Subjetividade feminista em devir: a individualidade humana de Emma Goldman entre a filosofia e o teatro

O feminismo antipredicativo de Emma Goldman incita ao cotejo de seu prisma anarquista com o de uma filosofia de ontologia radical, uma transversalidade que resgata a matriz do ideário anarquista, a saber: o indivíduo. A partir do presente artigo, pretende-se realizar um diálogo entre o conceito de “individualidade humana” propugnado por Goldman e os ideários de Max Stirner e Henrik Ibsen, leituras de cabeceira da autora. A filosofia stirneriana, ao rechaçar as mediações externas, contribuiria para a valorização do “eu” enquanto bastião da revolta contra as instituições hegemônicas, ao passo que o teatro social moderno ibseniano estimularia a anarquista a entrever na arte um instrumento de consciência voltada à autonomia da mulher, a qual passaria a questionar sua objetificação e a se autogovernar enquanto ser humano. O devir, que imprimiria a marca de incongruência em relação a quaisquer modelos programáticos de insurgência, se consubstanciaria em um feminismo antipredicativo crivado pela filosofia e teatro dessubjetivadores/subjetivadores.

Evert Sprinchorn. Ibsen’s Kingdom: The Man and His Works.

Evert Sprinchorn’s Ibsen’s Kingdom: The Man and His Works successfully examines the life and works of Henrik Ibsen by illuminating the irresolvable contradictions within his personality as well as those inherent to the bourgeois age. It will appeal to scholars of Ibsen, theatre, and intellectual history.

Inserción y deserción de la dramaturgia ibseniana en Buenos Aires (c. 1890-1930)

La llegada de la dramaturgia de Henrik Ibsen a Buenos Aires ocurrió en la década de 1890, mucho antes del surgimiento de la actuación realista en Argentina. A pesar de ello, el realismo ibseniano tuvo altos niveles de circulación y productividad en la escena local decimonónica y su importación colaboró en los procesos de consolidación de esta poética dentro del campo teatral. La trayectoria propulsiva de este repertorio estuvo disociada de los intereses que suscitó la obra tardorromántica del autor dentro del campo literario y la prensa liberal finisecular. La temprana divulgación de títulos fantásticos y dramas históricos en medios de gran tirada convivió con un panorama de escasa programación en los escenarios. La constitución de un verdadero “gusto realista” en el público porteño profundizó la relegación de aquel repertorio durante el siglo XX.

Arctic Drama to Sámi Theatre – Cultural Clashes Towards Decolonisation: In Shared Dialogic Spaces

Summary This article deals with the concept of Arctic Drama, which is about how there is a relationship between drama and cultural clashes in the perspective of shared cultures in the northern Scandinavian area, which is defined as arctic in the geographical sense. In this vast area the Sámi people historically and to the present day have been living from reindeer herding in a nomadic lifestyle, giving them a close relationship to nature. Norwegians and Swedes colonised this area historically, especially the coast for fishing.There have been strong cultural clashes since the Viking ages, but colonisation mainly started later by introducing Christianity by force in the 16th century. Since the Romantic age, these ethno-cultural clashes have been reflected in drama and theatre, and some plays by Henrik Ibsen and Knut Hamsun echo these tensions. An independent theatre of the Sámi people as well as of other indigenous people in Greenland and Canada, like the Inuits, would also develop some theatrical strategies based in a dramaturgy that could be described as a “spiral dramaturgy”. Cultural independence has contributed to a decolonisation process, contributing to even out the cultural clashes in theatre and drama, which could be defined as postcolonial towards decolonisation. This article focuses on the area of arctic Scandinavia.

Investigating the Concept of Absurdity in A Doll’s House by Henrik Ibsen: A Critical Study

This study aimed at investigating the concept of absurdity in A Doll’s House by Henrik Ibsen. Henrik Ibsen’s play A Doll’s House is the primary source in the present study. The data that is applied in this paper belongs to library studies and research since the focus is on or literary works and materials. The results showed that miscommunication is one of the themes of absurdity, which was identified in the present play. There is a master-slave relationship, one of the themes of absurdism, between Nora and Helmer, which can be traced in the play. Materialism is also portrayed in the play as one of the themes of absurdism. The relationships between characters are based on profit. Telling lies, which can be a sign of absurdism, is shown in the play.

Notícia de Guillem Roca Sansaloni (1868-1894)

En el context d’una Mallorca que tot just estava iniciant el seu procés de modernització, Guillem Roca Sansaloni amb els seus articles va promoure la reforma urbana de la ciutat de Palma (descongestió de l’espai, introducció de mesures higièniques, instal·lació de monuments dedicats a personatges rellevants) i també la dignificació del teatre com a manifestació cultural. En concret, Roca fou l’autor dels primers escrits sobre Henrik Ibsen que es publicaren a la premsa mallorquina, va fer costat als autors d’orientació realista (Galdós) i va propugnar un canvi dràstic en els hàbits del públic que assistia a les funcions que es feien al Teatre Principal.

Reaching Happiness beyond Emancipation: A Study on the Human-Centric Role of Linde in A Doll’s House by Henrik Ibsen

Henrik Ibsen’s drama A Doll’s House portrays the late 19th century Norway where protagonist Nora and her eventual manifestation of Feminism are almost all the time at the centre of critical attention. But Mrs. Kristina Linde is also a character of magnanimous stature with her enthusiastic sense of belonging and heart-felt services to family and society. In this manner, the human-centric role provides Linde with satisfaction that amounts to happiness, taking her ways ahead of emancipation in a world where women’s emancipation from sufferings is still an unresolved issue. Notably, Linde’s human-centric role gains authenticity as a true means of women’s emancipation by reflecting higher knowledge which is essential for any human affair to be true and real. Thus, this paper aims at exploring how Mrs. Kristina Linde in A Doll’s House by Henrik Ibsen, being in her family and society and playing vital roles accordingly, derives happiness proving the truth that all women can be human-centric in family and society, and can have happiness going far ahead of emancipation changing the global scenario of women’s misery. The methodology of thematic analysis was followed in this research. The research may contribute in propounding human-centric family and social life as the proper means of women’s emancipation.

Rewriting Ibsen for the big screen

Henrik Ibsen is regarded as the champion of realist theatre. In the early days of cinema, there were several silent film adaptations of Ibsen’s plays. One would think, given his standing as a playwright, that there would be a continuous interest in Ibsen’s work after the conversion to sound. This article examines how the realist theatre – heralded by Ibsen – relates to classical (Hollywood) cinema and how Ibsen in various ways has been rewritten and has recently re-emerged within contemporary cinema.