UID:
almahu_9949747865702882
Format:
1 online resource (325 pages)
Edition:
1st ed.
ISBN:
9783839470183
Series Statement:
Theater Series
Note:
Cover -- Contents -- Acknowledgements -- Introduction -- Part One -- 1.1 Methodological and theoretical framework -- 1.1.1 Methodological framing -- 1.1.2 Digital humanities framework. IbsenStage Database -- 1.1.3 Theatre historiography and practice of acting -- 1.1.4 From nation building to post‐colonial theory and intercrossed histories -- 1.2 What is Romania? Preliminary considerations -- 1.2.1 At the crossroads of history -- 1.2.2 Territorial fluidity -- 1.2.3 Cultural influences -- 1.3 Previous research on Henrik Ibsen's presence on the Romanian stage -- 1.4 Dataset -- 1.5 Periodization and patterns revealed by the data -- 1.5.1 Periodization -- 1.5.2 Patterns -- Part Two -- 2.1 The appropriation of foreign cultural models in the reception to Henrik Ibsen in Romania -- 2.2 The French model -- 2.2.1 French Ibsen tours in Romania -- 2.2.1.1 Andre Antoine, 1894 -- 2.2.1.2 Gabrielle Rejane, 1897 -- 2.2.1.3 Suzanne Despres and Aurelien‐Marie Lugne‐Poe, 1906-1912 -- 2.2.1.3.1 Lugne‐Poe and the Romanian‐French theatrical "chemistry" -- 2.2.2 Final remarks -- 2.3 The Italian model -- 2.3.1 A realist overlapping: Ermete Zacconi and Alfredo de Sanctis as Osvald -- 2.3.1.1 The Italian intertwining of acting practices -- 2.3.1.2 Ermete Zacconi and the Ibsen "terror" -- 2.3.1.3 Alfredo de Sanctis and his Ibsenian family -- 2.3.2 Emma Gramatica. A verismo Nora -- 2.3.3 A 1940's Love's Comedy. Corrado Pavolini -- 2.3.4 Final remarks -- 2.4 The German model -- 2.4.1 Burgtheater. 1884, The Pretenders -- 2.4.2 The Golden Age of the German Ibsen on the Romanian stage. Stars and ensembles -- 2.4.2.1 Agnes Sorma's Nora -- 2.4.2.2 The German Ibsen ensembles of Gustav Lindemann, Maria Rehoff and Ludwig Stärk -- 2.4.3 Ibsen performances during the German occupation of Bucharest (1916-1918) -- 2.4.4 Alexander Moissi: a "public order disturber" Osvald.
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2.4.5 Final remarks -- 2.5 Minor reception models. Hungarian and Yiddish Ibsen performances on the Romanian map -- 2.5.1 The Transylvanian Henrik Ibsen (1879-1945) -- 2.5.1.1 Transylvania: a focal point in the Hungarian‐speaking reception of Ibsen -- 2.5.1.2 Tours and actors -- 2.5.1.2.1 Actor‐managers -- 2.5.1.2.2 Guest actors -- 2.5.1.3 Final remarks -- 2.5.2 The Yiddish tours -- 2.5.2.1 The Vilna Troupe -- 2.5.2.2 Ida Kaminska and the Warsaw Yiddish Art Theater -- 2.5.2.3 Final remarks -- 2.6 Conclusions -- Part Three -- 3.1 How much Ibsen? Ibsen's "acclimatisation" in the Romanian theatres' repertory -- 3.1.1 General repertory statistics -- 3.1.2 Ibsen in the repertory -- 3.1.3 Final remarks -- 3.2 What is the Romanian national theatre? -- 3.2.1 Theatre as a "good" of the State -- 3.2.2 Theatre and state finances -- 3.2.3 The National Theatre's management -- 3.2.3.1 Theatre administration and repertory -- 3.2.4 Legislation and repertory -- 3.2.4.1 Commercialism -- 3.2.4.2 Protectionism -- 3.2.4.3 Aesthetics -- 3.2.5 Conclusions -- Part Four -- 4.1 Romanian Ibsenites -- 4.1.1 Introduction -- 4.1.1.1 Whom? -- 4.1.1.2 The Romanian theatre before Ibsen -- 4.1.1.2.1 Why do actors dominate? -- 4.1.1.2.2 Early acting approaches before Ibsen -- 4.1.1.2.3 Actor training traditions -- 4.1.1.3 Connections: Maps, graphs and networks -- 4.1.1.3.1 Temporal frame -- 4.1.1.3.2 Spatial frame -- 4.1.1.3.3 Institutional frame -- 4.1.1.4 Final remarks -- 4.2 Section One. Production Hubs -- 4.2.1 National Theatre of Iași Hub: State Dragomir, Aglae Pruteanu and Napoleone Borelli -- 4.2.1.1 Introduction -- 4.2.1.2 State Dragomir: an Ibsen teacher -- 4.2.1.3 Aglae Pruteanu: Nora who never left -- 4.2.1.4 Napoleone Borelli: Ibsen in‑between Romanticism and naturalism in Iași -- 4.2.2 Private Companies Hub. Ion Manolescu and Mărioara Voiculescu -- 4.2.2.1 Introduction.
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4.2.2.2 Ion Manolescu and the Bulandra Company -- 4.2.2.3 Mărioara Voiculescu: Peer Gynt en travesti -- 4.2.3 National Theatre of Bucharest Hub -- 4.2.3.1 Paul Gusty -- 4.2.3.1.1 Gusty, a realist director -- 4.2.3.1.2 The primacy of the actor in Gusty's approach -- 4.2.3.1.3 Which productions? -- 4.2.3.2 Mix of star approach and ensemble approach -- 4.2.3.3 Mix of drama and comedy training -- 4.2.3.4 Mix of acting genres -- 4.2.4 Conclusions Production Hubs -- 4.3 Section Two. Character sites -- 4.3.1 Introduction -- 4.3.2 The Romanian Osvald thread. Constantin I. Nottara, Aristide Demetriade and Ion Manolescu -- 4.3.2.1 Constantin I. Nottara -- 4.3.2.2 Aristide Demetriade -- 4.3.2.3 Ion Manolescu -- 4.3.3 The Mrs Alvings of the Romanian stage -- 4.3.3.1 Agatha Barsescu: A polyglot Mrs Alving -- 4.3.3.2 Mărioara Voiculescu in Ghosts -- 4.3.4 Petre Sturdza: The "subversive" Latin Dr. Stockmann of the Romanian stage -- 4.3.5 Conclusions Character Sites -- 4.3.6 Final remarks -- Part Five: Conclusions -- Part Six: Technical Appendix. Networks -- 6.1 Three layers -- 6.2 Ibsen network layer -- 6.3 Romanian Ibsen key contributors layer -- 6.4 National network layer -- 6.5 Final remarks -- Figures -- Bibliography -- Collections in Archives and Libraries.
Additional Edition:
Print version: Druta, Gianina Ibsen at the Theatrical Crossroads of Europe Bielefeld : transcript Verlag,c2024 ISBN 9783837670189
Language:
English
Keywords:
Electronic books.
