Second only to Shakespeare in terms of performances, Ibsen is performed in almost every culture. Since Ibsen wrote his plays about bourgeois family life in Northern Europe, they have become part of local theatre traditions in cultures as different as that of China and Zimbabwe, India and Iran. Through the discussion of productions of Ibsen on four continents, Frode Helland explores how Ibsen is created through practice and his status as a classic is maintained.
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Frode Helland is Director of the Centre of Ibsen Studies, and professor of literature at the University of Oslo. He is in charge of the international research projects 'Ibsen between Cultures' and 'Ibsen in Use'. He has published widely on Henrik Ibsen, Scandinavian literature, and the global performance of Ibsen.
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
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Hardback. Etat : New. Illustrated. The volume reveals an astonishing richness in the theatrical approaches to Ibsen across the world: it considers political theatre, institutional 'high art', theatre for development, queer and transgender theatre, Brechtian techniques, puppetry, post-dramatic theatre, rural village performance and avant-garde touring companies. Investigating varied renegotiations of his drama, including the work of Thomas Ostermeier in Germany and other parts of the world, versions of A Doll's House from Chile and China, The Wild Duck in Iran and productions of Peer Gynt in Zimbabwe and Egypt, Frode Helland provides a deeper understanding of a cross-cultural Ibsen. The volume gives an in-depth analysis of the practice of Ibsen in relation to political, social, ideological and economic forces within and outside of the performances themselves, and demonstrates the incredible diversity of his work in local situations. N° de réf. du vendeur LU-9781408184974
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Hardcover. Etat : new. Hardcover. The volume reveals an astonishing richness in the theatrical approaches to Ibsen across the world: it considers political theatre, institutional high art, theatre for development, queer and transgender theatre, Brechtian techniques, puppetry, post-dramatic theatre, rural village performance and avant-garde touring companies. Investigating varied renegotiations of his drama, including the work of Thomas Ostermeier in Germany and other parts of the world, versions of A Dolls House from Chile and China, The Wild Duck in Iran and productions of Peer Gynt in Zimbabwe and Egypt, Frode Helland provides a deeper understanding of a cross-cultural Ibsen. The volume gives an in-depth analysis of the practice of Ibsen in relation to political, social, ideological and economic forces within and outside of the performances themselves, and demonstrates the incredible diversity of his work in local situations. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. N° de réf. du vendeur 9781408184974
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Hardcover. Etat : new. Hardcover. The volume reveals an astonishing richness in the theatrical approaches to Ibsen across the world: it considers political theatre, institutional high art, theatre for development, queer and transgender theatre, Brechtian techniques, puppetry, post-dramatic theatre, rural village performance and avant-garde touring companies. Investigating varied renegotiations of his drama, including the work of Thomas Ostermeier in Germany and other parts of the world, versions of A Dolls House from Chile and China, The Wild Duck in Iran and productions of Peer Gynt in Zimbabwe and Egypt, Frode Helland provides a deeper understanding of a cross-cultural Ibsen. The volume gives an in-depth analysis of the practice of Ibsen in relation to political, social, ideological and economic forces within and outside of the performances themselves, and demonstrates the incredible diversity of his work in local situations. This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability. N° de réf. du vendeur 9781408184974
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