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• W1569121753 abstract "This study of Ibsen in England is divided into three sections. Thefirst section chronicles Ibsen-related events between 1872, when hiswork was first introduced to a Briton, and 1888, when growing interestin the 'higher drama' culminated in a truly popular edition of three ofIbsen's plays. During these early years, knowledge about andappreciation of Ibsen's work was limited to a fairly small number ofintellectuals and critics. A matinee performance in 1880 attractedpraise, but successive productions were bowdlerized adaptations. Until1889, when the British professional premiere of A Doll's House set allof London talking, the lack of interest among actors and producersplaced the responsibility for eliciting interest in Ibsen ontranslators, lecturers, and essayists. The controversy initiated byA Doll's House was intensified in 1891, the so-called Ibsen Year, whensix productions, numerous new translations, debates, lectures,published and acted parodies, and countless articles considered thevalue and desirability of Ibsen's startling modern plays. The centralsection of this study is concerned solely with the year 1891, andconsiders in detail the forums for debate; Ibsenite and non-Ibsenitepartisans, activity, and opinion; and audience and popular reaction. Inaddition to prompting discussion about social issues, Ibsen's playsalso challenged the censorship system, the actor-mangers' cartel, andthe stock-in-trade decorous well-made play. In the 1890s, when Ibsen'sthemes and style changed, it became apparent that popular and criticaltaste had absorbed the lessons of plays like Ghosts and Hedda Gabler,and that their comparatively conventional structures and recognizablesystems of signification were greatly preferred to the symbolicpoeticism of plays like The Master Builder and When We Dead Awaken.Most of the later plays were relegated to independent producingsocieties whose technical and financial resources could not possiblyprovide suitable scenery or adequate rehearsal, while some of thegreatest actors of the day accrued kudos in the earlier polemicalplays. By the turn of the century, the Ibsenite impulse haddiminished, and his erstwhile champions either promoted a false IbsenLegend or morosely conceded defeat by a theatre where musical comedyand burlesque flourished. The final section of this study describesthe aftermath of the Ibsen Year, and activity in the years leading upto the dramatist's death. General discussion of production style,acting technique, and the modernist movement as a whole are alsoincluded in the final chapter.One objective of this research has been to identify and analyzethe whole spectrum of response, among as many types of readers,playgoers, and commentators as possible. To this end, a great varietyof Victorian periodicals have been consulted, and columns of theatricalgossip, leading articles, interviews, and letters to editors have beensought to supplement the reviews, learned essays, and feuilletons bytheatrical journalists and professional critics. Personal accounts indiaries, letters, and autobiographies have also been sought to provideindications of popular interest and opinion, and of Ibsen's place inthe avant garde and mainstream theatre." @default.
• W1569121753 created "2016-06-24" @default.
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• W1569121753 date "1984-08-01" @default.
• W1569121753 modified "2023-09-24" @default.
• W1569121753 title "Critical and popular reaction to Ibsen in England, 1872-1906" @default.
• W1569121753 hasPublicationYear "1984" @default.
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