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11 Cards in this Set
- Front
- Back
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Table |
Feminine style shows Nora is keen to look fashionable and is conscious of current designs. Relatively small, showing the Helmers do not entertain. Little money and Torvald keeps Nora isolated. |
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Chairs |
Colours and shape highlights Nora's desire for everything to look pretty, and shows her female influence on the home, showing gender roles, her as the home-keeper. Comfortable and informal, creating an image of the Helmers' home that is functional and inexpensive. Facing the fire so breaks up the set, allowing for scenes to move between areas. This area is intimate, allowing for intimate exchanges, e.g. with Dr Rank. |
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The Fire |
With a mirror on top, Nora can look at herself, showing her vanity. Gives an effect of domesticity, and the design is typical of a Victorian sitting room. |
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Wall |
2 flats, impression of solid brick wall. Gives a sense of place as throughout play characters are entering from outside, expands audiences imagination outside the apartment, Stan's through-line of action. Exposed brick is symbolic of how the characters' real selves are exposed, the crumbling plaster like Nora and Torvald's crumbling marriage, perfect on the surface and ugly underneath. |
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Window |
Draw attention to Nora's chair. Frames her as if she is in a picture, emphasising how she is only acting in a fake role, being the portrait of a wife. Allows her to look out at audience while still maintaining the 4th wall. Image of isolation and longing, looking out of a window. Also makes her looked trapped, as she is in her marriage. |
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Nora's chair |
Rocking chair is a picture of domesticity, and being own its own shows Nora's isolation. The photograph on the table is of Nora's father. This references the theme of heredity. As photographs were relatively new this would have been precious. Highlights how Nora has always been dependent on men. In the first scene when Torvald stands behind her she will be framed in the window by both men. |
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Bookcase |
Bookcase dresses the set, creating the Helmers' home and enforcing naturalism. Implies Torvald is either an intellectual or wishes to appear one, and when he is lecturing Nora he would go over and look at his books, making him feel more superior. |
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Door |
Although in a Victorian house a similar door would be through a porch, I have chosen to put it in the room as the detailed stained-glass draw attention to the letter box, and the light in the hallway shining through creates an image of hope, as Nora can, and does, escape through there. |
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Hat stand |
Dressing the stage and furthering the naturalism by having characters take off overcoats, hats etc, when they come in. Theme of passage through the house, showing the outside world. Nora comes from outside only at beginning and then with Torvald, unlike other characters who are coming and going. She is trapped, but escapes by leaving. |
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Paintings |
Dresses the stage, furthering naturalism. Beach reminds audience of the Helmers' trip. Portrait probably an ancestor. Heritage. |
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Period and Place |
All the furniture is typical of a victorian sitting room in the 1870s. I have chosen to set the play in England during the 1870s, rather than Norway, to make the location more accessible to an English audience, but keeping the original time period so Ibsen's language fits. Ibsen's messages still fit with a modern audience, so there is no need to change the period. |
