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A Global Doll's HouseMapping the Early Noras

A Global Doll's House: Mapping the Early Noras [Maps showing this first wave of globalisation of the play are the distant visions that structure this chapter; the patterns on these maps challenge conventional narratives of Ibsen’s career by revealing an early commercial history of his most popular play. Twenty-two Noras were responsible for spreading the play around the world; this chapter follows their journeys to Asia, Australasia, and the Americas, and examines the critical reception of their performances. To understand why these actresses devoted so much of their creative energy to the international dissemination of this play, the lives of eight significant world Noras are considered: Alla Nazimova, Matsui Sumako, Gabriela Zapolska, Janet Achurch, Eleonora Duse, Eleanor Marx, Lin Ping, and Olga Chekhova. This chapter uncovers a major social force behind the first global success of the play. Although discernible in multiple and sometimes contradictory ways, this force is the European women’s rights movements of the late nineteenth and early twentieth centuries.] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

A Global Doll's HouseMapping the Early Noras

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References (9)

Publisher
Palgrave Macmillan UK
Copyright
© The Editor(s) (if applicable) and The Author(s) 2016. The author(s) has/have asserted their right(s) to be identified as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988.
ISBN
978-1-137-43898-0
Pages
29 –70
DOI
10.1057/978-1-137-43899-7_2
Publisher site
See Chapter on Publisher Site

Abstract

[Maps showing this first wave of globalisation of the play are the distant visions that structure this chapter; the patterns on these maps challenge conventional narratives of Ibsen’s career by revealing an early commercial history of his most popular play. Twenty-two Noras were responsible for spreading the play around the world; this chapter follows their journeys to Asia, Australasia, and the Americas, and examines the critical reception of their performances. To understand why these actresses devoted so much of their creative energy to the international dissemination of this play, the lives of eight significant world Noras are considered: Alla Nazimova, Matsui Sumako, Gabriela Zapolska, Janet Achurch, Eleonora Duse, Eleanor Marx, Lin Ping, and Olga Chekhova. This chapter uncovers a major social force behind the first global success of the play. Although discernible in multiple and sometimes contradictory ways, this force is the European women’s rights movements of the late nineteenth and early twentieth centuries.]

Published: Sep 16, 2016

Keywords: Identity Space; Silent Film; World Theatre; Theatre Company; Public Reading

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