Chapters in this book

1. Frontmatter 1
2. Contents 5
3. Acknowledgements 9
4. Introduction 13
5. Part One
6. 1.1 Methodological and theoretical framework 15
7. 1.2 What is Romania? Preliminary considerations 24
8. 1.3 Previous research on Henrik Ibsen’s presence on the Romanian stage 32
9. 1.4 Dataset 37
10. 1.5 Periodization and patterns revealed by the data 37
11. Part Two
12. 2.1 The appropriation of foreign cultural models in the reception to Henrik Ibsen in Romania 41
13. 2.2 The French model 43
14. 2.3 The Italian model 58
15. 2.4 The German model 73
16. 2.5 Minor reception models. Hungarian and Yiddish Ibsen performances on the Romanian map 88
17. 2.6 Conclusions 102
18. Part Three
19. 3.1 How much Ibsen? Ibsen’s “acclimatisation” in the Romanian theatres’ repertory 105
20. 3.2 What is the Romanian national theatre? The National Theatres caught between laws, politics and money 108
21. Part Four
22. 4.1 Romanian Ibsenites 129
23. 4.2 Section One. Production Hubs 141
24. 4.3 Section Two. Character sites 198
25. Part Five: Conclusions 245
26. Part Six: Technical Appendix. Networks
27. Introduction 255
28. 6.1 Three layers 256
29. 6.2 Ibsen network layer 256
30. 6.3 Romanian Ibsen key contributors layer 257
31. 6.4 National network layer 258
32. 6.5 Final remarks 259
33. Figures 261
34. Bibliography 309