Who Was Nora Best Friend in a Doll's House

Play by Henrik Ibsen

A Doll's House
Original manuscript cover page, 1879.
Written by	Henrik Ibsen
Characters	Nora Torvald Helmer Krogstad Mrs. Linde Dr. Rank Children Anne-Marie Helene
Date premiered	21 Dec 1879 (1879-12-21)
Identify premiered	Royal Theatre in Copenhagen, Denmark
Original language	Norwegian, Danish
Field of study	The enkindling of a middle-course wife and mother.
Genre	Naturalistic / realistic problem play Modern tragedy
Setting	The home of the Helmer family in an unspecified Norwegian town or city, circa 1879.

A Doll's House (Danish and Bokmål: Et dukkehjem; also translated as A Doll House) is a iii-act play written by Norwegian playwright Henrik Ibsen. It premiered at the Royal Theatre in Copenhagen, Denmark, on 21 December 1879, having been published earlier that month.^[i] The play is set in a Norwegian town circa 1879.

The play is significant for the way it deals with the fate of a married woman, who at the time in Norway lacked reasonable opportunities for self-fulfillment in a male-dominated world, despite the fact that Ibsen denied it was his intent to write a feminist play. Information technology aroused a great awareness at the time,^[two] and caused a "tempest of outraged controversy" that went beyond the theatre to the world of newspapers and social club.^[iii]

In 2006, the centennial of Ibsen'due south death, A Doll'due south House held the distinction of being the world'south most performed play that year.^[iv] UNESCO has inscribed Ibsen'southward autographed manuscripts of A Doll'due south House on the Retentivity of the Earth Register in 2001, in recognition of their historical value.^[5]

The championship of the play is well-nigh commonly translated equally A Doll's House, though some scholars apply A Doll Business firm. John Simon says that A Doll's House is "the British term for what [Americans] call a 'dollhouse'".^[vi] Egil Törnqvist says of the alternative championship: "Rather than existence superior to the traditional rendering, it simply sounds more idiomatic to Americans."^[vii]

List of characters [edit]

Adeleide Johannessen in character every bit Nora, from a cigarette menu of c. 1880–82

• Nora Helmer – wife of Torvald, mother of 3, is living out the ideal of the 19th-century wife, but leaves her family at the end of the play.
• Torvald Helmer – Nora's hubby, a newly promoted bank managing director, professes to be enamoured of his wife but their marriage stifles her.
• Dr. Rank – a rich family unit friend. He is terminally ill, and it is implied that his "tuberculosis of the spine" originates from a venereal disease contracted by his begetter.
• Kristine Linde – Nora's former schoolhouse friend, widowed, is seeking employment (sometimes spelled Christine in English language translations). She was in a relationship with Krogstad prior to the play's setting.
• Nils Krogstad – an employee at Torvald's bank, unmarried begetter, he is pushed to desperation. A supposed scoundrel, he is revealed to be a long-lost lover of Kristine.
• The Children – Nora and Torvald'south children: Ivar, Bobby and Emmy (in order of age).
• Anne Marie – Nora's old nanny, who gave upward her own girl to "strangers" when she became, as she says, the only mother Nora knew. She now cares for Nora's children.^[8]
• Helene – the Helmers' maid
• The Porter – delivers a Christmas tree to the Helmer household at the beginning of the play.

Synopsis [edit]

Act One [edit]

Mrs. Linde and Nora converse (from a 2012 production)

The play opens at Christmas fourth dimension as Nora Helmer enters her abode carrying many packages. Nora's married man Torvald is working in his report when she arrives. He playfully rebukes her for spending and then much money on Christmas gifts, calling her his "little squirrel." He teases her about how the previous year she had spent weeks making gifts and ornaments by manus because money was scarce. This yr Torvald is due a promotion at the bank where he works, and so Nora feels that they tin can let themselves get a footling. The maid announces 2 visitors: Mrs. Kristine Linde, an old friend of Nora's, who has come seeking employment; and Dr. Rank, a close friend of the family, who is let into the study. Kristine has had a hard few years, ever since her husband died leaving her with no money or children. Nora says that things have not been easy for them either: Torvald became sick, and they had to travel to Italy so he could recover. Kristine explains that when her mother was ill she had to take care of her brothers, but at present that they are grown she feels her life is "unspeakably empty." Nora promises to talk to Torvald about finding her a chore. Kristine gently tells Nora that she is similar a child. Nora is offended, so she teases the idea that she got money from "some admirer" so they could travel to Italia to improve Torvald'southward health. She told Torvald that her father gave her the money, only in fact she illegally borrowed it without his knowledge (women were forbidden from conducting financial activities such as signing checks without a human's endorsement). Since then, she has been secretly working and saving up to pay off the loan.

Krogstad, a lower-level employee at Torvald's bank, arrives and goes into the study. Nora is clearly uneasy when she sees him. Dr. Rank leaves the study and mentions that he feels wretched, though like everyone he wants to go on living. In contrast to his concrete illness, he says that the man in the study, Krogstad, is "morally diseased."

Subsequently the coming together with Krogstad, Torvald comes out of the study. Nora asks him if he tin give Kristine a position at the banking concern and Torvald is very positive, maxim that this is a fortunate moment, as a position has just go available. Torvald, Kristine, and Dr. Rank leave the firm, leaving Nora lonely. The nanny returns with the children and Nora plays with them for a while until Krogstad creeps through the ajar door into the living room and surprises her. Krogstad tells Nora that Torvald intends to burn him from the bank and asks her to intercede with Torvald to allow him to keep his job. She refuses, and Krogstad threatens to blackmail her about the loan she took out for the trip to Italy; he knows that she obtained this loan past forging her father's signature afterward his death. Krogstad leaves and when Torvald returns, Nora tries to convince him non to fire Krogstad. Torvald refuses to hear her pleas, explaining that Krogstad is a liar and a hypocrite and that years before he had committed a offense: he forged other people's signatures. Torvald feels physically ill in the presence of a man "poisoning his own children with lies and dissimulation."

Act 2 [edit]

Kristine arrives to help Nora repair a dress for a costume function that she and Torvald plan to attend the next day. Torvald returns from the bank, and Nora pleads with him to reinstate Krogstad, claiming she is worried Krogstad volition publish libelous manufactures nigh Torvald and ruin his career. Torvald dismisses her fears and explains that, although Krogstad is a good worker and seems to have turned his life around, he must be fired because he is besides familial around Torvald in forepart of other bank personnel. Torvald then retires to his study to piece of work.

Dr. Rank, the family unit friend, arrives. Nora asks him for a favor, but Rank responds by revealing that he has entered the terminal stage of his affliction and that he has always been secretly in beloved with her. Nora tries to deny the outset revelation and make calorie-free of information technology only is more disturbed by his declaration of honey. She so clumsily attempts to tell him that she is not in honey with him, but loves him dearly every bit a friend.

Having been fired by Torvald, Krogstad arrives at the firm. Nora convinces Dr. Rank to go into Torvald's study so he will not see Krogstad. When Krogstad confronts Nora, he declares that he no longer cares about the remaining residual of Nora's loan, but that he will instead preserve the associated bond to blackmail Torvald into non but keeping him employed but also promoting him. Nora explains that she has done her best to persuade her husband, just he refuses to change his heed. Krogstad informs Nora that he has written a letter detailing her criminal offense (forging her father'south signature of surety on the bond) and put it in Torvald's mailbox, which is locked.

Nora tells Kristine of her hard situation, gives her Krogstad's card with his accost, and asks her to endeavour to convince him to relent.

Torvald enters and tries to recollect his post, but Nora distracts him past begging him to help her with the dance she has been rehearsing for the costume political party, feigning anxiety most performing. She dances so badly and acts and then childishly that Torvald agrees to spend the whole evening coaching her. When the others go to dinner, Nora stays behind for a few minutes and contemplates killing herself.

Act Three [edit]

Torvald addresses Nora (from a 2012 production)

Kristine tells Krogstad that she only married her husband because she had no other ways to support her sick mother and immature siblings and that she has returned to offer him her love again. She believes that he would not have stooped to unethical behavior if he had non been devastated by her abandonment and in dire financial straits. Krogstad changes his heed and offers to take back his letter from Torvald. Nonetheless, Kristine decides that Torvald should know the truth for the sake of his and Nora's marriage.

After Torvald literally drags Nora home from the political party, Rank follows them. They conversation for a while, with Dr. Rank conveying obliquely to Nora that this is a final adieu, as he has determined that his death is near. Dr. Rank leaves, and Torvald retrieves his messages. Every bit he reads them, Nora prepares to run away for skillful, but Torvald confronts her with Krogstad's letter. Enraged, he declares that he is now completely in Krogstad'south ability; he must yield to Krogstad's demands and proceed quiet well-nigh the whole affair. He berates Nora, calling her a dishonest and immoral woman and telling her that she is unfit to raise their children. He says that from now on their marriage volition exist merely a matter of appearances.

A maid enters, delivering a letter to Nora. The letter is from Krogstad, however Torvald demands to read the letter and takes it from Nora. Torvald exults that he is saved, equally Krogstad has returned the incriminating bail, which Torvald immediately burns along with Krogstad's messages. He takes dorsum his harsh words to his wife and tells her that he forgives her. Nora realizes that her husband is not the strong and gallant human being she thought he was and that he truly loves himself more than he does Nora.

Torvald explains that when a man has forgiven his wife, it makes him love her all the more since it reminds him that she is totally dependent on him, similar a child. He preserves his peace of mind by thinking of the incident as a mere mistake that she made owing to her foolishness, one of her well-nigh endearing feminine traits.

We must come to a final settlement, Torvald. During eight whole years. . . we accept never exchanged ane serious give-and-take about serious things.

Nora, in Ibsen's A Doll'southward House (1879)

Nora tells Torvald that she is leaving him, and in a confrontational scene expresses her sense of betrayal and disillusionment. She says he has never loved her and they take become strangers to each other. She feels betrayed past his response to the scandal involving Krogstad, and she says she must get away to understand herself. She says that she has been treated similar a doll to play with for her whole life, commencement by her father and and then by him. Torvald insists that she fulfill her duty equally a married woman and mother, but Nora says that she has duties to herself that are simply as important, and that she cannot exist a good mother or married woman without learning to be more than than a plaything. She reveals that she had expected that he would want to cede his reputation for hers and that she had planned to kill herself to prevent him from doing so. She now realizes that Torvald is not at all the kind of person she had believed him to be and that their wedlock has been based on common fantasies and misunderstandings.

Nora leaves her keys and wedding ceremony ring; Torvald breaks downwards and begins to cry, baffled by what has happened. After Nora leaves the room, Torvald, for one 2d, all the same has a sense of hope, and exclaims to himself "The most wonderful thing of all--?", merely before the door downstairs is heard closing.

Culling ending [edit]

Ibsen'south German agent felt that the original ending would non play well in German theatres. In addition, copyright laws of the time would non preserve Ibsen's original work. Therefore, for it to be considered adequate, and prevent the translator from altering his work, Ibsen was forced to write an culling ending for the German premiere. In this catastrophe, Nora is led to her children after having argued with Torvald. Seeing them, she collapses, and as the curtain is brought down, it is implied that she stays. Ibsen afterward called the ending a disgrace to the original play and referred to it as a "barbaric outrage".^[ix] Near all productions today use the original ending, as do nearly all of the film versions of the play.

Composition and publication [edit]

Real-life inspiration [edit]

A Doll's Business firm was based on the life of Laura Kieler (maiden name Laura Smith Petersen), a good friend of Ibsen. Much that happened betwixt Nora and Torvald happened to Laura and her husband, Victor. Like to the events in the play, Laura signed an illegal loan to save her husband'south life – in this case, to find a cure for his tuberculosis.^[10] She wrote to Ibsen, request for his recommendation of her work to his publisher, thinking that the sales of her book would repay her debt. At his refusal, she forged a cheque for the coin. At this betoken she was found out. In real life, when Victor discovered about Laura'due south secret loan, he divorced her and had her committed to an aviary. 2 years afterwards, she returned to her husband and children at his urging, and she went on to go a well-known Danish author, living to the historic period of 83.

Ibsen wrote A Doll's House when Laura Kieler had been committed to the aviary. The fate of this friend of the family unit shook him deeply, maybe too because Laura had asked him to arbitrate at a crucial signal in the scandal, which he did not feel able or willing to do. Instead, he turned this life situation into an aesthetically shaped, successful drama. In the play, Nora leaves Torvald with head held high, though facing an uncertain futurity given the limitations unmarried women faced in the society of the time.

Kieler somewhen rebounded from the shame of the scandal and had her own successful writing career while remaining discontented with sole recognition as "Ibsen's Nora" years subsequently.^{[xi] [12]}

Limerick [edit]

Ibsen started thinking near the play around May 1878, although he did not begin its beginning draft until a year later on, having reflected on the themes and characters in the intervening menstruum (he visualised its protagonist, Nora, for instance, equally having approached him one day wearing "a blue woolen dress").^[xiii] He outlined his conception of the play as a "modern tragedy" in a note written in Rome on 19 October 1878.^[14] "A woman cannot exist herself in modern society," he argues, since it is "an exclusively male society, with laws fabricated past men and with prosecutors and judges who appraise feminine deport from a masculine standpoint!"^[15]

Publication [edit]

Ibsen sent a fair copy of the completed play to his publisher on 15 September 1879.^[16] It was first published in Copenhagen on iv December 1879, in an edition of 8,000 copies that sold out within a month; a 2nd edition of 3,000 copies followed on 4 January 1880, and a third edition of two,500 was issued on 8 March.^[17]

Production history [edit]

A Doll'due south House received its earth premiere on 21 December 1879 at the Regal Theatre in Copenhagen, with Betty Hennings as Nora, Emil Poulsen as Torvald, and Peter Jerndorff as Dr. Rank.^[18] Writing for the Norwegian newspaper Folkets Avis, the critic Erik Bøgh admired Ibsen's originality and technical mastery: "Not a unmarried declamatory phrase, no high dramatics, no driblet of claret, not fifty-fifty a tear."^[19] Every functioning of its run was sold out.^[20] Another production opened at the Royal Theatre in Stockholm, on 8 Jan 1880, while productions in Christiania (with Johanne Juell as Nora and Arnoldus Reimers equally Torvald) and Bergen followed before long after.^[21]

In Germany, the actress Hedwig Niemann-Raabe refused to perform the play as written, declaring, "I would never get out my children!"^[xx] Since the playwright's wishes were non protected by copyright, Ibsen decided to avoid the danger of being rewritten by a lesser dramatist by committing what he called a "barbaric outrage" on his play himself and giving information technology an alternative catastrophe in which Nora did not exit.^{[22] [23]} A production of this version opened in Flensburg in Feb 1880.^[24] This version was also played in Hamburg, Dresden, Hanover, and Berlin, although, in the wake of protests and a lack of success, Niemann-Raabe eventually restored the original catastrophe.^[24] Some other product of the original version, some rehearsals of which Ibsen attended, opened on 3 March 1880 at the Residenz Theatre in Munich.^[24]

In Britain, the only way in which the play was initially immune to be given in London was in an adaptation by Henry Arthur Jones and Henry Herman chosen Breaking a Butterfly.^[25] This adaptation was produced at the Princess Theatre, 3 March 1884. Writing in 1896 in his volume The Foundations of a National Drama, Jones says: "A rough translation from the High german version of A Doll's Business firm was put into my hands, and I was told that if it could be turned into a sympathetic play, a ready opening would be institute for it on the London boards. I knew nothing of Ibsen, just I knew a nifty bargain of Robertson and H. J. Byron. From these circumstances came the adaptation called Breaking a Butterfly."^[26] H. L. Mencken writes that it was A Doll's Firm "denaturized and dephlogisticated. … Toward the middle of the activeness Ibsen was thrown to the fishes, and Nora was saved from suicide, rebellion, flying and immortality by making a faithful one-time clerk steal her fateful promissory note from Krogstad's desk. … The curtain brutal upon a happy dwelling."^[27]

Before 1899 there were 2 private productions of the play in London (in its original form as Ibsen wrote information technology) — i featured George Bernard Shaw in the office of Krogstad.^[8] The first public British production of the play in its regular form opened on 7 June 1889 at the Novelty Theatre, starring Janet Achurch every bit Nora and Charles Charrington as Torvald.^{[28] [29] [30]} Achurch played Nora again for a seven-twenty-four hour period run in 1897. Soon later on its London premiere, Achurch brought the play to Commonwealth of australia in 1889.^[31]

The play was first seen in America in 1883 in Louisville, Kentucky; Helena Modjeska acted Nora.^[29] The play made its Broadway premiere at the Palmer's Theatre on 21 December 1889, starring Beatrice Cameron as Nora Helmer.^[32] It was showtime performed in France in 1894.^[21] Other productions in the United States include one in 1902 starring Minnie Maddern Fiske, a 1937 accommodation with interim script by Thornton Wilder and starring Ruth Gordon, and a 1971 production starring Claire Bloom.

A new translation past Zinnie Harris at the Donmar Warehouse, starring Gillian Anderson, Toby Stephens, Anton Lesser, Tara FitzGerald and Christopher Eccleston opened in May 2009.^[33]

The play was performed by 24/half-dozen: A Jewish Theater Company in March 2011, ane of their early performances following their December 2010 lower Manhattan launch.^[34]

In August 2013, Immature Vic,^[35] London, Great United kingdom, produced a new adaptation^[36] of A Doll's House directed by Carrie Cracknell^[37] based on the English linguistic communication version by Simon Stephens. In September 2014, in partnership with Brisbane Festival, La Boite located in Brisbane, Australia, hosted an accommodation of A Doll's House written by Lally Katz and directed past Stephen Mitchell Wright.^[38] In June 2015, Space Arts Heart in London staged an accommodation of A Doll's House featuring the discarded alternate ending.^[39] 'Manaveli' Toronto staged a Tamil version of A Doll's Business firm (ஒரு பொம்மையின் வீடு)on xxx June 2018,Translated and Directed by Mr P Vikneswaran. The drama was very well received by the Tamil Community in Toronto and was staged over again in few months later. The same stage play was filmed at the kickoff of 2022 and screened in Toronto on 4 May 2019. The film was received with very skillful reviews and the artists were hailed for their performance. Now, arrangements are being made to screen the film, ஒரு பொம்மையின் வீடு, in London, at Safari Cinema Harrow, on seven July 2019;^[39] From September 2022 to October 2022 the Lyric Hammersmith in London hosted a new adaptation of the play by Tanika Gupta who moved the setting of the play to colonial India.^[40] Though the plot largely remained unchanged, the protagonists were renamed Tom and Niru Helmer and a conversation was added regarding the British oppression of the Indian public. I significant shift was the lack of a slamming door at the cease of the play. They also published a pack of teaching materials which includes extracts from the adapted play script.^[41]

A product of A Doll'south House by The Jamie Lloyd Company starring Jessica Chastain was initially scheduled to play at the Playhouse Theatre in London in the summer of 2020. Due to the COVID-19 pandemic, the play is now postponed to a after date.^[42]

Assay and criticism [edit]

A Doll's Business firm questions the traditional roles of men and women in 19th-century marriage.^[22] To many 19th-century Europeans, this was scandalous. The covenant of spousal relationship was considered holy, and to portray it as Ibsen did was controversial.^[43] However, the Irish gaelic playwright George Bernard Shaw establish Ibsen's willingness to examine society without prejudice exhilarating.^[44]

The Swedish playwright August Strindberg criticised the play in his volume of essays and curt stories Getting Married (1884).^[45] Strindberg questioned Nora's walking out and leaving her children behind with a man that she herself disapproved of and then much that she would not remain with him. Strindberg also considers that Nora's involvement with an illegal financial fraud that involved Nora forging a signature, all done behind her hubby'southward back, and so Nora's lying to her married man regarding Krogstad'due south blackmail, are serious crimes that should raise questions at the end of the play, when Nora is moralistically judging her husband. And Strindberg points out that Nora'southward complaint that she and Torvald "have never exchanged one serious word about serious things," is contradicted past the discussions that occur in act one and two.^[46]

The reasons Nora leaves her husband are complex, and various details are hinted at throughout the play. In the last scene, she tells her husband she has been "greatly wronged" by his disparaging and condescending treatment of her, and his attitude towards her in their marriage – as though she were his "doll wife" — and the children in turn have go her "dolls," leading her to dubiety her own qualifications to raise her children. She is troubled by her husband'southward behavior in regard to the scandal of the loaned money. She does not love her husband, she feels they are strangers, she feels completely dislocated, and suggests that her bug are shared past many women. George Bernard Shaw suggests that she left to begin "a journeying in search of self-respect and apprenticeship to life," and that her revolt is "the cease of a chapter of human history."^{[8] [47] [3]}

Ibsen was inspired by the belief that "a woman cannot be herself in modern society," since it is "an exclusively male club, with laws made past men and with prosecutors and judges who assess feminine carry from a masculine standpoint."^[15] Its ideas can also exist seen every bit having a wider application: Michael Meyer argued that the play's theme is not women's rights, only rather "the need of every individual to observe out the kind of person he or she really is and to strive to become that person."^[48] In a speech communication given to the Norwegian Association for Women's Rights in 1898, Ibsen insisted that he "must disclaim the honor of having consciously worked for the women'southward rights movement," since he wrote "without any conscious thought of making propaganda," his job having been "the description of humanity."^[49] Withal, the play is associated with feminism, equally Miriam Schneir includes information technology in her album Feminism: The Essential Historical Writings, labelling it every bit 1 of the essential feminist works.^[50]

Because of the departure from traditional beliefs and theatrical convention involved in Nora'due south leaving home, her human activity of slamming the door equally she leaves has come up to stand for the play itself.^{[51] [52]} In Iconoclasts (1905), James Huneker noted "That slammed door reverberated across the roof of the world."^[53]

Adaptations [edit]

Motion-picture show [edit]

A Doll's House has been adapted for the cinema on many occasions, including:

• The 1922 lost silent film A Doll'due south House starring Alla Nazimova as Nora.^{[54] [55]}
• The 1923 German language silent film Nora directed by Berthold Viertel. Nora was played by Olga Chekhova, who was built-in Olga Knipper, and was the niece and namesake of Anton Chekhov'southward married woman. She was also Mikhail Chekhov's wife.^[56]
• The 1943 Argentine film Casa de muñecas starring Delia Garcés, which modernizes the story and uses the alternative ending.^[57]
• The 1954 Mexican flick Casa de muñecas, directed past Alfredo B. Crevenna and starring Marga López, Ernesto Alonso and Miguel Torruco, sets the story in modernistic-day United mexican states, adds a flashback framing device, turns Dr. Rank (renamed Dr. Eduardo Anguiano and played by Alonso, who gets second billing) into Nora's doomed suitor and savior, changes Nora's motivation for leaving her house, and adds a happy ending the following Christmas Eve.
• Two film versions were released in 1973: A Doll's Firm by Joseph Losey starring Jane Fonda, David Warner and Trevor Howard;^[58] and A Doll's House by Patrick Garland starring Claire Bloom, Anthony Hopkins, and Ralph Richardson.^[59]
• Dariush Mehrjui's 1992 film Sara is based on A Doll's House, with the plot transferred to Islamic republic of iran. Sara, played by Niki Karimi, is the Nora of Ibsen's play.^[sixty]
• In 2012, the Young Vic theatre in London released a short film titled Nora with Hattie Morahan portraying what a modern-twenty-four hours Nora might look like.^[61]
• In 2016, in that location were plans for a modernized adaptation starring Ben Kingsley as Medico Rank and Michele Martin every bit Nora.^{[62] [63]}

Television [edit]

• The 1959 accommodation was a live version for American TV directed by George Schaefer. This version featured Julie Harris, Christopher Plummer, Hume Cronyn, Eileen Heckart and Jason Robards.
• In 1973, Norwegian TV produced an adaptation of A Doll'due south Business firm titled Et dukkehjem directed by Arild Brinchmann and starring Lise Fjeldstad as Nora Helmer.
• A 1974 West High german tv adaptation titled Nora Helmer [fr] was directed past Rainer Werner Fassbinder and starred Margit Carstensen in the title part.
• In 1992, David Thacker directed a British tv adaptation with Juliet Stevenson, Trevor Eve and David Calder.

Radio [edit]

• A Lux Radio Theatre product on half-dozen June 1938 starred Joan Crawford as Nora and Basil Rathbone every bit Torvald.
• A later version by the Theatre Social club on the Air on xix January 1947 featured Rathbone again every bit Torvald with Dorothy McGuire as Nora.
• In 2012, BBC Radio iii broadcast an adaptation by Tanika Gupta transposing the setting to India in 1879, where Nora (renamed 'Niru') is an Indian woman married to Torvald (renamed 'Tom'), an English man working for the British Colonial Administration in Calcutta. This production starred Indira Varma equally Niru and Toby Stephens as Tom.^[64]

Re-staging [edit]

• In 1989, film and stage managing director Ingmar Bergman staged and published a shortened reworking of the play, now entitled Nora, which entirely omitted the characters of the servants and the children, focusing more than on the power struggle betwixt Nora and Torvald. Information technology was widely viewed every bit downplaying the feminist themes of Ibsen'south original.^[65] The first staging of it in New York was reviewed by the Times as heightening the play'southward melodramatic aspects.^[66] The Los Angeles Times stated that "Nora shores upwards A Doll's House in some areas only weakens information technology in others."^[67]
• Lucas Hnath wrote A Doll's House, Part ii equally a follow-upward about Nora fifteen years later.
• In 2017, performance artist Cherdonna Shinatra wrote and starred in a reworking of the play titled "Cherdonna's Doll House" under the direction of Ali Mohamed el-Gasseir. The production was staged at 12th Avenue Arts through Washington Ensemble Theatre. Brendan Kiley of The Seattle Times described it every bit a "triple-decker satire" in which "Cherdonna'south version of Ibsen's play well-nigh femininity turns into a kind of memoir about Kuehner'due south neither-here-nor-at that place career identity."^[68]
• The Citizens' Theatre in Glasgow have performed Nora: A Doll'south House by Stef Smith, a radical re-working of the play, with three actors playing Nora, simultaneously taking place in 1918, 1968 and 2018.^[69] The production after transferred to the Young Vic in London.^[seventy]
• Dottok-east-Log (Doll's House), adjusted and directed by Kashif Hussain, was performed in the Balochi language at the National Academy of Performing Arts on thirty and 31 March 2019.^{[ importance? ]}

Novels [edit]

• In 2019, memoirist, journalist and professor Wendy Consume published Searching for Nora: Later the Doll's Business firm. Swallow's historical novel tells the story of Nora Helmer'due south life from the moment in December 1879 that Nora walks out on her husband and immature children at the shut of A Doll's Firm. Swallow draws from her enquiry into Ibsen's play and iconic protagonist, the realities of the time, and the 19th-century Norwegian emigration to America, following Nora every bit she offset struggles to survive in Kristiania (today's Oslo) and so travels by boat, train and wagon to a new dwelling in the western prairie of Minnesota.

Dance [edit]

• Stina Quagebeur's ballet Nora for the English National Ballet premiered in 2019, with Crystal Costa as Nora and Jeffrey Cirio as Torvald, fix to Philip Glass's Tirol Concerto for Pianoforte and Orchestra.^[71]

References [edit]

1. ^ Meyer (1967, 477).
2. ^ Krutch, Joseph Wood (1953). "Modernism" in Modern Drama, A Definition and an Estimate . Ithaca: Cornell University Printing. p. 9. OCLC 176284.
3. ^ ^{a b} Walter, McFarlane, James; Jens, Arup (1998). Four Major Plays. Oxford University Printing. ISBN0192833871. OCLC 39674082.
4. ^ "Henrik Ibsen'due south psychodramas withal grip the world 100 years after his death". Pravda Report. 22 May 2006. Retrieved 30 May 2017.
5. ^ "Henrik Ibsen: A Doll's House". UNESCO. Retrieved thirty May 2017.
6. ^ "Baptism by Burn down Island". fifteen July 1991.
7. ^ Törnqvist, Egil (1995). Ibsen: A Doll's Firm. Capilano University Printing. p. 54. ISBN9780521478663. OCLC 635006762.
8. ^ ^{a b c} Byatt, A. S. (1 May 2009). "Blaming Nora". The Guardian. ISSN 0261-3077. Retrieved 30 May 2017.
9. ^ "The alternative ending of A Doll's House". National Library of Kingdom of norway. 30 May 2005. Retrieved thirty May 2017.
10. ^ A. S. Byatt (two May 2009). "Blaming Nora". The Guardian. Guardian News and Media. Retrieved twenty June 2017.
11. ^ Törnqvist, Egil (1995). Ibsen: A Doll'south House. Cambridge University Press. p. 2. ISBN9780521478663. OCLC 635006762.
12. ^ Worthen, William B (2011). The Wadsworth album of drama. Wadsworth. p. 667. ISBN9781428288157. OCLC 610205542.
13. ^ Meyer (1967, 463–467, 472).
14. ^ Meyer (1967, 466).
15. ^ ^{a b} Ibsen, "Notes for a Mod Tragedy"; quoted by Meyer (1967, 466); meet also Innes (2000, 79–81).
16. ^ Meyer (1967, 474).
17. ^ Meyer (1967, 475).
18. ^ Meyer (1967, 477) and Moi (2006, 227, 230).
19. ^ Quoted past Meyer (1967, 477).
20. ^ ^{a b} Meyer (1967, 480).
21. ^ ^{a b} Meyer (1967, 479).
22. ^ ^{a b} Fisher, Jerilyn (2003). "The slammed door that even so reverberates". In Fisher, Jerilyn; Silber, Ellen S (eds.). Women in literature: reading through the lens of gender. Greenwood Printing. pp. 99–101. ISBN9780313313462. OCLC 50638821.
23. ^ Meyer (1967, 480–481).
24. ^ ^{a b c} Meyer (1967, 481).
25. ^ text Jones, Henry Arthur. Herman, Henry. Breaking a butterfly : a play in three acts. Printed for private employ merely: not published. 76 pages.
26. ^ Jones, Henry Arthur. The Foundations of a National Drama: a drove of lectures, essays and speeches, delivered and written in the years 1896–1912. (1 January 1913). i Jan 1913. Reprinted: Wentworth Press (26 Aug 2016) ISBN 978-1362548942. Page 208.
27. ^ Mencken, H. L. The Nerveless Drama of H. L. Mencken: Plays and Criticism. Scarecrow Printing, 2012. ISBN 9780810883703. page 185.
28. ^ Ibsen, Henrik (1889). A Doll's Firm [Illustrated with photographs]. William C. Archer translator. London: T Fisher Unwin. OCLC 29743002.
29. ^ ^{a b} Moses, Montrose J. (1920). "Doll'southward House, A". In Rines, George Edwin (ed.). Encyclopedia Americana.
30. ^ Gilman, D. C.; Peck, H. T.; Colby, F. Thou., eds. (1905). "Herman, Henry". New International Encyclopedia (1st ed.). New York: Dodd, Mead.
31. ^ Brockett and Hildy (2003, 353).
32. ^ "Opening Nighttime Production Credits: A Doll'southward House (1889)". The Net Broadway Database. 2008. Retrieved 18 September 2008.
33. ^ Kate Bassett (24 May 2009). "The Donmar'southward new Ibsen isn't and then much a clever interpretation as a bit of questionable rewriting". The Independent. London.
34. ^ "For New Theater Visitor, Shabbat Takes Eye Stage". The Forwards. 16 December 2010.
35. ^ "Homepage". Immature Vic website.
36. ^ "A Doll's House West End | Young Vic ". 7 June 2013. Archived from the original on 7 June 2013.
37. ^ Soloski, Alexis (6 February 2014). "Carrie Cracknell Adds a 21st-Century Flavour to Ibsen". The New York Times. Archived from the original on one January 2022.
38. ^ "A Doll's House by Henrik Ibsen in a new version past Lally Katz". La Boite Theatre Visitor. 2014. Archived from the original on two November 2014. Retrieved 2 Nov 2014.
39. ^ ^{a b} ."A Doll's House at The Space". Archived from the original on 2 April 2015. Retrieved 1 Apr 2015.
40. ^ "A Doll's House".
41. ^ https://lyric.co.great britain/wp-content/uploads/2019/05/A-Dolls-House_Education-Pack_Lyric-2019.pdf
42. ^ ."The Jamie Lloyd Company announces the postponement of THE SEAGULL and A DOLL'S HOUSE". Retrieved 28 May 2020.
43. ^ James, McFarlane (1994). Cambridge Companion to Ibsen. Cambridge Academy Press. p. 167. ISBN9780521423212. OCLC 869601716.
44. ^ Griffith, Gareth (21 Dec 1995). Superior Brains: Political Idea of Bernard Shaw . Routledge. pp. 164–165. ISBN9780415124737. OCLC 528524661.
45. ^ Meyer (1967, 476).
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48. ^ Meyer (1967, 478).
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59. ^ Canby, Vincent (23 May 1973). "Claire Bloom's 'Doll's Business firm on Picture: The Cast". The New York Times.
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Sources [edit]

• Brockett, Oscra G; Hildy, Franklin J (2002). History of the theatre. Boston: Allyn & Salary. ISBN9780205410507. OCLC 228061773.
• Dukore, Bernard F., ed. 1974. Dramatic Theory and Criticism: Greeks to Grotowski. Florence, KY: Heinle & Heinle. ISBN 978-0-03-091152-1.
• Innes, Christopher (2000). A sourcebook of naturalist theatre. London: Routledge. ISBN0415152291. OCLC 896687433.
• Meyer, Michael (1974). Ibsen: a biography. Penguin. ISBN9780140217728. OCLC 223316018.
• Moi, Toril (2006). Henrik Ibsen and the Nascency of Modernism: Art, Theater, Philosophy . Oxford: Oxford University Press. ISBN0199295875.

Further reading [edit]

• Ibsen, Henrick (trans McLeish). A Doll'south House, Nick Hern Books, London, 1994
• Unwin, Stephen. Ibsen's A Doll's House (Page to Stage Study Guide) Nick Hern Books, London, 1997
• William L. Urban. "Parallels in A Doll's House." Festschrift in Honor of Charles Speel. Ed. past Thomas J. Sienkewicz and James E. Betts. Monmouth College, Monmouth, Illinois, 1997.
• Merriam, Eve. After Nora Slammed the Door: From Doll's House to Paper Doll Lives? Merriam looks at the "Women'due south Revolution" in America. World Publishing Visitor, Cleveland, 1964.

External links [edit]

• Texts and other resources at the National Library of Kingdom of norway
• A Doll'southward Firm at the Internet Broadway Database
• A Doll'due south House at the Internet Off-Broadway Database
• A Doll's House at the Internet Moving picture Database
• A Doll'southward Firm: A Report Guide
• A Doll's Business firm at Standard Ebooks
• A Doll's Business firm at Project Gutenberg
• A Doll's House at Project Gutenberg (alternating edition)
• A Doll's Firm public domain audiobook at LibriVox
• The Social Significance of the Modernistic Drama, a book by Emma Goldman, contains a chapter on A Doll's Firm.
• 1946 Theatre Club on the Air radio adaptation at Internet Archive

woodsalthat1974.blogspot.com

Source: https://en.wikipedia.org/wiki/A_Doll%27s_House

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