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Acta Ibseniana

Articles and lectures related to Ibsen are published in the series of Acta Ibseniana.

Ibsen Between Cultures (Acta Ibseniana XII)

Red.: Frode Helland and Julie Holledge (2016)

On all continents, across the greatest divides, Henrik Ibsen's plays are staged every week. Ibsen's dramas exemplify the simplest and most basic form of intercultural exchange within the theatre: texts originating in one culture performed in translation in another culture. As part of the global theatre repertoire, Ibsen's plays are constantly subject to localising acts involving the interplay between the local and the global. They reveal the interweaving of different cultures in site-specific appropriations.

The articles in this collection were produced by a team of international scholars collaborating on a research project entitled "Ibsen Between Cultures"; it was funded by the Norwegian Research Council. The general aim of the project was to interrogate how we can account for the extraordinary international success of Ibsen's plays. Its specific goal was to reach new understandings of Ibsen's function as a global dramatist, and evaluate how the plays are altered, shifted, transferred and appropriated as they are localised to new cultural contexts. What happens to "Ibsen" when he becomes an Indian, Bangladeshi, or Chinese dramatist? The articles that make up this collection address this question.

 

Ibsen's Peer Gynt And the Production of Meaning (Acta Ibseniana XI)

Ellen Rees (2014)

Few texts have been put to use so actively and in so many ways in the production of identity and meaning as Henrik Ibsen's Peer Gynt (1867). This book studies the popular reception of Peer Gynt in Norway writ lage, exploring how processes of adaptation and parody contribute to the canonization of the text. With remarkable frequency Peer Gynt is activated in public discourse as a tool for understanding contemporary Norwegian society, as a touchstone for confirming cultural Identity, or even as a sort of prophetic code. The book demonstrates the breadth and depth of cultural, intellectual and aesthetic engagement with and reception of Ibsen's dramatic poem in Norway, identifying some of the assumptions and premises that underpin the construction of Norwegian identity based upon the (constantly shifting) foundation of Ibsen's Peer Gynt.

 

Biografisk leksikon til Ibsens brev - med tidstavle (Acta Ibseniana X)

Narve Fulsås (red.) (2013)

Leksikonet inneholder opplysninger om alle som Ibsen korresponderte med og alle som er omtalt i hans brev, i alt 1615 personer. Det er lagt vekt på personenes Ibsen-tilknytning. Her er opplysninger om alt de måtte ha skrevet om Ibsen, hvilke Ibsen-forestillinger de har deltatt i, personlige møter, forretningsmessige forbindelser, og så videre. Til sammen gir opplysningene et bilde av Ibsens sosiale nettverk, hans forhold til forleggere, oversettere, teatre og formidlere, hans intellektuelle horisont og hans politiske samtid. Leksikonet inneholder dessuten omtale av institusjonelle brevmottakere og en tidstavle med alle utgivelser og teaterpremierer og med de viktigste oversettelser og oppsetninger utenfor Norge.

 

Den smilende Ibsen. Henrik Ibsens forfatterskap - stykkevis og delt (Acta Ibseniana IX)

Ståle Dingstad (2013)

På sitt beste klarer Henrik Ibsen å trollbinde publikum med sorg og glede, frykt og medlidenhet, humor og latter. Ser vi på den omfattende Ibsen-forskningen, er det ikke like lett å la seg trollbinde. Men uansett er det grunn til å fremheve at det komiske ikke er fraværende, hverken hos Ibsen eller i Ibsen-forskningen. Det har bare kommet i andre rekke. Slik mye av Henrik Ibsens forfatterskap har kommet i andre rekke. Regnskapsbøkene for eksempel, brevene og komediene.

Ibsen har nok ofte figurert som den fremste representanten for det moderne gjennombrudd i Norden. Denne boken forsøker i stedet å se på forutsetningene for Ibsens dramatikk og plasserer ham som en suksessrik komedieskriver i tradisjonen fra Ludvig Holberg. Med stykker som Kjærlighetens Komedie (1862), De unges Forbund (1896), Samfundets støtter (1877) og En folkefiende (1882) gjør Ibsen stor suksess på bokmarkedet og på teaterscenene. Om vi skal oppsummere Ibsens innsats som dramatiker, kan vi godt si at den besto i å skyve interessen, kvaliteten og prestisjen fra vers til prosa, fra det historiske til det samtidige, fra det tragiske til det komiske.

 

Af stort est du kommen. Henrik Ibsen og Skien (Acta Ibseniana VIII)

Jon Nygaard (2013)

Boken er et referanseverk for alle kommende biografier om Henrik Ibsen. Den påviser en lang rekke feil og unøyaktigheter i tidligere fremstillinger av Henrik Ibsens slekt og bakgrunn i Skien. Ved å kartlegge Skiens forutsetninger og et bredere spekter av Ibsens slektshistorie enn noen før har gjort, avdekker boken at Norges største dikter gjennom tidene hadde helt enestående sosiale og kulturelle forutsetninger. Funnene i boken er originale og vil være viktige i fremtidig Ibsen-forskning. Med denne boken er fagmiljøet nødt til å stille mange og grundige spørsmål ved måten Henrik Ibsens biografi og diktning er blitt fremstilt på. Boken bør også vekke interesse blant et bredere historieinteressert publikum. Jon Nygaard er professor ved Senter for Ibsen-studier, Universitetet i Oslo. Forskningsområder er Ibsen og teater, teaterhistorie og teaterpolitikk.

 

Ibsen and the Modern Self (Acta Ibseniana VII)

Red.: Kwok-kan Tam, Terry Siu-han Yip, Frode Helland (2010)

The essays in this volume seek to place the Ibsenian self in the contexts of cultural changes amidst the rise of modernism and the experimentations with new ways of theatrical representation. Contributors to this volume are leading scholars and drama specialists from different parts of the world. Adopting critical approaches ranging from psycho-moral considerations to ideology and gender studies, they highlight some of the latest reflections on the self as manifested in Ibsen's texts.

 

Den biografiske Ibsen (Acta Ibseniana VI)

Red.: Astrid Sæther, Ståle Dingstad, Atle Kittang, Anne Marie Rekdal (2010)

Det er ikke den virkelige, historiske Ibsen boken handler om. Det er måten Ibsen er blitt fremstilt på i de mange biografiske arbeidene som finnes om ham, som artiklene i boken belyser. Alt fra biografiskriving til karikaturtegninger, i lærebøker, ved hans selvportrettering, gjennom fotografier og i TV-mediet. Hvordan er forestillinger, bilder og myter knyttet til Ibsen som person og som ikon blitt dannet? Hvordan opprettholdes disse? Det er slike spørsmål både Ibsen-forskere og biografieksperter stiller og prøver å svare på.

 

The Living Ibsen (Acta Ibseniana V)

Proceedings - The 11th International Ibsen Conference, 21-27 August 2006

Red.: Frode Helland, Kaja S. Mollerin, Jon Nygaard, Astrid Sæther (2007)

The articles in this book were originally held as papers at the XI International Ibsen Conference in Oslo, August 2006. The theme of the conference was "The Living Ibsen". This theme gave rise to a great variety of papers discussing topics and problems within Ibsen studies from a diverse range of academic disciplines.

Covering not only theatrical, textual, audible and visual aspects of  the plays, but also political, cultural and ideological aspects of the living Ibsen, in text and performance, the articles demonstrate the wide range of issues and methodologies which is characteristic of contemporary Ibsen studies around the world.

 

Ibsen Reception in Poland and the Baltic Nations (Acta Ibseniana IV)

Red.: Knut Brynhildsvoll, Lech Sokól, Benedikts Kalnacs (2006)

Acta Ibseniana IV, 2006, contains articles on various aspects of the Ibsen reception in Poland and the Baltic nations written exclusively for this anthology. The contributions aim at supplementing the existing research literature and make the output available in English. The articles deal with Ibsen's influence in the respective countries in the fields of theatre aesthetics, dramaturgy, theatre criticism, literary research, translation theory, cultural studies etc. The main intention is to shed light on Ibsen's importance as a provider of impulses in all these areas of literary and cultural transfer. 

 

Ibsen and Russian Culture (Acta Ibseniana III)

Ibsen Conference in St. Petersburg, 1 - 4 October 2003

Red.: Knut Brynhildsvoll (2005)

Acta Ibseniana III contains reworked versions of papers given at the international Ibsen Conference in St. Petersburg in October 2003. The aim of the conference was to shed light on the reception of Ibsen in Russia and the Soviet Union, with special focus on problematic issues relating to theatre aesthetics, dramaturgy, literature and general culture.

The contributions deal with problems concerning Ibsen’s role as a provider of impulses for Russian/Soviet drama, theatre and literature from the 1890s onwards via the revolutionary avant-garde and post-avantgarde theatre up to post-modern theatre options of the present time. Thus the articles contribute to supplement the available knowledge of the Ibsen drama’s influence on the aesthetic forms of expression within drama, theatre and literature in Russia and the Soviet Union, and on significant points amplify the existing research literature.

 

Ibsen, Tragedy and the Tragic (Acta Ibseniana II)

Ibsen conference in Athens, 30 November - 4 December 2002

Red.: Astrid Sæther (2003)

Acta Ibseniana II contains articles that deal with Ibsen's relationship to the dramatic genres of classical antiquity, tragedy and comedy. Can we call any of Ibsen's dramas "tragedies" in the classical sense? What is the effect of Ibsen's blending of elements from the comic and tragic genres? The "modern tragedy" – or the "liberal tragedy" – are these concepts that cover Ibsen's art?

The Centre for Ibsen Studies invited Ibsen scholars from many countries to Athens in 2002 to shed light on some of the questions that may be posed in relation to the genre concepts. The answers we received contained points of view and interpretations that are new and exciting. Not least the Greek scholars and artists contributed challenging additions to Ibsen research.

Acta Ibseniana II contains theoretical reflections on the question of genre, but far more than that: Here you will find inspiring interpretations of famous dramas (Brand, A Doll's House, Ghosts, Rosmersholm, Hedda Gabler, The Wild Duck), based on new readings or stage performances.

 

Ibsen and the Arts: Painting - Sculpture - Architecture (Acta Ibseniana I)

Ibsen conference in Rome, 24 - 27 October 2001

Red.: Astrid Sæther (2002)

The subject of Henrik Ibsen and his relationship to art, especially in Italy, has been treated by many writers, right from his first years in Rome. In this collection of articles we find completely new angles of approach to this theme: Many of the "accepted truths" about Ibsen's relationship to places, history and art are called in question. Life in Rome in the 1860s was not idyllic, his relationship to Italian unification was far from unambiguous, the painter Raphael's work – which Ibsen regarded negatively – is seen in an unexpected context. These are some of the judgements that are made in this first number of Acta Ibseniana, based on the conference on Ibsen and the Arts, Rome 2001.

The articles also provide examples of the fact that readings inspired by methods from archaeology, the history of art and the theory of architecture can help us to see an Ibsen text with new eyes. These readings cutting across discipline boundaries offer surprising "finds" in Ibsen's dramatic universe.

 

 

Published June 17, 2010 7:24 PM - Last modified Mar. 31, 2017 2:38 PM