Questions On A Doll's House By Henrik Ibsen

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Question #2:
Henrik Ibsen’s A Doll's House premiered at the Royal Theatre in Copenhagen, on December 21, 1879. Considering this date in time, it is obvious that this is the type of work that fueled the avant-garde movement. Not to take anything away from Ibsen’s play, but from the eyes of the Futurists, the characters were mirrors of the audience members, and performed what was ‘expected’ of them in the current male-centric culture. The Norwegian critic Erik Bøgh, writing for newspaper Folkets Avis, admired Ibsen's originality and technical mastery: "Not a single declamatory phrase, no high dramatics, no drop of blood, not even a tear.” A Doll's House questions the traditional roles of men and women in 19th-century marriage. The Irish playwright
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Discovering dramatic material in everyday situations was the beginning of an exploration into realism. Ibsen turned the stage into a pulpit, reassessing the values of society, and ushering in a new social responsibility. In A Doll's House, he exposed the role of social passivity that was expected of women in a male-oriented society. In Nora’s case, she countered passivity by developing an ease with stretching the truth, and telling untruths. She became a practiced liar and deceiver, both as mechanisms for survival. A Doll’s House became a voice for women’s rights issues, illustrating the challenges that women faced in a male dominated culture. Ibsen’s vision of humanity in an ideal community, was the motivation behind his social …show more content…
Eye as an eye, Ear as an ear, and so on. Rather than have the characters enter and exit the stage, I would arrange them in positions that illustrated a face, and require them to remain onstage throughout the performance. Due to the fact that the actors’ actual mouths would possibly be concealed, I would add an additional lighting effect that would highlight each character as they are delivering lines of dialogue. At times, during the performance, I would direct the performers to move about the stage, in an effort to expand, compress, and distort the ‘facial’ image. This image of providing actual facial characteristics is inspired by the performing arts company known as Mummenschanz. The company would create recognizable shapes with their bodies, aided by creative costuming and lighting, and animate figures of animals, gigantic human forms, and various other images. For my production of The Gas Heart, I would set the stage in black. As each character (Eye, Ear, Mouth, etc.) enters, they would take random positions onstage, then slowly move into positions that create the face. I would not rewrite, nor rearrange the original

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