![]() ![]() ![]() In this environment a consensus among theatre directors and critics secured Ibsen’s centrality to modern theatre. By the last years of the nineteenth century political issues from anarchism to the Dreyfus Affair competed with the aesthetic dimension of French modernist theatre. In this crucial decade modernist theatre became more confrontational and French society became politically polarized. The critics’ intensified nationalist discourse arose during a period of economic dislocation in which the Third Republic renounced free trade and adopted protective tariffs and a policy of economic nationalism. As the decade progressed, the nationalist language became increasingly defensive often explicitly exalting French cultural productions as it disparaged plays by foreigners. 1 Theatre criticism was inflected with nationalist rhetoric in the 1890s. “They have brought us the Russians, the Flemish, the Germans, the Swedes, the Norwegians,”he wrote. ![]() “ Who will deliver us from Ibsen and Tolstoy?”bemoaned the theatre critic Léo Clare tie in 1895. ![]()
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