Titlebook: Reconsidering National Plays in Europe; Suze van der Poll,Rob van der Zalm Book 2018 The Editor(s) (if applicable) and The Author(s) 2018

歌劇等

Epilogue,requently than before, and as a cultural response to the riots in the Parisian . a strongly modernized version of . was performed in France. More or less simultaneously, in discussions apparently fuelled by debates on the nation and national identity in public political and cultural discourse, polit

指派

,,: Norway’s National Play,ry of . turned the play into a bearer of nationalistic pathos and the glorifier of Norway and the Norwegians. Subsequent re-evaluation of the dramatic text in turn enabled the play and its performances to provide critical counter narratives and help stimulate discussion of what it means to be Norwegian.

Abrupt

,Molière’s , and French National Identity: Reconfiguring the King, the People and the Church, the following centuries in the conflict and debates on the French ‘nation’. Engelberts’ quantitative analysis shows, moreover, that . can also be called the national play of France since it is by far the most performed play in the national theatre La Comédie-Fran?aise.

elucidate

Book 2018, Sweden (.Gustav Vasa.,?August Strindberg), Norway (.Peer Gynt,?.Henrik Ibsen), the Netherlands (.The Good Hope., Herman Heijermans), France (.Tartuffe., Molière), and Ireland. This collection is especially relevant at a time of socio-political flux, when national identity and the future of the nation state is being reconsidered..

儲(chǔ)備

粗糙

,Strindberg’s , and the Performance of Swedish Identity – from Celebration to Introspective Critique the sixteenth century, when Gustav Vasa played an important role in unifying the nation. T?rnqvist and Mattsson show that Vasa’s unifying qualities have long been emphasized, whereas his tyrannical and disruptive actions have been concealed. Recent more critical performances of the play have brought those less positive traits to light.

malign

鴿子

背帶

Book 2018ld be regarded as a country‘s national play, and how does it represent its national identity? The chapters provide an in-depth look at plays in eight different countries:?Germany (.Die R?uber,?.Friedrich Schiller), Switzerland (.Wilhelm Tell., Friedrich Schiller), Hungary (.Bánk Bán., József Katona)

矛盾