Ibsen StudiesPub Date : 2021-01-02DOI: 10.1080/15021866.2021.1924429
Gudleiv Bø
{"title":"Eivind Tjønneland, ed.: Henrik Ibsens Kongsemnerne.","authors":"Gudleiv Bø","doi":"10.1080/15021866.2021.1924429","DOIUrl":"https://doi.org/10.1080/15021866.2021.1924429","url":null,"abstract":"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","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"2 1","pages":"118-127"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138541944","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ibsen StudiesPub Date : 2021-01-02DOI: 10.1080/15021866.2021.1932044
Gianina Druță
{"title":"Where Did Ibsen Come From? The Contribution of the Foreign Language Tours to the Emergence of Henrik Ibsen on the Romanian Stage","authors":"Gianina Druță","doi":"10.1080/15021866.2021.1932044","DOIUrl":"https://doi.org/10.1080/15021866.2021.1932044","url":null,"abstract":"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.","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"21 1","pages":"38 - 93"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2021.1932044","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49524165","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ibsen StudiesPub Date : 2020-07-02DOI: 10.1080/15021866.2020.1823629
L. Fodstad
{"title":"Economic Extensions in Space and Time: Mediating Value in Pillars of the Community and A Doll’s House","authors":"L. Fodstad","doi":"10.1080/15021866.2020.1823629","DOIUrl":"https://doi.org/10.1080/15021866.2020.1823629","url":null,"abstract":"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","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"20 1","pages":"110 - 153"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2020.1823629","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43399758","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ibsen StudiesPub Date : 2020-07-02DOI: 10.1080/15021866.2020.1823626
Xiaomei Chen
{"title":"Ibsen, Power and the Self: Postsocialist Chinese Experimentations in Stage Performance and Film","authors":"Xiaomei Chen","doi":"10.1080/15021866.2020.1823626","DOIUrl":"https://doi.org/10.1080/15021866.2020.1823626","url":null,"abstract":"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","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"20 1","pages":"283 - 290"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2020.1823626","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43770550","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ibsen StudiesPub Date : 2020-07-02DOI: 10.1080/15021866.2020.1823630
Svein Henrik Nyhus, J. Bollen, Olivia Noble Gunn
{"title":"Doctoral Defense: Henrik Ibsen in the American Theatre, 1879–1914","authors":"Svein Henrik Nyhus, J. Bollen, Olivia Noble Gunn","doi":"10.1080/15021866.2020.1823630","DOIUrl":"https://doi.org/10.1080/15021866.2020.1823630","url":null,"abstract":"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","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"20 1","pages":"249 - 268"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2020.1823630","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41710792","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ibsen StudiesPub Date : 2020-07-02DOI: 10.1080/15021866.2020.1825103
Thor Holt
{"title":"Stories of “Infidelity”: Nazi Ibsen Adaptations and the Norwegian Press","authors":"Thor Holt","doi":"10.1080/15021866.2020.1825103","DOIUrl":"https://doi.org/10.1080/15021866.2020.1825103","url":null,"abstract":"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","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"20 1","pages":"186 - 219"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2020.1825103","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42268570","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ibsen StudiesPub Date : 2020-07-02DOI: 10.1080/15021866.2020.1823628
Svein Henrik Nyhus
{"title":"Ibsen in the German-American Theater","authors":"Svein Henrik Nyhus","doi":"10.1080/15021866.2020.1823628","DOIUrl":"https://doi.org/10.1080/15021866.2020.1823628","url":null,"abstract":"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","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"20 1","pages":"154 - 185"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2020.1823628","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59953902","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ibsen StudiesPub Date : 2020-07-02DOI: 10.1080/15021866.2020.1834737
Thor Holt, E. Rentschler, M. B. Rasmussen
{"title":"Doctoral Defense: Ibsen through the Camera Lens in the Third Reich","authors":"Thor Holt, E. Rentschler, M. B. Rasmussen","doi":"10.1080/15021866.2020.1834737","DOIUrl":"https://doi.org/10.1080/15021866.2020.1834737","url":null,"abstract":"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.","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"20 1","pages":"220 - 248"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2020.1834737","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46671906","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ibsen StudiesPub Date : 2020-07-02DOI: 10.1080/15021866.2020.1823627
H. Rønning
{"title":"What is a full life? Reflections on Ibsen and Literary Biography, and on Sverre Mørkhagen’s Ibsen: … “Den Mærkelige Mand”","authors":"H. Rønning","doi":"10.1080/15021866.2020.1823627","DOIUrl":"https://doi.org/10.1080/15021866.2020.1823627","url":null,"abstract":"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)","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":"20 1","pages":"269 - 282"},"PeriodicalIF":0.0,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2020.1823627","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43757471","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}