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A Doll's House de Henrik Ibsen

A Doll's House: Oberon Classics

Autor Henrik Ibsen Adaptat de Bryony Lavery
en Limba Engleză Paperback – 5 feb 2004

Remarcăm că această ediție a piesei A Doll's House se distinge de alte versiuni prin includerea traducerii clasice realizate de William Archer, cea care a facilitat pătrunderea operei lui Henrik Ibsen în spațiul anglofon și a declanșat dezbateri aprinse asupra condiției feminine. Spre deosebire de edițiile pur literare, acest volum din seria Dover Thrift Editions funcționează ca un instrument de studiu complex, oferind o perspectivă istorică asupra scandalului provocat de decizia Norei de a părăsi căminul conjugal.

Subliniem structura riguroasă a cărții, care completează textul dramatic cu o secțiune de apendice extrem de valoroasă. Cititorul va găsi aici nu doar piesa în trei acte, ci și finalul alternativ pe care Ibsen a fost forțat să îl scrie pentru premiera germană, precum și reacții timpurii de la contemporani precum August Strindberg. Această abordare critică ajută la înțelegerea modului în care „casa de păpuși” a familiei Helmer a fost percepută ca un atac direct la adresa moralității epocii. Merită menționat că volumul completează excelent titluri precum A Doll's House, Men of Honour, When We Dead Awaken din seria Oxford World's Classics, aducând în plus detalii despre geneza textului și adaptările sale timpurii.

În contextul operei sale, dacă lucrări precum Peer Gynt and Brand explorează elemente suprarealiste și versul alb, A Doll's House marchează tranziția definitivă a lui Ibsen către realismul social în proză. Este piesa care i-a consolidat statutul de „tată al realismului”, investigând minciunile din spatele fațadelor domestice, temă pe care o va rafina ulterior în Four Major Plays. Progresia narativă este una tensionată, de la aparența unei fericiri de Crăciun la dezintegrarea totală a iluziilor sub presiunea secretelor și a șantajului.

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Specificații

ISBN-13: 9781840024326
ISBN-10: 1840024321
Pagini: 122
Dimensiuni: 124 x 196 x 10 mm
Greutate: 0.14 kg
Editura: Bloomsbury Publishing
Colecția Oberon Books
Seriile Oberon Classics, Oberon Modern Plays

Locul publicării:London, United Kingdom

De ce să citești această carte

Recomandăm acest volum studenților și pasionaților de dramaturgie care doresc să analizeze nu doar textul piesei, ci și impactul său cultural. Prin includerea finalului alternativ și a cronicilor de epocă, cititorul câștigă o înțelegere profundă a modului în care Ibsen a revoluționat teatrul modern. Este un instrument esențial pentru oricine dorește să exploreze originile feminismului literar și ale realismului psihologic.

Despre autor

Henrik Johan Ibsen (1828–1906) a fost un dramaturg și regizor norvegian, considerat „tatăl realismului” și unul dintre fondatorii modernismului în teatru. După o etapă timpurie dedicată dramelor în versuri, Ibsen a revoluționat scena europeană prin piesele sale în proză care investigau moralitatea clasei de mijloc și condiția femeii. Opera sa, care include titluri fundamentale precum „Hedda Gabler” sau „Fantomele”, este a doua cea mai jucată din lume după cea a lui Shakespeare. Ibsen a rămas în istorie pentru curajul de a expune realitățile inconfortabile ascunse sub convențiile sociale ale secolului al XIX-lea.

Descriere

Nora loves her husband above everything. But when she risks her reputation in order to save him, the consequences force her to examine her devotion, and she finds herself struggling for her own life.
Henrik Ibsen's ground-breaking play created a huge sensation at its premiere in 1879 and is as fresh and pertinent as ever, with an unfading capacity to shock.

Recenzii

Bryony Lavery's faithful new adaptation is emotionally astute
Ibsen's masterwork lays out a provocation to play around inside the heads of its characters - and get inside yours
An accomplished adaptation from Bryony Levary
Lavery's subtly modern version makes light work out of explanation-laden conversations - while understanding crucially that it's what's not being said between husband and wife that counts most

Textul de pe ultima copertă

One of the best-known, most frequently performed of modern plays, "A Doll's House" richly displays the genius with which Henrik Ibsen pioneered modern, realistic prose drama. In the central character of Nora, Ibsen epitomized the human struggle against the humiliating constraints of social conformity. Nora's ultimate rejection of a smothering marriage and life in "a doll's house" shocked theatergoers of the late 1800s and opened new horizons for playwrights and their audiences.
But daring social themes are only one aspect of Ibsen's power as a dramatist. "A Doll's House" shows as well his gifts for creating realistic dialogue, a suspenseful flow of events and, above all, psychologically penetrating characterizations that make the struggles of his dramatic personages utterly convincing. Here is a deeply absorbing play as readable as it is eminently playable, reprinted from an authoritative translation.
A selection of the Common Core State Standards Initiative.

Notă biografică

Henrik Johan Ibsen was a Norwegian writer and theatre director who lived from 20 March 1828 to 23 May 1906. He is credited with helping to build modernism in theatre. His best-known works are Rosmersholm, The Master Builder, Brand, Peer Gynt, An Enemy of the People, Emperor and Galilean, Hedda Gabler, Ghosts, The Wild Duck, When We Dead Awaken, Emperor and Galilean, and A Doll's House. In Skien, Norway, Henrik Johan Ibsen was born into a wealthy merchant family. His forefathers were mostly wealthy city merchants and shipowners or members of the Upper Telemark "aristocracy of officials." Ibsen quit school when he was fifteen. Henrik Wergeland and Peter Christen Asbjrnsen and Jrgen Moe's Norwegian folktales served as inspiration for him. Under the alias "Brynjolf Bjarme," he published his first play, Catilina (1850), but it was never staged. He would only make a few trips to Norway during the following 27 years, spending most of them in Germany and Italy.After suffering many strokes, Ibsen passed away at his house at Arbins gade 1 in Kristiania (now Oslo) in March 1900. He was laid to rest at Oslo's Vr Frelsers Gravlund, often known as "The Graveyard of Our Savior." Ibsen exclaimed "On the contrary" ("Tvertimod!") as his final words before passing away.

Cuprins

Acknowledgements
Introduction
Henrik Ibsen and A Doll’s House: A Brief Chronology
A Note on the Text
A Doll’s House
A Note on Nora’s Final Exit
Appendix A: Contemporary Adaptations, Sequels, and Parodies
  • 1.From a letter from Ibsen to a Danish newspaper regarding the ending of the play (17 February 1880)
  • 2.Ibsen’s alternative ending (1880)
  • 3.From Henry Arthur Jones and Henry Herman, Breaking a Butterfly (1882)
  • 4.From August Strindberg, “A Doll’s House” (1884)
  • 5.From Walter Besant, “The Doll’s House—and After,” The English Illustrated Magazine (October 1890)
  • 6.From Ednah Dow Cheney, Nora’s Return: A Sequel to The Doll’s House (1890)
  • 7.From Israel Zangwill and Eleanor Marx-Aveling, “A Doll’s House Repaired,” Time (March 1891)
  • 8.From F. Anstey, “Nora; or, The Bird-Cage,” Mr Punch’s Pocket Ibsen (1893)
Appendix B: William Archer and A Doll’s House
  • 1.From Archer’s review of the first performance in England of A Doll’s House, Dramatic Review (4 April 1885)
  • 2.From a letter to Charles Archer (13 June 1889)
  • 3.From “Ibsen and English Criticism,” Fortnightly Review (July 1889)
  • 4.From William Archer, The Theatrical “World” for 1893 (1894)
  • 5.From The Collected Works of Henrik Ibsen (1906)
Appendix C: Bernard Shaw and A Doll’s House
  • 1.On A Doll’s House, Penny Illustrated Paper (1 June 1889)
  • 2.From Shaw’s review of A Doll’s House, Manchester Guardian (8 June 1889)
  • 3.From a letter to William Archer (11 June 1889)
  • 4.From “Still after the Doll’s House,” Time (February 1890)
  • 5.From The Quintessence of Ibsenism (1891)
  • 6.From “A Doll’s House Again,” Saturday Review (15 May 1897)
  • 7.From “The Technical Novelty in Ibsen’s Plays,” The Quintessence of Ibsenism (1913)
Appendix D: The Critics
  • 1.In London
    • a.From The Era (28 March 1885)
    • b.From The Times (8 June 1889)
    • c.From The Globe (8 June 1889)
    • d.From The Daily Telegraph (8 June 1889)
    • e.From The Pall Mall Gazette (8 June 1889)
    • f.From The Spectator (21 June 1889)
    • g.From Clement Scott, “A Doll’s House,” The Theatre (1 July 1889)
  • 2.In America
    • a.From The Courier-Journal [Louisville, Kentucky] (8 December 1883)
    • b.From The New York Times (27 September 1889)
    • c.From The Boston Globe (31 October 1889)
    • d.From The [New York] Sun (22 December 1889)
    • e.From The New York Times (22 December 1889)
    • f.From The [New York] Evening World (23 December 1889)
    • g.From The [New York] Sun (16 February 1894)
    • h.From The [New York] Evening World (7 June 1895)
  • 3.In Montreal and Sydney
    • a.From The [Montreal] Gazette (18 February 1890)
    • b.From The Sydney Morning Herald (19 July 1890)
Appendix E: Feminism
  • 1.Henrik Ibsen, “Notes for the Tragedy of Modern Times” (19 October 1878)
  • 2.From Henrietta Frances Lord, preface to her translation of A Doll’s House (1882)
  • 3.From August Strindberg, preface to Getting Married (1884)
  • 4.From Havelock Ellis, The New Spirit (1890)
  • 5.From Ellen Battelle Dietrick, “The Doll’s House—T’Other Side,” Women’s Penny Paper (15 and 22 March 1890)
  • 6.From Annie Nathan Meyer, “Ibsen’s Attitude Towards Woman,” The Critic [New York] (22 March 1890)
  • 7.From Max Nordau, Degeneration (1895)
  • 8.From Ibsen’s speech to the Norwegian Women’s Rights League (26 May 1898)
  • 9.From Louie Bennett, “Ibsen as a Pioneer of the Woman Movement,” The Westminster Review (March 1910)
Appendix F: Acting Nora
  • 1.From “Nora Helmer off for the Antipodes: An Interview with Miss Janet Achurch,” The Pall Mall Gazette (5 July 1889)
  • 2.From “Ethel Barrymore on Nora Helmer” (6 May 1905)
  • 3.Alla Nazimova, “Ibsen’s Women,” The Independent (17 October 1907)
  • 4.From Elizabeth Robins, Ibsen and the Actress (1928)
  • 5.From Liv Ullmann, Changing (1976)
Works Cited and Select Bibliography