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Laughter and Civility: the Theater of Emma Gad by Lynn R. Wilkinson (review)
Comparative Drama Pub Date : 2022-02-17
Ulla Kallenbach

In lieu of an abstract, here is a brief excerpt of the content:

Reviewed by:

  • Laughter and Civility: the Theater of Emma Gad by Lynn R. Wilkinson
  • Ulla Kallenbach (bio)
Lynn R. Wilkinson. Laughter and Civility: the Theater of Emma Gad. Madison: University of Wisconsin Press, 2020. Pp. 328 + 8 b/w illus. $79.95 cloth.

This book is unusual in that it concerns a Danish female playwright, Emma Gad (1852-1921). The name Emma Gad is well known in Denmark—probably one of the most known historical female figures—but her career and significance as a playwright is, to the general public, utterly unknown. Rather, Emma Gad's claim to fame is the book Takt og tone: Om Omgang med Mennesker (Tact and tone: How we act in society, 1918), which to this day remains the quintessential Danish book on good manners, and which unfortunately has given her a legacy as a somewhat prudish and uptight woman. This is unfortunate since she evidently was not. Besides her career as a playwright and author of etiquette books, she was also the first female journalist on a permanent contract in the Danish press, and she co-founded (and later headed) the Association of Danish playwrights.

Unearthing Gad's contribution to the modern breakthrough in drama and presenting her as "the most successful woman playwright in Scandinavia between 1886 and 1916" (5) is thus an important scholarly contribution to the history of Scandinavian drama and more broadly of its female playwrights, sparsely explored in Scandinavian language books such as Margareta Wirmark's Noras Systrar: Nordisk Dramatik Och Teater 1879-99 (Noras Sisters, Nordic Drama and Theatre, 2000) or Birgitta Johansson Lindh's Som en vildfågel i en bur: Identitet, kärlek, frihet och melodramatiska inslag i Alfhild Agrells, Anne Charlotte Lefflers och Victoria Benedictssons 1880-talsdramatik (Like a Wild Bird in a Cage: Identity, Love, Freedom and Melodramatic Elements in Alfhild Agrell's, Anne Charlotte Leffler's and Victoria Benedictsson's 1880s Drama, 2019). Gad is nowhere to be found in Frederick J. and Lise-Lone Marker's A History of Scandinavian Theatre (1996), and she hardly figures in Danish language theatre histories such as Kvam, Risum & Wiingaard's Dansk teaterhistorie (Danish Theatre History, 1992). In Danish literary histories and biographies, her work as a playwright has been largely overlooked, and, according to Wilkinson, disregarded (9).

Wilkinson's point of departure is that Gad's modernist vein—which she sees as pointing forward to the works of Freud, Brecht, and Strindberg's chamber plays—was and remains unrecognized. The theories of Mikhail Bakhtin serve as a framework for understanding Gad's plays (22-23) in her interest in hierarchical structures, the body, with Wilkinson asking "to what extent do Gad's plays exhibit what Bakhtin has called heteroglossia, or a multitude of voices?" (23).

Framed by an introduction and conclusion, the book progresses chronologically, decade by decade, through Gad's career as from the 1880s to the 1910s. Chapter 1, "Etiquette High and Low: The Faces of Emma Gad" presents Gad's authorship of etiquette books which frames her career as a playwright, [End Page 544] while chapters 2-6 offer in-depth analyses of Gad's oeuvre as a playwright. The book also includes a full translation of Gad's third play Genklang, which was never published—perhaps due to negative reviews (including one by friend Edvard Brandes).

Gad's career as a playwright impressively spans thirty years, from 1886-1916. Her oeuvre consists of short and full-length plays, mainly comedies, but also comprise more serious drama, farce, a scenario for a ballet, and a musical drama. Her early plays take their point of departure in the so-called Sædelighedsfejde (morality debate) of 1883-1887; a fierce public discussion across the Nordic countries about gender and hypocritical sexual morals for men and women, spurred by Bjørnstjerne Bjørnson's (1832-1910) 1883 publication of the play En Hanske (A Gauntlet). Responding to Georg Brandes' call in his in the opening lecture in his famous series Main Currents in the Literature of the 19th Century (Hovedstrømninger i det 19de Aarhundredes Litteratur, 1871, published 1872) for writers to put problems under debate (63f.), Gad's plays explore themes such as unhappiness...



中文翻译:

笑声与文明:林恩·R·威尔金森 (Lynn R. Wilkinson) 的艾玛·加德剧院 (评论)

代替摘要,这里是内容的简短摘录:

审核人:

  • 笑声与文明:林恩·R·威尔金森 (Lynn R. Wilkinson ) 的艾玛·加德剧院
  • 乌拉·卡伦巴赫(简历)
林恩·R·威尔金森。笑声和文明:艾玛加德剧院。麦迪逊:威斯康星大学出版社,2020。Pp。328 + 8 黑白插图。79.95 美元的布。

这本书的不同寻常之处在于它涉及一位丹麦女剧作家艾玛·加德(Emma Gad,1852-1921 年)。艾玛·加德这个名字在丹麦广为人知——可能是历史最著名的女性人物之一——但她作为剧作家的职业和意义对于公众来说是完全未知的。相反,Emma Gad 声名鹊起的是这本书Takt og tone: Om Omgang med Mennesker(机智和语气:我们如何在社会中行动,1918 年),直到今天仍然是典型的丹麦关于礼貌的书,不幸的是,这本书给了她作为一个有点拘谨和拘谨的女人的遗产。这是不幸的,因为她显然不是。除了作为剧作家和礼仪书籍作者的职业生涯外,她还是丹麦媒体中第一位长期合同的女记者,她共同创立了(后来领导)了丹麦剧作家协会。

发掘 Gad 对现代戏剧突破的贡献,并将她描述为“1886 年至 1916 年间斯堪的纳维亚半岛最成功的女剧作家”(5),因此是对斯堪的纳维亚戏剧史以及更广泛的女性剧作家的重要学术贡献。在诸如 Margareta Wirmark 的Noras Systrar:Nordisk Dramatik Och Teater 1879-99(Noras Sisters,北欧戏剧和剧院,2000 年)或 Birgitta Johansson Lindh 的Som en vildfågel i en bur:Identitet, kärlek, frihet och melodramatiska inslag i等斯堪的纳维亚语言书籍中进行了探索Alfhild Agrells, Anne Charlotte Lefflers och Victoria Benedictssons 1880-talsdramatik(就像笼中的野鸟:Alfhild Agrell、Anne Charlotte Leffler 和 Victoria Benedictsson 的 1880 年代戏剧中的身份、爱、自由和情节剧元素,2019 年)。在 Frederick J. 和 Lise-Lone Marker 的《斯堪的纳维亚戏剧史》 (1996 年)中找不到 Gad ,她几乎没有出现在丹麦语戏剧史中,例如 Kvam、Risum 和 Wiingaard 的《丹麦戏剧史》(丹麦戏剧史,1992 年)。在丹麦文学史和传记中,她作为剧作家的工作在很大程度上被忽视了,而且,根据威尔金森的说法,被忽视了 (9)。

威尔金森的出发点是,盖德的现代主义脉络——她认为这指向弗洛伊德、布莱希特和斯特林堡的室内剧作品——过去并且仍然没有得到认可。米哈伊尔·巴赫金的理论作为理解盖德戏剧(22-23)的框架,因为她对等级结构、身体感兴趣,威尔金森问“盖德的戏剧在多大程度上展示了巴赫金所说的异语,或多种声音?” (23)。

这本书以引言和结论为框架,按时间顺序逐年推进,贯穿盖德从 1880 年代到 1910 年代的职业生涯。第 1 章,“礼仪高低:艾玛·加德的面孔”介绍了 Gad 的礼仪书籍的作者身份,这些书籍构成了她作为剧作家的职业生涯,[完第 544 页],而第 2-6 章则深入分析了 Gad 作为剧作家的全部作品. 这本书还包括盖德的第三部戏剧Genklang的完整翻译,该作品从未出版——可能是由于负面评论(包括朋友 Edvard Brandes 的评论)。

从 1886 年到 1916 年,盖德的剧作家生涯令人印象深刻地跨越了 30 年。她的作品包括短剧和长剧,主要是喜剧,但也包括更严肃的戏剧、闹剧、芭蕾舞剧和音乐剧。她的早期戏剧以 1883-1887 年所谓的Sædelighedsfejde(道德辩论)为出发点;在 Bjørnstjerne Bjørnson (1832-1910) 1883 年出版的戏剧En Hanske (A Gauntlet)的推动下,北欧国家就男女的性别和虚伪的性道德展开了激烈的公开讨论。响应乔治·布兰德斯 (Georg Brandes) 在其著名系列19 世纪文学主流的开场演讲中的号召(Hovedstrømninger i det 19de Aarhundredes Litteratur,1871 年,1872 年出版)为了让作家将问题置于辩论之下(第 63 层),盖德的戏剧探索了诸如不快乐之类的主题……

更新日期:2022-02-18
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