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Ibsen in Performance Paper, AGDH p89 thorvald;p164 nora tarantella; …
Ibsen in Performance Paper
Title: A Dollhouse Backlash _ Performance Analyses to the Latest Chinese Dollhouse
intro
justify the value of the study
xia, p1-5
夏理扬《心比天高》的研究结论是重新发明中国feminity的话，这个《玩偶之家》最新改编则表现年出对chinese feminity的混乱解读
对改编的总体介绍
第二幕“我有心爱的人，也有喜欢的人”，pad截图
宣称“忠于原作”然而只是表面上（部分台词，setting?）的忠实
改变了玩偶之家最重要的主题
亚洲其他作品的做法，引用Nilu p.113.3
method
因为研究的对象是录像不是现场
表演的符号学semiotics
three signs
body
space
narrative
女性建构
参考xia，p6
terminology
不用apatation/appriation
因为这两个术语有hierarchy倾向
易卜生，尤其是《玩偶之家》已经成为中国话剧的一部分
本文的分析建立在对这种传统的独立性的承认之上
xia, p.1;
Nilu, p.112
space
stage direction/positioning of actors
在新版DH里
娜拉跟着
强化了托伐对家庭生活的无知
引用Ibsen and the Modern Breakthrough, p.136
在原本的DH
act one, nora dominates, act three thorvald dominates
however thorval's dominance is not his conscious choice but a passive result of Nora's potential leaving
and finally Nora's leaving.... quote Playing House, p.131
'the missing heterosexual man' 【Home and Sexuality, p.30】is forced to show his presence at the household by the female
two layers of Nora's dominance and two layers of Thorvald's subordination
Nora is the powerful one in her household and she is restrained only in the household; similarly, Thorvald is striped from the business of domestics stuff and he has no chance to practice as a good caring husband
why? Social norm of femininity and mascilinity
gender construction
1 more item...
the power dynamic between the Helmers control over the domestic space shows that the role is negotiable, but this dynamics is regrettably omitted in the latest Chinese version
1 more item...
'the principle location of women's lives through history...' Playing House, p129
引用‘The home is an entanglement of powers..." Home and Sexuality, p.11
'the woman is finer and softer...' What Did Nora Do, p.150
the politics of space p.168, p.178
'freedom and control' the politics of space p.168
intro: clarify the levels of the discourse on the politics of space in this chapter
'performing arts are spatial arts' -- performance and the politics of space p.1
'theatre can serve as a social heterotopia in which unheard voices are finally heard' the politics of space p.9
in ADH, a intimate space shown in a public space
'since...' the politics of space p.3
conclusion: 'ADH is the most significant example of the complex relationship..." Playing House, 130
the domestic territory as social space
the change of their dominance over the domestic territory is actually a negotiation of domestic power
occupy position
the domestic space occupied by Nora shows exactly her occupation: housewife
representation of the other
theatre as the space of other, the politics of space p.184
a reflection of the social and political context of the performance
the essence of the use of space in the original ADH and even in this product is gender politics. However it is claimed by the producer that the play has nothing to do with it
the complexity is lost in this chineses ADH
'performance spaces do not exist prior to a performance...' the politics of space p.9;
'every performance space contains a political dimension' the politics of space p.10;
both the access of space and their actions play apart in shaping the performative space;
引用'without space, theatre cannot be made, perceived, or even conceived of' the politics of space p.265
body
sound
和男性说话低音，女性高音
reflects chinese norm of feminity
thinking gender in 19th century Norway, What Did Nora Do p.149
the ambivalence of Chinese women
acting or performing femininity
when she speaks in a low voice, her gender performance is distinct from her anatomical sex and gender identity
this distinction is allowed in the female community
在krogstad那里她不需要假装
also socialized into artificiality, What Did Nora Do, p.151
娜拉利用她的sexulised female body, 'she is not a passive victim of these exploits' Pastor Hansen, p.6
在向托伐提要求的时候，尤其是要钱的时候，用乳房贴近托伐的手臂
抽象化这种行为：用肉体换钱 utilize body and sex for financial exchange
一个类比：卖淫
马恩对婚姻和卖淫的类比
Julie类比的来源：抹大拉的玛利亚
secret lover, see Pastor Hansen, p.5.1
引用Pastor Hanse, p.5.2
有成功也有失败
并不是一种可靠的经济来源
因为需要借助男性
sexualized game playing between husband and wife
引用'it depends on a female body personifying...’ Pastor Hansen, p.3
当这种肉体和声音（圣母和妓女Pastor Hanse, p.11，中国观众喜欢哪一个）被展示在一个现代中国舞台上的时候会发生什么？
重复了仍然流行的刻板印象
这种简单的模仿反而失去了原本的意义，因为这种宗教语境是中国观众所不熟悉的 in a secular, socialist China, the audiences are not aware of the religious motif of the performance
一个悖论：试图传递出原汁原味结果却没那味了
the performance failed to answer the question: how to create a new representational paradigm for the female body
'gender is not a singular act...' What Did Nora Do, p.153
Nora's performance of gender is in fact citing powerful CHINESE..., What Did Nora Do, p.156
and her citation强化了...both on and off stage
intro
'the performance of body...' What Did Nora Do, p.154
narrative/dramaturge
删去的
马卡龙
challenging the power relation with the home
摔门
没有力量
the final scene is performative, What Did Nora Do, p.165
增加的
Rank告白
娜拉的反应：单纯不知所措宛若圣女 virtuous Nora
然而在原作里娜拉与医生在跳完舞调情（silk stocking scene/flirtatious behavior is also a form of agency），与其他更激进的改编相比，借用Julie的模型，强化了圣母的一面。见Pastor Hansen, p.12
fits the moral discipline of the ccp controlled China
however incapable of critiquing patriarchal power structure
Nora and Rank pleasure in the scene, What Did Nora Do，163
the deletion of this scene make Nora's desire disappear
第一幕那个某个快死的有钱人突然指代不明
ADH各种改编的共同结构
见A Global Dollhouse
总结: 破坏叙事连贯性
但矛盾的娜拉确实客观上表现出了中国当代女性的面临的矛盾困境
这个社会主义的中国一方面强调“妇女能顶半边天”
另一方面挥之不去的儒家传统将女性限制在家庭范围之内
conclusion
角色层面
the boundary drawn by the performance
家庭生活而不是女权主义
但分析的这些元素/符号，身体、空间、叙事和女权是紧密联系在一起的。制作组的意图并无法将表演限制在他们想要的这个界限里，
结果：Nora是一个不自洽的角色
作品层面
引用Nilu, p113,
然而这个作品牺牲了复杂性走向肤浅的三角恋
not constructed as a meaningful way
尴尬的中间境地
既不原汁原味，也体现不了中国特色
另一方面，as claimed by Nilu, p.130,
this production shows a lack of knowledge and ....
文化背景层面
显示了中国女权运动与《心比天高》不同的一个层面
Nilu, p.113,2
Nilu p.114
research question：改编了什么？改编对表演产什么什么后果？更进一步改编对chineses feminity的讨论有什么影响？
前两个问题通过close reading回答（主要部分）
改编了什么
stage direction
原作第一幕娜拉主宰其他人的座位，改编里她跟着其他人跑
narrative
分别产生了什么后果
stage direction
娜拉从开始就是个一个powerless的女人，她在最后一幕的转变变得不合理
narrative
第三个问题属于文化研究范畴（次要部分，不专做论述但要提到这个context）
thesis statement
这个改编将原作中模糊处理的地方明白表现，一方面使作品变得不合理，另一方面减弱了作品的theatericality（The Semiotics of Theatre and Drama，p29）
中国剧场对chinese feminity的讨论仍然有各种不同的声音，本剧是保守的代表。这种保守表现的背后是仍占据话语权的保守态度
AGDH p89 thorvald;p164 nora tarantella;
woman’s social status as subordinated