My Nora in Wu Xiaojiang’s A Doll’s House (1998): Aesthetic Transmission and Political Context

Pub Date : 2022-10-12 DOI:10.1080/15021866.2022.2125213
Agnete G. Haaland
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引用次数: 1

Abstract

No matter where or how Henrik Ibsen’s plays are performed, actors and directors bring their own aesthetic and cultural heritage into the rehearsal room. The fact that they are all part of a culture cannot be underlined enough. Or as the Ibsen researcher Frode Helland puts it, “we are all of culture, and we cannot speak from outside of it” (Helland 2015, 7). In 1998 I played Nora at the China National Experimental Theatre in Beijing in director Wu Xiaojiang’s A Doll’s House. (The theatre is now called National Theatre of China, NTC). In a press release from the theatre in 1998 I am quoted as follows:
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吴小江《玩偶之家》(1998)中的我的诺拉:审美传递与政治语境
无论亨里克·易卜生的戏剧在哪里或如何表演,演员和导演都会将自己的美学和文化遗产带入排练室。它们都是一种文化的一部分,这一事实再怎么强调也不为过。或者,正如易卜生研究人员Frode Helland所说,“我们都是文化的一部分,我们不能从文化之外说话”(Helland 2015,7)。1998年,我在北京中国实验剧院的吴小江导演的《玩偶之家》中扮演诺拉。(该剧院现在被称为中国国家剧院(NTC)。在1998年剧院的一份新闻稿中,我的话如下:
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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