Theatre Analysis of Henrik Ibsens 'a Dolls House'

THE TEXT TRIES TO ANALYSE THE DIFFERENT ASPECTS TO TAKE TO MIND WHILE ATTEMPTING TO UNERTAKE THE STAGING OF IBSEN’S ‘A DOLLS HOUSE’.

THEATRE ARTS
END TERM ASSESMENT ESSAY

[ (Swomley) ]

2013
THEATRE ARTS: STAGING HENRIK IBSEN’S ‘A DOLLS HOUSE’

A BACKGROUND ON IBSEN
Often considered a theatrical genius, Henrik Ibsen based his plays on simplistic foundations of common social occurrences and on them set up constructed elaborate plays with intelligent twists and outcomes. It is possible to assume that he based these stories on some his past experiences. Most of them try to question social assumptions such as gender inequality as portrayed in ’A Doll’s House’ and the assumption that the majority is always right as he attempted to tackle in ‘An Enemy Of The People’.
He came from a formerly established family that was disgraced and succumbed to poverty. His mother was an artist and is assumed to have encouraged his desire to be a play right. Having endured the shame of dropping out of school due to poverty, it isn’t shocking to find that some of his plays are somewhat centered around this concept of social classing and the demerits of having incapable minds in power.
The twist in this play as in all of Ibsen’s works is the aspect of marriage. The Helmer’s are an unusual couple, and it is this difference in character that suits their compatibility and leads to their eventual downfall. Nora is timid and playful, a wild card of sorts who doesn’t shy away from indulging her desires, and seeming to lose any sleep over the consequences.
Torvald is a cyborg, a robot who accepts things as they are without much question or doubt. He repeats phrases he thinks bear certain significance often saying “A home that depends on loans and debt is not beautiful because it is not free.” (Spark Notes Editors, 2002). He seems to overestimate himself drastically, and would seem his promotion to bank manager goes to his head. He feels Norah needs him and even envisions himself her savior, telling her, “Do you know that I’ve often wished you were facing some terrible dangers so that I could risk life and limb, risk everything, for your sake?” (Spark Notes Editors, 2002)
A DOLLS HOUSE: THE HELMERS (TORVALD & NORA)
Despite the fact that Ibsen tried seemed to condemn social segregation, he was not without a sense of bias. Nora, the protagonist in ‘A Doll’s House’ is seen as childish and immature. Her husband Torvald Helmer calls her ‘child’ and other uncanny pet names. He sees himself more of her guardian rather than her husband. However it seems that his outer façade of maturity and macho bravado isn’t bought by everyone. This fact is further demonstrated by www.sparknotes.com which quotes, “Although Torvald seizes the power in his relationship with Nora, it seems that Torvald is actually the weaker and more childlike character. Dr. Rank’s explanation for not wanting Torvald to enter his sickroom—”Torvald is so fastidious, he cannot face up to anything ugly”—suggests that Dr. Rank feels Torvald must be sheltered like a child from the realities of the world. Furthermore, Torvald reveals himself to be childishly petty at times. His real objection to working with Krogstad stems not from -deficiencies in Krogstad’s moral character but, rather, Krogstad’s overly friendly and familiar behavior. Torvald’s decision to fire Krogstad stems ultimately from the fact that he feels threatened and offended by Krogstad’s failure to pay him the proper respect.” (Spark Notes Editors, 2002)
The stark contrast between this couples natures is almost unparalleled. Nora is somewhat of a chameleon, appearing childish in the first scene, desperate in the second and startlingly realistic in the third. She seems to almost effortlessly be able to outwit Krogstad and keep up with his demands for as long as need be.
The mere fact that she has the guts to take the lone from Krogstad and keep it from her husband, masking the payments in unnecessary festivity expenditures as well as topping up with cash from odd jobs she does secretly is if anything impressive.
TORVALD HELMER
Torvald it seems has been depicted as a one dimensional character, not known to stray from his way of thinking. However, depicting this character shouldn’t necessarily be seen as any easier. The character was set in the 19th century and a couple of characteristics are varying between men in that era and now.
Back then, men were smarter than women, and Caucasians were smarter than Negroes. So to say that Torvald might have been fully deserving of his title might not be completely true. There could have been a woman far more deserving of the post.
The relevance of this statement is to try and bring to light Torvald’s smug nature. He assumes he is better than other people. That’s why he doesn’t borrow money, foolishly risking his own life and his family’s world just to see this through. It’s also why he doesn’t wish to keep Krogstad under his employment, even after his wife begs him to, sighting that he would make weak to his contemporaries, running the bank on his wife’s whims.
Torvald would have been a sissy in the modern world. Back then he was cushioned by his name and brilliance. His character is wanting in depth and it is this superficial nature that the audience should see. He doesn’t love Nora per say, he sort of feeds his ego off her. He might adore her and maybe that’s why he married her but he only stays with her because she makes him feel needed. He’s not an extravagant man and being a lawyer only means he’s prone to overanalyze situations trying to logically convince him of what he needs and doesn’t need. Nora’s spending habits seems to offer an indulgence of sorts whereby her profligate nature is what he feeds off. Otherwise he’d be a lonely man with a healthy bank account.
Portraying the character requires discipline. His walk is similar all through, with his steps calm and calculated. His words are well chosen, and his voice is always within a certain reasonable range. He would find ways of proving himself a man like keeping a beard and having a cane. The character would be nothing special: tall but not towering, masculine but not buff. His hair would be a bit long but well kempt and never would anyone see him out of his suits. He only loses his cool at the end when he begs Nora to stay. Under all this though, he is a bit of an adventurer, or why else would he wed Nora seeing as he probably knew of her fun-loving self at the time of their betrothal.
NORA HELMER
Nora could quite certainly be one of the most complex characters is theatre. She’s as manipulative as a person could be and ingeniously masks it under her childish talk social status. But her motives seem to always be pure. She takes the loan to save her husband but doesn’t tell him about it because she believes he’ll be furious, not knowing how right she is.
Holding the text after reading it, it’s now clearer why Ibsen chose the character. Dolls are whoever you want them to be. Initially they weren’t toys for children’s amusement and in some areas dolls are still revered for their ability to transform into whatever need be. Torvald unknowingly owes his life to Nora and it seems the fate of their household lies mostly in her hands than in his own. Sure she dances for him and has to beg for money but her influence on him though not full controlling isn’t something to be ignored.
Nora is a lady ahead of her time, the sort of people whom are despised by their generation respected by the next and almost worshiped by the one after. Her beauty if she has any isn’t her greatest tool. That would be her intelligence and witty nature. The fact that Krogstad was willing to give her the loan means she was the sort of person who had the capability to get them (Bradford, 'A Dolls House ' Character study: Torvald Helmer)selves in and out of trouble in one piece though not always unharmed.
If casting for the role, I wouldn’t pick the most breathtaking beauty for the role. She’d be around 5 feet 6 inches, so when she clung to a man, in this case Torvald, he wouldn’t feel threatened about his role. She’d be skinny, almost thin not unhealthy looking. Her hair would be a dull red or brunette so it wouldn’t make her as conspicuous as a blonde. The key feature for me though would be her eyes. They should be unreal, almost doll like. The sort of eyes you wouldn’t turn down on your worst of days. That would be her most redeeming feature and an asset she had to use well.
Take for example the scene in the first act where she asks Torvald for some money. She uses one of the endless pet names he calls her by saying, “If a little squirrel were to ask every so nicely?” (Bradford, 'A Dolls House ' Character study: Torvald Helmer).
Her voice would be slow and needy, and she would play around with her hands often swaying as if implying the playful nature if her request. Her eyes however would seal the deal. They would flutter often, acting as if they are a separate entity from her body. She would tilt her head at times and shit her eyes halfway. Al this would be to coax her husband to do her bidding, and more often than not it seemed to work.
Nora isn’t ashamed of her rebellious nature; on the contrary she prides herself in it. She sneaks in macaroons even after Torvald discourages her and were the story about her life, I believe there would be quite a few more things she does covertly.
STAGING THE PLAY
Were it not for the incredible significance of props I the play I would have chosen an arena stage so as to maximize on the audiences interaction with the cast. However, with the heavy props in mind I would go for a trust stage. It allows for the interaction between the cast and audience and also has room for the props.
The props wouldn’t necessarily have to be authentic but their appearance would have to be crude and wasteful as most things were I that era. (University of Minnesota) MY CONCLUSION
The play has much to offer in terms of depth and content. Though a large part rests in the performers’ delivery, it is crucial that the execution of the props be impeccable. The fact that the entire play is done indoors relieves the director from acquiring a back drop though if need be it can be added.
Just as Ibsen attempted to change the stereotype of social structures at that time he conceived the play, so must the performance to do so for its audience or at least attempt this.

BIBLIOGRAPHY
Bradford, W. (n.d.). 'A Dolls House ' Character study: Torvald Helmer. Retrieved April 5, 2013, from About.com: http://www.about.com/plays/drama/
Bradford, W. (n.d.). Plays/Drama,Nora Helmer. Retrieved April 6, 2013, from about.com: http://www.about.com/od/plays/a/norahemler.htm
Petri Liukkonen, A. P. (2008). kirjasto sci fi. Retrieved April 7, 2013, from www.kirjasto.sci.fi/ibsen.htm: http://www.kirjasto.sci.fi/ibsen.htm
Spark Notes Editors. (2002). Retrieved April 7, 2013, from www.sparknotes.com: http://www.sparknotes.com/lit/dollhouse/
Swomley, E. (n.d.). theatre arts science. Retrieved April 7, 2013, from www.elaineswomley.com: http://www.elaineswomley.com
Tannenbaum, S. (2007, April 14). Helium: Literary analysis: A Doll 's House, by Henrik Ibsen. Retrieved April 4, 2013, from Helium: http://www.helium.com
University of Minnesota. (n.d.). Shakespeare. Retrieved April 6, 2013, from umn education: http://www.umn.edu.com

Bibliography: Bradford, W. (n.d.). 'A Dolls House ' Character study: Torvald Helmer. Retrieved April 5, 2013, from About.com: http://www.about.com/plays/drama/ Bradford, W. (n.d.). Plays/Drama,Nora Helmer. Retrieved April 6, 2013, from about.com: http://www.about.com/od/plays/a/norahemler.htm Petri Liukkonen, A. P. (2008). kirjasto sci fi. Retrieved April 7, 2013, from www.kirjasto.sci.fi/ibsen.htm: http://www.kirjasto.sci.fi/ibsen.htm Spark Notes Editors. (2002). Retrieved April 7, 2013, from www.sparknotes.com: http://www.sparknotes.com/lit/dollhouse/ Swomley, E. (n.d.). theatre arts science. Retrieved April 7, 2013, from www.elaineswomley.com: http://www.elaineswomley.com Tannenbaum, S. (2007, April 14). Helium: Literary analysis: A Doll 's House, by Henrik Ibsen. Retrieved April 4, 2013, from Helium: http://www.helium.com University of Minnesota. (n.d.). Shakespeare. Retrieved April 6, 2013, from umn education: http://www.umn.edu.com