Pub Date : 2021-01-02DOI: 10.1080/15021866.2021.1924429
Gudleiv Bø
This book is based on presentations given at a seminar held in 2013 at the Ibsen Museum in Oslo to commemorate the publication of Kongsemnerne (The Pretenders) 150 years ago. The book contains ten articles, discussing on the one hand the relation between The Pretenders as an artifact and its historical subject and on the other its reception over the past 150 years. The result is a very diverse collection with a multitude of perspectives and many stimulating insights. Eivind Tjønneland, who organized the seminar, and who is the editor of the book, has the opening chapter. After a presentation of the various chapters, he turns to an intertextual analysis of certain key concepts of the drama. His point of departure is the hypothesis that behind the production of this drama one can trace Ibsen’s reception of certain phrases or fragments of phrases that have inspired him. A key concept in this connection is “kongstanke” (“kingly thought” or “high calling”), which in this case refers to the political vision of Haakon that Skule envies. Tjønneland assumes that Ibsen has coined this term based on newspaper articles that he must have read, some of which concerned the large choral fair in Bergen during the summer of 1863, where he was present; some of them also concerned the recent death of the historian Peter Andreas Munch, who was a leading historian at the time, and the historian upon whom Ibsen draws in many of his early historical dramas. The singers arriving from all over Norway were described as merging into one man; it was also suggested that
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Pub Date : 2021-01-02DOI: 10.1080/15021866.2021.1932044
Gianina Druță
This article addresses the contribution of the foreign language theatre companies’ performances to Ibsen’s emergence in Romania until the middle of the twentieth century. The Romanian map of Ibsen performances demands a methodological framework that acknowledges that space, time, people and places are mobile points on the map, and that processes of cultural transmission do not always have clear departure and arrival points.
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Pub Date : 2020-07-02DOI: 10.1080/15021866.2020.1823629
L. Fodstad
When Henrik Ibsen initiated his series of contemporary prose plays, he did so with a stage design where people are ‘doing their shopping at a little shop on the corner’ in the street behind Karsten Bernick’s stately house and garden, while the plot in Pillars of the Community revolves around the consul’s engagement in more complex and speculative business ventures (Ibsen 2016, 3). Next, Ibsen establishes A Doll’s House by describing it as a ‘comfortable and tastefully, though not expensively, furnished room,’ where Nora from the outset squanders the porter’s gratuity while her banker husband, Helmer, cautions her about careful spending (NPI, 107). These examples indicate how economic motifs are launched early on in Ibsen’s problem plays, and throughout the plays the motifs are further developed and added to. Pillars of the Community revolves around investments and speculation, insurance, and business ethics, and it depicts a globalized economy based on steam power, electric communication, and daily printed news. At the heart of the gender and family issues in A Doll’s House, we find questions of economic responsibility and dependency, financial law, forgery, and modern banking. Hence, one might claim that in all of the institutional, ideological, and relational problems raised, the common denominator of the plays is motifs of economy and money. Ibsen’s dealings with economic matters are hardly surprising, as the ‘Modern Breakthrough’ in Scandinavian literature certainly
当亨里克·易卜生(Henrik Ibsen)开始创作他的当代散文剧系列时，他这样做的舞台设计是，人们在卡斯顿·伯尼克(Karsten Bernick)庄严的房子和花园后面的街道上“在街角的小商店购物”，而《社区的支柱》(Pillars of the Community)的情节围绕着领事参与更复杂和投机的商业冒险(易卜生2016,3)。接下来，易卜生建立了一个玩偶之家，将其描述为“舒适，有品位，虽然不昂贵，但很有价值”。在这里，诺拉从一开始就挥霍着搬运工的小费，而她的银行家丈夫赫尔默(Helmer)则告诫她要谨慎消费(NPI, 107)。这些例子表明，经济主题是如何在易卜生的问题剧的早期发起的，并在整个戏剧中进一步发展和增加了主题。《社区的支柱》围绕投资和投机、保险和商业道德展开，描绘了一个以蒸汽动力、电力通信和每日印刷新闻为基础的全球化经济。在《玩偶之家》中性别和家庭问题的核心，我们发现了经济责任和依赖、金融法、伪造和现代银行业的问题。因此，有人可能会说，在所有提出的制度、意识形态和关系问题中，戏剧的共同点是经济和金钱的主题。易卜生对经济问题的处理并不令人惊讶，就像斯堪的纳维亚文学的“现代突破”一样
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Pub Date : 2020-07-02DOI: 10.1080/15021866.2020.1823626
Xiaomei Chen
I highly recommend Kwok-kan Tam’s excellent monograph, titled Ibsen, Power and the Self: Postsocialist Chinese Experimentations in Stage Performance and Film, as an essential text book for undergraduate classes and graduate seminars in comparative drama, world theatre, Chinese performance culture, and for general readers looking for fascinating stories about how the introduction of Ibsen into China has fundamentally changed the political, ideological and cultural landscapes of its art scenes. This book is an important read for anyone studying art and theatre with or without a non-Western focus. Having published numerous books and articles on Ibsen and modern Chinese drama and cinema, Tam is one of the best scholars to complete this study, which yields a new understanding of the complex relationships between Western traditions and Chinese theatre. Even though its subtitle marks “postsocialist” period as its main focus, Ibsen, Power and the Self exceeds its expectation: this book traced a century of Ibsen’s influence on the formation of modern Chinese culture. Throughout the book, discussions were contextualized around key intellectual figures’ early explorations of modern drama in connection with its ideological function: from Chen Duxiu, who promoted theater to educate the Chinese mind, to Hu Shi, who translated Ibsen’s A Doll’s House and published his famous manifesto on “Chinese Ibsenism” to advocate individualism and woman’s equality, and to Lu Xun, who questioned, in 1923, what would happen to Nora after she had left home without economic opportunities. All three figures represented more than two polarities of Chinese intellectual trends at the time: Chen as the radical socialist who
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Pub Date : 2020-07-02DOI: 10.1080/15021866.2020.1823630
Svein Henrik Nyhus, J. Bollen, Olivia Noble Gunn
Svein Henrik Nyhus’ dissertation examines Ibsen’s assimilation in the American theatre from 1879 to 1914. With a methodology that is both quantitative, historically interpretive and theoretically informed by sociology of literature, it seeks to account for the conjunctures and general characteristics of this process. Inspired by Franco Moretti’s “distant reading,” the event-based, relational performance database IbsenStage is used to generate visualizations – maps, graphs and social networks. Patterns in the visualizations are used to form questions which are then interpreted with an eye to social, cultural and aesthetic forces that are considered as factors giving rise to the patterns. The main findings highlight that Ibsen’s progress in American theater was a characteristically slow process (1879–1902) when compared to defining countries in Europe. This early period is characterized by a lack of persistent dedications amongst stage artists, and alongside the particular business structure of the theatrical field and negative criticism in New York, the chances of popularity were low. Ibsen’s initial success in Germany is of particular relevance in this regard as the dramatist’s American introduction is characterized by a considerable number of stagings in German-American theatres, which is investigated in detail. The dissertation, moreover, discusses the particulars of what is defined as a breakthrough (1903–1904) in light of new historical findings, where the focus is on the autonomous striving of select artists spurring the
Svein Henrik Nyhus的论文研究了易卜生在1879年至1914年期间在美国戏剧中的同化。它的方法论是定量的，历史的解释和文学社会学的理论知识，它试图解释这一过程的巧合和一般特征。受Franco Moretti“远程阅读”的启发，基于事件的关系性能数据库IbsenStage用于生成可视化-地图，图表和社交网络。可视化中的模式被用来形成问题，然后用社会、文化和美学力量来解释这些问题，这些力量被认为是产生模式的因素。主要研究结果强调，与定义欧洲国家相比，易卜生在美国戏剧方面的进展是一个典型的缓慢过程(1879-1902)。这个早期阶段的特点是舞台艺术家缺乏持久的奉献精神，加上戏剧领域的特殊商业结构和纽约的负面批评，受欢迎的机会很低。易卜生在德国的初步成功在这方面是特别相关的，因为剧作家的美国介绍的特点是相当多的德美剧院的演出，这是详细调查。此外，论文还根据新的历史发现，讨论了被定义为突破(1903-1904)的细节，重点是选择艺术家的自主奋斗，刺激了艺术的发展
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Pub Date : 2020-07-02DOI: 10.1080/15021866.2020.1825103
Thor Holt
Considering the shocking themes, feminism, and critique of idealism in Henrik Ibsen’s plays, the fact that only adaptations of Ludwig Ganghofer’s homeland novels premiered more often in the Nazi era presents puzzling paradoxes to film historians and readers of Ibsen alike (Drewniak 1987, 562; Holt 2020, 303). How did it come to be that this revealer of social ills and lies was used by a film industry notorious for its deceitful propaganda? Ibsen’s independent women, like Nora and Lona Hessel, can hardly be imagined as role models for the “Aryan housewife.” Minister of propaganda Joseph Goebbels, who orchestrated film production in Nazi Germany, preferred Knut Hamsun and considered Ibsen outdated, according to his diaries. This Zeitgeist notwithstanding, a “wave” of five Ibsen adaptations premiered in Germany between 1933 and 1945 – a period that saw a marked decrease in Ibsen adaptations globally (T€ ornqvist 1994, 205). Despite starring the biggest male film stars of the era and being produced by some of the top talent remaining in the German film industry, the Ibsen adaptations in the Third Reich have mostly languished in film historical obscurity. One likely reason is the relative unavailability of the films, which for the most parts are hidden in archives, unavailable in official versions on the commercial market. In a recent PhD dissertation on Ibsen and Nazi cinema, I erroneously claim that none of these adaptations premiered in Norway (Holt 2020, xxvi). In fact, four Nazi era adaptations screened in Ibsen’s homeland during the 1930s
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Pub Date : 2020-07-02DOI: 10.1080/15021866.2020.1823628
Svein Henrik Nyhus
Ibsen’s introduction and subsequent recognition as a dramatist of significant merit in America was a prolonged affair. Seen from the perspective of the stage, his breakthrough first came between 1903 and 1904, more than two decades after the first production of Pillars of Society at the Stadttheater, performed in German in Milwaukee, 1879. Compared to the central countries in Ibsen’s European reception, England, France and Germany, the effect on domestic theatrical life upon entry was not as immediate and transformative. During these twenty-five years, however, Ibsen was staged frequently in German-American theaters. German immigrants nurtured a distinct theatrical culture that was susceptible to the popular currents in Germany, but as an institution in the margins of mainstream American theatrical life, it was also shaped by concerns with commercial sustainability, cultural prestige, self-preservation and social issues relating to immigration. While certain performances of Ibsen in German-American theaters have previously been noted in Ibsen-scholarship, they have not been analyzed as a whole. This article presents new historical material, highlights the conditions of Ibsen’s transference to this theater culture, examines its absorption of Ibsen, assesses the reception, and estimates the significance of these performances for Ibsen’s progress in American mainstream theater. The approach starts from a quantitative viewpoint and proceeds as theater history. Primarily a case study, the aim is also on a more general level, to make a contribution that sheds further light on the transnational underpinnings of Ibsen’s initial global diffusion, and to expand upon the historical understanding of the different
易卜生被介绍到美国，并随后被公认为有重大功绩的剧作家，这是一个漫长的过程。从舞台的角度来看，他的突破首次出现在1903年至1904年之间，距离1879年在密尔沃基市城市剧院用德语演出的第一部《社会支柱》(Pillars of Society)已经过去了20多年。与易卜生在欧洲接受的中心国家，英国，法国和德国相比，易卜生一进入，对国内戏剧生活的影响就没有那么直接和变革。然而，在这25年里，易卜生经常在德美剧院上演。德国移民培养了一种独特的戏剧文化，这种文化很容易受到德国流行潮流的影响，但作为美国主流戏剧生活边缘的一个机构，它也受到商业可持续性、文化声望、自我保护和与移民有关的社会问题的影响。虽然易卜生在德美剧院的某些演出已经在易卜生研究中得到了注意，但它们并没有被作为一个整体进行分析。本文提供了新的史料，突出了易卜生向美国戏剧文化转移的条件，考察了易卜生对美国戏剧文化的吸收，评估了美国戏剧文化对易卜生的接受程度，并估计了这些演出对易卜生在美国主流戏剧文化中发展的意义。该方法从定量的观点出发，并作为戏剧史进行。主要是一个案例研究，目的也是在一个更普遍的层面上，做出贡献，进一步阐明易卜生最初的全球传播的跨国基础，并扩大对不同的历史理解
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Pub Date : 2020-07-02DOI: 10.1080/15021866.2020.1823627
H. Rønning
The main question concerning literary biography is, surely, Why do we need it at all? When an author has devoted his life to expressing himself, and, if a poet or a writer of fiction, has used the sensations and critical events of his life as his basic material, what of significance can a biographer add to the record? Most writers lead quiet lives or, even if they don’t, are of interest to us because of the words they set down in what had to be quiet moments. (Updike 1999)
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Pub Date : 2020-07-02DOI: 10.1080/15021866.2020.1834737
Thor Holt, E. Rentschler, M. B. Rasmussen
Far from Home: Ibsen through the Camera Lens in the Third Reich (2020) is the first monograph on adaptation practices in Nazi cinema and explores the extensive (mis)use of Ibsen on screen in Hitler’s Germany: which Ibsen texts were adapted in the Third Reich and why, how was Ibsen adapted, and, finally, what are the ideological implications of these films? The dissertation probes five scarcely explored Ibsen adaptations – Hans Hinrich’s Das Meer ruft (1933), Fritz Wendhausen’s Peer Gynt (1934), Detlef Sierck’s St€utzen der Gesellschaft (1935), Hans Steinhoff’s Ein Volksfeind (1937), and Harald Braun’s Nora (1944) – in their respective historical moments, shows why these films are important within the legacy of Nazi cinema, sheds new light on relations between German, Norwegian, and, by extension, Scandinavian culture in this era, and argues that the extreme historical context highlights the need to frame adaptation studies in a wider social and cultural field. The work draws upon poststructuralist turns in adaptation theory and cultural studies, and situates the respective films in their immediate historical contexts. Applying heterogeneous models of ideology rather than deterministic propaganda models, it argues that the five films played a role in creating and maintaining the Volksgemeinschaft, but also serve as prisms of the inner contradictions in the matrix of Nazi ideology and Hitler’s Germany.
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