer of the annual Peer Gynt festival in Gudbrandsdalen district in Norway, where three of the play’s five acts are set. They were searching for new ways to introduce a new generation to the story world of Peer Gynt. Peer Gynt AS initiated a dialogue with the Norwegian publishing house Aschehoug, and later with game developers at Sarepta Studio in Hamar. This led to a","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"23 1","pages":"60 - 93"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48171884","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-31DOI: 10.1080/15021866.2022.2125214
Mariane Hansson
Eivind Tjønneland has already published several texts about Ibsen’s women, such as Rebekka West and Hedda Gabler, as well as other aspects of his work, such as modernity in Ibsen og moderniteten from 1993, symbolism in “Ibsen og symbolismen” from 2021, and the concept of bohemianism in “Bohembegrepet i norsk litteraturdebatt 1890” from 2021.” Tjønneland’s present volume studies the concept of decadence and literary representations of decadence both in general and in relation to the heroines in Ibsen’s plays. The main theme of the book is the connection between decadence and abnormality, especially as it is relevant to the women in Ibsen’s drama. Tjønneland gives a nuanced portrait of the author in his final years as seen through the critical reception of the time. Tjønneland focuses primarily on Norwegian critics but includes insights from Swedish, Danish, and German voices as well. In the twelve chapters of the book, he discusses “abnormal” female figures and theoretical perspectives on the Decadent Woman of the 1890s. In the first chapter he introduces what he refers to as Ibsen’s “abnormal” female characters, while in the second chapter he presents the decadent woman of 1890 before he, in the third chapter, investigates Hedda Gabler. In chapter four he presents how women were associated with “primitive races” in the 1890s, and then he brings up Hilde Wangel. In the sixth chapter he shows how Ibsen’s characters were seen as lacking Norwegian character, and in the seventh how the Norwegian literary historian Christen Collin saw decadent women as “morally abnormal fantasy children.” In chapter eight Tjønneland examines Rita Allmers and in chapter
{"title":"Eivind TjØnneland: “Abnorme” Kvinner. Henrik Ibsen Og Dekadansen.","authors":"Mariane Hansson","doi":"10.1080/15021866.2022.2125214","DOIUrl":"https://doi.org/10.1080/15021866.2022.2125214","url":null,"abstract":"Eivind Tjønneland has already published several texts about Ibsen’s women, such as Rebekka West and Hedda Gabler, as well as other aspects of his work, such as modernity in Ibsen og moderniteten from 1993, symbolism in “Ibsen og symbolismen” from 2021, and the concept of bohemianism in “Bohembegrepet i norsk litteraturdebatt 1890” from 2021.” Tjønneland’s present volume studies the concept of decadence and literary representations of decadence both in general and in relation to the heroines in Ibsen’s plays. The main theme of the book is the connection between decadence and abnormality, especially as it is relevant to the women in Ibsen’s drama. Tjønneland gives a nuanced portrait of the author in his final years as seen through the critical reception of the time. Tjønneland focuses primarily on Norwegian critics but includes insights from Swedish, Danish, and German voices as well. In the twelve chapters of the book, he discusses “abnormal” female figures and theoretical perspectives on the Decadent Woman of the 1890s. In the first chapter he introduces what he refers to as Ibsen’s “abnormal” female characters, while in the second chapter he presents the decadent woman of 1890 before he, in the third chapter, investigates Hedda Gabler. In chapter four he presents how women were associated with “primitive races” in the 1890s, and then he brings up Hilde Wangel. In the sixth chapter he shows how Ibsen’s characters were seen as lacking Norwegian character, and in the seventh how the Norwegian literary historian Christen Collin saw decadent women as “morally abnormal fantasy children.” In chapter eight Tjønneland examines Rita Allmers and in chapter","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"22 1","pages":"171 - 178"},"PeriodicalIF":0.0,"publicationDate":"2022-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59953976","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-12DOI: 10.1080/15021866.2022.2125213
Agnete G. Haaland
No matter where or how Henrik Ibsen’s plays are performed, actors and directors bring their own aesthetic and cultural heritage into the rehearsal room. The fact that they are all part of a culture cannot be underlined enough. Or as the Ibsen researcher Frode Helland puts it, “we are all of culture, and we cannot speak from outside of it” (Helland 2015, 7). In 1998 I played Nora at the China National Experimental Theatre in Beijing in director Wu Xiaojiang’s A Doll’s House. (The theatre is now called National Theatre of China, NTC). In a press release from the theatre in 1998 I am quoted as follows:
{"title":"My Nora in Wu Xiaojiang’s A Doll’s House (1998): Aesthetic Transmission and Political Context","authors":"Agnete G. Haaland","doi":"10.1080/15021866.2022.2125213","DOIUrl":"https://doi.org/10.1080/15021866.2022.2125213","url":null,"abstract":"No matter where or how Henrik Ibsen’s plays are performed, actors and directors bring their own aesthetic and cultural heritage into the rehearsal room. The fact that they are all part of a culture cannot be underlined enough. Or as the Ibsen researcher Frode Helland puts it, “we are all of culture, and we cannot speak from outside of it” (Helland 2015, 7). In 1998 I played Nora at the China National Experimental Theatre in Beijing in director Wu Xiaojiang’s A Doll’s House. (The theatre is now called National Theatre of China, NTC). In a press release from the theatre in 1998 I am quoted as follows:","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"22 1","pages":"138 - 170"},"PeriodicalIF":0.0,"publicationDate":"2022-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48230006","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-24DOI: 10.1080/15021866.2022.2125212
Connie Amundson
What does it mean to grow old? Are we destined to reach a peak of physical, mental, and social well-being at some relatively early age only to decline, either slowly or precipitously, toward death? Or are there surprising gifts to be had from aging, based on our inherent creativity, as it manifests in a myriad of ways throughout the latter half of life? From ancient Greek and Roman philosophy to contemporary conventional wisdom the former is favored, whereas age theorists in our contemporary time explore the latter. In the anglophonic world these concepts from age theory have been used, over the past twenty years, to examine plays and their performances. However, with the exception of Elinor Fuchs’s article, “Estragement: Towards an ‘Age Theory’ Theatre Criticism,” age theory has been largely ignored in scholarship about Norwegian drama (Fuchs 2014, 69). I aim to address this gap by exploring how age is represented in two Norwegian plays, Ibsen’s Peer Gynt (1867) and Jon Fosse’s Suzannah (2004), thereby arriving at an understanding of what Fuchs calls “the immensity of the conscious experience of age” (Fuchs 2014, 77). I understand this phrase to point to something about the accumulation of experience, understanding, and perhaps even wisdom among those who have lived a long life. My intent is to explore how Peer Gynt and Suzannah bring to our awareness something beyond, as Fuchs writes, “the discourse of normative life, where the failing body-as-decline numbly presides” (Fuchs 2014, 77). This potential for reading dramatic literature with particular attention to aging is highly available in these two plays which enact three ages of the eponymous characters.
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Pub Date : 2022-04-22DOI: 10.1080/15021866.2022.2063976
L. Xia
This proceeding comprises selected papers from the 5th International Conference on Materials and Manufacturing Engineering (ICMME-2020) at SRI CHANDRASEKHARENDRA SARASWATHI VISWA MAHAVIDYALAYA (SCSVMV), Kanchipuram, India. This book covers a wide range of topics within the materials and manufacturing disciplines. The content includes technical papers and review articles mainly focused in synthesis, development and characterization of new materials and machiningassociated studies on various materials. This book covers some of the recent advancements in the areas such as optimization techniques, computational fluid dynamics, tribology, alternate fuels, turbomachinery, renewable energy, thermal engineering and metal forming process. The collective expertise of the editorial team in a variety of aspects in the mechanical engineering field to manage the editorial process efficiently for providing a high-quality review process. Also, this book will be providing a technological and scientific platform for researchers, scientists, engineers and academicians seeking advancements in the area of materials and manufacturing engineering. List of Guest Editors, Committee, Keynote Speaker, Snap Shots in ICMME-2020, Conference Presentations are available in this pdf.
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Pub Date : 2022-01-02DOI: 10.1080/15021866.2022.2063977
Solace Sefakor Anku
During much of the twentieth century, Ibsen’s plays attracted the interest of many world theatres. In many western theatres and some non-western ones, the attraction to Ibsen by theatre practitioners was linked in different ways to the processes of modernization and the problems that come with it (FischerLichte 2008, 96). Colonialism and modernization are related to each other in complex ways (Gillen and Ghosh 2007, 1). In some colonial contexts, the modernization process was implemented as a “civilizing mission” (Jeyifo 2007, 608). This civilizing mission was largely dependent on print literacy produced by European colonizers to suit the needs of a local context (Willis 2018, 13). In colonized territories in Africa, literary texts were actively used in missionary works and mass literacy projects. The missions and the schools provided “good literature” (Newell 2002, 5) for readers to conceive of themselves as part of the larger British Empire. Additionally, the colonial administration used these transmission modes of literature to “track and control nations and populations” (Willis 2018, 13). As a consequence, reading regimes, practices, and performances were structured on the expectations and regulations of the colonial administration. Also, the system of transmission of literature in the colonies was perpetuated and controlled by the colonial administration. As agents, they did not seek financial capital but what Pierre Bourdieu refers to as “cultural capital”
{"title":"(Post) Colonial Ghanaian Attitudes Towards Ibsen: An Overview of Ibsen Reception in Ghana Between 1930 and 1966","authors":"Solace Sefakor Anku","doi":"10.1080/15021866.2022.2063977","DOIUrl":"https://doi.org/10.1080/15021866.2022.2063977","url":null,"abstract":"During much of the twentieth century, Ibsen’s plays attracted the interest of many world theatres. In many western theatres and some non-western ones, the attraction to Ibsen by theatre practitioners was linked in different ways to the processes of modernization and the problems that come with it (FischerLichte 2008, 96). Colonialism and modernization are related to each other in complex ways (Gillen and Ghosh 2007, 1). In some colonial contexts, the modernization process was implemented as a “civilizing mission” (Jeyifo 2007, 608). This civilizing mission was largely dependent on print literacy produced by European colonizers to suit the needs of a local context (Willis 2018, 13). In colonized territories in Africa, literary texts were actively used in missionary works and mass literacy projects. The missions and the schools provided “good literature” (Newell 2002, 5) for readers to conceive of themselves as part of the larger British Empire. Additionally, the colonial administration used these transmission modes of literature to “track and control nations and populations” (Willis 2018, 13). As a consequence, reading regimes, practices, and performances were structured on the expectations and regulations of the colonial administration. Also, the system of transmission of literature in the colonies was perpetuated and controlled by the colonial administration. As agents, they did not seek financial capital but what Pierre Bourdieu refers to as “cultural capital”","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"22 1","pages":"3 - 30"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42190786","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-02DOI: 10.1080/15021866.2022.2063978
Cristina Gómez-Baggethun
Shortly after the end of the Spanish Civil War (1936–1939), the widow of one of the introducers of Ibsen to the Spanish stage, Josep Maria Jord a, applied for a censorship approval for two of her husband’s Ibsen translations: Hedda Gabler and A Doll’s House. The first was prohibited on moral grounds, the second because it was in Catalan (AGA: Box 73/08262, File 1465/40 and File 1464/ 40). These were the first two Ibsen translations to be banned during Francisco Franco’s long dictatorship (1939–1975), several other would follow. Jord a, however, had engaged in yet another Ibsen play, namely An Enemy of the People, which he translated both into Spanish and Catalan. His widow never tried to get these translations approved, probably because, in the fin de si ecle period, the play had been popular among the left, and often staged by amateur groups linked to the labor movement (G omez-Baggethun 2020, 58–81, 99–103). In fact, the last time An Enemy of the People was produced in Spain before the Civil War was in 1920, when it was staged in Madrid on the occasion of the annual conference of the socialist trade union UGT. Although it is not surprising that Jord a’s widow was discouraged, she might have misjudged the situation. The truth is that An Enemy of the People never encountered any problems with the Francoist censorship. Although no one applied for a staging censorship approval of the play during the 1940s and 1950s, An Enemy of the People was frequently published during these two decades. And when the play finally returned to the
西班牙内战结束后不久（1936年至1939年），易卜生在西班牙舞台上的介绍人之一Josep Maria Jord a的遗孀为她丈夫的两本易卜生译本《Hedda Gabler》和《玩偶之家》申请了审查批准。第一种是出于道德原因而被禁止的，第二种是因为它是在加泰罗尼亚语中（AGA：73/08262号信箱，1465/40号文件和1464/40号文件）。这是弗朗西斯科·佛朗哥长期独裁统治期间（1939年至1975年）被禁止的前两本易卜生译本，其他几本也将被禁止。然而，乔达参与了易卜生的另一部戏剧，即《人民的敌人》，他将其翻译成西班牙语和加泰罗尼亚语。他的遗孀从未试图让这些翻译获得批准，可能是因为在最后一个世纪，这部剧在左派中很受欢迎，而且经常由与劳工运动有关的业余团体上演（G omez Baggethun 2020，58-81，99-103）。事实上，《人民的敌人》上一次在西班牙内战前制作是在1920年，当时它在马德里举行的社会主义工会UGT年会上上演。虽然Jord a的遗孀气馁并不奇怪，但她可能误判了形势。事实是，《人民的敌人》从未遇到过法语审查制度的任何问题。尽管在20世纪40年代和50年代没有人申请该剧的舞台审查批准，但在这20年里，《人民的敌人》经常出版。当这出戏最终回到
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Pub Date : 2022-01-02DOI: 10.1080/15021866.2022.2063981
H. Rønning
The answer is that Ibsen’s reputation has outlived his popularity. Nowadays, most American theatergoers regard his dramas of ideas as both painfully verbose (he never settled for four words when he could think of 10) and all too obvious, crumbling monuments to an age of innocence and inhibition that he longed to overturn and whose time, in part because of the widespread influence of those same plays, has come and gone. (2021)
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Pub Date : 2022-01-02DOI: 10.1080/15021866.2022.2063979
Solace Sefakor Anku, Sabiha Huq, A. M. Asiedu
At the brink of the collapse of colonial rule, literary and theatrical endeavors in sub-Saharan African colonies were most often political. The plays of Henrik Ibsen found their way into many British colonies because their subjects were relevant to local theatre and literary enthusiasts. Additionally, changes in Ibsen ’ s literary reception in these colonies suggest a development in the attitudes of colonial subjects. In southeastern Asia, particularly India, there is a thriving Ibsen performance tradition on its postcolonial theatre stages. In sub-Saharan Africa, the southern region has shown a sustained interest in Ibsen ’ s works, while very little can be said about the western region. This dissertation sets out to explain the low interest in Ibsen ’ s works on the theatre stages of western Africa by drawing on some markers from Ghana and Nigeria. The study finds its premise on the mapped travels of the play A Doll ’ s House on the IbsenStage database to piece together historical and political patterns of the reception of Ibsen in Ghana. In a broader context of female imaging in western African literary traditions, the study situates an argument of reception linked to the traditions of performing and imaging maternity and women. This dissertation finds that colonial censorship rules, nationalist sentiments of the early post-colonial period, governmental policies on culture, and some traditions of
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