Ibsen at the Theatrical Crossroads of Europe : A Performance History of Henrik Ibsen's Plays on the Romanian Stages, 1894-1947

Ibsen at the Theatrical Crossroads of Europe A Performance History of Henrik Ibsen's Plays on the Romanian Stages, 1894-1947

Detalles Bibliográficos
Autor principal: Druta, Gianina (-)
Formato: Libro electrónico
Idioma:Inglés
Publicado: Bielefeld : transcript Verlag 2024.
Edición:1st ed
Colección:Theater Series
Ver en Biblioteca Universitat Ramon Llull:https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009805135906719
Tabla de Contenidos:
  • 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.
  • 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.
  • 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.

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