Pub Date : 2021-01-02DOI: 10.1080/15021866.2021.1932045
Gerd Karin Omdal
This issue of Ibsen Studies presents two pieces of original research on Ibsen that respectively represent the predominant scholarly traditions within the field, close textual analysis and performance history. Yet both authors, who are both emerging scholars based in Norway, break new ground in their choice of subject material. In “The Mystic and Modernity: Unfolding Past and Present in Emperor and Galilean,” Gerd Karin Omdal draws attention to the character Maximus, who is both mystic and philosopher and thus seemingly at odds with the exploration of modernity that the play is known for. Picking up from previous readings of the play that rule out the possibility of an unambiguously Christian and/ or idealist interpretation, Omdal focuses her attention on the role played by Maximus in conceptualizing the so-called “third empire” that would synthesize opposing pre-Christian and Biblical world views into something new. Whereas other scholars have placed primary emphasis on the philosophical tradition connected to Maximus, Omdal turns her attention instead to Maximus as mystic, contextualizing him within Neoplatonic and occult traditions. She argues that a synthesized understanding that encompasses both the philosophical and the mystical components of the character is necessary. In this, Omdal reflects a growing trend within the field of Scandinavian studies that seeks to examine the nineteenth-century fascination with the occult as an influential cultural phenomenon of the era, without in any way reproducing or espousing its pseudo-scientific beliefs. This is a welcome contribution because it opens up aspects of the text that have been ignored, perhaps because of a certain academic squeamishness or unwillingness to take such matters seriously as influential (if clearly misguided) cultural developments.
本期《易卜生研究》提供了两篇关于易卜生的原创研究，分别代表了该领域的主要学术传统、密切的文本分析和表演史。然而，两位作者都是挪威的新兴学者，他们在主题材料的选择上开辟了新的天地。Gerd Karin Omdal在《神秘与现代性：在皇帝与伽利略中展现过去与现在》中提请人们注意马克西姆斯这个角色，他既是神秘主义者又是哲学家，因此似乎与该剧以探索现代性而闻名。根据之前对该剧的解读，奥姆达尔排除了明确的基督教和/或唯心主义解释的可能性，她将注意力集中在马克西姆斯在概念化所谓的“第三帝国”中所扮演的角色上，该帝国将把对立的前基督教和圣经世界观综合成新的东西。尽管其他学者主要强调与马克西姆斯有关的哲学传统，但奥姆达尔将注意力转向了马克西姆斯作为神秘主义者，将他置于新柏拉图主义和神秘主义传统的语境中。她认为，有必要综合理解人物的哲学和神秘成分。在这一点上，Omdal反映了斯堪的纳维亚研究领域的一种日益增长的趋势，即试图审视19世纪对神秘学的迷恋，将其视为当时一种有影响力的文化现象，而不以任何方式复制或支持其伪科学信仰。这是一个受欢迎的贡献，因为它揭示了文本中被忽视的方面，也许是因为某种学术上的拘谨或不愿认真对待这些有影响力（如果明显被误导的话）的文化发展。
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Pub Date : 2021-01-02DOI: 10.1080/15021866.2021.1932046
Gianina Druță, O. Dubălaru, Ellen Karoline Gjervan
The dissertation of Gianina Druta investigates the early performance history of Henrik Ibsen in Romania between 1894 and 1947. It is also the first analysis within Romanian Ibsen scholarship and theatre history to combine digital humanities tools with a traditional theatre historiographical approach. In this respect, the use of the IbsenStage database and of histoire crois ee provides the methodological and theoretical framework of this study. The Romanian quantitative and qualitative data have revealed a contradiction: Ibsen was not performed with great frequency, yet historical sources suggest that he had a significant impact on national acting and staging practices. The dissertation embarks on an exploration of this contradiction. First, it analyzes the aesthetic diversity of influences brought into Romania by French, Italian, German, Hungarian and Yiddish touring performances. Second, it pinpoints commercialism, protectionism and aesthetics as the strongest forces of constraint within the unstable administrative, financial and legislative structures of the early Romanian theatre. Then, it assesses how these forces worked for and against the production of Ibsen’s plays. Third, the dissertation considers the impact of twelve Romanian Ibsenites in three production hubs: the National Theatre of Ias, i,
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Pub Date : 2021-01-02DOI: 10.1080/15021866.2021.1924428
Elin Stengrundet
The main theme of Olivia Noble Gunn’s study is well summarized in its title: Empty Nurseries, Queer Occupants: Reproduction and the Future in Ibsen’s Late Plays. The empty nurseries that Gunn has found to occupy a conspicuous place in Hedda Gabler (1890), The Master Builder (1892), and Little Eyolf (1894) are not filled with the parents’ children but with what she calls “improper occupants,” i.e., with “inhabitants that are not the children of the family” (16), and she sets out to demonstrate what this recurrent pattern may mean. As a starting point, her observation seems both refreshingly concrete and full of promise. Still, one wonders, at the outset, whether the nursery theme will yield enough material to fill an entire book, not least because, as Gunn herself points out, these empty rooms do not get much attention in the texts: “In a certain sense, Ibsen’s nurseries are little more than traces” (12), they are offstage, and they are “more or less peripheral to the action” (11). However, she maintains that it is precisely these “trace-like qualities” that make the rooms significant; the empty spaces are spaces of possibility and hence of the future (12). A study of this motif may therefore be able to put us on the trail of Ibsen’s thinking about “reproduction in its broad sense” (3). In addition, Gunn maintains that her examination will put her in dialogue with “some major claims from queer and critical child studies” (2). Unfortunately, it is not entirely clear what these claims imply. From the very start, the reader encounters the difficulty of not knowing exactly for whom the study is written. Its style is often
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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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