Wednesday, December 4, 2019
Staging the Play A Dolls House
Introduction/Synopsis One of the foremost characteristics of IbsenÃ¢â¬â¢s play A DollÃ¢â¬â¢s House is that its plot appears linearly defined, which in turn, explains the semantic realism of playÃ¢â¬â¢s overall sounding. As it is being the case with most of IbsenÃ¢â¬â¢s other plays, throughout A DollÃ¢â¬â¢s House, charactersÃ¢â¬â¢ existential stances never cease undergoing a qualitative transformation Ã¢â¬â the manner in which characters position themselves at playÃ¢â¬â¢s beginning is being different from the manner in which they position themselves at playÃ¢â¬â¢s end.Advertising We will write a custom research paper sample on Staging the Play A DollÃ¢â¬â¢s House specifically for you for only $16.05 $11/page Learn More There are good reasons to believe that the realism of this particular play is being reflective of the actual workings of authorÃ¢â¬â¢s analytical mindset Ã¢â¬â apparently, Ibsen never ceased being aware of the fact that the extent of playÃ¢â¬â¢s realistic sounding reflects the extent of presented charactersÃ¢â¬â¢ intellectual flexibility, extrapolated in the particulars of how they address lifeÃ¢â¬â¢s challenges. As Kaufmann (1965) put it Ã¢â¬Å"[Ibsen] knows that truth never is a possession, but a constant effort to find the appropriate response to every situation which demands a decisionÃ¢â¬ (22). The legitimacy of such our hypothesis can be explored in relation to playÃ¢â¬â¢s synopsis: Nora Helmer is a married woman, who helped her husband Torvald Helmer (bank clerk) once by borrowing a large sum of money from the bank, after forged her dadÃ¢â¬â¢s signature. Torvald is completely unaware of the forgery that had taken place. Initially, he is presented as a loving husband, who treats Nora in particularly affectionate manner, even though he also appears to be utterly ignorant of NoraÃ¢â¬â¢s basic humanity Ã¢â¬â throughout the play, Torvald treats her as pretty but soulless d oll. Krogstad is another important character in the play. When being faced with the prospect of losing his job in TorvaldÃ¢â¬â¢s bank, he threatens to blackmail Nora (because of her forgery) if she does not convince Torvald to refrain from firing him. Eventually, Torvald finds out about NoraÃ¢â¬â¢s forgery and becomes enraged over his wifeÃ¢â¬â¢s presumed infidelity. He ends up accusing Nora of moral depravity, while suggesting that under no circumstances should Nora have considered keeping secrets from him. TorvaldÃ¢â¬â¢s behavior opens NoraÃ¢â¬â¢s eyes to the fact that she has been loyal to an unworthy man, incapable of addressing lifeÃ¢â¬â¢s challenges outside the structure of conventional morality, and for whom the continuous observation of social customs meant so much more then ensuring his wifeÃ¢â¬â¢s happiness. It begins to dawn upon Nora that, her stay with Torlvald may very well be compared to the stay of a bird in the cage. After having realized it, Nora deci des to leave Torvald, who in her eyes has been downsized from a respectful head of the household to a regular moralistic hypocrite, unable of appreciating Nora in a way she truly deserved. Nora says good-bye to Torlvald and her children and embarks upon the quest to find her long lost sense of identity.Advertising Looking for research paper on literature languages? Let's see if we can help you! Get your first paper with 15% OFF Learn More The proposed choices for playÃ¢â¬â¢s production The earlier provided outline of the plot points out what can be considered the foremost indication of playÃ¢â¬â¢s dramaturgic uniqueness Ã¢â¬â the strongly defined dramatics sounding of its themes and motifs. Therefore, it comes as not a particular surprise that the action in A DollÃ¢â¬â¢s House appears spatially limited. As it was pointed out by Jakovljevic (2002): Ã¢â¬Å"IbsenÃ¢â¬â¢s family drama [A DollÃ¢â¬â¢s House] is set within the space of perspectival constraints. T he entire play takes place in this single set that represents the living room in a middle class family flatÃ¢â¬ (432). What it means is that, while staging A DollÃ¢â¬â¢s House, directors must focus their attention on ensuring the psychological plausibility of themes and motifs, contained in this particular play, as their principal priority. The best way to accomplish this is by exposing the essence of psychological anxieties, experienced by the playÃ¢â¬â¢s characters, as such that relate to psychological anxieties, on the part of audienceÃ¢â¬â¢s members. Within the context of Ibsen playÃ¢â¬â¢s staging, ensuring actionÃ¢â¬â¢s psychological plausibility will not represent much of a challenge. The reason for this is simple Ã¢â¬â unlike what it is being commonly assumed, A DollÃ¢â¬â¢s House is not solely concerned with exploring the theme of womenÃ¢â¬â¢s liberation from patriarchal oppression, which could make this play ideologically outdated, but also with exposing what accounts for existentialist incompatibility between husband and wife Ã¢â¬â subject matter that even today remains utterly relevant. As it was rightly noted by Haugen (1979): Ã¢â¬Å"IbsenÃ¢â¬â¢s Nora is not just a woman arguing for female liberation; she is much more. She embodies the comedy as well as the tragedy of modern lifeÃ¢â¬ (vii). In other words, there is a well defined rationale for a modernist staging of A DollÃ¢â¬â¢s House, as such staging that would emphasize the playÃ¢â¬â¢s contemporary themes and motifs. One way of ensuring the conceptual relevance of IbsenÃ¢â¬â¢s play for a modern audience is to stage an unconventional production. The following is how four elements of theatre (set, costumes, characterization and audience participation) can reflect a modernist staging of A DollÃ¢â¬â¢s House. Set A DollÃ¢â¬â¢s House, does not leave the boundaries of one single room. This eases up the process of designing the set. Given the minimalistic traditions of modernist theatre, a table and few chairs in the foreground are more than adequate for the set.Advertising We will write a custom research paper sample on Staging the Play A DollÃ¢â¬â¢s House specifically for you for only $16.05 $11/page Learn More After all, the action in this particular IbsenÃ¢â¬â¢s play can be best referred to as essentially verbal, which suggests the lessened importance of an onstage environment, as an additional instrument of ensuring actionÃ¢â¬â¢s plausibility: Ã¢â¬Å"In a word, A DollÃ¢â¬â¢s House is a play about writing. It is a play about writing with consequences, about words that act and generate actionÃ¢â¬ (Jakovljevic 433). Nevertheless, to make unraveling of the plot more authenticated, the trappings of a middle class home may be utilized as well. By simplifying onstage set to a minimum, the director will be able to Ã¢â¬Å"kill two rabbits with one shotÃ¢â¬ : to modernize the playÃ¢â¬â¢s action in the eye s of the audience, and to emphasize the sheer extent of play actionÃ¢â¬â¢s drama. Costumes The dramaturgic value of A DollÃ¢â¬â¢s House is IbsenÃ¢â¬â¢s ability to expose charactersÃ¢â¬â¢ psychological anxieties, rather than his talent in authenticating the realities of 19th centuryÃ¢â¬â¢s Norwegian living. Therefore, a modern production should dress actors in contemporary or Ã¢â¬ËminimalistÃ¢â¬â¢ costumes. It will provide an additional stimulus for the audience to focus on playÃ¢â¬â¢s themes and motifs if Torvald, Krogstad and Dr. Rank wear black trousers and black golf sweaters. Nora and Mrs. Linde can wear black shirts and matching tight skirts. In its turn, this will substantially increase the extent of productionÃ¢â¬â¢s intellectual appeal. The suggestion, in this respect, correlates with the point, made in CimaÃ¢â¬â¢s (1983) article: Ã¢â¬Å"The director might choose to present A DollÃ¢â¬â¢s House so that the action is Ã¢â¬Ëto discover oneselfÃ¢â¬â¢ (a Ã¢â¬ËfeministÃ¢â¬â¢ approach), or he might focus on the action Ã¢â¬Ëto play the gameÃ¢â¬ (15). By having actors dressed in minimalist costumes, the director will prompt them to be more focused on Ã¢â¬Ëplaying the gameÃ¢â¬â¢, as opposed to be concerned with maintaining the spirit of historicity. The utilization of Ã¢â¬ËminimalistÃ¢â¬â¢ costumes in production of A DollÃ¢â¬â¢s House is the pathway towards ensuring productionÃ¢â¬â¢s modernist sounding. Characterization As mentioned earlier, with the possible exception of Torvald, the characters in IbsenÃ¢â¬â¢s play are represented in the state of undergoing a constant intellectual transition. For example, the manner in which Nora reacts to lifeÃ¢â¬â¢s challenges in Act One is qualitatively different from the way she reacts to these challenges in Act Three.Advertising Looking for research paper on literature languages? Let's see if we can help you! Get your first paper with 15% OFF Learn More What it means is that, while striving to ensure the genuineness of actorsÃ¢â¬â¢ onstage performance, the director will have to look into creating objective preconditions for actorsÃ¢â¬â¢ interaction to serve the purpose of revealing developmental aspects of played charactersÃ¢â¬â¢ psychological makeup: Ã¢â¬Å"With the advent of IbsenÃ¢â¬â¢s playsÃ¢â¬ ¦ a revised category of gestures became necessary: the autistic gesture, or subtle visual sign of the characterÃ¢â¬â¢s soliloquy with himselfÃ¢â¬ (Cima 22). This can be achieved with the means of encouraging actors to perform in essentially spontaneous manner, while going as far as even indulging in verbal interaction with the audience, if thought contextually appropriate. Audience participation The success of using a modernist approach to theatrical productions depends of turning viewers into active participants, often despite their desire to remain passive. Encouraging actors to improvise thought-provoking remarks, even if these remarks have nothing to do with playÃ¢â¬â¢s actual script, can do this. Within the framework of A DollÃ¢â¬â¢s House modernist staging, actors were prompted to expose parallels between TorvaldÃ¢â¬â¢s behavioral superficiality and the behavioral superficiality of many of todayÃ¢â¬â¢s overly effeminate men, who despite their willingness to Ã¢â¬Ëact responsiblyÃ¢â¬â¢, exhibit a number of psychological weakness in their daily lives. For example, while coming up with his moralistic speeches, Torvald may very well refer to political correctness, as the source of conventional morality, which will undoubtedly trigger strong emotional reactions in the audience. WhymanÃ¢â¬â¢s production of the play/Conclusion The legitimacy of an earlier outlined production proposal can be explored in relation to GardnerÃ¢â¬â¢s online article, where she elaborates on the particulars of Erica WhymanÃ¢â¬â¢s staging of A DollÃ¢â¬â¢s House. According to Gardner (2008), Whyman had made a deliberate point in representing playÃ¢â¬â¢s plot as such that is being unraveled during the course of fifties: Ã¢â¬Å"The 1950s setting works very well; it is a period far enough away in time for the stifling social code of IbsenÃ¢â¬â¢s play not to jar, but modern enough to connect with todayÃ¢â¬ (Guardian). Moreover, as it appears from GardnerÃ¢â¬â¢s article, Whyman considered it fully appropriate altering the semantic subtleties of playÃ¢â¬â¢s characterization: Ã¢â¬Å"Well-meaning but misguided Torvold is no villain; indeed, initially it is the beautiful Nora Ã¢â¬â a self-conscious spoiled child Ã¢â¬â who is the least appealing of the protagonistsÃ¢â¬ (Guardian). Apparently, Whyman had no reservations about modernizing the, which contributed immensely to productionÃ¢â¬â¢s success with the audience. It is understood, of course, that the manner in which Whyman had gone about staging IbsenÃ¢â¬â¢s play, points out to the fact that it would indeed be appropri ate, on directorÃ¢â¬â¢s part, to utilize modernist approach in designing the theatrical production of A DollÃ¢â¬â¢s House Ã¢â¬â just as it was initially hypothesized in the paper. References Cima, Gibson Gay Ã¢â¬Å"Discovering Signs: The Emergence of the Critical Actor in Ibsen.Ã¢â¬ Theatre Journal 35.1 (1983): 5-22. Print. DiYanni, Robert. Literature: Approaches to Fiction, Poetry, and Drama. 2ndÃ edition. New York: McGraw-Hill Humanities. Print. Gardner, Lyn Ã¢â¬Å"A DollÃ¢â¬â¢s House.Ã¢â¬ 28 Apr. 2008. Guardian.Co.Uk. 24 Apr. 2011. https://www.theguardian.com/stage/2008/apr/28/theatre1 Haugen, Einar. IbsenÃ¢â¬â¢s Drama: Author to Audience. Minneapolis: University of Minnesota Press, 1979. Print. Jakovljevic, Branislav Ã¢â¬Å"Shattered Back Wall: Performative Utterance of A DollÃ¢â¬â¢sÃ House.Ã¢â¬ Theatre Journal 54.3 (2002): 431-448. Print. Kaufmann, F.W. Ã¢â¬Å"IbsenÃ¢â¬â¢s Conception of Truth.Ã¢â¬ Ibsen: A Collection of CriticalÃ Essays. Ed. Rol f Fjelde. Englewood Cliffs: Prentice-Hall. 1965. 17-30. Print. Appendices Erica WhymanÃ¢â¬â¢s fifties-styled production of A DollÃ¢â¬â¢s House. This research paper on Staging the Play A DollÃ¢â¬â¢s House was written and submitted by user Amelie Mccarthy to help you with your own studies. 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