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3.
IN MEMORIAM Templeton, Joan
Ibsen news and comment,
01/2019, Volume:
39/40
Journal Article
Peer reviewed
Eric, in fact, loved popular theatre; he dedicated The Theory of the Modern Stage to the "creator of the first people's theatre in the new world," Hallie Flanagan Davis, director of the WPA's Federal ...Theatre Project. In his "Forward" to the seminal book The Playwright as Thinker (1946), Eric denounces Schubert's confusion of money with value, wittily castigating the flotsam of Broadway and asserting that the "most revolutionary tenet to be advanced in this book is this: the drama can be taken seriously." In Search of Theatre (1953), The Dramatic Event (1954), and What Is Theatre (1968)? "Has there ever been," writes Richard Gilman, "journalistic reviewing in America so supple, witty, deep and unaccommodating?" And then, because there was no anthology of modern theatrical theory, Eric created one; he went to the original sources, sought translators, and produced the indispensable The Theory of the Modern Stage (1968).
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2018 Liyang Xia's "A Myth that Glorifies: Rethinking Ibsen's Early Reception in China" (1), published in issue two of IS 2018, overturns with one blow two prevailing origin stories: 1) that the first ...performance of Ibsen in China was the Spring Willow company's single production of A Doll House in Shanghai in 1914; and 2) that this performance was the beginning both of Ibsen's enormous influence in China and the development of Chinese huaju, the drama of the spoken word. ...Xia points out, it was precisely the Chinese commercial, aesthetic and ideological rejection of Western Realist drama that made Ibsen anathema in China and kept the Spring Willow group, which very much wanted to present A Doll House, from doing so. Alisa Zhulina's "The Invisible Stage Hand; Or, Henrik Ibsen's Theatre of Capital," in TS (4), is an intriguing reading of Ibsen's dramatization of the workings of capital. Zhulina's analysis of Borkman is less convincing; the "invisible hand" that clutches Borkman's heart does not work as a metaphor for finance; the real connection to Zhulina's reading is that Borkman views his megalomania as providential; he has not only the power but the right to break the law.
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Editor's Column Templeton, Joan
Ibsen news and comment,
01/2018, Volume:
38
Journal Article
Peer reviewed
...the contrast between the realism of the U.S. production and the post-realism of the European one, including an ice rink and a tsunami-the fruit, of course, of lavish state subsidies-is startling. ...The falling price of crude oil caused substantial cuts in the National Theatre's budget and reduced the Ibsen Festival, held biennially in Oslo, from three weeks to twelve days. Runi Sveen, the National Theatre's Artistic Director, said that given this constraint, the Board decided to concentrate on non-Norwegian directors-to have "the other eye" on Ibsen.
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In one letter, the author claimed that I had not understood that Mrs. Alving, in taking the blame for her husband's dereliction, gains "heroic moral and intellectual stature"; Ibsen's point, she ...wrote, was that Mrs. Alving now sees how "society" victimized her husband "through her as a duty-ridden, joyless, bought wife." The purpose both of the de-gendering of A Doll House and attacking Nora on personal grounds was to remove Ibsen from the taint of feminism. The logic of the first argument, while never laid out, was that women's status is insufficiently universal to be a subject of art; A Doll House is art; ergo, A Doll House is not about women's status. ...if one removes the "woman question" from A Doll House and gives Nora the same rights and status as her husband, there is no play; or rather, there is, precisely, the crisis of the play, the confrontation between husband and wife.
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In the first number of the 2017 IS, Christian Janss's "When Nora Stayed: More Light on the German Ending of A Doll House" (5) corrects one of the most famous notions about Ibsen's early European ...reception: that the ending of the first German Doll House, in which Nora announces that she cannot bear to leave her children and stays home, was the result of the refusal of actress Hedwig NeimannRaabe to play Ibsen's text. ...in issue one of IS 2017 is "Reading Ibsen with Irigaray: Gendering Tragedy in Hedda Gabler" (7), by Lior Levy, who wants to show that Hedda is a victim/heroine who embodies Irigaray's antipatriarchal argument in Speculum de l 'autre femme. Since Levy devotes only a few paragraphs to Speculum before applying it to Ibsen's play, her argument is thin. Brand shocked the pants off a large part of the "general public," as did Love's Comedy, which is said to have attacked "the amatory institutions of society" when in fact the play was a jeremiad in which Ibsen, as he said, "cracked the whip as best I could over love and marriage," causing such a scandal that he was ostracized by the good citizens of Christiania. ...the "self-image" that Ibsen presented in his plays-"a liar and a story teller in Peer Gynt, an enemy of the people, an old master-builder afraid of the new generation, an artist who has forsaken his muse"-is too reductive to warrant comment.
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10.
Editor’s Column Templeton, Joan
Ibsen news and comment,
01/2018, Volume:
38
Journal Article
Peer reviewed
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