当前位置: X-MOL 学术Ibsen Studies › 论文详情
Our official English website, www.x-mol.net, welcomes your feedback! (Note: you will need to create a separate account there.)
Dead Awaken? An empirical study of Ibsen’s presence in contemporary Flemish theater
Ibsen Studies Pub Date : 2016-01-02 , DOI: 10.1080/15021866.2016.1180868
Daan Vandenhaute

In 1880 the Stadsschouwburg Amsterdam put on Pillars of Society, the first time Henrik Ibsen was staged in Dutch. Ever since Ibsen has been part of theater life in the Low Countries. As Rob van der Zalm has shown in his standard study on the reception of Ibsen in the Netherlands, the extent of this presence has fluctuated over time. After a tentative start, an introductory decade (1880–1890) was followed by a period of 40 years during which the number of productions were about 20 per decade. From 1930 until 1970 the number of productions decreased drastically, to less than then 10 per decade, but from 1970 onward the interest for Ibsen increased manifestly again. Van der Zalm notes that by the time he ends his investigation, 1995, 26 productions of Ibsen had already been staged, as many as during the entire 1980s. In a brief follow-up study published in the wake of the 2006 Ibsen anniversary van der Zalm observes that “(b) etween 1991 and 2000 the number of Ibsen productions reached the astonishing figure of forty, which means an average of four every season” (Van der Zalm 2007, 118). Van der Zalm’s data refer to the staging of Ibsen in the Netherlands. A similar rigorous investigation of the situation in Flanders, the Dutch-speaking part of Belgium, is unfortunately not available. This article aims to contribute to our understanding of the reception of Ibsen in contemporary Flanders. To this end, I develop a double perspective: on the one hand, I focus on the production side, studying how often Ibsen – and which Ibsen – has been staged in Flanders since 1985; on the other hand, I examine Ibsen’s status for contem-

中文翻译:

死亡觉醒?易卜生在当代佛兰芒戏剧中的存在的实证研究

1880 年,阿姆斯特丹的 Stadsschouwburg 穿上了《社会支柱》,这是亨利克·易卜生第一次用荷兰语上演。自从易卜生成为低地国家戏剧生活的一部分以来。正如 Rob van der Zalm 在他关于易卜生在荷兰的接受程度的标准研究中所表明的那样,这种存在的程度随着时间的推移而波动。在试探性的开始之后,介绍性的十年(1880-1890 年)之后是 40 年,在此期间,每十年的制作数量约为 20 部。从 1930 年到 1970 年,作品数量急剧下降,每十年不到 10 部,但从 1970 年开始,对易卜生的兴趣再次明显增加。范德扎尔姆指出,到 1995 年他结束调查时,易卜生的 26 部作品已经上演,与整个 1980 年代一样多。在 2006 年易卜生周年纪念之后发表的一项简短的后续研究中,范德扎尔姆观察到“(b)在 1991 年和 2000 年之间,易卜生作品的数量达到了惊人的 40 部,这意味着平均每季有 4 部” (Van der Zalm 2007, 118)。范德扎尔姆的数据是指易卜生在荷兰的分期。遗憾的是,无法对比利时荷兰语区法兰德斯的情况进行类似的严格调查。本文旨在帮助我们理解当代佛兰德斯对易卜生的接受。为此,我形成了一个双重视角:一方面,我专注于制作方面,研究易卜生自 1985 年以来在法兰德斯上演的频率以及哪些易卜生;另一方面,我审视易卜生的蔑视地位 范德扎尔姆的数据是指易卜生在荷兰的分期。遗憾的是,无法对比利时荷兰语区法兰德斯的情况进行类似的严格调查。本文旨在帮助我们理解当代佛兰德斯对易卜生的接受。为此,我形成了一个双重视角:一方面,我专注于制作方面,研究易卜生自 1985 年以来在法兰德斯上演的频率以及哪些易卜生;另一方面,我审视易卜生的蔑视地位 范德扎尔姆的数据是指易卜生在荷兰的分期。遗憾的是,无法对比利时荷兰语区法兰德斯的情况进行类似的严格调查。本文旨在帮助我们理解当代佛兰德斯对易卜生的接受。为此,我形成了一个双重视角:一方面,我专注于制作方面,研究易卜生自 1985 年以来在法兰德斯上演的频率以及哪些易卜生;另一方面,我审视易卜生的蔑视地位 我专注于制作方面,研究易卜生——以及哪些易卜生——自 1985 年以来在法兰德斯上演的频率;另一方面,我审视易卜生的蔑视地位 我专注于制作方面,研究易卜生——以及哪些易卜生——自 1985 年以来在法兰德斯上演的频率;另一方面,我审视易卜生的蔑视地位
更新日期:2016-01-02
down
wechat
bug