Acta Ibseniania

Acta Ibseniana er en serie artikler og forelesninger om Ibsen.

Acta Ibseniana XII: Ibsen Between Cultures

Ed.: Frode Helland and Julie Holledge (2016)

Abstract

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.

Table of contents for XII: Ibsen Between Cultures (2016)

  • Editors' Preface (Helland & Holledge)
  • Notes on Contributors
  • Introduction: Ibsen Between Cultures (Frode Helland)
  1. Julie Holledge: The Ibsen-Labs Experiment: Five Rehearsal Rooms in Search of The Lady from the Sea
  2. Kwok-kan Tam: A Doll's House and the Politics of Staging Women in China
  3. Sun Jian: Ibsen and Peking Women's High Normal University
  4. Chengzhou He: Cross-dressing Ibsen on the Contemporary Chinese Stage: Yue Opera Adaptations of Hedda Gabler and The Lady from the Sea
  5. Liyang Xia: Heart Higher than the Sky: Reinventing Chinese Femininity through Ibsen's Hedda Gabler
  6. Kamaluddin Nilu: Intercultural Theatre Practice: Colonial Legacy and the Physical Displacement, Negotiation and Reception of Ibsen's Plays in Bangladesh
  7. Tapati Gupta: Contemporising Ibsen in Bengal: Identity, Modernity, Culture as Represented in Bengali Adaptations of An Enemy of the People, A Doll's House, The Master Builder and When We Dead Awaken
  8. Krishna Sen: Ibsen in the Tropics: A Binglish Tradaptation of An Enemy of the People
  9. Ahmed Ahsanuzzaman: Translation as Intervention: Sambhu Mitra's Translations of the Key Scenes in Putul Khela (A Doll's House)
  10. Astrid M. Sæther: Coming Home: Peer Gynt in its Native Setting. On the Annual Peer Gynt Performance at Lake Gålå, Gudbrandsdalen
  11. Sabiha Huq: Nationalism under "det ydre forrevne Lag": Peer Gynt at Gålå
  12. Jon Nygaard: Peer Gynt Performed between Cultures

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

Ed.: Ellen Rees (2014)

Abstract

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 large, 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.

Table of contents for XI: Ibsen's Peer Gynt And the Production of Meaning (2014)

  • Acknowledgements
  • Introduction: The Norwegian Reception of Peer Gynt
  • Chapter 1: Philosophizing Peer Gynt
  • Chapter 2: (De)Constructing a "National Drama": From Peer Gynt (1867) to Peer Gynt (1876)
  • Chapter 3: Rewriting Peer Gynt
  • Chapter 4: Emplacing Peer Gynt, Peer Gynt, and Per Gynt
  • Chapter 5: Mediating Peer Gynt
  • Conclusion: Cracking the Peer Gynt Code

Acta Ibseniana X: Biografisk leksikon til Ibsens brev - med tidstavle

Ed.: Narve Fulsås (2013)

Abstract

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.

Table of contents for X: Biografisk leksikon til Ibsens brev - med tidstavle (2013)

  • Narve Fulsås: Innledning
  • Narve Fulsås: Omtalte personer og brevmottagere
  • Ståle Dingstad, Narve Fulsås og Aina Nøding: Brevmottagere: institusjoner, organisasjoner, bedrifter
  • Ståle Dingstad og Aina Nøding: Tidstavle 1828-1906

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

Ed.: Ståle Dingstad (2013)

Abstract

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.

Table of contents for IX: Den smilende Ibsen (2013)

  • Innledning
  • Mot en historisk tekstkritikk
  • Kapittel I
  • Kilder til Ibsen
  • Kapittel II
  • Aviser, teaterarbeid og Holbergs komedier
  • Kapittel III
  • Ibsens svigermor og de gode hjelperne
  • Kapittel IV
  • Ibsen og det moderne gjennombrudd
  • Kapittel V
  • Den smilende Ibsen
  • Etterord - eller ti teser istedenfor en konklusjon

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

Ed.: Jon Nygaard (2013)

Abstract

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.

Table of contents for VIII: "Af stort est du kommen". Henrik Ibsen og Skien (2013)

  • Innledning
  • Utgangspunkt
  • Teori, metode og kilder
  • Stedet
  • De naturgitte forutsetningene
  • Skien - handelsplassen mellom vannveiene i Telemark - og vannveiene utenfor
  • Reformasjonen åpnet for den industrielle "revolusjonen" i Skien
  • Embetskjøpmennene - og etableringen av den multikulturelle patrisierklassen under eneveldet
  • Aktørene
  • Henrik Ibsens slekt har i generasjoner etter generasjoner vært som en eneste stor familie
  • Kapital, koverteringsstrategier, felt og habitus
  • "Det modernes drama"
  • Patrisierklassens sammenbrudd - en hel samfunnsorden gikk i graven
  • Dobbeltblikket

Acta Ibseniana VII: Ibsen and the Modern Self

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

Abstract

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.

Table of contents for VII: Ibsen and the Modern Self (2010)

  • Foreword: Frode Helland
  • Acknowledgements: Terry Siu-han Yip and Kowk-kan Tam
  • Introduction: Kowk-kan Tam
  • Kristin Gjesdal: Self-knowledge and aesthetic consciousness in Ibsen and Hegel
  • Asbjørn Aarseth: The Gyntian self
  • Knut Brynhildsvoll: The concept of «I» in Henrik Ibsen's Peer Gynt
  • Astrid Sather: Reflections on the relationship between Ibsen's character Peer Gynt and Edvard Munch's perception of the self 
  • Ewa Partyga: Narrative identity and a question of character in Ibsen's Rosmersholm
  • Kwok-kan Tam: The dialogic self in A Doll's House and The Wild Duck
  • Terry Siu-han Yip: The emergence of androgynous women in A Doll's House and The Lady from the Sea 
  • Xie Qun: Carp, the mermaid and the female self: Ethical thinking of gender norms in The Lady from the Sea 
  • H. K. Riikonen: The notion of moderation and Ibsen's criticism of the average man
  • Mike Ingham: Staging the epic self: Theatricality, philosophy and personality in Brand and Peer Gynt 
  • Lisa L. M. Wong: Emotions and the modern self in Ibsen's poetry
  • Xie Lanlan: Danse Macabre: John Gabriel Borkman's self in eco-critical perspective
  • Liu Yan: The child's deformity and the mother's role – A study of femaleidentity in Henrik Ibsen's Little Eyolf
  • Julie Holledge: Seeing Nora in your mirror: The role of theatrical characters in the playing of self 
  • Camilla Chun-pai Hsieh: Control, surrender and self-transcendence: Notes on Shakespeare's The Tempest and Ibsen's The Master Builder
  • Jasminka Markovska: Portrayal of the modern self in When We Dead Awaken
  • Andrew Parkin: Ibsen in Dublin: A Nordic contribution to Irish modernity
  • Lin Wei-yu: Master in reflection: An analysis of Lin Zhaohua's The Master Builder
  • Jessica Tsui Yan Li: Ibsen's Nora re-presented: Female body and identities in China Doll
  • Mitsuya Mori: Self and non-self: A Japanese view on Brand and Peer Gynt

Acta Ibseniana VI: Den biografiske Ibsen

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

Abstract

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.

Table of contents VI: Den biografiske Ibsen (2010)

Part 1

  • Birgitte Possing: Om kunsten at skrive biografi om Ibsen
  • Narve Fulsås: Kva for ein Ibsen?

Part 2

  • Jon Nygaard: Ibsens selvbiografiske fragmenter
  • Ståle Dingstad: Mytene etableres
  • Jørgen Haave: Myter om Ibsens barndom
  • Jens-Morten Hanssen: Fortelleren i fire Ibsen-biografier
  • Astrid Sæther: Fire biografiske blikk på Ibsens fire prinsesser
  • Knut Brynhildsvoll: Den verkbaserte Ibsen-fortellingen
  • Anne Marie Rekdal: Ibsen-biografien i skolen

Part 3

  • Peter Larsen: Et liv i bilder
  • Erik Henning Edvardsen: Freidige streker
  • Atle Kittang: Ein diktar blir til

Acta Ibseniana V: The Living Ibsen

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

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

Abstract

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.

Table of contents V: The Living Ibsen (2007)

  • Preface
  1. Ibsen as World Literature. Sources, Translation, Comparison
  2. Ibsen and Modernity. Ideology, Power, Satire, Morality
  3. Religion, Philosophy, Psychology
  4. Women, Gender, Marriage
  5. Ibsen on Stage

Acta Ibseniana IV: Ibsen Reception in Poland and the Baltic Nations

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

Abstract

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. 

Table of contents IV: Ibsen Reception in Poland and the Baltic Nations (2006)

  • Foreword  
  • Introduction
  • Piret  Kruuspere: The Reception of Henrik Ibsens' Dramaturgy in Estonian Theatre
  • Benedikts Kalnacs: Henrik Ibsen in Baltic Culture at the End of the 19th Century and the Beginning of the 20th  
  • Maija Burima: Henrik Ibsen in the Latvian Literary Criticism of the Turn of the Century (1889-1910)  
  • Viktors Hausmanis: Ibsen's Brand and Peer Gynt in Latvian Theatre   
  • Valda Cakare: The Real World and Its Symbolic Projection in Latvian Theatre Productions of Ibsen's Plays at the Turn of the 20th and 21st Centuries  
  • Ieva Kalnina: Henrik Ibsen's Traditions in Latvian Drama  
  • Audrone Girdzijauskaite: Lithuanian Theatre in the Mirror of Ibsen   
  • Silvestras Gaiziunas: Henrik Ibsen and the Lithuanian Literature of the First Half of the 20th Century  
  • Maria Podraza-Kwiatkowska: Ibsenian "Truth" in the Literature of Young Poland (1890-1918)  
  • Maria Klanska: Symbolical or Symbolic. Ibsen's Translations into Polish: the Example of A Doll's House and Literary Criticism of his Works in Poland  
  • Maria Wosiek: Karol Adwentowicz in Ibsen's Plays  
  • Aleksandra Sawicka: Henrik Ibsen's Presence in Polish Cultural Periodicals in the Period 1875-1906  
  • Barbara Osterloff: A Poet, Ethicist, and a Moralist. Henrik Ibsen's Dramas in Polish Theatre after 1989 

Acta Ibseniana III: Ibsen and Russian Culture

Ibsen Conference in St. Petersburg, 1 - 4 October 2003
Ed.: Knut Brynhildsvoll (2005)

Abstract

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.

Table of contents III: Ibsen and Russian Culture (2003)

  • Foreword  
  • Introduction  
  • Knut Ove Arntzen, Bergen  
  • The Revolutionary Avant-Garde: What drama?  
  • Live Hov, Copenhagen ”...and the soul and body of Stockmann-Stanislavsky became one organically”. Ibsen´s role in the development of method acting   
  • Maria Deppermann, Innsbruck  
  • Modern Theatre in Russia around 1900: A Context for the Reception of Ibsen’s Drama  
  • Matthias Sträßner Count Moritz Prozor – a Russian diplomat in the service of Ibsen and Nietzsche   
  • Alla Gracheva Henrik Ibsen and Russian decadence   
  • Tatiana K. Shahk-Azizowa The Theater of Ibsen: Problems of the 21st Century  
  • Margarita Odesskaya Hedda Gabler: Life in Time  
  • Vladimir Kataev  
  • Ibsen and Chekhov: Discovery and Tragedy   
  • The Ibsen Conference in St Petersburg 2003 

Acta Ibseniana II: Ibsen, Tragedy and the Tragic

Ibsen conference in Athens, 30 November - 4 December 2002
Ed.: Astrid Sæther (2003)

Abstract

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.

Table of contents II: Ibsen, Tragedy and the Tragic (2003)

  • Foreword
  • Astrid Sæther, Introduction: Ibsen, tragedy and the tragic
  • Panos Karagiorgos, The earliest Greek appraisal of Ibsen by the poet Georgios Vizvinos
  • Astrid Sæther, Ibsen and his relationship to Greek antiquity
  • Yorgis Yatromanolakis, Aristotle on Ibsen!
  • Anne-Marie Stanton-Ife, Aristotle, Ibsen and the secularisation of tragedy
  • Helge Rønning, Ibsen and "Modern Tragedy". Raymond Williams revisited
  • Vigdis Ystad, Aesthetics or ethics? Ibsen in the European tradition of tragedy
  • Live Hov, The strong and the savage, the worried and the weak – Predecessors of Ibsen's women in Greek tragedy
  • Knut Brynhildsvoll, Ibsen's Pretenders and Schiller's Demetrius fragment. Similarities and differences regarding the concept of historic tragedy
  • Jørgen Dines Johansen, The Wild Duck: A play about language and understanding
  • Asbjørn Aarseth, Ibsen's two most tragic dramas
  • Atle Kittang, Some observations on the problem of guilt in Rosmersholm
  • Pirkko Koski, Hedda Gabler and the tragic
  • Roland Lysell, Reversal and discovery in Ibsen's When We Dead Awaken
  • Sven Åke Heed, Comedy in Ibsen's contemporary plays: Ghost
  • Iakovos Kambanellis, Ibsen – my first teacher

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

Ibsen conference in Rome, 24 - 27 October 2001
Ed.: Astrid Sæther (2002)

Abstract

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.

Table of contents I: Ibsen and the Arts (2002)

  • Foreword
  • HM king Harald V, Speech at the opening of the International Ibsen conference "Ibsen and the arts: Painting – Sculpture – Arcihtecture" at the Norwegian institute in Rome on 24 October 2001
  • Astrid Sæther, Introduction. Ibsen and the Arts: Painting – Sculpture – Architecture
  • Lucio Villari, The Roman question
  • Helge Rønning, Henrik Ibsen and Italian 19th century liberalism
  • Roberto Alonge, Italy in Ibsen's dramatic work
  • Giovanni Antonucci, The artistic rediscovery of Rome
  • Mai Britt Guleng, Lorentz Dietrichson – Ibsen's Roman Cicerone
  • Erik Østerud, In Pandora's jar: Ibsen's Master Builder in between antiquity and modernity
  • Lars Roar Langslet, Ibsen and Munch
  • Laura Caretti, Ibsen and Raphael
  • Asbjørn Aarseth, Effects of Ibsen's encounter with classical art – with particular reference to Peer Gynt
  • Karin Sanders, Things. Archaeology as perspective and metaphor in Ibsen
  • Jørgen Strender Clausen, The living dead and existentional onions
  • Franco Perelli, Some more notes about Nora's tarantella
  • Jørgen Dines Johansen, Mimetic and diegetic space in Ibsen's late plays
  • Peter Madsen, The destruction of Rome
  • Paolo Puppa, Light and shadow: Italian influences on Ibsen's dramas
  • Knut Brynhildsvoll, Invisibility in Ibsen's plays
  • Appendix I – Appendix III