A Global Doll's House. Ibsen and Distant Visions

[...]the data that is perpetually collected does not give an answer per se, but rather creates premises for interrogations what would not have been possible otherwise. [...]quantitative research can only be brought to full potential and enriched through qualitative analysis, because "no diagram can show us why an artist chooses to produce this play, or how an audience receives it; nor can it reveal the complexities and extraordinary richness of the adaptations and translations of the play" (8). Ibsen's doll, Nora, has not found her home yet and is likely to never find it, if we follow the path numerous actresses, producers, critics etc. have chosen in order to welcome Nora to their local traditions. [...]the "way" of the globalization of A Doll's House is only a twisted clue that ends in the myriads of local cultures, wishing to re-create in their own "home" the "house" of Nora, together with her story, her lines and her dance. [...]the authors discuss the transformations that have influenced the formal aspect of the play and how these changes affected its reception. [...]Part I is an entertaining reconstruction of the most important touring companies that intensively staged A Doll's House until World War One. [...]there is the legendary depiction of Nora holding a tambourine in her hand, and secondly there are several forms in which this rehearsal has been re-configured, not only to express local traditions or interdictions, but also to present new approaches. [...]the role of (sub)branches the authors analyse is to illustrate precisely this variety in the evolution of Tarantella's rehearsal over time: the branch of dolls, the branch of cuts and substitutions (with the sub-branch of cultural and religious censorship), the branch of other dancing bodies, the branch of voyeuristic pleasure (with the sub-branch of the female gaze) and the branch of transgression (with the sub-branch of altered states).