Plot Summary

A Dolls House opens on Christmas Eve. Nora is preparing for the Christmas festivities, when Dr Rank and Mrs Linde enter. Linde talks to Nora while Rank goes to talk to Torvald. Linde asks for a job, to which Nora agrees to ask her husband. Rank then comes back and complains about the moral corruption in the world. Krogstad enters to talk with Torvald about keeping his job, and Rank makes a remark about how he is the worst man he knows of. Rank and Linde leave, while Krogstad re enters. He tells Nora to persuade Torvald to let him keep his job or he will reveal her crime of forgery. Nora leaves, and asks Torvald not to fire Krogstad. Torvald replies that he had to fire Krogstad because of his dishonesty, and because Torvald gave that job to Mrs Linde. Torvald goes back to his study. Anne Marie enters with Noras dress for the party. She explains she had to leave her children to take the job of helping Nora. Anne Marie then leaves. Linde comes back and helps Nora stitch up her dress. They talk about Dr Rank. Torvald enters, and Linde leaves. Nora again pleads with Torvald not to fire Krogstad, but he again bluntly refuses. He gives Krogstads pink slip to the maid to mail. Torvald again returns to his study. Rank enters and discusses his worsening illness with Nora. They talk and flirt to which Rank confesses his love for Nora. Nora says she only ever had fun with him, and didnt love him. Rank leaves to the study. Krogstad enters, angry about his dismissal and leaves a letter detailing her crime. Nora talks to Linde about the matter and she talks to Krogstad to clear Noras name. Linde leaves after Krogstad. Rank and Torvald enter from the study. They help Nora practice the tarantella. Afterwards Rank and Torvald exit. Linde returns and tells Nora that Krogstad left town. Nora tells her shes waiting for a miracle. That night at the dance, Linde talks to Krogstad. She says that she still loves him. They get back together and decide to forget about Nora borrowing money. Linde asks Krogstad not to ask for his letter back, as she feels Torvald must know. Both leave, and Nora and Torvald enter. Torvald checks the mailbox and finds letters and business cards from Dr. Rank with black crosses on them. Nora says that Dr Rank is announcing his death. Torvald enters his study. Nora starts preparing to leave. Before she can leave, however, Torvald stops her having read Krogstads letter. He is angry and says he no longer loves Nora. The maid comes in with a letter which says that Krogstad forgives Nora and will not reveal the crime. Torvald burns the letter with the IOU. He tells Nora that everything will go back to normal, but Nora changes, and leaves the house.

A Dolls House is a feminist play, as it portrays a woman leaving her husband, and taking her life into her own hands. It also deals with deception and the individual versus society. Feminism Every woman in the play had sacrificed something: Nora sacrificed herself in borrowing money, Mrs Linde married a man she did not love for money instead of Krogstad, and Anne Marie had to leave behind her children. Ibsen was highlighting the great disparity between men and women. The ending of the play received enormous criticism from critics when it was written because Nora left her husband. The idea that marriage was a sacred union that could not be broken was still entrenched in peoples mind. The idea that a woman had a purpose beyond being a housewife was generally unheard of; although that was changing at the time. Deception The entire play is almost based around Noras crime, and her continued deceit of Torvald. Dr Rank pretends that he is not sick, because he knows that Torvald cannot take any unwelcome news. Torvald even deceives himself because he doesnt know enough about himself and is quite nave about his and Noras marriage, often fantasising about it. Conflict between the Individual and Society It was the Victorian Era during 1879, the year which A Dolls House was written. Ibsens play forced the people to look at themselves and their society, through this play. Torvalds professional life is driven by his employees: when Nora asks him to give Krogstad a job, he immediately thinks about what will happen if his employees think he was influenced by his wife. Krogstads life has been affected by societys moral standards. He spent most of his time dealing with an indiscretion, and blackmails Nora to keep his job. The power in blackmail lies in the individual wanting to save face in front of society. Noras conflict between her own personal interests, and what society expects with her becomes so great that she eventually leaves Torvald, and defies society.

The Realist Theatre Movement

The realist movement focuses on portraying realistic characters in realistic settings, and bringing the play much closer to the audiences heart. This movement pushed theatre away from the idealistic and grandiose stories, replacing them with much grittier and realistic settings and characters. The realist movement emerged during the Victorian era. Theatre before realism was mostly overly dramatic and grand. These plays all ended well: the knight always saves the Princess, so to speak. However, realist theatre pushed audiences to introspectively reflect on themselves, and their society by portraying realistic characters with their own virtues and vices, goals, and typically a much smaller plot that displayed interpersonal relationships. Realism started because of 3 ideas: Encouragement for understand cause and effect (August Comte, 17981857) Charles Darwins Theory of Evolution Karl Marxs philosophy on equal distribution of wealth

According to realism, all forms of art had a higher purpose to further humankind in some way. Drama, therefore was to let people reflect on themselves and on society, so all the settings and characters were very lifelike and contemporary to the audience.

Henrik Ibsen The Author

Henrik Ibsen was born on the 20th March, 1828 and died on 23rd May, 1906. He spent most of his early career as a writer, director and producer for Det norske Theatre (Bergen). He didnt write any plays during this time, but he got practical experience from his time there. His plays initially were to garner acclaim and financial success. As he became more confident and more renowned as a playwright he started writing what he termed the drama of ideas. This meant he started exploring peoples perceptions of society and themselves. A Dolls House was the first of such plays; Ghosts followed with an even more aggressive commentary on Victorian society. Many people responded with

disgust and horror. His next play, An Enemy of the People, focused on the issues of the individual versus society and was partly a response to the responders of Ghosts. The Wild Duck attacks the Victorian absolute ideals, by showing these ideals can be too hard for the human heart to bear. His later works transcended just attacking Victorian ideals; but peoples interpersonal relationships. Hedda Gabler again attacks the notion that marriage is a sacred unbroken vow, but involves much deeper interpretation of the human mind. Ibsen rewrote the conventions of realist theatre, which many of the others that followed (Anton Chekov, for instance) stuck to. It became a convention that a play became art if it taught and furthered humankind.

Annotated Script
Krogstad: Excuse me, Mrs Helmer. March in, face front, open body to the audience. Hands behind back, air of importance. Nora: Ah! What is it? Krogstad: Im sorry. The door was on the latch Not REALLY sorry about it. Nora: Mr Krogstad, my husbands out. Krogstad: I know. All knowing air, quite up himself, dominant Nora: Then what is it? Krogstad: Its you I want to talk to. Nora: Me? Go in there. What? No, the man wont hurt Mummy. Well have another game afterwards. You want to talk to me? Krogstad: Yes. Nod definitely. Nora: Its not the first of the month. Krogstad: Its Christmas Eve. And the type of PAUSE Christmas Day you have, depends on you. Stare at Nora for a few seconds, look back at the front Nora: I cant do anything today. Krogstad: Its not that. Its something else. You have a moment? Look towards Nora, questioningly, still with air of superiority Nora: Yes. Of course. IYes.

Krogstad: I was in Olsens Restaurant and saw your husband in the street. Look back towards the front, head held high Nora: Yes? Krogstad: With a woman. Fast delivery Nora: What of it? Krogstad: Pardon me for asking, but was that Mrs Linde? Slightly turn to Nora. Nora: Yes. Krogstad: Just arrived? Nora: Today. Krogstad: A friend of yours? Nora: I dont Krogstad: Mine too. Once. Look down, kind of embarrassed, but still prideful Nora: I know. Krogstad: Ah. Well, Ill ask straight out: has Mrs Linde been given a job at the bank? Flustered; attempt to regain control of situation by looking back up Nora: Mr Krogstad, you shouldnt ask me that. An employee. But since you haveyes, Mrs Linde has been given a job. On my recommendation. Satisfied? Krogstad: I thought she had. Sigh, look down for a moment, then back at audience Nora: One isnt without influence. Just because ones a woman. And employees, Mr Krogstad, people in positions of dependence, should be careful not to annoy people who, people who Krogstad: Have influence? Questioning, lingering Nora: Exactly. Krogstad: Mrs Helmer, youll PAUSE oblige me by putting your PAUSE influence PAUSE to work for me. Suggestive, put face close to hers as if whispering in ear: low, voice, but still strong Nora: What do you mean? Krogstad: Youll PAUSE oblige me by making that I keep my position of PAUSE dependence PAUSE at the bank. Nora: Is someone taking it away?

Krogstad: Dont pretend you dont know. Its obvious that your friend doesnt want to bump into me again and its also obvious who Ive got to thank for getting me the sack. Pace around Nora, All knowing tone. Nora: But Krogstad: Never mind. Im telling you: use your influence to see it doesnt happen. Dismissive. Return to first position. Nora: Mr Krogstad, I dont have any influence. Krogstad: Thats not what you said just now. Stare at Nora, accusingly. Nora: I didnt meanyou shouldnt have what makes you think I can influence my husband? Krogstad: Ive known your husband for years. He can be influenced, Mr Manager (wave hands), just like anyone else. Mocking tone, once again pace around Nora. Nora: If youre impertinent about my husband, you can leave my house. Krogstad: Oh, very brave. Small laughter, mocking of Noras courage Nora: Im not afraid of you. Not any more. As soon as its New Year, Ill be finished with the whole business. Smile smugly, then GRADUALLY TURN TO FROWN Krogstad: Mrs Helmer, understand one thing: if it comes to it, Ill fight for my job as if I was fighting for my life. Angry and loud, turn towards Nora with hand cutting across the air

My Character Krogstad
During this section, my first iteration of Krogstad was a desperate man, that came off half begging half official. He was a meek man that simply wanted his job back so that hed be respectable; Nora had at least half the power. However, with Ms Webbs help, he turned into a dominant man; not afraid of using sexual harassment and blackmail to achieve his goals. He became quite a manipulative and quite stuck up character: I hoped to show that through his dismissive tones and gestures. He has been hard done by and has turned himself into an unmerciful man, as society has done to him.

Costume
Krogstad is quite a manipulative character, and also poor: thus I chose my school uniform minus the blazer, as it perfectly fit him. They werent too flashy, but this was not a man you wanted to deal with. Add a blue tie and checkered blazer, and he was a man of business manipulation. It also gave him an air of importance and dominance, as he was formally dressed whereas Nora, as well as her entrance was flustered and outside her comfort zone.

Set Design
Considering the Drama room, I thought a more minimalist approach would be easier with only the table for Noras entrance; the whole section is played through without interacting with furniture, and so just the table to indicate where we were would be enough. Perhaps a chair or two would also have reinforced the atmosphere, but we simply didnt have the time for that.

Performance Reflection
Characterisation I think I conveyed Krogstad reasonably well. The extra practice in the morning helped a lot with that, as it helped to hone the finer points of his character: the dismissive glances and smug smile came in then, which was quite a late addition. However the accent still wasnt quite done enough; I felt as though I was still putting my own voice through it. The accent seemed to come out as a half posh Britain half growl; which could have worked more effectively for me being the predator, as it were. However a much more polished accent would have had more effect through the juxtaposition of the faade of an upper class Britain and the sudden sexual advances to intimidate Nora. Focus It was a wonder I could keep it. I was actually quite sleepy on the day, having spent the night before going through it in my brain before I went to sleep. However I found that my focus didnt shake that much; I dont really remember what the audience was doing. However I think that because of this I moved too mechanically and not naturally; I was too into getting the gestures down instead

of making them natural. Perhaps it was part stage fright? More practice would probably make the memory issues go away, either that or more sleep the night before. =)