Pub Date : 2016-01-02DOI: 10.1080/15021866.2016.1180867
Ø. Brekke
To live is to war on trolls in the confines of heart and mind;to write – is coming to the barof one’s own private Judgement day.1There is something strangely cinematic about the opening scenes of H...
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Pub Date : 2016-01-02DOI: 10.1080/15021866.2016.1180868
Daan Vandenhaute
In 1880 the Stadsschouwburg Amsterdam put on Pillars of Society, the first time Henrik Ibsen was staged in Dutch. Ever since Ibsen has been part of theater life in the Low Countries. As Rob van der Zalm has shown in his standard study on the reception of Ibsen in the Netherlands, the extent of this presence has fluctuated over time. After a tentative start, an introductory decade (1880–1890) was followed by a period of 40 years during which the number of productions were about 20 per decade. From 1930 until 1970 the number of productions decreased drastically, to less than then 10 per decade, but from 1970 onward the interest for Ibsen increased manifestly again. Van der Zalm notes that by the time he ends his investigation, 1995, 26 productions of Ibsen had already been staged, as many as during the entire 1980s. In a brief follow-up study published in the wake of the 2006 Ibsen anniversary van der Zalm observes that “(b) etween 1991 and 2000 the number of Ibsen productions reached the astonishing figure of forty, which means an average of four every season” (Van der Zalm 2007, 118). Van der Zalm’s data refer to the staging of Ibsen in the Netherlands. A similar rigorous investigation of the situation in Flanders, the Dutch-speaking part of Belgium, is unfortunately not available. This article aims to contribute to our understanding of the reception of Ibsen in contemporary Flanders. To this end, I develop a double perspective: on the one hand, I focus on the production side, studying how often Ibsen – and which Ibsen – has been staged in Flanders since 1985; on the other hand, I examine Ibsen’s status for contem-
1880年，阿姆斯特丹城市剧院上演了《社会的支柱》，这是第一次在荷兰上演易卜生的作品。从那时起，易卜生就一直是低地国家戏剧生活的一部分。正如Rob van der Zalm在他关于易卜生在荷兰的接受程度的标准研究中所显示的那样，这种存在的程度随着时间的推移而波动。在试探性的开始之后，一个介绍性的十年(1880-1890)之后是40年的时间，在此期间，每十年的作品数量约为20部。从1930年到1970年，易卜生的作品数量急剧下降，每十年不到10部，但从1970年开始，对易卜生的兴趣又明显增加了。范德扎姆指出，到1995年他结束调查的时候，易卜生的作品已经上演了26部，与整个20世纪80年代的作品一样多。在2006年易卜生周年纪念之后发表的一项简短的后续研究中，van der Zalm观察到“(b)在1991年至2000年之间，易卜生作品的数量达到了惊人的40部，这意味着平均每季有4部”(van der Zalm 2007, 118)。Van der Zalm的数据参考了易卜生在荷兰的演出阶段。不幸的是，没有对比利时讲荷兰语的佛兰德斯地区的情况进行类似的严格调查。本文旨在帮助我们理解易卜生在当代佛兰德斯的接受。为此，我发展了一个双重视角:一方面，我专注于生产方面，研究易卜生自1985年以来在佛兰德斯上演的频率和哪位易卜生;另一方面，我考察了易卜生的当代地位
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Pub Date : 2016-01-02DOI: 10.1080/15021866.2016.1180869
Billy Smart
This article examines 1960s arguments that called for the rejection of naturalism in television drama, and for new modernist forms to be created in its place, through close analysis of three BBC productions of Ibsen: The Wild Duck (Play of the Month, BBC1 1971), Hedda Gabler (Play of the Month, BBC1 1972) and The Lady from the Sea (BBC2 1974). Troy Kennedy Martin’s polemical 1964 essay ‘Nats Go Home’ suggested that television drama had “looked to Ibsen and Shaw for guidance” (relying upon verbally constructed narratives derived from the naturalist theatre) and called for a new, more visual and abstract, modernist form of drama to be created in its place. This new drama would agitate the viewer into forming an objective understanding of events and themes through montage and juxtaposition. Through analysis of three television productions of canonical Ibsen plays, Kennedy Martin’s representation of naturalist drama can be tested, demonstrating how modernist elements within Ibsen’s drama were realised through television adaptation.
本文通过对易卜生的三部BBC作品:《野鸭》(本月最佳剧目，BBC1台1971)、《海达·盖博勒》(本月最佳剧目，BBC1台1972)和《海上小姐》(BBC2台1974)的详细分析，探讨了20世纪60年代呼吁拒绝电视剧中的自然主义，并以新的现代主义形式取而代之的争论。特洛伊·肯尼迪·马丁(Troy Kennedy Martin)在1964年的一篇颇具争议的文章《国民回家》(Nats Go Home)中指出，电视剧“向易卜生和萧伯纳寻求指导”(依赖于从自然主义戏剧中衍生出来的口头叙事)，并呼吁创造一种新的、更直观、更抽象的现代主义戏剧形式。这种新的戏剧将通过蒙太奇和并置的方式激发观众对事件和主题的客观理解。通过对易卜生经典戏剧的三部电视剧的分析，可以检验肯尼迪·马丁对自然主义戏剧的表现，展示易卜生戏剧中的现代主义元素是如何通过电视改编实现的。
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Pub Date : 2015-07-03DOI: 10.1080/15021866.2015.1117854
H. Zwart
The Lady from the Sea, written in 1888, is a compelling portrayal of fin-de-siecle marital existence and structured like a therapy, featuring Ellida Wangel as a ‘patient’, haunted by reminiscences concerning a mysterious sailor and tormented by desire for a different mode of existence, closer to the sea. Although the therapeutic design is clearly present, another possible reading shifts the focus from front-stage to backdrop and from the therapeutic talking sessions to the ambiance: not the decor (the Norwegian coastal-provincial scenery, the panoramic landscape), but rather that which lies beyond it: the invisible, un-representable, unseeable sea. What is the ‘sea’ in Ibsen’s play? And what exactly is this fatal attraction to which Ellida has fallen victim? To address these questions, Ibsen’s play will be subjected to three subsequent readings. The first one focusses on the play as therapy, directed at strengthening Ellida’s ego in confrontation with the Id (‘Es’). Subsequently, the play will be read from a Heideggerian perspective. The reading direction will be reversed, from the (successful?) therapeutic outcome to the chronic discontent pervading the drama from the very start, and from modern human existence to primordial nature. The focus will be on what Heidegger thematises as the Call of Conscience in Being and Time, and in his later writings as the Call of primordial Nature. Finally, a Lacanian reading allows me to bridge the Freudian and the Heideggerian approaches, presenting Ellida as an ‘amphibian’ (divided) subject, who not only produces an intriguing parable concerning our amphibian origins (as an explanation of pervasive human discontent), but eventually comes face to face with the ultimate object-cause of her desire: the Stranger’s uncanny, mesmerizing eyes: an encounter at the edges of the symbolic order, challenging her to come to terms with the unsettling Real.
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Pub Date : 2015-07-03DOI: 10.1080/15021866.2015.1117853
M. Mori
Ever since Little Eyolf’s publication in 1894, criticism of the play has been split between positive and negative views of the couple’s decision to take care of the poor children in the final scene. I stand on the positive side from a perspective on the characters and their relationships that is rooted in certain concepts from Japanese culture and psychology. Little Eyolf may be the play in Ibsen’s oeuvre that most distinctly demonstrates those Japanese psychological and cultural concepts. This aspect will be discussed in detail below, but let us first examine the basic structure of the play composition. A complete draft manuscript (arbeidsmanuskript) of Ibsen’s Little Eyolf is extant. The draft manuscript is dated 7 August 1894, while a fair copy of the final manuscript was sent to the publisher in Copenhagen on 13 October. Therefore, the revisions to the draft seem to have been conducted in August and September 1894. There are already six dramatic characters in the draft: a husband (Alfred) and wife (Rita); their little son (Eyolf ), the husband’s younger half-sister (Asta); a road construction engineer, Borghejm; and the rat-catcher, the Rat-Wife. With the exception of the Rat-Wife and Borghejm, their names are frequently altered during the revision of the draft and from the draft to the final version. However, the basic plot of the play and the three-act composition do not change from the draft to the published version. At the scene-to-scene level, too, the
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Pub Date : 2015-07-03DOI: 10.1080/15021866.2015.1117852
Lior Levy
In “A Century of Ibsen Criticism,” Errol Durbach describes Ibsen as a precursor to the twentieth-century existentialists (Durbach 1994, 245). According to Durbach, Ibsen’s plays, which dramatize the experience of becoming oneself through action and explore the need to assume responsibility over one’s choices, express concerns that are “ultimately existential” (Durbach 1994, 245) Durbach is not alone in identifying existential currents in Ibsen’s dramatic oeuvre. In 1949, only a few years after Jean-Paul Sartre’s existential play No Exit was produced in France for the first time in 1944, Henry Nordmeyer described Ibsen’s Enemy of the People and The Lady from the Sea as plays that present an “existential situation” (Nordmeyer 1949, 592). Martin Esslin also finds expressions of the existential notions of situation and freedom in Ibsen’s work (Esslin 1980). And most recently, Kristin Gjesdal pointed to existential dimensions in Ibsen’s A Doll’s House (Gjesdal 2010). Ibsen’s existentialism is often traced back to the work of Søren Kierkagaard, the most well-known Scandinavian philosopher in Ibsen’s time. Different studies explore the historic and thematic grounds for reading Ibsen in light of Kierkagaard’s philosophy (Fjelde 1968; Esslin 1980, 77; Durbach 1982, 82–86; Kittang 2006, 307; Gjesdal 2010, 12–13). In these discussions, the name of Jean-Paul Sartre, himself an existential philosopher and dramatist, is often left out or mentioned only in passing. However, Sartrean existentialism provides a rich conceptual framework for reading Ibsen’s work. In what follows, I draw on Sartrean concepts such as bad-faith and the look, as well as on Sartrean conceptions of self hood and subjectivity to provide a new context for reading Ibsen’s Little Eyolf (1894). These
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Pub Date : 2015-01-02DOI: 10.1080/15021866.2015.1087716
Thor Holt
In 1862, Henrik Ibsen travelled to Hellesylt in Sunnmore, an area known for its harsh climate and exposure to rockslides and avalanches. Several scholars have recognized this place as a source of i...
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Pub Date : 2015-01-02DOI: 10.1080/15021866.2015.1099871
H. Rønning
A Critique of Jørgen Haugan’s Dommedag og djevlepakt. Henrik Ibsens forfatterskap – fullt og helt [Doomsday and Devil's Pact. Henrik Ibsen's work Fully and Wholly.] Jørgen Haugan’s magisterial and long (607 pages) new book on Ibsen (Haugan 2014) sums up his lifelong engagement with the playwright. Over the years, Haugan has written extensively on Ibsen in articles but not least in his two previous books Henrik Ibsens metode (1977) and Diktersfinxen. En studie i Ibsen og Ibsenforskningen [Doomsday and Devils Pact. Henrik Ibsen’s Work – not in Parts and Pieces] (1982). Both of these serve as a background to the present study. Haugan elaborates upon arguments first put forward in these earlier works in the new book, which he characterises as his last contribution to the field. I have always held a certain respect and fascination for Jørgen Haugan. He has been an odd man out in the Ibsen field, particularly in a Norwegian context. His close relationship to the milieu around the charismatic professor Aage Henriksen (1938–2011) at the University of Copenhagen taught him a different approach to Ibsen and also to view literature and literary scholarship from other perspectives than those that have been prominent in Norway. In addition, I have liked his often contrarian and self-assured attitude to what has been the accepted way of looking at the great works of Norwegian literature, not least demonstrated by his book on Knut Hamsun from 2004 – Solgudens fall. This being said, I was also during my reading of Dommedag og djevlepakt frequently irritated and in vehement disagreement both by his analyses and his methodological and theoretical approach, despite often finding many aspects of his concrete examinations of the dramas insightful. In the programmatic brief foreword to the book, Haugan states some principles that guides his reading. The first is that he will
Jørgen Haugan的《Dommedag og djevlepakt》批判。亨利克·易卜生:《世界末日》和《魔鬼契约》。亨里克·易卜生的作品。约翰·豪根(j . rgen Haugan)关于易卜生的长篇权威新书(607页)总结了他与剧作家易卜生的一生。多年来，豪根写了大量关于易卜生的文章，尤其是在他之前的两本书《亨利克·易卜生的方法》(1977)和《Diktersfinxen》中。我学习易卜生和易卜生的《世界末日》和《魔鬼契约》。亨里克·易卜生的作品——不是零零碎碎的)(1982)。这两者都是本研究的背景。豪根在新书中详细阐述了这些早期作品中首次提出的论点，他将其描述为他对该领域的最后贡献。我一直对约翰·豪根怀有某种敬意和迷恋。在易卜生油田，尤其是在挪威的背景下，他一直是一个怪人。他与哥本哈根大学富有魅力的教授Aage Henriksen(1938-2011)周围的环境有着密切的关系，这让他对易卜生有了不同的看法，也让他从不同的角度看待文学和文学奖学金，而不是那些在挪威很突出的观点。此外，我还喜欢他一贯的特立独行和自信的态度，这种态度已经被公认为是看待挪威文学伟大作品的方式，尤其是他2004年写的关于克努特·哈姆生的书——《索尔古登斯的坠落》。话虽如此，在阅读Dommedag djevlepakt时，我也经常被他的分析、方法论和理论方法所激怒和强烈反对，尽管他对戏剧的具体研究在许多方面都很有见地。在这本书的纲领性简短前言中，豪根陈述了一些指导他阅读的原则。首先，他会这么做
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Pub Date : 2015-01-02DOI: 10.1080/15021866.2015.1087714
Anders Skare Malvik
Literary history is often seen in the light of the history of ideas, and rarely as corresponding to the media technologies that transmit these ideas. It would, however, be difficult to explain the international success of the Norwegian “Modern Breakthrough authors” without taking into account the transnational mediation of the political, social, philosophical, and esthetic ideas of the period. “The Modern Breakthrough” in Norwegian literature is not just a response to Georg Brandes’ 1871 call to arms. It is also an esthetic response to a media technological revolution that radically changed Norwegian society in the second half of the nineteenth century. As media historians Henrik G. Bastiansen and Hans Fredrik Dahl have emphasized, the years of Ibsen’s literary production delineates an epoch of faster and more powerful media developments than ever before in history. Catilina (1950) was published four years before Norway got its first railroad. When We Dead Awaken (1899) was written in Arbien’s Street in Kristiana, while they were screening cinema shows down the street (Bastiansen and Dahl 2003a). The railroad, telegraph, photography, film, phonograph, and telephone all surface in Norway within this short period of less than 50 years. These technologies dramatically changed the scales and patterns of human interaction during Ibsen’s time, and it would be naïve to think that the playwright did not in some way chart their societal impact. But how do we read Ibsen from a media perspective? The aim of this article is to show how Ibsen’s problem plays respond to the rise of the newspaper industry in late nineteenth
文学史通常被视为思想史，而很少与传播这些思想的媒介技术相对应。然而，如果不考虑到这一时期政治、社会、哲学和美学思想的跨国调解，就很难解释挪威“现代突破作家”在国际上的成功。挪威文学的“现代突破”不仅仅是对乔治·布兰德斯1871年号召战斗的回应。这也是对19世纪下半叶从根本上改变挪威社会的媒体技术革命的美学回应。正如媒体历史学家亨里克·g·巴斯蒂安森和汉斯·弗雷德里克·达尔所强调的那样，易卜生的文学创作描绘了一个比历史上任何时候都更快、更强大的媒体发展时代。《卡蒂琳娜》(1950)出版的四年后，挪威建成了第一条铁路。《当我们死去，觉醒》(1899)是在克里斯蒂安娜的阿比恩街创作的，当时他们正在街上放映电影(Bastiansen and Dahl 2003a)。铁路、电报、摄影、电影、留声机和电话都在这不到50年的短时间内出现在挪威。在易卜生的时代，这些技术极大地改变了人类互动的规模和模式，认为剧作家没有以某种方式描绘出它们的社会影响是naïve。但是，我们如何从媒体的角度来解读易卜生呢?本文旨在探讨易卜生的问题剧如何回应19世纪末报业的兴起
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Pub Date : 2015-01-02DOI: 10.1080/15021866.2015.1087715
O. Gunn
Symbolist playwright Maurice Maeterlinck’s l’Intruse (1890, The Intruder) and Henrik Ibsen’s Bygmester Solness were first staged together at Théâtre de l’Œuvre on 13 April, 1894. The day before this performance, Maeterlinck’s “A Propos de Solness le Constructeur” (Concerning The Master Builder), was published in le Figaro. In 1896, it was revised and included in le Trésor des Humbles as “le Tragique Quotidien.” Materlinck used his revision to expand on the observation that “Solness est un drame à peu près sans action” (Solness is a drama almost without action), thereby creating a kind of manifesto for modern, “static” theater (A propos de Solness). The Master Builder’s innovative and static qualities were immediately apparent to actors and directors, who struggled to find effective ways of staging Ibsen. At Théâtre de l’Œuvre, Aurélien Lugné-Poe dealt with Ibsen’s innovation by turning to Maeterlinck’s metaphysical interpretation of the play, emphasizing the tacit presence of “occult forces” and Solness’s “personal magnetism” (Deak 1993, 205). The Master Builder – with its tower, dead babies and mourned dolls, its trolls and strange helpers, and its castle in the air “med grundmur under” (with foundations underneath)” – has often been treated as a (lower case) symbolist drama (Ibsen 1892, 89). Nonetheless, Maeterlinck’s perception of a strong affinity between The Master Builder and his own understanding of the ideal modern theater strikes some critics as odd or wrong – especially if they understand Ibsen as a preeminent realist and realism as the precursor to or opponent of Symbolism. One critic particularly averse to the Symbolist interpretation of Ibsen is Joan Templeton, who claims naturalist director André Antoine as the better and more correct director for staging
1894年4月13日，象征主义剧作家莫里斯·梅特林克的《闯入者》(1890年，《闯入者》)和亨里克·易卜生的《比格梅斯特·索恩斯》首次在th tre de l ' Œuvre上演。演出前一天，梅特林克的《关于建筑大师》(A Propos de Solness le Constructeur)发表在《费加罗报》上。1896年，它被修订，并被纳入《卑微的人生》，称为《每日悲剧》。materlink利用他的修正扩展了“Solness est un dramepeu propts sans action”(Solness是一部几乎没有动作的戏剧)的观察，从而为现代“静态”戏剧创造了一种宣言(a propos de Solness)。建筑师大师的创新和静态的品质立即显而易见的演员和导演，谁努力寻找有效的方式上演易卜生。在《thsam tre de l ' Œuvre》中，奥尔姆·卢格姆·坡通过借鉴梅特林克对戏剧的形而上解释来处理易卜生的创新，强调“神秘力量”的隐性存在和索尔尼斯的“个人魅力”(Deak 1993, 205)。《建造大师》——有它的高塔、死去的婴儿和哀悼的娃娃、巨魔和奇怪的助手，还有它的空中城堡“med grundmur under”(下面有地基)——经常被视为(大写)象征主义戏剧(易卜生1892,89)。尽管如此，梅特林克认为《建筑大师》与他自己对理想现代戏剧的理解之间有着强烈的亲和力，这让一些评论家感到奇怪或错误——尤其是如果他们把易卜生理解为杰出的现实主义，而现实主义是象征主义的先驱或反对者的话。琼·坦普尔顿(Joan Templeton)是一位特别反对易卜生的象征主义解读的评论家，她声称自然主义导演安德烈·安托万(andr Antoine)是更好、更正确的舞台导演
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