While Ibsen's plays were seldom performed in Romania in the first half of the 20th century, historical sources highlight his strong impact on the national theatre practice. To address this contradiction, Gianina Druta approaches the reception of Ibsen in the Romanian theatre in the period 1894–1947, combining Digital Humanities and theatre historiography. This investigation of the European theatre culture and the way in which the foreign acting and staging traditions influenced the Romanian Ibsenites provides new insights into mechanisms of aesthetic transmission. Thus, this study presents a European theatre landscape whose unpredictability and uniqueness cannot be confined to essentialist interpretations.
Price: $60.00
Pages: 324
Publisher: transcript publishing
Imprint: transcript publishing
Publication Date:
23 April 2024
Trim Size: 9.45 X 6.10 in
ISBN: 9783837670189
Format: Paperback
BISACs:
PERFORMING ARTS / Theater / History & Criticism, LITERARY CRITICISM / European / Eastern (see also Russian & Soviet), PERFORMING ARTS / Business Aspects
Gianina Druta, born in 1992, is an associate professor of drama and theatre at the Faculty of Education and International Studies, Oslo Metropolitan University, Norway. She took her PhD with a thesis on Ibsen's early performance history in the Romanian theatre. She graduated from the Faculty of Letters, Babes-Bolyai University Cluj-Napoca, Romania. Since 2015 she has been responsible for the Romanian dataset in the performance database IbsenStage. Her research activity focuses on Scandinavian literature, theatre studies and Digital Humanities.
Frontmatter 1
Contents 5
Acknowledgements 9
Introduction 13
1.1 Methodological and theoretical framework 15
1.2 What is Romania? Preliminary considerations 24
1.3 Previous research on Henrik Ibsen's presence on the Romanian stage 32
1.4 Dataset 37
1.5 Periodization and patterns revealed by the data 37
2.1 The appropriation of foreign cultural models in the reception to Henrik Ibsen in Romania 41
2.2 The French model 43
2.3 The Italian model 58
2.4 The German model 73
2.5 Minor reception models. Hungarian and Yiddish Ibsen performances on the Romanian map 88
2.6 Conclusions 102
3.1 How much Ibsen? Ibsen's "acclimatisation" in the Romanian theatres' repertory 105
3.2 What is the Romanian national theatre? The National Theatres caught between laws, politics and money 108
4.1 Romanian Ibsenites 129
4.2 Section One. Production Hubs 141
4.3 Section Two. Character sites 198
Part Five: Conclusions 245
Introduction 255
6.1 Three layers 256
6.2 Ibsen network layer 256
6.3 Romanian Ibsen key contributors layer 257
6.4 National network layer 258
6.5 Final remarks 259
Figures 261
Bibliography 309
