Western plays were introduced to Korea in the early twentieth century. Although the Japanese cultural influence was evident in the interpretations, as the plays were initially translated into Japanese and performed by Japanese theatre, those productions of Western plays gave Korean theatre lovers a new insight about different conventions and traditions of Western plays. The strong influence of Western plays, particularly Realism, was dominant in playwrighting and production. Henrik Ibsen's A Doll's House has proved to be one of the most influential foreign pieces of literature in Korea. In the cultural and social climate of Korea during the 1920's, the character Nora became a revolutionary figure who slammed shut the door to her house and marriage to go out into the world. She was worshipped and idolized by Korean readers—by both genders—who eagerly longed to leave the realm of their suffocating morality. There have been various Korean versions of Nora appearing in Korean plays and other literature, as a result of the strong impact of Nora in Korea. In the plays of the 1930's, Korean versions of Nora were given two choices: one was to slam shut the door to the male-dominant society, the other to kill herself, which is a somewhat Korean manifestation of Hedda Gabler. Although there was no record of translation of Hedda Gabler into Korean during the 1930's period, Hedda Gabler has been performed recently in Korea by various Korean theatre groups. The aim of this Korean translation of Hedda Gabler is to provide Korean readers and audiences with a faithful and competent translation as well as to promote a better understanding of Hedda Gabler. In spite of the wide cultural distance, Hedda Gabler and A Doll's House appeal to Korean readers and audiences. Neither Nora nor Hedda has the same predicament and qualification as a Korean woman, but their spiritual aspiration is similar to that of a Korean woman. There exists no private measurement to remedy their dilemma. However, Hedda's spiritual battle and the palpable consequence of her struggle still need to be told to Korean readers and audiences. In the course of the translation work, this need has been strongly sustained and the writer hopes this translation will be useful in Korea. / Arts, Faculty of / Theatre and Film, Department of / Graduate

My research identifies the existing parallels between the repressive societal structures portrayed in the play Hedda Gabler (1890) and central political issues addressed by representatives of the German and Austrian women’s movement at the turn of the 19th century. Norwegian playwright Henrik Ibsen shows how oppressive social conditions negatively affect his female characters, but he does not offer satisfactory alternatives to their suffering. I selected the theoretical writings of Helene Stöcker and Rosa Mayreder as more “radical” opinions of the first German and Austrian women’s movement because they present solutions to the repressive societal structures Ibsen addresses. Since many voices of the women’s movement describe literature as a political tool that has the power to influence society’s worldview, my research demonstrates that the political effectiveness of fictional texts like Hedda Gabler is increased once these texts are linked to theoretical feminist writings. In my literary analysis, I focus on the following categories discussed by Ibsen, Stöcker, and Mayreder: (1) The “old maid” question, (2) Devotion and sacrifice as parts of female education, (3) Unhappy marriages, (4) Unfulfilling motherhood and (5) The repressed female sexuality. My research centers on the perspective of selected feminists in the German-speaking world by emphasizing women’s voices and shifting the spotlight from the male-dominated theater at the time, thus leading to new insights and interpretations. In my analysis, I show that Hedda Gabler’s desperate cry for freedom is reflected in the reality of many middle-class German and Austrian women at the end of the 19th century and remains relevant for women’s rights debates in the present.

The following thesis is an exploration in creating TheatreUNO’s production of A Doll’s House and Hedda Gabler. The goal of directing the production of A Doll’s House and in performance of Hedda Gabler in repertory was to walk the fine line of honoring the original intentions of the playwright while simultaneously making the performances accessible to a contemporary audience. This thesis will include an in-depth look at the process of both productions, analysis, research and production materials. A Doll’s House and Hedda Gabler ran in repertory at The University of New Orleans April 12-28 2018.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-28T16:24:26Z No. of bitstreams: 1 Dissertação_Final.pdf: 17824700 bytes, checksum: 0904420438597fd9bdaae588be4d7bef (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-08-30T13:48:25Z (GMT) No. of bitstreams: 1 Dissertação_Final.pdf: 17824700 bytes, checksum: 0904420438597fd9bdaae588be4d7bef (MD5) / Made available in DSpace on 2018-08-30T13:48:25Z (GMT). No. of bitstreams: 1 Dissertação_Final.pdf: 17824700 bytes, checksum: 0904420438597fd9bdaae588be4d7bef (MD5) / Este estudo analisa o processo criativo de concepção e construção do cenário da montagem de Hedda Gabler, de Henrik Ibsen, encenada pela Companhia de Teatro da UFBA, em 1996, sob direção de Harildo Déda e cenografia de Ewald Hackler. A pesquisa foi desenvolvida a partir de um passeio histórico-teórico, com reflexões sobre a fisicalidade e percepção espacial, o espaço cenográfico, as mudanças históricas ocorridas no espaço da representação e um panorama da estética naturalista e de seus principais encenadores, tendo em vista as conexões estéticas com a montagem em foco. A base de reflexão são os sete aspectos de uma produção integrada de construção e montagem da cenografia, defendidos por Pamela Howard, além do suporte teórico de estudiosos e exegetas, a exemplo de Pavis, Ubersfeld, Berthold, Roubine e Almeida Prado. Apoiando-se nos esboços e desenhos elaborados para a montagem, a metodologia também contempla entrevistas com a equipe técnica, associadas às observações do pesquisador, que exerceu a função de assistente da cenografia. Ao final, descreve-se e analisa-se o processo cenográfico, levando-se em conta os sete aspectos postulados por Howard. O objetivo é contribuir para um melhor entendimento dos mecanismos e dos procedimentos utilizados pelos cenógrafos, a partir da análise, considerações e questionamentos sobre o complexo processo cooperativo da montagem em estudo. / This study analyses the creative process of design and construction of the Henrik Ibsen´s Hedda Gabler, produced by the Companhia de Teatro da UFBA, in 1996, directed by Harildo Déda and designed by Ewald Hackler. The research was developed from a historical, theoretical trip, reflecting the physicality and space perception, the historical changes occurred in the performance and through a panorama of naturalistic esthetics and its main designers. The reflective bases and the seven aspects defended by Pamela Howard, and the theoretical support of scholars like Pavis, Ubersfeld, Berthold, Roubine and Almeida Prado. Relying on sketches and drawings elaborated for the production, the method also contemplates interviews with the technical crew, associated to the observation of the researcher, who was assistant set design. At the end the process is described and analyzed, in account Howard’s seven aspects. The objective is to contribute for a better understanding of the mechanisms and processes used by set-designers from the analyses, considerations and questionings on the complex cooperative process of the production in view.

Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences, Elliott School of Communication

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