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A Doll's House de Henrik Ibsen

A Doll's House

Autor Henrik Ibsen Editat de L. W. Conolly
en Limba Engleză Paperback – 7 dec 2023
This edition of one of the Western canon’s most iconic plays brings back into print the pivotal 1890 translation by William Archer. It was this translation that was largely responsible for the huge impact that A Doll’s House had in the English-speaking world, igniting as it did, in the words of one critic, “a firestorm of critical debate and dissent” about marriage and women’s rights. Accompanying the comprehensively annotated text of the play is a substantial introduction that combines critical analysis with biographical and historical context.
An extensive series of appendices provides extracts from contemporary adaptations of A Doll’s House; writings by William Archer and Bernard Shaw about the play; reviews of early productions in London, New York, Montreal, and Sydney; contemporary documents relating to Ibsen and feminism; and views of actresses on playing the role of Nora.
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Specificații

ISBN-13: 9781554815807
ISBN-10: 1554815800
Pagini: 312
Dimensiuni: 140 x 216 x 15 mm
Greutate: 0.4 kg
Editura: BROADVIEW PR
Colecția Broadview Press
Locul publicării:Peterborough, Canada

Recenzii

This edition of one of the Western canon’s most iconic plays brings back into print the pivotal 1890 translation by William Archer. It was this translation that was largely responsible for the huge impact that A Doll’s House had in the English-speaking world, igniting as it did, in the words of one critic, “a firestorm of critical debate and dissent” about marriage and women’s rights. Accompanying the comprehensively annotated text of the play is a substantial introduction that combines critical analysis with biographical and historical context.
An extensive series of appendices provides extracts from contemporary adaptations of A Doll’s House; writings by William Archer and Bernard Shaw about the play; reviews of early productions in London, New York, Montreal, and Sydney; contemporary documents relating to Ibsen and feminism; and views of actresses on playing the role of Nora.

“The Broadview edition of A Doll’s House shows just how useful supplemental scholarly material can be when masterfully edited by someone like Conolly. This new edition should be taken up by students across the English-speaking world as they encounter a play that had a profound impact on [Bernard] Shaw, and indeed on dramatists everywhere.” — James Armstrong, Shaw: A Journal of Bernard Shaw Studies
“With its balanced introduction and thoughtfully selected contextual materials (parodies, performance reviews, and more), Leonard Conolly’s volume is a valuable and accessible resource for first-year drama students and seasoned Ibsen scholars alike. It allows twenty-first-century readers to see with fresh clarity the controversy that Ibsen’s play sparked nearly a hundred and fifty years ago—and to recognize, perhaps, that the debate has not subsided quite yet.” — Mary Christian, Middle Georgia State University
“This excellent edition of A Doll’s House shows twenty-first-century readers exactly why Ibsen’s play galvanized their nineteenth-century counterparts—and why its impact remains apparent on our stages, in our classrooms, and in the societies of which they are a part. Conolly provides the critical analysis and historical context necessary to understand what aspects of the play and its author were, and were not, considered revolutionary in multiple national and theatrical settings. Conolly’s contributions to this volume make for lively and informative reading, and his presentation of William Archer’s translation makes the play-text clear and accessible for today’s students. The well-selected appendix materials make for useful and enjoyable reading in and of themselves—especially the adaptations, ‘sequels,’ parodies, and Ibsen’s own alternative ending. As a teacher of modern drama, I have long hoped for an edition of A Doll’s House that was as suitable for students as this one—and now, I am glad to say, I have it.” — Jennifer Buckley, University of Iowa
“This Broadview publication is a first-class single-text paperback and ebook edition of what scholarly consensus holds to be the most important single English translation of Ibsen, with a selection of contextualizing materials that leaves virtually nothing to be desired.” — Juan Christian Pellicer in Translation and Literature

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

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.