Global Doll's House

Led by Professor Julie Holledge (Centre for Ibsen Studies, University of Oslo), this collaborative project brings together Ibsen specialists with scholars in digital humanities and theatre studies: Dr Jonathan Bollen (University of New South Wales, Australia), Director of AusStage, the Australian database for researching performance (2006-13); Professor Frode Helland, (Director of the Centre for Ibsen Studies, University of Oslo, Norway), author of Ibsen in Practice (2015); and Professor Joanne Tompkins (University of Queensland, Australia), author of Theatre’s Heterotopias (2014), and co-author with Holledge of Women’s Intercultural Performance (2001), winner of the Rob Jordan Book Prize.

• Introduction.- Part I. Cultural Transmission.- Chapter 1. Mapping the Early Noras.- Chapter 2. ‘Peddling’ Et dukkehjem.- Part II. Adaptation.- Chapter 3. Adaptation at a Distance.- Chapter 4. Ibsen’s Challenge.- Conclusion.- Bibliography.

“This book, using digital data analytics as a major methodological tool, opens an entirely new door to the Ibsen research of the future. The writing style is very concise and scientific, yet leaves space for playfulness and surprise. … The book includes not only rigorous scholarly narratives, but also visualized graphs, maps, and networks that allow us to understand patterns, structures, and models of Ibsen’s global success from a metaphorical bird’s-eye view.” (Antje Budde, Theatre Journal, Vol. 70 (2), June, 2018)“The book can be considered an invitation to discover new methodological ways to approach Humanities and a complex vision upon Ibsen’s plays. Indeed, the rich distant view proposed by A Global Doll’s House praises the global experience not only as an encounter between local cultures, but also as the full expression of both the controversial and heterogeneous aspects that make them unique.” (Gianina Druță, Metacritic Journal For Comparative Studies And Theory, Vol. 3 (2), December, 2017)“A Global Doll's House provides a welcome consideration of how the varied forces of performance venues, financial and symbolic capital, and cultural constructions of motherhood and the female body around the world have acted as external constraints on the artistic diversity of performances and adaptations. … The book thus offers an innovative and thoughtful way to approach the production history of a single play using digitized records, and it will be very useful for future scholars working on similar projects.” (Dean Krouk, Modern Drama, Vol. 60 (04), 2017)“A Global Doll’s House with its theoretical and analytical approach is an invaluable contribution to the field of Ibsen studies. While the book identifies the conventional explanations of the play’s global success, with a close examination of photographs, maps, graphs or networks, it incorporates new methods in Digital Humanities and a deeperinterrogation of digitised production records.” (Mariam Zarif, The British Society for Literature and Science, bsls.ac.uk, 2016)