This book analyses the different ways in which Ibsen's plays were and are performed in different cultures on five continents and examines the impact of such performances on the theatre, social life, and politics of these cultures. It shows that performing Ibsen means performing multiple modernities.
This book analyses the different ways in which Ibsen's plays were and are performed in different cultures on five continents and examines the impact of such performances on the theatre, social life, and politics of these cultures. It shows that performing Ibsen means performing multiple modernities.
Erika Fischer-Lichte is professor of Theatre Studies at the Freie Universitaet Berlin and Chair of the Institute for Advanced Studies on "Interweaving Cultures in Performance" founded in 2008. From 1995 to 1999 she was President of the International Federation for Theatre Research and member of the Academia Europaea, the Academy of Sciences at Goettingen, and the Berlin-Brandenburg Academy of Sciences. Barbara Gronau is a lecturer at the Institute for Theatre Studies at the Freie Universitaet Berlin and a postdoctoral member of the Interdisciplinary Research Center "Performing Culture". Christel Weiler is currently Program Manager and Associate Director of the International Research Center "Interweaving Performance Cultures". Her previous publication includes "Intercultural exchange in the Theatre", and numerous articles on contemporary theatre, "Performance Analysis. An Introduction" (to be published in 2010).
Inhaltsangabe
Introduction. Erika Fischer-Lichte Part I. What Happened to the Women's Liberation Movement? - A Doll's House and Hedda Gabler on Stage 1. Ibsen on the Platteland: The First Professional Production of A Doll's House in Afrikaans Goes On Tour (1929). Temple Hauptfleisch and Hilda van Lill (South Afrika) 2. Ibsen's A Doll's House in America. Marvin Carlson (USA) 3. A Doll's House in the Antipodes. Jacqueline Martin (Australia) 4. Canajun-eh? Finding a House for Nora in Canada. Errol Durbach (Canada) 5. Women's Issues and a New Art of Acting: A Doll's House in Japan. Mitsuya Mori (Japan) 6. Against Love- Nora and Hedda on the Contemporary Scandinavian Stage. Tiina Rosenberg (Sweden)7. Deborah Warner Directs Hedda Gabler: Mercurial Pistols. Maria Shevtsova (Great Britain) Part 2. Performing Peer Gynt - Negotiating Cultural Identity 8. Peer Gynt by the Pyramids in Giza. Nehad Selaiha (Egypt) 9. Peer Gynt in Israel: A National Hero Returning from Exile?Freddie Rokem (Israel) 10. Antunes Filho's Peer Gynt - A Remarkable Production of Ibsen in Brazil. Thereza Menezes (Brazil) 11. Patrice Chéreau's Peer Gynt: A Renewed Reception of Ibsen's Theater in France. Catherine Naugrette (France) 12. Werner Egk's Peer Gynt in Berlin 1938- Opera and Politics. Clemens Risi (Germany) Part 3. Modernization of Society and the Emergence of a New Theatre 13. Ghosts and Gods: Ibsen, Tragic Actors and Modern Tragedies in Contemporary Greek Theater Practice. Platon Mavromoustakos (Greece) 14. An Enemy of the People- The Play That Anticipates the Future. Wang Ning (China) 15. An Enemy of the People as a 'Trojan Horse'- Frank Castorf Stages Ibsen in the German Democratic Republic 1988. Barbara Gronau (Germany)16. Eleonora Duse and Gordon Craig's Lost Ibsen. Laura Caretti (Italia) 17. 'A Brilliant Failure': Rosmersholm at the Moscow Art Theater (1908) and its First Studio (1918). Dmitry Trubotchkin (Russia)
Introduction. Erika Fischer-Lichte Part I. What Happened to the Women's Liberation Movement? - A Doll's House and Hedda Gabler on Stage 1. Ibsen on the Platteland: The First Professional Production of A Doll's House in Afrikaans Goes On Tour (1929). Temple Hauptfleisch and Hilda van Lill (South Afrika) 2. Ibsen's A Doll's House in America. Marvin Carlson (USA) 3. A Doll's House in the Antipodes. Jacqueline Martin (Australia) 4. Canajun-eh? Finding a House for Nora in Canada. Errol Durbach (Canada) 5. Women's Issues and a New Art of Acting: A Doll's House in Japan. Mitsuya Mori (Japan) 6. Against Love- Nora and Hedda on the Contemporary Scandinavian Stage. Tiina Rosenberg (Sweden)7. Deborah Warner Directs Hedda Gabler: Mercurial Pistols. Maria Shevtsova (Great Britain) Part 2. Performing Peer Gynt - Negotiating Cultural Identity 8. Peer Gynt by the Pyramids in Giza. Nehad Selaiha (Egypt) 9. Peer Gynt in Israel: A National Hero Returning from Exile?Freddie Rokem (Israel) 10. Antunes Filho's Peer Gynt - A Remarkable Production of Ibsen in Brazil. Thereza Menezes (Brazil) 11. Patrice Chéreau's Peer Gynt: A Renewed Reception of Ibsen's Theater in France. Catherine Naugrette (France) 12. Werner Egk's Peer Gynt in Berlin 1938- Opera and Politics. Clemens Risi (Germany) Part 3. Modernization of Society and the Emergence of a New Theatre 13. Ghosts and Gods: Ibsen, Tragic Actors and Modern Tragedies in Contemporary Greek Theater Practice. Platon Mavromoustakos (Greece) 14. An Enemy of the People- The Play That Anticipates the Future. Wang Ning (China) 15. An Enemy of the People as a 'Trojan Horse'- Frank Castorf Stages Ibsen in the German Democratic Republic 1988. Barbara Gronau (Germany)16. Eleonora Duse and Gordon Craig's Lost Ibsen. Laura Caretti (Italia) 17. 'A Brilliant Failure': Rosmersholm at the Moscow Art Theater (1908) and its First Studio (1918). Dmitry Trubotchkin (Russia)
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