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Joseph Goebbels, who orchestrated film production in Nazi Germany, preferred Knut Hamsun and considered Ibsen outdated, according to his diaries.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: 10.1080/15021866.2020.1834737
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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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: 10.1080/15021866.2020.1825104
Gianina Druță
The year’s second issue of Ibsen Studies takes the reader through a spatial, temporal, methodological and even generational journey in the Ibsen world from Milwaukee, Chicago and New York to Hong Kong, and from the beginning of the 20 century to the end of World War 2. Not only that, film, theatre and performance, Digital Humanities, literary studies and even economics meet in this landscape. Furthermore, this issue celebrates the debut of a new generation of Ibsen scholars, who bring to light new datasets and fresh perspectives from their doctoral research. Lars August Fodstad’s “Economic extensions in Space and Time: Mediating Value in Pillars of the Community and A Doll’s House” weaves together literature, economy and media history, focusing on the central role of money in Ibsen’s works. He demonstrates how the macroeconomic structures in Pillars of the Community are built on the relationship between time, information and money, whereas in the microeconomic household universe of A Doll’s House, risk management is connected, for example, with the private trading of the female body. Overall, Fodstad approaches the consequences of the characters’ financial behaviour as a way to thematise and highlight the importance of temporal and spatial displacement not only in Ibsen’s plays, but also in the modern drama in general. Svein Henrik Nyhus’s inquiry into “Ibsen in the GermanAmerican Theatre” exploits further the principle of spatial extension, but from a quantitative Digital Humanities and theatre historiographical perspective. The article draws on the author’s recently defended doctoral dissertation and focuses on the contribution of German immigrant communities to the breakthrough of Ibsen in America at the beginning of the 20 century, using the IbsenStage database as a starting point. It demonstrates the
今年的第二期《易卜生研究》带读者经历了从密尔沃基、芝加哥和纽约到香港，从20世纪初到第二次世界大战结束的易卜生世界的空间、时间、方法甚至代际之旅。不仅如此，电影、戏剧和表演、数字人文、文学研究甚至经济学都在这片土地上相遇。此外，本期庆祝新一代易卜生学者的首次亮相，他们从博士研究中揭示了新的数据集和新的视角。Lars August Fodstad的《空间和时间中的经济扩展：社区支柱和玩偶之家的中介价值》将文学、经济和媒体历史交织在一起，重点关注金钱在易卜生作品中的核心作用。他展示了《社区支柱》中的宏观经济结构是如何建立在时间、信息和金钱之间的关系之上的，而在《玩偶之家》的微观经济家庭世界中，风险管理与女性身体的私人交易有关。总的来说，Fodstad将人物财务行为的后果作为一种主题化的方式，并强调时间和空间位移的重要性，不仅在易卜生的戏剧中，而且在整个现代戏剧中。Svein Henrik Nyhus对“德国-美国剧院中的易卜生”的研究进一步利用了空间延伸的原则，但从定量的数字人文和戏剧史学的角度出发。本文借鉴了作者最近的博士论文，以易卜生阶段数据库为切入点，重点探讨了20世纪初德国移民社区对易卜生在美国取得突破的贡献。它展示了
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Pub Date : 2020-01-02DOI: 10.1080/15021866.2020.1757301
Martina Wahlberg
Diderot devised what he himself perceived as a completely new kind of contemporary theater. This part of his output has been somewhat overshadowed by his more general contributions to the French Enlightenment. A huge interest in his Encyclop edie and in his highly experimental narrative prose developed in the 1950s and 1960s, alongside the rise of le nouveau roman (Fellows 1970, 96). Meanwhile, to this day, his crucial texts on theater remain largely inaccessible to modern readers unfamiliar with the French language. His plays are rarely put on by theaters, in contrast to his philosophical texts, which, paradoxically, are regularly staged (Frantz 2004, 36). His innovative drama and theater theory should, however, be of particular interest to the study of Ibsen’s contemporary plays, with which they resonate in arresting ways. A whole range of similarities will strike anyone who compares Ibsen’s contemporary plays with Diderot’s drama and writings on theater from the 1750s. The question of Ibsen’s turn towards a new form of contemporary drama at a rather late stage in his career has puzzled critics since his own lifetime. A common opinion is summed up by a student writing in the year after his death: ‘Ibsen is French Technic plus Northern Genius’ (Robbins 1907, 4). These two elements, the method of the well-made play as practiced by Scribe and his school, and a somewhat mysterious northern component, are echoed in scholarship throughout the twentieth century. In his seminal study Ibsen’s Dramatic Technique, P. D. F. Tennant
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Pub Date : 2020-01-02DOI: 10.1080/15021866.2020.1757300
Live Hov
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Pub Date : 2020-01-02DOI: 10.1080/15021866.2020.1757299
S. Huq
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Pub Date : 2020-01-02DOI: 10.1080/15021866.2020.1757304
Thor Holt
This decade’s first issue of Ibsen Studies dives into what Franco Moretti named the “core” of literary Europe, with three articles exploring conjunctions and interconnections between Ibsen and influential currents in Germany, France, and Britain—both before and after Ibsen’s lifetime. In “The Struggle for Existence: Ibsen’s The Wild Duck (1884),” Lisbeth Pettersen Wærp reads The Wild Duck in light of Darwin’s notions of domesticated diversity. Wærp broadens the metaphorical resonance of the loft by exploring its many constituents, that is all the animals, as well as books, furniture, and other objects. Contrary to much existing Ibsen scholarship, she argues that Ibsen does not equate domestication with degeneration. Rather, she sees the loft as “a value-neutral image of existential struggle under differing prevailing conditions” that, in turn, reflects the Ekdal and Werle families in the play. In other words, the article asks us to envision how the characters are embedded in a complex psychosocial force field. Martin Wåhlberg takes on a less frequently explored topic in “Diderot, Ibsen, and the Drame lyrique in Scandinavia.” The article expands upon previous work by Erik Østerud and Toril Moi, and traces how French writer and philosopher Denis Diderot (1713–1784) anticipates key elements of Ibsen’s drama. As Robert Weimann asserts regarding the practice of intertextuality, texts feed off each other in multiple ways. Wåhlberg does not argue that the relation and relevance of Diderot to Ibsen is a matter of direct influence; still, striking similarities emerge from Wåhlberg’s comparative analysis. He points out the mix between tragedy and comedy, prose plays, contemporary topics, domestic settings, and retrospective techniques, to name a few. Wåhlberg identifies Ibsen as Diderot’s heir, the “genius to realize the full potential of his dramatic reform.” The article thus contributes to an understanding of how French literature both circulated in
这十年来的第一期《易卜生研究》深入研究了佛朗哥·莫雷蒂所称的欧洲文学的“核心”，其中三篇文章探讨了易卜生与德国、法国和英国的影响潮流之间的联系和相互联系——无论是在易卜生生前还是死后。在《生存的斗争:易卜生的野鸭》(1884)中，莉斯贝丝·佩特森(Lisbeth Pettersen w . rp)根据达尔文驯化多样性的概念来解读《野鸭》。Wærp通过探索阁楼的许多组成部分，即所有的动物、书籍、家具和其他物品，拓宽了阁楼的隐喻共鸣。与许多现有的易卜生学术相反，她认为易卜生并没有把驯化等同于退化。相反，她认为阁楼是“在不同的普遍条件下存在斗争的价值中立的形象”，而这反过来又反映了剧中的埃克达尔和维尔家族。换句话说，这篇文章要求我们设想角色是如何嵌入复杂的社会心理力场的。马丁·瓦格尔伯格在《狄德罗、易卜生和斯堪的纳维亚的戏剧抒情》一书中探讨了一个不太常被探讨的话题。本文扩展了Erik Østerud和Toril Moi之前的工作，并追溯了法国作家和哲学家Denis Diderot(1713-1784)如何预测易卜生戏剧的关键元素。正如罗伯特·魏曼(Robert Weimann)关于互文性的实践所断言的那样，文本以多种方式相互依存。瓦尔伯格并不认为狄德罗与易卜生的关系和相关性是一个直接影响的问题;尽管如此，wamathlberg的比较分析还是出现了惊人的相似之处。他指出了悲剧与喜剧、散文剧、当代主题、家庭背景和回顾技巧的结合，等等。瓦格尔伯格认为易卜生是狄德罗的继承人，是“实现了他戏剧性改革的全部潜力的天才”。因此，本文有助于理解法国文学是如何在中国流传的
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Pub Date : 2020-01-02DOI: 10.1080/15021866.2020.1757298
T. Mohnike
Why should one set out today to prove the importance of Henrik Ibsen for the German stage and international modern theater? Hasn’t the subject been all too well researched for many years? At the oc...
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