The volume reveals an astonishing richness in the theatrical approaches to Ibsen across the world: it considers political theatre, institutional `high art', theatre for development, queer and transgender theatre, Brechtian techniques, puppetry, post-dramatic theatre, rural village performance and avant-garde touring companies. Investigating varied renegotiations of his drama, including the work of Thomas Ostermeier in Germany and other parts of the world, versions of A Doll's House from Chile and China, The Wild Duck in Iran and productions of Peer Gynt in Zimbabwe and Egypt, Frode Helland provides a deeper understanding of a cross-cultural Ibsen. The volume gives an in-depth analysis of the practice of Ibsen in relation to political, social, ideological and economic forces within and outside of the performances themselves, and demonstrates the incredible diversity of his work in local situations.
Frode Helland is Professor of Scandinavian Literature and Director of the Centre for Ibsen Studies at the University of Oslo, Norway.
List of Illustrations Acknowledgements About the Author Introduction 1 Against Capitalist Realism: Thomas Ostermeier Hedda Gabler In the display case Violence to the end An Enemy of the People Excursus: Between cultures (Istanbul, May 2014) The relation to capitalism 2 A Doll's House in Chile: Dictatorship and its Aftermath In silence: A Doll's House at the Catholic University (1980) Nora under the (continuing) neoliberal regime Teatro Nacional: Alfredo Castro (2006) Teatro la Memoria (2011) In pursuit of Nora Helmer (2012) The Chilean way 3 Ibsen under the Radar: Censorship and Artistic Expression Prelude: Double dolls in Hanoi Iran: A Doll's House and The Wild Duck Dariush Mehrjui's Sara The fragmented female The politics of clothing Decency and identification Tarantella The question of agency Life-lies in the theatre: My Wild Duck Ideals and critique Visual signs: The Master Builder from Beijing Concluding conjectures 4 Three Chinese Dolls Beijing Doll's House: Nora (1956) The performance Culture and/or gender: A Doll's House in the `New Era' (Beijing 1998) The changes of the `New Era' The adaptation Dancing dolls (Beijing 2010) Funding and re-funding Sino-Norwegian dance 5 Peer Gynt in Africa: Some Notes on the Dangers and Ambiguities of Interculturalism The orient in the text Peer in Africa - Zimbabwe 183 Peer Gynt on the Giza Plateau Between cultures Coda: From Dhaka to Mabou Mines Notes Bibliography Index