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Ibsen on the German Stage 1876–1918

A Quantitative Study

Jens-Morten Hanssen

Cite this publication as

Jens-Morten Hanssen, Ibsen on the German Stage 1876–1918 (2018), Narr Francke Attempto, 72070 Tübingen, ISBN: 9783823392712

Tracked since 05/2018

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Beschreibung / Abstract

Digital humanities has opened up new avenues for Ibsen scholarship, and recent developments within the field of e-research methodologies have formed a point of departure for questioning conventional assumptions. This book explores the early reception of Ibsen on the German stage from a quantitative angle using the performance database IbsenStage as a research tool. Visualization techniques are adopted as a means to prepare data for analysis and identify the major patterns in the production history, and data interrogation methodology is used to trigger new lines of enquiry.
The study sheds new light on the greatest enigma of the early German reception of Ibsen: What caused A Dolls House, the play that eventually propelled Ibsen into global fame, to fail so blatantly on the German stage at the beginning of the 1880s, after the resounding success of Pillars of Society? Initially, Ibsen was treated as a commercial playwright. This changed in the late 1880s, when Ghosts was embraced by the avant-garde. At the same time, Ibsen was reintroduced as a commercially viable playwright, and it was only then that Ibsen began to have a lasting impact on the German stage.

Beschreibung / Abstract

Digital humanities has opened up new avenues for Ibsen scholarship, and recent developments within the field of e-research methodologies have formed a point of departure for questioning conventional assumptions. This book explores the early reception of Ibsen on the German stage from a quantitative angle using the performance database IbsenStage as a research tool. Visualization techniques are adopted as a means to prepare data for analysis and identify the major patterns in the production history, and data interrogation methodology is used to trigger new lines of enquiry.

Beschreibung

Jens-Morten Hanssen is Associate Professor at the National Library of Norway. He earned a PhD degree in Ibsen studies at the University of Oslo in 2018 with a doctoral thesis on the early reception of Ibsen on the German stage. During 20012014, he was the editor of the trilingual website Ibsen.nb.no (formerly known as Ibsen.net). In 1997, he earned a cand. philol. degree in German literature with a thesis on Dr. Faustus by Thomas Mann.
Since 2000, he has been heavily involved in building research infrastructure in Ibsen studies. His publications cover a wide range of topics related to Ibsens oeuvre.
Recent article publications: The Introduction of Bjørnson and Ibsen on the German Stage (2016), Otto Brahms Ibsen Cycle at the Lessingtheater in Berlin (2015), The Fusion of the Man and His Work: John Gabriel Borkman with Ibsens Mask (2014)

Leseprobe

Inhaltsverzeichnis

  • BEGINN
  • Table of Contents
  • Acknowledgements
  • Chapter 1: Introduction
  • 1.1 IbsenStage: the database as a research tool
  • 1.2 The quantitative approach
  • 1.3 From literary to theatre studies
  • 1.4 From textual analysis to data analysis
  • 1.5 The dataset of German events 1876–1918
  • Chapter 2: The first major success on the German stage: Pillars of Society
  • 2.1 The introduction of Ibsen on the German stage 1876–1881
  • 2.2 Pillars of Society on the German stage 1878–1880
  • 2.3 Conclusion
  • Chapter 3: The failure of A Doll’s House and the ‘silence’ of 1882–1884
  • 3.1 The network of German stage artists producing Ibsen 1876–1881
  • 3.2 A Doll’s House on the German stage 1880–1881
  • 3.3 The ‘silence’ of the years 1882 through 1884
  • 3.4 Conclusion
  • Chapter 4: Ibsen’s real breakthrough
  • 4.1 Ghosts and the independent theatre movement
  • 4.2 German Ibsen events 1885–1889: A Doll’s House and the Pillars trajectory
  • 4.3 Conclusion
  • Chapter 5: The making of a world dramatist
  • 5.1 Ibsen’s 1890s plays
  • 5.2 The network of German stage artists producing Ibsen 1885–1899
  • 5.3 A Doll’s House and the star system
  • 5.4 Ibsen and the modernist movement
  • 5.5 Ibsen and the Volksbühne movement
  • 5.6 German as source language in relay translations
  • 5.7 Conclusion
  • Chapter 6: In command of the German stage
  • 6.1 The stage success of When We Dead Awaken
  • 6.2 Ibsen’s symbolist dramas
  • 6.3 The advent of the Ibsen ensembles
  • 6.4 The Ibsen cycles
  • 6.5 The German hubs
  • 6.6 Conclusion
  • Chapter 7: Negotiations over the Ibsen legacy: Peer Gynt enters the stage
  • 7.1 Peer Gynt’s late arrival
  • 7.2 The death of a father figure
  • 7.3 The ‘other’ Ibsen: changes in the critical perception and reception of Ibsen
  • 7.4 Ibsen performances during World War I
  • 7.5 Conclusion
  • Chapter 8: Concluding remarks
  • Bibliography
  • Appendix: Archival sources
  • Physical collections
  • Digital sources I: playbills, theatre programmes, performance data
  • Digital sources II: newspapers
  • Performance data in printed form

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