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)
{"title":"Ibsen’s Life and Works: What is the Connection? A Review of Evert Sprinchorn Ibsen’s Kingdom. The Man and his Works","authors":"H. Rønning","doi":"10.1080/15021866.2022.2063981","DOIUrl":"https://doi.org/10.1080/15021866.2022.2063981","url":null,"abstract":"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)","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46861802","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
{"title":"The Dreams of A Spanish Patriot: Alfredo Marqueríe’s Fascist Version of Ibsen’s An Enemy of the People (1963)","authors":"Cristina Gómez-Baggethun","doi":"10.1080/15021866.2022.2063978","DOIUrl":"https://doi.org/10.1080/15021866.2022.2063978","url":null,"abstract":"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","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42408088","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: 10.1080/15021866.2022.2063977
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":null,"pages":null},"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: 10.1080/15021866.2022.2063979
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
{"title":"Doctoral Defense: Ibsen on the West African Stage—A Case of a Complicated Relationship","authors":"Solace Sefakor Anku, Sabiha Huq, A. M. Asiedu","doi":"10.1080/15021866.2022.2063979","DOIUrl":"https://doi.org/10.1080/15021866.2022.2063979","url":null,"abstract":"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","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49342055","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: 10.1080/15021866.2022.2063982
Tanya Thresher
Written by leading Ibsen scholars, the thirty relatively short essays that constitute Ibsen in Context provide readers with a clear overview of the key contexts that have informed Ibsen’s life, work, and status as a world dramatist. More specifically this collection challenges the practice of isolating the dramatist from his socio-historical contexts and treating his final twelve plays in particular as a self-contained aesthetic whole. On the premise that Ibsen, “could not escape his own context, and that literary autonomy is itself contingent on extra-literary preconditions, like the ability to live from one’s authorship, being protected by copyright, or being received with a certain reverence in appropriating cultures” (xvi), the essays embed the playwright into five general categories: “Life and Career,” “Culture and Society,” “Scandinavian Reception,” “Internationalization,” and “Afterlives.” This holistic contextualization of Ibsen from the time of his writing until today broadens the interpretative possibilities for his works and underscores the importance of the larger socio-cultural European and global contexts for the dramatist. The first three essays that make up Part I, “Life and Career,” are all written by Narve Fulsås and trace the cultural and sociopolitical Scandinavian contexts of Ibsen's early life and writing. Of particular focus are Ibsen’s practical theatrical experiences in Bergen and Kristiania, and importantly his relationship to Gyldendal publishing house and its head, Frederik V. Hegel. Fulsås suggests Ibsen’s association with Gyldendal resulted in a shift of focus from performance to book culture and ensured an
{"title":"Fulsås, Narve, and Rem, Tore (eds.) Ibsen in Context.","authors":"Tanya Thresher","doi":"10.1080/15021866.2022.2063982","DOIUrl":"https://doi.org/10.1080/15021866.2022.2063982","url":null,"abstract":"Written by leading Ibsen scholars, the thirty relatively short essays that constitute Ibsen in Context provide readers with a clear overview of the key contexts that have informed Ibsen’s life, work, and status as a world dramatist. More specifically this collection challenges the practice of isolating the dramatist from his socio-historical contexts and treating his final twelve plays in particular as a self-contained aesthetic whole. On the premise that Ibsen, “could not escape his own context, and that literary autonomy is itself contingent on extra-literary preconditions, like the ability to live from one’s authorship, being protected by copyright, or being received with a certain reverence in appropriating cultures” (xvi), the essays embed the playwright into five general categories: “Life and Career,” “Culture and Society,” “Scandinavian Reception,” “Internationalization,” and “Afterlives.” This holistic contextualization of Ibsen from the time of his writing until today broadens the interpretative possibilities for his works and underscores the importance of the larger socio-cultural European and global contexts for the dramatist. The first three essays that make up Part I, “Life and Career,” are all written by Narve Fulsås and trace the cultural and sociopolitical Scandinavian contexts of Ibsen's early life and writing. Of particular focus are Ibsen’s practical theatrical experiences in Bergen and Kristiania, and importantly his relationship to Gyldendal publishing house and its head, Frederik V. Hegel. Fulsås suggests Ibsen’s association with Gyldendal resulted in a shift of focus from performance to book culture and ensured an","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44218079","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: 10.1080/15021866.2022.2063980
Cristina Gómez-Baggethun, David Rodríguez-Solás, Sarah Wright
some texts people simply do not seem to be done one of is s An Enemy of the People the the play s quality it of most plays. In over a century of theatre and television productions of play, of democracies, the decadence of
{"title":"Doctoral Defense: Spain in an Assembly. Fighting for a Future Through Productions of Ibsen’s an Enemy of the People","authors":"Cristina Gómez-Baggethun, David Rodríguez-Solás, Sarah Wright","doi":"10.1080/15021866.2022.2063980","DOIUrl":"https://doi.org/10.1080/15021866.2022.2063980","url":null,"abstract":"some texts people simply do not seem to be done one of is s An Enemy of the People the the play s quality it of most plays. In over a century of theatre and television productions of play, of democracies, the decadence of","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41865188","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 : 2021-12-09DOI: 10.1080/15021866.2021.1997234
Klaus Müller-Wille
Kristin Gjesdal has already published a long series of articles and one anthology on the philosophical impact of Ibsen’s dramatic works. With the present volume she delivers a more comprehensive and more deeply analyzed study on the subject that focuses on Ibsen’s discussion of the philosophy of history. In the seven chapters of the study, she discusses Ibsen’s relation to the aesthetic writings of Lessing and Herder, she debates his ambivalent reactions towards Hegel’s aesthetics and philosophy of history, and finally she goes into the complex relation between the attempts by Ibsen and Nietzsche to revitalize modern forms of tragedy. One of the virtues of the study is that Gjesdal not only pays attention to this German context, but also to Scandinavian philosophers who transmitted and modified German philosophy (besides Kierkegaard and Brandes she repeatedly refers to Johan Ludvig Heiberg’s philosophical writings). One could, of course, say that all of these complex intertextual relations have already been treated in older studies by Harald Beyer, Ole Koppang, Asbjørn Aarseth, Thomas F. Van Laan, Brian Johnston, and Matthias Straßner (to name just a few important representatives). But Gjesdal is certainly right when she states that the focus of these studies has been “lighter on philosophical content and detail” (p. 8) and heavier on dramaturgical observations. This should not insinuate that she is blind for the literary dimensions of Ibsen’s works. On the contrary, all of the presented readings are characterized by an attempt to take drama and the dramatical forms of representation seriously. This
{"title":"Kristin Gjesdal: The Drama of History","authors":"Klaus Müller-Wille","doi":"10.1080/15021866.2021.1997234","DOIUrl":"https://doi.org/10.1080/15021866.2021.1997234","url":null,"abstract":"Kristin Gjesdal has already published a long series of articles and one anthology on the philosophical impact of Ibsen’s dramatic works. With the present volume she delivers a more comprehensive and more deeply analyzed study on the subject that focuses on Ibsen’s discussion of the philosophy of history. In the seven chapters of the study, she discusses Ibsen’s relation to the aesthetic writings of Lessing and Herder, she debates his ambivalent reactions towards Hegel’s aesthetics and philosophy of history, and finally she goes into the complex relation between the attempts by Ibsen and Nietzsche to revitalize modern forms of tragedy. One of the virtues of the study is that Gjesdal not only pays attention to this German context, but also to Scandinavian philosophers who transmitted and modified German philosophy (besides Kierkegaard and Brandes she repeatedly refers to Johan Ludvig Heiberg’s philosophical writings). One could, of course, say that all of these complex intertextual relations have already been treated in older studies by Harald Beyer, Ole Koppang, Asbjørn Aarseth, Thomas F. Van Laan, Brian Johnston, and Matthias Straßner (to name just a few important representatives). But Gjesdal is certainly right when she states that the focus of these studies has been “lighter on philosophical content and detail” (p. 8) and heavier on dramaturgical observations. This should not insinuate that she is blind for the literary dimensions of Ibsen’s works. On the contrary, all of the presented readings are characterized by an attempt to take drama and the dramatical forms of representation seriously. This","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59953913","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 : 2021-12-09DOI: 10.1080/15021866.2021.1997235
Sara Culeddu
Published by Marsilio in 2020 and equipped with a preface by Franco Perrelli, Trieste e il caso Ibsen. Polemiche e dibattiti tra Otto e Novecento (Trieste and the Ibsen case. Controversies and Debates at the Turn of the Twentieth Century) is a recent work by Paolo Quazzolo, Associate Professor of Drama Studies at the University of Trieste and author of many publications on theatre, both from a historical and critical point of view, as well as monographs on specific playwrights. This is his first book on Ibsen. In this work on Ibsen in Trieste the historical and critical approaches previously employed by Quazzolo seem to merge, enhancing each other to create new perspectives. Here the author reconstructs the first reception of Ibsen in Italy focussing on the encounter between the Norwegian playwright and the city of Trieste at the turn of the twentieth century, and recognises in this encounter some unique elements, charged with promises of mutual enrichment: on the one hand the reception of Ibsen in Trieste – once some initial scepticism was overcome – set the tone for the national reception of the playwright; on the other, the entrance of his dramas both on the stages and in cultural debates in Trieste during those years contributed to reconceptualizing the identity of a city which, in that moment, was defining its role and position in the cultural landscape of Italy. One of the most interesting aspects of this book is the narrowing of its focus to a very specific geographic area, which allows
Marsilio于2020年出版，并配有Franco Perrelli的序言，Trieste e il caso Ibsen。Polemiche e dibattti tra Otto e Novecento（的里雅斯特和易卜生案。二十世纪之交的争议和辩论）是的里雅特大学戏剧研究副教授Paolo Quazzolo的最新作品，他出版了许多关于戏剧的出版物，从历史和批判的角度来看，以及关于特定剧作家的专著。这是他的第一本关于易卜生的书。在这部关于的里雅斯特易卜生的作品中，Quazzolo之前采用的历史和批判方法似乎融合在一起，相互增强，创造了新的视角。在这里，作者以二十世纪之交挪威剧作家易卜生与的里雅斯特市的相遇为中心，重建了易卜生在意大利的第一次接受，并在这次相遇中认识到了一些独特的元素，充满了相互丰富的承诺：一方面，易卜生在的里雅斯特受到的欢迎——一旦一些最初的怀疑被克服——为全国对这位剧作家的欢迎定下了基调；另一方面，他的戏剧在的里雅斯特的舞台上和文化辩论中的出现，有助于重新定义一个城市的身份，在那一刻，这个城市正在定义它在意大利文化景观中的角色和地位。这本书最有趣的方面之一是将重点缩小到一个非常特定的地理区域，这使得
{"title":"Paolo Quazzolo: Trieste e il caso Ibsen","authors":"Sara Culeddu","doi":"10.1080/15021866.2021.1997235","DOIUrl":"https://doi.org/10.1080/15021866.2021.1997235","url":null,"abstract":"Published by Marsilio in 2020 and equipped with a preface by Franco Perrelli, Trieste e il caso Ibsen. Polemiche e dibattiti tra Otto e Novecento (Trieste and the Ibsen case. Controversies and Debates at the Turn of the Twentieth Century) is a recent work by Paolo Quazzolo, Associate Professor of Drama Studies at the University of Trieste and author of many publications on theatre, both from a historical and critical point of view, as well as monographs on specific playwrights. This is his first book on Ibsen. In this work on Ibsen in Trieste the historical and critical approaches previously employed by Quazzolo seem to merge, enhancing each other to create new perspectives. Here the author reconstructs the first reception of Ibsen in Italy focussing on the encounter between the Norwegian playwright and the city of Trieste at the turn of the twentieth century, and recognises in this encounter some unique elements, charged with promises of mutual enrichment: on the one hand the reception of Ibsen in Trieste – once some initial scepticism was overcome – set the tone for the national reception of the playwright; on the other, the entrance of his dramas both on the stages and in cultural debates in Trieste during those years contributed to reconceptualizing the identity of a city which, in that moment, was defining its role and position in the cultural landscape of Italy. One of the most interesting aspects of this book is the narrowing of its focus to a very specific geographic area, which allows","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47575695","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 : 2021-11-24DOI: 10.1080/15021866.2021.1997232
Kamaluddin Nilu
INTRODUCTION This article describes the process of developing NativePeer, a transcultural adaptation of Henrik Ibsen’s text Peer Gynt that I made in 2015 within the post-colonial Indian context. The adaptation was part of an assignment to direct the play at the National School of Drama, New Delhi. However, this article is limited to reflections on and handling of approaches and challenges in the adaptation process. I intended to make a text that would communicate with present-day Indian readers and audiences. It required a deep-rooted process, far beyond merely a textual translation. The fundamental task was to negotiate the source text within the socio-political-cultural context of colonially mediated modernity, representing the juncture between tradition and modernity of contemporary India. This juncture is the meeting place between two different political visions for economic and social reform after partition in 1947: the Gandhian project of reviving the village economy, and the Nehruvian vision of prosperity through rapid industrialization as a part of a Western-inspired secular modernization project. This divide still characterizes the socio-political climate in India. Moreover, one could understand the present situation in India as part of a wider notion of colonialist interpellation, which is implanted within the postcolonial structure. As Partha Chatterjee argues in his book The Nation and Its Fragments:
{"title":"Making Nativepeer: The Process of Transformative Aesthetics","authors":"Kamaluddin Nilu","doi":"10.1080/15021866.2021.1997232","DOIUrl":"https://doi.org/10.1080/15021866.2021.1997232","url":null,"abstract":"INTRODUCTION This article describes the process of developing NativePeer, a transcultural adaptation of Henrik Ibsen’s text Peer Gynt that I made in 2015 within the post-colonial Indian context. The adaptation was part of an assignment to direct the play at the National School of Drama, New Delhi. However, this article is limited to reflections on and handling of approaches and challenges in the adaptation process. I intended to make a text that would communicate with present-day Indian readers and audiences. It required a deep-rooted process, far beyond merely a textual translation. The fundamental task was to negotiate the source text within the socio-political-cultural context of colonially mediated modernity, representing the juncture between tradition and modernity of contemporary India. This juncture is the meeting place between two different political visions for economic and social reform after partition in 1947: the Gandhian project of reviving the village economy, and the Nehruvian vision of prosperity through rapid industrialization as a part of a Western-inspired secular modernization project. This divide still characterizes the socio-political climate in India. Moreover, one could understand the present situation in India as part of a wider notion of colonialist interpellation, which is implanted within the postcolonial structure. As Partha Chatterjee argues in his book The Nation and Its Fragments:","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46767753","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 : 2021-11-24DOI: 10.1080/15021866.2021.1997233
Ana Tomljenović
If we place Hedda Gabler within a broad intertextual scope of Plato’s Symposium, as proposed by Kristin Boyce (2018) in her analysis, then Ibsen’s play Little Eyolf could be examined as a subsequent transcript of this famous philosophical dialogue on love. Little Eyolf might be viewed as an appendix or a sequel to Hedda Gabler, a piece stemming from the remains of its motif—as though it rose from the ashes in Hedda’s fireplace or sprang from the pieces of paper out of which Tesman and Thea hope to compile a new book in the final scene of the play. In Little Eyolf, the play Ibsen wrote four years after Hedda Gabler, he continues to evolve Plato’s metaphor of giving birth to a book like giving birth to a child. Little Eyolf is a play about a book that never managed to mature, about a child who never grew up, about people striving to grow fully as people. As in the play Hedda Gabler, in which missing books and unborn children forever remain shrouded by darkness—either hidden in their mother’s womb, trapped in the scholar’s head, or burnt in the black rectangle of a fireplace—in Little Eyolf the hypothesis remains unfinished and the child is lost. As noted by Ernst Robert Curtius in his study European Literature and the Latin Middle Ages, “the concept of the book as a child [... ] goes back to Plato’s doctrine of Eros” (Curtius 2013, 132). In Plato’s Symposium—in the part where Socrates decides to convey what Diotima taught him about the subject of love—love is defined as “giving birth in the beautiful, in respect of body and
{"title":"The Platonic Intertext in Ibsen’s Hedda Gabler and Little Eyolf","authors":"Ana Tomljenović","doi":"10.1080/15021866.2021.1997233","DOIUrl":"https://doi.org/10.1080/15021866.2021.1997233","url":null,"abstract":"If we place Hedda Gabler within a broad intertextual scope of Plato’s Symposium, as proposed by Kristin Boyce (2018) in her analysis, then Ibsen’s play Little Eyolf could be examined as a subsequent transcript of this famous philosophical dialogue on love. Little Eyolf might be viewed as an appendix or a sequel to Hedda Gabler, a piece stemming from the remains of its motif—as though it rose from the ashes in Hedda’s fireplace or sprang from the pieces of paper out of which Tesman and Thea hope to compile a new book in the final scene of the play. In Little Eyolf, the play Ibsen wrote four years after Hedda Gabler, he continues to evolve Plato’s metaphor of giving birth to a book like giving birth to a child. Little Eyolf is a play about a book that never managed to mature, about a child who never grew up, about people striving to grow fully as people. As in the play Hedda Gabler, in which missing books and unborn children forever remain shrouded by darkness—either hidden in their mother’s womb, trapped in the scholar’s head, or burnt in the black rectangle of a fireplace—in Little Eyolf the hypothesis remains unfinished and the child is lost. As noted by Ernst Robert Curtius in his study European Literature and the Latin Middle Ages, “the concept of the book as a child [... ] goes back to Plato’s doctrine of Eros” (Curtius 2013, 132). In Plato’s Symposium—in the part where Socrates decides to convey what Diotima taught him about the subject of love—love is defined as “giving birth in the beautiful, in respect of body and","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-11-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44399952","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：