Durenmatt utilizes set and set design to further establish the dynamics of the play “A Doll’s House” throughout. Therefore, set design primarily focuses on the changing aspects of Nora and Torvald’s marriage and the influence society ultimately has on a population. It can then be acknowledged that set design plays a fundamental part in the ultimate structure of the theme that Durenmatt is portraying throughout his play “A Doll’s House.” Initially, macaroons are introduced as a significant design due to its portrayal of Nora’s deceitful characteristics in her marriage with Torvald. This idea is established through Nora’s display of lying to Torvald about the macaroons she is hiding and further reinforces the notion of her characteristic by stating
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The Christmas tree is initially situated in the “middle of the room” (192) to establish that Nora is also on display due to her being continuously objectified through the pet names and her appliance of beauty to become resourceful in her marriage. This additionally demonstrates that currently Nora is in her constant state of outwardly obedience towards Torvald and her partial acceptance towards it. However, on Christmas Day, the tree is now rather positioned in the corner of the room “stripped and disheveled” (195) due to Torvald’s indirect statement towards Nora on his belief that she “is morally speaking… dead.” (195.) Due to the staging of the prop, it characterizes the emotions Nora is enduring towards the consequential situation that was ultimately a result of her being defiant ultimately towards the conformities of society. The establishment of her emotions become further developed on Boxing Day when the tree becomes no longer present in the room, therefore preparing the audience for the climax of the play. Specifically, the tree being no longer existent symbolizes her conclusive recognition that no matter how the circumstances pan out, it will dramatically alter her marriage with Torvald. This is represented due to the interoperation that Nora is figuratively no longer present to her attitude and perspective that she had once possessed towards her marriage consequently through her revelation addressed earlier. Therefore, through the re-positioning of the Christmas tree, Nora`s mental state becomes inherently more palpable for the audience to interpret throughout as it structurally establishes the climax of the
The Christmas tree is initially situated in the “middle of the room” (192) to establish that Nora is also on display due to her being continuously objectified through the pet names and her appliance of beauty to become resourceful in her marriage. This additionally demonstrates that currently Nora is in her constant state of outwardly obedience towards Torvald and her partial acceptance towards it. However, on Christmas Day, the tree is now rather positioned in the corner of the room “stripped and disheveled” (195) due to Torvald’s indirect statement towards Nora on his belief that she “is morally speaking… dead.” (195.) Due to the staging of the prop, it characterizes the emotions Nora is enduring towards the consequential situation that was ultimately a result of her being defiant ultimately towards the conformities of society. The establishment of her emotions become further developed on Boxing Day when the tree becomes no longer present in the room, therefore preparing the audience for the climax of the play. Specifically, the tree being no longer existent symbolizes her conclusive recognition that no matter how the circumstances pan out, it will dramatically alter her marriage with Torvald. This is represented due to the interoperation that Nora is figuratively no longer present to her attitude and perspective that she had once possessed towards her marriage consequently through her revelation addressed earlier. Therefore, through the re-positioning of the Christmas tree, Nora`s mental state becomes inherently more palpable for the audience to interpret throughout as it structurally establishes the climax of the