Abstract
This chapter investigates three ways in which Norway has contributed to shaping the play’s production history. The first pattern maps the touring trajectories of the early Nordic Noras, who created a major interpretative tradition. The second shows the regional and global flows of Nordic artists and productions from 1914 to 1990. Unbroken artistic networks of artists link these tours back to the premiere of the play in 1879: this degree of artistic interconnection is unprecedented in the study of a single play. The third group of patterns comes from maps showing the post-1990 global distribution of the play. These touring circuits are extensive and have been developed through a series of initiatives put in place by the Norwegian government.
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Holledge, J., Bollen, J., Helland, F., Tompkins, J. (2016). ‘Peddling’ Et dukkehjem: The Role of the State. In: A Global Doll's House. Palgrave Studies in Performance and Technology. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-43899-7_3
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