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[null,"1.","Record Nr.",null,"UNINA9910143936103321"]
[null,null,"Titolo",null,"Significação : revista de cultura audiovisual"]
[null,null,"Pubbl/distr/stampa",null,"São Paulo, SP, Brasil : , : Programa de Pós-Graduação em Meios e Processos Audiovisuais, PPGMPA, Escola de Comunicações e Artes, ECA, Universidade de São Paulo, USP, , 1974-"]
[null,null,"ISSN",null,"2316-7114"]
[null,null,"Soggetti",null,"Semiotics"]
[{"$nulls":4},"Semiotics - Brazil"]
[{"$nulls":4},"Discourse analysis"]
[{"$nulls":4},"Motion pictures"]
[{"$nulls":4},"Motion pictures - Brazil"]
[{"$nulls":4},"Audio-visual materials"]
[{"$nulls":4},"Audio-visual materials - Brazil"]
[{"$nulls":4},"Periodicals."]
[{"$nulls":4},"Brazil"]
[null,null,"Lingua di pubblicazione",null,"Portoghese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Periodico"]
[null,null,null,"Note generali","\"Revista brasileira de semiótica.\""]
[{"$nulls":4},"Refereed/Peer-reviewed"]
[null,"2.","Record Nr.",null,"UNINA9910842039703321"]
[null,null,"Autore",null,"Druta Gianina"]
[null,null,"Titolo",null,"Ibsen at the Theatrical Crossroads of Europe : A Performance History of Henrik Ibsen's Plays on the Romanian Stages, 1894-1947"]
[null,null,"Pubbl/distr/stampa",null,"Bielefeld : , : transcript Verlag, , 2024"]
[{"$nulls":4},"©2024"]
[null,null,"Edizione",null,"[1st ed.]"]
[null,null,"Descrizione fisica",null,"1 online resource (325 pages)"]
[null,null,"Collana",null,"Theater Series"]
[null,null,"Disciplina",null,"839.8226"]
[null,null,"Soggetti",null,"Multiculturalism in the theater"]
[{"$nulls":4},"Romanian drama"]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,"Nota di contenuto",null,"Cover -- Contents -- Acknowledgements -- Introduction -- Part One -- 1.1 Methodological and theoretical framework -- 1.1.1 Methodological framing -- 1.1.2 Digital humanities framework. IbsenStage Database -- 1.1.3 Theatre historiography and practice of acting -- 1.1.4 From nation building to post&#x2010;colonial theory and intercrossed histories -- 1.2 What is Romania? Preliminary considerations -- 1.2.1 At the crossroads of history -- 1.2.2 Territorial fluidity -- 1.2.3 Cultural influences -- 1.3 Previous research on Henrik Ibsen's presence on the Romanian stage -- 1.4 Dataset -- 1.5 Periodization and patterns revealed by the data -- 1.5.1 Periodization -- 1.5.2 Patterns -- Part Two -- 2.1 The appropriation of foreign cultural models in the reception to Henrik Ibsen in Romania -- 2.2 The French model -- 2.2.1 French Ibsen tours in Romania -- 2.2.1.1 Andre Antoine, 1894 -- 2.2.1.2 Gabrielle Rejane, 1897 -- 2.2.1.3 Suzanne Despres and Aurelien&#x2010;Marie Lugne&#x2010;Poe, 1906-1912 -- 2.2.1.3.1 Lugne&#x2010;Poe and the Romanian&#x2010;French theatrical \"chemistry\" -- 2.2.2 Final remarks -- 2.3 The Italian model -- 2.3.1 A realist overlapping: Ermete Zacconi and Alfredo de Sanctis as Osvald -- 2.3.1.1 The Italian intertwining of acting practices -- 2.3.1.2 Ermete Zacconi and the Ibsen \"terror\" -- 2.3.1.3 Alfredo de Sanctis and his Ibsenian family -- 2.3.2 Emma Gramatica. A verismo Nora -- 2.3.3 A 1940's Love's Comedy. Corrado Pavolini -- 2.3.4 Final remarks -- 2.4 The German model -- 2.4.1 Burgtheater. 1884, The Pretenders -- 2.4.2 The Golden Age of the German Ibsen on the Romanian stage. Stars and ensembles -- 2.4.2.1 Agnes Sorma's Nora -- 2.4.2.2 The German Ibsen "]
[{"$nulls":4},"ensembles of Gustav Lindemann, Maria Rehoff and Ludwig Stärk -- 2.4.3 Ibsen performances during the German occupation of Bucharest (1916-1918) -- 2.4.4 Alexander Moissi: a \"public order disturber\" Osvald."]
[{"$nulls":4},"2.4.5 Final remarks -- 2.5 Minor reception models. Hungarian and Yiddish Ibsen performances on the Romanian map -- 2.5.1 The Transylvanian Henrik Ibsen (1879-1945) -- 2.5.1.1 Transylvania: a focal point in the Hungarian&#x2010;speaking reception of Ibsen -- 2.5.1.2 Tours and actors -- 2.5.1.2.1 Actor&#x2010;managers -- 2.5.1.2.2 Guest actors -- 2.5.1.3 Final remarks -- 2.5.2 The Yiddish tours -- 2.5.2.1 The Vilna Troupe -- 2.5.2.2 Ida Kaminska and the Warsaw Yiddish Art Theater -- 2.5.2.3 Final remarks -- 2.6 Conclusions -- Part Three -- 3.1 How much Ibsen? Ibsen's \"acclimatisation\" in the Romanian theatres' repertory -- 3.1.1 General repertory statistics -- 3.1.2 Ibsen in the repertory -- 3.1.3 Final remarks -- 3.2 What is the Romanian national theatre? -- 3.2.1 Theatre as a \"good\" of the State -- 3.2.2 Theatre and state finances -- 3.2.3 The National Theatre's management -- 3.2.3.1 Theatre administration and repertory -- 3.2.4 Legislation and repertory -- 3.2.4.1 Commercialism -- 3.2.4.2 Protectionism -- 3.2.4.3 Aesthetics -- 3.2.5 Conclusions -- Part Four -- 4.1 Romanian Ibsenites -- 4.1.1 Introduction -- 4.1.1.1 Whom? -- 4.1.1.2 The Romanian theatre before Ibsen -- 4.1.1.2.1 Why do actors dominate? -- 4.1.1.2.2 Early acting approaches before Ibsen -- 4.1.1.2.3 Actor training traditions -- 4.1.1.3 Connections: Maps, graphs and networks -- 4.1.1.3.1 Temporal frame -- 4.1.1.3.2 Spatial frame -- 4.1.1.3.3 Institutional frame -- 4.1.1.4 Final remarks -- 4.2 Section One. Production Hubs -- 4.2.1 National Theatre of Ia&#x219;i Hub: State Dragomir, Aglae Pruteanu and Napoleone Borelli -- 4.2.1.1 Introduction -- 4.2.1.2 State Dragomir: an Ibsen teacher -- 4.2.1.3 Aglae Pruteanu: Nora who never left -- 4.2.1.4 Napoleone Borelli: Ibsen in&#x2011;between Romanticism and naturalism in Ia&#x219;i -- 4.2.2 Private Companies Hub. Ion Manolescu and M&#x103;rioara Voiculescu -- 4.2.2.1 Introduction."]
[{"$nulls":4},"4.2.2.2 Ion Manolescu and the Bulandra Company -- 4.2.2.3 M&#x103;rioara Voiculescu: Peer Gynt en travesti -- 4.2.3 National Theatre of Bucharest Hub -- 4.2.3.1 Paul Gusty -- 4.2.3.1.1 Gusty, a realist director -- 4.2.3.1.2 The primacy of the actor in Gusty's approach -- 4.2.3.1.3 Which productions? -- 4.2.3.2 Mix of star approach and ensemble approach -- 4.2.3.3 Mix of drama and comedy training -- 4.2.3.4 Mix of acting genres -- 4.2.4 Conclusions Production Hubs -- 4.3 Section Two. Character sites -- 4.3.1 Introduction -- 4.3.2 The Romanian Osvald thread. Constantin I. Nottara, Aristide Demetriade and Ion Manolescu -- 4.3.2.1 Constantin I. Nottara -- 4.3.2.2 Aristide Demetriade -- 4.3.2.3 Ion Manolescu -- 4.3.3 The Mrs Alvings of the Romanian stage -- 4.3.3.1 Agatha Barsescu: A polyglot Mrs Alving -- 4.3.3.2 M&#x103;rioara Voiculescu in Ghosts -- 4.3.4 Petre Sturdza: The \"subversive\" Latin Dr. Stockmann of the Romanian stage -- 4.3.5 Conclusions Character Sites -- 4.3.6 Final remarks -- Part Five: Conclusions -- Part Six: Technical Appendix. Networks -- 6.1 Three layers -- 6.2 Ibsen network layer -- 6.3 Romanian Ibsen key contributors layer -- 6.4 National network layer -- 6.5 Final remarks -- Figures -- Bibliography -- Collections in Archives and Libraries."]
[null,null,null,"Sommario/riassunto","This book explores the performance history of Henrik Ibsen's plays on Romanian stages from 1894 to 1947, analyzing the cultural and theatrical intersections between Romania and Europe. Authored by Gianina Druță, a scholar specializing in Scandinavian literature, theatre studies, and digital humanities, the work examines the influence of "]
[{"$nulls":4},"foreign theatrical models such as French, Italian, German, Hungarian, and Yiddish traditions on Romanian productions. Utilizing the IbsenStage database, the book provides a detailed account of Ibsen's reception in Romania, including repertory statistics, production hubs, and the socio-political dynamics influencing the Romanian national theatre. The study highlights the role of cultural entanglements and global exchanges in shaping Romanian theatre history, offering insights for scholars of drama, theatre, and cultural studies."]